There will be more than 120 papers from the Bawa archives on display, including a section on unfinished projects and Bawa’s personal travel photos…reports Asian Lite News
To commemorate the 75th anniversary of diplomatic relations between India and Sri Lanka, the National Gallery of Modern Art, the Ministry of Culture, Government of India, the High Commission of Sri Lanka, New Delhi with the Geoffrey Bawa Trust Colombo, presents Geoffrey Bawa: It is Essential to be There.
This gathering honors the cultural exchange program and is the first major exhibition which draws from the archives to look at the Sri Lankan architect Geoffrey Bawa’s practice.
The show examines the various ways in which images were used in Bawa’s work by examining relationships between concepts, drawings, buildings, and locations. There will be more than 120 papers from the Bawa archives on display, including a section on unfinished projects and Bawa’s personal travel photos.
Although Bawa’s work has been exhibited at multiple venues in Sri Lanka, The United Kingdom, North America, Australia, India, Brazil, Singapore, and Germany, this is the first exhibition to focus on the archive, and the first retrospective exhibition of his work to be shown internationally since 2004.
Geoffrey Bawa: It is Essential to be There.(photo:IANSLIFE)
For the India-edition of Geoffrey Bawa: It Is Essential to be There, the Initiating partner Kohler India, Airline Partner/National Carrier of Sri Lanka, SriLankan Airlines, and Logistics Partner, CF Global, provided the Geoffrey Bawa Trust with generous funding assistance.
Dates: 18th March – 8th May, 2023
Venue: National Gallery of Modern Art Jaipur House, India Gate, New Delhi 110003, India
Hours: Tuesday to Sunday from 11 a.m. – 6.30 p.m. Closed on Monday.
A self-taught artist whose mother studied at the JJ School of Art, Chanana says ‘trial and error’ has been her greatest teacher and ascertained that she evolved as an artist…writes Sukant Deepak
For her, the underlying thought while creating art is to keep alive values, lend life a meaningful essence and express gratitude to the universe through creativity.
As NCR-based artist Chandni S. Chanana gets set for her latest exhibition ‘Ananta’ on March 11 at the Visual Arts Gallery, India Habitat Centre in the Capital displaying about 55 artworks mostly focusing on vibrations, sound and music in acrylic and oils on canvas, she stresses that the mix of and blend of colours fascinates her no end.
“When I begin on a blank canvas, many times I am unaware of the end result. The process of the work falling into place slowly is extremely satisfying and fulfilling. What finally emerges is nothing short of magical for me,” says the artist, who has exhibited her works extensively in India and abroad.
Adding that she aims to show movement in her paintings so that the viewer is able to feel the vibrations, Chanana says, “There is immense satisfaction when my art touches the soul of the person looking at it .”
A self-taught artist whose mother studied at the JJ School of Art, Chanana says ‘trial and error’ has been her greatest teacher and ascertained that she evolved as an artist.
“Yes, formal training does ensure technical finesse, but being self-taught has made me learn that one can go beyond a book to create. Isn’t creativity boundless?”
An avid traveller, the artist feels exposure to diverse cultures and interactions with people all across have enriched her no end. “But this has also made me value our own heritage and culture more. Precisely why I am inclined towards feeling the vibrations and spirituality that exist in the minutest object around us.”
Chanana asserts that music and dance have greatly impacted her artwork, and that clearly comes out in her works considering they express a lot of movement and vibrations.
DAG spotlights New York-based artist Natvar Bhavsar in a solo presentation at Art Dubai 2023(Ianslife)
In the 1960s, when Indian abstractionists were discovering this new genre, Natvar Bhavsar found himself amidst the colour-field artists in America, then at the height of their success…reports Asian Lite News
DAG will participate at the sixteenth edition of Art Dubai 2023 with Natvar Basvar: Cosmic Whispers, a solo presentation dedicated to New York-based artist and India’s major colour-field abstractionist Navtar Bhavsar, featuring works from 70s to 90s – the most decisive decades in the artist’s practice.
Among the most institutionally acquired artists with a six- decade career in New York and collected by institutions globally including The Metropolitan Museum of Art, New York, Boston Museum of Fine Arts, Guggenheim, National Gallery of Australia as well as corporates such as Goldman Sachs, American Express, Chase Manhattan, Union Bank of Switzerland, among others, Bhavsar’s extraordinary talent combines his arduous technique with textured, intensely coloured paintings using dry pigments to create truly unique works of art.
