Thapar Contemporary has opened The Engineering of Rubble, a group exhibition featuring 18 artworks by 11 contemporary European artists. Curated by Jasone Miranda-Bilbao and Vaibhav Raj Shah, the show is currently on view in New Delhi until 4 April 2026.
Exhibition Reflects on Fragmentation and Endurance
The exhibition explores fragmentation, imperfection, and endurance as active conditions of making. It considers how meaning can emerge from what is broken, provisional, and unresolved, inviting viewers to engage with incompleteness as a productive state rather than a failure.
Artists Whose Works Embrace Rupture and Process
At the gallery, The Engineering of Rubble features works by Ali Glover, Ana Genovés, Charo Garaigorta, Damien Meade, Ian Dawson, Ian Gouldstone, Katrin Hanusch, Mike Marshall, Oona Grimes, Robin Megannity, and Sarah Staton. Instead of treating rupture as something to be resolved, these works allow disorder to remain open, where form is continuously becoming rather than arriving at closure.
An Architecture Built Through Attention, Not Walls
The exhibition proposes an architecture built not of walls, frames, plinths, or screens, but of attention. The fractured and incomplete speak of matter’s quiet will to endure even after its original purpose has dissolved, suggesting that presence can emerge from loss and incompleteness.
Ashish Thapar on Creating Space for Open Meaning
Speaking about the exhibition, Ashish Thapar, Founder, Thapar Contemporary, said, “The Engineering of Rubble brings together contemporary practices emerging from Europe that resist certainty and closure. By creating a context for these artists in India, the exhibition reflects an interest in attentiveness—allowing ideas and materials to remain open, and meaning to emerge gradually through process, material, and time rather than through resolution.”
Event Details
Aspects
Details
Exhibition
The Engineering of Rubble
Venue
Thapar Contemporary, Kapashera, New Delhi
Artists Featured
11 Contemporary European Artists
Curators
Jasone Miranda-Bilbao and Vaibhav Raj Shah
On View Till
04 April 2026
Gallery Timings
11:00 AM – 7:00 PM | Monday to Saturday
Takeaway
Curator Jasone Miranda-Bilbao added, “The Engineering of Rubble brings together practices that work with fracture, pause, and repetition as ways of thinking. The exhibition is not concerned with resolving what is broken, but with staying with it—allowing form and meaning to unfold through time, attention, and material presence.”
February 2026 | New Delhi: Gallery Silver Scapes, in collaboration with Dhoomimal Art Gallery, recently hosted an exclusive modernist evening at QLA, Mehrauli, presenting works by two seminal figures of Indian modernism — A. A. Almelkar and Akkitham Narayanan. Conceived as a continuation of ongoing artistic and intellectual conversations, the gathering brought together collectors, artists, diplomats, and cultural patrons for an intimate engagement with modernist legacies.
A Dialogue Between Figuration and Abstraction
Set against the elegant backdrop of QLA, the presentation created a compelling exchange between Almelkar’s lyrical figuration and Narayanan’s meditative abstraction. The pairing highlighted the breadth of Indian modernist expression, demonstrating how two distinct artistic languages can coexist within a shared framework of memory, form, and philosophical depth.
Launch of a Major Publication on A. A. Almelkar
The evening also marked the launch of a new publication titled ALMELKAR: THE RESURRECTION – Letters & Lines of a Master, which chronicles the artistic journey of the legendary master A. A. Almelkar. The book offers deeper insight into his enduring contribution to Indian art, expanding contemporary understanding of his practice beyond the canvas and into personal correspondence, archival reflection, and critical interpretation.
Rural Memory & Cultural Life
Almelkar’s works reflected his profound engagement with Indian rural life, cultural memory, and lived experience. The publication features works from the National Gallery of Modern Art (NGMA) collection, underscoring institutional recognition of his importance within Indian modernism. Contributions from leading voices — including Archana Khare-Ghose, Vikram Mayor, Rajendra Patil, Dr. Rehaman Patel, Deepak Kannal, Shivprasad Khened, Rekha Hebbar Rao, and Lina Vincent — offer layered perspectives on his stylistic evolution and legacy.
