Latest news with #Iconoclast
Mint
2 days ago
- Entertainment
- Mint
‘Remembering': Spotlighting the healing voice in Arpita Singh's art
The works of Arpita Singh— considered one of the country's leading contemporary artists—draw you in with their multi-layered narratives. Over the years, her paintings have been included in major collections across the world, and also been part of significant group shows. In 2019, the Kiran Nadar Museum of Art, Delhi, celebrated the 87-year-old artist's practice through the retrospective, Six Decades of Painting. And now, an ongoing show, Arpita Singh: Remembering at the Serpentine Gallery— her first solo at a major institution abroad—takes six decades of her work to London. The exhibition features a mix of large-scale oil paintings and small watercolours and ink drawings on paper. Many long-term friends and collaborators like Nilima Sheikh, Geeta Kapur, Gayatri Sinha and Deepak Ananth have contributed their perspectives on her practice through essays. Art historian and curator Kapur, for instance, in the essay titled Iconoclast, offers two theoretical frameworks for aesthetically examining Singh's works—feminist psychoanalysis and philosophy. 'Much of Arpita's work, world and ideology is history compressed into fables and allegories; what we witness are diverse imaginaries," she writes. Singh was born in 1937 in Baranagar, Kolkata, just before World War II. The period of her early childhood was marked by famine, riots and the final thrust for independence. The artist believes that our memories transcend our lifetimes, and carry imprints of our ancestors. This retrospective brings alive those traces of memory in repetitive, frenetic bursts of expression, through repetitive motifs and symbols and questions the cycle of exploitation and erasure. You enter the show with Searching Sita through Torn Papers, Paper Strips and Labels (2015). The large painting encapsulates Singh's focus on the impact of external sociopolitical events on women. The repetitive ticker that runs through the top of the canvas, Sita. You. I. Us is telling, as are the words 'Abducted, Abused, Slandered, Oppressed, Abandoned, Cursed, Lost", which occupy the edge of the painting towards the bottom right. The torn strips of paper, which traverse the painting like futile paths, reveal her anxiety and hopelessness, as she is tormented by her quagmire (of being forsaken). Also read: Artistic encounters: How animals contemporary artists Another work, My Lily Pond (2009) is far removed from the idyllic water lily ponds that would have dotted bucolic Bengal during her early childhood. Rather, it alludes to the toxic cesspool of power and geopolitics. Helpless figures in red with their arms raised are confronted by soldiers in army fatigues, and the word 'water" fills up the background like a deluge of helpless emotions. The American naval base Guantanamo Bay on the map of Cuba, painted prominently, points to the source of the oppression. 'Whatever I tell you three times is true" stencilled at the top right of the work speaks to the posttruth propaganda that normally accompanies such action. Through both visual and written motifs, she speaks to the collective disenchantment. My Lollipop City: Gemini Rising (2005) is a testament to the city of Delhi. She moved there just before independence and has called it home since. At its heart, the painting is about the labyrinthine palimpsest of Delhi which takes a lifetime to navigate, but where millions of refugees and migrants have found a sense of belonging. It is teeming with figures and familiar motifs that pervade her oeuvre— like swarms of airplanes flying above, gerrymandering bureaucrats and politicians, historical monuments, and serpentine roads. At the very bottom of this large painting, she writes 'You are here", perhaps implying the uphill task migrants face when they aspire for a better life in the city. In the show, the viewer can observe several inflection points in Singh's career. The period between 1974 and 1982 is referred to as the 'black-and-white" one in her practice. Singh, when queried about this phase by art curator and critic Hans Ulrich Obrist in an interview in August 2024, commented, 'At some point, I couldn't move easily across the canvas. I had to pause and think every time: 'What shall I do next? So, I gave up everything and made the basic elements of art—dot and line, dot and line. They became abstract works because nothing is recognisable in them. But it gave me a certain freedom." It is this freedom of expression that is reflected in the larger oil paintings that she made subsequently— many of these are featured in the exhibition. The other significant shift is observed in works such as My Mother (1993), heavily influenced by communal riots in the aftermath of the Babri Masjid in Ayodhya in 1992. It heralds a sharper focus on the horrors of violence and their impact on society. Against this backdrop stands the solitary figure of her mother dressed in mournful white sari worn by widows. It is revealing of the tragedy and loss that families, and women in particular, are left to cope with in the aftermath of violence triggered by patriarchal, colonial or capitalist overreach. Also read: 'Something