Tag: ART

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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.

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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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‘Electric Floral Fantasy’: A Surreal Fusion of Natural and Synthetic

With her abstract photographic compositions that are created by employing a range of image production techniques, she creates a dialogue between the natural and the unnatural, immersing the viewer in the details of its elements…reports Asian Lite News

Method Kala Ghoda will present ‘Electric Floral Fantasy’, Eeshani Mitra’s solo exhibition (till April 7) at Method – Kala Ghoda, Mumbai, where Mitra lives and works. This new body of work includes a series of printed photographic installations, video installations and wax works.

The exhibition continues Eeshani’s exploration of natural and synthetic materials, giving rise to works where the foreign and the familiar collide.

With her abstract photographic compositions that are created by employing a range of image production techniques, she creates a dialogue between the natural and the unnatural, immersing the viewer in the details of its elements.

Extending beyond traditional narratives and formats, the body of work is a window to a surreal world, which is scanned and sometimes moulded in wax by the artist. Interested in the physical interaction of the viewer and the work, Eeshani’s wax-works invite the viewers to touch and investigate the surface of her immersion experiments. Textures emerge, as the nooks and grooves that tend to go amiss, show themselves amongst the space occupied in the wax by floral articles, nylon, paints, plastic, moss and other organic materials.

Eeshani finds inspiration in an emulsive blend of organic and inorganic materials. Her work starts with elements that intrigue her. She observes and understands how the pieces come together, creating textures and patterns each unique to the blend, resulting in compositions that are surreal and dreamlike.

The artist experiments with a range of drying and blending techniques with the materials while at the same time, preserving a balance of elements in her compositions. The textures created in her images are a result of playing with different viscous mediums such as oils, glycerin, detergent, colours, and water. These mediums are placed in a flat-bottomed glass container, where she mixes each synthetic element independently in steps to discern the formation of textures slowly before adding organic materials such as flowers, leaves, and moss.

For her images, she makes use of a large format scanner, capturing the highly detailed textures and minutia of her emulsions. Aside from using glass containers for holding the mediums while scanning, Eeshani often drains out the remaining liquids and transfers them between plastic sheets. These sheets are then carefully placed over the scanner glass and manipulated by hand while the machine begins to scan the ever-changing shapes created by these distortions.

Through multiple attempts by the scanner to create imaging of the fluid compositions, the artist finds and enhances the parts that speak to her.

To make the wax sculptures, Eeshani begins by melting natural wax in a deep container placed over a hot water bath. Gradually, she adds colours and selects various elements such as preserved floral articles, acrylic, and plastic colour gels. She frequently integrates pieces of moss such as preserved reindeer lichens, which are meticulously positioned inside a square silicone mold. Subsequently, she pours the molten wax over them and adds additional layers of elements on top.

Once the sculpture is prepared and repoured for vibrancy, the mold is set aside to prevent dust accumulation during the curing process. It remains undisturbed for a day before being removed from the mold.

A visual artist and zine maker, her work spans various media, including photography, video installation, sound, print and sculpture. By employing a range of image production techniques, she juxtaposes common objects—floral articles, linen, wax, vinyl, and other synthetic materials—to create vivid imagery where the foreign and the familiar seem to collide. Eeshani lives and works between Kolkata and Mumbai.

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Art Alive Gallery Presents ‘Contours of Continuum

The ethereal compositions transport us to an endless and fluid landscape where we are invited to lose ourselves in contemplation…reports Asian Lite News

Art Alive Gallery in the capital is set to present ‘Contours of Continuum’, a solo show exhibiting paintings by Mumbai-based Yashwant Deshmukh from March 15 to April 5. Deshmukh is a contemporary Indian artist known for his contemplative style depicting the lack of movement or the stillness of space.

His abstract and meditative style heavily relies on symbolism and functions as a bridge between the material and the spiritual. At his latest exhibition in Art Alive, the artist invites viewers into a world of otherworldly serenity. In this realm, the boundaries between form and space dissolve, and objects take on a mystical significance as conduits for metaphysical exploration.

