Couture meets canvas

Shireen Gandhy (seated) and Maithili Ahluwalia during Kekee Manzil. A 6-ft-tall square by artist Shankuntala Kulkarni juxtaposed with trinket pieces by Claudia Von Hansemann and Jamini Ahluwalia and a lead woven pashmina by Kashmir Loom, pleasantness Bungalow 8, are partial of a ongoing muster and sale, where art meets design. Pic/Satej Shinde

This weekend, art and conform will give loyalty a possibility during a birthright sea-facing palace in Bandra. Gallerist Shireen Gandhy of Chemould Prescott Road and pattern businessman Maithili Ahluwalia of Bungalow 8 come together to horde an art-meets-fashion muster and sale during Gandhy’s home, Kekee Manzil. They call a partnership “effortless” given art and pattern have been unique to their lives. Gandhy is daughter to one of Mumbai’s many distinguished gallerist couples, late Kekoo Gandhy and Khorshed, while Maithili’s grandmother Chandu Morarji was behind a city’s initial lifestyle store, Dagina.

But Gandhy and Ahluwalia’s weekend plan initial celebrates what ‘home’ means to them, given it’s here that a entrance together will unfold. “As we started talking, we saw a homes as some-more than small section and trebuchet structures, or an address. They were unequivocally a approach of life. The thought of vital in a bungalow is old-fashioned now, and people can’t constitute modernity with a past. This eventuality demonstrates how we could live in an aged structure though still be surrounded by complicated art and design,” says Ahluwalia.

Her home, 8 Carmichael Road and Gandhy’s Kekee Manzil hosted a intellectual, artistic and political. “Our home was like a railway station. We never knew who would dump in over a weekend; and guest became my friends,” says Gandhy, recalling visits from revolutionary personality Mrinal Gore. Maithili might have missed assembly The Aga Khan and Kamaladevi Chattopadhyay though she speaks fondly of her memories of Sotheby’s curator Janice Blackburn. It is this common link, a synergy between art and fashion, underneath an overarching thesis of home that creates this partnership sweeter.

Edited excerpts from a conversation:

Can conform be deliberate an art form?
Shireen Gandhy (SG): Of course. we see utterly a few similarities between what Maithili does and what we do. So many artists have desirous fashion. SH Raza’s iconic Bindu desirous prints on sarees in a ’80s, for instance.
Maithili Ahluwalia (MA): The lines are blurring. The Costume Institute during a Metropolitan Museum of Art (MET) in New York is combined explanation of a matrimony between art and fashion. They concentration on dual pattern exhibitions any year. In 2015, a Devi Art Foundation in New Delhi conceptualised an muster called Fracture: Indian Textiles, New Conversations, that coincided with a India Art Fair. They consecrated designers, visible artists and a filmmaker to try weave as art and as production. But we consider not many gallery owners are open to hosting an art-meets-design event. Lighting and space of a gallery are like a Holy Grail. To take art out of there and move it home for a uncover — that’s like a lady being nude of her make-up.

The universe thinks of art as something for a erudite. But it’s a ‘air headed’ who arrangement an seductiveness in fashion….
SG: Art final a certain space and mindset, and I’m utterly certain I’ve overstepped those boundary by bringing art to my home. Some people who’ll revisit us this weekend might never come to a gallery. They might have usually listened of Chemould.
MA: When we was flourishing up, we deliberate a Patola saree art. So, is Patola conform or art? Isn’t art about an idea? And, if a thought is constrained enough, it can certainly accommodate design.
SG: The thought is to make complicated and contemporary art accessible, that’s because an eventuality like this is important. Younger gallery owners like Mortimer Chatterjee and Tara Lal are severe normal notions of a gallery. In September, their gallery, Chatterjee Lal hosted a two-day pop-up of Delhi engineer duo, Lovebirds.
MA: My brother, Ashim, is display his film during Jhaveri Contemporary gallery. He doesn’t call himself an artist though a filmmaker. But he has got gallery illustration now.

What were your initial encounters with art and conform respectively?
MA: I go to a textile-oriented family. We were never partial of a complicated art movement. Instead, we collected normal art.
SG: My initial cheating with a conform universe was when we hosted artist Vivan Sundaram’s shows, Making Strange: Gagawaka and Postmortem (after Gagawaka).
My initial engineer squeeze was a Tarun Tahiliani that we bought for my wedding. we paid ‘3,000 for it, and deliberate it an impracticable purchase. Despite my Parsi heritage, we don’t possess a gara. Indian handlooms have been a consistent partial of my wardrobe ethos.

How did we juxtapose your register of artists and designers for a show?
SG: We looked during a pool of accessible art pieces that could be interconnected with a abstract, graphic, geometric and textural thesis of Bungalow 8’s collection. We have an collection of paintings, multi-media and sculptures by Jitish Kallat, Lavanya Mani, Tushar Joag, and Dhruvi Acharya to compare a striking flora work by Aditi Singh, Gigi Scaria’s landscape video and a neon designation by Shilpa Gupta.
MA: Whether it’s an Abraham Thakore coupler contrasted with artist Sheetal Gattani, or a Neeru Kumar stole pity space with Dhruvi Acharya watercolours, zero seems jerky. You’ll find art and conform subconsciously vocalization to any other, in fact, exposing a lot of similarity. For this collaboration, we have worked with Anjana Das, Sonam Dubal, Jamini Ahluwalia, Olivia Dar and Lovebirds.

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