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Delhi Art Week Returns with South Asian Voices

The fifth edition of Delhi Contemporary Art Week (DCAW) will run from April 8-15 in the national capital, and is among the first collective, large scale art venture post-pandemic and a celebration of the spirit of artists and art institutions across South Asia as they overcame the many challenges presented by the global pandemic.

Other artists whose work will be showcased include Ankush Safaya, Anupama Alias, Chandan Bez Baruah, Farhat Ali, Harisha Chennangod, Harman Taneja, Jahangir Asgar Jani, Prajjwal Choudhury, Shubham Kumar, Sudipta Das, Waswo X. Waswo, Yogesh Ramkrishna and Zahra Yazdani…reports Asian Lite News

The seventh edition of Delhi Contemporary Art Week (DCAW) will showcase some of the finest art and contemporary voices at Bikaner House from August 31 to September 4.

A creative alliance forged by six galleries, DCAW is anchored in the foundation of amplifying the voices of creative artists and celebrating their works that reflect contemporary times with many themes and techniques.

Six Delhi-based art galleries — Blueprint12, Exhibit 320, Gallery Espace, Latitude 28, Shrine Empire, and Vadehra Art Gallery are showcasing a selection of works by established and emerging artists from India and the broader subcontinent, with each gallery bringing its unique curatorial vision to the event.

Also, there will be a group exhibition curated by Girish Shahane featuring artists from each participating gallery. Titled ‘A Bold Step Sideways’, it challenges traditional notions of art history and originality. Embracing a generation of artists unencumbered by the anxieties of influence, this exhibition showcases a diverse array of works that freely traverse styles and mediums.

While Blueprint 12 will be exhibiting works of artists including Divyesh Undaviya, Meghana Gavireddygari, Zoya Chaudhary, Aravani Art Project, and Anila Govindappa, among others, Exhibit 320 will showcase contemporary art from India and the subcontinent, creating a platform for new thoughts and ideas. This year, the emphasis of the exhibition space is on new media, and its structures as a place for creative endeavour, aesthetic exploration and furthering visual dialogue. The gallery will be exhibiting the works of Deena Pindoria, Deepak Kumar, Jayati Kaushik, Kaushik Saha, Kumaresan Selvaraj, Priyantha Udagedara, Gopi Gajwani, Gunjan Kumar, Rahul Kumar, Sareena Khemka, among others.

Gallery Espace will be showcasing a varied collection of paintings, drawings and sculptures by leading artists across generations and graphic mediums.

A highlight of the presentation is a drawing installation by Soma Surovi Jannat (‘Time without Birth and Death’), a young artist from Dhaka, Bangladesh who has recently signed up with Gallery Espace. The gallery will also showcase a new set of paintings by Baroda-based Rashmimala, Ravi Agarwal’s photographs of an abandoned office, and Tanmoy Samanta’s luminous canvases of liminal shapes.

Other exhibiting artists include Amit Ambalal, Ishita Chakraborty, Sharad Sonkusale, Sheetal Gattani, and Sonia Mehra Chawla.

Continuing to spotlight emerging artists from the Global South, Latitude 28 will reflect South Asia’s evolving contemporary art scene through a textile collection. This showcase features artists using weaving, crochet, embroidery, Zardosi, and Kantha techniques to manipulate fabric and integrate it with other art forms and textures.

Highlights include Khadim Ali’s tapestry work influenced by his Afghan heritage, debut artists at DCAW, Veena Advani (her mixed media paintings with hand embroidery), Al-Qawi Nanavati (infuses her late mother’s belongings into her art, creating a sense of mystery and deep contemplation) and Viraj Khanna (whose narrative-based embroidered works are focused on eye-catching moments shared on social media). Inspirations from texture and form of Indian textile handicraft are evident in Sanket Viramgami and Shalina Vichitra’s works. Sudipta Das transforms paper into sculpture or fabric

Other artists whose work will be showcased include Ankush Safaya, Anupama Alias, Chandan Bez Baruah, Farhat Ali, Harisha Chennangod, Harman Taneja, Jahangir Asgar Jani, Prajjwal Choudhury, Shubham Kumar, Sudipta Das, Waswo X. Waswo, Yogesh Ramkrishna and Zahra Yazdani.

Shrine Empire will be showing the works of Hema Shironi and Natasha Das for the first time. Both artists work with textile and through this medium, they explore various contexts that relate to their personal histories, politics of the region and sustainability. Artist Amitava Das will be showing several of his recent works. Other participating artists include Anoli Perera, Arun Dev, Awdhesh Tamrakar, Divya Singh, Sajan Mani, Samanta Batra Mehta, Sangita Maity, Shruti Mahajan and Tayeba Begum Lipi.

Featuring an ensemble of exciting South Asian artists practising within the Subcontinent and beyond, Vadehra Art Gallery will show works by Anita Dube, Anju Dodiya, Atul Bhalla, Atul Dodiya, Faiza Butt, Gigi Scaria, Jagannath Panda, Jasmine Nilani Joseph, Joya Mukerjee Logue, Praneet Soi, Sachin George Sebastian, Shailesh B. R., Shilpa Gupta, Sudhir Patwardhan, Sunil Gupta, Treibor Mawlong, Zaam Arif and others,

The curation will include works across mediums, with a focus on painting and photography, ushering in reflection and discourse on topical narratives growing out of contemporary South Asian culture.