The ethereal compositions transport us to an endless and fluid landscape where we are invited to lose ourselves in contemplation.

Through his use of colours, textures, and arrangement, Deshmukh delves into the intricate relationship between memory, perception, and intuition, provoking the viewer to reflect on the very essence of existence. He captures the delicate nuances of life and evokes a commanding presence that impels viewers to immerse themselves in the alluring harmony of ordinary moments.

Everyday objects become the lead actors in a tranquil dance, melding their outlines with the boundless void of negative space. Every stroke of the brush is a meditation, every coat of paint a hushed secret, as Deshmukh unravels the enigma of stillness.

The artist shared: “In my work over the last two decades, I have explored the interrelation between form and space. My visual language constitutes a deeply layered palette composed of objects that are often considered mundane, rendered in speculative forms that capture their visual patterns, ambience and atmosphere. I am excited to show these works in the Capital.”

Premjish Achari, the curator added: “Through his use of colours and intricate textures, Deshmukh infuses his pieces with a palpable sense of energy and vitality. The objects in his paintings seem almost alive, their contours pulsating with movement and emotion. With an impeccable eye for detail, he captures the subtle nuances of everyday life and elevates them to a place of profound significance. It is as if every object holds within it the potential to unravel the mysteries of reality, woven together by the ether itself. Each piece serves as a powerful reminder that even amid the chaos, there exists a serene stillness that can be found by simply pausing and appreciating the world around us.”

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‘Empower the Experienced for Art Infrastructure Growth’

For someone who has done theatre, and music, besides a film appreciation course from FTII, Pune, Mumbai-based Krishnamachari feels art learning cannot be just a one-direction journey and it is important to make oneself aware of other creative practices…reports Asian Lite News

Stressing that collaboration should be “our future mantra” and it is paramount to encourage collaborations with museums, cultural institutions, writers and artists across contemporary art, theatre, music, performance and audiences, artist and co-founder of the prestigious Kochi-Muziris Biennale, Bose Krishnamachari opines, “I strongly believe we should have more tailor-made travel scholarships.”

“Besides, higher-level educational scholarships for students should be opened, and 24×7 studios and sites should be made available. Curated programs and exhibitions must be commissioned. These are all important towards creating an accessible, nourishing art ecosystem,” he adds.

Krishnamachari has been ranked 38th on the Global Power 100 list of the most influential people in art by Art Review, an internationally renowned art magazine feels that it is high time that governments start paying more attention to art infrastructure, betterment of museums, exhibition spaces and update the syllabus in art schools.

“Our bureaucracy on all levels must seek advice, outsource and commission the right people. They need to give powers to the learned or the experienced – powers to envision projects, infrastructure and public policy,” he tells.

A pass-out from Sir J. J. School of Art in Mumbai, and a Master of Fine Arts from Goldsmiths’ College, University of London, Bose, who was recently in Saudi Arabia for the AlUla Future Culture Summit, agrees that Middle-Eastern countries are now investing hugely in culture, thus opening up a wide scope for cultural tourism like many countries in Europe.

“I was stunned to see the expanse and extent of culture blooming in the region. One had to see the amazing initiatives to believe. Everywhere in Al Ula, below the sky, the visuals are magical and organic sculpture-scapes in multiple scales. It is one of the best locations to explore more possibilities for a future destination, an intangible and vivacious site in scale. Gio Forma’s designed architecture, 2960 mirror skin absorbing images of surroundings – it was just otherworldly,” he says.

Impressed to see an array of talented and educated young women who studied abroad and returned to their origin, the artist adds, “Absolute enthusiasm and inquisitiveness with positive energy. Signs of women leading the culture scene in Saudi and in the UAE – what a great thing! And let us not forget the Louvre by architect Jean Nouvel and Frank Gehry’s Guggenheim Abu Dhabi will be ready in a few years.”

