Category: Editors Choice

Celebrating India’s Women Printmakers at NGMA Mumbai

In the vast tapestry of Indian art, printmaking has long played a quiet but essential role. Often overshadowed by the more commercially dominant world of canvas painting, the art of printmaking—with its laborious processes and detailed techniques—remains one of the most intricate and intellectually engaging art forms. A new exhibition titled Nabha Sparsh, currently on view at the National Gallery of Modern Art (NGMA), Mumbai, shines a powerful spotlight on this underrepresented medium and the remarkable women behind its evolution in India.

Presented in collaboration with the Ministry of Culture, Government of India, Nabha Sparsh is a landmark exhibition showcasing the works of 150 women printmakers from across the country. Running until May 25, 2025, this expansive and inclusive show not only honours the legacy of Indian printmaking but also celebrates the rich diversity and innovation that women artists bring to this meticulous craft.

Housed at the iconic NGMA on MG Road, in the heart of Mumbai’s Kala Ghoda art district, the exhibition offers a comprehensive overview of printmaking techniques—lithographs, etchings, aquatints, woodcuts, engravings, linocuts, and screen prints—all represented with both traditional and contemporary approaches. The display captures the artistic rigor required for each method while giving audiences a rare glimpse into the world of tools, processes, and textures that are foundational to the art form.

What makes Nabha Sparsh particularly significant is its focus on female practitioners. In a medium that often operates away from the mainstream, women printmakers have historically faced the dual challenge of working in a niche field while navigating the broader gender biases present in the art world. This exhibition seeks to rewrite that narrative by giving these artists a grand stage to showcase their work and voices. From seasoned masters to emerging talents, the show highlights an intergenerational dialogue among women artists who have contributed to shaping the visual language of print in India.

The title, Nabha Sparsh, loosely translates to “touching the sky,” which fittingly reflects the soaring ambition and resilience of the artists featured. Their works explore themes ranging from identity, environment, mythology, and urban life to personal memories and social commentary. Each print is a story in itself—meticulously composed, layered with meaning, and presented with stunning technical finesse.

Walking through the gallery, visitors are invited into a world where each line and texture has been thoughtfully etched, carved, or pressed into existence. The effort behind every piece—often involving days of preparation, experimentation, and precision—is evident in the final image. Printmaking, as the exhibition makes clear, is not merely a reproduction technique but an artistic journey.

Beyond the artworks, Nabha Sparsh also serves as an educational experience. The exhibition offers insights into the history of printmaking in India, the evolution of its materials and tools, and how women have carved a niche for themselves in the field over the decades. Informative panels, artist bios, and video displays enrich the viewing experience, helping visitors appreciate both the craft and the creator.

For Mumbai’s vibrant art lovers and curious newcomers alike, Nabha Sparsh is a must-visit. It challenges preconceived notions about what printmaking is and who its practitioners are. It elevates an overlooked medium and places women artists front and centre—exactly where they belong.

As the exhibition continues through May 25, 2025, at NGMA Mumbai, it stands as both a celebration and a statement—a declaration that Indian women printmakers are not only touching the sky but also leaving a lasting impression on the canvas of Indian contemporary art.

Laila Khan Furniturewalla Returns with ‘Untamed Heart’

After nearly two decades away from the public eye, artist Laila Khan Furniturewalla makes a bold and deeply emotional return to the art world with her solo exhibition titled ‘Untamed Heart’. Presented across two prominent Mumbai venues — Snowball Studios and Gallery Art & Soul — this evocative collection of works marks a significant chapter in her artistic evolution, paying tribute to her parents, the late cinematic icon Feroz Khan and her mother Sundri.

Eighteen years may seem like a long pause, but for Furniturewalla, the interlude has been one of internal growth, personal reflection, and creative reawakening. With ‘Untamed Heart’, she channels this intense journey into abstract compositions that resonate with themes of spirituality, identity, emotion, and memory. Her works are not just paintings — they are deeply immersive experiences that invite viewers into the layered recesses of her inner world.

