8 Dec 2025

Art News: India Art Festival Bengaluru, December 2025

India Art Festival returns to Bengaluru with its 5th edition

Over 3,000 artworks, 20+ galleries and 300 artists under one roof

India Art Festival (IAF) is back in Bengaluru for its fifth edition from 12 to 14 December 2025 at the Crown Pavilions, Palace Ground, Gate No. 5.

India Art Festival 5th Edition, Bengaluru, 12-14th Dec, Palace Grounds; Art Scene India

Laxma Goud

The Bangalore art market is expanding rapidly in proportion to its population. Currently, its population is almost half of that of Mumbai and Delhi. Rajendra Patil, Director of India Art Festival elaborates, “the city has a large, diverse, and growing community that enjoys art, right from young professionals, families, and art buyers all of whom actively visit art events. In fact, people come to the art festival not just to see art but also to find artworks that make their homes feel more inspiring. Bengaluru also has museums, cultural spaces, historical landmarks, and many corporates that support creative activities. All of this makes the city a strong place for artists to present their work and for the festival to reach new audiences.”

Rajendra recollects that when India Art Festival began in Mumbai, there was no art fair in the city. “Similarly, when we started the festival in Bangalore five years ago, there was no platform where galleries and artists could come together with the city’s art lovers. Clearly, there was a real need for such a space and we are happy to be back in Bengaluru.”

As part of the India Art Festival, for three days, the city will host a vibrant showcase of contemporary Indian art, bringing together over 20 galleries and 300 artists from 25 cities across India.

This year’s edition will feature a wide range of artworks across mediums – including paintings, sculptures, photographs, ceramics, installations, traditional art forms and more – making it a must-visit for both seasoned collectors and first-time buyers.

It is to be noted that the art market and the profile of art buyers in India have changed a lot in the past decade. Earlier, it was mainly large corporates who bought art, but now individuals are buying more art for their homes and offices.

Yusuf Arakkal

According to Rajendra, “There’s also a big shift from the real-estate and interior design end. Developers and interior designers are constantly looking for good artworks that are not necessarily expensive - pieces that are original, appealing, and fit well into modern living spaces. Another noticeable change is that many new bankers, tech professionals, and young homeowners are buying art too. They may not think of themselves as “collectors” because they usually buy only a few pieces. They buy art simply because they like it, not because they’re thinking about investment.

In all major cities, this group of spur-of-the-moment, first-time art buyers has increased in huge numbers. And events like India Art Festival play a key role in expanding this circle of art patrons. By bringing galleries, artists, and the public together under one roof, the festival makes art more accessible and encourages many new people to start buying and appreciating art.”

Ramesh Gorjala

IAF, 12 - 14 December 2025, Bengaluru

More than 3,000 artworks will be on display, ranging from oil, acrylic and watercolour works to mixed media, installations and regional art traditions. The festival aims to make art accessible and enjoyable for everyone – whether you’re an art connoisseur, a young collector, or simply curious about the world of art. India Art Festival has always focused on creating a balance between emerging talent and established masters. This year too, young and independent artists will show their works alongside eminent names in Indian art, offering visitors a rich and diverse view of today’s contemporary art scene.

Special Curated Exhibition: Brushstrokes of Karnataka

One of the major highlights of this year’s festival is the specially curated exhibition ‘Brushstrokes of Karnataka’, led by Prof. K.S. Appajaiah. This showcase brings together the works of more than 30 renowned artists from Bengaluru and across Karnataka, celebrating the state’s breathtaking landscapes and rich heritage. From the historic ruins of Hampi and Badami to the lush Western Ghats and diverse regional terrains, the exhibition captures the true spirit and beauty of Karnataka.

The Artists Showcasing in Brush Strokes of Karnataka include ‘Kantharaj N, Dundappa S Lolasoori, Shrisail Shrimant Kamate, Lingaraju M S, Prahallad K V Acharya, Chetan C S, Manjunath Wali, Syed Asif Ali, Makali K K, VRC Shekhar, Babu Jattakar, Sathish Biradar, Bheemrao K Badiger, Lokesh R, K S Kamatagoudar, Madivalappa S Langoti, Mallappa Halli, Gangadhar Bandanavar, Shirish Deshpande, Shweta, Hemavathi Sadashiv, D Pavan Kumar, Siddanna S Maragol, Roopesh Nanaiah

It stands as a heartfelt tribute to the land—its scenery, its cultural legacy, and its iconic temple architecture.

