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.
Mumbai’s contemporary art scene will witness a new solo exhibition by artist Madhavi Joshi, titled Little Big World, on view at Gallery Pradarshak, Khar West, from 13th to 19th February 2026. Entry to the exhibition is free and open to all visitors.
A Rare Artistic Voice Balancing Urgency and Tenderness
In a contemporary art world where clear, distinctive voices are increasingly rare, Madhavi Joshi’s work stands out for speaking with the urgency of a news report and the tenderness of a bedtime story. Her 2024–2025 series Little Big Worlddefies easy categorisation through its emotional and visual complexity.
Collage, Ink and Pen Create Intricate Thought-Maps
Through a masterful blend of collage, ink, and pen on paper, Joshi constructs intricate “thought-maps” that explore the friction between human history, industrial progress, and the fragile innocence of the individual.
Micro-Figures as the Collective Subconscious
One of the most striking elements of Joshi’s work is the swarming presence of minimalist micro-figures that occupy almost every corner of her compositions. These figures function not merely as people, but as an anatomy of the collective subconscious — living synapses of a larger social brain.
Identity as a Vessel of Shared Memory
By placing these figures within silhouettes of heads and houses, Joshi suggests identity is never singular. Instead, individuals become vessels for ancestral stories, shared anxieties, and fleeting impulses — cellular memories that keep the machinery of history moving forward.
A Palimpsest of History and Modern Progress
Joshi’s signature style lies in her poetic juxtaposition of primitive stick-figure drawings against photographic and archival elements. The series acts as a palimpsest of history, layering humanity’s tender rhythms beneath the heavy structures of modern industrial progress.
Artworks Available for Purchase
The exhibition is open to all, with artworks available for purchase. Visitors and collectors are encouraged to engage with the works closely, reflecting on the playful yet indestructible spirit that runs beneath Joshi’s layered worlds.
With Little Big World, Madhavi Joshi offers an evocative reminder that beneath the complexity of modern life, the human spirit remains resilient — an indestructible, playful sketch set against the vast machinery of history.
A Dual-Artist Exhibition on View Until 28 February 2026
New Delhi: Thapar Gallery is presenting Memory | Remains, an exhibition bringing together works by Krishen Khanna and Prabhakar Kolte, on view until 28 February 2026. The exhibition revisits Indian modernism through two distinct practices that continue to engage with memory, history, and lived experience.
Modernism Viewed as an Ongoing Practice
Rather than positioning the artists as “masters” of a closed historical period, the exhibition approaches modernism as an evolving and continuing conversation. Through Khanna’s figurative works and Kolte’s abstraction, the show reflects how social memory and everyday experience remain present in contemporary viewing.
Krishen Khanna’s Everyday Figurations
Krishen Khanna’s paintings draw closely from ordinary life, focusing on figures such as bandwallas, refugees, and migrant workers seen across streets, processions, and public spaces. Associated with the Progressive movement, his work carries echoes of Partition, migration, and post-Independence India, capturing lived moments rather than fixed historical events.
Curator Ashish Thapar on Revisiting Modernism
Commenting on the exhibition, Director and Curator Ashish Thapar noted that bringing Khanna and Kolte together allows audiences to revisit Indian modernism not as a closed chapter, but as an ongoing dialogue shaped by memory, history, and experience.
Prabhakar Kolte’s Quiet Abstraction
In contrast, Prabhakar Kolte’s abstract works move away from recognisable imagery. Through layered surfaces, restrained colours, and subtle shifts in texture, his paintings explore meaning beyond representation, inviting viewers to engage with paint, space, and material presence.
A Shared Reflection on History and Experience
Seen together, the works of Khanna and Kolte suggest that Indian modernism extends beyond style or period. Memory | Remains positions modernism as a continuing process—deeply connected to society, history, and the everyday.
Explores Indian modernism through memory, abstraction, and everyday life
Takeaway
With Memory | Remains, Thapar Gallery offers a thoughtful reconsideration of Indian modernism through two contrasting yet complementary artistic languages, foregrounding memory and lived experience as enduring forces in contemporary art practice.