Working with an eclectic mix of materials such as sand, copper, gold leaf, pigment, and acrylic, Furniturewalla pushes the boundaries of medium and meaning. Her canvases, though abstract, speak with clarity about the tension between tradition and modernity, the sacred and the earthly, the seen and the unseen. Through bold textures and nuanced layering, she explores a metaphysical space where form dissolves into feeling, and surface gives way to substance.

“The exhibition is the culmination of my journey as an artist,” shares Furniturewalla. “These works are highly personal and emotive, and embody my search for the mystical and the divine without boundaries and definition.”

Indeed, there is a sense of boundlessness in her work — a refusal to be boxed in by style or convention. This is not just abstract expressionism; it is abstract soul-searching. Her pieces evoke the rawness of grief, the gentleness of memory, and the uncontainable force of love — especially for her parents, who remain spiritual anchors in her creative universe.

The choice of exhibition spaces further echoes the dual nature of the show: a fleeting yet powerful preview at Snowball Studios, Worli, on the 5th and 6th of April, followed by a more extended engagement at Gallery Art & Soul, Worli, from the 16th to 22nd of April 2025. These venues, each with their own unique character, provide fitting backdrops for a body of work that bridges time, place, and emotion.

‘Untamed Heart’ is more than just a return to the art world — it is a reclaiming of voice, vulnerability, and vision. Through her fearless exploration of the self and her homage to familial legacy, Laila Khan Furniturewalla offers audiences not just a glimpse into her heart, but an invitation to reflect on their own inner landscapes.

In this compelling exhibition, the untamed becomes the unforgettable.

Gulammohammed Sheikh’ s Grand Retrospective at KNMA, Saket

Step into a world where past and present blend seamlessly, where literature and visual art converse freely, and where every canvas is a portal into a story rich with history, culture, and layered meaning. The Kiran Nadar Museum of Art (KNMA) in Saket, New Delhi, is currently hosting a monumental retrospective of one of India’s most celebrated artist-poets and cultural thinkers—Gulammohammed Sheikh.

Titled Gulammohammed Sheikh: A Retrospective, the exhibition is more than just an artistic showcase; it is a deeply personal journey across six decades of the Padma Bhushan awardee’s expansive career. Featuring over 190 works, the show offers a panoramic view of Sheikh’s artistic evolution, exploring the many mediums and styles he has embraced while foregrounding his identity as a painter, poet, art historian, and cultural commentator.

Born in 1937 in Gujarat, Sheikh’s career spans eras of significant transformation in the Indian art world. This exhibition, curated with remarkable depth and sensitivity, brings together an extensive range of his creations—from early gouaches and intricate oil paintings to pen-and-ink drawings, graphic prints, and his more recent experiments with digital collages. Each work carries traces of his life experiences, his academic training, his love for literature, and his deep engagement with historical and cultural narratives.

What makes Sheikh’s work stand out is its multi-layered complexity. His paintings often bring together diverse visual languages, combining miniature painting traditions with contemporary aesthetics. The narratives within his canvases are often intertextual—referencing mythology, history, politics, and poetry all at once. His art resists simplistic categorisation, instead inviting the viewer to explore the interplay between word and image, past and present, East and West.

Also on display are Sheikh’s accordion books, a format he has used masterfully to unfold stories across space and time, along with a selection of his poems that add yet another dimension to his artistic voice. These works blur the boundary between visual art and literature, creating an immersive experience that echoes his belief in the unity of all art forms.

Sheikh’s engagement with ceramics and sculptural forms is also given due attention, with ceramic objects and large-scale installations adding further texture to the exhibition. These works demonstrate his interest in materiality and spatial storytelling—how an object or structure can evoke memory, identity, and cultural heritage.

Perhaps one of the most striking elements of the show is how it offers a parallel narrative of Indian art itself. As viewers walk through the different phases of Sheikh’s work, they are also witnessing the shifting tides of Indian modernism—from its early post-Independence experiments to the more global, digital-inflected art practices of today. Through Sheikh’s personal lens, one can trace broader questions around identity, belonging, and the role of the artist in society.

