15 Oct 2022 | 04:23am IST
Nasreen Mohamedi: Against the Grain
Vivek Menezes
U
ncommon paradoxes abound in the art, reputation and startling
posthumous trajectory of Nasreen Mohamedi, the enigmatic modernist who died at
53 in 1990. In the past two decades, her spare, subtle oeuvre – in paintings,
drawings and photographs – has been appropriated wildly divergently by
institutions around the world. In the process, mountains of scattershot
verbiage have piled up about an artistwho fundamentally resists categorization.
Thus, it is our good fortune the landmark exhibition Nasreen Mohamedi, From the
Glenbarra Art Museum to India opened yesterday at Sunaparanta, Goa Centre of
the Arts in Panjim, and we have until November 22 to directly view an excellent
body of work from one of the most important artists of the 20th century.
There are so many different takes about
this great minimalist that it inevitably recalls the parable about blind men
and the elephant (where each one imagines the whole based on fragmentary
understanding). Way back in 1961, just before this Karachi-born and
London-trained adept headed to Paris, Richard Bartholomew set the pattern with
his assessment of “graphics in the truest sense of the word [and] calligraphy
as pure as classical Chinese.” That pattern of looking to far horizons to
describe Mohamedi’s work has persisted. In the monumental new 20th Century
Indian Art: Modern, Post- Independence Contemporary (edited by Partha Mitter,
Parul Dave Mukherji and Rakhee Balaram for Thames & Hudson) Grant Watson
nails down the “tendency to discuss Mohamedi’s work in terms other than simply
formal ones, and to feel the need to allude to a range of additional
interpretations.”
Watson cites one list from Geeta Kapur:
“Zen Buddhism, Islamic architecture, Sufi poetry, Persian calligraphy, and a
poetics drawn from nature or, rather, from a culturally favoured geography –
desert horizon, the moon’s life cycle, the Arabian Sea connecting the shores of
India and Arabia. Also modern technology, precision instruments, elegant cars
and heavy cameras, all of which she handled at ease.” But that’s not all. In
her soulful, Elegy For An Unclaimed Beloved: Nasreen Mohamedi 1937-1990 – it is
in Glenbarra Art Museum’s elegant exhibition catalogue – Kapur adds even more
references and allusions: vacana poetry, Ananda Coomaraswamy, Abelard and
Heloise, Camus, Malevich and Klee and on and on.
From the same catalogue, I liked Emilia Terraciano’s
refreshingly focused approach: “Mohamedi’s drawings are the result of careful
perceptual translations of her immediate environment.” She accurately roots
this artist in “commitment to abstraction” acknowledging how “that emerged
against the grain of contemporary trends within the Indian context. In this
respect, her work continues to complicate and unsettle categories within Indian
art history.”
Here, of course, is another refraction of the tragedy of the
Indian art world in the 21st century, which spills over with ersatz “glamour”
and the social anxieties of the newly rich, but backs up the hype with almost
nothing of value: nearly zero scholarship, broken authentication, legions of
crooks, and the absence of even the minimal level of connoisseurshiprequired to
cleanse its own fraudulence. In this miasma of mediocrity, neck-deep in fakes,
anyone can say anything. Which brings us directly to Goa’s own VS Gaitonde,
another toweringly great abstractionist, who provides an uncanny doppelgänger
to Mohamedi, not least because their ouevres keep on being subjected to the
most ludicrous flights of critical/theoretical fantasy. There’s an unmistakable
symmetry between their art practices and commercial revivals. The best way to
understand one is alongside the other.
In her outstanding 2016 Vasudeo Santu Gaitonde: Sonata of
Solitude, Meera Menezes describes one of the crucial seedbeds of the
transdisciplinary modernist impulse in India, after the Progressive Artist’s
Group “gradually disbanded”: “In the early 1950s, the art scene [in
postcolonial Bombay] received a fillip with the establishment of the Jehangir
Art Gallery and the Bhulabhai Memorial Institute.” The first one still
flourishes. The latter was “a nerve centre where the variegated strands of
artistic creativity conjoined to spark new ideas and energise both the Bombay
art scene and the artists contributing to it.”