In the 1960s, when Indian abstractionists were discovering this new genre, Natvar Bhavsar found himself amidst the colour-field artists in America, then at the height of their success.
Among the likes of Mark Rothko, Barnett Newman, Clyfford Still, Piero Dorazio and others, Bhavsar soon created a distinctive identity for himself, bagging major exhibitions at leading galleries and museums for his large-format works and, established his practice in New York where he continues to live six decades after first arriving in the city.
The founding-farther of hand-sifting pure powder pigment onto canvas, Natvar’s meticulous attention to detail in working with colour pigments is being defined as an exquisite talent that to date is unmatched around the world.
What sets Bhavsar apart from his peers is a unique technique and way of using colours that lends depth to his abstract compositions. Using organic pigments and alkaloids, Bhavsar sieves dry colours through a variety of sieves and tools to build up layers of a dominant field colour surrounded by whispers of colour pigments that result in a constellation of tones and textures. These parallel universes exhort an exploration that connects his life in America with his memories of growing up in India, its culture and festivities, deep philosophies and celebration of nature.
“Natvar Bhavsar is a major artist globally and we at DAG are delighted to ensure that his legacy is shared worldwide through exhibitions such as ‘Cosmic Whispers’ at our booth at Art Dubai. We have played a complementary role since 2016 when we first included his works in our exhibitions, and our relationship has since grown from strength to strength. It is a privilege to work with an artist of his calibre and talent, and to see the great admiration he enjoys for his practice,” said Ashish Anand, CEO and MD at DAG.
Of his use of colours, Natvar Bhavsar has said, “Colours engage you fully, lead to freedom and create a sublime world that is deeply fulfilling.” In keeping with his roots, Bhavsar titles his paintings with words from diverse Indian languages as an ode to the land of his birth.
Beyond that, his art is truly global. Over the decades, there have been shifts and transitions in his visual vocabulary but he has remained consistent in the manner he manipulates colour to place it at the centre of his creative process. His art is as deliberate as it is detailed. No other artist has used colour as potently as Bhavsar who is as mindful of its presence as he is of its absence, making him one of the foremost players among the world’s leading colour-field artists and India’s greatest exponent of the possibilities offered by it.
Natvar Bhavsar is an abstractionist known for his colour field paintings, working on large canvases with pigments made of natural and organic materials. Born in an educator’s family on 7 April 1934 in a small town in Gujarat, he studied to be a drawing teacher and began his career in Chanasma. He then joined the C. N. School in Ahmedabad for its five-year diploma course in art offered by Sir J. J. School of Art; simultaneously, he continued to study for his master’s in teaching art.
As a twenty-seven-year-old, Bhavsar learnt about the possibilities of further education from a class fellow’s father and enrolled at the Philadelphia Museum College of Art to study industrial design, but once there, changed course to study painting at the Tyler School of Art, Temple University. Here, he met Janet Brosious, an artist and art educator; they would later marry in 1978.
In 1970, he had his first show at Max Hutchinson Gallery, New York. His paintings invariably have an Indian title, linking his works closely to the land of his birth and youth, and they often address subjects or myths familiar to those from India-whether in a literal or abstract sense. Bhavsar is at once a thoroughly American painter and product of Indian culture,’ Carter Ratcliff, art writer, said of him. Well established and widely appreciated, Bhavsar lives and works in New York.
In January 2022, tapestries based on Madhvi and Manu Parekh’s Parekh’s paintings provided a dramatic background for models at Christian Dior’s haute couture show in Paris DAG…reports Asian Lite News
DAG announced its participation in the 10th edition of Frieze Masters 2022 with Madhavi Parekh: An Ancient Modernness, a solo artist presentation featuring ten works from the 1970s, a decade that marked a pivotal period in the artist’s life as she relocated, with her family, to New Delhi-exchanging the cultural and cultured life of Calcutta (now Kolkata) with one that was more opinionated and opulent.
The blue-chip gallery will stage Madhvi Parekh in the Spotlight section dedicated to 28 women artists born between 1900 and 1951. Inspired by both village art and a modernist vocabulary but belonging to neither, Parekh’s works explore relationships between people as well as their environment, emerging from her interest in art when she was pregnant with her first child. Thoughtfully curated by Kishore Singh, Senior Vice-President, DAG, the exhibition opens on 12 October 2022 for five days until 16 October 2022 and marks the debut for the artist’s work in Great Britain.