Some of the works on display will include installation works by Anita Dube, activating text and the gaze that turns upon them as sites of resistance; portraits by Faiza Butt layered with multi-cultural, art historical and technological inspirations as seen from an autobiographical lens; photographs of protest by queer communities in London shot in the 1980s by Sunil Gupta; drawings by Jasmine Nilani Joseph elaborating on ideas of property, ancestry and displacement; poetic explorations of the human condition in one’s relationship to self, time and place in paintings by Zaam Arif; the complexity of intimacy in interpersonal relationships in a suite of recent drawings by Sudhir Patwardhan; and mixed media collage works by Shailesh B. R. that form a repository of observations, moods and imaginations through objects, elements and landscapes – among others.

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A Fusion of Dreams and Realism

In ‘Vriksha’, the artist has merged her web design style with normal brush strokes…reports Asian Lite News

Subtle yet tantalising, the paintings of Shiva, Saraswati playing the veena, a glimpse of Venice, and yesteryear’s actor Madhubala with her bewitching smile — artist Poonam Bhatnagar’s solo exhibition in the national capital will encompass all that and more.

Brushed with a delicate mix of colours, Bhatnagar’s 24 paintings under the title ‘Between Dreams’ will be exhibited at the Bikaner House from April 12 to 17.

A trained textile designer, she brings a peculiar style into her work using minute strokes and a delicate palette of colours.

“I call this ‘web cast’ — inspired by a spider’s web,” says Bhatnagar.

Preferring to work on large canvases, the artist feels she has much to say and show.

“That is why most of my works are huge,” she adds.

Preparing for this exhibition for the past two years, her painting of Saraswati is a 6×4 feet canvas showing the goddess playing the veena, while ‘Shiva Shakti’, done on a 4.5×4 feet canvas, has a three-dimensional effect, as the vertical and horizontal geometric lines merge with the squares and waves.

While she has participated in several group shows before, this is her first solo wherein through the series ‘Cityscapes’, she encapsulates her experiences of the sights of London, Venice, Zurich, and Ladakh, among other places.

In ‘Vriksha’, the artist has merged her web design style with normal brush strokes.

Bhatnagar’s ‘Pensive Portrait’ series includes portraits of yesteryear’s actors — Madhubala, Meena Kumari, Suchitra Sen, and Madhabi Mukherjee, done mostly in black and white.

Talking about the web-like design style, the artist points out, “Initially, the lines used to be thicker but now they have become finer, intricate, and ‘closer’. The style has evolved.”

Bhatnagar says the painting ‘Ladakh’ is “completely covered with webcast”, with the fine lines raised, giving it a three-dimensional effect.

“You can feel it. Photos do not really do justice to my paintings,” she adds.

Talking about the artist’s unique style, curator Uma Nair says, “Not texture, but illusion would be the right word to describe her work. Looking at her paintings in the ‘Mythos’ and ‘Cityscapes’ sections from a distance, the multiple layers create a peculiar visual experience.”

The exhibition presented by Masha Art will be inaugurated by noted filmmaker Muzaffar Ali.

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M.K. Raina’s Memoir: A Journey Through Kashmir’s Complexities

For someone who believes art cannot be made in isolation, and must reflect contemporary social and political realities, he insists that even till date he reads the society to make his theatre…writes Sukant Deepak

He makes it clear that the memoir is not about his theatre journey, nor the making of some of the finest theatre productions he has brought on stage, but in fact, about India and the many shades he has been a witness to.

Theatre director M.K. Raina’s memoir ‘Before I Forget’ (Penguin) starts from his childhood in Kashmir, the time when Sheikh Abdullah was arrested, his work as an activist post the 1984 anti-Sikh riots, the killing of theatre personality Safdar Hashmi, and his work with ‘bhands’ in Kashmir.

It was important for him to put it out all there — for these are vivid tales from a complex land where nothing is linear. He smiles, it is this aspect of India he has been a witness to, that precipitated the writing of the book.

“During the pandemic-induced lockdown, I sat back and recalled my life, and yes, was very surprised by whatever I encountered during all these years,” he told IANS. You may take the questions anywhere, but Raina will ultimately come back to Kashmir — the home he was forced to leave like his fellow Pandits.

For someone who believes art cannot be made in isolation, and must reflect contemporary social and political realities, he insists that even till date he reads the society to make his theatre.

“The Westernised version of ‘isolation’ is not for me. I can never do a play that has no socio-political relevance and does not reflect the echoes of the present times,” Raina said. OK, we are back in Kashmir now.

It was at the beginning of 2001, at a time when the Valley was burning, that Raina quietly went there to hold workshops and work with ‘bhands’. That was also the time when ‘bhands’ were completely prohibited by militants from performing. Even at weddings, there was no singing, no sarangi too.