Narayanan’s Sacred Geometry and Stillness
In contrast, Akkitham Narayanan’s contemplative abstractions unfolded through a visual language shaped by sacred geometry and metaphysical thought. Constructed through elemental forms and measured spatial relationships, his canvases introduced moments of stillness and introspection within the evening’s discourse. Narayanan’s gracious presence offered guests a rare opportunity to interact with the senior contemporary artist and gain insight into his philosophy and practice.
Gallery Directors Reflect on Modernism’s Continued Resonance
Speaking on the presentation, Uday Jain, Director of Dhoomimal Art Gallery, noted that bringing together the works of Almelkar and Narayanan allowed Indian modernism to be revisited in a way that is reflective, relevant, and rooted in dialogue. Vikram Mayor, Director of Gallery Silver Scapes, echoed this sentiment, highlighting the exchange of ideas throughout the evening as reaffirming the richness of Indian modernist thought and its resonance today.
ALMELKAR: THE RESURRECTION – Letters & Lines of a Master
Focus
Revisiting Indian modernism through dialogue, works, and scholarship
Takeaway
The evening brought together a distinguished cross-section of India’s cultural landscape, including Suhel Seth, Chetan Seth, Ajitabh Bachchan, Ramola Bachchan, and eminent artists such as Jatin Das, Biman Das, M. Pravat, and Manish Pushkale. By presenting the works of A. A. Almelkar and Akkitham Narayanan in a focused yet convivial setting, Dhoomimal Gallery and Gallery Silver Scapes reinforced their commitment to revisiting and recontextualising Indian modernism, ensuring its continued relevance within contemporary cultural discourse.
“…At the stroke of the midnight hour, when the world sleeps, India will awake to life and freedom. A moment comes, but rarely in history, when we step out from the old to the new, when an age ends, and when the soul of a nation, long suppressed, finds utterance.”
Jawaharlal Nehru’s historic speech on Radio
Jawaharlal Nehru’s historic speech declaring India’s hard-earned Independence, the country didn’t have a single television transmitter, let alone a TV audience. But they did have radios. Many Indians experienced that historic moment over the radio waves.
Global Organisations put in efforts to celebrate the medium, promote international cooperation between radio broadcasters and encourage networks to foster access to information and freedom of expression. World Radio Day, a day proclaimed by UNESCO remembering the anniversary of the creation of United Nations Radio in 1946.
Radio, a medium to educate and entertain people. Since the inception of the Internet, Radio has been on the decline due to people always glued to their smartphones and consuming content from the web. Podcasting, one of the new innovations which has taken the youth’s minds by storm. Content has been flowing in the internet, with even news organizations getting into this new space. Despite several prospects coming up, radio is still one of the most consumed media due to its unique ability to reach out to the widest audience.
The Journey of Radio in India
Akashvani (All India Radio)- Kolkata Center – Wikimedia
The journey began with clubs being set up in Calcutta, Bombay and Madras between the span of November 1923 – June 1924. 1926, saw the British Government grant a license to a private body named Indian Broadcasting company to establish broadcasting stations in India. IBC’s failure resulted in the beginning of Indian state Broadcasting Service, further renamed to All India Radio (AIR) in June 1935. On the suggestion of famous poet Pandit Narendra Sharma AIR was renamed to ‘Akashvani’, the message that comes over the skies.
‘Bahujan Hitaya Bahujan Sukhaya’, motto of Akashvani is a dictum mentioned in the Rigveda which translated to happiness of many, for the welfare of many. AIR, India’s public service broadcaster, the radio vertical of Prasar Bharati has been serving to inform, educate and entertain its audience since its inception. It is one of the world’s largest organizations in terms of languages of broadcast and the spectrum of socio-economic and cultural diversity.