Reserved by temperament, 1970s turned Parekh’s inwardness towards the care of her young daughters. For them, she created a world of alternate fantasy, a visualisation of all that was fantastic and magical, an escape from reality in which she was free to explore the sea she had left behind in Bombay (now Mumbai) or the memories of a happy and joyful childhood growing up in a village in Gujarat in western India. Her escapism provided her, the key to an idyllic world, one in which beings real and imagined, winged or terrestrial, friendly or reviled, co-habited together in a space that was equally everyone’s. Amorphous shapes assumed identities and personalities, the non-living shared space with the living, no one’s existence threatened the others, and their co-dependency was thrilling as well as enthralling.
Her paintings took the form of stories she told her little girls, filling their heads with lessons from an ancient past that were creative and laced with the songs and innocence of childhood. Her use of colours exemplified this cheerful optimism but the technique recounted too the manner in which village homes, brushed with mud and raked by sharp implements to create patterns, would be used as canvases for painting familiar motifs. Her canvases replicated the pattern to give the paintings a texture that became part of her unique identity as an artist. In reinforcing a world of dependency, Parekh used a folk language that she created as a modern artist-presciently, as it turns out-that the environment is not the domain of a few humans but belongs equally to all.
In January 2022, tapestries based on Madhvi and Manu Parekh’s Parekh’s paintings provided a dramatic background for models at Christian Dior’s haute couture show in Paris. “This endorsement of a vitally important Indian woman artist by an international company such as Dior strengthens our belief in Madhvi Parekh’s uniqueness and her global appeal,” said Ashish Anand, CEO and Managing Director, DAG.
“Her work occupies a territory entirely of her own making,” according to Kishore Singh, the curator of the Spotlight booth on Madhvi Parekh, “She has constantly resisted pressures to conform and established her presence in a voluble art market where she stands apart for her distinctiveness and uncompromising focus.”
Often extolled as a ‘woman’ painter, Parekh’s art has never been premised on gender. Instead, she occupies an artistic realm with strong ethical values based on a sense of humanitarianism, environmental inclusion, and memory. Entirely self-taught, Madhvi’s interest in art was spurred to an extent by her artist husband, Manu Parekh, and began with a perusal of Paul Klee’s Pedagogical Sketchbook. Dots and lines fascinated her, and soon she was playing with them, creating an art form that has challenged critics and art writers because there is no easy category to which she can be easily confined. At most, it can be said that her work parallels folk art, even though it is not like any known folk form in India or elsewhere, and has the rawness and energy of modernism. Sometimes referred to as a folk modernist, hers is a style that is distinctive as well as unique.
Owing to the long-standing relationship with the artist, DAG has shown Madhvi’s work at major exhibitions around the world and also featured in books in India and overseas. A major retrospective exhibition, ‘The Curious Seeker’ organised by DAG, opened in New Delhi in 2017 and travelled to Mumbai, Ahmedabad and New York to critical acclaim. The artist has been featured in a documentary film along with her artist husband.
You can browse an exclusive lineup of products that are good for you and the planet, ranging from responsible fashion to ethical beauty to joyful home decor…reports Asian Lite News
Amala Earth is a one-stop shop for all things earth-friendly, taking a step toward conscious living. Amala Earth intends to drive positive change with an array of environmentally conscious brands and products under its umbrella by bringing you its first-ever curated exhibition called the Symphony for Earth, where you can buy a variety of beauty, fashion, home, food, and wellness products.
The exhibition aims to intertwine mindfulness with purposeful consumption by skillfully curating homegrown brands with handcrafted, handwoven, and handmade products, with the goal of gradually introducing conscious options into our daily lives. The exhibition will feature 60 stalls with brands championing the art and practise of sustainability and conscious living, including Doodlage, Urvashi Kaur, Sui, Sirohi, Dressfolk, Soham Dave, Shades of India, Khara Kapas, Itr by Khyati Pande, Naushad Ali, and others.
The curated exhibition aims to bring together a diverse range of handcrafted offerings under one roof, with a key focus on raising awareness and sparking dialogue for a better tomorrow.
Daivik Moringa
The exhibition caters to all those who are already living or wish to begin their journey towards an earth-friendly lifestyle, whether you wish to indulge in artisanal delicacies or engage in some festive shopping. You can browse an exclusive lineup of products that are good for you and the planet, ranging from responsible fashion to ethical beauty to joyful home decor.
