Jivya Soma Mashe Book Available

This book is the first dedicated entirely to the pictorial work of Jivya Soma Mashe (Author: Hervé Perdriolle). Jivya Soma Mashe (1934-2018) is the legendary figure of the Warli tribe (Maharashtra, India). Abandoned at a young age by his family, Jivya Soma Mashe took refuge in drawing and adopted the pictography specific to his community to develop a personal style that would garner the admiration of his family, and later of regional, national, and international authorities. He received his first National Award from Indira Gandhi in 1976. Paintings by Jivya Soma Mashe were first exhibited in 1975 at the historic Mumbai gallery, the Chemould Gallery. Some of them are featured in the famous catalogue of the exhibition "Magiciens de la terre" at the Centre Pompidou in 1989 and others were present in 2014 for the thirtieth anniversary of the Fondation Cartier. Some of his large paintings will be on display in the inaugural exhibition of the Fondation Cartier's new premises, opposite the Louvre Museum, from the end of October 2025. Language: EN/FR. Format: 19.5 x 26.5 cm. Pages: 256. Binding: Hardcover. Illustrations: 150 color illustrations. Publisher: 5 Continents Editions (Europe-USA) – Roli Books (India)

GQ Men of the Year 2025: Bose Krishnamachari on Kochi Biennale and championing new artist voices

Source QG by Sanjana Ray
Despite these hurdles, the 2022–’23 biennale was a success, not only for its excellent curation but also for its role in boosting local tourism. For a brief period, locals and tourists wondered whether the art festival would return. But Krishnamachari wasn’t worried. “I’ve never given up. In the first edition, we spent our own funds to make it happen, with the community’s help. Once we finally cleared the debts from the last edition, we started thinking about this one.” Speaking of funds, has financing for large-scale yet niche initiatives like the biennale gotten easier? “Financially, we’ve seen many changes. Seven people have committed funds, Rs 5 crore annually for five years. Patrons have contributed Rs 1 crore, Rs 50 lakh, and so on. Tata Trusts contributed Rs 3 crore. If they didn’t believe in us, why would they contribute? These things matter to me.” Former Kerala culture and education minister MA Baby—Krishnamachari now remembers—told him during their first meeting: “Bose, even if we have to sell our property, we’ll make this happen.” It’s that kind of confidence that helped him shape the festival into India’s biggest cultural event.
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Nikhil Chopra On Curating A Global Community Of Artists For Kochi-Muziris Biennale 2025

Source Travel and Leisure by Anwesh Banerjee
“It is very important to take cognisance of what we know, as opposed to what we do not and Time plays an important role in this,” muses Chopra before outlining the layers of history and culture in Kochi that he and his team have spent the past year engaging with. The ever-changing tropicality of Kerala’s humid climate played a crucial role in his own realisation of the impermanence of approaching art from a perspective of lifeless institutionalisation. “We decided to play with the idea of ephemerality as one of our central subjects. Instead of focusing solely on the physical resources we have around, we turned our gaze on our intellectual resources as an artistic tribe: the friendships and connections that I have built over the years through my many adventures and misadventures while travelling through the international circuit.” Tapping into this ever-expanding list of friendships, Chopra and his team have this year curated a list of artists this year that include the likes of international giants from Maria Abramovic and Otobong Nkanga to homeland heavyweights like Gulam Mohammed Sheikh and Bhasha Chakrabarti. ”The team as a collective took a vote on every one of the 66 artists on our final showcase, to ensure the process was democratised,” explains Chopra. “I used up all my funds as a curator to travel through India,” laughs Chopra. “It led me to the most humble of studio spaces with the most incredible works of art by artists like Arti Kadam, Aditya Puthur and Himanshu Jamod to name a few.”
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How The Latest Edition Of Kochi Biennale Weaves The City Into Its Art Trail

