Need to develop infrastructure

By Arun Ranjit

To be a critic of any subject is to stand alone. But the art critic's job is one filled with apprehension. He, or she, has to find in themselves the strength to be objective in the face of myriad demands from artists, gallery owners, curators and most tellingly other critics.

Over the past decade, the Nepalese art world has seen changed rapidly, particularly in Kathmandu. Critics, artists, galleries and collectors have had to contend with a deluge of new ideas and new artistic commitments. Those have made more complex the work of the critic and the demands on his or her time have multiplied. For many, the whole art scene has become confusing. So how does the critic see the market?

It is difficult to put out art because there is a serious crisis. There is lack of really effective system within the art market. As there is not any art market mechanism it urgently needs a better infrastructure.

There are still not many books published on traditional or modern and contemporary Nepalese art. So, there is no strong art market mechanism. No one knows who really owns what, who the collectors are. There is a great lack of documentation and Nepalese criticism is still very weak. Many critics are really just promoting artists and point out the bes: points without saying anything really critical.

Definitely over the past six-seven years, the people in Nepal have become more interested in the art. The general public is warming to contemporary paintings. Thus, the sales of contemporary art soared these days and many new collectors came into the market.

But since some months before it seems that many good collectors have stopped collecting art or buying art. At the heart of problem, in many cases, was the high prices demanded for much mediocre work and the unreasonable expectations among artists and galleries.

The prices for art do not automatically go up. In comparision to other fields there are so few collectors, when they stopped buying, the art market dropped. Thus, it is very need to establish standards for pricing. As in practice in Western world, in Nepal also there should have some institution where critics, art historians and other experts could set standards on the price of art. That would be great help to everyone, especially the collectors that the galleries and artists depend on . The Nepalese market should now try to find the real price of art work.

The art world infrastructures should develop by publishing books and journals and catalogues properly. If possible, real museum should be built and research in art must be encouraged.

The lack of basic knowledge of art in general is a difficult issue that is being facing by Nepalese art field. The collectors are looking for solid information on art and artists. They want catalogue, but they are facing difficult to get information on the development of art. As there is no art journals, newspapers and magazines give very limited space, and that is a problem.

Yes, change is not easy, even among committed critics, art historians curators and progressive gallery owners.

But time has come for all the art community to do changes besides having documentation and better book/catalogues publishing. Gallery owners should develop their knowledge of art too besides only having the business minded.

However, as the artists facing the lobbied the private galleries must to be envolved for the development of art, which is a bread and butter (for them), in Nepal.

There is a tendency among many Nepalese painters to keep to some kind of tradition that says let the critics do the talking. But all are not specialised. Thus, if artist could articulate clearly about their work, then critics would have a basis on which to elaborate the values behind it. And then only the write up will not be misinterpretated.

Critics too should address theories but also aesthetics and art history. Then only there will be changed for the betterment.

Petty politics is rempant in the art community too. There is lot of groupings between artists. No one is stepping up to lead the artists. Artists are spending their time in bickering, instead of spending more time in painting or seeking out new approaches, new techniques.

The art community is pretty competitive. So, Nepalese art needs a good leader who have a real vision she can expose a rich cultural heritage of Nepal from which many artists from home and abroad were inspired to draw the numerious worthy art pieces.

And millions of foreigners whether in business or pleasure trip come to Nepal to see a treasure land's rich mix of indigenous, sub-continent and Tibetan influences, boasting unrivalled temples, wall paintings, and carvings every year.

So, if art market Nepal is to mature, there must stop groupings or lobbying and must collectively more forward seeking out greater exposer towards the objectives to bigger and internationally.