With its vegan offerings and holistic wellness products, the all-encompassing exhibition can also satisfy your health-meets-delicious cravings. With Rakhi just around the corner, now is the time to find a meaningful gift that has been thoughtfully curated and represents the love you share with your family.
Merraki Essential
Gunjan Poddar Jindal, founder Amala Earth, quoted, “I hold the word ‘transformation’ very close to my heart. I began my sustainable journey by introducing natural fabrics into my wardrobe and indulging in a vegetarian diet at home. Our choices define our lifestyle and we are a product of our learnings. That is why I built Amala Earth to be a platform where responsible choices are embraced. As a company, we believe in growing a community of like-minded people while working towards a sustainable tomorrow.”
Unlike traditional cities, it will run on 100% renewable energy and prioritize health and well-being over transportation and infrastructure…reports Asian Lite News
NEOM is launching an exhibition in Jeddah to share the recently announced designs of THE LINE with the public. The display includes detailed designs, renders and architectural concepts of THE LINE, enabling visitors to better understand the scope and complexity of the project. The exhibition starts on August 1 at the Superdome in Jeddah and will offer nearly 50 guided tours per day in both Arabic and English. The displays are spectacular and providing levels of detail that reinforce the ambition of the vision for this new urban environment.
On July 25, His Royal Highness Mohammed bin Salman bin Abdulaziz, Crown Prince and Chairman of the NEOM Board of Directors, announced the designs of THE LINE. The announced designs provide the most important characteristics of THE LINE, which is 200 meters wide, 170 kilometers long and 500 meters high. It will eventually accommodate 9 million residents and will be built on a footprint of 34 square kilometers. This small footprint will use less land when compared to other cities of similar capacity and will contribute to conserving 95% of NEOM’s land. THE LINE puts nature ahead of development, envisioning a future for urban communities without streets, cars and emissions. Unlike traditional cities, it will run on 100% renewable energy and prioritize health and well-being over transportation and infrastructure.
During the exhibition, the public will be able to experience THE LINE first-hand and explore the endless possibilities of future living. An online booking and registration process will ensure no overcrowding and maximum impact for guests. Visitors can now register to receive free tickets via Hala Yalla. Every tour lasts one hour.
The exhibition will run from August 1 to August 14, before moving to other locations such as the Eastern Province and Riyadh. It will be open daily from 10 a.m. to 11 p.m.; advanced registration is required.
The works stand alone as hypnotising, visually pleasing and prompting introspection, but are activated in a certain context of all art explorations that have come before them, by breaking down binaries…reports Asian Lite News
Gallery Art Exposure in Kolkata is showing ‘Memory Leaves’, an exhibition of three emerging artists – Viraag Desai, Radhika Agarwala and Rid Burman – who have created works that embody their idea of the world they inhabit.
Using their art education abroad to define their own journeys, the viewers will sense a direct semblance to the lyricism of poetic nuances and fineness of practice as visual artists. In all their compositions, we can revisit spatial memories that are translated into different mediums; the experience for each viewer will be sensorial as each artist conjures up memories of a not-so-forgotten past into formulations that translate into a visual, contemplative dialogue.
Rid Burman presents ‘photograms’ created in the dynamics of dark room drama in Paris. Colour for Burman is about an evocative mood of emotion. After shooting an array of fashion sequences for elite magazines, his eyes rest on abstract moorings that have about them a dense deepness as well as a connectivity of cohesive patterns that define the universe. Colour and context both take on dispersive dimensions when he plays with multiple possibilities in the charting of abstract notes in earth rhymes.
For Radhika Agrawala, who just returned from Art Dubai, it is about reframing the prism of nature as a confluence of perception as well as feeling for nature and all that is therein. Her work aims to coax the sublime from the subliminal. Her formations are like evocations of the ancient past touched with futuristic possibilities-perhaps a nod to modernism’s different registers. Her vision of forms is distinctly feminine and privileges a subtle harmony with nature over her mastery of intent, as evidenced by the imperceptible transitions.
With works inviting the viewer to open up to a great multiplicity of alternative ideas in sculptural signatures, Viraag Desai loves having a digital dalliance with the essence of form. The works stand alone as hypnotising, visually pleasing and prompting introspection, but are activated in a certain context of all art explorations that have come before them, by breaking down binaries.