Source Elle India by Fathima Abdul Kader
I have been attending the Kochi-Muziris Biennale long enough to recognise its tells. The way Fort Kochi slows down and speeds up at once. Galleries that aren’t even part of the Biennale brace themselves for visitors, brands from the city open temporary outposts for the duration of the Biennale. Decrepit warehouses are given new life when art finds its place in them. The city prepares itself, not just infrastructurally, but emotionally to be gazed upon. This is my fifth Biennale as a viewer, barring the first one, which I was too young to attend. What has stayed with me is not just how the Biennale has grown, but also the kinds of people I have seen engaging with art – from families coming en masse from other districts to globally acclaimed artists. I have also noticed how it opens up. When walking in Mattancherry to get my morning tea, I was welcomed in by every small shop owner - they have opened up their home and are ready to receive visitors. This opening up is not incidental. It has been shaped over time by the Biennale’s insistence on embedding itself within Kochi’s everyday life, rather than hovering above it as a global art spectacle temporarily landing in the city, as is the case with most other art events.
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Inside 'Nothing Human Is Alien to Me': Aban Raza Paints the Politics of the Present

Source The Wire by Rahul Dev
The exhibition “Nothing Human is Alien to Me” features Delhi-based artist Aban Raza, whose work offers a spontaneous yet powerful reflection of socio-political themes. The title refers to Karl Marx’s philosophical concept of ‘alienation,’ which describes how human existence (self) is paradoxically created by the oppressions embedded in one’s own creations or products, leading to ‘alienation,’ a phenomenon intensified in modern times by exploitation. Aban’s activism and association with Sahmat, a left-leaning cultural organisation, are at the bedrock of this new body of work exhibited at Galerie Mirchandani + Steinrücke in New Delhi. Earlier, Aban had two solo shows at the same gallery, focusing on insurgent movements, the repression of the Dalits, and the rights of minorities.
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Art Mumbai Concludes with Exceptional Engagement, Strong Sales, and a New Benchmark for South Asian Art

Source The Wire
Robust sales were posted across contemporary and modern galleries, with several sold out, and several having to re-hang their booths over the course of the fair. Lisson Gallery from London reported strong sales of works by Anish Kapoor, Olga de Amaral and Otobong Nkanga, including to new clients in India. Several galleries sold 90% of the works in their booths. Vadehra Art Gallery from Delhi sold 90% of its booth, including works by A Ramachandran. Tarq too sold 90% of its booth. Akara Contemporary sold out all their editions of Tarik Currimbhoy’s work. Nature Morte sold well and placed Asim Waqif, Tanya Goel, Subodh Gupta and Raghav Babbar with institutions. Chatterjee and Lal from Mumbai sold about 80% of its works. Emerging artists received exceptional attention, with several first-time exhibitors earning strong sales and critical visibility. In the Moderns hangar, Volte Gallery sold a major Manjit Bawa on the first day while the Crites Collection & ICA Gallery exhibiting indigenous art sold 80% of works, with over half sold to international visitors. Ojas Art also sold 90% of its booth. Art and Beyond sold a Ram Kumar and a S H Raza. Dhoomimal Gallery sold a significant work by Sadanand Bakre and an important J Swaminathan. Chawla Art Gallery sold an Abanindranath Tagore to an institutional collector.
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An odyssey in print

Source The New Indian Express by Mallik Thatipalli
Depuis vingt ans, la voix de T Venkanna occupe une place singulière dans l'art contemporain indien, confrontant les tabous tout en restant ancrée dans la mémoire culturelle. Reconnu pour ses œuvres où plaisir et douleur, intimité et politique, pouvoir et vulnérabilité s'entrechoquent, il s'attache aujourd'hui à remettre en question la perception de la gravure comme étant secondaire par rapport à la peinture ou à la sculpture. Dans « The Human Theatre—Prints 2002-2024 », il propose une rétrospective majeure de plus de 140 eaux-fortes, pointes sèches, lithographies, gravures sur bois et linogravures réalisées entre 2002 et 2024. L'exposition privilégie la continuité thématique, révélant des préoccupations récurrentes – érotisme et pouvoir, satire et mythe, douleur et transformation – qui évoluent tout en perdurant à travers le temps. Venkanna’s prints are charged with tension: grotesque forms, hybrid beings, and mythic figures that intermingle with sensuality tinged with discomfort. “Pain, pleasure, gender, power, and politics are all interconnected in my work,” he explains.
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Christie’s sale confirms it: Indian art has arrived on the world stage

