Located in the Siri Fort area of south Delhi, the Academy of Fine Arts and Literature (AFAL) plays a very important role in promoting contemporary Indian art and artists. Started in 1975, under the initiative of noted Punjabi writer Ajeet Caur, AFAL has today become the seat of writers, artists and cultural activists from the SAARC countries. While Ajeet Caur invests her time and money in coordinating with writers from the SAARC nations and publishing their books, Arpana Caur, her daughter and one of the most important contemporary woman artists in India, looks after Academy’s gallery and museum.

“Institutions like AFAL are very important for promoting young artists as well as socially under-privileged people,” says Arpana Caur.

But, it was not an easy start. It took at least two decades for AFAL to achieve its projected aspirations. Started in 1975 in a very rudimentary way, both Ajeet Caur and Arpana Caur soon found their pockets empty when it came to finishing the building. “Then Ibrahim Alkazi came into the picture,” recalls Arpana. He wanted to convert the first floor of the building into a mini auditorium for theatre activities and archives. But while he ended up financing the construction of the auditorium, the ensuing socio-political changes ensured that Alkazi would never use the auditorium. Today, the auditorium is used for hosting literary invites. This apart, its well-stored library attracts many researchers to the institution.

On the ground floor, however, AFAL gives studio space to young artists who find it difficult to afford private studios. It also allows them rent the gallery, albeit on nominal charges. For the Association of Physically Challenged Artists, however, the gallery is free. In fact, the AFAL gallery is perhaps the only one in Delhi that has provided a ramp for the physically challenged.

Seeking to widen the gallery’s appeal and reach, AFAL is now seeking to create space for artists from the SAARC nations. “We have already presented artists from Pakistan, Nepal and Sri Lanka,” says Arpana Caur, adding that she anticipates more spectacular shows from these countries.

One complaint, however, that dogs Arpana Caur is the failure of public institutions to adequately promote Indian art and artists. “If Indian artists are today getting respect from the international art community, it is mainly because of the organisational skill of the private galleries. Art entrepreneurs like Amit Judge and Sunaina Anand, among others, have worked very seriously for ensuring that Indian contemporary artists get the respect they deserve in international forums.”

Asked about the role being played by National Gallery of Modern Art and Lalit Kala Akademy, Arpana Caur had very clear answers. “Unfortunately, they are not able to strategise programmes to project Indian art in the international scene. It is not that the people who head these organisations lack the vision, but they are failing to do so for reasons that I cannot comprehend.” She cites the example how when British artist Stephen Cox came to India for taking part in one of the Triennales, both the British Embassy and the British Council in India pitched in to project him as the pride of their country.
“Against this, when an Indian artist goes to foreign lands, his/her presence is not even acknowledged by any Indian agencies present there. This mindset should change,” feels Arpana Caur. Otherwise, public institutions in India will soon lose all rights to have a claim on the cultural production of Indian artists.