like Truth': Staging four monologues around truth and justice Works such as Woman with a Boat (2002) or For Fenugreek (2005), are testament to her sensitive portrayal of the ageing female body—thereby elevating both the fragility and the resilience of a woman, who has survived patriarchy, marriage, childbirth, body shaming, depression, and more. Ultimately, her paintings are significant because they capture the precarious lived realities of post-independence India profoundly. Her repetitive motifs work despite their overwhelming presence, because they leave room for interpretation. Critically, the intergenerational traumas that women carry both from their collective pasts and uncertain futures, find a healing voice in her paintings—creating room for contemplation, support and empathy. At Serpentine North Gallery, London until 27 July. Anindo Sen is an independent art writer. A spotlight on South-Asian artists Aarti Lohia first discovered her passion for collecting art while living in Indonesia years ago. Today, she is a trustee of the South London Gallery and the Kochi Biennale Foundation, and serves on multiple councils such as at the Tate Modern. Through the S.P. Lohia Foundation—an international notfor-profit established in the UK in 2016—she backs South Asian artistic voices on the global stage. In 2022, she supported London's National Gallery's modern and contemporary programme, followed by a collaboration with the South London Gallery to bring Nairy Baghramian's Misfits series to London. Most recently, Lohia has supported Arpita Singh's major solo at the Serpentine. In an interview with Lounge, the Londonbased philanthropist reflects on the significance of Singh's practice and the broader role of philanthropy in strengthening South Asia's cultural ecosystem. Edited excerpts: How significant is Arpita Singh's exhibition at the Serpentine? Arpita Singh's works trigger emotions in the audience. Her works blend form and style with cartography, imagined and continued characters, and are done with a flourish in colour that is authentically Indian. We consider it a matter of pride to be able to bring Arpita Singh's solo works to one of the most impactful global art galleries. The fact that it is taking place during the London summer makes it a great opportunity to present her work to people from everywhere, and from across age groups and cultures free of cost. It is amazing that it has taken six decades to bring Arpita Singh's works to the world stage in a solo institutional exhibition. This has become a valuable opportunity to open doors for more artists from India and South Asia on globally relevant platforms What role has philanthropy played in strengthening the art ecosystem in South Asia? The Global South has emerged as a fluid and evolving concept, especially as colonial histories are being re-examined through contemporary voices. Artists from these regions offer alternative perspectives on recent history, young democracies, and social change. Philanthropy plays a key role in amplifying their work globally—but there's still much ground to cover. Arpita Singh, for instance, offers a deeply personal and powerful view of India's evolving society, especially through the experiences of its women. The S.P. Lohia Foundation is committed to supporting artists from or connected to the Global South, and Singh's work aligns closely with that mission. Also read: Lounge Loves: Vodka sodas, a musical time machine and more Are there intersections between your collecting and philanthropic journey? My interest in collecting began in Indonesia, surrounded by its rich traditions of art and craft, and deepened in Singapore, where I engaged more closely with Indian contemporary artists. I noticed a clear philanthropic gap in supporting this space. While my collection is personal, my philanthropic work—through the foundation and engagement with institutions like Tate and the Museum of Modern Art—is focused on amplifying South Asian voices globally. I was among the early supporters of the Kochi-Muziris Biennale and continue to champion it internationally. For me, collecting is a hobby; philanthropy is a passion rooted in creating visibility and impact for Indian artists. What leads to the decisions to support particular artists/ organisations/ museums? Art institutions hold lasting value—they preserve cultural memory beyond shifting governments or politics. I'm drawn to organisations that share our foundation's values and aim to broaden representation. Personally, I connect with artists whose work is consistent and meaningful over time. At Serpentine, for instance, I appreciate how Hans Ulrich Obrist highlights underrepresented female voices. Supporting Nairy Baghramian's Jumbled Alphabet aligned with our belief in championing immigrant narratives. We're drawn to institutions that embrace diverse, progressive perspectives beyond the mainstream. —Avantika Bhuyan
Forbes
6 days ago
- Business
- Forbes
2025 Forbes Iconoclast Summit: Seizing Opportunities in a Dynamic Market
| Jun 16, 2025, 04:52PM EDT Forbes Editor-At-Large and Iconoclast Founder Maneet Ahuja is joined by Eldridge Industries Cofounder, Chairman & CEO Todd Boehly at the 2025 Forbes Iconoclast Summit in New York City.