Somak Mitra, Director, Gallery Art Exposure, shares: “‘Memory Leaves’ is a coming together of three vibrant contemporary artists, each individual and with disparate distinctive styles who have gathered together to sum up their expressionist journeys through their learning in a novel and explorative way.
“Audiences will be treated to abstract colour and dark patterns in photograms, with distinctive feminine artistic forms that swing between the past and future and the exciting presentation of 3D art where art and science merge in an interesting new dimension allowing audiences to have a taste and feel of new vistas of communication that are both visual and one that can be experienced.” The exhibition is on till June 30.
Sagar Kamble’s Black Rain in mixed media on canvas attracted the judge’s attention, making him the winner of this year’s highest prize, the Governor’s Award which carries rupees one lakh in cash and certificate…reports Asian Lite News
The Bombay Art Society (BAS), founded in 1888, one of the oldest non-profit art institutions in the Asian subcontinent promoting visual arts for 132 years, is presenting its 130th annual art exhibition.
The BAS annual art exhibition, the only art exhibition in India that is held continuously for 134 years except for a few years during the first and second world war, is considered as the talent hunt in the country. The selected 240 artworks hand-picked from a total of 2500 entries received from all over India through a highly refined selection process involving art experts at every stage of selection are presented in this exhibition.
The inauguration of the annual art exhibition is scheduled at 5.00 pm on 01 March at Jehangir Art Gallery at the hand of Shri Bhagat Singh Koshyari, Hon’ble Governor of Maharashtra and Sangita Jindal, Chairperson, JSW Foundation in presence of hundreds of artists.
Lakshman Surybhan Chavan Painting, Swayveden. 48 x 48 Inches Acrylic on Canvas.
The Bombay art society has started Roopdhar Lifetime Samman in the field of visual art for the last seventeen years. This year we are felicitating one of the great artists and Shri Ravi Paranjape with the Roopdhar lifetime achievement award which carries a citation and one Lakh rupees cash as a token of love. The Roopadhar lifetime achievement award will be conferred on Shri Ravi Paranjape on 01 March 2022 at the time of the inauguration of the annual art exhibition.
Mangesh Patil, who works in a realistic style and excels at portraiture bagged this year’s Bendre-Husain scholarship whereas Laxman Chavan’s Acrylic canvas in semi-abstract idiom got him Lalibhai Dharamdas Bhambhani scholarship. The Sandhya Misra Scholarship is presented to Swapnesh Vaigankar for his unique artworks. A perfect fusion of visual arts elements.
Sagar Kamble Painting, Black Rain. 48 x 48 Inches, Mixed media on Canvas.
Sagar Kamble’s Black Rain in mixed media on canvas attracted the judge’s attention, making him the winner of this year’s highest prize, the Governor’s Award which carries rupees one lakh in cash and certificate.
The Bombay Art Society gold medal which carried rupees fifty-one thousand cash, certificate and gold medal is given to Vikas Malhara, for his stunning abstract work. The artworks of Ketan Khutle, Sheelvanth Yadgiri, Vinod Chavan, Rohit Bawadekar, Nema Ram, Basavaraj Achar KR and Harshwaradhan Devtale submitted for the exhibition outshine and own them various awards which will be presented on 01 March 2022 at Jehangir Art Gallery.
This year the award-winning entries include artists from various cities in Karnataka, Rajasthan, Maharashtra, Uttar Pradesh, Madhya Pradesh, and West Bengal whereas art students who won awards are from many cities in Maharashtra, Goa, Gujarat and West Bengal.
The all India annual art exhibition has been an important art event on the calendar of visual arts events in the country since its beginning in 1888; today it has assumed the form of mega art event for the artists’ community in the western parts of India…not only western parts of India but it is an important event for artists in eastern and southern parts of India as The Bombay Art Society receives exhibition entries as far away as Delhi, West Bengal, Andhra Pradesh, Karnataka and Kerala from many years.
This year, 48 awards to the artists in the categories like paintings, sculptures, graphics, photography along with the Bendre-Husain scholarship, Lalibai Dharamdas Bhambhani and Sandhya Misra scholarship are presented to the young artists.
Amol Pawar Painting, Old Lane Panvel. 12 X 18 Inches Watercolor On Paper.
