Art Scene India

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/

For interviews, profiles, sponsored posts and to contribute articles, contact artsceneinfo@gmail.com

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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.

Revitalising Memory, 2018, 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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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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Art Scene India

9 Sept 2025

Art News: Whispers Between Worlds

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

31 Jul 2025

Review: Emotional Constructs at Play

28 Jul 2025