“They had not performed for 10 years,” Raina recalled. “When I met them, they burst out crying, almost howling. I kept looking at them. There was so much inside them waiting to come out.”

Deemed un-Islamic, it was not easy to revive theatre in Kashmir’s countryside at a time when no auditoriums were functioning and colleges and universities were shut.

But Raina knew he had to make a start somewhere to reclaim the Valley’s cultural fabric, which in many ways is very egalitarian. “I had to enter through the needle hole quietly, otherwise, they would have shot me dead,” he said.

His friend suggested a hostel at an agriculture university deep inside forests and orchards, where he started taking a month-long theatre workshop attended by people from across districts, including those in South Kashmir. “It was almost a Gandhian way of living. We cooked together, cleaned dishes and washed our clothes,” he remembered.

During their rehearsals, people from around the village would start coming in as spectators. Slowly, word got out that a performance was being prepared. “On the day of the show,” Raina recalled, “hundreds of people in buses arrived. I was stunned. But it was also a hint for me to continue my work there.”

For a long time, he kept holding at least three workshops every year in the Valley. Stressing that it was not to make productions, but also a way to use theatre as a healing tool, Raina added, “There were traumatised children and women, the psychological damage in the society was so evident. I just hope I was able to do something through this great art form.”

For someone who trained 300 youngsters in theatre in Kashmir who went to make their theatre groups in different districts of the UT, Raina now points out that he did not want to come to the forefront, and explains precisely why he stayed away from the media during those times. “I did not want to be the hero,” he said. “Everything was done for a larger cause.”

Be it working in jungles, orchards or in an unfinished hospital, Raina remembered that hints were dropped that the militants were unhappy with what he was doing. He continued: “But then some people told them it was all for culture, and not some political cause — we never heard from them, considering the ordinary people were with us.”

Talk to him about art in a conflict zone and Raina stresses that he had to look over his shoulders 24×7.

“I was caught in stone pelting, a police raid, threats from militants … But what I learnt was a great lesson in patience, and in being reasonable. You cannot afford to lose your temper. Slowly, everybody started supporting us — villagers and traders in the Anantnag area especially,” Raina said.

When he did ‘Badshah Pather’, the adaptation of Shakespeare’s ‘King Lear’, he would work in a clearing surrounded by mountains where people sat to watch the rehearsals. Remembering the setting reminiscent of a primitive Greek theatre, he said, “Those moments opened my eyes to that many possibilities that theatre can offer.”

Lamenting that the lack of funding has made him less active in Kashmir, Raina said, “Half of my life has gone into trying to garner resources. Besides the India Foundation for the Arts, nobody has come forward. What more can I say?”

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The Art of Unlearning

Too often, we attribute our professional challenges to external factors—the current workplace culture, our managers, or the industry itself. Yet, true growth requires introspection and a willingness to unlearn ingrained behaviours that no longer serve us…writes Prasad Shejale

As seasoned professionals, we often pride ourselves on our expertise and accumulated knowledge. However, what if some of that knowledge is holding us back? What if the habits we’ve developed over decades are actually hindering our progress rather than propelling us forward? My own journey in unlearning, particularly through the lens of my experience with swimming, sheds light on the importance of breaking free from ingrained habits and embracing change in our professional lives.

Allow me to share a personal anecdote that resonates deeply with the concept of unlearning. Despite my passion for swimming, I found myself struggling to improve for over four decades. It wasn’t because of a lack of effort or determination, but rather because I had learned the wrong techniques at an early age. Swimming alongside friends in a river, I absorbed habits that stuck with me throughout my life, hindering my progress despite my best intentions.

Finally acknowledging the need for change, I enrolled in a beginner’s swimming course. The process of unlearning was arduous; it required me to confront not only physical challenges but also the mental resistance to change. Watching others progress while I struggled to undo years of ingrained habits was a humbling experience. Yet, with perseverance and dedication, I began to see incremental improvements.

The parallels between my swimming journey and professional life are striking. Just as I had unknowingly absorbed detrimental habits in swimming, so too can we pick up negative behaviours in our careers. Our first job, our initial experiences with bosses and colleagues—they all shape our professional identity. Yet, over time, some of these habits can become obstacles to growth and success.

Too often, we attribute our professional challenges to external factors—the current workplace culture, our managers, or the industry itself. Yet, true growth requires introspection and a willingness to unlearn ingrained behaviours that no longer serve us. It’s about challenging the status quo, breaking free from the comfort of familiarity, and embracing the discomfort of change.

Unlearning is not a one-time event but an ongoing process—one that demands resilience, humility, and self-awareness. It requires us to confront our own limitations and biases, to question long-held assumptions, and to embrace new perspectives and ways of working. It’s about recognizing that the path to success is not always linear, and that failure is an essential part of the learning process.

In today’s rapidly evolving business landscape, the ability to unlearn and relearn is more critical than ever. The skills and knowledge that brought us success in the past may not be sufficient to navigate the challenges of tomorrow. By embracing the art of unlearning, we open ourselves up to new possibilities, innovation, and growth.

