SAFFRONART CLOSED its exciting Autumn Online Auction of Contemporary Indian Art, registering a total sale value of approximately Rs 29 crores (US $7.2 million), about 72 per cent in excess of the low estimate. Hosted on Saffronart’s new technology platform which serves up an innovative and secure user interface, this sale featured several genres of Contemporary Indian Art including painting, sculpture, photography and installation.
At this sale, world auction records were set for 18 Indian artists, including TV Santhosh, Anju Dodiya, Sudhir Patwardhan, GR Iranna, Mithu Sen, Anita Dube, Sudarshan Shetty, Anil Revri, Tushar Joag, Manisha Parekh, Debanjan Roy, Phaneendra Nath Chaturvedi, Kishor Shinde, Chitra Ganesh, Ravikumar Kashi, Ram Bali Chauhan, Mayyur Kailash Gupta and Nicola Durvasula.
Within the first hours of the auction, several lots crossed their higher estimates, including TV Santhosh’s diptych, featured on the cover of the catalogue, and works by Subodh Gupta, Riyas Komu, Anandajit Ray, GR Iranna, Tushar Joag, Dhananjay Singh and George Martin, setting the pace for the exciting bidding activity that continued till the last seconds of the sale.
At this auction, over 575 registered bidders from all over the world competed against each other for the works of some of India’s most talented artists. The top five lots of this Saffronart auction were Subodh Gupta’s Idol Thief I, selling for Rs 4.28 crores (US $1.07 million); Subodh Gupta’s Saat Samundra Par (Across the Seven Seas), selling for Rs 3.4 crores (US $850,000); TV Santhosh’s When your Target Cries for Mercy, selling for Rs. 2.8 crores (US $701,500); Anju Dodiya’s The Site, selling for Rs 1.06 crores (US $267,375); and Sudhir Patwardhan’s The Clearing, selling for Rs 93,15,000 (US $232,875).
Online art auctions, pioneered by Saffronart, have transformed the landscape of Modern and Contemporary Indian Art, making it accessible to participants across geographies and opening it to a wide spectrum of international art lovers. Other Articles by Rupali Ghadge Saffronart’s September annual on-line auction Established by Dinesh and Minal Vazirani, Saffronart has set global benchmarks for online art auctions. The company’s innovative business model has prompted the Harvard Business School to write and teach a case study on Saffronart.
Saffronart has been instrumental in fundamentally changing the market for Modern and Contemporary Indian Art. With its professionalism and transparency, it has contributed to the burgeoning international and domestic interest in Indian art, and in the process established itself as the leader in Modern and Contemporary Indian Art auctions globally.

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The ShContemporary is a sign of a mature Chinese art market.

Come September, and eight galleries from various Indian cities will be travelling to the Middle Kingdom.

Their desintation, the ShContemporary 2008, or the Asia Pacific Contemporary Art Fair as it’s formally called, held in Shanghai from September 10-13. This is only the second year of the fair, which was instituted as something of a meeting ground for the best of contemporary art from the East and the West.

Quite successfully, since as many as 130 galleries from 23 countries participated last year, along with dealers, curators, museum representatives, artists and visitors numbering around 25,000. The Indian presence was not inconsequential (considering that Indian galleries are relatively recent to the art-fair scene).

Four galleries � Bodhi, Chemould Prescott, Sakshi and Nature Morte; three artists in the “best of discovery” curated section, showcasing young and promising talent � Shilpa Gupta, Sharmila Samant and Ravikumar Kashi; and another three in the “best of artists” section for the more established names � Jittish Kallat, Sudarshan Shetty and Zarina Hashmi.

Sales were good says Geetha Mehra, founder of Sakshi Gallery, adding “There was a lot of energy in the air.” Nivedita Magar, director with SKE Gallery in Bangalore, reports much the same.

“Many inquiries are still coming in,” she says. The gallery, which specialises in new age, mixed media kind of work, was recommended for participation at the inaugural ShContemporary by Pierre Huber, a Geneva-based dealer who was artistic director of the fair (he has since stepped down after allegations of “conflict of interest”).

Despite a few glitches like very high import duties � which meant Magar spent far more on transporting the art works within China than she did shipping them from India � and taxes on Chinese nationals buying foreign art, the Shanghai experience was valuable, Magar feels, “as it set off a network”.

This year, the Indian contingent to Shanghai is far larger than 2007’s � eight galleries, with such established names as Gallery Espace, Vadehra and Threshold, among them. The “best of discovery” section announced already has six Indians � Deeksha Nath (curator and critic), Tushar Joag, Vibha Galhotra, Ved Gupta, Sumedh Rajendran and Suhasini Kejriwal.

But there’s more to the China-India art encounter in recent times than the ShContemporary. The most important here is the 2006 exhibition at the Arario gallery in Beijing, “Hungry God”, which had a large selection of contemporary Indian artists like Subodh Gupta, Atul Dodiya, Tallur L N and Sonia Khurana.

Lately, these isolated encounters look set to become two way. “We already collect Chinese art and have been showing them selectively in our group shows at Sakshi,” says Mehra.

In art, as in their economies, there is a tendency in the West to see the two countries together as the two Asian giants with the most “happending” art that collectors must watch out for.

To give just one example, last year’s Rencontres D’Arles, arguably the most important international photography festival on the calendar, focussed on both India and China. The truth, however, is a little more complicated. While we celebrate the record $2.48 million that Souza’s “Birth” recently went for at a Christie’s auction, Yue Minjan’s 1995 oil “Execution” went for $ 5.9 million last year at Southeby’s, while the “Mask Series 1996 No.6” by Zeng Fanzhi fetched the highest price ever by an Asian artists � $9.7 million, at Christie’s Hong Kong auction in May.

High prices, of course, don’t mean anything. But fairs like the ShContemporary, especially the importance they are given by galleries and curators globally, show how much more mature the Chinese art market is.

The post Fair Ground first appeared on Indian Art News.