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: You are arguably one of the most significant voices in India when it comes to discussing the role of curators and how they have shaped the emergence of thematic strands in art. Could you elaborate on that?
Renu Modi: What exactly do you mean by that?
Nidheesh: I mean, curators began connecting dots in their unique ways, creating narratives and frameworks for understanding art.
Renu Modi: Yes, you see, times have changed, and the ideas and concepts surrounding curation have evolved significantly. Nowadays, there are proper courses on curating offered by colleges and institutes worldwide. Young writers and scholars are deeply invested in research, pushing boundaries, and even institutions like JNU and our art schools are seeing a surge in interest.
Curation today carries a completely different meaning. Many galleries now rely heavily on curators, who play a pivotal role in mentoring younger artists and guiding them in their careers. This includes not just their art but also the overall direction of their professional journeys, which is immensely important. Young artists truly benefit from mentorship. Additionally, there are now numerous grants and residencies offered by galleries and organisations. Artists should take advantage of these opportunities by applying for them—it can make a big difference.
Nidheesh: True, but with so much curation happening, some curators seem perpetually busy throughout the year. I’ve seen some managing more than 10 to 12 shows annually.
Renu Modi: You’re absolutely right.
For instance, Zarina Hashmi, whose work I have in my collection, once created these round bulbs. She had them made in Pakistan, transported them through Afghanistan to New York, and then added gold leaf, sourced from either Japan or Thailand. These were later included in one of my shows.
This speaks to the incredible journey of objects and ideas across geographies. Artists like Reena Banerjee and G.R. Iranna often reflect on cross-cultural influences. Kamath, for example, blends Indian and Greek mythology with Renaissance architecture in his paintings, highlighting the interconnectedness of civilisations.
Nidheesh: What do you envision for the future of Gallery Espace over the next 35 years? Let’s consider this a halftime reflection.
Renu Modi: You know, I never thought about the next 35 years when I started this journey, and I don’t dwell on the next 35 years now.
For me, it has been an incredibly enriching journey filled with knowledge, goodwill, and the trust of artists. My hope is to continue nurturing this trust, exploring innovative ideas, and sharing knowledge with others.
Now, I feel it’s time to give back—through publications, lectures, and even establishing a foundation. It’s been a lot of “taking” over the years, and now it’s about “giving.”
Nidheesh: We were discussing documentation and publishing earlier. Do you think India needs to focus more on this?
Renu Modi: Absolutely. The concept of publication has evolved. While people still buy books and bookstores remain busy, art publications are a different story. Publishers often say they’re challenging to sell, as most people prefer buying online.
However, publications are vital for future documentation. They serve as a resource for posterity and a base for authentication. This is especially important in the Indian context, where the concept of artist estates is not well-established.
I often urged Husain Saab to document his works. He was so prolific that it became difficult to keep up, though his son attempted to manage it. I’m not sure how much was achieved.
Documentation is crucial for preserving an artist’s legacy. Outside India, estates and archives are standard practice, but here, we’re still catching up. Artists like Zarina and Swaminathan have set excellent examples with their archives, showcasing how important and impactful such efforts can be.
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