The retrospective is an invaluable opportunity to engage with an artist whose contributions go far beyond the canvas. Sheikh is also known for his writings on art and his role as a mentor to generations of artists, curators, and scholars. His ability to bridge disciplines, languages, and geographies is what makes this show not just a display of artworks but a profound intellectual and emotional experience.

On view until June 30, 2025, at KNMA, DLF South Court Mall, Saket District Centre, New Delhi, this retrospective is a rare chance to experience the many worlds—both real and imagined—of Gulammohammed Sheikh. Whether you are an art enthusiast, a student of history, or simply a curious visitor, this exhibition promises to leave you with a renewed appreciation for the depth and diversity of Indian contemporary art.

The Case for Culture in Times of War, by Bjö rn Geldhof, Artistic Director, PinchukArtCentre, Kyiv

What place does art have when a country is under siege? In a period dominated by the need for military aid, medical supplies, and humanitarian relief, prioritizing contemporary culture may seem misplaced—perhaps even extravagant. Yet in Ukraine, where war rages on, the role of artists has proved not only relevant but essential. Their work goes beyond creativity; it serves as a powerful tool for defending democratic ideals and sustaining the fabric of civil society.

Since Russia’s full-scale invasion of Ukraine, the PinchukArtCentre has been grappling with a critical question: What is the relevance of art during a time of national crisis? Supporting artists in wartime might seem counterintuitive, but the answer lies in a profound truth—preserving democracy requires more than weapons; it demands a vibrant exchange of thought and expression.

Democracy flourishes through diversity of opinion and open dialogue. Ukraine initially responded to invasion with deep emotional unity—an instinctive, collective defence of home. As the war has progressed, this solidarity has taken on a more practical form. But unity should not come at the expense of critical voices or honest reflection. That is where art steps in, offering a space to question, to ponder, and to process what politics cannot always express.

The PinchukArtCentre Prize exhibition in Kyiv features 20 emerging Ukrainian artists, whose works don’t always depict war directly. Instead, they explore the emotional and psychological impact of living through conflict—addressing themes like identity, the human body, memory, and the elusive sense of normal life. These pieces help make sense of the invisible wounds that words often fail to describe, inviting viewers to reflect rather than prescribe answers.

At a time when nations under siege might be tempted to close themselves off, Ukrainian art builds bridges outward. The country’s creative community has embraced what we call “open nationalism”—a form of patriotism rooted in critical engagement. Ukrainian artists support their nation while remaining unafraid to question its trajectory. This approach keeps Ukraine part of the global cultural dialogue, preventing isolation and reinforcing shared values.

This August, we will launch a bold new exhibition by the Ukrainian collective Open Group. Their participatory performance will examine who controls historical narratives and who is left out of them. Audiences will be challenged not to remain passive spectators, but to confront the weight of inclusion and exclusion in shaping collective memory. This kind of work affirms the importance of pluralism—listening to diverse voices rather than silencing them.

Many Ukrainian artists have taken up arms, defending their country on the front lines. Still, their artistic contributions continue—provoking thought, challenging norms, and inspiring hope. Their resilience highlights the urgent need for international support: not only by exhibiting Ukrainian art abroad but also by nurturing cultural dialogue and creative initiatives within the country.

When the Future Generation Art Prize was presented in Kyiv, 21 global artists brought their stories to Ukraine. Local audiences often recognized echoes of their own struggles in those varied perspectives. Soon, South African artist Gabrielle Goliath will join this cultural conversation with a new exhibition focusing on Ukrainian survivors of trauma, weaving together global and local experiences in a shared narrative of resilience.

Ukrainian artists are not merely observers of history—they are active participants in shaping it. Their work defends the nation not only with ideas but with the intellectual integrity necessary for a functioning democracy. It is crucial, therefore, for the world to stand behind them—by investing in Ukrainian art, supporting cultural institutions, and promoting creative collaboration.