Nataraja is a Sanskrit term, derived from “nata” meaning “act, drama, dance” and “raja” meaning “king, lord”; it can be translated as ‘Lord of Dance’ or “King of Dance”. According to art historian Ananda Coomaraswamy, the name is related to Lord Shiva’s fame as the “Lord of Dancers” or “King of Actors”. Lord Shiva is one of the gods in the Hindu trinity, others being Lord Brahma and Lord Vishnu.
The concept of Lord Shiva as Nataraja has been well captured by sculptors, especially from South India. The Chola dynasty (r. 9th to 13th century) has been responsible for the creation of magnificent bronze images of Nataraja. Let us explore a few to know the story of these splendorous images!
Nataraja as an icon
The Nataraja icon is a profound and powerful depiction of the Hindu god Shiva as the divine cosmic dancer. It is widely regarded as one of the supreme achievements of Indian art, standardizing Shiva’s role as the creator, preserver, and destroyer of the universe within a single, dynamic image. It is a powerful depiction of the supreme in the universe. The standard Nataraja icon, perfected during the Chola dynasty typically features a four-armed Shiva performing the ananda-tandava.
The upper right hand holds a damaru, an hour-glass-shaped drum that symbolizes the rhythm of creation and the first sound of the universe, ‘AUM’. The upper left hand holds agni or fire, representing the destruction or dissolution of the cosmos. The lower right hand is in the abhayamudra (gesture of fearlessness), offering protection and reassurance to devotees. The lower left hand stretches across the chest in the gaja-hasta (elephant trunk) pose, pointing toward the raised foot to signify liberation and grace. One foot firmly tramples the dwarf-demon apasmara purusha or muyalaka, who symbolizes ignorance and the ego. The other leg is lifted in the air, representing salvation; moksha. The ring of fire, prabhamandala encircles the entire figure, symbolizing the cosmic fire of the universe and the cyclical nature of time. The flying tresses of Lord Shiva’s matted hair, jata fans out from the intensity of the dance, often holding the goddess Ganga symbolizing the river Ganges and a crescent moon symbolizing time.
While early stone reliefs dating to the 6th century exist at the Ellora and Badami Caves, the iconic bronze form reached its mature expression under the Cholas in Tamil Nadu.
Chidambaram Temple in Tamil Nadu is considered the “earthly home” of Nataraja, where the cosmic dance is perpetually performed. The Nataraja has evolved from a religious icon to a global symbol of Indian culture and a metaphor in modern physics. A 2-metre high statue of Nataraja stands at the European Organization for Nuclear Research (CERN) in Geneva. It was gifted by India to symbolize the “cosmic dance” of sub-atomic particles, drawing parallels between ancient mythology and quantum field theory. The icon serves as the patron deity for Bharatanatyam: a traditional south Indian dance form, with its poses often depicted alongside the god in temple architecture.
Nataraja in Yogic Philosophy
This hymn by Sage Patanjali has an interesting story; the author and compiler of the famous yoga-suutras. Once upon a time, as the story of the origin of the hymn goes, Nandi, Shiva’s carrier would not allow Patanjali Muni to have Darshan of the Lord Shiva (Nataraja of Chidambaram). In order to reach Lord Shiva, Patanjali, with his mastery over grammatical forms, spontaneously composed this prayer in praise of the Lord without using any extended (`diirgham’) syllable, (without `charana’ and `shringa’ i.e. leg and horn) to tease Nandi. Shiva was quickly pleased, gave ‘darshan’ to the devotee, and danced to the lilting tune of this song. The place where this incident is said to have happened is Chidambaram (also known as Thillai), located about a hundred miles from Chennai, Tamil Nadu, India. It is considered to be one of the holiest places in India. In this temple, which has a gold covered roof, Lord Nataraja is present in a cosmic-dancing form.
