Showing posts with label Indian Art Scene. Show all posts
Showing posts with label Indian Art Scene. Show all posts

30 Oct 2026

Understanding Tax Implications on Art in the Indian Context

 The Tax Behind the Canvas: What India’s Income-tax Law Means for Artists, Galleries and Collectors

By Subathra Mylsamy


An artist sells a painting to a gallery, and the gallery sells it to a collector. Years later, the collector decides to sell it. Although the artwork has not changed, the tax consequences of these transactions can be quite different.

The Income-tax Act, 2025, which came into force on 1 April 2026, provides the current legislative framework. For artists, galleries and collectors, understanding how the law applies to each transaction is an important part of managing the financial side of art.


For the Artist: What Counts as Taxable Income?

When an artist regularly creates and sells paintings as a commercial activity, the profits will generally be taxable as business or professional income, depending on the nature of the activity.

Section 34 of the Income-tax Act, 2025 permits deductions for expenditure incurred wholly and exclusively for business or professional purposes, subject to the statutory conditions. Eligible expenses may include art materials, studio rent, assistants, framing, transportation and sales commissions. However, personal expenses and capital expenditure are not deductible.

Artists should also distinguish between selling an original painting and transferring its copyright. A buyer may acquire the physical work without acquiring the right to reproduce or commercially use its image. Where reproduction, licensing or copyright assignment is involved, the agreement should clearly specify the rights being transferred and the consideration payable.

Understanding Tax Implications on Art in the Indian Context, Image for representation only
Photo courtesy Pixabay
For the Gallery: Buying Art or Selling on Commission?

The tax treatment of a gallery depends, in part, on whether it purchases artwork for resale or sells it on behalf of an artist.

A gallery that buys a painting for resale generally treats it as stock-in-trade. The sale proceeds and the cost of the painting are reflected in its business accounts, and the resulting profit contributes to the taxable business income.

Illustration: Consider a painting sold for ₹5 lakh under an agreement allowing the gallery a 20% commission. The gallery earns ₹1 lakh, while ₹4 lakh remains payable to the artist, before any other agreed adjustments. In the above scenario, both the gallery and the artist would be liable to pay tax on their respective earnings.

In a genuine agency arrangement, the gallery ordinarily accounts for its commission as its own revenue rather than treating the entire sale proceeds as its income. The contract, actual conduct and accounting records must support this treatment.

Gallery owners should document the agreed commission, ownership of the artwork, custody arrangements, expenses and payment deadlines. Applicable tax-deduction-at-source obligations should also be examined.

Calling an arrangement a consignment does not, by itself, determine its tax treatment.


For the Collector: Is a Painting a Personal Asset?

A collector may purchase a painting purely for personal enjoyment and display it at home for decades. That does not automatically make its eventual sale tax-free.

Section 2(22) of the Income-tax Act, 2025 excludes paintings, drawings, sculptures and other works of art from the personal-effects exclusion from capital assets. A gain on resale may therefore attract capital-gains tax even when the painting was never purchased for commercial purposes.

As per Section 2(101) read with Section 2(67), a painting held as a capital asset for more than 24 months will generally qualify as a long-term capital asset. Section 197 provides a general long-term capital gains tax rate of 12.5% without indexation, subject to applicable provisions and the taxpayer’s circumstances.

Section 72 governs the computation of capital gains, allowing eligible transfer expenses and acquisition and improvement costs to be deducted. Collectors should preserve purchase invoices, payment records and evidence of qualifying expenditure. Without these, establishing the cost of a painting acquired many years earlier can become difficult.


For Inheritance: Why the Original Purchase Records Matter

An inherited painting does not automatically attract capital-gains tax simply because ownership passes to an heir. Under Section 70, specified transfers under a will or gift are not treated as transfers for capital-gains purposes.

However, a subsequent sale by the heir may attract tax. Under Section 73, the previous owner’s acquisition cost generally remains relevant when determining the cost of an inherited asset. The previous owner’s holding period may also count under the applicable provisions.

For families with art collections, preserving acquisition invoices, ownership records and evidence of qualifying improvements can make future transfers considerably easier.


What Every Participant in the Art Market Should Know

Before a painting changes hands, the parties should understand what is being sold, how the proceeds will be treated and which records must be retained.

For artists, this means documenting income and eligible expenses. For galleries, it means distinguishing purchases from agency arrangements. For collectors, it means retaining acquisition records and understanding the potential tax consequences of resale.

In the art market, tax treatment depends on the nature of the transaction and the character of the holding—not simply on the price or prestige of the painting.