In Ukraine’s fight for freedom, culture is not a luxury. It is a lifeline—for healing, for resilience, and for imagining a future beyond war. Supporting art in times of conflict is not a distraction from defence—it is a vital part of protecting the very soul of democracy.

Dr Simple Mohanty’s solo show, Brush with Nature, celebrates her dialogue with nature.

Dr Simple Mohanty’s latest solo exhibition, Brush with Nature, which opened on April 25, 2025 at Lokayata Art Gallery, captured a pivotal evolution in her artistic expression. Known for her emotionally resonant and visually buoyant style, this show reveals a refined maturity in her practice and celebrates her deeply personal dialogue with nature. Her show at Lokayata brings together 46 evocative paintings that reflect a philosophy of joy, presence, and harmony.

With sweeping, impressionistic strokes and a bold, luminous palette, Mohanty renders scenes that pulsate with life. Her subjects—ranging from flowers, still life and waterbodies to figures immersed in natural settings— are all threaded by a common theme: a spiritual and pantheistic connection to nature as a source of vitality and joy.

Viewers often describe her work as “Happy Art,” andit’s easy to see why. There’s a sense of exuberance and serenity in every canvas, a reflection of the artist’s own method—one rooted in stillness and spiritual alignment. For Mohanty, nature is not merely a muse, but a reservoir of energy and peace. Each painting is born out of a meditative communion with this life force, which she then channels onto her canvases. Over the years, she has participated in numerous solo and group exhibitions across Delhi, Dubai and Poland. In India’s capital alone, she has shown her work at prestigious venues such as the Lalit Kala Akademi, AIFACS, Visual Art Gallery, Open Palm Court Gallery, and Art Junction at The Lalit Hotel. 

Her accomplishments are noteworthy: she was honoured with the Bharat Nirman Make in India Award for excellence in Fine Arts in 2018 and won international accolades through the Light, Space & Time Online Gallery in 2021. That same year, she gained global Re cognition as the only Indian shortlisted for New York based See Me Art Gallery’s collaboration with Spanish fashion house Mint & Rose. Her acrylic painting, living in the Moment, not only won the final online vote but was also printed on a limited-edition line of espadrilles, along with a cash prize—solidifying her presence on the international art map.

Inspired by the emotive force of Van Gogh, the lyrical landscapes of Monet and the playful strokes of Matisse, Mohanty’s art also flirts with the pop art genre.

Her pop-infused works often feature bright colours, whimsical forms and thoughtful captions echoing her life philosophy: embracing the present moment. These, too, are tied to her broader themes of mindful living and sacred interconnectedness with the natural world.

The, Brush with Nature, exhibition, which features46 acrylic and mixed media works, was inaugurated by esteemed artists Naresh Kapuria and Asit Patnaik.

Among the special guests were Grecu Nicu Nicola, Minister Counsellor at the Embassy of Romania and art director and critic Qazi M. Raghib.

The artist stands as a passionate cultural ambassador for the Kabui community.

In the vibrant and diverse landscape of Indian contemporary art, artist Golmei Gandumpu stands out as a passionate cultural ambassador for the Kabui community, an indigenous group from the northeastern state of Manipur. Through his creative practice, Gandumpu not only expresses his artistic sensibilities but also becomes a storyteller and preserver of a way of life that is slowly being overshadowed by the forces of modernity.

A graduate of Imphal Art College, Gandumpu has committed his life and career to showcasing the traditions, rituals and everyday narratives of the Kabui people. His artwork often reflects themes of identity, belonging and cultural erosion, bringing forward the untold stories of a community whose voice is rarely heard on mainstream platforms.

“My community and its cultural practices are gradually disappearing,” he explains. “The rapid intrusion of modern lifestyles has diluted our traditional values. Through my paintings, I strive to document and safeguard what remains before it is lost forever.”

Currently working at Garhi Studio under the Lalit Kala Akademi in New Delhi, since 2013, Golmei has continued to develop a distinct visual language that draws from tribal motifs, earthy palettes and a deep sense of connection to the natural world. His canvases are not only artworks but archival records—each brushstroke echoing a story, a dance, a memory, or a ritual from his community.

