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InFlux: Contemporary Art in Asia brings together essays by leading critics and curators to examine modern and contemporary art practice and its discourses in Asia. Covering diverse regions spanning China, India, Thailand, Iran, West Asia, Pakistan, Kazakhstan, Hong Kong, Tibet, and Cambodia, the book examines their multiple modernities and the arrival of many Asia's upon the contemporary art scene. Some centers have become celebrated in the international exhibition circuit and the art market, but there is also an Asia beyond their ambit, and the book throws light upon major and mir, established and emergent geographies of art. Asia's own internal mirities fracture any unified sense of place, and representing this diversity has become a major challenge for today's curator. What is the impact on contemporary art of state power and burgeoning ecomies, or the persistent stereotypes of Asian craftsmanship, exoticism, and religiosity or the new ones of terrorism and tourist paradise? The book aims to challenge some of these perceptions by viewing modern and contemporary Asian art t as a given field but as a project in flux, constantly under revision via art practice and curatorial interventions.
Parul Dave Mukherji is Dean of School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. Earlier, she taught at the Department of Art History and Aesthetics, Faculty of Fine Arts, MS University, Baroda. She has lectured in India, Europe, and Japan and has been elected as the Delegate-at-Large representing India on the Executive Council of the International Association of Aesthetics. Her publications include Towards A New Art History: Studies in Indian Art (co-edited, 2003), Rethinking Modernity (co-edited, 2005), Crossing Cultures: Conflict, Migration and Convergence (2009). Naman P. Ahuja is an art historian and curator and is Associate Professor in the field of visual studies at J.N.U., where his research and graduate teaching focus on Indian iconography, ancient and medieval Indian sculpture, temple architecture and Sultanate period painting. Some of his publications include: Divine Presence: The Arts of India and the Himalayas (transl.into Catalan and Spanish, Five continents editions, Milan, 2003), Changing Gods, Enduring Rituals: Observations on Early Indian Religion as seen through Terracotta Imagery c. 200 bc-ad 200 in South Asian Archaeology, Paris, 2001; The Making of the Modern Indian Artist-Craftsman: Devi Prasad (Routledge, 2011 ); and The Body Indian Art and Thought (transl. into French and Dutch, Ludion, 2013) his latest work, accompanies a major exhibition with the same title in Brussels for Europalia. Kavita Singh is Faculty at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. She trained as an art historian at MS University of Baroda and at Panjab University, Chandigarh. She has had a research fellowship at the Victoria and Albert Museum, a curatorial internship at the Asia Society, New York, and has been guest curator at the San Diego Museum of Art, California. She was also Research Editor at Marg, one of the major art journals in India. She has written on Indian classical and folk painting in publications such as Marg and Orientations; her current work is on the history and politics of the museum in India. Publications in this area include the collection No Touching, No Spitting, No Praying: Modalities of the Museum in India (co-edited, forthcoming), Repatriation without Patria: Repatriating for Tibet, Journal of Material Culture (2010), The Temple's Eternal Return: Swami Narayan Akshardham Complex in Delhi, Artibus Asiae (2010), and The Universal Museum: View from Below, in Witnesses to History: A Compendium of Documents and Writings on the Return of Cultural Objects (2009).