Radio: Cultural Connection
Image – Pippa Ranger/Department for International Development/Flickr
Radio units like Farm & Home, Vividh Bharati, Yuva Vani are one of the popular sections of Akashvani which brewed content for the masses. Farm & Home focused on the farmers and one of its best programs was ‘Kisanvani’, which focused on educating the kisans and spreading awareness. Known for its mix of music featuring a wide range of genres including film songs, classical music, ghazals and folk tunes, Vividh Bharati has been a staple for listeners of all ages. It features popular segments like ‘Sangeet Sarhita’, ‘Aap ki Farmaish’ and ‘Bhule Bisre geet.’
Reaching the Masses through Radio
Narendra Modi’s ‘Mann ki baat’, which interacts with the Indian masses through radio, has struck chords with the common people. Farmers, labourers, truck drivers sitting in dhabas tune in to Maan ki Baat on the day of broadcast. Its popularity is such that AIR centers receive thousands of postcards and letter from listeners who want to give opinions and comments related to the program.
Initially AIR was only transmitted in a few languages and covered in a few cities. Its reach, however, swiftly grew and by the 1950s, it was transmitting programs in a variety of languages across the country. Private players discovered a fresh viewpoint to the Indian radio sector. They have brought about to the radio industry new programming formats like music shows, chat shows and celebrity interviews. Their emphasis on appealing to certain listener segments such as youth, women and sports fans had resulted in the increase in the popularity of FM radio. As a result, the FM radio has become India’s favourite source of entertainment.
The rise of commercial FM radio in the 1990s was a watershed moment in the history of the Indian radio business. Previously, AIR was India’s sole radio broadcaster. However, when the Indian economy liberalized, private businesses entered the sector. The government auctioned out FM radio station licenses to private entities in several cities around the country. This marked the radio industry’s commercialization in India.
‘Radio is a dying medium’, a statement procured by many. The medium’s attractiveness is falling short with the rise of the Internet and dominance of television. Streaming platforms such as Apple music, Gaana and Spotify have attracted the music listening audience giving them the choice according to the mood and convenience.
Gone are the days when we would gather around radio sets to tune into the broadcast of Republic day or Independence Day. The medium has now been relegated primarily to music through AIR is still doing efforts with their news bulletins but there are channels where music and soft content programs dominate. The main audience of radio’s are the ageing ones or the people commuting to work in their vehicles.
Radio has also embraced digital technology with several FM stations broadcasting their programming online. The advent of podcasting has also provided new opportunities for India’s radio sector. Innovations related to sports commentary, interactive game-programs, hyper local news and events, presence of an incredible array of frequencies and a sound monetization strategy are just some of the factors that could have delayed the inevitable by a bit.
Radio in Web Space
Private players as well as AIR nowadays are looking for presence in the Web rather than only voice programs. Radio jockeys/presenters are looked upon as commodities who can create content for various platforms, which has somewhat taken away the authenticity of them sticking to only one medium.
There still remains a scope to associate more people with the storytelling form. Radio is a very personal medium, where the presenter talks with the listeners in their private space hitting the chord of emotions right.
To mention Yaadon ka Idiot Box, Sunday Suspense and many others had a huge fanbase in radio but companies decided to not just stick with one platform and move into different spaces with the same content. They need to focus more the platform which is still very emotional for many of the people.
Radio along with new innovations is still trying to get back to what it was once but for it we the people also have to show more eagerness to let these broadcasters trust this medium again.
FAQs on World Radio Day
Question: What is World Radio Day?
Answer: World Radio Day is observed globally to celebrate radio as a powerful medium of communication, education, and cultural exchange.
Question: When is World Radio Day celebrated?
Answer: World Radio Day is celebrated every year on 13th February.
Question: Who declared World Radio Day?
Answer: World Radio Day was proclaimed by UNESCO and later adopted by the United Nations to highlight the importance of radio worldwide.
Question: Why is World Radio Day important?
Answer: It recognizes radio’s role in spreading reliable information, supporting freedom of expression, and reaching remote communities during emergencies.
Question: What is the theme of World Radio Day this year?
Answer: UNESCO announces a unique theme each year focusing on radio’s impact. The official theme can be found on UNESCO’s World Radio Day platform.