Business leaders, I urge you to reflect on your own professional journey. What habits and beliefs are holding you back? What do you need to unlearn in order to reach your full potential? Embrace the discomfort of change, for it is through unlearning that we truly evolve and thrive in an ever-changing world.

ALSO READ-Santanu and Sunita Dinda’s Artistic Ode to Indianness

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Embracing a Timeless Legacy of Arts at SIFAS Festival of Arts 2024

Established in 1949, SIFAS has been a cornerstone of Indian cultural heritage in Singapore, fostering art and cultural appreciation through its diverse disciplines…reports Asian Lite News

As the Singapore Indian Fine Arts Society (SIFAS) commemorates its 75th year of enriching Singapore’s cultural landscape, the much-anticipated SIFAS Festival of Arts, continues to captivate audiences till May 1, 2024, in Singapore.

The celebration by SIFAS is jointly organised with SIFAS Productions Limited (SPL) and will feature enthralling performances by leading Indian classical artistes Ranjani and Gayatri (RaGa Sisters), Jayateerth Mevundi, Abhishek Raghuram and dance drama by Kalakshetra Foundation in collaboration with SIFAS.

Established in 1949, SIFAS has been a cornerstone of Indian cultural heritage in Singapore, fostering art and cultural appreciation through its diverse disciplines.

2024 marks SIFAS’ Diamond Jubilee, a significant milestone for the non-profit organisation committed to nurturing talent and promoting Indian fine arts in the region. As Singapore transitions into a global arts hub, SIFAS continues to uphold its mission of preserving and promoting Indian cultural heritage while embracing multiculturalism. 

The SIFAS Festival of Arts 2024, an iconic event in SIFAS’ cultural calendar, celebrates the institution’s legacy as the heart and hub of Indian arts in Singapore. Themed ‘Virasata: Celebrating a Timeless Legacy of Arts,’ this year’s festival also serves as a curtain-raiser to SIFAS’ 75th anniversary celebrations that will extend throughout the year.

With over 75 programmes of classical Indian music, dance, and visual arts, the festival promises a mesmerising journey through the rich tapestry of Indian arts. From traditional Kathak and Bharatanatyam performances and soul-stirring renditions of Hindustani and Carnatic vocals and instrumentals to a visual arts exhibition and arts and craft workshops, the festival showcases the depth and diversity of Indian cultural heritage.

“We are thrilled to present the SIFAS Festival of Arts as a tribute to SIFAS’ illustrious journey over the past 75 years,” said K V Rao, President, SIFAS. “This festival not only celebrates our heritage but also embraces the future of Indian arts, showcasing the talents of both emerging artists and iconic maestros.”

“The 75th Anniversary milestone is being celebrated with SIFAS collaborating with organisations as well as leaders in the arts industry, both locally and globally, especially from India,” said Menaka Gopalan, Executive Director, SIFAS. “We have also made a conscious effort with our outreach towards different communities, including the underrepresented, to promote arts and mental well-being.”

Scheduled at the SIFAS Stage and Esplanade – Theatres on the Bay, the festival promises an unforgettable experience for art enthusiasts of all ages. Through its immersive programmes and vibrant performances, the SIFAS Festival of Arts 2024 invites audiences to celebrate the enduring legacy of Indian arts and culture in Singapore. Air India is the official carrier for the SIFAS Festival of Arts, enhancing the cultural journey for attendees from around the world.

In addition to the milestone anniversary, SIFAS also celebrates 20 years of the SIFAS Festival of Arts this year. The SIFAS Festival of Arts has been an eminent platform for showcasing the best in Indian fine arts in Singapore. Evolving with each year since 2003, they have collaborated with Esplanade since 2005 to bring both internationally renowned and emerging local talent to the forefront. This year, the festival marks two decades of cultural brilliance and community engagement. Through the festival, a year-long celebration from May 19, 2024, to May 19, 2025, and a series of events and activities, SIFAS aims to underscore its enduring legacy and its vision for the future of Indian fine arts in Singapore.

ALSO READ-Santanu and Sunita Dinda’s Artistic Ode to Indianness

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Santanu and Sunita Dinda’s Artistic Ode to Indianness

Indianness is a conscious approach to implanting values and history that has originated, evolved, and transformed on Indian soil…reports Asian Lite News

India’s cultural consciousness is embedded with pearls of heritage carried forward through generations in the form of folk art. Stories from epics such as Mahabharata, Ramayana and Panchatantra are prominently illustrated and propagated by Patuas (Pattachitra artists) and Sutradhars. We may exist as an individual with personal ambitions, goals, and vision but together we occur within the society as an Indian.

“In Search of Indianness” is an artistic odyssey by Santanu Nandan Dinda and Sunita Dinda curated with meticulous care and passion by Hem Rana. The exhibition is scheduled to be held at the Open Palm Court Art Gallery from 24 – 28 April 2024 from 11 am – 7 pm.

Today, India is a cosmopolitan nation inhabiting people with different food habits, languages, customs, traditions, religious beliefs, and many more things. In this abstract, artists Santanu Nandan Dinda and Sunita Dinda through their paintings seek Indianness.

Indianness is a conscious approach to implanting values and history that has originated, evolved, and transformed on Indian soil.