Source The American Bazaar by Jaswant Lalwani
The Indian art market has expanded dramatically — from roughly $2 million in 2000 to about $338 million by 2025. Forecasts project it could surpass $1 billion by 2030. Record-setting sales continue to reinforce this momentum: in 2023, Amrita Sher-Gil’s The Story Teller fetched $7.45 million, while in 2025, M.F. Husain’s Untitled (Gram Yatra) shattered that benchmark at $13.8 million. A rising pool of high-net-worth individuals in India, coupled with a growing domestic appetite for cultural investment — fueled by nostalgia, roots, and heritage — is reshaping the landscape. International visibility is following suit as more Indian artists appear in global auction catalogues, museum exhibitions, and art fairs. This evolution suggests a market graduating from adolescence to maturity. A generation ago, Indian art was regarded as peripheral — promising, but secondary to Euro-American categories. Today, it is widely viewed as an essential segment of global collecting, attracting museums, institutions, and private buyers alike. The challenge ahead for auction houses will be balance: curating tightly to satisfy seasoned collectors seeking top-tier works, while keeping the market open enough for new entrants whose enthusiasm continues to power its growth.
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How record auctions are fuelling India's art boom

Source BBC News by Anahita Sachdev
Dinesh Vazirani, a founder of Saffronart, believes this is a "point of massive inflection". Marking its 25th anniversary, Saffronart's recent auction saw a packed room, spirited bidding, and a rare "white glove" result - every lot sold, with some attendees even "squabbling" over artworks, according to an attendee. "When we started in 2000, people said we were crazy. Who's going to buy art online?" Mr Vazirani said. "Seeing the art market with so much strength almost validated that what we started as maybe foolish young people has become a very mature industry." The boom in Indian art - which dominates South Asia's market - comes even as global art sales slump. The 2024 Art Basel and UBS report shows a 12% drop worldwide, the second yearly decline. Mr Vazirani predicts the auction market could double last year's earnings, driven by rising wealth in India and among the diaspora. Millionaire households have nearly doubled in four years. As the rich pour money into their luxurious lifestyle, art has become both a status symbol and an investment. For these groups, art is a generational asset that can also be enjoyed, Mr Vazirani argues. "They understand that you can't buy it and trade in it. But if you hold it for long periods of time, the appreciation is quite dramatic." Recent tax cuts slashing goods and services tax (GST) on art from 12% to 5% have also helped boost the market.
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Kochi Muziris Biennale announces participating artists 2025 edition

Source Artsy by Maxwell Rabb
The Kochi Biennale Foundation has announced the full roster of artists set to participate in “For the Time Being,” the sixth edition of the Kochi-Muziris Biennale. This year’s event will be curated by Indian artist Nikhil Chopra and HH Art Spaces. Opening on December 12, 2025, and running through March 31, 2026, the biennial will present 66 artists and collectives, including Marina Abramović and LaToya Ruby Frazier, from over 20 countries. Inaugurated in 2012, the Kochi-Muziris Biennale is South Asia’s largest contemporary art event and the first biennial established in India. It spans multiple cultural sites across Kochi in the state of Kerala, including Aspinwall House, Pepper House, the Island Warehouse on Willingdon Island, 111 (KVJ Building), Durbar Hall, and Space, the former Indian Chamber of Commerce.
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Indian Art Boom Generates $96 Million in Two Weeks’ Auctions

Source The Wire John Elliott
There’s a boom in the modern Indian art market with sales totalling £96.2m at international auctions in the past fortnight. Saffronart, the market leader, almost doubled the maximum total for an Indian auction to $40.2m, while Sotheby’s and Pundole each totalled $25.5m and $18.3m with Christie’s trailing at $12.4m. All four were celebrated as “white glove” sales, where all the lots were sold. Top prices have been achieved for a variety of artists. They were inevitably led by members of the ultra-safe Bombay-based Progressives Group, which began in the 1940s, with names such as F.N. Souza, M.F. Husain and V.S. Gaitonde. Records were also set however for later artists including Bhupen Khakhar, Mohan Samant, Arpita Singh Vivan Sundaram and Nalini Malani who have been attracting increasing interest at auctions, though there were few works from contemporary artists.
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The largest M. F. Husain museum, set to open in Qatar, is inspired by the artist’s own sketch