Menezes vividly describes how “an old, two-storey family home
was partitioned to offer much-needed studio space to Gaitonde and the other
artists who worked there – Dashrath Patel, M F Husain, Prafulla Joshi, Madhav
Satwalekar, Homi Patel, graphic designers Ralli Jacob and his wife, ceramic
artist Perin, and sculptors Adi Davierwala and Piloo Pochkhanwala. Later, Tyeb
Mehta’s wife, Sakina, ran a little bookshop on the verandah…It was here that
director Ebrahim Alkazi ran his theatre unit’s School of Dramatic Art and where
Ravi Shankar established the Kinnara School of Music…There were apparently no
locks on the studio doors, which allowed artists to drift in and out of each
other’s spaces, exchanging opinions and ideas.”
In this freewheeling environment, India’s pre-eminent
abstractionists found deep resonance in each other. Menezes quotes Krishen
Khanna: “Nasreen was very close to Gai. She worshipped him.” Their
connectionbecame literally indelible. In Passage and Placement: Nasreen
Mohamedi (2009), Grant Watson writes that “[in] Gaitonde’s almost monochrome
canvases and their watery ambient spaces interrupted by areas of turbulence and
surface distortion, there are correspondences with Mohamedi’s oils, her
collages and her works on paper from the early 1960s” while in Stirworld
(2020), Rahul Kumar reports becoming confused at Sotheby’s: “I was now even
more convinced that the work on the left ought to be another Gaitonde [and] examined
the canvas up close. Carefully combed all corners, looking for the signature.
But there was none. Finally, I referred to the caption-label, and lo and
behold… Nasreen Mohamedi.”
Another significant factor connects these two, and most of their
cohort. That is, almost no one cared about them “in the moment” – with the
exception of their artist colleagues – and both died without receiving even a
fraction of the attention (not to mention commercial success) that is now
showered on their work. Prior to this inherently dubious 21st century “boom”,
very few took the time to study these unjustly overlooked exemplars, and even
fewer possessed foresight enough to dig into their pockets and buy their works.
That is how so many milestone modern Indian artworks have landed up in Japan –
where the Glenbarra Art Museum is located in the city of Himeji in Hyōgo
Prefecture – due to the solitary, single-minded obsessions of one very unusual
fish processing magnate. This is the story of Masanori Fukuoka.
Fukuoka was born in Himeji in 1951, and his museum website tells
us that “he was initially drawn to India as it was the seat of Buddhist
learning.” After visiting in 1975, he returned many times before buying his
first painting in 1990, “not as a collector but as a self-appointed envoy for
Indian art in Japan.” Via interpreter and email (although he is currently in
Goa), this remarkable collector told me he was drawn to how Mohamedi and
Gaitonde and their ilk “were defining themselves in post-colonial India and the
new nation state. They were trying to situate themselves not only within the
larger canon of art history and artistic legacies, but within the field. They
were paying attention to the kind of art history they wanted to belong to. In
doing so, they re-scripted the future of art. That whole generation of artists
resonated with me.I was intrigued by their multi-faceted and intersecting
practices, and the many trajectories that they took towards expanding Indian
art history, making it much more riveting with so much texture and complexity.”
In
recent years, endlessly tedious reams have been written about Mohamedi, which
makes Fukuoka’s unpretentious clarity so welcome: “I felt that it was time to
bring Nasreen’s critical work to the Indian public where a large and diverse
audience can have access to it, and can gain new insights into how she deviated
from existing categories within Indian art history.Nasreen’s utmost devotion to
exploring the limits of perception has both fascinated and humbled me. Both a
philosopher and phenomenologist, she forged a new aesthetic, creating her own
vocabulary of abstraction morphing shadows and shapes of the natural world into
sparse geometric patterns and lines. The sea was an enduring source of
inspiration for Nasreen Mohamedi. She revisited it repeatedly in her drawings,
paintings and photographs. In Goa where the sea remains an integral part of the
experience, Sunaparanta provided the ideal setting to kick start this
travelling exhibition.”