This review by Dr. Aranya Bhowmik explores In Celebration: Jogen Chowdhury at Art Exposure Gallery, Kolkata. Curated by Soumik Nandy Majumdar, the exhibition traces Chowdhury’s evolving visual language—spanning refugee memories, surreal dreamscapes, and politically charged figures—revealing a deeply personal modernism marked by psychological depth, empathy, and cultural rootedness.
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A Review of Waswo X Waswo's show Heaven (And That Other Place), held during 10 October - 17 November, 2024 at GALERIE ISA, Mumbai.
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Kalam Patua is considered to be a phenomenon to understand the response of a traditional folk visual artist (the patua or the maker of the pata) to the non-academic and popular art practices of urban Kolkata, the Kalighat patachitra. Hailing from the Murshidabad district of Bengal, Kalam Patua is said to have reinvented Kalighat painting to create his own visual narratives and stabilise his rhetoric, style and technique. Patua started as an apprentice in his family of idol-makers in Murshidabad, and learnt patachitra painting which was the hereditary practice of his extended family spread in the two districts of Murshidabad and Birbhum.
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Review Of Spaces of Their Own: Women artists in early 20th century India, Curated by Aparna Roy Baliga and Debdutta Gupta, September 19 - October 15, 2024, Akar Prakar, Kolkata.
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A special feature of the show were the profound texts that accompanied some of the works. That was another point of convergence for the three participating artists—all of them are remarkable writers, in the words of the curator, who has not shied away from sharing their creative output in the written form as well. The show pushed the boundary of viewing art through our traditionally calibrated lenses and, in doing so, put KNMA in a different league of nurturing Indian art (needless to say, it is already in a different league altogether). With an overwhelming majority of Indians consuming and creating art through conventional tropes, shows such as ‘The Elemental You’ awaken us to the limitless possibilities that we ignore for the sake of convenience.
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Ayesha Sultana feeds off her environment-generating processes that articulate her vision. Her need to not over-narrativize her work is compelling, and sometimes unsettling, as one finds various access points that could point to the potential underlying genesis; however, she is keen to empower the predicaments one offers in favour of her practice.
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Without losing sight on a fine balance between a tactile approach of tangible art and an aesthetic of moving images in video arts, Wechsler remaps the routes of cultural history and identity in its tangible form. In other words, through immersive installations, multimedia storytelling and archival interventions, the exhibition challenges viewers to reimagine cultural history not as a static relic, but a site of perpetual reinterpretation. In weaving together the threads of identity and belonging, within the curatorial lens of memory Art of the Kingdom: Poetic Illumination emerges as a reflective site of cultural reclamation and epistemic resurgence.
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TAKE Philanthropy explores the evolving landscape of art philanthropy within a globalized context, highlighting its influence on artistic innovation, cultural diplomacy, and community development. In showcasing the country’s most impactful philanthropists, it is essential to amplify the voices of Artist-Philanthropists, who are making remarkable contributions to the art world. We feature Founder Trustee and initiator of the Shyama Foundation, artist Ravi Agarwal.
Read MoreWe have had a long history of patronage – from the royal princes and now merchant princes. This needs to be encouraged – the government can participate to make: import of artworks easier, and even make public spaces more accessible to private organisations who want to hold shows and events in such places. JNAF and CSMVS is a great example of how things can happen. Chennai Photo Biennale of which I am a patron is being allowed access to the Egmore Museum. If the ASI and the Ministry of Culture brings out a policy on how we can have better and more equitable access to these buildings and areas – it will help the entire art ecosystem.
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Hope, funding, a dignity of livelihood and mentorship are core values for me and The Gujral Foundation, where we support the growth of intent and the future of ideas. My happy quotient lies in the expansion of giving and watching these idea seeds grow into much larger projects and careers. For instance, ‘Artdemic’: It was a project that began during the pandemic with a very small open call to fund young artists. We started with two to three micro grants per week and three years in, we continue to fund artists every month and are now looking to establish Artdemic as a much larger platform that really nourishes young artists’ futures in a very competitive and fast-growing art world.
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