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The Street and the Gallery: Shahidul Alam’s Archives of Practices

In bearing witness to the historical and the everyday, Alam continuously blurs the boundaries between the aesthetic, the political and the personal. Simultaneously, the retrospective showcased Alam’s critique of the Global South’s erasure from the history of photography and how his prominent presence in the “West” is a corrective towards decolonizing photography.

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Between Warp and Weft: On Kallol Datta’s Textile Objects

Datta’s objects carry secrets around knots and folds at the kernel, and point to his practice of cutting patterns in a circular fashion at the formative stage. The circular pattern-cutting registers as an attempt to eliminate the possibility of waste, where the leftover fabric is turned into appendages for the installations.

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Pinning History to Paper

In the recent works of Manisha Gera Baswani, repair and tending are transformative acts with complex contours, reminding us that healing and growing are interlaced with pain and grief, and that the fabric of life is studded with harvest and hibernation.

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International Reviews

The Milk of Dreams: 59th Venice Biennale

As a long-time viewer of the Venice Biennale, I was particularly struck by the challenges of the post-human condition which Alemani engaged with. Ecology, technology, mental health, and the human body became key concerns for Alemani.

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Partition and Departure: The Memory Trope in the Works of Jogen Chowdhury and Ganesh Haloi

Poised at two ends of the same spectrum Ganesh Haloi and Jogen Chowdhury tend to negotiate memory in remarkably individual ways, where a sense of optimism and renewal of life glow as radiantly as the underlying passages of pain and pathos.

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Current Issue



TAKE Sustainability is centred around well-researched articles and in-depth features that aim to dispel myths, rectify misconceptions, and advocate for collective action. Through actionable steps, the issue empowers individuals to adopt mindful choices that shrink their ecological footprint and positively impact the environment. Additionally, it acts as a platform to showcase success stories and innovative initiatives that offer inspiration, emphasizing the potential for change, even through small actions. It challenges the status quo and encourages critical thinking, fostering a reader base that becomes more aware and engaged. This impact extends beyond the issue, promising a brighter future for generations ahead.

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Inside Sustainability

Editor's Note

Co-Editor's Note


Cultural Sustainability: A Just Transition from Ego to Eco and the Way to Craft a Sustainable Future for All

Amplifying Culture, Humanity and Sustainability

Imperfection and Sustainability

Crafting Tomorrow

Sonam Tashi Gyaltsen

Jeanne de Kroon

Huma Adan

Co-Editor's Note- Uthra Rajgopal

The Black Gold Tapestry: An Epic Yarn

Uthra Rajgopal in conversation with Ibrahim Mahama Jute: Unlocking the Grid

Ruxmini Reckvana Q Choudhury

Fluctuating Fortunes - Ladakh and the Production of Pashmina Fibre

Wholesome Utopia of Sustainability: Living and Learning Design Centre, Bhuj

Hidden in Plain Sight

From Mills to Museums: Pioneering South Asian Textile Artists

The Elephant in the Room

A Changing World

Reflection, Perception and Distortion: A Three-Way Guide to Sunil Gawde's It Goes On

Then, Now and Everything In Between: Mapping South Asia through Artistic Explorations in the Popular

The Simultaneous Narrative: Engaging with the multi-narratives of artist Shrimanti Saha

I have a secret to tell...

Apparatus at Play explores Nepalese entangled history through a contemporary lens

Nuanced Expressions

Weaving a World: Kanishka Raja's Ground Control

Nasreen Mohamedi: Singularity and Sociability

Mül Mäthi // from the roots. A Keen Postscript

Eyes in the Sky: Gaze on Afghanistan

Kolikatar Nokshi-Kotha: Tracing a River Beyond its Existence

The Dream of an Idiot

Unmaking Mithu Sen: Of interventions, the now, and the museum

Imprinting Nature: Simryn Gill's Naga Doodles

Dhaka Art Summit: Indigenisation, Social Relations and Beyond

First Feminist Metal Mosaic Sculpture Looms in Lower Manhattan

Engaging Nature, Encountering Space: South Asian Landscape on Display at the Smithsonian’s National Museum of Asian Art

