“UTKARSA” Celebrating JMS Mani’s Mastery (1948-2021) Art Exhibition in Jehangir Art Gallery

This Show will be inaugurated on 11^th November at 5pm by Honourable Guests Mr. Anant Nikam(Veteran print maker, artist and former HOD all department of Sir J.J. School of Arts), Mr. Gourmoni Das(Director & Founder of Nine Fish Gallery and Dot Line Space Foundation) in the August presence of Rajesh & Ranjitha S, S & D of JMS Mani.

JMS Mani

UTKARSA marks a sincere tribute to the life and creative legacy of J. M. S. Mani (1948–2021), one of Karnataka’s most revered modern artists and a transformative educator. Curated by Darshan Kumar YU, Curator(Muesmuseologist), artist & Thinker, Omit Curator NGMA, Bengaluru, and presented by JMS Mani’s family, this posthumous exhibition draws together key works spanning his iconic Badami series, expressive landscapes, and sensitive charcoal and mixed-media drawings and sketches, offering Mumbai audiences an intimate encounter with an artist who shaped both canvas and community.

His first solo show happened in Jehangir Art Gallery in 70’s.

 

Rooted in a rigorous academic foundation, Mani’s early practice honed traditional disciplines of light, form and perspective, later blossoming into an intuitive painterly vocabulary that balanced realism, symbolism and emotional intensity. His celebrated Badami series remains central to Indian art discourse, elongated rural figures, dusky-skinned, rendered with sincerity and grace, their gestures carrying the poetry of daily labour and social memory. These works reaffirm Mani’s lifelong conviction that dignity lives in the ordinary and beauty in lived experience. Equally powerful are Mani’s landscape studies, from the atmospheric ruins of Hampi to abstracted chromatic vistas, where nature becomes metaphor for time, memory and the human spirit. His drawings, often executed in charcoal, reveal a master draftsman able to distill emotion through line alone, capturing movement, fragility and stillness in equal measure. Throughout his evolving practice, Mani cultivated his studio as a sanctuary of creativity and learning, a space meticulously organised yet spirited, where students, artists and grandchildren entered freely. As a devoted teacher and principal at Ken School of Art, he encouraged experimentation, peer support and the courage to think beyond conventions. His belief in nurturing the next generation remains one of his greatest contributions to Indian art.

UTKARṢA honours not only a master painter but a mentor whose life’s work embodies artistic excellence, humility, and the deep conviction that art must stay rooted in humanity. This exhibition invites Mumbai art lovers to celebrate a legacy that continues to inspire—quietly, fiercely, and with unwavering devotion to the creative flame.

 

Sushma Sabnis

Mumbai

 From: 11^th to 17^th November 2025

“UTKARSA”

Celebrating JMS Mani’s Mastery (1948-2021)

 

VENUE:

Jehangir Art Gallery

161-B, M.G. Road,

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm

Contact: +91 9886598387, +91 9538449359

“Aawaran” Solo Show of Paintings by contemporary artist Sonu Gupta at Jehangir Art Gallery

Sonu Gupta’s solo exhibition ‘Aawaran’ moves like a quiet blade through the theatre of human psychology. These works aren't content with surface aesthetics; they pierce the soft underbelly of identity, asking the viewer to confront their many selves; the borrowed masks, the inherited fears, the curated performances we stitch into our skin simply to survive society. Gupta does not lecture; he reveals. Patiently. Relentlessly. With tenderness and unease in equal measure.

Artist: Sonu Gupta

The figures here hover between flesh and fiction. The artist realistically rendered their bodies, but their presence dissolves into abstraction, as if memory itself is glitching. Masks appear not as props, but as organs we have grown used to breathing through. Some are stark white, sterile and compliant; others burn with ornamental complexity, as though the mind’s labyrinth has finally broken the skin. There is a ritualistic undertone, a soft echo of purification rites shadowed by the modern fatigue of having to constantly recalibrate one’s face for the world.