Rajeev Rai

Artists’ Pavilion: Young talent meets masters

The Artists’ Pavilion will feature more than 200 independent artists, exhibiting alongside around 100 established artists represented by galleries. Promising young artists such as Monica Ghule, Yuvraj Patil, Dev Mehta, Rajeev Rai, Sandeep Ghule, Anil Vergese, Anjali Prabhakar, Kalpana Soni and many others will be presenting their works. Their art will be shown alongside works by renowned masters including Yusuf Arakkal, Krishen Khanna, Manu Parekh, Ramesh Gorjala, T. Vaikuntam, Akbar Padamsee, Laxman Aelay, Seema Kohli and several others, offering visitors a rare chance to see multiple generations of Indian artists in one space.

Participating Galleries

From Bengaluru

Sara Arakkal Galerie, ReIGNITE EDTECH PVT LTD, Gallery Charvi

From Mumbai

House of Emerge, Studio3 Gallery, Studio Monica Ghule, Dev Mehta Art Gallery, Nitya Artists Centre, Curators.art and Chitraksh Art

From New Delhi & NCR

Gallery Pioneer, Uchaan, Artecious World Art Gallery, Aura Planet, Eminent Art Gallery, Shree Yash Art Gallery and Galerie Art Eterne

From Other Cities & Overseas

Gnani Arts, Singapore, Artsbreeze Art Gallery, Hyderabad, Pichwaiwala Narendra Art, Udaipur and M Narayan Studio, Pune

Event Details

Dates: 12–14 December 2025
Venue: Crown Pavilions, Palace Grounds, Gate No. 5, Bellary Road, Near Mekhri Circle, Bengaluru
Timings: 11:00 AM – 8:00 PM
Tickets: ₹199 season pass (valid all three days), available via BookMyShow and at the venue

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3 Nov 2025

Art News: Flux/Resonance at Visual Arts Gallery, Nov 7-11, 2025

Flux/Resonance

Curated by Nalini S Malaviya

Sonali Bose Chasm I

The exhibition Flux/Resonance brings together ten contemporary artists—Biswa Basu, Kantha Reddy, Malay Saha, Naba Kumar Chakraborty, Nandesha Shantiprakash, Partho Chatterjee, Rathin Kanji, Shridhar Iyer, Sonali Bose, and Yusuf—whose works respond to the currency of our times through a conceptual lens. Curated by Nalini S Malaviya, the show interrogates the cyclical nature of decay and renewal, offering a visual and philosophical inquiry into the elements that shape our urban and emotional landscapes.

Malaviya frames the exhibition around the paradox of collapse and regeneration. “The narrative of decay is a complex process involving degeneration and collapse, while simultaneously establishing the framework for the rejuvenation and re-emergence of newer constructs,” she writes in the curatorial note. The artists delve into this dynamic interplay—flux and resonance—as a metaphor for existence, exploring transformation, incoherence, and the tensions embedded in the built environment.

The exhibition navigates the metamorphosis of urban life, probing the interconnectedness between human experience and the cityscape. Themes of technological proliferation, media saturation, and consumerist culture emerge as critical touchpoints, where each artist brings a distinct voice to this collective interrogation.

Rathin Kanji, Seize the night

Biswa Basu deploys abstraction to depict societal disorder, chaos and emotional fragmentation. S. Kantha Reddy fuses mythology, nature, and temporal abstraction in sculptural forms drawn from everyday encounters, while establishing linkages to the past. Malay Saha examines spatial relationships and tensions between objects and human presence in urban settings.

Naba Kumar Chakraborty critiques the proliferative nature of technology and its role in influencing instant gratification. Nandesha Shanti Prakash reflects on the evolving relationship between selfhood and social purpose in contemporary life, and the oscillating nature of life and traits such as resilience. Partho Chatterjee explores chromatic and geometric dialogues between humans and their urban habitats, and the effect of design on these associations.

