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Aicon, New York

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Aicon, New York

At Aicon we specialize in modern and contemporary non-Western art with a focus on South Asia, the Middle East and Africa.

Alongside solo shows, the gallery presents a program of curated group exhibitions that are international in their scope and ambition. Subscribe to our mailing list for events -
http://www.aicongallery.com/about

12/14/2024

Saturday December 14 & Sunday December 15 are your final opportunities to see Francis Newton Souza’s solo exhibition ‘A Celebration of the Centenary.’ Also closing: our ‘Politically Charged’ group show on the second floor.

Photo 1: Anindita Dutta, ‘Sex, Sexuality and Society - ESWATINI’ (detail), 2023, Hand-dyed animal skin, used shoes, horns, fur and reclaimed cloth, 39 x 47 x 13 in.

Photo 3: Francis Newton Souza, ‘Landscape (Hampstead Heath)’ (detail), 1961, Oil on board, 30 x 24 in.

12/10/2024

LAST CHANCE | Visit us during the final week of our ‘Francis Newton Souza: A Celebration of the Centenary’ exhibition!

This year marks the centenary of Souza’s birth, and exhibitions and celebrations honoring his legacy have been held around the world. Several auction records have also been set this year, including Christie’s sale of ‘The Lovers’ (1960) for just under $5 million USD in March—a world record for the artist. Multiple museum exhibitions are planned for the coming months. In the meantime, we invite you to explore the extraordinary world of Francis Newton Souza at Aicon, with works on display through this Saturday.

Installation photography by Sebastian Bach.

12/06/2024

LAST WEEK | Visit us during the final days of our ‘Politically Charged’ group exhibition!

‘Politically Charged’ celebrates the diverse ways South Asian and diasporic artists engage with politics. By presenting concurrent and equally important realities to the Western dominated perspective, the show aims to encourage viewers to broaden their understanding of contemporary socio-political issues.

The exhibition is curated by Pam Gendron, and features works by artists Zainul Abedin, Mequitta Ahuja, Khadim Ali, Sher Ali, Rasheed Araeen, Farida Batool, Atul Bhalla, Anindita Dutta, Vibha Galhotra, Somnath H**e, Shehnaz Ismail, Ranbir Kaleka, Veer Munshi, Rekha Rodwittiya, Anupam Sud, and T. Venkanna.

Installation photography by Sebastian Bach.

11/07/2024

REMINDER | Join us between 6 and 8 pm today to celebrate Francis Newton Souza’s ‘A Celebration of the Centenary’ and ‘Politically Charged,’ a group exhibition curated by Pam Gendron featuring works by Zainul Abedin, Mequitta Ahuja, Khadim Ali, Sher Ali, Rasheed Araeen, Farida Batool, Atul Bhalla, Anindita Dutta, Vibha Galhotra, Somnath H**e, Shehnaz Ismail, Ranbir Kaleka, Veer Munshi, Rekha Rodwittiya, Anupam Sud, and T. Venkanna.

10/31/2024

Aicon is pleased to announce ‘Politically Charged,’ an exhibition of artists exploring overlapping themes of power, gender, and the environment. While there is no doubt that the politics and policies of the United States reverberate around the globe, it is vital to make space and time for alternate perspectives. Opening days after the 2024 US presidential election, the exhibition offers a moment to reflect on socio-political issues through a South Asian and diasporic lens. ‘Politically Charged’ brings together a diverse collection of works from the 1970s through 2024 by Zainul Abedin, Mequitta Ahuja, Khadim Ali, Rasheed Araeen, Farida Batool, Atul Bhalla, Anindita Dutta, Vibha Galhotra, Somnath H**e, Shehnaz Ismail, Ranbir Kaleka, Veer Munshi, Rekha Rodwittiya, Anupam Sud, and T. Venkanna. The exhibition’s goal is not to provide a comprehensive overview of political South Asian art but to present a diverse array of artists openly embracing politics in their practice.

‘Politically Charged’ celebrates the diverse ways South Asian and diasporic artists engage with politics. By presenting concurrent and equally important realities to the Western dominated perspective, the show aims to encourage viewers to broaden their understanding of contemporary socio-political issues. The exhibition is curated by Pam Gendron.

Photo 1: Atul Bhalla, ‘Nostalgia-I’ (detail), 2020, Archival pigment print, Edition 1/3 + 2 AP, 20 x 60 in

Photo 2: Khadim Ali (with Sher Ali), ‘It Was Not Like This Ever,’ 2020, Gouache, ink & gold leaf on paper, 45.5 x 45.5 in

10/25/2024

Aicon is delighted to present ‘Francis Newton Souza, A Celebration of the Centenary,’ the first solo exhibition of the Indian Modern painter, Francis Newton Souza (1924 – 2002) at the gallery since ‘The Ghost of Souza’ (2008). The exhibition presents a selection of works drawn from Souza’s seven-decade career, ranging from an early piece painted in 1947, shortly before his arrival in London, to the last work in the exhibition from 1986.