Ladakh is a perfect mix of raw landscapes, adventure-packed rides, and rich Himalayan culture. While the region is vast and impossible to explore entirely in a short span, a 7-day Ladakh bike trip is the best option to experience its most iconic routes, high mountain passes, serene monasteries, and breathtaking valleys with our ultimate bike tour packages for Ladakh.
From snow-covered peaks and pristine lakes to stunning valleys and peaceful monasteries, our Leh Ladakh Travel Packageare expertly curated so that no iconic spots are missed.
Are 7 Days Enough for a Ladakh Bike Trip?
Yes, a 7-day trip to Leh Ladakh is an ideal time to explore the region. However, to make the most of it, you need to plan your trip strategically.
Acclimatize properly and adjust with harsh surroundings
Cover major destinations like Nubra, Pangong, and Khardung La
Immerse in Ladakh’s culture and landscape without feeling rushed
Leh Ladakh Itinerary for 7 Days
Here’s your itinerary for a 7-day trip to Leh Ladakh:
Day 1: Arrival in Leh – Acclimatization Day
Your 7-day bike trip to Ladakh will begin with your arrival in Leh. You will spend the first day acclimatizing and hydrating.
It is advised to rest well and adjust to the harsh surroundings. However, in the evening you can explore local attractions like Leh Market and Shanti Stupa.
Day 2: Leh to Nubra Valley via Khardung La
Your real adventure will kick off on the second day, when you will ride toward Nubra Valley via Khardung La, one of the world’s highest motorable roads. The ride is both adventurous and scenic, making it a highlight of any one-week trip.
In Nubra Valley, you can spot Bactrian camels and take a ride on one as well as explore dunes on an ATV bike ride.
Do not forget to visit Diskit Monastery for a peaceful retreat and for witnessing the iconic 106-foot Maitreya Buddha statue.
Day 3: Nubra Valley to Siachen Base Camp
This day is the most iconic part of your journey when you get to ride to the base camp of the world’s highest battlefield, the Siachen Glacier, which will offer an emotional and patriotic experience.
On the next day, you can take the Shyok route to reach the stunning Pangong Lake, which appears straight out of a postcard with turquoise blue waters surrounded by barren mountains.
Beside the lake, you can plan a camping night where you can experience stargazing at night along with enjoying Ladakhi cuisine.
Day 5: Pangong to Leh via Chang La
Head back to Leh, crossing the majestic Chang La Pass. While on the route, stop by Thiksey Monastery and the 3 Idiots school (Rancho School).
This day can be utilized to reflect on your journey and relax before the final stretch of the trip.
Day 6: Leh to Tso Moriri Lake (Optional Excursion)
If you’re up for more thrill and can stretch your visit in Leh a bit further, then a ride to Tso Moriri is highly recommended. This lesser-visited lake offers the opportunity for birdwatching and spotting rare animals.
Day 7: Departure from Leh
On the last day, you have to depart from Leh, with unforgettable memories and a heart full of stories. This completes your Leh Ladakh 7-day trip. Make sure to carry home some souvenirs and tons of photos!
Ladakh Bike Trip Cost for 7 Days
Here’s the complete cost breakdown for a bike trip to Leh Ladakh for 7 days:
Expense Category
Estimated Cost
Bike Rental
INR 1,200 – 3,500 per day
Fuel (700–1200 km)
INR 2,500 – 3,000 per day
Accommodation (7 nights)
INR 800 – 25,000 per day
Food & Water
INR 300 – 500 per day
Permits & Entry Fees
INR 500 – 800 per day
Total Estimated Budget: INR 30,000-45,000 per person depending upon bike choice, bike rental, route taken, travel style, travel duration, accommodation preferences, and meal choices
Which Route Is Best for a 7-Day Bike Trip to Leh Ladakh?
The best route for the Leh Ladakh bike trip is the Manali to Leh route, as it takes less time in comparison to the Srinagar to Leh route.
Further, on this road, you get to experience the real adventure as well as sightseeing opportunities. Here is what you can experience on the bike trip to Leh Ladakh for 7 days.
