Art Scene India: Art Bengaluru

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14 Jun 2025

Beyond the Reopening: Reviving Venkatappa Art Gallery

Venkatappa Art Gallery view, Art Scene India

After months of anticipation and extensive renovation efforts by The Brigade Foundation, the Venkatappa Art Gallery reopened its doors. More than 200 artists and enthusiasts gathered for the ‘Gallery Pravesha’ on the morning of 13th Jun, a day after the official inauguration, which was boycotted by the artist fraternity.

Rumale Chennabasaviah Exhibition

The renovated Venkatappa Art Gallery now has three exhibition spaces for artists, but only one was utilized for the inaugural display: a condensed yet well-presented exhibition on Rumale Chennabasaviah made possible by Sanjay Kabe. The absence of exhibitions in the other two galleries on the ground floor was in my opinion a missed opportunity—an inaugural showcase across all spaces would have added much to the event.

KK Hebbar Gallery

The second floor houses the K.K. Hebbar exhibition, unfortunately, non-functional lighting left a small section in partial darkness, and his publications were not on display, at least one could not spot them. A thoughtful reassessment of the design and display of this space would help in bringing a more coherent and engaged display and do justice to Hebbar’s legacy.

K. Venkatappa’s main gallery on the first floor, however, is well curated and presents his paintings, veenas, awards, and personal memorabilia all displayed in a manner that honours his multifaceted practice and interests. Yet here, too, flickering lights interrupted the experience—a recurring technical issue that needs resolution.

Having said that, all of these concerns are minor in comparison to what has been achieved during the restoration – from addressing leaky ceilings and walls, mold, and cracks, to structural repairs, well designed lighting and accessibility features with ramps and elevators, have made a huge difference. In addition, there is a 100-seat auditorium, a sculpture park, a cafe, and outdoor spaces which have been redesigned.

The overwhelming turnout from artists demonstrated the community’s commitment to supporting institutional spaces. Navigating the exhibits amid the crowds made it difficult to engage with the artworks in depth—and one would have to visit again to view the exhibitions in detail.

The Future

Looking ahead, several crucial aspects must be addressed. Clarity on how artists can book the gallery spaces, the fee structure, and programming guidelines must be communicated in a transparent manner. Furthermore, a dedicated team—comprising curators and art experts—should be established to steer the activities, ensuring thoughtful exhibitions, critical dialogue, and sustained engagement with the space.

Venkatappa Art Gallery with its unique location and its rich history has the potential to be a vibrant cultural hub, once again. With careful planning, artist-centered programming, and infrastructural refinements, it can evolve into an institution that not only preserves artistic legacies but also fosters contemporary conversations. The reopening was a significant milestone—now it’s time to ensure the momentum leads to meaningful change.

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10 Jun 2025

Art News: Venkatappa Art Gallery: Renovation

Venkatappa Art Gallery: Renovation

Rendered drawing only for representation

Established in 1975, the Venkatappa Art Gallery in Bengaluru has hosted generations of artists, fostering creativity and dialogue. However, years of neglect left the institution in dire need of restoration. The renovation was undertaken as part of a Corporate Social Responsibility (CSR) initiative and aimed to modernize the gallery while preserving its historical essence. According to a Bangalore Mirror report, the project was completed at a cost exceeding Rs 8 crore with plans for five exhibition galleries, a permanent collection space, and enhanced infrastructure, including a dedicated artists’ room. The purpose of the restoration was to breathe new life into the venue, and ensure it remains a vital hub for cultural activities.

Despite the excitement surrounding the gallery’s reopening on June 12, controversy has emerged over the alleged ‘exclusion of the local art community’ from the event. While government officials and corporate representatives are expected to attend, many artists—who have long advocated for the gallery’s preservation—have reportedly been left out of the celebrations.

This exclusion has sparked discontent among Bengaluru’s artistic circles as evident through a number of social media posts. It must be pointed out that the gallery’s revival was largely driven by years of lobbying from several artists, who were diligent about keeping it from falling into private hands.

Future of Artistic Spaces

In general, it is important to include artists at every stage to ensure their involvement in shaping cultural institutions, and to avoid a precedent for a ‘top-down management of artistic spaces’, which could reduce opportunities for grassroots engagement.

Artists and cultural advocates are now calling for greater transparency and inclusivity in the gallery’s future programming. While the renovation is a welcome development, its success will ultimately depend on how well it serves the artistic community it was built for.