As one of the founding members of the Progressive Artists’ Group in 1947, along with M. F. Husain, S. H. Raza, Tyeb Mehta, V. S. Gaitonde and others, Souza spearheaded the Indian modernist art movement. He was the only Indian artist featured in the Tate Modern’s 2002 group exhibition on 20th-century modernism. Rejecting labels and resisting any form of compartmentalization, Souza’s subjects and techniques were diverse, adding complexity and uniqueness to his body of work.

Photo 1: Francis Newton Souza, ‘Girl in a Cardigan’ (detail), 1957, Oil on board, 47.75 x 24 in.

Photo 2: Photo of Artist by Ida Kar, Copyright @ National Portrait Gallery, London.

Photo 3: Francis Newton Souza, ‘Landscape (Hampstead Heath)’ (detail), 1961, Oil on board, 30 x 24 in.

10/16/2024

OPENING FRIDAY | ‘Rasheed Araeen: A British Story’

Within the intimate setting of The Heong Gallery, ‘A British Story’ condenses Rasheed Araeen’s artistic career into a representative selection of work across painting, collage, sculpture, and participatory installations. Works include ‘Zero to Infinity,’ and his ‘Reading Room’ installation, which will offer visitors the opportunity
to engage with the artist’s own writings, many of which were first published in the journal Third Text, which he founded in 1987. The show emphasizes the indivisibility of Araeen’s formal artistic language from his post-colonial political awareness and highlights his imaginative artistic responses to British political and
cultural life over the last fifty years.

‘A British Story’ will be on view from 18 October 2024 to 2 February 2025.

Photo 2: Portrait of Rasheed Araeen at Tate Modern 2023 Photo ©️ Tate (Lucy Dawkins)

10/12/2024

What to see at Frieze Masters this weekend? According to Artsy, it’s the Aicon booth! Listed as one of the top fifteen exhibitions to view at the fair, Arun Kakar writes:

Featuring works by some of the leading names in 20th-century Indian art, the booth offers a fascinating historical perspective on a group of artists that are currently receiving reappraisal both in India and Internationally.

Read more about the presentation on Artsy, and be sure to visit the Aicon booth at stand D11.

10/01/2024

Aicon is pleased to announce ‘Rockefeller + India,’ an exhibition of artworks by Indian artists who received grants from the Asian Cultural Council, colloquially known as the Rockefeller Grant. For Frieze Masters 2024, Aicon is showing a curated collection of paintings from six fund recipients who came to the US between 1963 and 1970: Natvar Bhavsar, Maqbool Fida Husain, Krishna Shamrao Kulkarni, Ram Kumar, Sayed Haider Raza, and Mohan Samant.

Frieze Masters takes place October 9 - 13 at Regent’s Park, London. Visit Aicon, New York at Stand D11.

Preview the works on our website.

For a copy of the sales catalogue, please contact Hannah ([email protected]).

09/18/2024

CLOSING SATURDAY | ‘Mohan Samant: Archaeologist at the Ancient City’ & ‘Lancelot Ribeiro: Requiem’

Aicon’s exhibitions close September 21. Visit the gallery between 10 am and 6 pm for your last chance to view these amazing shows.

Photo 1: Mohan Samant, ‘Bull Festival’ (detail), 1991, Mixed media with wire drawings and toy animals on canvas, diptych, 66 x 120 in.

Photo 3: Lancelot Ribeiro, ‘Untitled (Townscape),’ 1962, Oil on board, 24 x 36 in.

Installation photography by Sebastian Bach.

09/15/2024

During last week’s exhibition talk, Marsha Ribeiro shared stories of her late father and discussed his artistic practice within the context of Aicon’s ‘Lancelot Rebeiro: Requiem’ exhibition:

When I remembered conversations, he would say he wanted to be a poet not a painter. He was almost a reluctant painter in the sense that he felt frustrated that he didn’t have time to write, and painting took him away from his first love and innocence; I think that’s why there is such a tortured sensation in so much of his work.

‘Stricken Monk’ is reminiscent of Goa and the stories my father would tell me, but I think the thing that stands out is the change in the palette, the abstract that you don’t see in the structured works such as the landscapes. There are still layers of experimentation, but he is now creating his own medium.

‘Requiem’ is on view through September 21.

Installation photography by Sebastian Bach.