New York Post
05-06-2025
- Business
- New York Post
Hedge fund titan Ken Griffin rips White House over tax bill
Hedge fund titan Ken Griffin ramped up his war of words with the Trump White House on Wednesday, blasting the president's so-called 'Big, Beautiful' tax bill for adding to Uncle Sam's eye-popping $36 trillion debt pile. The 56-year-old CEO of Citadel, who is worth $42 billion according to Forbes, told the business magazine's annual Iconoclast summit in New York City that if the bill passed, the country would 'unquestionably add several trillion dollars' to the US debt. 'There are a lot of question marks as to why we are continuing to restart tax cuts when we have a fiscal deficit that is this big,' Griffin said at the business magazine's annual Iconoclast summit in lower Manhattan Advertisement 4 Griffin warned that the Trump tax bill will only add to America's debt pile. REUTERS 'The United States' fiscal house is not in order,' Griffin added. 'You cannot run deficits of 6 or 7% at full employment after years of growth. That is just fiscally irresponsible.' Analysis by the nonpartisan Congressional Budget Office forecasts that there is a $2.4 trillion black hole in the president's flagship tax bill. Griffin, who moved his firm from Chicago to Miami in 2022, likewise warned that the administration should rein in spending and that investors are already worried about America's finances — posing major risks in the bond markets. Advertisement 'US default prices are probably the same as Italy or Greece,' he said, referring to the so-called credit default swap markets where investors can bet on whether someone will fail to pay their bills. The GOP megadonor also took aim at Trump for criticizing Walmart CEO Doug McMillon after he warned of needing to raise prices in response to higher import costs. 'We should not criticize CEOs for being honest, right? And that's all the CEO of Walmart was doing,' he told the audience in lower Manhattan. 'Shame on the administration.' Advertisement The Post has approached the White House for comment. 4 Elon Musk, who has only recently left the Trump administration, has been repeatedly griping about the bill on his social media platform X, formerly known as Twitter. REUTERS More broadly, Griffin lamented the 'uncertainty' that now clouds investment decisions in the US as a result of policies that have 'called into question American exceptionalism.' 'The administration's attempts to use tariffs come at a dear price for the US economy and come at a dear price for the US consumers, who will undoubtedly pay higher prices,' Griffin told the audience at the upmarket Cipriani ballroom on Broadway in lower Manhattan. Advertisement 'Why do we aspire to bring back to the United States jobs that are actually moving out of China into lower-cost jurisdictions? Why are we aspiring to be the nation of the lowest cost and the lowest-paid workforce in the world? That makes no sense to me.' 4 The tariff tiff blew up at the Beverly Hills Hilton where Trump's allies organized a rival VIP welcome party to go up against Griffin's traditional Milken opener. Bloomberg via Getty Images Griffin, who voted for Trump in November's presidential election, has been a staunch critic of his administration's tariff and trade policies since the real estate mogul's second inauguration earlier this year. The row between the two men spilled over at the Milken Institute Global Conference in Beverly Hills last month, where allies of President Trump organized a rival VIP welcome bash to go up against the Citadel supremo's traditional opening reception. Trump unveiled his tariff plans on April 2, which he dubbed Liberation Day, as he sought to renegotiate new trade deals with countries he believed were treating the United States unfairly. 4 Griffin used a Forbes summit to launch a string of broadsides at the Trump administration over its trade and tariff policies. AP The move has since faced a string of legal challenges, with negotiations failing to bear any fruit until now, apart from an agreement with post-Brexit Britain that was announced on May 8. But discussions with the European Union, one of America's largest trading partners, have faltered, as The Post exclusively reported on May 7.
Business Insider
16-05-2025
- Entertainment
- Business Insider
Malia Obama's Nike ad echoes my short film. It's part of a bigger problem.