Rathin Kanji confronts the contradictions of progress—juxtaposing innovation with ecological and cultural decline. Shridhar Iyer captures the cosmic and terrestrial dualities through chaotic yet interconnected visual narratives. Sonali Bose exposes the paradox of digital intimacy versus emotional isolation in her mixed media works. Yusuf offers minimal, metaphor-rich compositions that evoke the psychological terrain of human emotion.

Flux/Resonance offers a space to contemplate on impermanence, contradiction, and the layered complexity of contemporary existence. Through varied visual vocabularies, the artists articulate the chaos and lucidity that define our lived realities, inviting viewers to engage with the subtle interludes of resonance that punctuate the flux of life.

Flux/Resonance featuring paintings, mixed media and sculptural works will be held from November 7-11, at Visual Arts Gallery at the India Habitat Centre, New Delhi.

For info contact: +91 9434592326 / 9831182657

Based on the press release

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26 Sept 2025

GST on Fine Art: Benefits and Implications

The recent reduction of Goods and Services Tax (GST) on fine art (associated with HSN Code 9701) from 12% to 5% under India’s GST 2.0 reform, which came into effect from Sept 22, has been welcomed by artists, galleries, and collectors alike. At first glance, the move appears to be a positive step towards catalyzing the market towards increased growth. Normally, lower tax rates should translate into increased affordability, widen the market, and convert into higher sales volumes. However, it might be worth considering some of the implications which may play a part in the overall outcome.

GST Cut on Fine Art: Benefits and Implications, Art Scene India

Photo by Dannie Jing on Unsplash

Lower Prices, Higher Demand

Reducing GST to 5% directly lowers the cost of acquisition for buyers, making fine art more accessible to a wider demographic. This is particularly significant in a market where price sensitivity often deters first-time collectors and younger buyers. Galleries may benefit from increased footfall and transaction volumes, while artists also stand to gain both financially and from the exposure.

The reform is intended to broaden cultural consumption and support creative disciplines, and it does so by reducing the tax burden. With a lower GST rate, it could also perhaps encourage greater compliance and bring in more artists and dealers into the GST net.

Input Tax Credit

Subathra Mylsamy, Managing Partner and Lawyer, A.K. Mylsamy & Associates LLP breaks it down for us, "For much fine art when sold by its original creator, the GST Council has notified a concessional rate of 5%, but with a crucial caveat: the artist or gallery cannot claim ITC for the GST paid on the inputs. This 5% rate is specifically granted on a “without ITC” basis, as prescribed in Notification No. 1/2017-Central Tax (Rate) and subsequent updates. This creates a problem because artists often pay higher GST rates—sometimes 12–18%—on the materials and services comprising their input costs (such as paint, rent, insurance, and logistics).

When the artwork is sold and ITC is not permitted, the GST paid on these inputs cannot be recovered, so it becomes a permanent additional cost for the artist or gallery. As a result, instead of passing the benefit of the lower tax rate to buyers, sellers typically increase their base price to compensate for the unrecovered tax, which ultimately makes art less accessible and harms both creators and buyers."

It implies that under the 12% structure, galleries and artists were able to offset taxes paid on inputs such as material costs, framing, logistics, printing and other services. Now, at 5%, this credit is no longer available, and which effectively increases the cost of creating art and the profit margins on sales.

Similarly, the inability to claim ITC could now influence gallery functioning and their profitability. Subathra Mylsamy expands, "For galleries, the inability to use ITC is even more pronounced because their operating costs— rent, curation, logistics, and insurance—are almost always taxed at 18%. When outward supplies can only be taxed at 5% and ITC is denied, the gallery experiences a loss that mainly affects smaller businesses. Larger galleries may have mechanisms to survive (by raising prices or absorbing costs), but smaller ones struggle, reducing opportunities for emerging artists and weakening the formal art ecosystem."

Is it better for the buyer now? "From a buyer’s perspective, the lower shown GST rate often does not translate into real savings, since sellers typically raise their base prices to offset tax stranded in the process. This cycle discourages formal transactions and record keeping, pushes smaller entities out of the market, and may lead to a shift back toward informal or cash-based deals—undermining transparency and trust in fine art as an investment asset," points out Mylsamy.

