The India Art Fair 2022 had a strong local collector turnout this year in New Delhi, with a notable decrease in VIP invites to manage the overwhelming crowds witnessed in previous editions. Despite the restrictions, the tent was soon crowded, reflecting the positive buzz surrounding the event. The clear blue sky above, a rarity in the smoggy city, seemed to signal good fortune for the art market’s future in India.
An International Draw
One of the key highlights of this year’s India Art Fair was the return of major international galleries like David Zwirner and Lisson Gallery. The decision by these blue-chip galleries to participate was influenced by significant events like the Venice Biennale and major exhibitions featuring their artists over the past year, fostering new connections with Indian art enthusiasts. Works by artists like Portia Zvavahera, Oscar Murillo, and Sosa Joseph at Zwirner’s booth drew significant attention, with several pieces being sold on the first day to collectors from the region.
At Lisson Gallery, the return after a 13-year hiatus brought forth works by artists like Otobong Nkanga and Olga de Amaral, creating a unique dialogue between international art and the Indian art scene. Notably, Kiran Nadar, a prominent Indian collector, was seen exploring both Zwirner and Lisson’s booths, acquiring pieces from both international and local artists, showcasing her support for the homegrown talent.
New York-based Aicon Contemporary also benefitted from Nadar’s interest in diverse art, with her acquisitions ranging from well-established to emerging artists. The engagement of global galleries at the India Art Fair signifies the country’s growing prominence in the international art market, as acknowledged by Nadar, who highlighted the evolution of Indian art beyond traditional boundaries.
A Shift from the Modern to the Contemporary
While Indian modern art continues to dominate high-value transactions, the emergence of young collectors exploring contemporary artists is shifting the market landscape. Galleries like Art Exposure focused on showcasing contemporary talents alongside modern masters, attracting a diverse range of collectors. DAG’s presentation of modern artists, including M.F. Husain, reflects the gallery’s commitment to preserving and promoting Indian artistic heritage.
Asvita’s representation of the Madras Art Movement from the 1960s garnered significant interest, demonstrating a renewed appreciation for historical Indian art movements. The exploration of emerging and mid-career artists by younger collectors signifies a shift towards more diverse and inclusive art collections, away from the traditional focus on established names.
The India Art Fair’s introduction of a design section last year was well-received, with an expanded focus on studios inspired by Indian craft traditions. This year’s event featured a diverse range of design practices, showcasing the intersection of craftsmanship and contemporary art. Carpenters Workshop Gallery’s return to the fair highlighted the fusion of traditional crafts with modern design, attracting collectors looking for unique and culturally inspired pieces.
The evolving art market in India is witnessing a surge in interest from collectors, both local and international, seeking to diversify their portfolios with a blend of traditional and contemporary art. The presence of renowned galleries like Zwirner and Lisson underscores the country’s growing significance in the global art scene, providing collectors with access to a wide range of artistic expressions.
As the art market continues to evolve, the India Art Fair remains a vital platform for artists, collectors, and enthusiasts to engage with diverse artistic practices and narratives. The intersection of tradition and innovation at the fair reflects the dynamic nature of Indian art, offering a glimpse into the rich tapestry of creative expressions that define the country’s cultural landscape.