Disclaimer: This article is intended for general information and educational purposes only. It does not constitute legal or tax advice. The application of tax law depends on the facts and circumstances of each case; readers should seek appropriate professional advice before acting on any matter discussed here.


This Guest Post is by Subathra Mylsamy, who is a lawyer and Managing Partner at A.K. Mylsamy and Associates LLP, bringing her background in fine arts and law to the intersection of art, legal rights, taxation and ownership in India.  


To contribute articles, please get in touch at artsceneinfo@gmail.com



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25 Oct 2026

Archives: Jogen Chowdhury’s Compelling Presence

 Jogen Chowdhury’s Compelling Presence - A Retrospective Show (in 2016)

The retrospective is a comprehensive visual catalogue, which offers a clear spectrum of Jogen Chowdhury’s artistic oeuvre, its transformative nature and multiplicity of styles, motifs and ideas.

By Nalini S Malaviya

The National Gallery of Modern Art, Bangalore is an aesthetically designed building set back from the road in a quiet and green lung space right in the heart of the city. It has become an active and important centre showcasing prominent art exhibitions by artists of international repute. This is where Jogen Chowdhury’s retrospective exhibition featuring more than two hundred works and spanning fifty years is ongoing.

Jogen Chowdhury’s Compelling Presence at NGMA, Bangalore, Art Scene India
Having missed the inaugural programme, I spoke to Jogenda over the phone to know more about the show and to gain further insights into his creative oeuvre. He describes, “My journey, like many others’ I suppose, is fraught with challenges of various kinds. I decided quite early in my life that I was not going to give up at any cost. I would not allow any defeatist mentality to creep in. I was determined to encounter boldly the trials of life and not to collapse under the given pressures. This is the message that transpires from my journey.” Born in 1939, in an East Bengal village, now in Bangladesh, Jogen Chowdhury’s troubled childhood in the aftermath of the Partition and displacement from his homeland has had a long lasting impact. As he explained during our conversation, human tragedy and social situations continue to affect him the most. A difficult upbringing in a Kolkata refugee settlement exposed him to the trials and tribulations of life from an early age. Issues related to identity, displacement, loss and trauma often figure in his works. Disfigurement and distortion of human figures with exaggerated limbs are commonly observed in several of his drawings.

Jogenda finds an interrelation and connectedness between all forms of art, whether music, theatre, performing arts or literature. A writer and a poet as well, he writes poetry in Bengali and has published several collections of poems. His art whether paintings or poetry have a common thread of inspiration, which weaves both lines and words in a fluid rhythm. And, as he says the temperament and personality of the artist remains the same, even if the medium of expression varies.

Jogen Chowdhury’s Compelling Presence at NGMA, Bangalore, Art Scene India

Inspired by folk arts and traditions which are often reflected in his art, he has worked as a textile designer with the Weavers’ Service Centre, Chennai from 1968 to 1972, and then as a curator of the art collection of Rashtrapati Bhavana, New Delhi from 1972 to 1987. This was before he moved to Santiniketan as a teacher in1987, and although retired now, as an Emeritus Professor he is still actively involved with the college.

The retrospective is curated by Soumik Nandy Majumdar and Jyotirmoy Bhattacharya, and the works are categorised and displayed according to specific time periods and highlight significant phases from Jogenda’s career. It is no mean feat to encapsulate and present a prolific body of work, and at the same time classify and give a certain direction to the entire output, especially when it extends over a large timeline, such as this. Featuring works from Jogenda’s college days, studies from nature, still life and portraits, the viewer has an opportunity to appreciate and observe the progression, influences and transformative phases in Jogenda’s visual vocabulary. From the academic line drawings in his early days, the evocative self-portraits from over the years, the smudged lines to the cross hatching, and thick, unbroken lines which he has come to be known for, the exhibition offers the entire range.

Soumik Nandy Majumdar explains in his curatorial note, “Jogen Chowdhury’s personal style can also be understood as a natural consequence of his own affinity with the organic energies of life manifested in nature and an incisive observation of life around. Even the pitch dark background or the sagging people with distinctive facial features or female figures with disturbing scars on their bodies have direct or oblique references to his own traumatic experiences of life around. These references make his works edgy and expressionistic often bordering on social and political satire. Through the caricature-like look of many of his figures Jogen does ridicule the corrupt and fraudulent characters he encounters in various social circuits. It is from the same stylistic mode that he can endow his images with erotic underpinnings as well.”

Clearly, having experienced trauma and significant social changes on a personal level, and having lived through the 1940s, a turbulent, transformative phase of modern Indian history, Jogenda has played an instrumental role in redefining the history of modern Indian art.