It leads to the question - in the long term, will it affect investment in infrastructure, promotion and marketing of art and thereby the ecosystem at large?

Compliance Factors

The shift in tax structure will require a recalibration of pricing strategies, and other modalities of functioning to optimize costs and profits.

Additionally, inter-state transactions involving integrated GST (IGST) remain complex, particularly for artworks crossing state borders for exhibitions or sales and these also have to be taken into consideration.

Overall, the GST reduction on fine art as part of a simplification of the GST brackets should help the art community, but moving forward the loss of input tax credit and increasing operational complexity must be factored in and thought out to ensure long-term sustainability of this sector.

Write in your thoughts in the comments section or email on artsceneinfo@gmail.com

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16 Sept 2025

Review: Bound – Sculptural Lighting Series

Bound – Sculptural Lighting Series by Purva Kundaje, Art Scene India

Mangalore by Purva Kundaje

'Bound’, forms an innovative sculptural lighting series which combines aesthetics and functionality in a unique manner. The brainchild of Purva Kundaje, an artist and architectural designer based in London, the works explore possibilities of material and object, and navigate notions of authorship, co-ownership and collaboration across geographies.

A graduate of the Royal College of Art, where she completed an MA in Design Products in 2021, Purva grounds her practice in narrative expression and sustainable material exploration. In the past, she has collaborated with craft-focused studios such as Rooshad Shroff and Sybarite, and has engaged extensively with women artisan collectives in India to integrate contemporary design languages with traditional craft methodologies. Her recent lighting project ‘Bound’ forges an unusual path – it begins as a sparse handstitched paper lamp, and then invites creative practitioners from varied fields such as poets, illustrators, textile artists, designers and others to participate as co-creators.

The collaborative aspect of the project originated from a previously held workshop led by Blake Carlson-Joshua and Purva, where they aided and supported participants process and express emotions through making objects.

Bound- Original Lamp form by Purva Kundaje

The experience revealed the range and depth of creative expression possible even from non-designers and artists. This subsequently inspired her to create a blank canvas, a minimal object which could act as a material and artefact to memorialise multiple collaborations and narratives.

“Each lamp begins as a handstitched, illuminated object made from an experimental paper blend of recycled newspaper and plasterboard waste. Developed through sustainable design research in partnership with Blake Carlson-Joshua, the material is both fragile and enduring—a luminous surface that invites response,” explains Purva.

The lighting series is in a sense an archive, which continues to evolve as various practitioners share and embed their stories, their cultural heritage, and memories onto the surface of the paper. Text, images and materials coalesce and assimilate on the shell of each lamp, bringing alive the plurality of the project, and the varied aesthetics and visual vocabulary of each piece.

Threshold by Purva Kundaje

Among the works, ‘Mangalore’ references the architectural detailing and silhouettes from Purva’s hometown in South India - fragments of memories that are abstracted and represented, while ‘Threshold’ also by her, navigates structure and spatial harmony while celebrating cultural memories and lineage.

All other pieces have been created in collaboration with other creators. – ‘The Kite Flyers’ by Yuwei Cong captures the fluidity of

Soft Silence by Teng Xue

movement inspired by the action of a kite caught in the wind. ‘Utopía de una mujer que está cansada’ by Chuxi Zhou in red ink is a memoir which resembles a street map that laments loss and longing imprinted within the urban fabric.

“The Adventures of an Ugly Cat” by Boer Zhu is a whimsical piece addressed to her cat, and combines painting and poetry, obscuring the boundaries between text and visual art. ‘Soft Silence’ by Teng Xue appears to be a labyrinth, reminiscent of the chaos, the maze and the ambiguity of life, while ‘The Flow Within’ by Elisa Nalon also navigates the unpredictability of life.

The Adventures of an Ugly Cat by Boer Zhu

Every work reflects the creator’s individuality, and gives a voice to their unique stories, rooted in personal histories, identity and memories, and which emerge from distinct socio-cultural and political milieu. The collaborative nature of the project collates diverse narratives from various parts of the world, and also offers a platform to various artistic voices to be seen and heard.

