Wednesday, 30 July 2025

AstaGuru’s Upcoming ‘Iconic Masters’ Auction Pays Tribute to Rare Treasures of Modern Indian Art


AstaGuru Auction House is set to present its upcoming ‘Iconic Masters’ Auction on July 29–30, 2025, offering a thoughtfully curated selection of rare and important works by India’s most celebrated modernists. This auction will spotlight legacy-defining pieces that have shaped the narrative of Indian art and continue to command reverence across global collections.

The auction will feature artworks by pioneering masters such as Jamini Roy, Nandalal Bose, F.N. Souza, S.H. Raza, M.F. Husain, Manjit Bawa, Ram Kumar, Krishen Khanna, Anjolie Ela Menon, Akbar Padamsee, Jogen Chowdhury, K.G. Subramanyan, Bhupen Khakhar, and others—offering collectors a rare opportunity to acquire works that reflect the evolution of India’s avant-garde movement. Several of these works are making their auction debut, further enhancing the uniqueness of the collection.

Sneha Gautam, Director – Client Relations at AstaGuru Auction House, shares,
“The ‘Iconic Masters’ auction is a celebration of legacy, vision, and rarity. Each work on offer carries a lineage of artistic excellence and a piece of India’s cultural history. We are proud to present a catalogue that not only showcases signature styles but also invites collectors to be custodians of works that shaped modern India’s artistic identity.”

Highlights from the Auction Catalogue

Featuring on the cover catalogue, lot no. 36 is a serene Manjit Bawa masterpiece featuring his iconic imagery of a cow. Bawa’s use of subdued, soft tonal gradations imparts an ethereal quality to the image, reinforcing the cow’s symbolic presence as a vessel of peace, divinity, and maternal calm. This lot is estimated to be acquired at ₹ 3,00,00,000 – 4,00,00,000.

The auction will present a stunning curation of several works by legendary Bengal School artist Nandalal Bose, including a set of works originally from the collection of E. Kumaril Swamy, a fellow artist and a close associate of Nandalal Bose.

Lot no. 24 is a beautiful and well-published work by artist Ganesh Pyne. Executed with his characteristic use of watercolour on paper, the composition merges miniature-like detailing with a sombre, dreamlike palette, evoking a timeless atmosphere. The lot is estimated to sell for ₹ 20,00,000 – 30,00,000.

Artist: Ganesh Pyne

Coming from the collection of artist Krishen Khanna, lot no. 32, estimated to sell at ₹ 50,00,000 – 70,00,000, is a signature-style mixed media on canvas work depicting a majestic tiger resting in the jungle. Lot no.44, a set of three works depicting his most famous figures of Bandwallas in three vibrant colours. This is expected to be acquired at ₹ 1,20,00,000 – 1,60,00,000.

An extremely unique creation, lot no. 47 is the only known auctioned sculpture executed by artist K. K. Hebbar. Titled & Surya-The Sun Chariot; it is estimated to sell at ₹ 1,20,00,000 – 1,80,00,000.

Three works in the auction, lot no. 42, 50, and 65 belong to the collection of the famous artist Thota Vaikuntam.

Lot no. 56 is a stunning late landscape by F. N. Souza, exemplifying his visceral approach to environment and structure. With a dense web of jagged lines and rhythmic brushstrokes, the composition collapses foreground and background into a frenetic tangle of green, ochre, and blue. This work is expected to sell at ₹ 80,00,000 – 1,50,00,000.

Another highlight of the auction is lot no. 64, a unique monochrome work by M.F. Husain. Estimated to be acquired at ₹ 80,00,000 – 1,20,00,000, it reflects his encounters while growing up in Pandharpur and embodies the raw energy of his figures, drawn from observations of the world around him.

Lot no. 68, estimated at ₹ 80,00,000 – 1,20,00,000, is an abstract landscape by Ram Kumar, which perfectly captures the dark yet poetic essence of his works in the 1970s.