Gandumpu’s dedication to his craft and cultural preservation has earned him significant recognition over the years. His major achievements include:

1. Winner at the VII Manipur State Kala Akademi Awards, a prestigious recognition of artistic excellence in the state.
2. Awardee at the 4th Annual Art Exhibition, organized by the Artists Society of Manipur in 2012.
3. Honourable Mention at the 34th Annual State Art Exhibition, conducted by the Manipur State Kala Akademi in 2013.
4. Consolation Prize at the World Children’s Art Exhibition held in Korea in 1981—a testament to his early talent and global presence even at a young age.
5. State Art Award, again conferred by the Manipur State Kala Akademi in 2012, further validating his commitment to artistic and cultural excellence.
6. Selected Participant in the 59th National Exhibition of Art, organized by the Lalit Kala Akademi, New Delhi, on January 18, 2018, placing him among the ranks of nationally recognized artists.

Gandumpu’s artworks often invite viewers to reflect on what is being lost in today’s rapidly urbanizing and globalized world. His compositions feature a harmonious blend of tradition and innovation—deeply inspired by the myths, oral histories, costumes, and spiritual practices of the Kabui tribe. Rather than resisting change, his work acts as a gentle but powerful reminder of the value of heritage and the urgent need to protect it.

In an era when indigenous voices are at risk of being drowned out, artists like Golmei Gandumpu play a crucial role in maintaining the cultural balance. His artistic journey is not just one of personal exploration but a mission to keep the essence of a people alive through creative expression.

With his base now in New Delhi, Gandumpu continues to explore new mediums and platforms while remaining rooted in his identity. His story is a beacon of inspiration for young artists across India who wish to use their talent not just for personal fame but for the preservation of something far greater—their cultural legacy.

At Gallery DTale Archist—Bengaluru’s thriving hub for artistic individuality—the latest exhibition DTale Archist IV unfolds with a vibrant restlessness. Located in the energetic Whitefield suburb, this dynamic space brings together art, design, architecture, and technology in a thoughtfully curated confluence. The gallery’s name itself—DTale Archist—is a clever fusion of “detail” and “architect,” signaling its intent to establish a platform that boldly embraces complexity and collective creativity.

Curated by the prolific Bose Krishnamachari, cofounder of initiatives like the Kochi-Muziris Biennale, DTale Archist offers a more intimate yet equally diverse canvas. Unlike the Biennale that transforms an entire city into a porous museum, this exhibition cultivates a space of amiable juxtaposition—where distinct artistic expressions seamlessly bleed into one another, while retaining each creator’s unmistakable sense of self.

This exhibition feels less like a collection and more like a dialogue—between media, materials, and minds. Works shift from one emotional and thematic register to another, encouraging viewers to drift fluidly through this narrative maze. Still, it is the clarity of personal voice within each work that elevates the show above the growing tide of commercial art spaces across India.

Among the most compelling works on display is Rajeev Thakker’s. His black-and-white photographic montages, overlaid with delicate linework, float on panels that invite dimensional engagement. At the core lies a search for utopia—through platonic shapes and architectural familiarity—that interrogates the intersection of the abstract and the practical.

Hima Hariharan’s watercolours transport viewers to the aesthetic realm of 18th-century botanical illustrations. Yet, the familiar morphs into the surreal as cats scowl at mischievous crabs and hybrid fauna interact with peculiar tenderness. The hidden narratives in these works freeze motion, even when meaning is elusive.

Avinash Veeraraghavan’s dizzying collage of colour and pattern captures the tension between chaos and clarity. The layered composition reflects the fragmented struggles of the creative mind. “Can rest be found in discomfort?” his work seems to murmur, drawing viewers into a contemplative trance.

Benitha Perciyal’s pieces harness organic materials like incense, seeds, and leaves to form deeply textured emotional landscapes. Her art does not shy away from vulnerability. Instead, it holds sorrow gently, offering it as fertile ground for growth and reflection.