For someone who has done theatre, and music, besides a film appreciation course from FTII, Pune, Mumbai-based Krishnamachari feels art learning cannot be just a one-direction journey and it is important to make oneself aware of other creative practices.

“This exercise gives you confidence in complementary subjects and frees you from the conventions of schooled thought and forms. A multicultural, multilingual, multi-race, multimedia and ultra-media and secular place is more creative than a mono-discursive site,” he asserts.

In the last one decade, one has witnessed a spate in the number of private museums and art foundations in India with many more coming up. Pleased with the development, the artist feels it is a welcome change, but they too must, like universities, invest in artist support structures.

“Production spaces are the most important – photo processing studios, printmaking studios, woodworking studios, laboratories of material science and experts, metal foundries etc. Present and future universities must transform into universities of culture, aesthetics, design and technology-based laboratory studios. And finance will follow them,” he concludes.

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Exploring Femininity and Equality

Curated by Manisha Gawade, the show is a collaborative effort of three art galleries including Pioneer Art Gallery, Divine Art Gallery and digitally partnered by Ehsaas and will be held at both the galleries in the Capital from March 8 to 28…reports Asian Lite News

‘Reflections of Womanhood’, an exhibition of paintings, sculptures, photography, installation and printmaking celebrates not only women but also everything feminine from earth to life and to the inception of the universe with Shiva and Shakti. Highlighting the need to remove gender inequalities, the show houses 54 artists, who have narrated tales of courage, love and dedication of countless women on their canvases and sculptures. It also includes two senior dance dancers who will be inaugurating the show.

Three instrumentalists and a troop of kathak dancers will also be present. Curated by Manisha Gawade, the show is a collaborative effort of three art galleries including Pioneer Art Gallery, Divine Art Gallery and digitally partnered by Ehsaas and will be held at both the galleries in the Capital from March 8 to 28.

The list of artists includes F.N. Souza, Krishen Khanna and Ram Kumar, Alka Raghuvanshi, Amargeet Chandok, Ananda Moy Banerji, Anil Gaikwad, Anita Kulkarni, Anjolie Ela Menon, Anki Bhutia, Anu Nayak, Anupam Sud, Arpana Caur, Arup Das, Ashok Bhowmick, Asit Patnayak, Bhaskar Rao, Biman Dasgupta, Durga Kainthola, Gagan Vij, Gogi Saroj Pal, Jogen Chowdhury, Kanchan Chander, Kavita Nayar, Laxman Aelay, Manisha Gawade, N.S. Rana, Nagesh Goud, Niladri Paul, Nupur Kundu, Paresh Maity, Praveen Upadhye, Priyendra Shukla, Prof. Niren Sengupta, Qamar Dagar, Ramesh Gorjala, Rashmi Khurana, Ratan Shah, Rini Dhumal, Shakti Burman, Sangeeta Gupta, Sanjay Bhatacharya, Sarla Chandra, Seema Kohli, Shabir Santosh, Shampa Sircar, Sheela Chamaria, Shobha Broota, Shridhar Iyer, Sonali Durga Chaudhari, Sonika Agarwal, Sudhir Bhagat, Vilas Kulkarni, Vimmi Indra and Vinod Sharma in alphabetical order. The curator of the show and Director of Ehsaas, Manisha Gawade said: “Only a drastic change in our education can lead to economic freedom for women, leading the way to a progressive new tomorrow.

Gender biases cannot pave the way for our generations to come. Ehsaas has always stood for women, artists and weavers. We believe that all the art forms are interdependent. We take pride in staging this wonderful event as a combined amalgamation of the various art forms.”

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Baro Market’s Affordable Art Show Returns to Mumbai

The exhibition will showcase 13 Thangkas.  An expert from Leh will be present to unravel the significance and stories behind these captivating artworks…reports Asian Lite News

The Baro Market’s Affordable Art Show in Mumbai has become an annual exhibition to facilitate buyers to purchase art at affordable prices.