Artist Jogen Chowdhury

Lot no. 70 titled ;Dream; is a work by Jogen Chowdhury, in effect a scroll of sustained introspection by Jogen Chowdhury, created in his mid-eighties as both a continuation and quiet subversion of his Reminiscences of a Dream Series from the 1970s. This work The concluding lot of the auction catalogue, no. 89 is a monumental rendition of the Bandwalla figure by Krishen Khanna titled Shyam Pratap Bhompu Wala. Estimated to be acquired at INR 40,00,000 – 60,00,000, this sculptural masterpiece is a tribute to the spirited street musicians of India.

Each lot in the ‘Iconic Masters’ auction represents more than aesthetic brilliance—it holds stories of creative courage, personal conviction, and cultural memory. Through this collection, AstaGuru once again reinforces its commitment to preserving artistic legacies while offering collectors the chance to be a part of them.

Sunday, 27 July 2025

Art invokes the human mind


Living with art on your walls means, you chose to live with your extended personality. Art is influential in the way it translates into an experience that broadens knowledge, strikingly highlighting the grandiose vision of the artist. Art doesn’t expire, it renews, and grows across generations, with offspring learning of stories through the times of their ancestors. 

Works of art enhance the quality of life. When frequently engaged with, be it in a private or public space, they expand one’s appreciation of culture and the consequential intellectual stimulation as one views them intently, prompting multiple interpretations; be it personal, social or even political. In fact, in a home setting, art offers hosts and guests chances for added elements of interactions encouraging meaningful connections that trigger riveting conversations, whilst also functioning as a creative source of reducing strain by provoking inner calm.

Art is meant for many things and inside your home, art is meant to evoke your emotions. Choosing the type of art you want to display in your home not only speaks of your personality but also where you come from, and the copiousness of the history and culture of your country, or values and beliefs. 

While art can simply be means of interior design to some, art on your wall can more importantly be a means of your life’s reflection connected to that of your past, while the intertwining of the artist’s narrative interlinks to create a unique interpretation.

Art is influential in the way it translates into an experience that broadens knowledge, strikingly highlighting the grandiose vision of the artist. Art doesn’t expire, it renews, and grows across generations, with offspring learning of stories through the times of their ancestors. 

By enriching your walls you are enriching your life. If the walls are the body, the art is the soul of it.Imagine your living room having a figurative work of art, your bedroom with a vivacious abstract work, your dining room with a charming landscape and bathroom filled with romanticism. 

Each wall in your home will be different in style possessing its own individuality, its own stories and emotions thereby collectively defining its extended character.

Shruti Vij


Gurugram based artist Shruti Vij , is a product of the prestigious National Institute Of Fashion Technology ( NIFT) , New Delhi, and is an art enthusiast , a painter with a distinct individual style. Shruti's art is not limited by style or technique. She likes to leave it free. She blended her artistic skills with her experiences in the fashion field, bringing about a perfect marriage of her two passions. It is about what touches her heart. During the past few years, Shruti has participated in many art shows, both nationally and internationally and has won great appreciation from art lovers and critics alike. She has an art studio by the name of Shruti Arts.



Wednesday, 23 July 2025

'Ladies Compartment' by Method at Galerie Melike Bilir, Hamburg Six Indian Women Artists Explore Gender, Space & Resilience

Method (India) is proud to present Ladies Compartment, an exhibition of six Indian women artists, hosted in collaboration with Gallery Melike Bilir in Hamburg. This marks Method’s debut exhibition in Germany, offering a powerful and nuanced meditation on gender, resilience, and the negotiation of space through contemporary artistic practices.

Featuring works by Anushree Fadnavis, Avani Rai, Darshika Singh, Keerthana Kunnath, Krithika Sriram, and Shaheen Peer, the exhibition draws its title from the gender-segregated carriages of Mumbai’s local trains—introduced in 1907 to offer women a measure of safety and autonomy in an otherwise male-dominated public sphere. Over a century later, these spaces remain a potent symbol of paradox: at once refuge and restriction, sanctuary and segregation. They embody the complex ways in which public space is mediated through gender—offering protection while also reinforcing boundaries.