Saviya Lopes explores the theme of women’s labour, weaving memory and resistance into gossamer silks. Her work speaks in whispers—through gestures, words, and textures—echoing the uncelebrated resilience embedded in the everyday. In contrast, Shazia Nabeel’s circular portraits are intimate, bathed in soft hues and existential curiosity. Her figures seem suspended in thought, inviting viewers to eavesdrop on their solitude.

Siri Devi Khandavilli plays with mirrors—both literal and philosophical—to blur the line between subject and spectator. Her reflective surfaces hint at unpredictability, echoing the viewer’s own shifting perceptions. Each gaze upon the work reinvents its meaning, as though the canvas itself is sentient.

In Smitha M Babu’s world, objects are not props but protagonists. Trees whisper secrets, and animals participate in rituals that blur the line between folklore and morality. Her canvases stretch toward myth while rooting viewers in ecological and spiritual unity.

Vishal K Dar’s towering installations defy linear understanding. Drawing from Hindu cosmology and elemental forces, one piece—a vertical altar tucked into a corner—exudes reverence, pulling even the most indifferent observer into a moment of reflection.DTale Archist IV carries the energy of its previous iterations, while imprinting fresh perspectives onto the present. In embracing such a wide spectrum of thought and technique, the gallery becomes more than just an exhibition space—it transforms into a forum for provocation, discovery, and emotional immersion. Here, the viewer is not a passive onlooker but an engaged participant in the unfolding story of contemporary art.

In a year marked by economic uncertainty and a cooling global art market, Frieze New York 2024 emerged as a testament to resilience and adaptability. Hosted at The Shed from May 1 to May 5, the fair showcased 68 galleries from 25 countries, drawing approximately 25,000 visitors from 66 nations. ​

Strategic Presentations Amid Market Challenges

Despite a 12% decline in global art sales in 2024, dealers at Frieze New York reported robust sales, particularly through focused, single-artist presentations. Gagosian sold all four paintings from Sterling Ruby’s “TURBINE” series, while Kukje Gallery’s booth featuring Haegue Yang’s “Mesmerizing Mesh” works sold out entirely. ​

Emphasis on Local Talent and Collaborative Efforts

Reflecting a commitment to local communities, over half of the exhibitors had New York-based spaces. The fair also partnered with local non-profits like Artists Space and High Line Art, enhancing its cultural footprint. The Focus sector, supported by Stone Island, provided emerging galleries with subsidized booth prices, facilitating broader participation.​

Dealer Sentiments and Market Outlook

Dealers expressed optimism about the fair’s outcomes. Samantha Rubell of Pace Gallery noted, “While people may be talking about a soft market, we’re seeing continued interest from great collectors.” Similarly, Marc Payot of Hauser & Wirth emphasized New York’s central role in the global art market, stating, “Frieze New York confirms that New York is the centre of the global art market.” ​

Frieze New York 2024 demonstrated that with strategic curation and community engagement, art fairs can thrive even amid market uncertainties. The fair’s success underscores the enduring appeal of in-person art experiences and the importance of adaptability in the evolving art landscape.​

Mangaluru’s vibrant art community is set to shine as three of its most celebrated artists—Veena Srinivas, Syed Asif Ali, and Rajendra Kedige—bring their latest works to the forefront in a special exhibition running from May 5 to 14. The show, hosted at a prominent local gallery, honours the recent recognition these artists received from a prestigious art academy for their exceptional contributions to the field of visual arts.

This ten-day exhibition is more than just a showcase of artistic talent—it’s a celebration of the unique creative identities that have emerged from Mangaluru’s cultural landscape. Each artist brings a distinctive voice to the canvas, reflecting the diversity and richness of the region’s artistic tradition.

Honouring Artistic Excellence

The three artists featured—Veena Srinivas, Syed Asif Ali, and Rajendra Kedige—were recently bestowed with significant awards from the state art academy, acknowledging their lasting impact and dedication to visual arts.

