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.
Kathak Day Foundation and Sabhyata Foundation Mark Fourth Edition
New Delhi, February 5, 2026: Sabhyata Foundation, in collaboration with Kathak Day Foundation, hosted ‘Dastaan-e-Kathak 2026’ today at the historic Safdarjung’s Tomb, celebrating devotion, legacy, and the living tradition of Kathak.
The event marked the fourth edition of Kathak Day, themed “Anciently Mine,” held in honour of the birth anniversary of Pandit Birju Maharaj. This edition was dedicated entirely to Kathak as a classical dance form for the first time.
Curated by Shivani Varma with Focus on Sound and Movement
Curated by noted Kathak danseuse Ms. Shivani Varma, Founder of Kathak Day Foundation, the programme was conceived around the idea of ‘hearing the dance and seeing the music.’ The curation foregrounded soundscapes intrinsic to Indian classical dance, presenting Kathak as a confluence of rhythm, melody, and movement.
Led by Pandit Rajendra Gangani, the performance brought together master practitioners and young artists, fostering intergenerational dialogue while highlighting Kathak’s enduring power as a storytelling medium. The evening also drew attention to the ghungroos as an essential musical element.
Visual Narrative by Heritage Photographer Amit Pasricha
Complementing the dance performance was India Lost and Found, a visual narrative by renowned heritage photographer Amit Pasricha, offering audiences a contemplative exploration of India’s architectural legacy.
Union Minister Gajendra Singh Shekhawat Attends the Event
The programme was graced by Shri Gajendra Singh Shekhawat, Hon’ble Union Minister of Culture & Tourism, Government of India, along with Ms. Avantika Dalmia, Co-Chairman of the Advisory Board, Sabhyata Foundation, and other dignitaries.
Minister Highlights Heritage Monuments as Cultural Centres
Addressing the gathering, Shri Gajendra Shekhawat noted that heritage monuments can once again become active centres for cultural expression, and programmes like Dastaan-e-Kathak demonstrate how classical arts can be presented thoughtfully in historic spaces.
Sabhyata Foundation Emphasises Living Spaces of Culture
Ms. Avantika Dalmia stated that Sabhyata Foundation’s endeavour is to ensure heritage sites are not only preserved but experienced as living spaces of culture and learning, reflecting the spirit of the art form and the monument.
Shivani Varma on Authenticity in Classical Traditions
Reflecting on the show, Ms. Shivani Varma said that classical arts like Kathak are living traditions rooted in legacy yet alive in the present, and the intent is to make these forms accessible without dilution or fusion.
Takeaway
Through initiatives such as Dastaan-e-Kathak 2026, Sabhyata Foundation continues its mission to position heritage monuments as spaces where art, history, and storytelling converge, reinforcing classical traditions as a living part of India’s cultural life.
The Institute of Contemporary Indian Art (ICIA) is set to present #EveryDayIsCheatDay, a solo exhibition by contemporary artist Suryakant Lokhande, on view at the ICIA Gallery from 9 to 14 February 2026.
A Theatrical World of Pleasure and Excess
In this new body of work, Lokhande constructs a vividly theatrical universe where pleasure, nostalgia, and ambition collide. Familiar cartoon figures emerge as protagonists in scenes shaped by wealth, conquest, leisure, and indulgence.
Cartoon Characters as Cultural Masks
Detached from their original narratives, these figures operate as cultural masks rather than innocent icons. They inhabit symbolic landscapes of gold, luxury, and fantasy, evoking collective memory while reflecting contemporary human behaviour.
Abundance as Atmosphere, Not Achievement
Rather than celebrating prosperity, Lokhande presents abundance as routine. Excess becomes an everyday condition, where indulgence is no longer exceptional but a constant atmosphere within modern life.
Looping Spectacle and Quiet Tension
The characters appear perpetually engaged—collecting, posing, resting, and celebrating—yet their actions feel suspended in repetition. This theatrical stasis suggests an underlying tension between spectacle and emptiness.
Nostalgia Meets Adult Economies of Desire
A key element of the exhibition is the unsettling collision of childhood cartoon innocence with adult economies of aspiration and desire. Lokhande’s imagery balances playfulness with subtle control and exhaustion beneath the surface.
An Artist Examining Power, Desire, and Spectacle
Suryakant Lokhande is known for blending popular visual culture with painterly realism to explore themes of power, aspiration, and spectacle. His practice draws from mass media and theatrical staging, making him a significant voice in Indian contemporary art today.
Artist Statement on the Exhibition
Speaking about the show, Lokhande notes that his work uses cartoon figures to explore wealth, fantasy, and everyday life, where happiness becomes a staged performance and indulgence turns routine.
Desire, wealth, nostalgia, spectacle, and contemporary consumption
Takeaway
With #EveryDayIsCheatDay, Lokhande reflects the logic of contemporary consumption back to viewers through exaggeration, nostalgia, and visual excess. The exhibition presents modern life as a stage where pleasure is endlessly rehearsed—abundant, performative, and quietly unresolved.
New Delhi: Thapar Gallery is presenting India Edition SupaStore x Thapar, a site-specific project by London-based artist Sarah Staton, installed at Bikaner House, New Delhi, as part of the India Art Fair Parallel Show 2026. The exhibition is currently on view until 08 February 2026.
A Travelling Artwork That Functions as an Exhibition-Store Hybrid
SupaStore is an event-based, durational travelling artwork—an evolving series of “stores” conceived as exhibitions and hosted in museums, galleries, and project spaces worldwide. First conceived by Staton, SupaStore functions as a hybrid platform for display, collaboration, and cultural exchange.