Ladies Compartment expands this metaphor into a broader lens through which to examine how women inhabit, resist, and reimagine the many compartments—literal, cultural, emotional—that shape their realities. These may be physical environments, inherited traditions, coded gestures, or internalised systems. The artists respond with forms of assertion, vulnerability, observation, and embodied memory—revealing how, within these constructed spaces, resilience is cultivated again and again.

The works ask: when does a boundary shield, and when does it isolate? What does it mean to find power in silence, or connection in solitude? Through image, pigment, form, and breath, the artists trace the architectures—visible and invisible—that define movement, stillness, and identity.

“At Method, we’ve always been interested in the in-between—spaces that are overlooked, stories that unfold quietly, power that isn’t always loud,” says Sahil Arora, founder and curator of Method. “Ladies Compartment is exactly that: a meditation on what it means to exist within systems of care and control, visibility and silence. Collaborating with Gallery Melike Bilir allows us to extend these conversations across borders while staying rooted in deeply personal and local experiences.”

Melike Bilir, founder of the Hamburg-based gallery, adds: “At Gallery Melike Bilir, we are committed to creating space for voices that challenge and expand the narratives around gender, identity, and public space. Ladies Compartment resonates deeply with this ethos—offering an intimate yet powerful lens on resilience, visibility, and the lived experiences of women navigating both real and symbolic boundaries.”



Ladies Compartment is on view from June 24 to July 20, 2025, at Gallery Melike Bilir, Fleetinsel, Hamburg.

The exhibition will take place as part of India Week Hamburg 2025. India Week Hamburg is a series of events that has been highlighting the close ties between Hamburg and India since 2007. It showcases the diversity of Indian culture and highlights topics from politics, business, science, and society—with the aim of strengthening exchange and cooperation. The exhibition is supported by the Hamburg Senate and the Hamburg Ministry of Culture and Media.

 

About the Gallery - Method
“The Revolution introduced me to art, and in turn art introduced me to the Revolution!”
 – Albert Einstein

Whether Einstein was referring to a political awakening or a scientific upheaval, one thing is certain: art and the act of breaking away are fundamentally entwined.

Method is a space that embraces both introspection and “extrospection”—a way of engaging deeply with the self while also reaching outward into the cultural, political, and sensory ecosystems that shape our time. We believe that art is not just about creation but about conversation, transformation, and the continuous undoing of form and certainty. To create is to take a position—fluid, shifting, and alive.

At its core, Method is committed to nurturing young and emerging practices. Our programming focuses on giving artists a platform at early stages of their careers—offering visibility, critical engagement, and a space to take risks. We prioritise fresh voices that challenge conventional narratives and expand the scope of contemporary art across disciplines, mediums, and contexts.

With galleries in Mumbai and New Delhi, Method operates as a dynamic ecosystem for experimentation, conversation, and collaboration. We champion practices that are conceptual, community-rooted, and bold in their departure from norms—regularly dissolving boundaries between the visual, performative, digital, and material.

Over the years, Method has grown beyond the physical space to become a platform for dialogue and discovery. We have participated in major national and international art fairs such as India Art Fair, Art Mumbai, and ARCO Lisboa, and continue to forge collaborations with artists, collectives, and institutions across geographies.

Method is less about arriving at answers and more about facilitating open-ended inquiries. We see ourselves as a space of friction and fluidity—where experimentation is encouraged, multiplicity is celebrated, and the revolution of thought, feeling, and form is always underway.



About the Gallery - Galerie Melike Bilir
Galerie Melike Bilir is a contemporary art space located in the heart of Hamburg, on the culturally significant Fleetinsel. Positioned at the intersection of commercial gallery and curatorial experiment, the gallery presents work by both international and local artists who engage with pressing social issues and challenge conventional modes of perception.