Difficulty: Gradual ascent, better for acclimatization, varied landscapes
Best Time for 7-Days Leh Ladakh Bike Trip
Here’s the best time for a 7-day Leh Ladakh bike trip:
June to September: The best time to visit is during the summer months of June to September, when the weather is pleasant, with clear skies, and the roads are fully open and operational.
July & August: This is the peak season in Ladakh with rain showers and lush green surroundings. Do not forget to carry proper rain gear if you’re visiting at this time.
September: Post-monsoon is also a preferred time due to fewer crowds and pleasant weather, making it ideal for Himalayan bike-riding adventures.
Kolkata, 11th February 2026: Kolkata emerged as a vibrant meeting ground for handloom textiles, Indian crafts, and classical music as Craft Collective held its inaugural edition from January 29 to February 1, 2026, strengthening India’s evolving craft ecosystem.
A Platform to Shop, Explore and Learn
Conceived as an institution-led initiative, Craft Collective was designed as a forum where visitors could shop, explore, and learn about India’s living textile and craft traditions. Hosted at The Red Bari, the four-day event placed equal emphasis on material culture, context, and contemporary relevance.
Inauguration by the Consul General of Italy
The inaugural edition was formally inaugurated by Mr. Riccardo Dalla Costa, Consul General of Italy in Kolkata, highlighting the growing global interest in India’s artisanal heritage and craft-led economies.
Special Exhibit Curated by KARU
A special exhibit curated by KARU introduced audiences to stonework and sculptural craft, showcasing the depth of symbolism, skill, and material traditions that continue to influence contemporary design practices.
Artisan Clusters From Across India Participate
Both B2B and B2C buyers gathered to experience handloom and handcrafted products from states including Assam, Madhya Pradesh, Odisha, Uttar Pradesh, Telangana, and West Bengal. Participating artisan clusters included the Boko Handloom Cluster (Assam), Kotpad Natural Dyed Handloom Cluster (Odisha), and Maheshwar Handloom Cluster (Madhya Pradesh) among others.
Masterclasses and Dialogues Deepen Engagement
Beyond the marketplace, Craft Collective curated masterclasses and dialogue sessions exploring India’s textile ecosystem. Highlights included The Art of Handloom Care by Vikram Joshi of Rangotri, Jaipur, and a talk on India’s textile economy through history by Ms. Ahana Majumder, Assistant Professor, NIFT Kolkata.
Human Value and Livelihoods at the Centre
The programme also featured a masterclass on Crafts, Livelihoods & Impact, led by Malika Dudeja Varma, Saumya Varma, and Mahima Varma of SHE Kantha, foregrounding the social and human dimensions behind craft-based livelihoods.
Evenings of Classical Music at The Red Bari
As evenings unfolded, The Red Bari courtyard transformed into an intimate cultural setting with a series of classical music recitals, complementing the craft-led conversations and creating a holistic cultural experience.
Takeaway
With its blend of artisan showcases, knowledge sessions, and cultural performances, Craft Collective’s inaugural Kolkata edition reaffirmed the city’s role as a hub for craft traditions while strengthening networks across India’s handloom and craft ecosystem.
A Playful Treasure Hunt Exploring Mumbai’s Heritage
February 13, 2026, Mumbai, India: One Future Collective, a feminist social purpose organisation based in Mumbai, has announced Khoj: A Mumbai City Treasure Hunt, scheduled for February 28, 2026, as a playful celebration of the city’s histories of civic action, protest, and community-led movements for social justice.
Key Neighbourhoods and Streets
Khoj is designed as a city-wide, team-based treasure hunt where participants in groups of two to four will race through Mumbai, solve clues, and discover neighbourhoods shaped by resistance and civic engagement.
Prize Pool for Winning Teams
Up to five winning teams stand to win prizes ranging from 20,000 INR to 10,000 INR, adding an element of competition alongside learning and exploration.
After-Party at antiSOCIAL, Lower Parel
The hunt will be followed by an after-party featuring food, music, and poetry performances at antiSOCIAL, Lower Parel, extending the experience into a community celebration.
