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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