The program focuses on experimental and conceptual practices spanning painting, installation, performance, and new media. Central to the gallery’s curatorial approach are artistic practices that explore themes such as origin, the body, language, and belonging.

Particular emphasis is placed on collaborations with female and female-identifying artists, as well as with curators whose perspectives actively shape the gallery’s direction.

Galerie Melike Bilir is committed to long-term collaborations, individual artistic development, and a curatorial practice that creates space for openness, critical discourse, and artistic autonomy, both through independent projects and sustained partnerships.

Artist’s Bios and their works
'Ladies Compartment' Method's showcase in Hamburg, Germany

 

About Anushree Fadnavis

Anushree Fadnavis is a Pulitzer prize winning photojournalist with Reuters news agency and is currently based out of New Delhi, India. Her work has been published in major Indian and international print and online forums, including BBC, The New York Times, Washington Post, The Globe and Mail, The Guardian, The Week, Open Magazine, The Hindu, Hindustan Times, Scroll, The Indian Express, DNA, Creative Image (founded by renowned photographer Raghu Rai), Arts Illustrated, the online gallery of Katha Collective, and Life on Instagram 2017 (Penguin UK). She has worked on a project in Mumbai, India, by the National Film Board of Canada. She held a month-long residency at Galleri Image, Aarhus, and was a panelist at the Indian Photography Festival, Hyderabad in 2016. Anushree's personal ongoing work from the ladies compartment in Mumbai local trains called '#traindiaries' , where she documents the daily lives of the women commuters around her along with her own personal / visual experiences lies close to her heart. It's an ongoing work for the last 10 years.


#traindiaries by Anushree Fadnavis

John Berger says in his book Ways of Seeing: “A woman must continually watch herself... From earliest childhood she has been taught and persuaded to survey herself continually. And so, she comes to consider the surveyor and the surveyed within her as the two constituent yet always distinct elements of her identity as a woman.”

Women are always surrounded by men—at home, in the office, or in public spaces. The Mumbai local train’s ladies compartment becomes a unique space that feels like it has been specifically designed for them—a space devoid of men. I feel women use this space to liberate themselves from any male gaze, or at least I have.

Each of my experiences in local trains has led me to begin a new journey, one of sharing these stories with the world. Through this virtual diary, shot on phone, I explore how humans engage and familiarize themselves with spaces by building relationships with complete strangers who eventually become close friends. The train itself became my inspiration.

#traindiaries, my project, is a journal of photos and observations that I experience every day in the ladies compartment. I wanted to capture the essence of my travel, the relationships I forged, my own visual affair, and most importantly—the people. I realized we don’t need to travel to distant places to find human interest stories, as there is always a new one on the same train on a different day.

This project has helped me get closer to understand the people, especially the women, of Mumbai. It has given me an outlet for my creativity. It has led to the realization that you can find art and beauty in simple things around you, just through the power of observation.

The ladies compartment of the Mumbai local gives women a sense of freedom and belonging in a room where they are accompanied by strangers. Sometimes it begins to resemble a theatre, where various actors come and act—and I, along with the viewers of the images, am the audience who seeks to learn about our own lives through the lives of others.

About Avani Rai

A photographer based out of Mumbai, Avani Rai has worked as a camera person on a number of short films. She has worked in fiction and documentary. As a photographer she has done serious photo essays on Bhopal gas tragedy and its after effects even after 35 long years, the Kashmir story, Chennai water Crisis and many others.

 

Her photographic works have been published in various reputed publications - Indian and international - such as GQ, Vogue, Architectural Digest, The Wire, The Hearst, The platform, Sunday Guardian, Scroll and many others. Her recent work, a film directed/shot by her, 'Raghu Rai-An Unframed Portrait’ (also her father) is based on his photographic journey which captures the history of India over the past 50 years,which she experienced through his images. Kashmir, also featured in the film is her first-hand experience, which she shared with him in the course of making the film. The dot series is her first foray into art photography.