Bombay Art Society’s scholarships & awards have been a great inspiration in the formative years of today’s many master painters like J. P. Ganguly, Ravi Shankar Rawal, H. Majumdar, Amrita Sher-Gil, S. L. Haldankar, K. K Hebbar, N. S.Bendre, Badri Narayan, A. A. Almelkar, S. H. Raza, K. H. Ara, Mohan Samant, Jatin Das, Prabhakar Kolte and many other younger established names. The art journey of many Indian artists of renown has at some time or the other benefited from the munificence and magnificence of the Bombay Art Society’s past.
The Bombay Art Society (BAS) was granted a piece of land by the Maharashtra State Government and a huge symbol of architectural grandiose stands today on this 10,000 Sq. feet area at Bandra Reclamation, opp Hotel Rangsharada. The Art complex housing three art galleries, an amphitheatre, the art-books Library is a significant addition to Mumbai’s art and cultural infrastructure, providing artists and art enthusiasts with much-needed space for art exhibitions, art residencies, film screenings, live demonstrations, presentations, lectures, workshops, educational activities etc in Mumbai.
Since the beginning of 2021, Kallat followed a ritual of making one daily drawing as part of a durational study in graphite, aquarelle pencil and gesso stains…writes Sukant Deepak
Artist Jitish Kallat’s ‘Order of Magnitude’, his first major solo exhibition in West Asia and the Levant will be presented by Ishara Art Foundation, Dubai, from February 16 to July 1. It will be accompanied by physical and virtual tours, educational and public programmes, a newly commissioned text by Amal Khalaf and artist conversations over the duration of the exhibition.
Presenting new works that include paintings, multimedia installations, drawings and site-specific interventions, the exhibition reflects Jitish Kallat’s profound deliberations on the interrelationship between the cosmic and the terrestrial.
The artist’s oeuvre sits between fluid speculation, precise measurement and conceptual conjectures producing dynamic forms of image-making. Using abstract, schematic, notational and representational languages, he engages with different modes of address, seamlessly interlacing the immediate and the cosmic, the telescopic and the microscopic, the past and present. In ‘Order of Magnitude’, one finds a contemplation of overarching interconnectivity on the individual, universal, planetary and extra-terrestrial dimensions.
The viewer is first confronted with Integer Studies (Drawings from Life), which run through the space resembling both the horizon and the equator. Since the beginning of 2021, Kallat followed a ritual of making one daily drawing as part of a durational study in graphite, aquarelle pencil and gesso stains. Each work comprises diverse forms anchored by the same three sets of numbers: the algorithmically estimated world population, the number of new births, and the death count noted at the particular moment of the work’s creation. Human life and death are abstracted in drawings that are both graphic and painterly, prompting questions of extinction and evolution.
Seen alongside these studies is a wall-sized painting titled ‘Postulates from a Restless Radius’, whose perimeter takes the form of the conic Albers projection of the Earth. The work begins as an unstable, cross-sectional grid (in aquarelle pencil) that opens up the globe on a flat plane. There is no cartographic intent here; in place of planetary geography it assembles signs and speculations, at once evoking botanical, suboceanic, celestial, and geological formations. ‘Postulates from a Restless Radius’ is an exploratory abstraction of forms that suggest signatures of growth and entropy.
Placed centrally are four double-sided and multi-scopic photo works titled ‘Epicycles’. This series began during the early days of the pandemic in 2020 with a hand-drawn journal capturing minute changes in Kallat’s studio — such as cracks surfacing on walls. The artist embeds these chance encounters with iconic pictures from the ‘Family of Man’ exhibition organised by photographer Edward Steichen at the MoMA, New York, in 1955. The resulting prints combine the artist’s everyday observations with archival images of human solidarity taken by photographers from around the world. Meticulously composed on a lenticular surface, the depicted figures appear and disappear as one moves around the work, yielding a complex portrait of time in its transience and ephemerality.
Finally, a site-specific intervention by the artist titled N-E-S-W serves as an allusive clue to reading this exhibition. Embedded within the foundation’s architecture, a functional magnetic compass is inset within the flooring. N-E-S-W summons the cardinal directions of the Earth, aligned to invisible force fields, rendering both the exhibition and Ishara into planetary surveying devices.
RANG, an art exhibition organized by Funun Arts in collaboration with India in Dubai – Consulate General of India, Dubai to commemorate Republicday2022 and AzadiKaAmritMahotsav. Artists from different regions participated in the exhibition showcased their stories of India through their artworks, a celebration of the colours & culture of India. (Pictures: India in Dubai – Consulate General of India, Dubai)