 

Gupta’s palette, warm and muted, feels ancient and digital at once, earth and algorithm in conversation. These blurred edges and pixelated textures quietly insist that identity today is never fully analog, never fully sincere. We live filtered. We feel edited. We unmask only when absolutely necessary, and even then we tremble.

 

Aawaran acknowledges veils exist, not just to deceive but to protect, nurture, and incubate. Just as soil holds the seed and night shelters the dawn, these human masks sometimes prevent us from shattering. The exhibition’s deepest argument whispered, not shouted, is that vulnerability is a pilgrimage. Peeling away the layers is not a dramatic act of exposure, but a slow devotion to truth.

 

In a world obsessed with hyper-visibility and polished personas, Sonu Gupta invites us to pause. To breathe. To ask the uncomfortable question: When all the layers fall, who remains? And perhaps more importantly, are we ready to meet them?

 

Sushma Sabnis

Mumbai

 From: 10^th to 16^th November 2025

“Aawaran” 

Solo Show of Paintings by contemporary artist Sonu Gupta

 

VENUE:

Sonu Gupta

161-B, M.G. Road

Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm 

+91 8767017725

Gurcharan Singh – A World Made Visible

Aakriti Art Gallery is proud to announce Gurcharan Singh – A World Made Visible, a solo exhibition of recent paintings by the acclaimed Indian artist Gurcharan Singh, curated by distinguished art critic and poet Prayag Shukla. The exhibition opens on 19 November 2025 and will be on view until 7 December at Aakriti Art Gallery, Kolkata.

Gurcharan Singh, born in 1949 in Patiala, is celebrated for his deeply humanistic figurative works that transform everyday life into visual poetry. Over five decades, he has developed a signature style that draws from Indian miniature painting, folk traditions, and modernist sensibilities, capturing the quiet theatre of the street, the courtyard, the veranda, and the marketplace. In his world, street performers, vendors, children, animals, gods, and lovers coexist in vibrant harmony—depicted with empathy, colour, and lyrical grace.

This exhibition presents a new body of work that continues Singh’s exploration of the ordinary as extraordinary. With bold forms, flattened perspectives, and symbolic detail, these paintings immerse the viewer in a world that is both familiar and timeless. As Singh himself reflects, “This is my world made visible from the invisible.”

Curator Prayag Shukla notes, “Gurcharan’s art does not impose spectacle—it invites reflection. His figures breathe, dream, and dwell in spaces that reflect not only social life, but emotional and philosophical depth. His recent works reaffirm his place among India’s most sincere and evocative painters.”

Singh’s works have been exhibited extensively in India and abroad, including the Tokyo Biennale, the Seoul Contemporary Art Show, and the Festival of India in the USSR. His paintings are part of major collections including the National Gallery of Modern Art (New Delhi), the Museum of Non-Aligned Countries (Yugoslavia), and the Birla Academy of Art & Culture (Kolkata).

Exhibition Details:

Title: Gurcharan Singh – A World Made Visible

Dates: 19 November – 7 December 2025

Venue: Aakriti Art Gallery, Kolkata

Curator: Prayag Shukla

For media inquiries, interviews, or high-resolution images, please contact:

N.G.Rao

admin@aakritiartgallery.com

 +91-9830411115

 www.aakritiartgallery.com

Happening in Silence

Priyaranjaan Behera’s painterly execution is consistently nebulous supple, broad strokes are lushly handled with the relatively boundless area of his typically large compositions. The viewer of Happening in Silence can experience simultaneously the visceral grip of the magnetic gaze of the equestrienne on the left of the composition and the deconstructive awareness that horses conglomerate of cogently defined individual marks. Such handling allows the painting to maintain a certain level of ambiguity. When working in conjunction with the potent themes and motif, such ambiguity is able to provoke questions about power discourses that demand deliberation. However, the enigmatic quality can also be at the expense of vulnerability and authenticity. In the current series horses juxtaposed with one another on either side of the canvas, one with chiseled clarity and the other obscured in lyrical pentimenti, seem to symbolize a recurring oscillation between concrete affection and insouciant panache.