Veena Srinivas, known for her lyrical interpretations of nature and human emotion, is a veteran artist whose work often blends realism with subtle abstraction. Her paintings, celebrated for their soft hues and intuitive compositions, evoke a sense of stillness and contemplation. Through delicate brushwork and layered textures, she communicates a deep connection with the natural world.

Syed Asif Ali, a master of figurative expression, brings a bold narrative style to the exhibition. His canvases are rich with symbolism and cultural references, often depicting life in coastal Karnataka. His use of vivid colours and expressive forms captures both personal and collective memories, inviting viewers to explore stories beneath the surface of everyday life.

Rajendra Kedige, whose expertise spans both traditional and digital mediums, offers a modern perspective rooted in heritage. His mixed-media artworks are an exploration of form, architecture, and identity. Known for seamlessly integrating classical techniques with contemporary design, Kedige’s work resonates with both art purists and new-age audiences.

A Platform for Cultural Dialogue

This exhibition provides a rare opportunity for the public to engage with the works of artists who have not only honed their skills over decades but have also used their art to influence, document, and elevate Mangaluru’s cultural ethos.

Visitors will experience a curated selection of paintings and artworks that reflect different styles and philosophies but are united by a deep sense of place and purpose. From nature-inspired landscapes and evocative portraits to experimental formats, the exhibition aims to stir imagination and provoke thought.

Organizers hope the event will encourage dialogue around the evolving landscape of visual arts in Karnataka and the critical role of regional artists in shaping contemporary Indian art.

Bridging Generations Through Art

What sets this exhibition apart is its focus on experience and legacy. All three artists have not only contributed with their artwork but have mentored younger generations, conducted workshops, and actively participated in the city’s art movements. The show, therefore, serves as both a tribute and a touchstone—highlighting the paths these artists have carved and the journeys still unfolding.

Local schools and art colleges have been invited for guided tours, while special interactive sessions with the artists are scheduled during the exhibition period to foster engagement with students and aspiring creators.

Event Details

• Dates: May 5 to 14, 2025
• Venue: (Venue name can be added here)
• Timings: 10:00 AM to 6:00 PM
• Entry: Free and open to the public

Whether you’re an avid art lover, a student, or someone simply curious about the creative pulse of Mangaluru, this exhibition promises an enriching visual experience and a chance to celebrate the enduring power of artistic expression.

The Public Art Abu Dhabi Biennial examined public art through the prism of environment, community, urbanity, and indigeneity.
By NEETA LAL

“Art works can help us to remember what matters; they also lend us hope; they dignify sorrow; they expand our horizons; they help us to understand ourselves; they rebalance us; and lastly they make us appreciate the familiar anew”.

Swiss-British author Alain de Botton’s seminal words sprung to mind as I viewed spectacular exhibits at the inaugural Public Art Abu Dhabi Biennial in the Emirati capital city. The site-specific installations, by over 70 artists from the United Arab Emirates and other countries, were exhibited throughout the downtown areas of Abu Dhabi and the World Heritage Site of Al Ain.

Yet the event’s aim transcended mere beautification of public spaces. Instead, it invited viewers and citizenry for a deep dive into how environmental conditions impact gathering places and interactions, and how they define what is considered a `public space’. Be it canvas work, live installations or performances, the biennial – that ran until April 30 — examined public art through the prism of four factors — environment, community, urbanity, and indigeneity, while the invited artists enhanced the public understanding of public spaces and their cultural significance.

How a city’s modern development and its indigenous practices address the challenge of preserving traditional values amid gentrification and evolving commercial practices were also spotlighted at the event. For this, it examined diverse forms of habitations — from Al Ain’s pre-petroleum architectural heritage to the region’s traditional mud-brick housing and lush oases.

“The breadth of artists and artworks on display is a testament to Abu Dhabi’s long-term efforts to integrate art into the fabric of society, and ultimately to make it accessible and available to all. The event also highlights the program’s contribution to the preservation of significant architectural and urban spaces, for the wider community,” said Clémence Bergal, the biennial’s director.