Learning Social Justice Through Play
Using play as a medium, Khoj introduces participants to complex social issues such as caste, gender, labour rights, migration, language, and urban access, offering a unique way to engage with Mumbai’s layered civic history.
Designed With Historians, Artists, and NGOs
The event has been developed in partnership with local historians, artists, and NGOs to centre historically marginalised and non-mainstream accounts of the city, ensuring that participants encounter stories often left out of dominant narratives.
Founder Vandita Morarka on Curiosity and Community
“At its core, this event is about curiosity and community,” said Vandita Morarka, Founder and CEO of One Future Collective, noting that Khoj introduces civic action and social justice work as structural, collective, and deeply joyful.
Tickets, Timings, and Registration Details
Tickets are priced at 1,500 INR per person. The treasure hunt will run from 9:00 AM to 11:00 AM, followed by the after-party from 11:30 AM to 2:30 PM, all on February 28, 2026.
With Khoj, One Future Collective offers a one-of-a-kind opportunity to explore Mumbai through its histories of resistance and solidarity, blending learning, movement, and community celebration into an engaging civic experience.
Mumbai is set to welcome an exciting new showcase as Baro Art brings affordable, collectible artworks to the city. The exhibition offers a nationwide journey through India’s artistic traditions, from Leh to Rajasthan, Bengal to Central India, Gujarat to Kochi—all without leaving Mumbai.
A Diverse Range of Indian Art
The Baro Art showcase will feature an impressive mix of traditional and contemporary works, including Thangka, pichwais, pattachitras, Gond art, ajrakh, linocuts, watercolours, and contemporary canvases, reflecting the breadth of India’s living art heritage.
Visitors will have the opportunity to explore original, certified artworks created by emerging talents alongside respected master artists. The exhibition highlights authenticity, craftsmanship, and storytelling through collectible art forms.
Art That Is Accessible, Livable, and Affordable
Positioned as “art you can live with” and “art you can afford,” Baro Art’s exhibition makes collecting approachable with works priced between ₹3,000 and ₹3 lakh, inviting both first-time buyers and seasoned collectors.
Certified original works by emerging artists and respected masters
Takeaway
With its blend of folk traditions, modern expressions, and accessible pricing, Baro Art’s Mumbai showcase offers visitors a welcoming space to discover Indian art, hear the stories behind each piece, and begin a meaningful collecting journey.
The modern fashion crowd scrolls through premieres and street snaps, asking one thing — who is the «Pinko woman» today? Through bold campaigns, Pinko celebrity outfits, and viral reels, the brand’s heroine blends Italian glamour with sharp urban energy, turning celebrity-inspired looks into something that actually works for real life.
How Stars Shape the Pinko persona
Public image is built by Pinko brand ambassadors, pop artists, and actors who appear in campaigns and red carpet fashion moments. We see tailored jackets, mini dresses and hardware–rich bags that communicate fearless femininity — confident, expressive, never stiff. Recent photos of stars wearing Pinko 2026 show how a single statement piece can anchor outfits from photocalls to airport lounges.
Mariacarla Boscono and Modern Power Dressing
The Mariacarla Boscono Pinko campaign became a reference point for modern power dressing. Her cinematic poses, messy hair, and strong shoulders turned each frame into a mood board. Fans quickly saved these images, adapting details like asymmetric cuts and glossy boots into celebrity-inspired looks suited for offices, dates and after–work events.
The Idea of the Pinko woman
Style discussions often return to the question of why the brand’s heroine feels so relatable. Many describe her as a city woman who uses fashion as a language rather than a uniform. She might draw on the bold colours of the Pinko FW25 collection, but combine them with vintage denim or sneakers instead of full runway looks. Others lean into the playful spirit of the PinkoMania trend, yet keep silhouettes practical enough for long commutes and busy days. For newcomers, the name Pinko signals pieces that stand out on camera while remaining easy to move in: blazers that frame the shoulders without restricting them, dresses that follow the body without feeling over–constructed. This balance of impact and comfort explains why mood boards keep circling back to the same figure — a woman who leads with confidence and lets styling underline the story she wants to tell.