Priyaranjaan’s masterful handling of media, in his fifth solo show includes acrylic paintings on canvas and paper, which serves an expressive purpose beyond the tough luxuriance of his mark making. The diaphanous mottled quality describes the wild horses and constitutes a terrifying presence: beyond the functionality and decorativeness of the accessory itself, it transforms into a symbolic form in which masculinity is a veiled, mystical presence and the theatricality of seduction is complex and disguised. Inquiries into class are, like the gaze piercing through those veils, a haunting queasiness beneath the forceful hush. But such concealment is self-imposed, the veils voluntarily worn. In the drawings too, the artist offers another theater of masculinity. His sensuous horses deliver unfettered and unclouded erotic shockwaves they emanate the glare of intimate disclosure. His brush marks register bravura, they are generally more angular, staccato, and filled with rapid, nervous energy. Instead of serving as socio-cultural signifiers, according to the artist they are entryways into an individual’s personality and predicament, their symbolic associations woven into a backdrop to each character’s emotional state.

Priyaranjaan’s horses’ thrusts forcefully forward, rhyming with the curve of the assertively raised leg. The all-knowing intransigence of the complexion, anchored at the painfully scarlet reads more like a challenge than an invitation. Most works in this show follow a similar construction: singular, strong figures in pulsating spaces. In a way that, tellingly, recalls the veneer of theatricality in these paintings is simply shattered at first contact by the monstrous proportions of overt, inundating sensual energy. Such energy finds another, even more tactile outlet in Priyaranjaan’s drawings. These relatively small pieces skin-like drawings with their highly sexualized posture and melodic, flowing lines. The nuanced tonal washes congeal into corals and fire. The drawings seem to almost tremble under the intense private pleasure they are obliged to bear. The headstrong vulnerability embedded in all this sensationalized sexuality, evokes a sense of authentic emotional connection in the viewer.. There is, however, a curious side effect of this apparently apolitical stance. For in these paintings of luscious revelry and exquisite vulnerability, largely guided by the painter’s emotional instinct and searching sense of conviction, Priyaranjaan achieves a concreteness of viewer experience that is possibly stronger and more complete than a labyrinth constructed with intellectual tenets.

It is clear that Priyaranjaan has taken remarkably different routes in scripting a theatrical habitat for their subjects. A large part of this difference springs from a peculiar contemporary division between the provocative and the empathetic as painting attaches itself to an exterior cause. The enigmatic urgency in the works situates the viewer at a probing distance, in a spectatorial role, luxuriating in social glamour and drama when all of a sudden confronted by the characters’ haunting gaze and demand for a fair hearing. The visceral torrents of solitary emotion forcefully absorb the viewer who is then obliged to decide how to handle this gratuitous entry into an intensely animal world. In either event, theatricality is today more than ever implicated in paintings of horses as both the gazed upon and the spectators have become equally active players. The multiplicity and subtlety of treatments, of which we had a glimpse through these works shows, sparkles hopeful excitement for the continual evolution of painting’s capacity to give voice to a muted presentences to comply, to masquerade, to entice, or to attack.

 

Abhijeet Gondkar

2025

"Happening in Silence”

Solo show by

Artist
PRIYARANJAAN

Opening on Tuesday, 4th November, 5:30- 8 pm at NIPPON.
Date: 4th to 8th October 2025
Gallery Time: 3pm to 7pm

Address
Nippon
30/32, 2nd Floor, Deval Chambers
Nana Bhai Lane, Flora Fountain
Fort, Mumbai - 400 001

More details: 9820 510 599
RSVP: Email: nipponbombay@gmail.com

RSVP: Sunday & Monday Gallery will be closed

"Happening in Silence” Solo show by Artist PRIYARANJAAN

 

"Happening in Silence”

Solo show by 

Artist 

PRIYARANJAAN

Opening on Tuesday, 4th November, 5:30- 8 pm at NIPPON. 