In contemporary times, where AI and technology dominate, an initiative such as this which lays emphasis on sustainable design, the tactility of the surface, and employs the materiality of the paper through acts of writing, stitching or painting creates a corporeal and sensory engagement.

Purva’s interdisciplinary practice and her artistic sensibilities encompasses spatial installations, furniture design, and collaborative storytelling. Through this project, she thoughtfully investigates and engages with the emotional and cultural dimensions of form, utilizing reclaimed materials and light as mediums for evoking memory, authorship, and facilitating transformation.

‘Bound’ has been previously exhibited at Material Matters 2023, part of the London Design Festival, and Conceptual Erasure (Fulham, 2025), and is an ongoing project.

- By Nalini S Malaviya

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9 Sept 2025

Art News: Whispers Between Worlds

Whispers Between Worlds: iArt Gallery’s New Exhibition Invites Viewers into the Subtle

This September, iArt Gallery in Bengaluru presents Whispers Between Worlds (September 12 – October 13, 2025), a month-long group exhibition that gently turns our attention away from the rush of the everyday and towards the subtle spaces that often go unnoticed.

Narayan Lakshman

Showcasing the evocative practices of Narayan Lakshman, Anjali Rajkumar, and Mohit Naik, the exhibition explores the unseen, the in-between, and the almost forgotten. In a cultural moment increasingly defined by urgency, rupture, and excess, Whispers Between Worlds asks viewers to slow down. It offers a space where art does not demand but instead invites; where works do not declare, but whisper.

Located in the heart of Bengaluru on Lavelle Road, iArt is committed to fostering meaningful artistic engagement. Since its inception, iArt has championed Indian contemporary artists whose works are alive with their storytelling, rich textures and innovative techniques.

Anjali Rajkumar

The current exhibition is conceived as a threshold — a porous, liminal space where memory and material, body and landscape, tradition and transition intersect. Each of the participating artists approaches this idea through their own visual language.

Narayan Lakshman’s fragile material interventions explore the persistence of memory and the quiet erosion of time. Anjali Rajkumar layers form and texture in ways that evoke ancestral rhythms while speaking to identities that shift and adapt. Mohit Naik uses meditative gestures to construct local landscapes of reflection, asking viewers to consider the everyday as a site of transformation.

Though their practices are distinct, the three are united in their attentiveness — to the subtle, to the in-between, to the things that resist easy articulation. What gives the exhibition its particular resonance is the way it lingers in the spaces between certainty and ambiguity. Instead of offering answers, the works create atmospheres — moments where viewers are invited to dwell in stillness, to sense rather than to solve.

Mohit Naik

The show positions itself not as a resolution but as an unfolding, a reminder that some experiences exist only in the realm of suggestion and echo.

Exhibition Dates: September 12 – October 13, 2025

Venue: iArt Gallery, Lavelle Road, Bengaluru

Artists: Narayan Lakshman | Anjali Rajkumar | Mohit Naik

With Whispers Between Worlds, iArt Gallery offers its visitors not just an exhibition, but an invitation — to pause, to reflect, and to rediscover the power of the quiet.

For more information Email: contact@iartgallery.in, Phone: +91 9900600473

Connect on https://www.instagram.com/iartgalleria/

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31 Jul 2025

Review: Emotional Constructs at Play

Twinkle's series of portraits navigates a spectrum of human sentiment, from all-encompassing grief and sadness to buoyant radiance.

Twinkle's recent body of work is inspired by Navarasa, an ancient philosophical concept originating from Bharata Muni’s Natyashastra, which forms an integral element of Indian aesthetics and artistic expression. Her series of portraits centers around the 'Rasa' theory and explores the range and depth of human emotion - the duality and complexity of situations and responses inherent in each moment of existence.

Navarasa portraits by Twinkle, Art Scene India

Joy Unfolded - (Hasya Rasa)

Twinkle recently completed her master’s in fine arts from Middlesbrough, UK. Prior to that she completed her master’s in visual arts from Agra, India and studied graphic printing techniques such as etching and lithography at Bharat Bhawan, Bhopal before moving to UK.

