Amphibian Aesthetics: Lens to Hyphenated Identity

Not a celebratory idea of nature’s unique benevolence, i.e., the amphibian, but a nudge to the human tribe to recognise and acknowledge the abyss of apocalypses it has entailed in the face of unchecked urban development. The hyphenated identity of an amphibian, which can live on land as well as in water, within the realm of the exhibition, epitomises the catastrophe humans have waged on the Earth, only to break its existence rooted in harmony with nature. To mention, Amphibian Aesthetics marks the first exhibition presented at Ishara House, initiated by the Ishara Art Foundation in Dubai. The exhibition, alongside the Kochi Muziris Biennale, is organised in partnership with Aazhi Archives: a collective of artists, writers, scholars and researchers engaged in collaborative studies of Kerala’s maritime past and its changing artistic cultures.

Mapping a Memory

Arpita Singh, A Feminine Tale, 1995. Copyright: Arpita-Singh, Image Credit: Justin Piperge. A distinctly chalky pink predominates Arpita Singh’s canvases. Sometimes it appears in wreaths of flowers blooming in unbeckoned corners of the canvas, or in candy-floss-like clouds dotted over a bustling Delhi.

Sujata Bajaj on the cosmos to explore infinity of deep space

A sky full of twinkling stars is perhaps one of the earliest fascinations of human race. It is not difficult to imagine the first men, women, and children—who appeared approximately 3 million years ago—looking up in wonder with the setting of the sun and beginning to see guiding lights in the sky.

Where Archives Breathe: Self-Narration and Oceanic Memory in AUTOPOIESIS

The exhibition stages a structural intervention within a region long shaped by layered violences and oceanic crossings, treating the body as a relational field. Mahbubani, whose great-grandparents were forced to migrate from Sindh following Partition, places her own body within this terrain.

A Symbol of Rebuilding, Renewal and Reimagining: Chobi Mela Returns

The South Asian country of Bangladesh is in the throes of political change. In July 2024, commonly called the July Revolution, a student, Gen Z-led, pro-democracy mass movement resulted in ousting Prime Minister Sheikh Hasina.

The Evolution of a Woman: Dhruvi Acharya

A Return to the Elements

A Bridge is built from Two Sides: Far Reaching Earth, Far Extending Sky, Spread like a Mat, Covered like a Bowl

In a conversation between Korram and Rahee Punyashloka, the curator of exhibition, the former remarks that guns, whether toys or weapons in the hands of guards, are part of daily life in Bastar. During elections, festivals and other such large gatherings, the presence of armed personnel is naturalised under the name of security. The effect is to position violence not at the periphery but at the centre of experience, where it becomes impossible to separate civic, ritual or recreational activities from the shadow of militarisation. In particular, these sculptures  highlight the speed of modern forms of violence and deforestation, such as automatic weapons, heavy machinery for logging and armed jeeps used by hunters.

Fragile worlds

Ravikumar Kashi’s ‘Fragile Worlds’ at the Museum of Art and Photography, Bengaluru, evokes the permeability of form, memory, and meaning. Through delicate, net-like sculptures and poetic explorations of language, the exhibition invites viewers into a tactile, immersive meditation on fragility, interconnectedness, and the porous edges of self and society.

Visceral Realities: Experiencing the Works of Jogen Chowdhury

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.