The art showcased isn’t limited only to new and upcoming artists but also the established names.

This year’s show will take place from March 1 to 3 at Method in Juhu, Mumbai. More than 200 paintings have been sourced from established galleries and artists directly from across India.

The art on display, curated by Srila Chatterjee is a mixed bag of several art forms, mediums, genres, and artists. The highlights of this show include ‘Thangka’ art that is native to Ladakh and Sikkim. These artworks have been brought in from Ladakh and emanate the captivating journey into the rich tapestry of Tibetan Buddhist culture and art.

Thangka art is meticulously rendered on cotton or silk appliqué, offering a glimpse into the ancient murals of early Buddhism. Each Thangka, mounted on ornate silk textiles reminiscent of Chinese scroll art, tells a story of Buddha, Buddhist deities, scenes from Buddhist life, or serves as a mandala—a geometric tool for spiritual guidance.

The exhibition will showcase 13 Thangkas.  An expert from Leh will be present to unravel the significance and stories behind these captivating artworks.

In addition to Thangka, the Affordable Art show will also sell art by some well-known names including Amit Ambalal, Rekha Rodwittiya, Chandrashekar Koteshwar, KG Subramanyan, Laxma Goud, Nandan Ghiya, Remen Chopra W. Van Der Vaart. , Jehangir Sabavala, Sumedh Rajendran, Suhas Roy, and Schon Mendes.

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Journey Through Indian Art History

A segment of the exhibition has been dedicated to the work of Bengal masters and modernists, including artists like Purna Chandra Chakraborthy, Bijan Choudhury, Prokash Karmakar, Isha Mahammad, Rabin Dutta, Shyamal Mukherjee and Chiitrovanu Mazumdar…reports Asian Lite News

Gallery G in Bengaluru is set to hold ‘The Masters & The Modern: An Amalgamation of the Old & New World Classics’ (February 26 to March 31), an exhibition that bridges the historical depth and contemporary vitality of Indian art.

The exhibition is a tribute to the major figures of Indian art such as V.S. Gaitonde, whose abstract canvases are meditation in colour and form; M.F. Husain, whose prolific output has depicted the vibrancy of Indian ethos and mythology; F.N. Souza, renowned for his stark, powerful imagery; and Ganesh Pyne, known for his depiction of romanticism and fantasy.

Also on display will be the works of modern maestros, including Ram Kumar, whose art is a calming journey from city to landscape; Kalal Laxma Goud, whose etchings and paintings bring forth the rawness of rural India with a modernist flair; K.G. Subramanyan, whose artworks are a dialogue between traditional Indian aesthetics and contemporary sensibilities; Badri Narayan, whose storybook-like paintings invite viewers into whimsical worlds; Achuthan Kudallur, whose abstract interpretations explore the confluence of emotion and colour; and Jogen Chowdhury, known for his distinctive style that merges the personal with the universal, marked by an intricate detailing and a deep understanding of the socio-political fabric of India.

A segment of the exhibition has been dedicated to the work of Bengal masters and modernists, including artists like Purna Chandra Chakraborthy, Bijan Choudhury, Prokash Karmakar, Isha Mahammad, Rabin Dutta, Shyamal Mukherjee and Chiitrovanu Mazumdar.

Driven by a desire to revive traditional Indian art forms and themes, these Bengal artists depict mythological and spiritual themes, focusing on the inherent beauty and spirituality of Indian culture.

Their delicate, lyrical style with softer colours stands in stark contrast to the bold colours, dynamic compositions, and experimental techniques adopted by the Bombay Progressives and artists who followed in their footsteps.

Archana Shenoy, curator of the exhibition shares, “This exhibition is a homage to the enduring spirit of Indian art, celebrating its rich history and the continuous evolution that propels it into the future. It is a platform where the timeless works of our masters and the innovative explorations of modern artists converge, offering a narrative that is both reflective and forward-thinking.”

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