While in India, she was eager to push the boundaries of conventional artmaking further, and began experimenting with various materials and media, in conjunction with printmaking techniques. She found tea water stains on paper intriguing; the multiple layers added physical and figurative depth to her subjects. The resultant textures and the use of an organic medium lend credence to her practice which has a strong emphasis on sustainability and eco consciousness.

The use of tea as a ‘material’ in the artmaking forms a noteworthy subtext with its colonial association, alluding to the cross-cultural exchange and historical context, especially since this new series took shape after Twinkle’s relocation to UK. The entire process of staining the paper and its outcome also act as a metaphor for life’s journey, and its travails. The blemishes and scars imprinted on faces of people, imparts character and individuality to their persona.

The multicultural environment in the UK has instinctively influenced the diverse ethnicity of the portraits in Twinkle’s 'Navarasa' series. Drawn from her observations, the artworks are a celebration of the self, while acknowledging the gamut of human emotions experienced universally.

To add context to the Navarasa philosophy - according to the Indian art and culture tradition, the nine Rasas considered to be central to human emotion are Hasya (laughter), Shringara (love or beauty), Karuna (compassion), Raudra (anger), Vira (valour), Bhayanak (fear), Bibhatsa (disgust), Adbhuta (wonder) and Shanta (peace). These form the basis of expression and communication in Indian performative and visual arts, including modern and contemporary art. The rasas act as a framework for narration - the foundation of artistic and visual construct to connect and communicate with audiences.

Twinkle locates these universal emotional constructs from Indian aesthetics and tradition amidst a larger global context. The series of portraits navigates a spectrum of human sentiment, from all-encompassing grief and sadness to buoyant radiance. The alterations in facial expressions and the effects are enhanced by strong lines and bold colours that augment the emotional states. Vibrant pinks to earthy browns convey the exuberance or sombreness of the protagonist. The portraits despite the varied multiethnic facial features and influences are relatable, and interlinked by the primeval portrayals of mood, an intrinsic human trait.

In this collection, the nine works comprise of mixed media pieces on wooden boards. A larger composite artwork consisting of portraits around the Hasya Rasa, in particular, acts as a response to, and a reflection of the other works. The current suite with its play of emotion and colour is anchored by a common thread, which has a distinct collective voice, an articulation of shared concerns and feelings.

Through expressive form and emotive resonance, these works initiate an intimate space for reflection and empathy, accentuating the continuous import of classical 'Rasa' theory in shaping contemporary artistic discourse.

- By Nalini S Malaviya

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28 Jul 2025

Curating Corporate Art Collections

- by Nalini S Malaviya, Art Consultant

Art by Sunil Mishra, Reference Image, pic by author

Curating a corporate art collection for a discerning client is an exciting and challenging process. It involves much more than selecting paintings or sculptural installations to beautify the lobby or the boardroom walls.

It’s a strategic opportunity to build a visual identity that aligns with brand values, fosters team morale, and influences cultural dialogue beyond the workplace.

Having curated corporate art collections over the years, it has been a truly enriching process for me.

Corporate art initiatives, whether building an art collection or supporting a local art project offer a unique opportunity to make a difference and create occasions for public engagement. There have been instances, where I have also organized and conducted panel discussions and walkthroughs for employees and visitors as an adjunct activity to the art collecting process, and which I found have deepened audience engagement substantially.

Why should corporates invest in art?

Rendered Image for Reference

As I’ve written earlier in The Fine Art of Collecting, collecting art is no longer just about financial investment—it’s about intention and creating an identity.

A well-curated corporate collection while contributing to the overall decor and environment, reflects the organization’s values and vision.
Cultural positioning: It signals a company’s commitment to creativity and thought leadership.
Brand storytelling: Art becomes a medium to communicate innovation, inclusivity, or local culture, or all three in equal measure.
Internal engagement: Employees feel more motivated and enthused in an environment that values aesthetics and expression.

Supporting Artists and the Ecosystem

Corporate collections can play a pivotal role in nurturing artistic talent, especially local artists.

Commissioning new work: Encourages experimentation and site-specific installations.
Showcasing emerging voices: Offers visibility to emerging artists.
Collaborative programming: Talks, walkthroughs, and workshops can activate the collection beyond static display.