Women Of Gurdaspur by Avani Rai

Avani Rai’s photographic practice is rooted in memory, experience, and the act of witnessing. For her, photography is not merely a means of documentation, but a way of understanding the world—and herself within it. She describes the camera as a tool that affirms experience; without the image, a moment risks feeling as though it never truly happened.

 

For the past three years, Rai has been photographing Punjab—her ancestral home. Though she spent her childhood visiting her grandmother there, the process of returning as an adult and photographing the land has transformed her relationship with it. What once felt distant now feels deeply familiar. Her repeated visits and continued image-making have allowed her to see Punjab not only as a place of origin but as a living archive of personal and collective history.

 

Through this body of work, she captures the resonance of memory in the present moment. The photographs function as palimpsests—layered with past and present, memory and immediacy. Initially approaching the region as an observer, Rai’s sustained engagement gradually gave way to a renewed sense of belonging. Her lens now moves between the objective and the subjective, listening to the unspoken language of nature, of gazes, of gestures exchanged in silence.

 

Women of Gurdaspur is both a portrait of a place and a meditation on home—a home that speaks across generations through land, people, and the quiet power of presence.

 

About Darshika Singh

Darshika She has Design, approach Singh (b. Lucknow) works across

video and paintings. The current work focuses on: rhyme, rhythm & repetition; the absurd and the ambient.

 

Darshika has a background in Art, Fashion and Philosophy. Her general approach involves the exploration of the Self through repetitive gestures and simple geometrical shapes interacting with a personal lexicon of symbols.

 

She has been a part of multiple group exhibitions with Method and has shown her work in various cities such as Delhi, Mumbai, Philadelphia and London. She is currently a part of Conditions Online Programme (2024-25).


In A Single Thought by Darshika Singh

In a Single Thought is a video work by Darshika Singh, an interdisciplinary artist based in Mumbai. Singh's practice focuses on the metaphysical and symbolic aspects of perception, aiming to elevate the mundane into the essential. While specific details about this video are limited, Singh's work often explores the intersection of the perceptible and the metaphysical, inviting viewers to engage with deeper layers of meaning.

About Keerthana Kunnath

Keerthana Kunnath (b. 1995, Kerala) is a visual artist based between London and India. Her interdisciplinary practice interrogates the visual language of post-colonial Indian mainstream media, reworking dominant narratives to question entrenched social structures. Through photography, video, and collaborative processes, she explores the intimate intersections of queerness, community, and memory.

 

Deeply rooted in both personal and collective histories, Kunnath’s work is shaped by ongoing engagement with local communities and familial archives. Her projects often emerge from immersive, personal experiences, foregrounding lived realities while examining broader socio-political landscapes. She frequently returns to India to explore overlooked narratives, investigating how identity is constructed, inherited, and performed.

 

Her work has been exhibited internationally at institutions including Fujifilm House of

Photography (London), Photoworks Weekender (Bristol), Chennai Photo Biennale, Palm Photo Prize (London, Amsterdam), Apre Art Gallery (Mumbai), Hase 29 (Germany), and the Photo Frome Festival, among others.

 

She is the recipient of the RPS IPE 166 Under 30 Award and in 2024, was recognised as one of the Top 50 Young Creatives globally by the British Fashion Council and listed in CulturedMagazine’s 25 Young Photographers to Watch.


Not What You Saw by Keerthana Kunnath

Not What You Saw is a photographic series by Keerthana Kunnath that centers on female bodybuilders—women whose bodies defy the conventional ideals of femininity within Indian visual culture. Through her lens, Kunnath disrupts the viewer’s gaze, reframing muscularity and physical dominance not as symbols of masculinity, but as extensions of feminine agency and care. The photographs are intimate, textured, and unapologetically bold, revealing bodies in states of exertion, vulnerability, pride, and reflection. These women are not posed as spectacle—they are grounded, present, and commanding. Kunnath’s framing avoids sensationalizing the body; instead, it focuses on the emotional and lived landscape beneath the skin: the effort, discipline, and quiet resistance that shapes these forms.