The line plays a primary role in Jogenda’s works, as a tool to not merely outline but provide volume, expression, character and emotion, conveying it effortlessly with variations in the edges of the line - its roughness, change in bulk and intensity. The imagery is vital and unembellished, often with minimal components and layered with deeper connotations. The strong referencing in his works combined with traditional stylised imagery make it more nuanced and potent.

For instance, ‘Homage to Nandigram’ stands out as a powerful reminder of the horror and violence in Nandigram in 2007. The series titled ‘Bakasur’ narrates the story of the bird demon – a stark image of a fearsome bird with its tongue sticking out. Several drawings feature a claw, a rigid, ruthless symbol of destruction and inhuman act. In a few drawings the background is bedecked with sequins, glitter and bling, a sharp contrast to the object in the foreground - a sword or a claw. Conflict, social and political comments, human conditions and situations dominate the narratives that are sometimes satirical.

The retrospective is a comprehensive display of artworks which offer a clear spectrum of Jogenda’s visual language, its transformative nature and multiplicity of styles, motifs and ideas. And, most importantly a visual catalogue of a lifetime of experiences in an artist’s oeuvre.

 

The exhibition is on view till May 22, 2016.

------

Publishing this piece in memory of Jogenda, who passed away today (1939-2026).

Note: This article was written in 2016 for an art magazine, but it was unpublished due to certain editorial changes. 

Images courtesy NGMA, Bengaluru


To contribute articles, please get in touch at artsceneinfo@gmail.com




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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.

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

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

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

Artists’ Pavilion: Young talent meets masters

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

Flux/Resonance at Visual Arts Gallery, Nov 7-11, 2025
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.
Flux/Resonance at Visual Arts Gallery, Nov 7-11, 2025
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


16 Dec 2024

Art News: India Art Festival Bengaluru, December 2024


India Art Festival Bengaluru, December 2024: A Grand Celebration of Art and Culture


Bengaluru: The much-awaited India Art Festival (IAF) is set to return to Bengaluru for its fourth edition, enthralling art lovers from December 19 to 22, 2024, at the Palace Ground, Kings Court. This edition promises to be the most expansive and diverse yet, bringing together an unprecedented number of participants to celebrate art.

India Art Festival, IAF Bangalore 2024, Image for Art Scene India
Lalu Prasad Shaw

With over 30 galleries and contributions from 350 artists representing 30 cities across India, the art festival will showcase a wide array of artistic expressions, from paintings and sculptures to photography, ceramics, and installations. This year’s IAF highlights the vibrancy of India’s contemporary art scene, providing a platform to explore its latest trends and innovations.

A Feast for Art Enthusiasts

Opening on December 19, the art festival offers visitors a chance to immerse themselves in a rich tapestry of artistic diversity. Over 3,500 pieces of art, spanning oil paintings, acrylics, watercolours, installations, traditional art, and much more, will be displayed at the Kings Court, Palace Ground. The event aims to captivate both seasoned collectors and first-time buyers, ensuring a comprehensive art experience for all.

India Art Festival has consistently fostered a balance between supporting emerging talents and showcasing works by established artists, creating a unique platform for artistic expression. In this edition, young and independent artists will shine alongside eminent names, offering a fresh perspective on contemporary art.

Special Exhibitions and Events

India Art Festival, IAF Bangalore 2024, Image for Art Scene India
Chandra Battacharya

A key highlight of this year’s India Art Festival is the curated exhibition, "Shaping Horizons: Karnataka’s Iconic Innovators," masterfully curated by Prof. K.S. Appajaiah. This remarkable showcase celebrates the pioneering works of 30 distinguished artists, including S.G. Vasudev, Gurudas Shenoy, M.S. Murthy, M.J. Kamalakshi, C. Chandrashekhar, J.S. Khanderao, V.G. Andani, Sudha Manohar, Hemavathi Umamaheswar, and others. Together, these luminaries have profoundly influenced and shaped Karnataka’s art landscape, leaving an indelible mark on the cultural fabric of the region. This exhibition is a tribute to their enduring legacy and a celebration of their visionary contributions to the world of art.

India Art Festival, IAF Bangalore 2024, Image for Art Scene India
Laxman Aelay

IAF Creative Excellence Awards

The India Art Festival (IAF), a premier platform celebrating contemporary art and artists, proudly reintroduces its IAF Creative Excellence Awards in this edition. Established in 2011, these prestigious awards honor the creativity, innovation, and dedication of artists participating in the festival. Open to both independent artists and those represented by galleries, the awards recognize outstanding talent showcased across IAF editions in New Delhi, Mumbai, Bengaluru, and Hyderabad.