Nataraja in Scriptures
A hymn in praise of the Lord of Dance from the Nataraja stotram reads –
“Heartily resort to the great dancer, Lord Shiva, residing in the holy place, Chidambaram, who protects all the world. His lofty place is due to the indestructible good qualities. It is difficult to grasp his nature. He has held crescent moon in his forehead. His matted hair is covetous of holding the multitude of waves of the divine river, Ganga. He has dispelled the vanity of Yama and is capable of delivering men from the pangs of worldly life. The Lord of creatures, the auspicious God, in whose hand a young deer is dancing, has spread his hands in all ten quarters. The great destroyer has moon, fire and sun as his eyes”………….Patanjali
Nataraja Depictions in Chola sculpture
A Nataraja bronze preserved at the Met in New York of the height of 68.3 cm depicts Lord Shiva with the iconography of the ‘Lord of dance’ as described. He wears ornate jewellery around his neck, earlobes, on his wrists and feet. The ring of fire is a round rising from the pedestal where Lord Shiva tramples the dwarf-demon apasmara purusha.
“Heartily resort to the great dancer, Shiva residing in the holy place, Chidambaram. The tiny bells attached to his bracelets which are shining with innumerable gems of nine kinds are making a sweet jingling sound. The dancing movements of his feet are accompanied by the drum in the hands of Mukunda (vishnu) and vidhi (brahma). He is closely surrounded by Vishnu, riding a chariot to which a bird (Garuda) is yoked, by kartikeya, riding a chariot to which a peacock is yoked, by a troupe of Gana-s consisting of Srngi, Riti, Bhringi etc headed by Nandi. Prominent sages like Sananda and Sanaka are saluting his feet”………………….Patanjali
The 10th century bronze figure of Nataraja of height 69.3 cm. in the Art Institute of Chicago depicts a round prabhamandala and Lord Shiva in ananda tandava crushing apasmara. His matted locks flying depict the power of the movement.
Nataraja, bronze, 10th century, Art Institute of Chicago, USA. Wikimedia
At the LACMA, USA is a figure of Lord Shiva as Nataraja of height 76.2 cm made in bronze from 10th century Chola period. The King of Dance has his left leg high in the air with his stylised flying tresses and garment depicted very clearly. He dances on apasmara purusha on a lotus pedestal.
The Nataraja icon at Freer Gallery depicts the standard iconography with a bejeweled figure within the circle of flames crushing apasmarapurusha. The expression is one of serenity as he performs ananda-tandava; ‘ananda’ meaning bliss.
Nataraja, 10th century, Freer Gallery, Washington DC, USA. Wikimedia
The Musee Guimet at Paris preserves a powerful depiction; a figure 76.2 cm. tall of the ‘Lord of Dance’. A Chola bronze from the 11th century with a circle of flames around the god Shiva with his jata flying and left leg lifted high in the air present a truly mesmerizing image.
Nataraja, 11th century, Musee Guimet, Paris, France. Wikimedia
Sculpting of Nataraja
Chola bronze-casting used the sophisticated lost-wax – cire perdue or madhu uchchishta vidhana technique, involving sculpting a detailed wax model, coating it in clay to form a mold, melting out the wax to create a cavity, and pouring molten bronze into it, resulting in unique, highly detailed, and often inlaid statues as we see in the iconic Nataraja, with precision casting minimizing post-casting work. During the Chola period, the molds were so precise that minimal carving was needed afterward, creating exceptionally detailed and elegant figures. A five-metal alloy called panchaloha of copper, zinc, tin, silver, and gold was used, sometimes containing lead for improved fluidity, enhancing detail. Because the clay mold was destroyed in the process, each bronze was a unique work of art. For some main images, a solid casting method ghana was also used, creating dense sculptures, a practice still seen at Swamimalai in Thanjavur, Tamil Nadu. During the reign of the Chola empire, Raja Raja I commissioned a group of sculptors for the construction of the now famous Brihadeeswarar Temple.
