Iconic Gandhi Statue Reimagined with Demolition Hammer at India Art Fair
The Gyarah Murti statue at Sardar Patel Marg in Delhi stands as an iconic bronze monument, depicting Mahatma Gandhi leading a diverse group of people during the historic Dandi March of 1930. This powerful visual has been replicated in several cities across India and even graced an older Rs 500 banknote, firmly embedding itself in the nation's collective memory.
Radical Reinterpretation of a National Symbol
At the 17th edition of India Art Fair, which opened to the public on Friday, a striking bronze sculpture by Kolkata-based artist Debanjan Roy commands immediate attention at the entryway of Aicon Contemporary, a New York-based gallery and long-time participant. Roy's work is directly inspired by the Gyarah Murti but presents a radical departure from the original.
The artist distills the historic procession into a solitary, walking figure of Gandhi. Suspended behind this familiar form is a demolition hammer, its heavy industrial presence attached to the figure's forward movement. This machine, commonly associated with construction sites and, more recently, highly publicized state demolitions, introduces a stark counterpoint to the ethical force embodied by the original marchers.
"Gandhi is an icon for the entire nation, and I have been working with his figure as an artist for a long time. But I always contextualize it in contemporary social events. These tools and breakers are meant for progress and development, but are now being used to cause harm," explained Roy, highlighting the critical commentary embedded in his creation.
Record-Breaking Scale and Diverse Presentations
Roy's powerful interpretation is just one of many compelling statements unfolding across the fair's most expansive edition to date. The event has brought together a record 135 exhibitors, including 94 galleries and 24 major institutions. This impressive lineup reflects both the depth of South Asia's artistic ecosystems and the growing international engagement with the region.
Major Indian galleries are presenting significant works by modern masters. A notable highlight is a large 92×172 inch 1990 acrylic on canvas by M.F. Husain titled ‘Goopy Gyne Bagha Byne’, painted as a homage to Satyajit Ray's cinematic classic. The fair also foregrounds historically under-recognized figures such as Meera Mukherjee, Rustom Siodia, and B. Prabha, offering a more inclusive view of artistic heritage.
"It feels truly expansive in scale this year, not just in the number of galleries participating but also in the breadth of presentations and themes across the fair. Beyond the gallery booths, there's a dedicated design section and a strong institutions programme. I'd encourage visitors to explore as much as they can because the diversity on view is greater than ever," said fair director Jaya Asokan.
Global Dialogue and International Participation
International participation is especially pronounced this year, placing South Asian artistic practices in direct dialogue with global contemporary art. Globally established artists, including Olafur Eliasson, Anish Kapoor, Judy Chicago, and Michelangelo Pistoletto, are presented by a contingent of prestigious international galleries.
These galleries include neugerriemschneider from Berlin, Galleria Continua from Italy, Ota Fine Arts from Tokyo, and David Zwirner with locations in New York, London, Paris, and Hong Kong. Their presence underscores the fair's growing international stature.
Among the international works captivating visitors is Olafur Eliasson's luminous glass sphere work, a constellation of iridescent, light-responsive glass orbs. Another major attraction is a stainless-steel pumpkin sculpture by renowned Japanese artist Yayoi Kusama, finished in her signature perforated pattern with a blue coating and presented in India for the very first time.
Further Meditations on Demolition and Displacement
Extending the fair's profound meditation on demolition and its political and human consequences, Vadodara-based artist Girjesh Kumar Singh presents large, breathing sculptures crafted from bricks salvaged from demolished addresses. In his powerful work ‘Haal Mukaam: Current Address’, Singh reclaims the remnants of vanished homes, reshaping debris into human forms that appear to inhale and exhale with their belongings.
"Every address is provisional, every dwelling temporary, in constant flux like the tide of human life itself... we are always en route," said Singh, poetically articulating the transient nature of home and existence that his work explores.
The 17th India Art Fair emerges not just as a showcase of artistic talent but as a vibrant platform for critical discourse, where historic icons are recontextualized, global conversations are fostered, and pressing contemporary issues are examined through the powerful lens of art.