Each award includes a memento, a certificate of appreciation, and a cash prize of ₹50,000, presented to two selected artists. The winners are chosen by an independent jury comprising two esteemed figures from the art world. The awards will be ceremoniously presented during the opening ceremony of the India Art Festival on December 19, 2024, at 11:30 AM at Kings Court, Palace Grounds, Bengaluru. This initiative underscores IAF's commitment to nurturing artistic excellence and celebrating the diverse talents that enrich the contemporary art scene.

Fusion Shows

India Art Festival, IAF Bangalore 2024, Image for Art Scene India
Amit Bhar
Every year, the India Art Festival offers an enchanting convergence of music and visual art, blending the universally beloved medium of sound with the evocative, often intricate language of visual expression to craft an immersive sensory experience. This year, the festival elevates its cultural repertoire with captivating fusion performances and live painting sessions featuring renowned artists P. Gnana, Manjegowda, and Eby N Joseph, accompanied by exceptional musicians Subramanya Hegade (Sitar), Prasanna Ballal (Mandolin), Shrinidhi Katti (Flute), and Sandeep M (Tabla).

These dynamic collaborations will transform the festival into a vibrant cultural hub, offering audiences a harmonious interplay of art and music on December 20, 21, and 22, from 3:30 PM to 5:00 PM. This unique synthesis promises to captivate art and music enthusiasts alike, enriching their festival experience with creativity and inspiration.

Film Screenings

The other highlight of the India Art Festival, Bengaluru, is the screening of the enlightening film, "The Eternal Canvas – 12,000 Years Journey through Indian Art." This cinematic masterpiece offers an immersive exploration of India’s rich artistic heritage, tracing its evolution from prehistoric cave paintings to the vibrant expressions of contemporary art.

Through captivating visuals and compelling narratives, the film provides a panoramic journey across millennia, celebrating the profound creativity and cultural legacy of Indian art. Visitors are invited to experience this visual odyssey on December 20, 21, and 22, with screenings scheduled from 5:30 PM to 7:00 PM each day.
This feature adds a dynamic dimension to the festival, offering an educational and inspiring experience for art enthusiasts and history lovers alike.

Praveen Kumar
Artistic Pavilion and Global Participation

This year’s Artists’ Pavilion will feature 300 independent artists presenting their works alongside 100 established artists represented by galleries. Participating galleries include Bengaluru-based Space Edge, Sara Arakkal Galerie, and Gallery Charvi, along with prominent names from Mumbai, Delhi NCR, and beyond, including international galleries like Gnani Arts (Singapore) and Artconcept (Dubai).

Participating Art Galleries:

Bengaluru : Space Edge, Sara Arakkal Galerie, Shiny Colors Art Gallery, ReIGNITE EDTECH PVT LTD, Akanksha Art Gallery, iArt Gallery, ASR Art Studio, Gallery Charvi

Mumbai: House of Emerge, Rhythm Art, Studio Monica Ghule, Studio Pankaj Bawdekar, Nitya Artists Centre, Bouquet of Art Gallery

New Delhi & NCR: Gallery Pioneer, Pastel Tale, OPS Art Gallery, Uchaan, Artecious World Art Gallery, Aura Planet, Artehut, Merakii Art House, Eminent Art Gallery,

Gnani Arts, Singapore, Artconcept, Dubai
Artsbreeze Art Gallery, Hyderabad, Pichwaiwala Narendra Art, Udaipur, Smita Art, Kolkata
M Narayan Studio from Pune.


Event Details

  • Dates: December 19 to 22, 2024
  • Venue: Kings Court, Palace Ground, Gate No. 5, Bellary Road, Near Mekhri Circle, Bengaluru
  • Timings: 11:00 AM to 8:00 PM
  • Tickets: Day Pass ₹299, & Season Pass ₹499 available on BookMyShow.com and at the venue

- Excerpt from press release 

Please share this article using the social media widgets at the bottom and do subscribe to receive regular updates from Art Scene India.

To contribute articles, please get in touch at artsceneinfo@gmail.com
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13 Sept 2024

Art News: MAP, Bengaluru Appoints Harish Vasudevan As Acting Director


Harish Vasudevan as Acting Director of MAP
Museum of Art & Photography (MAP) in Bengaluru, India announced the appointment of Harish Vasudevan as Acting Director on September 9th, 2024.