Source Vogue India by Asma Siddiqui
Before MF Husain’s star began to rise in the 1940s, he couldn’t afford proper canvases. Instead, he would paint Bollywood film hoardings overnight, working on giant billboards barefoot, perched precariously on bamboo scaffolding. Rumour has it that he sometimes used leftover paint from these signboards for his own artworks. That early ingenuity gave Husain’s art their bold, larger-than-life strokes, and also explains why, even decades after he became India’s most famous painter, he almost always walked around barefoot. The largest M. F. Husain museum set to open in Qatar is inspired by the artists own sketch. 14 years after his death, Husain’s art has continued to speak to people—even though NFTs and AI have threatened the very axis on which human creativity spins. In March this year, the force of his impact on the art world was felt when ‘(untitled) Gram Yatra’, Husain’s 1954 masterpiece spanning nearly 14 feet, which had remained largely out of public view for decades, sold for $13.8 million at Christie’s South Asian Modern and Contemporary Art auction in New York, making it the most expensive modern Indian artwork ever auctioned.
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Mumbai Art Gallery Owner, Artist Booked For Obscenity

Source The Draft by Manu Shrivastava
The episode fits into a long lineage of confrontations between faith, morality, and artistic liberty in India. Only earlier this year, an exhibition of MF Husain’s works in Delhi’s DAG gallery drew protests alleging sacrilege, reviving memories of the relentless criticism Husain endured through the 1990s and 2000s, a pressure that eventually drove him to leave India. Just a few months prior, the Bombay High Court delivered a ruling that underscored the other side of the debate. In a case involving the seizure of works by F N Souza and Akbar Padamsee, the court released the paintings, censuring enforcement agencies for lacking the cultural and aesthetic literacy to assess modern art. Nudity or provocation, the court reminded, cannot be simplistically equated with obscenity. Together, these episodes reveal the fraught and fragile space within which India’s art community operates - caught between legal strictures, religious sensitivities, and public morality. For Gallery Maskara, what began as an avant-garde exhibition has now snowballed into a high-profile case, thrusting once again into the spotlight the recurring debate over whether art in India can be both fearless and free.
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Jivya Soma Mashe Book Available

This book is the first dedicated entirely to the pictorial work of Jivya Soma Mashe (Author: Hervé Perdriolle). Jivya Soma Mashe (1934-2018) is the legendary figure of the Warli tribe (Maharashtra, India). Abandoned at a young age by his family, Jivya Soma Mashe took refuge in drawing and adopted the pictography specific to his community to develop a personal style that would garner the admiration of his family, and later of regional, national, and international authorities. He received his first National Award from Indira Gandhi in 1976. Paintings by Jivya Soma Mashe were first exhibited in 1975 at the historic Mumbai gallery, the Chemould Gallery. Some of them are featured in the famous catalogue of the exhibition "Magiciens de la terre" at the Centre Pompidou in 1989 and others were present in 2014 for the thirtieth anniversary of the Fondation Cartier. Some of his large paintings will be on display in the inaugural exhibition of the Fondation Cartier's new premises, opposite the Louvre Museum, from the end of October 2025. Language: EN/FR. Format: 19.5 x 26.5 cm. Pages: 256. Binding: Hardcover. Illustrations: 150 color illustrations. Publisher: 5 Continents Editions (Europe-USA) – Roli Books (India)

Padma Shri awardee struggling to make ends meet in Bihar: Folk artist urges jobs in schools to promote heritage preservation among youngsters

Source Bashkar English
In Jitwarpur, famously known as the village of master craftsmen, the colourful walls speak of centuries of Madhubani painting, but the lives of its artists are marked by despair, poverty, and neglect. Despite earning Padma Shri, National Awards, and international acclaim, many artists here still struggle to secure necessities like housing, ration cards, and permanent employment. With the Bihar Assembly elections due in November, artists are once again making their demands heard. Their call is clear: recognition alone is not enough; they want sustainable livelihood, government support, and respect for their art. Bindi Devi, an artist from Jitwarpur, bluntly states: “The art to which we have dedicated our entire lives cannot even provide us with two meals a day. Politicians only come during elections, fold their hands, and disappear for five years.” Even celebrated Padma Shri awardee Shanti Devi expresses similar anguish. Despite international recognition and invitations to prestigious events like the G20, she says she still doesn’t have a ration card or a proper house. “I met Indira Gandhi, Sonia Gandhi, and even travelled to Denmark with my art, but till today, I haven’t received benefits from a single government scheme. Even a Padma Shri recipient hasn’t got a house,” she laments.
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Jodhpur Arts Week Edition 1.0 Centers Craft in Contemporary Practice