By isolating her subjects from stereotypical narratives of athleticism or beauty, Kunnath constructs a space where strength and tenderness coexist. There is a reverence in the way light touches flesh, and a deep political undercurrent in the way these bodies occupy space. The title, Not What You Saw, is a deliberate provocation—it questions the assumptions we carry when we encounter a woman’s body, especially one that contradicts softness or passivity. It suggests that looking is not seeing, and that seeing must be unlearned. This series is not just about bodybuilding—it is about rebuilding how we look, and what we think we know about femininity and power.

About Krithika Sriram

Krithika Sriram is a visual artist and photographer whose work explores identity, memory, and representation through images and text. Her practice often engages with personal and political histories, particularly those connected to caste and gender.

 

Her work has been shown at Photo 2024 in Melbourne and at exhibitions and screenings across India and internationally. She is currently based in Bangalore, India.


Kuvalai Anthotypes by Krithika Shriram
Anthotypes are images created using photosensitive material from plants. The following images are self-portraits, created using rose pigments. These prints as objects, seek to be reminders of the significance of the Dalit female body in the politics of ancient and contemporary India. Roses, flowers in general were once banned for Dalit females in Tamilnadu, a southern state in India. By employing this material to create images of my body (a Dalit female), I intend to subvert the role of this material in my ancestral history and identity.

 

The Dalit, female form is at the center of caste oppression. The entire system of hierarchy within the caste system has been founded on the bodies of women. Controlling women and their sexuality has been the foundation of the caste system, as explained by Dr.Br Ambedkar, who analyses caste as the product of sustained endogamy.

 

The Anthotypes themselves, much like the fleeting nature of societal attention, are temporary. They mirror the transient acknowledgment afforded to the Dalit female, whose plight at the bottom of the Hindu-Indian social order is either conveniently forgotten or willfully ignored. These prints, with their gradual fade into obscurity, parallel the persistent erasure of the Dalit female narrative from the collective consciousness.


About Shaheen Peer
Shaheen Peer is a Bangalore-based photographer and creative director working across fashion, fine art, and portraiture. Raised in Chennai, her practice is rooted in familiarity—centering people, textures, and gestures that echo the environments she grew up in.

Image-making is her playground for engaging with the cultural landscape, expanding ideas of representation, and shaping stories that feel personal and true. Her approach is grounded in a deep fascination with gesture, colour, and the materiality of cloth, casting an intentional and deliberate gaze on the people and narratives she frames.

Her work has been featured in Vogue, NOWNESS, and Hyperallergic, and exhibited at The Method (Mumbai), 1018 Gallery (London), and Tate Modern Lates.


Self Portraits by Shaheen Peer

This series of self-portraits by Shaheen Peer brings together two distinct influences—personal memory and a fascination with the body and the materiality of cloth. These elements converge to form sculptures of flesh and fabric, shaped by the weight and warmth of memory.

At the centre of this exploration is the saree. Draped in a style that recalls a pre-British era, without a blouse, it evokes a sense of timelessness reminiscent of ancient stone sculptures. The saree becomes a vessel for storytelling, examining how fabric can reveal emotion, carry symbolism, and convey cultural memory.

By omitting the face, Peer redirects the viewer’s gaze toward form, colour, and texture—toward the body as a site of narrative rather than identity alone. These self-portraits are less about being seen and more about what can be felt and remembered through material.

Ultimately, the series reflects on how textiles hold memory, how bodies can speak without words, and how identity lives in the space between self and fabric.