Public art as a reflection point

An investment of over $35 million will be dedicated to the initiative annually, the organizers added, to support the emirate’s wider creative industries through public art proving that shared experiences can transcend time and terrain.

While creating more pleasurable surroundings, the event also nudged residents to stop and truly take stock of the places they call home as these often go unheeded in the whirligig of daily life. In this context, the biennial made art accessible without one needing to enter museums or pay to access spaces. This was a delightful sensory experience especially for Indians like me whose exposure to art is limited to perfunctory museum and art gallery visits  or the annual art fair!

Kabir Mohanty

Art as Storytelling

But here, art was everywhere. The Abu Dhabi Bus Terminal offered a 30-minute walking route showcasing works by Hussein Sharif, Zeinab Alhashemi, Henrique Oliveira, and Eko Nugroho. Downtown Abu Dhabi, a one-hour walking route took in works by Azza Al Qubaisi, Lúcia Koch, Nathan Coley, Mohammed Al Hawajri, and Radhika Khimji. The Carpet Souq Route featured Christopher Joshua Benton, Khalil Rabah, Eddie Clemens and Yeesookyung. The National Theatre Route, a 30-minute driving route that included works from Afra Al Dhaheri and Kabir Mohanty.

One of the artworks that resonated deeply was Lebanese artist Wael Al Awar’s domed Barzakh pavilion, an ivory-hued legoland of 100 modular pieces crafted from recycled plastic, palm fibers, and brine. In an architectural landscape dominated by globalized modernity, it offered a unique perspective by reimagining these materials, often dismissed as waste, as sustainable building resources.

Palm fibers and crystallized salt bolstered the structure, while shifting light patterns reinforced the synergy between land and sea. As I entered the installation, the temperature inside was also much cooler as compared to the outside, creating a more conducive micro climate for human habitation while highlighting clever of sustainable resources to craft modern architecture.   

The concept of engaging communities through shared spaces and storytelling took on a myriad forms at the biennial, such as Load Na Dito, a Manila-based artist duo who transformed a rundown bakery into `In Search of a Monument’, a participatory installation inspired by the ubiquitous yet vibrant storefronts of downtown Abu Dhabi.

Indian artists foregrounded relevant themes

Indian artists foregrounded themes of migration, displacement and nostalgia while presenting a robust, multidimensional view of art’s evolving role in a world increasingly defined by flux. Assam-based Anga Art Collective’s work – Migration Granary – nestled at the World Heritage Site of Al Ain. The architectural complex symbolized the resilience and hardship of historical and contemporary pressures of migration.

Constructed from bamboo, jute, local foliage and fabrics, the granary offered an intimate space for reflection on migration. “Our work critiques alienating modern infrastructures in proposing an environment that encourages empathy for displaced people and ecology. The contemplative archival space relating migration’s challenges connects with Al Ain’s historical significance as a site of human settlement and movement,” elaborated Dhrubajit Sarma of the 10-member collective.

Similarly, Mumbai-based sound artist Kabir Mohanty’s collaborative and immersive sonic installation – An offer from the desert – was inspired by the symbolic rituals of tying threads at a dargah (Muslim shrine), a site of spiritual offerings and remembrance. Starting from workshops initiated as a 2022 Visiting Artist at Guggenheim Abu Dhabi, Mohanty invoked personal and shared histories—voices or threads that provide a space of reflection, seeking depth, truthfulness.

The installation paid homage to the bonds of community and the camaraderie it fosters, reinforcing the purpose of art as a medium for communication, emotional expression, beauty creation, and exploration of the human condition.    

New Delhi-based journalist and editor Neeta Lal has worked with India’s leading publications in her three-decade career. She writes for over 20 publications worldwide and was nominated for World Media Summit Global Awards for Excellence 2014 and SOPA Awards 2014. A postgraduate in English literature, she has also been a scholar at the International Summer School, Norway and Concordia University, Canada, and has travelled to 75 countries in search of good stories on travel, gastronomy, art and culture.