Source Observer by Christa Terry
Jodhpur Arts Week, which launches its Edition 1.0 next month, is a contemporary art festival as well as an exploration of authorship, memory and place. While the upcoming edition, which runs October 1-7, is ostensibly the first, it builds on last year’s Special Projects Edition, which, in a successful proof of concept, drew a crowd of 45,000 to Rajasthan’s Blue City. Having tapped curators Tapiwa Matsinde and Sakhshi Mahajan to helm this year’s festival, the Public Arts Trust of India (founded by philanthropist and collector Sana Rezwan) is now looking to create something more enduring: a model of cultural programming that proactively contextualizes contemporary practice through convergence with the living local heritage. Many of the international artists and designers who trekked to the edge of the Thar Desert for Jodhpur Arts Week have been working with the city’s master weavers, embroiderers, metalworkers and woodcarvers.
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Delhi exhibition highlights India's controversial slum redevelopments

Source The Art Newspaper by Amrita Singh
Timeme Mohanty, a three-year-old boy in Delhi, struggled to pedal his bicycle in a circle for days. When he finally succeeded, he yelled: “I rescued speed altogether.” His father, the artist Paribartana Mohanty, thought this was an absurd statement, and hence, an apt title for his solo show, now on view at the Delhi gallery Shrine Empire. The exhibition comprises 12 large paintings and three moving-image works, produced during eight years in which Mohanty documented and researched the demolition of the Kathputli art colony. “All demolitions, at least for me, are absurd acts,” the artist says. Forced evictions and demolitions targeting marginalised communities for “redevelopment” are not new in India. One such case was the Kathputli colony, a slum cluster in west Delhi, which had a rich history spanning decades. Known as one of the world’s largest settlements of street performers—puppeteers, acrobats, magicians and musicians—large parts of the colony were razed by late 2017 as part of a redevelopment drive.
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Bollywood Star Sonam Kapoor on the Women Who Shaped Her Eye for South Asian Art

Source Artnet by Margaret Carrigan
Sonam Kapoor is an actor, a fashion tastemaker, and, increasingly, an art collector. The aesthetic eye that drew her to film and fashion has also informed her growing art collection, one she said “began instinctively,” shaped by early exposure to South Asian modernists. "My first purchase was a work by Manjit Bawa. He’s a modern master, and I’m obsessed with his use of color. His subject matter was so deliberate, and it really spoke to me. I bought it in 2006. My most recent purchase is a piece by Jangarh Singh Shyam. He was a non-metropolitan artist credited with creating a new school of Indian art called Jangarh Kalam in the 1980s and I absolutely love his work—it’s sublime, beautiful, and so detailed."
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Kochi-Muziris Biennale Sixth edition: For the Time Being

Source E-flux
The Kochi Biennale Foundation is delighted to announce the dates and curatorial framework for the sixth edition of the Kochi-Muziris Biennale. Titled For the Time Being, the edition will open on 12 December 2025 and run for 110 days, until March 31, 2026. The international exhibition, alongside a diverse programme of talks, performances, workshops, and film screenings, as well as key verticals including Students’ Biennale, Invitations, Art By Children and the Residency Programme, will take place across various sites in Kochi, India. Kochi-Muziris Biennale is India’s first and South Asia’s longest-running contemporary art biennale. The sixth edition is curated by Nikhil Chopra with HH Art Spaces, an artist-led organisation based out of Goa. The sixth edition of the Kochi-Muziris Biennale is an invitation to embrace process as methodology, and to place the friendship economies that have long nurtured artist-led initiatives as the very scaffolding of the exhibition.
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The City Palace in Jaipur to host first gallery-curated show.

Source Artsy by Maxwell Rabb Jaipur’s City Palace has an illustrious history: a royal residence and former administrative headquarters for the Indian region. Now, for the first time, a single gallery—Los Angeles’s Rajiv Menon Contemporary—is curating an entire show in the Palace. “Non-Residency,” a group exhibition at the Jaipur Center of Art, is based in the Palace and will explore what it means to be part of the Indian diaspora. The presentation, which opens August 9th and runs through September 8th, marks the first time the Jaipur Centre for Art (JCA) has partnered with a single gallery on a full exhibition. It is also Rajiv Menon Contemporary’s first project in India and the first show at the palace curated by an American. Menon, who launched the Hollywood location of his gallery earlier this year, focuses on contemporary perspectives from South Asia and the diaspora.
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Indian Modernist Tyeb Mehta’s Market Is Soaring. How High Will It Go?