Santanu and Sunita’s paintings are a homage to their cultural identity. Both artists have worked together in the same studio for a long time and their paintings are inspired to tell their shared perspectives and mutual stories. Canvases drenched with bold lines and folk motifs express the beauty and serenity of an earthy India.  Their creativity is rooted in the city of Jamshedpur, where they both grew up surrounded by tribal life.

India’s national personification is a woman – Bharat Mata. She is seen as a goddess that rages ferociously to protect her people and she is also seen as a mother that many Indian freedom fighters had fought for. Female deities are also deeply rooted in scriptures and holy books. Henceforth, both Sunita and Santanu have expressed their love for their nation through their paintings where a female entity takes center stage. Women are depicted as protagonists in their everyday lives.

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Mastering the Art of Aging Well

Go for products rich in these ingredients, be in the form of a mask, face wash, or serum. Retinol is widely known to have the best actual evidence for anti-ageing benefits…reports Asian Lite News

Ageing is an inevitable part of life. While genetics, stress, and lifestyle habits may be factors that influence how fast you age, however, with the right skin care products, treatments, and lifestyle habits, you can promote healthy, natural ageing.Just like women, a grooming routine is essential for men of every age. Typically, a man’s skin is up to 25 percent thicker than a woman’s, and men are more susceptible to irritation and sensitivity from the impact of shaving. The good thing is, today,men recognise the importance of skincare and self-grooming, and are investing more time and money to appear good, healthy,and younger. 

Dr. Leena Aggarwal, Dermatologist, at Vibes Healthcare Ltd. shares with IANSlife age-defying skincare hacks to make every man look and feel your best every day.

The mandatory CTM routine

Cleansing, Toning and Moisturising (CTM) your skin is a simple routine to start with. Cleansing the skin regularly twice a day is important to remove the dirt, debris, pollutants, and oil secretions from the skin’s surface. Regular cleansing also minimises clogged pores and acne on the skin. Using a toner removes all dust or dirt adhered to the pores and maintains the pH of the skin. A toner is safe to use even after shaving. Post cleansing and toning, the skin usually becomes dry. For soft and supple skin, it is best to apply a moisturiser. It is advisable to use gentle yet effective productsthat do not contain any toxic ingredients. Look for AHAs (such as glycolic and lactic acids) and antioxidants such as vitamin C and resveratrol in toners, creams, and other skincare products.

Protect your skin from the sun

The sun is the biggest culprit of accelerated ageing. UV rays cause uneven pigmentation, sun spots, reduced skin elasticity, skin degradation, etc. Whether spending a day at the beach or running errands, sun protection is essential. Applying sunscreen, preferably SPF 30 (or higher) regularly will shield the skin from adverse effects of UV, UVA, UVB, and IR radiations. Additionally, you can protect your skin by covering up with lightweight and long-sleeved shirt, pants, cap, and sunglasses with UV protection.

Retinol, salicylic acid, and glycolic acid to your rescue

Go for products rich in these ingredients, be in the form of a mask, face wash, or serum. Retinol is widely known to have the best actual evidence for anti-ageing benefits. Although salicylic acid is better known as an acne treatment, this beta-hydroxy-acid (BHA) has some serious exfoliating powers, which makes it a good option for managing signs of ageing as well. Additionally, it can boost the production of collagen. Unlike other chemical exfoliants, salicylic acid is also oil soluble, allowing it to get deeper into your greasy pores. If you have especially oily or acne-prone skin, salicylic acid could be a key ingredient for you. Glycolic acid is another helpful ingredient for reducing signs of ageing, such as hyperpigmentation, fine lines, and wrinkles.

Hyaluronic acid-infused bio-remodelling treatment for long-lasting effect

The natural decrease of your collagen supply can give way to skin laxity and wrinkling around the face and neck.Bio-remodelling is the latest and best in collagen-boosting treatments, especially formulated with the highest concentrations of ultra-pure hyaluronic acid (HA) to restore skin elasticity, firmness, and youthfulness. Unlike other injectable treatments, bio-remodelling harnesses your body’s natural collagen production, spreading smoothly beneath the skin to trigger widespread rejuvenating effects. Bio remodelling procedures such as Profhiloimproves ageing and sagging tissue by smoothing and tightening the skin. Besides the face, it can also be injected into neck, hands and other areas with high skin laxity.

A nutritious diet

Several studies say eating plenty of fresh fruits and vegetables may help prevent damage that leads to premature skin ageing. A diet rich in healthy fats, fibre, antioxidants, vitamin C, A, B3, E, K, and selenium can promote collagen production and keep the skin firm and plump. Some foods to include are red bell peppers, papaya, avocado, berries, broccoli, spinach, sweet potatoes, nuts, fish, and yogurt. Also, it is important to keep your body hydrated by drinking plenty of water.

Limit alcohol and smoking

Alcohol is a diuretic that dehydrates the skin and promotes the formation of free radicals. Wrinkles, collagen damage, sagging skin, skin staining, etc., are examples of the toll the toxins in cigarettes take on your skin. Not only does smoking speed up skin ageing, but it also constricts the skin, makes it look dull, dry, and full of wrinkles. Quitting smoking and watching your alcohol intake will result in healthy and youthful-looking skin.

