Chinartree

‘What’s going to happen now is a distillation process.’ An Interview with Dadiba Pundole – November 2008

ChinarTree caught a moment with the putative Dadiba Pundole whilst on his trip to the UAE as part of Art Paris-Abu Dhabi ’08.

Amongst other things, the 30 year-old Pundole Art Gallery is something of an institution amongst galleries in India.  Having launched the careers of masters such as M F Husain in the 1950s, Pundole has been remained an active and progressive player in the Indian art market. 

Dadiba is the second generation owner and curator of the gallery, having taken over the mantle from his father, Kali Pundole, is himself an internationally recognized authority figure on Indian art and is even an advisor to Sotheby’s.  ChinarTree found out what’s next for Dadiba Pundole.

ChinarTree: Collectors often come to you seeking your expertise on the authenticity of an artwork.  Is there a certain responsibility that comes with being Dadiba Pundole?

Dadiba Pundole: Yes there is a responsibility, but it is still just one person’s opinion.  I have seen a fair amount of work and based on that experience, I can make a judgment on the works I am shown. 

My answer usually comes after the first glance at a picture; it’s that first look which tells you everything.  If you start getting into technology and all its uses, there’s no end to how you can analyse. I think sometimes you have to use your instinct. 

CT: Do you use that same instinctive guide when you promote new artists?

DP: I think I’ve lost that instinctive guide when looking at new artists. These days I tend to question a lot.  Earlier I was a lot more impulsive and spontaneous and I’m not sure why that changed.  But I still take on new artists.  Vanita Gupta was one of them and we’ve just taken on a young boy called Rahul Vachale. 

CT:  With regard to the Indian contemporary art market,  a ‘Second Cycle’* is constantly mentioned as a new phase of consolidation and reassessment.  What is your comment on this ‘second cycle?’

DP: I think what we have seen up until now is a phenomena that a country only sees once in a lifetime. We’ve gone through that and I think we had a damn good run with it too.  But I think it happened too quickly and it went on for a bit too long. 

So I think what’s going to happen now is a distillation process; a cleaning up of the system.  In the old scenario, everything was doing well.  It was illogical.  What will happen now is that some of that will remain and the rest will fall through the bottom. 

CT: Do you think the second cycle is good for artists, particularly the younger ones?

DP: Yes, for people starting out it is a great time.  They’ve seen the markets rise and fall and they are prepared for its pitfalls.  Whereas for people who came in while the Indian art market was on the upswing, they have been caught off-guard and don’t how to deal with it. 

So in that sense, it is certainly a better time for artists.  It may not be as financially rewarding all round, but it’s certainly a better time for new artists to come in.

CT: What do you think of the idea that Indian artists copy a lot of concepts?

DP: Well, I don’t think that’s only true of Indian artists.  It is true of artists all over the world.  Look at Damien Hirst, he has twenty art assistants who produce work for him under his supervision.  So if you’re talking of Hirst, then I think the rest don’t matter.

CT: But one could argue that the resulting work still Damien Hirst’s original concept.   Whereas I’m talking specifically about..

DP:..usurping ideas?

CT: Exactly.

DP: Which is what I’m saying.  During the boom things like that were possible.  Concept copying wouldn’t be possible today.  Having said that, stealing ideas is not a new thing and it will be part of subsequent cycles too.  It’s something you’ve got to analyse and decide for yourself.

CT: Specifically with regard to new media and installations, do you feel there is any originality within the Indian scenario? Or do you feel they simply follow international trends?

DP: I have to agree that we have a herd mentality in India and if you see any of our well known names over the last three or four years, they started out in one medium but ended up exploring just about everything else: printmaking, sculpture, photography and video. 

On the one hand I think it’s OK for an artist to want to experiment with different media.  What I was opposed to at that time, is that the minute experimental works were done, they were exhibited. 

This, without anyone sitting back and examining, ‘What more do I need to do with this medium?’ ‘Am I comfortable with it?’ ‘Is it the right medium for my art?’ 
On top of this, the art was selling, so there was no criticism of it.  Finally, it’s the money that talks. 

CT: Continuing on this theme of marketing playing such an important role in art, would you say there’s any credence to the statement that you’re a ‘kingmaker?’

DP: Certainly not.  Yes exhibiting with me would get you noticed, but it would not determine the future of the artist as such.  But there is no doubt art has become a lot to do with marketing and not with merit. 

CT: And what’s next for Dadiba Pundole?

DP: I don’t know what’s round the corner, except I would like to open a gallery in Dubai, but I’m taking it very slow!

*The ‘Second Cycle’ has been mentioned within the context of the recent resurgence of market value in Indian art.  It also refers to this new phase bringing about a growth in infrastructure, of which initiatives such as the Indian Art Summit in August 2008 and the Devi Art Foundation in Delhi are essential components.