Ismet Ganti, A Trailblazer in Mauritian Art, Left Us Too Soon

In a world where preconceived notions of art have been challenged, Ismet Ganti was a force of nature – a man whose contributions transcended conventional definitions. Art-choc, art-politics, a beacon of critical thought – Ganti was simply in a league of his own. But why should a multidisciplinary artist like him ever be confined to a single box?

February 6, 1948 – February 6, 2025. Just last week, as he celebrated his 77th birthday, Ganti unveiled his final exhibition, “Pangée,” located on the first floor of the Caudan Arts Centre.

This showcase paid homage to the lost continent of Pangaea, prompting reflection on humanity’s future amid the celestial wonders.

But in a poignant twist of fate, just four days after the exhibition’s opening, Ismet Ganti, frail and attending the event in a wheelchair, departed from this world, leaving a profound void in the Mauritian cultural landscape.

“Pangée” stands as a testament to Ganti’s 55 years of artistic exploration, marking a remarkable journey that began with his first exhibition in 1970.

Together with his brother, Firoz Ghanty, Ganti reshaped the Mauritian artistic scene.

Tributes pour in from fellow artists who cherished his influence.

Amrita Dyalah reflected fondly: “He sold my very first painting.” Describing Ganti as a “beautiful soul” who brought contemporary art to the forefront of Mauritian culture, she recalled her formative years at the Max Boullé municipal gallery.

“No one knew what contemporary art was until he and his brother introduced it to us,” she recounted, reminiscing about the support Ganti offered her along her artistic journey.

Yet, their relationship could be punctuated with moments of surprise.

In 1996, Amrita revealed that she had specified a particular oil painting as “not for sale.”

Ironically, it was that very piece Ganti sold for Rs 150, a hefty sum in the 1970s, when the price of a Malcolm de Chazal painting hovered around Rs 60.

A mix of shock and gratitude washed over her when he revealed the sale price, declaring, “You must be proud!”

Jérome Boulle, journalist and actor, spoke passionately about Ganti’s legacy.

“Pangée is a stunning exhibition, worthy of international acclaim,” he proclaimed.

“Ismet was one of the most significant contemporary artists.

He fostered Mauritian art with unparalleled intellectual depth, despite often remaining underappreciated.”

Boulle also fondly remembered Ganti as one of the best rock guitarists, demonstrating a love for the music of Dire Straits and Deep Purple.

Ganti’s dedication extended beyond art; he served as a welfare officer at the Beau-Bassin-Rose-Hill municipality during the 1970s.

Boulle reminisces about an era when civil servants were artists and not mere bureaucrats, suggesting that the arts in Mauritius could have thrived even more if this tradition had continued.

Ismet Ganti with Danielle Mitterrand, June 1990, MGI

Nirveda Alleck can only reflected with sadness on Ganti’s untimely passing.

“It’s tragic that an artist with such a vibrant spirit was held back by his physical limitations,” she expressed.

As a lecturer at the Mahatma Gandhi Institute, she acknowledges Ganti’s pivotal role in anchoring postmodern art in Mauritius alongside his brother.

“They deconstructed high art, redefining what art could be beyond traditional boundaries,” she explained.

Ganti’s legacy will remain etched in Mauritian history, a continuous avant-garde spirit that never conformed.

His insights and artistry have paved the way for future generations, leaving behind a profound impact that will be felt for years to come.

Now, as we mourn Ganti’s departure, we also celebrate a titan of art who dared to dream beyond the confines of convention, challenging us all to look beyond the horizon.

Source: l’Express