As Bengaluru’s art scene continues to evolve, the Venkatappa Art Gallery stands at a crossroads—will it remain a true home for artists, or become a polished but detached institution? The answer lies in how its custodians respond to the voices of those who have long fought for its survival.

What are your thoughts and suggestions on this topic?

Note: the article was updated on Jun 11

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5 Nov 2019

Art Bengaluru 2019 – Festival of Contemporary Art

Art Bengaluru 2019 - Ongoing at UB City

Art Bengaluru 2019 returns in its 9th edition and brings together 21 reputed artists from across the world including USA, Netherlands, France and Saudi Arabia with almost 200 works of art. Spread across various floors in the mall, the art has integrated beautifully with the interior design and architectural elements. The works encompass a range of styles, genres and media - paintings, hand-blown glass sculpture, installations, video projects, 3D printed sculpture, photography, mixed media and digital art are currently on display throughout The Collection, UB City.

The launch of the almost month long festival on 2nd November was a spectacular affair with a scintillating musical performance by the Bangalore City Chamber Orchestra.

Majestic Forest - Daan Oude Elferink (Netherlands) Art Bengaluru 2019

The curatorial premise extends its range from the previous year and focuses on storytelling and figuration primarily, at the same time it attempts to draw narratives from across the country as well as internationally. It plays with scale and space to enhance the viewing experience.

The ground floor comes alive with dramatic works by the well known Dutch photographer Daan Oude Elferink, which capture the glory of abandoned and long forgotten places. Buildings, relics and deserted industrial facilities narrate poignant stories of life gone by.

Title-MANTODEA_PRAYINGMANTIS-Size-137_cm_X_137_cm_X_9_cm - Haribabu Natesan

MANTODEA PRAYINGMANTIS by Haribabu Natesan

On another floor, Haribaabu Naatesan’s large format mixed media works made out of industrial waste and scrap are a comment on consumerism and urbanization. He elaborates, “I want my artworks to provoke people to think about the materials they consume; when they discard a cycle or computer, when they re-decorate their homes, they must be aware of how much junk they are creating.”

Masked_Reality_Interactive - By artificial intelligence (A.I) and new media artist, Harshit Aggarwal

Masked_Reality By Harshit Aggarwal

In the IT capital of the country, technology, artificial intelligence and data science and its application predominates and art created utilizing these concpets will intrigue the viewer. New media artist Harshit Agrawal explores the ‘human-machine creativity continuum’- the melding of human and machine creative agency. He uses machines and algorithms and often creates them as an essential part of his art process. He often juxtaposes traditional art media and tools along with machines and computation, creating a space to both direct, and be guided by the machine.

Between the Realities R M Palaniappa

Do not miss senior artist R M Palaniappan’s exhibition at Sublime Galleria on the 8th floor, which features his collection of works that explore the line, its movement and spatial connotations. The notion of time and space, the experience of space and the materiality of the universe map imaginary trajectories of physical and psychological terrains. His interest in art, science and psychology meld effortlessly.
Watch out for art by the Bangalore based Pradeep Kumar D M, R Rekha Krishnamurthy and Venugopala H S. Also for works by Anil Ijeri, Anni Kumari, Chandrahas Y Jalihal, Hariram V Harsh Nowlakha, Sruthi S Kumar and Vijit Pillai. The other international artists include Afra Khan, Jordan Sitzer and Pierre Poulain.

Untitled - Pradeep Kumar D M

Speaking about the evolution of Art Bengaluru, Ms. Uzma Irfan – Founder -Sublime Galleria & Director - Prestige Group explains, “Nine years ago, we had conceptualised Art Bengaluru as a dedicated festival for the arts. Ever since, it has been a trailblazer event, a celebration of art, culture and luxury, on par with the finest art shows across the globe. Our constant effort has been to put Bengaluru on the map of the international art world, and give India’s rich and diverse culture the global platform it deserves.”

Abhishek Naidu, Curator of Art Bengaluru elaborates, “A new generation of collectors are on the rise who are looking at platforms like Art Bengaluru to engage with some of the best emerging and established artists from India and beyond. Over the last decade, Art Bengaluru has played a pivotal role in forging spirited bonds between artists, galleries, art collectors and art enthusiasts, not only across India, but also in New York, Beijing, Paris, Amsterdam and other international locations. With Art Bengaluru 2019, we wish to further strengthen these bonds and boost the outlook for the Indian art market.”

There is a BIT of you in some BIT of me Acrylic on canvas 5X4 feet2018 - Anni Kumari

There is a BIT of you in some BIT of me byAnni Kumari

Incidentally, the festival will also feature over a dozen talks, workshops, curated walks and other art experiences, including a feature Film Bengaluru – an International Film Festival organized in partnership with the UNESCO MGIEP focusing on the theme, 'Kindness Matters' from 14 – 17 November 2019.