This aligns with the ethos I’ve always championed for, which focuses on sparking dialogue around art; it is as important as the art itself and nurtures art appreciation.

Image for reference, pixabay
Curatorial Challenges

Curating for a corporate space comes with unique considerations:

Balancing aesthetics and accessibility: The art must resonate with diverse audiences while remaining unoffensive. While one may prefer provocative art, in a corporate setting a neutral voice is generally desired.

Navigating spatial constraints: Lobbies, corridors, and breakout zones each demand different approaches, placements and mediums.
Ensuring longevity: It is imperative to factor in conservation, lighting, and rotation schedules which impact the life of an artwork.

Yet, these challenges are what make the process so rewarding. Each decision is an opportunity to educate, learn or engage further.

It is fortunate that a growing number of corporates are looking at art for their premises, not just for the sake of it, but also because they are passionate about it, and are now looking at diverse art forms, media and styles. Many actively try to overcome financial constraints and budgets, after all, let’s face it, investing in art requires intention and effort.

In India too, we’re seeing a growing interest in this space, with more companies recognizing the long-term value of art as both asset and advocacy.

Curating a corporate art collection is a dynamic, layered process—one that blends aesthetics with strategy, and passion with purpose. Each collection requires thought so that the archive grows along with the organization, and remains relevant over time.

Do reach out if you would like to initiate or support an art project, or wish to start an art collection.

Email: artsceneinfo@gmail.com

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12 Jul 2025

Mukesh Sharma’s Art Graces Rushdie’s Latest French Edition

Shalimar le clown book by Salman Rushdie, Art Scene India

Shalimar le clown book cover

Mukesh Sharma’s Art Graces Rushdie’s Latest French Edition

Delhi-based contemporary artist Mukesh Sharma is making headlines with his artwork which has been featured on the cover of the newly released French edition of Shalimar le clown - Salman Rushdie’s celebrated novel, which was first published in 2005.

Sharma reveals that author Rushdie and French publisher Antoine Gallimard came across the painting on his Instagram page. He elaborates, “Salman Rushdie took a liking to it and asked his publishing house to reach out to me.” After several conversations and review of many other paintings as well, their team felt this work was best suited for the cover of the novel.

Mukesh Sharma is a painter, printmaker, and installation artist from Alwar, Rajasthan. He holds an MFA degree in Printmaking from MS University in Baroda, and is known for expressing urban complexities, with imagery inspired by Rajasthani miniature paintings, frescos and block-printing of Sanganer. His work often explores the stresses between human and environmental relationships, while navigating intersecting concerns - the isolating effects of social media, the excessive use of technology and a capitalist culture.

Mukesh Sharma

Sharma integrates ready-made materials, including e-waste such as parts of scrapped keyboards into his work to distill complex ideas into accessible visual narratives. His process forms a critique of consumerism while exploring technology’s influence on contemporary life, creating compelling narratives.

Revitalizing Memories, 2021, acrylic on canvas, which is now on the book cover, blends keyboard imagery with 'myth, memory, and identity'. Drawing from Indian miniatures and Panchatantra tales, it reflects on technology’s role and the blurred lines between control and manipulation. Sharma explains that, through this fusion, he critiques scenarios where the boundaries blur, and where it’s difficult to gauge and differentiate between the manipulator or the puppeteer and the puppet.

The 2005 novel Shalimar le clown set in Kashmir and Los Angelos spans continents and explores themes of themes of love, revenge, and betrayal amidst political and cultural differences and unrest. A richly woven story of personal and political transformation, the chronicle navigates identity and ideology, while tracing lasting impacts of violence.

Shalimar le clown continues to enthrall readers, and Sharma’s artwork on the cover of the French folio is bound to attract new audiences with its visual intrigue.

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Art Scene India

8 Dec 2025

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India Art Festival returns to Bengaluru with its 5th edition

Art News: India Art Festival Bengaluru, December 2024

3 Nov 2025

Art News: Flux/Resonance at Visual Arts Gallery, Nov 7-11, 2025

Flux/Resonance

26 Sept 2025