09/13/2024

Last Wednesday, Art Historian Pia Brancaccio provided an illusive dialogue on Mohan Samant and his artistic process within the lens of Aicon’s ‘Archaeologist at the Ancient City’ retrospective:

His works are monumental even if they’re small in size. No matter how large or how small, there is the monumentality in scale in the relationships between the parts that is always emphasized. And we as viewers are really drawn in, we kind of indulge in the depth in the world of his paintings. The layering is always intense — we have to discover the past going deep into the floor — so essentially we also become archaeologists in uncovering the depth of his incredible stored memories and narratives woven together.

‘Archaeologist at the Ancient City’ is on view through September 21.

Installation photography by Sebastian Bach.

08/29/2024

In the early part of the 1960s, Ribeiro began his pioneering experimentation with polyvinyl acetate (PVA), becoming “a godfather to generations of artists using acrylics as an alternative to oils.” (The Times, 2011). This triggered a marked shift in style as he created fluid and lyrical pieces, evident in ‘Woman with Ruby Pendant.’

On this process, curator Patrick J. Boylan wrote:

“ ... Ribeiro quickly found that by mixing his own PVA colours with either dyes or opaque pigments (or often both), a far greater variety of effects could be achieved. These ranged from completely flat emulsion paint-like surfaces through to astonishing transparent shiny relief areas that would be almost indistinguishable from modern enamelling were they not plainly integral parts of works on canvas.”

Photo 1: Lancelot Ribeiro, ‘Woman with Ruby Pendant’ (detail), 1968, Oil and polyvinyl acetate on PVA-based canvas, 70.5 x 46.9 in.

Photo 2: Lancelot Ribeiro, ‘The Juggler,’ 1968, Oil and polyvinyl acetate on canvas, 30.7 x 23 in.

Photo 3: Lancelot Ribeiro, ‘Emblematic Response’ (detail), 1965, Oil and polyvinyl acetate on canvas, 30.9 x 47.6 in.

08/27/2024

UPCOMING | Join us at Aicon next Wednesday to hear from Art Historian Pia Brancaccio on Mohan Samant and Marsha Ribeiro on her father Lancelot Ribeiro. Doors will open at 6pm, with the exhibition talks beginning on the first floor at 7pm.

Pia Brancaccio is an Art Historian whose research focuses on early Buddhist art and cross-cultural exchange in South Asia with a regional emphasis on the visual cultures of ancient Gandhara (Pakistan) and the Deccan Plateau (India). She has published extensively on the Buddhist caves in Western Deccan, including a monograph on The Buddhist Caves at Aurangabad (2010) and the edited volume Living Rock (2013), and has recently expanded her interests to ancient Sri Lanka and the Indian Ocean exchange networks. Her research is published internationally, she serves on editorial boards of academic journals based in Europe and Asia, and is frequently invited as a speaker, panelist and collaborator by institutions across the globe.

Marsha Ribeiro is the daughter of the Indian Expressionist painter, Lancelot Ribeiro (1933-2010). As custodian of his artwork, writings and archive, she has dedicated herself to researching, documenting and sharing Ribeiro’s legacy in the international art world. Having written extensively on her father’s experimental practice and his advocacy work for artists from the subcontinent through the 25-year Indian Artists’ Collective movement, she is now writing his personal story, as told through his archive.

RSVP to [email protected] or by direct messaging this account.

Left: Mohan Samant, ‘Walking Over a Dark River’ (detail), 1999, Watercolor and cut paper on paper, 40 x 28.5 in.

Right: Lancelot Ribeiro, ‘Untitled (Head)’ (detail), 1963, Oil and polyvinyl acetate on canvas, 34.5 x 23.6 in.

08/23/2024

Last Thursday, Aicon celebrated the opening of ‘Mohan Samant: Archaeologist at the Ancient City,’ and ‘Lancelot Ribeiro: Requiem,’ with a special performance by Kamel Boutros and Jillian Samant. In the touching concert, this duo combined music and spoken word to bring to life letters written by Mohan to his wife Jillian. Projected on the walls and ceiling above them were videos of the artist playing the sarangi (an Indian bowed instrument). The Samants frequently held concerts in their Flatiron loft prior to Mohan’s death in 2004.

‘Requiem’ and ‘Archaeologist at the Ancient City’ are on display through September 21.

Event photography by .

Address

35 Great Jones Street
New York, NY
10012

Opening Hours

Tuesday	10am - 6pm
Wednesday	10am - 6pm
Thursday	10am - 6pm
Friday	10am - 6pm
Saturday	10am - 6pm

Telephone

+12127256092

Website

http://www.aicon.art/

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