Exercise and sound sleep

Along with making you feel better in body and mind, exercise can improve the skin by carrying oxygen to the cells, increasing blood flow that flushes away cellular waste and free radicals, and nourishing and replenishingyour skin’s appearance. Similarly, a good 8-9 hours of sleep gives a man a healthier appearance, with smoother skin, brighter eyes, and fewer breakouts. While you snooze, your body also has a chance to repair and recover leading to a long list of great benefits for your looks and body.

A dermatologist plays an important role in educating, screening, and treating various skin issues. Regular appointments with your doctor will ensure you’re up-to-date on the latest and suitable skincare developments.

ALSO READ-Ayurveda: A holistic approach to healthy ageing and vitality

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Art Garde Exhibition Spotlights Emerging Women Artists

Anushree Rabadia completed her BVA in Painting from the Faculty of Fine Arts, Maharaja Sayajirao University, Vadodara, and is currently pursuing her MVA in Painting from MSU Baroda…reports Asian Lite News

Voices of Women presented by Art Garde is a contemporary art exhibition under the Young Collectors’ Pop Up umbrella initially launched in 2022. This exhibition showcases works by emerging and middle-contemporary women artists from across the country. The exhibition highlights the flourishing practices of women artists across mediums. While equal representation between men and women artists is still not a reality, there is a steady increase in exhibitions and platforms like this one that seek to address this disparity. In 2023 the Art Basel and YBS Survey of Global Collecting drew attention to the fact that women collectors are now collecting more than men, and many of them focus on this disparity and address it by actively collecting women artists exclusively.

Through a showcase of diverse mediums, styles and experiences, the show eliminates stereotypes associated with women artists. This curation intends to move away from stereotypes that are often limiting the expansion of women in fine arts today. A similar approach has been taken when also curating the subject matter represented. For instance in art universities across the country, the female nude is still not taught in live drawing classes. Historically, specifically within the South Asian context women have been associated more with handicrafts, as opposed to fine arts. However, the adaptability of women when they engage with fine arts offers a unique glimpse at the intersection between physicality and painting. This exhibition does not intend to purport that women are intended to belong to a certain style of art. It provides a stage for women engaging in traditional and non-traditional, expected and unexpected. It is a curation of contemporary women artists across the spectrum today.

A common theme amongst the works displayed is how each woman responds to contemporary stimuli that impact that in a personal or general societal way while respecting diversity. The exhibition will take place from 9-15 April at A2/22 Safdarjung Enclave, New Delhi.

Participating Artists:

Malavika Rajnarayan studied painting at the College of Fine Arts, Karnataka Chitrakala Parishath and at the Faculty of Fine Arts, M.S. University of Baroda. Alongside her studio practice, she works as an arts resource person with the Azim Premji Foundation. Her works have been exhibited across India and abroad, most recently in the Seattle Art Museum in 2022. She has been an artist-in-residence at The Collective Studio Baroda; The Contemporary Artists Centre, Troy, New York: at CAMAC Centre for Art in Marnay sur-Seine, France, and a collective residency as a member of Surfatial at ZK/U, Berlin. She was the recipient of the Nasreen Mohammedi scholarship for post-graduate study in 2005. Malavika’s paintings use the human figure to create narratives that are infused with a feminine sensibility. Her background in Indian classical music as well as her interest in the progression of Indian and Asian knowledge traditions form the basis of her inquiries. Her visual language is informed by miniature painting traditions, where the poignancy of ideas are conveyed through beauty, grace and poetry.

Tanushree Sarkar is an acclaimed and award-winning art director of films like Parineeta, Laaga Chunari Mein Daag, and Eklavya. As a kid, she had always been interested in painting and fine arts. She started her career at Ogilvy & Mather, a media company. After spending about four years and being a cinema enthusiast. she joined a newly opened production house. As her career progressed, she felt that her art was left behind. So after Gabbar, she decided not to do films anymore and dedicate more time to her art. She participated in the Indian Art Fair, at Nehru Centre. Her work is heavily inspired by Indian history and culture.

Anushree Rabadia completed her BVA in Painting from the Faculty of Fine Arts, Maharaja Sayajirao University, Vadodara, and is currently pursuing her MVA in Painting from MSU Baroda. She was awarded the Jeram Patel Award, Faculty of Fine Arts, The Maharaja Sayajirao University, Vadodara, 2020-2021. Anushree’s works are conceptually derived from her environment, nature, and the necessities of daily existence. She manipulates the materials according to the feel of the subject to communicate these observations. She uses pattern, flow, texture, rhythm, softness, sensitivity, and an interest in optical illusion to portray the intensity of her artwork, which enables her to produce 2- dimensional pieces on a mount board. She draws inspiration from India’s rich textile history for her own creative interpretations. Anushree lives and works in Vadodara, Gujarat, India.

