Welcome to Samvaad, where art meets conversation, and inspiration knows no bounds. Here we engage in insightful conversations with eminent personalities from the art fraternity. Through Samvaad, Abir Pothi aims to create a platform for thought-provoking discussions, providing readers with an exclusive glimpse into the creative processes, inspirations, and experiences of these creative individuals. From curating groundbreaking exhibitions to pushing the boundaries of artistic expression, our interviews shed light on the diverse perspectives and contributions of these art luminaries. Samvaad is your ticket to connect with the visionaries who breathe life into the art world, offering unique insights and behind-the-scenes glimpses into their fascinating journeys. Over the past 35 years, Renu Modi has been a trailblazer in the Indian art world, shaping its narrative through her passion, dedication, and unwavering belief in the power of art. As the founder and director of Gallery Espace, she has curated a journey that intertwines personal relationships, cultural introspection, and artistic exploration. Established in 1989, the gallery has evolved into a dynamic platform showcasing a diverse range of art forms, including drawing, sculpture, printmaking, and installations.
Renu Modi’s unique approach stems from her close connections with legendary artists such as M.F. Husain and Zarina Hashmi, whose works and philosophies have deeply influenced her curatorial vision. Her commitment to nurturing both emerging and established talents has played a vital role in expanding the horizons of contemporary Indian art, ensuring its relevance in both local and global contexts.
This conversation with Renu Modi offers an intimate glimpse into her journey—her inspirations, challenges, and vision for the future of Gallery Espace. From introducing Husain’s autobiographical series to embracing young artists and experimenting with interdisciplinary programming, Renu Modi’s story is one of love for art, an instinct for innovation, and a belief in the transformative power of creative expression.
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Nidheesh: I think one thing that keeps redefining Espace is how you constantly reinvent and bring in fresh ideas and people. Could you elaborate on that?
Renu Modi: Take, for example, this show Ancestral Future, which marks the beginning of my 35th year. It’s curated by Swiss curator Damian Christinger. I chose Damian because he appreciates my programming and the artists I represent. When he expressed interest, saying, “I would love to do something with you,” I immediately knew he was the right fit for this milestone.
The concept of the show revolves around the past and its connection to the present. Every work in the exhibition engages with history in some way. For instance, one artist examines the jute industry’s transformation post-colonization. Another reflects on his rural upbringing in Maharashtra, where his gurus sang bhajans. His text-based works reinterpret those experiences in a contemporary context, creating a dialogue between tradition and modernity.
Nidheesh: It reminds me of Salman Rushdie’s Imaginary Homelands. This seems like a similar exploration, connecting ancestry with future possibilities.
Renu Modi: Exactly. It’s about how our past informs our present and future. This relevance naturally emerges in our programming.
If you go upstairs to the first floor, which we’ve recently opened, you’ll find works focusing on the environment and ecology. I haven’t done this because it’s trendy; it’s because my artists—like Ravi Agarwal and Arun Kumar—are genuinely engaged with these themes.
For instance, Ashish Sahu, who won the Vivan Sundaram Foundation Award, has photography that reinterprets the Ramayana using Chhau dancers in a modern context. It all comes naturally to us at Espace.
Nidheesh: Over these 35 years, have you developed a process, structure, or template for reinventing and curating?
Renu Modi: I don’t work according to templates or rigid rules—it’s not my style. My approach is intuitive, which allows for flexibility and innovation. Over the years, I’ve integrated many younger artists into our programming, adapting to changing contexts and relevance.
Southeast Asia has been on my radar for decades. In 2013-2014, I began working with Sri Lankan artists. Earlier, in the ’90s, I collaborated with Mexican artist Alberto Cavazos, introduced by the Mexican ambassador. Around the same time, I hosted an Iranian art show featuring Parvaneh Etemadi.
In the early ’90s, I ventured into photography, hosting two exhibitions. Unfortunately, the market was unstructured—there was no proper pricing or audience engagement—so I paused photography shows due to the lack of response.
The art ecosystem has evolved immensely since then, with art fairs, biennales, museums, and collectors creating a more interconnected network. India’s art market has matured, and we must stay relevant by engaging with these developments. Today, the landscape demands a broader, more inclusive perspective.
Nidheesh: How has the market evolved in terms of how we view and present art through exhibitions?
Renu Modi: There was a time when people bought art to flip it for profit, and this disrupted the market. Auctions became prominent, but now the market has grown with a compound annual growth rate of 14.9%.
Collectors today are younger, often in their 30s and 40s, and they’re more informed thanks to social media. While some buy art to decorate their homes, this trend creates visibility for artists as friends and acquaintances see these works.
Indian art is also gaining global recognition. Museums, institutions, and art fairs are increasingly interested in Indian art. For example, Indian artists were prominently featured at the recent Venice Biennale. South Asian and Southeast Asian art is receiving significant attention, and India plays a leading role in this narrative.
Nidheesh: What advice would you give young artists entering the field, especially as they navigate the balance between authenticity and the urge to fit into stereotypes?
Renu Modi: This is a challenging question. Many young artists today are influenced by social media, aspiring to replicate what they see without understanding the struggles behind those successes.
Take someone like L.N. Tallur, whose works are highly sought after today. Back in 2004-2005, his works weren’t selling, but he stayed true to his vision and never blamed me for the lack of sales.
While I understand the financial pressures artists face, I believe they should stay true to their style and vision. Social media can help artists project themselves, but substance is crucial. An artist with substance will sustain and survive in the long run.
Nidheesh: That’s true—art remains a deeply real and applied practice, even in virtual spaces. But there are practical challenges, especially for young artists trying to make ends meet.
Renu Modi: Absolutely. Many young artists struggle to balance their art with the need to put food on the table. They may need to take on side jobs or commissions to support themselves while pursuing their artistic careers.
For example, in the ’90s, Japanese sculptors often took up commissions for public spaces while continuing their personal artistic pursuits. Finding this balance is essential for sustaining both livelihood and creativity.
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