A Sculptural Kiosk Designed Specifically for Bikaner House
Taking inspiration from the generic provisions shop, this art-focused SupaStore is housed within a sculptural kiosk designed by Staton specifically for Bikaner House. The installation transforms the familiar language of retail into an immersive contemporary art experience.
Featuring Works by Four Prominent Artists
Within the India Edition SupaStore, artworks showcased inside the kiosk include contributions by Gigi Scaria, Mithu Sen, Raaj Rufaro, and Vibha Galhotra, bringing together diverse artistic voices within Staton’s conceptual framework.
Exploring Value, Branding, and Human Exchange
Alongside its practice of display, SupaStore tracks the evolution of shopping and branding as signifiers of identity in late-stage capitalism. The project reflects on markets as vital social spaces, and the rise of the art fair as an enduring site of human interaction through cultural artefacts.
Gallery Director Highlights Participatory Encounter with Art
Commenting on the presentation, Ashish Thapar, Director of Thapar Gallery, said that SupaStore resonates with the gallery’s interest in practices questioning systems of value, exchange, and display, while offering a more intimate and participatory way of encountering art.
Curatorial Leadership and Institutional Support
Sarah Staton, an artist and educator based in London and Reader of Social Aesthetics at the Royal College of Art, brings SupaStore to India for the first time through this edition. Curated by Jasone Miranda-Bilbao and Vaibhav Raj Shah, the project is supported by Thapar Contemporary and Bikaner House, Delhi.
Media Interactions
Curator Jasone Miranda-Bilbao is available for one-to-one interactions with the media until 7 February 2026, offering further insight into the project’s curatorial and conceptual context.
Gigi Scaria, Mithu Sen, Raaj Rufaro, Vibha Galhotra
Curated By
Jasone Miranda-Bilbao + Vaibhav Raj Shah
Takeaway
With SupaStore x Thapar, Thapar Gallery introduces an internationally recognised, socially engaged artwork to Indian audiences. By merging the language of commerce with contemporary artistic inquiry, the project marks a significant moment within the India Art Fair Parallel Show programme.
Gallery Dotwalk has announced its participation in the 2026 edition of the India Art Fair, scheduled from February 5th to 8th, 2026. Marking its third consecutive year at the prestigious fair, the gallery will present a curated showcase of seven artists at Booth K06.
A Synthesis of Materiality and Contemporary Luminosity
Artwork – Sudhayadas S
This year’s presentation brings together works that bridge regional narratives with global contemporary aesthetics. From monumental fabric paintings to intricate bronze sculptures, the booth explores themes of landscapes, vernacular histories, and embedded cultural memory through diverse mediums.
Building on a Strong Legacy
Artwork – Chandrashekar Koteshwar
Gallery Dotwalk’s participation follows a successful previous edition where works by artists such as Amjum Rizve, Priyaranjan Purkait, Abdulla PA, and Chandrasekhar Koteshwar drew significant attention. Over the past four years, Dotwalk has expanded beyond the traditional gallery model into Dotwalk Productions and the Dotwalk Ajitara Art Residency.
Spotlight on Emerging Voices and Senior Masters
The 2026 showcase highlights both represented artists and senior associates who share a long-standing relationship with the gallery. The curatorial focus remains on evolution, intimacy, and process-driven contemporary narratives.
Mehak Garg and the Architecture of Light
Artwork – Mehak Garg
Among the featured artists, Mehak Garg debuts a new series of small-scale paintings that transform domestic interiors into ethereal spaces. Her practice emphasizes light and luminosity, inviting viewers into quiet moments of intimacy.
Chandrasekhar Koteshwar’s New Bronze Series
Artwork – Chandrasekhar Koteshwar
Chandrasekhar Koteshwar introduces a fresh body of bronze sculptures, marking a sophisticated evolution from his terracotta practice. The works explore tension between weight and fluidity while translating organic sensibilities into enduring bronze form.
A Multidisciplinary Showcase
The 2026 presentation is further bolstered by iconic works from the gallery’s roster and distinguished senior associates:
Artist
Showcase Highlight
Abdulla PA
Presents a new installation from his iconic Chuttum series, continuing his profound spatial and geometric explorations.
Ravinder Reddy
Features one of his world-renowned unique head sculptures, marked by bold presence and striking cultural resonance.
Priyaranjan Purkait
Showcases large-scale fabric paintings rendered in acrylic on canvas, inspired by the ecology and spirit of his native Sunderbans.
Sudhayadas S.
Offers a meticulous view of regional topographies through his signature pointillist landscape paintings.
Amjum Rizve
Brings a modern perspective to traditional themes with layered, mixed-media landscape paintings.
A Multidisciplinary Line-Up at Booth K06
The presentation also includes Abdulla PA’s new installation from his iconic Chuttum series, Ravinder Reddy’s renowned head sculptures, Priyaranjan Purkait’s large-scale fabric paintings inspired by the Sunderbans, Sudhayadas S.’s pointillist landscapes, and Amjum Rizve’s layered mixed-media works.
Gallery Director on the Fair’s Significance
Sreejith CN, Director of Gallery Dotwalk, noted that India Art Fair remains a vital platform for engaging with contemporary practices at scale. He highlighted the inclusion of three artists being presented for the first time at the fair under Dotwalk’s banner—Ravinder Reddy, Sudhayadas S., and Mehak Garg.
Founded by Sreejith CN, Gallery Dotwalk has become a key hub in the Indian art ecosystem. In January 2026, the gallery relocated to New Delhi, expanding its footprint through exhibitions, film documentation projects, and its Ajitara Art Residency hosting international and emerging artists.
With its seven-artist presentation at India Art Fair 2026, Gallery Dotwalk continues to foreground quieter, process-led narratives within the larger institutional framework of India’s biggest contemporary art fair, reaffirming its role in shaping evolving art discourse.
