A Conversation with Reena Lath, Co-Founder of Akar Prakar Gallery, Kolkata and New Delhi, India, on the Occasion of Their Gallery’s Participation in 2019 Art Dubai, by James Scarborough

Established in 2007, Art Dubai is the world’s leading platform for Contemporary and Modern art from the Middle East - North Africa - South Asia (MENASA) region, aka the Global South. This 13th iteration of the fair will feature 500 artists from around the world represented by 90 galleries in 40 countries. Its Artistic Director is Pablo del Val. Featuring Global Arts Forum, the Residents Program, and Campus Art Dubai, programming will include talks, tours, workshops, special performances and an after-dark music program. The Fair runs from March 20 - 23.

Below is an interview with Reena Lath, Co-Founder of Akar Prakar Gallery.

(Follow the links for other 2019 Art Dubai interviews. Fawz Kabra, Co-Director, Global Art Forum. Fernanda Brenner, Co-Curator, Residents Programme. Daniah Al Saleh, winner of the 2nd Edition of the Ithra Art Prize. And Adeela Suleman, Bawwaba artist.) 

JS: Why participate in an art fair? Specifically, what attracted you to Art Dubai?

RL: We have always believed in encouraging platforms that support the development of social life creating an environment through which the participants may take autonomy for defining their own histories and gaining awareness of their own social and political realities. When we plan to take our exhibition outside the country, we believe that we are partaking in a cultural development programme of a kind. The fact that the fair is housing 59 galleries from 34 countries seems very ambitious in terms of global reach. One roof celebrating all communities is in itself a splendid idea!

JS: Can you briefly describe the economy of the Indian art world? By economy, I mean the relationship of galleries, museums, critics, curators, collectors, the general public, social media and, last but not least, the government?

RL: We feel we are all a community. One would not survive without the other. Galleries organize events in collaboration with museums. These projects take a long time to mature, during the time the mutual respect for each other intensifies. Works are then exhibited, artists are promoted, an awareness regarding their content is also created. We cannot really exclude the role of art critics and curators in the entire process and most importantly collectors. Suggestions, insights, view-points, verifications, all go into making a brilliant show. At the end of the day, we are doing what we are doing because we love art and want them to be accessible to the public. Otherwise, it would just be hung in our drawing rooms. Social media is presently the best way to connect with a wider audience, to keep them engaged and again, it is a matter of accessibility. Without the administrative efforts, as well as financial support from the government and other private sponsors, a lot of our achievements would not have been possible. Interdependent is the word I would use if you ask me to describe.

JS: How, specifically, do the Kolkata/Delhi and Indian art worlds differ from what you’ve seen/know of the Dubai, UAE, and, by extension the Middle East art world?

RL: I would say, the spiritual awareness or economy as you would call it is remarkable in Kolkata. Look at the art, the poetry, the kind of literature that had brought about the reform movement in Bengal! Visitors are usually excited about looking at the Bengal school and Kalighat patachitra art on their first visit. Books published in vernacular sells the most in the city to this day. And that is a phenomenon. But owing to several factors, mainly the partition of Bengal, the economy has suffered a great deal. In spite of that Kolkata is trying to revive a lot of dying art forms, thereby providing employment to artists/artisan communities. Delhi being the capital city, has plenty of discussions/events surrounding the arts. It is a good place to invest since the city is very cosmopolitan with people visiting from different parts of the globe. Looking back at our history, we have many features in common, the Imperial rule for example, then the influences in our miniatures. We look at the Middle East art world as a hub for transcultural exchange where it would be elementary to explore new markets. Also, it would be a great experience to discover the Pan-Arabic cultural identity the Middle Eastern artists have developed.

JS: As a business owner, do you think critics make or break a show and/or influence sales? Can social media do the same thing?

RL: Definitely. Sometimes, there are meanings that need to be communicated to the audience. Isolating them would serve no purpose. Art is not just a thing of beauty. If someone attempts to make it easy to understand what the idea behind a particular work is, it does create a sense of – someday, I would like to possess a work by so an’ so artist. We often quote the critics in our social media, we reach out to people and people write back to us, so in a way it does enhance the prospect of sales.

JS: When you began your gallery in 2004, what need did you seek to fill?

RL: The need to show good art!

JS: What best prepared you to open a gallery? Who or what inspired and/or prompted you to do so?

RL: Belonging to a family of collectors spanning three generations, it was not difficult to present ourselves as a gallery with content and vision.

JS: What were your expectations when you opened it?

RL: It was a labour of love, and to be honest there weren’t any expectations. We were naïve enough to think that just showing great art would suffice but soon we realized we needed to be involved with the markets to be able to sustain ourselves as a gallery.

JS: What’s your process and criteria for signing on an artist?

RL: That’s a difficult one to answer! There are many reasons why we sign an artist to work along with us. One being, we resonate with the oeuvre of the artist. And if that merges with the broader vision and direction of the gallery.

JS: For those of us many time zones away, east or west, please describe the neighborhood in which your gallery’s located.

RL: We have two spaces in India; one in New Delhi, and the other in Kolkata. Both located in prime areas with extremely good connectivity and reputed galleries close by. In Kolkata we are at Hindustan Park, a place that thrives on café culture, very close to the world of academia and theatres, and a very busy/popular flea market named Gariahat. The Delhi location is very convenient to reach, right next to the Lajpat Nagar metro station, among reputed galleries, boutiques and fashion couture brands. It is also very near to the Defence colony market as well as the Lajpat Nagar market.

JS: What’s the most exciting art being produced in India at this moment?

RL: The most exciting art, I believe, is being created by artists we represent!

 

Ganesh Haloi, Untitled, 2018, gouache on nepali paper pasted on board, 16 x 20 inches.
Courtesy of Akar Prakar

S H Raza, Shashwat, 2015, acrylic on canvas, 47 x 47 inches.
Courtesy of Akar Prakar