A Certain Homecoming

For, In Your Tongue, I Cannot Fit: Encounters with Prison

Unframed: Discovering Image Practices in South Asia

Sudhir Patwardhan: Walking Through Soul City

Paper Trails: Modern Indian Works on Paper from the Gaur Collection

Bhavna Kakar in conversation with Esme Ward and Nusrat Ahmed South Asia Gallery, Manchester Museum: Reimagines Linear South Asian Art History

Kunal Ray in conversation with Atul Dodiya Cinema Has Made Me Think and Rethink What I Know

Manan Shah in conversation with Leticia Marranghello 200 Years and Counting: Brasilia, Art and Architecture

Saloni in conversation with Sandhini Poddar and Sabih Ahmed Rewind and Replay: Exploring the exhibition Notation on Time

Interwoven Threads of Identity: Self-Exploratory Narratives in the Experimenter Curators' Hub 2022

Reflecting on my Residency Process

Fly on the Wall

Vivan Sundaram (1943-2023)

Experiential Narrative Performance - My Cloak Made of Colour, Air and Songs

TAKE Features


A Changing World

Arpita Singh’s canvases in her solo exhibition Meeting at Vadehra Art Gallery in Delhi were awash in shades of blue. In several of her paintings on display, it appeared as if tides carrying flotsam and jetsam had swept over them, generating surfaces swimming with detail. Nowhere was this more evident than in the poignantly titled The swans did not come back this year. Irregular patches of white, oddly reminiscent of corrugated roofs of shanty houses, peppered the waterscape as did a few stretches of brown and lettering in differing colours and sizes. If in the past Singh inserted flora or custard apples to fill in empty spaces in the pictorial plane, then here her flower fetish was strangely absent.

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Nasreen Mohamedi: Singularity and Sociability

Nasreen Mohamedi’s hand-written letter to her close friend, artist Nilima Sheikh exudes a sense of both restraint and tenderness. With her formal handwriting, she composes what appears as a verse of concrete poetry – simultaneously referencing and exploring ideas of space – on a piece of graph paper. Providing a window into the late Modernist’s preoccupations with nature, abstraction, and the limits of perception, this letter, describing the seashore at Kihim, also inspires the title of her latest retrospective at Jehangir Nicholson Art Foundation (JNAF) – Nasreen Mohamedi: The Vastness, Again and Again.

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Weaving a World: Kanishka Raja’s Ground Control

Bright as a computer game on a screen, Ground Control began with references to music, borrowing its title from David Bowie, and has an aerial perspective, if not the tin-can view. Is the artist Ground Control and who is Major Tom? The roles reverse playfully, and the show, like a game, moves effortlessly between footprints of buildings, courts and playing fields, and outlines of urban spaces. The vibrant several shades of colour — earthy oranges and reds, purples, greens, blues — are interspersed with bold white lines, which resemble chalk or markers on a field.

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International Reviews

Imprinting Nature: Simryn Gill’s Naga Doodles

In the display case next to the skin is a nature-printed image made in Madras in 1857 by Henry Smith. Unlike Gill’s snakes, Smith’s specimen was artfully laid out in an elegant sinuosity, its two surfaces inked to yield a mirror-image pair when passed through a printing press. There is a history behind the contemporary work. Smith was a government printer, who claimed originality to his method of nature-printing (a process that has always been somewhat experimental), but one that was taken up by Hugh Cleghorn who in South India made many simple black prints of plant and tree parts as part of the earliest phase of the conversion of tropical forests into plantations: in his case for coffee and cinchona.

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How do you start writing?

My residency has ended, but I still have updates to share as I work on the final text. These two months have offered me the time, space and resources to unpack a set of research questions. They’ve also offered me valuable insights on how I write. This blog serves two distinct purposes: it is an account of how I have written, and also a reminder to myself as I ease back into this final stretch of writing.

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