 

Exhibition Details :
Title: Ladies Compartment
Opening Reception: June 24, 2025
Exhibition Dates: June 24 – July 20, 2025
Venue: Gallery Melike Bilir, Fleetinsel, Hamburg
Presented by: Method (India), in collaboration with Gallery Melike Bilir
Artists: Anushree Fadnavis, Avani Rai, Darshika Singh, Keerthana Kunnath, Krithika Sriram, Shaheen Peer


VOICES an a compelling group exhibition featuring 26 Indian and international artists at Jehangir Art Gallery, Mumbai

From mural traditions to modernist abstraction, VOICES brings together a bold and diverse array of contemporary artistic voices. Two panoramic works emerge as powerful markers of memory and meaning. Arpitha Reddy, trained in the mural temple tradition of Guruvayoor, Kerala, offers a compelling interpretation of the Dashavataras the ten incarnations of Lord Vishn through a series of vertical studies that honour both tradition and technique. Muzaffar Ali, India’s celebrated film director and artist, showcases Hoshruba, a landmark horizontal composition first exhibited in Delhi three years ago. Horses, long his muse and metaphor, come alive in this lyrical work that pulses with poetic energy. He also presents two striking calligraphic pieces from his solo show in Delhi last year, curated by Uma Nair.



“The medley of mediums and minds in this exhibition reflects our intent to generate global synergy through art—encouraging dialogue, discovery, and deeper support for artists and their ecosystems,”
— Uma Nair, Curator

Curator’s Note
Inner Search in Every Artist

There is an inner search in every artist for finding the “significance between tradition and contemporaneity, between representation and abstraction, between communication and expression,” said Jagdish Swaminathan and therein lies the root of all eclecticism in art.

This exhibition VOICES is about celebrating creative expression amongst artistic voices from India as well as countries like Spain, Australia, UK, and Uzbekistan.

Within the multiple mediums of works, we see an unfolding of personality. At best a work of art could hinge on the representational, the abstract, the figurative as well as non-figurative. In its odyssey of creation, it is at once unique and sufficient unto itself. It is the creative act that makes it palpable so that it generates its own life. Each artist translates an experience, a feeling, an idea as well as an organisation of forms in space.

These images by 26 artists define their own space, their understanding of delineation, their perspectives of colour and composition. Their works must be experienced by viewers seeking their own utopia within the historic Jehangir Art Gallery.

For Bespoke Art Gallery from Ahmedabad, VOICES is a veritable debut that seeks to explore the beauty of the city of Mumbai and its artistic resonance.



Additional Highlights from the Exhibition

  • Bhajju Shyam’s layered Gond narratives

  • Ankon Mitra’s poetic origami installation

  • Sculptures by Arzan Khambatta and Harsha Durugadda

International works from the collection of Bespoke Art Gallery founder Devin Gawarvala, including:

  • Timur D’Vatz’s mythical tapestries (Guinness Prize winner at the Royal Academy)

  • Bobur Ismailov’s abstract figurative works

  • Powerful bronzes by Jesús Curia

  • Iconic sculptures by renowned artist duo Gillie & Marc

Participating Artists
Ankon Mitra, Arijoy Bhattacharya, Arpitha Reddy, Arun Kumar Hg, Arun Pandit, Arzan Khambatta, Bhajju Shyam, Bobur Ismailov, Gillie & Marc, Harsha Durugadda, Jesús Curia, Karl Antao, Keshari Nandan, Leena Batra, M. Narayan, Madan Lal, Muzaffar Ali, Nilesh Vede, Ram Kumar Manna, Sanjay Bhattacharyya, Saraswati Auroville, Saroj Kumar Singh, Sudip Roy, Timur D’vatz, Vipul Kumar, Walera Martynchyk

Date - 16th to 24th July,2025
Venue -  Jehangir Art Gallery, Mumbai

Description :
At Mumbai’s iconic Jehangir Art Gallery, Bespoke Art Gallery (Ahmedabad) presents ‘
VOICES ', a compelling group exhibition featuring 26 Indian and international artists who challenge, reimagine, and transform conventional modes of artistic expression. Curated by art historian and critic Uma Nair, the exhibition includes paintings, sculptures, ceramics, and mixed media works that delve into themes of identity, mythology, climate, tradition, conflict, and culture.