Part of process in bronze sculpting
The sculptors helped cast statues for another Chola gem, the Airavatesvara Temple and later settled at Swamimalai. The carving of bronze deities thrives to this day at Swamimalai and has a GI tag. The Government of India recognized it as a Geographical Indication officially from the year 2008-09. The Nataraja icon at CERN is also the contribution of the Swamimalai sculptors.
References
Coomaraswamy, Ananda(1914) -The dance of Shiva, New Delhi: Munshiram Manoharlal
GoSwadeshi is set to host GoSwadeshi UTSAV, its biggest and brightest edit yet, as a vibrant celebration of India’s rich handloom and craft heritage. The festival promises an immersive cultural experience rooted in community, creativity, and tradition.
120+ artisan stalls with award-winning artisans and craft collectives
Highlights
Handloom, crafts, folk performances, live narratives, regional food
Experience
Direct artisan interaction and curated craft shopping
120+ Artisan Stalls Under One Roof
With 120+ artisan stalls, the Utsav brings together National Award–winning artisans, master craftspersons, cooperatives, producer collectives, craft entrepreneurs, and social enterprises from across India, showcasing the diversity of Indian handmade heritage.
Direct Interaction With Artisans and Craft Stories
More than an exhibition, GoSwadeshi UTSAV offers visitors the chance to meet artisans directly, engage with the stories behind iconic crafts, and shop thoughtfully curated handlooms and handcrafted products.
Performances, Narratives and Regional Food Delights
Alongside crafts and textiles, the event will feature folk performances, live craft narratives, and regional food experiences, creating a festival atmosphere that celebrates both artistic skill and cultural identity.
Event Dates and Venue in Bengaluru
GoSwadeshi UTSAV will be held from 25th February to 1st March, 2026, running daily from 11 AM to 8 PM at the Jayamahal Palace Hotel, located near Cantonment Railway Station Road in Bengaluru.
By bringing together craftspeople, communities, and conscious shoppers, GoSwadeshi UTSAV 2026 aims to strengthen artisan livelihoods while celebrating India’s living traditions through handloom, craft, and cultural exchange.
Set amidst the historic gardens of Sunder Nursery, the Sufi Heritage Festival 2026 is envisioned as a rare cultural gathering celebrating timeless Sufi values of openness, inclusivity, love, and shared humanity over two immersive days.
A Space Where Heritage Meets Contemporary Voices
Bringing together music, poetry, dance, craft, and storytelling, the festival creates a space for reflection and connection, where ancient traditions meet modern interpretations and heritage feels vividly alive.
The festival features performances and conversations with renowned voices including Sona Mohapatra, Daler Mehndi, Sonam Kalra, Saumya Kulshreshta and Buland, Marham Poetry, The Aahvaan Project, Sabr Se – Mujtaba Khan, Shinjini Kulkarni, and the Murad Ali Ensemble, among others.
Traditional and Modern Interpretations of Sufi Thought
From soul-stirring music and spoken word to expressive movement and experimental sound, the programme offers both traditional and contemporary engagements with Sufi philosophy and artistic expression.
Workshops, Craft Traditions and Interactive Sessions
Beyond the stage, audiences are invited to slow down and participate through workshops and interactive sessions exploring craft traditions, cultural knowledge, and creative practices rooted in community.
A Curated Bazaar of Handmade Wares
Visitors can also wander through an artisanal marketplace featuring handwoven textiles, carpets, perfumes, and soulful handmade products that celebrate sustainable craft traditions.
Festival Zones Offering Diverse Experiences
The festival is structured through unique spaces such as Sama – The Grand Stage, Bebaak – New Voices, Kargaah – The Craft & Knowledge Hub, The Bazaar, and Legacy Flavours, a culinary journey inspired by heritage recipes.
A Festival Designed for Everyone
Welcoming art lovers, families, travellers, and seekers alike, the Sufi Heritage Festival offers two days of cultural immersion, discovery, and soulful connection in one of Delhi’s most serene heritage settings.
With its blend of performances, craft, storytelling, and spiritual resonance, the Sufi Heritage Festival 2026 promises an unforgettable celebration where listening becomes an experience and heritage becomes a shared moment long after the music fades.