Urban Poetics, influencers and Street Style
Campaigns built around Pinko Urban Poetics show this heroine moving through bridges, galleries and late–night streets in fluid dresses and precise coats. Online, luxury fashioninfluencers echo the mood with Pinko Love Bag street style posts: the bag worn crossbody over oversized outerwear, paired with heels or sneakers. Their breakdowns often highlight a few recurring elements that define the look:
references to Pinko celebrity outfits in colour or silhouette
a touch of drama from the FW25 collection or runway teasers
accessories seen on stars worn in 2026 reused in casual settings
confident posing that reinforces fearless femininity in everyday scenes
These details keep the aesthetic consistent while leaving room for personality, and the list becomes a simple guide that many followers use when planning outfits.
Who the Pinko Woman is Now
Taken together, these images reveal a clear portrait. The Pinko woman borrows ideas from celebrity outfits, the drama of Italian glamour, and the narrative of Urban Poetics, but she edits everything to suit her own rhythm. For her, celebrity-inspired looks are not strict rules — they are a toolkit she uses to step into each scene with ease, attitude and unmistakable presence.
Third Edition Brings Public Art Celebrations Back to Nagpur
Nagpur’s much-awaited public art festival is back as the third edition of Nagpur Kala Sangh prepares to transform the city into a vibrant hub of artistic celebration. The festival is set to run from 14th February to 14th March 2026 at VR Nagpur.
A Month-Long Movement of Art and Culture
More than just an exhibition, Nagpur Kala Sangh is being positioned as a movement that brings together artists, audiences, and communities through shared cultural experiences in the public sphere.
The festival will feature breathtaking fine art displays, massive sculptures, and immersive installations that promise to engage visitors across multiple forms of contemporary expression.
UNESCO Photo Exhibition as a Key Highlight
Among its prestigious highlights is a UNESCO photo exhibition, adding an international dimension to the festival’s programme and reinforcing its growing cultural significance.
Unveiling Scheduled on 14 February 2026
The festival will officially be unveiled on 14th February 2026, marking the beginning of a month-long celebration designed for both artists and art admirers alike.
Fine art, massive sculptures, immersive installations, UNESCO photo exhibition
Takeaway
With its mix of large-scale works, immersive experiences, and global showcases, Nagpur Kala Sangh 2026 continues to strengthen Nagpur’s identity as an emerging centre for public art and cultural dialogue.
A Three-Day Curated Festival at Alka Jalan Foundation
Karu is set to present Uttarayan, a thoughtfully curated festival to be held from 13–15 February 2026 at the Alka Jalan Foundation, Daga Nikunj, Ballygunge Circular Road, Kolkata. The festival brings together design, craft, performance, and conversation in a reflective cultural setting.
A Journey Through Santiniketan’s Enduring Aesthetic Philosophy
Uttarayan is envisioned as a journey through the design heritage of Santiniketan, shaped by the ideas, aesthetics, and lived philosophies of its founding masters. Rooted in learning, restraint, and openness to the world, the festival reflects on traditions that remain deeply relevant today.
Exhibitions and Design Showcases Across Three Days
Over the course of three days, Uttarayan will unfold through exhibitions and curated design showcases. Karu’s own works will be presented alongside select makers and craft houses from Santiniketan, highlighting the region’s distinctive creative vocabulary.
Dialogues on Art, Architecture, and the Art of Living
The festival will also feature conversations and dialogues with scholars and practitioners, exploring themes of art, architecture, and the broader philosophy of living that Santiniketan continues to inspire.
Evenings Marked by Music and Dance
Each evening will be enriched with music and dance performances, carrying forward rhythms shaped by the poet’s enduring spirit and the cultural legacy of Santiniketan’s creative environment.
Craft makers, scholar dialogues, music and dance evenings
Takeaway
With Uttarayan, Karu offers a space of learning, making, and renewal—revisiting Santiniketan’s design heritage not as nostalgia, but as a living tradition that continues to offer clarity and meaning in the present.