Source Artnet by Eileen Kinsella
Amid an upsurge in demand for Indian art, Mehta’s market his hot. His two highest prices at auction have come this year, and collectors should be prepared to spend big to acquire a major work, since he was not at all prolific. He produced only around 200 canvases, and prestigious institutions and private collections hold most of the key ones, experts say. In April, the Mumbai-based Saffronart auction house sold Mehta’s Trussed Bull (1956) for $7.2 million, the most ever paid for one of his works on the block. It’s an important work that reflects his lifelong fascination with bulls, depicting in unflinching detail the brutal treatment that he witnessed them receive at slaughterhouses.
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‘Jangarh Kalam from Patangarh Continued’ on exhibit at Triveni Kala Sangam

Source The Statesman
Patangarh — a village in Madhya Pradesh home to many talented Gond artists — was the place where artist-anthropologist J Swaminathan at Bharat Bhavan discovered the late Jangarh Singh Shyam. Now, 30 original artworks (out of a collection of a total of 50 works) created by 18 Gond artists in the stylistic genre pioneered by Jangarh, are on view at the Triveni Kala Sangam from June 30 to July 10. Jangarh’s style, named the “Jangarh Kalam” — in the early eighties, encouraged and inspired Jangarh, a community singer, to paint. The imagination transformed from musical to visual. While the Gonds were not known for their art, Jangarh gave birth to a new art. His work, characterized by meticulous dotting, fine line work, and the use of vivid colors, depicts fantastical beings, deities, flora, and fauna. The landmark group exhibition titled “Jangarh Kalam – Continuing in Patangarh” is organized by the Raza Foundation, in association with Triveni Kala Sangam and supported by Progressive Art Gallery, and is open to all.
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Air India Art Collection at NGMA Bengaluru carries a whiff of nostalgia

Source The Hindu by Ruth Dhanaraj
Once upon a time, there was a maharajah who flew around on his private jet, sharing glimpses of India with people all over the world. And whenever he returned to his country, he would come laden with tales of the many wonders he had seen during his travels. The Maharajah (for that was his name and title) has long been the mascot for Air India, the country’s national carrier; though, over the years, his role has been diminished and he is rarely seen in public. For those who remember his glory days, or wish to relive the nobility of a bygone era, the National Gallery of Modern Art in Bengaluru (NGMA-B) is displaying art from the Air India Collection. Air India started collecting works of art and cultural assets in the early ‘60s — a time when modern Indian art needed the patronage, says Darshan, who not only curated the show but also conceptualised its design and display. Photo : An ashtray designed by surrealist master Salvador Dalí
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A London exhibition reflects on shared South Asian histories and splintered maps

Source Stir World by Samta Nadeem
India and Pakistan gained their independence from the British in 1947, but what is more remarkable than the celebration of a contested freedom is the memory of an excruciating partition. I was born somewhere in the middle of our partitioned history to date, a little shy of half a century after the two nations declared freedom and yet The Radcliffe Line, clumsily and hastily drawn, seems to have sketched my most important and complex lessons in history, geography, identity, politics and pain – a condition not unique at all but personal to so many. Since secondary school, I have stared at the political map of our region to imagine who our neighbours would’ve been if South Asia were one alliance, how it would have redefined our relationships with major geopolitical forces like Russia, China or the West? To walk into an exhibition in the heart of London that erased all these lines, curatorially and metaphorically, was an experience I had to sit with.
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Sarmaya debuts on Mumbai’s Heritage Mile

Source The Hindu by Barru Rodgers
In South Mumbai’s ‘Heritage Mile’, home to many colonial buildings, including the Chatrapati Shivaji Terminus, there’s a hidden gem. It is Sarmaya’s new outpost, which opened last month on the second floor of the 146-year-old Lawrence & Mayo building in Fort. The 3,500 sq.ft. space, once home to a bank, now houses the decade-old hybrid museum’s archive — a repository of art, artefacts, and living traditions from across the subcontinent. With large arched windows, floor to ceiling bookshelves, exposed wooden beams, and comfortable chairs strewn about, it is cosy and welcoming. A gorgeous Gond painting on the wall looks on as visitors quietly research or browse the pieces on display.
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