Sunday, 13 July 2025

"10 Lakh Views & Counting! Huge thanks to our amazing readers for making our Art blogazine a huge success! Your support means the world to us


"10 Lakh Views & Counting!

Huge thanks to our amazing readers for making our Art blogazine a huge success! Your support means the world to us 🙏🎨 #ArtBlogazine #10LakhViews #ThankYou"

 

MANDAPO "An alternative art space' is thrilled to announce the unfolding of next chapter


 

MANDAPO 

"An alternative art space'  is thrilled to announce the unfolding of next chapter 


PARADOX OF EXISTENCE 

A group show 

conceptualized by

Richa Sharma 

Featuring an unbashed group of artists 

Pankaj Khalode

Samita ravindran 

Manoj Sonawane 

Hemant Shinde 

Exhibition on view 16 July to 31 July 2025 .

Monday to Saturday 11 am

to 7pm.

6,2 ND FLOOR,SANE BUILDING, 30/32,(DEVAL CHAMBERS),NANABHAI LANE,HUTAMA CHOWK(FLORA FOUNTAIN),FORT,MUMBAI - 400001

www.mondapo.in

Tuesday, 8 July 2025

Artists of every age with realistic outlook always capture these changes.

Art is the visual history of a given period. Nature is evident and apparently beautiful. Man progressed and steadily brought change in its appearance; bringing in more man-made materialistic things. Artists of every age with realistic outlook always capture these changes. Some are figurative and some abstract. My interaction with nature as well as reality of urban people has led me to create these drawings, portraying the truth of contemporary scenario. Every work has different appeal and presentation method, setting different moods with use of topic relevant colors, forms and style. I create these drawings because I am more sensitive towards societal issues.

Artist: Tathi Premchand

 I like to paint social issues and causes and make a critical statement through my work. With times, lifestyle, infrastructure of the society and more over behavior and outlook have changed, I try to showcase that change- either good or bad or say, two sides of the same coin. I like to be binocular and scan society at the farthest. In these webbed drawings are hidden faces of people with many shades of struggle for survival. No where is meditative and tranquil mood. There is awe, stress, astonishment, question remorse and so on. The knife edge is what that we advance on. We are ripped with the sharp tip everyday. Still we find our path through it. These struggles and enwrapping due to social disruption have their own attractive token; a sentimental value. 

I have worked with pencil and pen on paper. In Drawing I deliberately painted skeleton on Electricity bill. Having basic needed things include electricity, but the charges are too high; the power is less as compared to powerful bills and that is killing people, reducing them to skeletons. The two most influential artists whom I admire are William Kentridge. David Hockney is always a third party observer putting the reality on paper using pen drawing. William Kentridge uses scribbled papers for his expression of reality. I feel this is an effective medium as it makes drawings more worth and iconic. This series has various lines combines with styled circles, a white or black spots, hiding the emotional facial gesture of the person. 



I have captured the complexity using basic tools and in completely freehand manner. Titles also play prominent role in my creations. A word or two speaks all. I have pasted my drawings on cardboard boxes and let them be on wall. I call this series ‘Head, as I am awed by its most unique feature to stick to the wall. Just like it pathos and poignancy that never leave us. And as I adamantly state, “My paintings are not just show pieces to decorate walls, but are the thoughts to be pondered upon.” 

 - Tathi Premchand Translation by Pankaja JK

Saturday, 5 July 2025

WE TRY TO COME TOGETHER DRAWINGS BY TATHI PREMCHAND DATE: 8 -19 JULY 2025

 

WE TRY TO COME TOGETHER

DRAWINGS BY TATHI  PREMCHAND

DATE: 8 -19 JULY 2025


TIME: 3pm to 7pm

2 WEEK - SHOW  
 
TUESDAY   NIPPON 

By Appointment 

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

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