Upcoming is also a workshop organized by OnePlus for smartphone users which will be conducted by the well known artist, Pallon Daruwala, who will show people how to take great photographs on their smartphones. The workshop will take place on Saturday - 23 November 2019 from 10am – 1pm.

Art Bengaluru at UB City, Vittal Mallya Road, 11am onwards is on till November 30.

More details on Art Bengaluru 2019 here http://www.artbengaluru.in/

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1 Aug 2019

Linear Perspective by Shirley Mathew

Perspectives on Urbanization

Linear Perspective, solo show by Shirley Mathew, Art scene india

Shirley Mathew's recent series of paintings 'Linear Perspective' is in response to the changing landscape of Bangalore. Watching the rapid pace of urbanization and the receding green cover, she wonders about the collateral damage which is happening at the cost of development.

Living in Bangalore, Shirley has watched how the city has transformed over the years – from the Garden city that it used to be, to where it is now. The paintings are an effort to highlight this concern and to draw attention to the transformation, and at the same time mobilize citizens towards positive action. It is also an ode to those green warriors who strive hard to save the remaining trees, and to those who actively take up greening initiatives.

Shirley’s works are based on abstract expression, deploying bold lines and varying the intensity of colours to demarcate the linear outlines of trees and foliage. She employs mixed media in her works to delineate perspectives and accentuate textures. The collection of black and white works highlight the fragile state of the environment, its negative connotations and to raise the question of survival of trees and of foliage in any urban space.

The artist elaborates, “I invite the viewer to imagine the lines of nature created on handmade paper along with mixed medium on paper and canvas. With intermingling tree lines, I have attempted to express the angst of full grown old trees being endangered, in the name of urban development yet shown rays of hope in brush strokes and composition, as a message for more awareness to save green in nature.”

Shirley hopes to raise awareness about this issue, which is critically placed now, and has far reaching impacts, ranging from climate change to availability of water. The collection of works is as much about painting a grim picture of reality as it is of optimism, affirming hope of immediate actions which can positively affect the future.

She offers an ode to the groups of concerned citizens from all walks of life who have dedicated their time and immense efforts to save existing trees and to those who have initiated planting of saplings. The linear perspective of trees alludes to the undeviating passage of time and its metamorphosis.

Linear Perspective, solo show by Shirley Mathew, from 3rd - 18th August 2019 at MKF Museum of Art, 55/1 Isha Villa, Lavelle Road, Bengaluru 560001

All images courtesy the artist

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19 Dec 2018

JS Khanderao retrospective at NGMA Bengaluru

'through the window: JS Khanderao retrospective' an exhibition curated by NGMA Bengaluru is currently on in the city

By Shraddha Nair

The exhibition showcases around two hundred artworks of JS Khanderao which includes drawings, portraits, landscapes, abstracts, and folk. This exhibition explores the practice of Khanderao for more than four decades as a painter and also exposes his remarkable contribution to the art field as a tutor, founder of an art institute 'The Ideal Fine Art Society' established in 1963 in Gulbarga which is of great significance.

Born in 1940 in Gulbarga, Khanderao graduated from the JJ School of Art in Mumbai. Highly regarded for his realistic portrait paintings and landscapes, and as an accomplished painter of evocative portraits and atmospheric landscapes, the retrospective offers a glimpse into his journey.

Khanderao's artistic quest leads him to abstraction as well. He looks at nature and his immediate surroundings through the lens of abstraction, with a careful construction of his canvases. His abstract paintings link his trajectory from Gulbarga to “Bombay”- Nutan Kala Mandir and the J.J.School of Art _one of the premier art schools established in the colonial era, this art school became a benchmark for artists from outside the state. The vast oeuvre of Khanderao's includes figuration influenced by the unique folk traditions of North Karnataka capturing the performative situations of the folks who are represented in abstract planes of colours.

Being a native of Karnataka, Khanderao spent much of his life documenting the land and culture that he experienced first-hand. His visual renditions of the traditional folk practices are a treat for the eyes. A personal favourite was his depiction of the Chowdamman Kunita ritual. He has also brought plain canvas to life with the unique landscapes of Badami, Pattadakal, Surpur & Hampi – portraying the stunning styles of ancient temples.