Date: 4th to 8th October 2025

Gallery Time: 3pm to 7pm

Address 

Nippon 

30/32, 2nd Floor, Deval Chambers

Nana Bhai Lane, Flora Fountain

Fort, Mumbai - 400 001

More details: 9820 510 599 

RSVP: Email: nipponbombay@gmail.com

RSVP: Sunday & Monday Gallery will be closed

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TARQ

w: www.tarq.in

a: KK Chambers, Ground Floor, 39B AK Nayak Marg, Fort, Mumbai 400001

o: +91 22 6615 0424 | +91 22 66150069

m: +91 9821332108

e: hena@tarq.in

 

"Antarang" Reflection on the Works of Dr. Supriya Fulare-Dudhal at Jehangir Art Gallery

The word “Antarang” evokes a serene wave that gently flows through the mind. This wave descends into the soul through colors, forms, and emotions. Dr. Supriya Fulare-Dudhal’s exhibition is a contemplative journey of the spirit, tracing the path from the restless mind (Maan) to the boundless inner self (Antarang).

Artist: Dr. Supriya Fulare-Dudhal

Hosted at Mumbai’s Jehangir Art Gallery, the exhibition invites art enthusiasts to engage in an intimate dialogue with their inner selves. According to art critic Rakhee Ardakar, Dr. Supriya’s works carry meaning beyond the visual. They do not merely appeal to the eye; they touch the very core of the soul. Each stroke seems to anchor the mind, each shade communicates directly with the spirit.

Dr. Supriya Dudhal is an acclaimed artist listed in the Limca, Asia, and India Books of Records. Her works are distinguished by their unique color compositions, deep emotional resonance, and spiritual energy. A devout follower of Lord Ganesha, she believes that every artwork is a medium of divine dialogue. Her contributions to rangoli art are remarkable, especially in Poster Rangolis and Kangra miniature paintings, where she has established a distinct identity.

She holds an M.F.A. and a Ph.D. in Applied Arts from Nagpur University and has been conferred a Double Doctorate by the World Record University. She has also completed a short course in the works of the legendary artist Pablo Picasso in London, further broadening her global artistic perspective.

 

She had a solo show of paintings “Shades of Lambodara” at Nehru Art Centre London. She had group show art elements 3 at Into Arts – Art Gallery, Sydney, Australia & at Josselin, France.

 

Currently, Dr. Supriya serves as Associate Professor at Vasantdada College of Engineering & Visual Arts, Mumbai. Previously, she was Senior Graphic Designer at Verve Digital Technologies, Pune, and has taught at several prestigious art institutions in Nagpur and Pune.

Her work reflects both technical mastery and spiritual depth. Colors become meditative, lines breathe, and every piece draws the viewer inward. “Antarang” prompts profound questions: Who am I? What lies at the core of my being? Through colors, strokes, and mindful observation, viewers experience a union with their inner self.

According to Dr. Supriya, every act of creation is a dialogue with the divine. Her artworks prioritize devotion over decoration, weaving invisible threads that connect the observer to the universe through rangoli patterns or flowing brushstrokes.

“Antarang” is not merely an exhibition of paintings; it is a spiritual experience. It calms the mind, engages the intellect, and touches the soul. This is a journey—one that peers into the inner world and leads toward unity with the self.

 

Rakhee Ardakar

(Art Critic)

28th October – 2nd November 2025

Antarang: Journey of the Inner Soul

Reflection on the Works of Dr. Supriya Fulare-Dudhal

 

Venue:

Jehangir Art Gallery,

161_b, M.G. Road

Kala Ghoda, Mumbai 

11am to 7pm.