This as-told-to essay is based on a transcribed conversation with Natalie Jasmine Harris, a 27-year-old filmmaker. It has been edited for length and clarity. Reps for Malia Obama, Nike, the ad agency Wieden+Kennedy, and the production company Iconoclast didn't respond to requests for comment. Earlier this month, at the Denver airport on the way home from a TV directing mentorship program, I was scrolling on Instagram when Malia Obama's Nike ad with the basketball star A'ja Wilson appeared on my feed. At first, I was confused, wondering whether it was real. It featured two people playing pat-a-cake in a way that echoed an early scene from my 14-minute short film " Grace," which is a Black Southern Gothic short about a girl who's being baptized and questioning her feelings for her best friend. I'd met Malia at Sundance in 2024, when "Grace" and her short film " The Heart" were both in competition. We saw each other at the director's brunch and a couple other events. Initially, I was disappointed and hurt — not just for myself but for my entire team. I sent the commercial to friends who had the same reaction I did. One put together a shot-by-shot photo comparison. Since posting about the issue online, there have been a lot of people who don't understand my disappointment. They're like, "You didn't invent pat-a-cake." And that's very true. But it's not about the game, it's about the cinematic tools used to depict it. My cinematographer, Tehillah De Castro, noted a lot of similarities from a technical perspective, from the camera angles to the shots to the framing composition and the color palette. Over time, I've moved through that initial shock into a deeper frustration around how instances like this are very common — and need to change. It speaks to a larger issue of brands not supporting independent artists and opting for folks who already have name recognition, which doesn't breed innovative films or original storytelling. If they wanted these shots that were similar to my shots, why not hire me to direct? The route that used to work for the Spike Lees and Steven Spielbergs of the world feels less viable today. If we're continuously overlooked, how is the next generation of filmmakers going to exist? Despite early success, being a young director has been a struggle I knew I wanted to be a director from a young age. I started making documentaries in high school about social justice during the Black Lives Matter movement. A lot of my work centers joy in coming-of-age experiences, black women, and queer stories — things that are personal to me. Despite graduating from New York University in 2020 at the height of the pandemic, I've had a lot of success so far. My thesis film, " Pure," ended up getting bought by HBO shortly after I graduated, and it won the DGA Student Film Award. I also won a contest to direct a commercial for Hyundai and did a commercial for Verizon. In addition to going to Sundance in 2024, "Grace" is also a Vimeo Staff Pick and will be on Criterion in June. Still, being a young director has been a struggle. Festivals are great, but they don't pay the bills. I've taken on other full-time and freelance jobs. Right now, I'm working on my first feature, which I've spent the last several years writing and pitching. But I've often run into roadblocks with production companies and financiers saying, in so many words, that no one wants to be the first person to bet on me — coupled with the fact that I'm young and don't have an established name. I would like there to be some acknowledgment I haven't heard from Malia Obama or Nike since speaking out, but I would like for there to be some acknowledgment. I was initially hesitant to speak out, since it involves a former president's daughter and a beloved brand like Nike. Criticizing something involving the WNBA was also hard because it means a lot to me personally, and it already gets such a lack of a spotlight. But I've poured too much into my work to just sit by and watch. Sometimes it can feel like filmmaking is something that's supposed to be a hobby for the wealthy rather than something that can actually be a career. But I don't want to give up. I have a beautiful community of friends and family and colleagues fighting the same fight, and there's hope in that. I still have a lot of stories I want to tell. And I want to be a name someday, too.
Yahoo
07-05-2025
- Business
- Yahoo
Nike's A'ja Wilson Ads Are an Ode to Girlhood and Community
Nike champions the singular talent of Las Vegas Aces basketball star A'ja Wilson, as the brand amps up its athlete-focused storytelling amid a turnaround plan. The campaign, created by agency Wieden+Kennedy Portland, promotes Wilson's first signature shoe drop, the Nike A'One, which went on sale yesterday (May 6) and reportedly sold out in less than five minutes after release. Nike's films spotlight Wilson as well as the community rooting for her. The first ad, "One of A\Kind," is a love letter to girlhood and illustrates how Wilson's greatness and legacy extend beyond the court. Her fans and wider community break into a rhyme honoring the player. Jenn Nkiru directed the spot through production company Iconoclast. In "Teaching the Pro," a girl teaches Wilson a hand clapping game that will be familiar to children past and present. Though the game typically follows the rhyme Miss Mary Mack, Wilson and the girl clap to lyrics about the athlete's greatness: "A'ja Wilson's on top, top, top / Can't take her spot, spot, spot." Malia Ann Obama, daughter of former President Barack Obama, directed the film through Iconoclast. A third spot, "A'One from Day One," which interviews people from Wilson's hometown of Columbia, South Carolina, will air on May 9. A push to win again Nike's campaign starring Wilson comes as it executes its "Win Now" turnaround plan to return its brand portfolio to relevance, double down on storytelling, and reverse years of sluggish sales. The company's overall quarterly revenue declined by 9% year-over-year to $11.3 billion. This week, Nike shook up its leadership team, with Heidi O'Neill, president of consumer, product, and brand, set to leave the business after 26 years. It also made several promotions, including CMO Nicole Hubbard Graham taking on the additional role of evp. CEO Elliott Hill, who returned to Nike to take the top job in October, said in the company's Q3 earnings call that Nike is "on the right path" and "made an impact this quarter leading with sport–through athlete storytelling, performance products, and big sports moments." That focus on athlete storytelling was evident in Nike's highly-lauded return to the Super Bowl in February after a 27-year hiatus. "So Win" put women athletes center stage and also featured Wilson, among others. Nike has also recently announced partnerships with Kim Kardashian's Skims and beverage brand Kool-Aid. Last week, it sparked backlash for London Marathon billboards that used the phrase "Never again," which is associated with Holocaust remembrance. The ads continued its "Winning Isn't Comfortable" campaign that began during the Paris 2024 Olympics.