Also on display is the series ‘Windows’, a sequence of paintings inspired by the way light escapes through glass panes. It is arguably his most highly regarded work. When asked about the conception of this series he says, “There was an annual Karnataka exhibition and I needed to create some new work for it. While in Gulbarga, I noticed the beauty of broken windows and imagined it and rendered in paint. I received the Lalit Kala award for this painting in 1982… This painting impressed many people during the exhibition. It was the first of the series ‘Windows’ and it was the Governor of Karnataka that encouraged me to take this further”. “Broken Glass” from the same series stands out for its brilliance. There is a tactility to this piece which draws you in, visceral and enchanting at the same time.

The unexpected takeaway from the show was his series of portraits, dating circa 1985 to 2006, which showcases his incredible understanding of light and dark components of each and every pigment that touched his canvas. Khanderao explains,“I experimented a lot with colours and would make many pieces. I didn’t want other people’s influence or similarity to other artists’ works in my own art. It should be unique and individualistic”.

The exhibition will be on view till 30th December 2018, daily from 11.00 am to 6.30 pm (Mondays and National Holidays closed)

Update: The exhibition is extended to Jan 20, 2019

Images: Courtesy NGMA

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About: Shraddha Nair is a recent design school graduate with a fondness for art, art history and is a believer in the potential of art as a community influencer.

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8 Sept 2014

Liu Bolin Brings 'Hiding in the City' to Bangalore

Liu Bolin's installation at Art Bengaluru, Art Scene India, Image Nalini Malaviya

I met artist Liu Bolin from China in the parking lot of UB city, Bangalore as he wrapped up the photo shoot involving auto drivers. Bolin widely known as ‘The Invisible Man’ thanks to the popularity of his series ‘Hiding in the City’ was in Bangalore recently to participate in ‘Art Bengaluru 2014’.

One of his works, an installation from the Charger Series made out of mobile charges was exhibited as part of the 10-day event. Human forms appear to be suspended from the wall with innumerable wires dangling from them. Bolin's artwork is a comment on the materialist culture that now pervades every society, feeding an unending well of desire. It is making the human race more machine like, as we trade humane qualities for inanimate objects. During the inaugural evening of Art Bengaluru, Bolin also performed and ‘disappeared’ into a bookshelf, even as the people watched!

‘In 2006 Liu Bolin, a prominent Chinese contemporary artist inspired by the Chinese government’s demolition of the Suo Jia Cun Artist Village in Beijing camouflaged himself in the series of photographs, Hiding in the City by painting himself as part of the urban landscape. Bolin has become famous as the invisible man after he decided to use his art as a means of silent protest. Using his own body to paint himself and merge into various urban settings in Beijing, Bolin attempts to comment on the fragile status of artists and their living conditions’(excerpted from Protest Art in China by Nalini S Malaviya, Art Etc.)

Bolin seemed to have enjoyed his first visit to India and found a lot of similarities between the people here and in China. During his brief stay in Bangalore, Bolin continued to work with the idea of camouflage to highlight social issues and ‘imbalances’ peculiar to the societal and cultural landscape of India and particularly Bangalore. As an extension of ‘Hiding in the City’, Bolin worked with slum dwellers, school children and auto drivers to underline problems specific to each of these groups. For instance, the blue coloured canvas tents of the slums in Marathahalli stand conspicuous against high-rise buildings and highlight the enormous disparity between the rich and poor. According to Bolin, “The purpose of this shoot was to blend these people into their background, at the same time emphasizing their presence by making them the subject of the work. The idea was to draw attention to them and give a wake up call to the more privileged members of society to come forward to do their bit to help give these people a better future.”

Liu Bolin Brings 'Hiding in the City' to Bangalore, Art Scene India, Image courtesy PR Art Bengaluru

In his other photoshoot with children, Bolin worked with an important and highly relevant issue that has assumed epidemic proportions in India - crimes against women and children. Performed in a playground, a single girl child was camouflaged as she disappeared into the background to become invisible, while other children around her continued to play and enjoy their activities. The world around her went on with its routine, oblivious to her and her plight - which unfortunately is the reality today! In his last photoshoot, Bolin created an artwork with 10 auto drivers - an attempt to highlight ‘perpetual traffic issues and subsequent smoke and pollution inflicting the city’. Incidentally, Bangalore is amongst the most polluted mega cities in the world!

It was great to meet Bolin and even though communication was a little stilted (through a translator), it was heartening to see that he had managed to capture the pulse of Bangalore in his artworks. He mentioned that although there was initial resistance from participants to get painted and be a part of his performance art, the idea did grow on them and they were eventually quite enthusiastic to become the living artworks!

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