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.
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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.
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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.
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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.
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In an era when the climate crisis is no longer an abstract future but a daily condition of life, the question confronting contemporary art is not simply what it represents, but how it thinks. How does art hold contradiction, vulnerability, and survival at once? How does it remain porous to history while alert to planetary urgency? Amphibian Aesthetics, the inaugural exhibition at Ishara House in Kochi, enters this question not as metaphor alone, but as method.
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