Ekta Singha pursued a Bachelor’s degree in Visual Arts in Painting from the Government College of Art & Craft, Kolkata, India, She graduated with an MVA in Painting Faculty of Fine Arts, MSU, Baroda, Gujarat, India. Ekta captivates audiences with her ingenious blend of mediums and materials. Drawing inspiration from Mughal, Persian, and Rajput miniature painting traditions, Ekta has crafted a unique artistic identity. Influenced by her roots in Bangladesh, memories of her ancestral home infuse her work with depth and resonance. Ekta’s art reflects an intriguing fusion of two distinct traditions: miniature painting and Pata scroll paintings. While the former lends intricate visual elements to her work, the latter allows for expansive storytelling, imbuing her art with a sense of dynamic movement. Through her evocative use of materials and forms, Ekta Singha invites audiences on a journey of discovery through her captivating creations.

Maitreyi Desai, born in Valsad, Gujarat, Maitreyi Desai pursued her Bachelor’s degree of Visual Arts in Painting and Master’s degree of Visual Arts in Print-making from the M.S. University, Baroda. Maitreyi’s artworks feel ageless, like the bark of that hundred year old tree; and yet it is also deeply personal, ethereal in its delicacy. Through these interconnections with nature, she wishes to assert her own identity; an identity synonymous with rootness, and groundedness, to a home, a family, and if we can expand our consciousness, to nature. These are the layered metaphors in her work. The intricacies in her artworks are not just aesthetic representations of nature but also emotive, the essence of what it means to make a home, layer by layer, line by line is seen here. Maitreyi is currently based in Vadodara, Gujarat.

Neha Luthra was born in India and raised in Warsaw, Poland. She obtained her BA in Art History and Management from the University of St Andrews, Scotland, and an associate degree in Surface Pattern/Textile Design from the Fashion Institute of Technology, New York. Neha studied painting under the mentorship of Despina Sevasti in Athens, Greece, and is currently part of The Royal Drawing School’s 2024 cohort for their Drawing Development Year. Her current art practice draws on her own photography and life experiences as subject matter. She resides between Warsaw & Jaipur.

Sareena Khemka is a talented visual artist known for her work in mixed media, particularly drawing, painting, and sculptural installations. She has a strong focus on exploring urban landscapes, often weaving together narratives of the past and future of cities. Sareena holds a Bachelor of Fine Arts in painting from The School of the Art Institute of Chicago and Kala Bhavan, Santiniketan, India. Throughout her career, Sareena has participated in numerous exhibitions, showcasing her artwork in galleries and art spaces across India and internationally. Some of her notable exhibitions include ‘Future Foundations, ‘Walk-in Studio,’ and ‘Build & Grow. She has also been a resident artist at esteemed institutions such as Space 118 and The Piramal Art Foundation in Mumbai. In addition to her artistic practice, Sareena is passionate about art education and has conducted workshops with various organizations, including The Kiran Nader Museum of Art, Art 1st Foundation, and the Mohile Parikh Center Mumba. Sareena Khemka currently resides and works in Bangalore, where she continues to create thought-provoking and visually captivating artwork, pushing the boundaries of her artistic expression.

Astha Patel is a visual artist based in Vadodara, Gujarat. She draws inspiration from topics related to nature ecology and memory. Her practice primarily involves oil on canvas works, and tempera, gouache and watercolour on paper. She completed her Master’s in Visual from the Faculty of Fine Arts at the Maharaja Sayajirao University of Baroda, Vadodara in 2022. She received her Bachelor’s Degree from the same institution. In 2017 she received an ERASMUS Scholarship and completed a semester at The Universidad de Politecnica de Valencia, Spain 2017. In 2019 a collaborative project that she worked on with Pranshu Thakore, Rahi De Roy, and Savitha Ravi was displayed by the Tate Collective. She has also been a part of Residency Programmes at Space Studio Summer Residency, Vadodara 2021, as well as the Students’ Biennale at the Kochi Muziris Biennale. In 2023 she collaborated with the Mumbai-based luxury apparel brand, Aroka.

Vijaya Chauhan received her postgraduate in sculpture from Indirakala Sangeet University, Khairagarh, Chhattisgarh (2011). She was awarded ‘Kalasankranti Puraskar National Award. Vijaya’s practice is inspired by her experiences with learning braille, her works often include encoded messages in the same. Each work invites the viewer to engage both visually and through its tactile nature. She currently lives and works between New Delhi and Vadodara with her husband and son.

Tarini Sethi is a New Delhi-based artist. Tarini holds a BA in Political Science from Lady Shri Ram College, New Delhi, and a BFA in Drawing from Pratt Institute, New York. Her artistic practice explores themes like human intimacy, body consciousness, and sexuality, and draws from folklore and mythology through a multimedia practice that includes paintings, drawings, and metal sculptures. Sethi has been featured in Architectural Digest India and many other Indian publications and has been a part of design shows like the Mumbai Urban Arts Festival, as well as solo exhibitions at the IIC Gallery and Chemould Colab. As a woman from India, existing in a space of extreme sexual oppression and constant scrutiny, she tries to focus as much as possible on the idea that bodies can exist as perfect vessels for exploration, action and sexual emancipation. In the world she creates, bodies are freed from the ideas attached to the conventional notion of gender, perfection and beauty. She is the Founder and Curator of The Irregulars Art Fair and has exhibited across the world.