Contact: +91 9881474729

79-Year-Old Artist Shailaja S. Kamat Brings Cityscapes & Nature to Life in Solo Exhibition

 At 79, Mumbai-based artist Shailaja S. Kamat continues to paint with the curiosity of a beginner and the confidence of a seasoned hand. Her upcoming solo exhibition, Beyond the Shapes, will be on view at Leela Art Gallery, Mumbai, from 27^th October to 2nd November, showcasing a collection of cityscapes and nature-inspired works that reflect her enduring fascination with structure, rhythm, and balance. What makes Kamat’s journey remarkable is not just her talent, but her unwavering dedication to art… an energy that seems only to grow stronger with time. Drawing more from imagination than reference, her paintings unfold like visual conversations with the world around her.

Artist Shailaja Kamat

Kamat’s tryst with art began when she was barely eight or ten, painting greeting cards and experimenting with watercolours as a simple childhood hobby. What started as play soon grew into a lifelong passion. With no formal training, she painted purely out of love until encouragement from those around her inspired her to take it more seriously. Under the mentorship of well-known artist and art teacher Satyendra Rane, she refined her technique and discovered her own visual language in acrylics. Over the years, she has developed a distinctive style - vibrant cityscapes that balance order with emotion, and structure with spontaneity.

Painting by Shailaja Kamat

In Beyond the Shapes, Kamat explores the relationship between the built environment and nature - the dynamic interplay between concrete and calm, between manmade order and organic beauty. “My exhibition explores the diverse architecture and landscapes of the nation,” she says. “While its central focus is on the built environment, from the dense geometry of cities to the serene structures of rural villages and temples, it also incorporates works of nature and flora. Through this juxtaposition, I invite viewers to consider the relationship between human construction and the natural world.”

Having exhibited her works across India and Dubai, Kamat’s journey in architectural art has been shaped by years of close observation and experimentation. “My move to cityscape art was a natural progression of a lifelong passion,” she shares. “From a young age, I was captivated by architectural design and the different ways light plays on structures. I try to translate those observations, sometimes literally, sometimes abstractly, into colour and form. The process is deeply meditative, and the emotion that emerges through vibrant hues gives me immense joy and fulfilment.”

Created over the last four years or so, the show features approximately 25 to 30 works in acrylic and watercolour, varying in size and composition. “It has taken me about eight to ten years to put all these works together. Each painting represents a stage of learning, growth, and discovery”, she concludes.

Shailaja S Kamat’s art show ‘Beyond the Shapes’ will be on display at Leela Art Gallery, The Leela, Andheri (E), Mumbai, from 27^th October to 2^nd November 2025

Art blogazine News - Kala Ghoda Mumbai

National Gallery of Modern Art (NGMA)

Greetings from the Consulate General and Promotion Centre of the Argentine Republic in Mumbai!

We are delighted to invite you to an upcoming art exhibition taking place from November 3rd to 8th (Opening: 3rd at 6 pm), in  collaboration with the National Gallery of Modern Art (NGMA) & Cosmic Heart Gallery, featuring the works of three acclaimed Argentine artists: Pablo Ramírez, Gerardo Korn, and Julia Romano.

The event aims to highlight not only the richness and diversity of contemporary Argentine art, but also to foster the cultural exchange between Argentina and India through the artists´ unique perspective, practices, and visual storytelling.

Just do it.

Mehroo Mistry: Passing away of Ratan Tata and the gambit of crocodile tears. 

Not a single politician who now talks of being sad on the passing away of Ratan Tata actually cares. A single member of the Tata family has done more for the country and given more to the country and the poor than all the politicians and their families put together.

So Mr Politician, cut the crap. You didn't give him the Bharat Ratna when you should have. You didn't have the balls to name an airport after JRD Tata who gave India its airline but will happily name it after some union leader or politician to pander to them for vote banks.

Cut the bull, Mr Politician, about being sad. You don't care about any of the Tatas...

If you do, let us see you name the new upcoming airport in Mumbai after the Tatas.

Rustom Jamasji

Mehroo Mistry: Let's start a movement by sending this message, making it viral that the new airport of Navi Mumbai be named after Ratan Tata. I am sending this first message on our group and intend making it viral. I want all of you to think and, if you agree, just do it.