Reflecting on the continuing development of the museum from its roots as the first digital museum in India, and the successful opening of its building in Bengaluru in February 2023, the appointment is designed to prepare the organisation for further growth.

In over three decades of experience, Harish has held several leadership roles in multiple geographies, with companies like Ogilvy & Mather as well as IBM. He is also a published author and teacher. Over the last six months Harish has been consulting with MAP on Marketing and Operations.

Besides working with all the Heads of departments across Education, Collections, 
Conservation, Inclusion, Marketing & Communications, Design and Development, Harish 
will be further supported by Dr. Arnika Ahldag, Head of Curation and Exhibitions at MAP.

Commenting on the announcement, Abhishek Poddar, Founder and President of MAP said “As we looked at our plans for the future, we were looking for someone with the skills to develop the organisation, while also strengthening the brand. Harish has just the right combination of expertise and experience to build on the foundation that MAP has laid over the last few years.”

“The first time I entered MAP I fell in love with it. I am honoured to get a chance to lead this fabulous team as we get ready for Phase 2 of MAP’s impressive journey as India’s first new museum to open in a decade.”, says Harish Vasudevan — Acting Director, MAP.

- Excerpt from press release 

15 Mar 2023

Art News: Wilderness Escapades by Krish Iyer

Reconnecting with the past


Bangalore based artist Krish Iyer presents his recent suite of paintings that reimagine sculptures of Khajuraho temples, which decades ago, had set him on a path of creative expression. Iyer revisited the site recently, which is located in a densely forested region, rich in natural flora and fauna. In the temple art and architecture with its iconographic symbolism and its philosophical and spiritual moorings, Iyer has found a way to reconnect with the past, and re-envision it in his art, in a contemporary context.

Abstract painting 1 by Krish Iyer, Art Scene India
Painting by Krish Iyer

The large format paintings in ‘Wilderness Escapades’ reference these sculptures and the underlying premises, to create a spatial interplay of light, colour and texture to suggest the form, postures and gestures of the stone statues in a quasi-representational style. The artist’s interpretations are moored around the historicity of the temples, their geography - located as it is amidst forested land and wilderness, with their beauty and splendor remaining undiscovered for centuries. And, their subsequent desecration by invaders, all of which weave an intriguing narrative of mystery and mystique, of magnificence and ruin, of worldwide fame and remoteness. The art and architecture of the Khajuraho temples combined with their religious, cultural and historical significance form an intrinsic part of their allure. Numerous stories, philosophies and other intangibles lie beneath the surface of the stones, creating sagas of seduction, lure and enigma.

Krish’s canvases explore these histories, the abstracted notions of human potential, philosophies of living, corporeality of the flesh and temporality of life. The visual semantics are anchored in formal aesthetics, with defined line drawings marking the canvas, while the abstract expressionist approach at later stages lends critical layers of texture, and simultaneously recontextualizes historical content.

Abstract painting 1 by Krish Iyer, Art Scene India
Painting by Krish Iyer

The tactile surface of the works emerges from heavy textures, layers of dripping paint, and several applications of thick acrylic paint using the impasto technique. The palette knife and other tools transform the canvas, to add depth and dimension, to strip off extraneity and to emphasize salient features of the physical form. Transcendence, man and nature (re)union, the cycle of life and rebirth, and joy of living are some of the key principles that are depicted at Khajuraho temples, and it is these that Krish seeks and attempts to portray in his works. The deliberate obliteration of details in the figures, and the structurally accurate forms that replicate their defiled state, are incandescent with the ironies of transience – both natural and as outcomes of anarchist interventions.

Despite the precision of line drawings that form the basis of the works, Iyer’s methodology is essentially non-mimetic. The gradual yet decidedly gestural transformation of the painting surface as a pictorial array of subconscious thoughts and patterns rescinds identifiable characteristics and accentuates the metaphorical import.

After a successful career in commercial art, Krish has returned to painting with this solo exhibition - to pursue subjects and themes that resonate with him. A chance encounter with the Khajuraho temples almost three decades ago, stayed with him through the years and a strange yearning drew him back to them recently. This series originated from the revisit, marked by an innate desire to reconnect with nature, and to allow subconscious thoughts and emotions to surface and transform on canvas. With this exhibition, Krish attempts to break the invisible shackles that have contained his creativity all these years and to realize his inner potential.

Nalini S Malaviya
Art Critic
March, 2023                                                                                                  
 
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The exhibition 'Wilderness Escapades' continues from March 20-26 at Karnataka Chitrakala Parishath, Bangalore. For further details contact 9900094466. Visit Wilderness Escapades (krishiyer.in)