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Artistic Fusion of Myth and Reality

This interactive shadow puppet installation celebrates the rich tradition and invites audiences to explore the mythical world of Jinn characters through storytelling…reports Asian Lite News

Threshold Gallery in the Capital is showcasing ‘Immortal Tales, Fantastical Fables,’ a solo exhibition by Debjani Bhardwaj till April 18.

Drawing inspiration from the animal characters of the Panchatantra and the mythical human-animal hybrids found in Arabian folklore, this exhibition brings to life creatures that possess the power of human speech and thought. These beings partake in dark plots and vengeful acts akin to humans, while also mirroring the inherent traits of their animal counterparts in nature.

The exhibition portrays foxes as embodiments of slyness, deer as symbols of beauty, innocence, and vulnerability, and crocodiles as hidden dangers in seemingly peaceful environments.

The artist creates fantasy worlds that evoke curiosity, imagination, and wonder from her audience as they look into these small windows containing three-dimensional stories. Her miniature tunnel books based on scenes from the Panchatantra tales depict stories that are rich with vivid imagery and moral lessons that bring the timeless stories of the Panchatantra to life in an immersive format.

She also brings Arabian folklore to life in an interactive format which serves as a window into a magical world of perspective and illusion, inviting viewers to embark on a journey of discovery and imagination.

The viewers will be able to watch a shadow puppet film that celebrates the harmony between humans, animals, and the natural world, inspired by the ancient practice of animal-centric yoga asanas.

This interactive shadow puppet installation celebrates the rich tradition and invites audiences to explore the mythical world of Jinn characters through storytelling.

Debjani’s chosen materials, whether paper, clay or glass domes, are treated as mortal entities with their intentions and limitations, adding a delicate balance of control and chance to her artistic process. The fragility and intricacy of her work evoke both tenderness and unease, drawing viewers in with their beauty while subtly unsettling them, akin to a dream from which one cannot awaken.

She invites viewers into intimate spaces to engage in playful exploration, prompting a sense of discomfort that lingers, inviting deeper reflection on the narratives and realities she presents and seeks to make them question the world around them.

“This exhibition helped me delve into wise, pithy and ancient tales and taught me some essential life lessons. Each story unravels into several more, they are nested inside one another like Matryoshka dolls. Precisely why I have used layered tunnel books to explore them,” said Bhardwaj.

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Step Into a World of Allegory and Fantasy

The artist’s concerns are not confined merely to those that meet the eye, but also those that remain hidden — that take place in the home, in the interior of the mind…reports Asian Lite News

Through nuanced paintings that use allegory, magic realism, mythology, and fantasy — the show ‘Within, Without’ is Ranjan Kaul’s expression of what he views as a discordant, chaotic and disrupted world.

The works that will be exhibited here at the Visual Art Gallery, India Habitat Centre, from March 27 to 31 are reflections on the complexities of contemporary society inured to realities into complacency by altogether new technology-based media narratives.

Among the focus areas of his work include the condition of women and children, self-interest, and the plight of the oppressed and marginalized.

The artist’s concerns are not confined merely to those that meet the eye, but also those that remain hidden — that take place in the home, in the interior of the mind.

Rather than creating a mood of despondency and despair, the works give a glimpse of hope and harmony, of a world with love and romance, music and dance. Rather than depict his serious thematic as realistic reportage, the artist often enlivens his work with a quirky, satirical skylarking, oftentimes using hybrid, chimeric creatures.

After March 31, the exhibition will continue at Urban Fringe – the underground studio at Okhla Phase 1 from April 12 to 22.

A dominant theme in the show is the predicament of women, particularly those belonging to the oppressed groups, given their lack of choice and autonomy and absence of agency. While the paintings depict their onerous social circumstances, they do at the same time offer a glimmer of hope, portraying as they do their strength, resilience, and resolve.

The artist’s ‘Disrupted’ series expresses the trauma that women as well as men go through, faced with the strains of living in a harsh and at times antagonist society that is often unaccepting of the choices they make.

Some of the paintings weave narratives around the wider socio-cultural landscape — these include a series of five paintings loosely inspired by Shelley’s poem, ‘Masque of Anarchy’, wherein the poetic imagery is juxtaposed with imagined scenes from current times.

Another two satirical works depict the growing obsession with the self, of makeovers, body-shaping and selfies, while another is a tongue-in-cheek image of a cocktail party.

“The primary focus of this show is to give imaginative articulation to what I believe are the disruptive and disquieting conditions we are living in. I use a range of devices and visual languages – from mythology and literary references to flora symbolism and human-animal hybrid characters,” says Kaul.

He further adds, “I have explored a variety of styles, treatments, and choices of the medium in consonance with my shifting thematic — from heavy, textured layers of acrylic using the palette knife, watercolour, mixed media, to working with thick brushstrokes using oil. I find sticking to a particular style or theme rather constricting, and thus remain free from conservative constraints that can inhibit an artist from innovating, discovering, learning.”

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