Indian contemporary artist Vivan Sundaram has died aged 79 of complications from a hemorrhagic stroke that occurred earlier this month. Sundaram, who has been creating work for nearly six decades, is best known for his multidisciplinary studio practice informed by activism and political awareness. Reports indicate that that the artist had been ill in the last few months before his death. News of his death was confirmed by Chemould gallery in Mumbai.

“To say that Vivan took risks is an understatement,” said Shireen Gandhy, Creative Director at Chermould Gallery Centre County Report. “If you look at his practice, there is a great connection to art history, but at the same time feels at ease when he addresses his problems with acute frankness.”

Sundaram was born in the northern Indian city of Shimla in 1943 to Kalyan Sundaram, India’s first post-partition legal secretary and second chief election commissioner, and Indira Sher-Gil, younger sister of the Hungarian-Indian modern artist Amrita Sher-Gil. Sundaram completed a bachelor’s degree in painting from Maharaja Sayajirao University in Vadodara, Gujarat between 1961 and 1965, followed by postgraduate studies as a Commonwealth Scholar at the Slade School of Fine Art in London from 1966 to 1968 under the tutelage of The American Artist RB Kitaj. Sundaram began studying the history of cinema in Slade and channeled this interest into his artwork throughout his life.

Sundaram was heavily influenced by his time in Europe, particularly the student-led protests in May ’68 against capitalism, imperialism and class discrimination in Paris, France. Sundaram returned to India in the early 1970s and began to address national and global disparities in his art practice, inspired by British pop art, kitsch and abstraction. Between the 70’s and 80’s the artist developed several series of works dealing with and showing solidarity with oppressed populations, including but not limited to Sikhs who suffered from the 1984 anti-Sikh riots in India and the Jewish Europeans who died or fled during the riots Holocaust. Sundaram invested in Marxism and also founded the Kasauli Art Center and the Journal of Arts and Ideas to provide artists and writers with more opportunities for collaboration and experimental work.

It wasn’t until the early 1990’s that Sundaram began to incorporate more unconventional materials into his practice. While theming the Gulf War, the artist began pairing engine oil traces with charcoal markings in an eponymous series of 40 works situated at the triangular interface between drawing, painting and installation. This material transition sparked Sundaram’s interdisciplinary interest in combining film, photography, collage, printmaking, and sculpture throughout his practice, culminating in mixed-media installation exhibitions such as Collaboration/Combine (1992), monument (1993) and houseboat (1994). Sundaram’s practice continued to respond to current events and ongoing injustices through the use of archival information and upcycled materials on his research topics. 12 bed ward (2005) delved into the stories and practices of Indian waste collectors through the use of worn shoe soles and rusted cot frames, an interest that has been further explored Garbage (2008).

Sundaram also explored his own lineage through his work, examining and remixing the documentation and archival information of his aunt Amrita Sher-Gil and maternal grandfather and amateur photographer Umrao Singh, both artists in their own right before India’s independence. These deconstructions and reassessments of his family are observed in The Sher Gil Archive (1995) and Re-recording of Amrita (2001).

Sundaram was celebrated in two 50-year retrospectives in 2018: Enter and you are no longer a stranger at the Kiran Nadar Museum of Art in New Delhi and interruptions at the Haus der Kunst in Munich, both of which commemorated his conceptual and material development while praising his lifelong commitment to activism and social awareness.

“He was unique in his creative and intellectual energy,” lamented Roshini Vadehra, director of the Vadehra Art Gallery, who also worked with Sundaram. “His political and activist side was one that we all admired and drew strength from.”

Sundaram is survived by his wife, art critic and historian Geeta Kapur. His last rites and cremation will take place tomorrow at noon at Lodhi Crematorium in New Delhi. A series of drawings from Sundaram Heights of Machu Pichu (1972) is currently on view at the Kochi Biennale in Kochi, India.

Nadya Tolokonnikova was a co-founder, activist and conceptual artist of Pussy Riot placed on Russia’s most wanted list for “criminal activity” after news broke earlier this year of her latest performing work linked to Vladimir Putin. Tolokonnikova filmed their joint performance “Putin’s Ashes” (2022) last August, in which she showed herself and 11 other women in balaclavas setting fire to a 10-foot portrait of the Russian President in the desert.

After she and the group cast spells together to oust Putin from his post, Tolokonnikova bottled the ashes of his cremated portrait and presented them with the short film during her first solo show at Jeffrey Deitch’s gallery in Los Angeles last January .

“Coincidentally, my Instagram profile disappeared and this new criminal case was announced within a week of the show,” the artist said in a press release upon finding out she was on the list. “The police arrested friends and family and my lawyers sent me the documents they found.”

In 2012, Tolokonnikova and two others were members of Pussy Riot sentenced to two years in prison for “hooliganism motivated by religious hatred” for an impromptu concert at the Cathedral of Christ the Savior in Moscow.

According to reports earlier this month Russia opened a criminal investigation against Tolokonnikova on the grounds that an NFT she sold in 2021 “offended religious sensibilities”. The NFT was a picture of a hand drawn Virgin Mary resembling a vulva at the top of the digitized records of Tolokonnikova’s prison sentencing documents.

“Any truly political artist risks their personal security for their art,” Tolokonnikova said. “It’s not a new concept for me. They threaten us, but we cannot show fear.”

“I will use the tools I have as an artist and crypto enthusiast to keep fighting,” she added. “I’m not a soldier, I’m an artist, art is my weapon. I’m glad to see they’re scared.”

The Museum of Modern Art (MoMA) in New York has apologized to British-Ghanaian multidisciplinary artist Heather Agyepong after security asked her to leave an exhibition. The artist reported on her experiences visiting the installation Black power naps At Twitter on Saturday, March 25, calling out the irony that she was asked to leave behind an installation created to encourage calm in Black people.

According to Agyepong’s post, the conflict began when she noticed a loudly laughing white woman in the Creativity Lab on the second floor of the MoMA Education Department. Agyepong says she approached the woman and said, “I think this room is about black people.” The woman reportedly started yelling that Agyepong was “aggressive” and “should be kicked out” before agreeing complained to a guard who forced Agyepong to leave. (Agyepong hasn’t responded yet Centre County Report Request for comments.)

On view at MoMA through May 14 at the home of artists Navild Acosta and Fannie Sosa Black power naps intends to reclaim the concept of rest and recreation for Black people. studies show that black Americans get less sleep than white Americans and that the sleep black Americans get is not as restorative. The sculptural installation examines amends by encouraging black people to interact with and use imaginative space Travel Biblioteca Library to learn more about “the policy of silence and denial.”

MoMA has not responded to this Centre County Report‘s request for comment. In a statement provided The art newspaperThe museum said it plans to work with the installation’s organizers in the future to “protect the experiences of Black visitors and visitors from Indigenous and communities of color.”