Dr. Maya Rao Kathak & Choreography Conference 2026 Returns to Bangalore

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January 16, 2026

Reimagining Legacy Through Choreography

The Dr. Maya Rao Kathak & Choreography Conference (DMRKCC), under the aegis of UNESCO, returns in its fifth edition with a renewed focus on choreography as a living, evolving practice. Led by Madhu Nataraj, daughter of legendary Kathak exponent Dr. Maya Rao, the conference is hosted by the Natya Institute of Kathak & Choreography (NIKC)—India’s premier institution for contemporary classical dance.

Scheduled to take place on 31 January and 1 February 2026 at Sabha BLR, Bengaluru, the conference brings together leading dancers, scholars, cultural thinkers, philanthropists, and audiences for two days of performances, conversations, and immersive archival encounters.

Aspect	Details
Event Name	Dr. Maya Rao Kathak & Choreography Conference (5th Edition)
Theme	Choreographing Continuum
Dates	31 January & 1 February 2026
Venue	Sabha BLR, Bengaluru
Host Institution	Natya Institute of Kathak & Choreography (NIKC)
Conference Lead	Madhu Nataraj
Curators	Dr. Anita Ratnam, Shoba Narayan
Format	Performances, panels, workshops, illustrated talks, archival experiences

Choreographing Continuum: The Fifth Edition

Titled Choreographing Continuum, the 2026 edition centres on a pressing question: How do we carry legacy forward without fossilising it? The conference approaches tradition as a dynamic process rather than a fixed inheritance, examining how choreographic thinking responds to contemporary concerns such as climate change, artificial intelligence, healing, identity, and social transformation.

Through performances, panels, workshops, and illustrated talks, the conference positions choreography as an active mode of inquiry—one that moves fluidly across time, disciplines, and lived realities.

Curatorial Vision and Participants

The 2026 edition is curated by Dr. Anita Ratnam, a trailblazing performer-scholar, and Shoba Narayan, award-winning author and journalist. Together, they shape a programme that balances intellectual rigor with artistic experimentation.

The conference features an eminent line-up of participants, including Datuk Ramli Ibrahim, Rohini Nilekani, Dr. Sandhya Purecha, Ashish Vidyarthi, Dr. Amit Wanchoo, and Madhu Nataraj, each contributing perspectives that bridge performance, policy, philosophy, and social engagement.

Dr. Maya Rao: Architect of Modern Indian Dance Thought

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Often described as the “Mother of Indian Choreography,” Dr. Maya Rao was among the first to systematise choreography in India as a discipline distinct from solo performance. Trained in Kathak under masters such as Shambhu Maharaj, she brought an analytical and dramaturgical lens to dance-making.

Her vision foregrounded structure, interdisciplinary collaboration, and the dancer as a thinking artist. Dr. Rao also played a pivotal role in shaping national arts policy and mentoring institutions across the country. The annual conference honours not only her legacy, but her insistence that tradition must continually question itself.

NIKC: A Living Institution

Founded in 1964 by Dr. Maya Rao and cultural visionary Kamaladevi Chattopadhyay, the Natya Institute of Kathak & Choreography was conceived as a radical bridge between classical discipline and contemporary imagination.

Over six decades, NIKC has trained generations of dancers, built one of India’s most significant dance archives, toured its ensemble to over 39 countries, and positioned choreography as a tool for education, social dialogue, and cultural diplomacy. Under Madhu Nataraj’s leadership, the institution continues to remain both rooted and future-facing.

Conclusion: Legacy as Living Practice

The Dr. Maya Rao Kathak & Choreography Conference 2026 stands as a vital platform for rethinking how tradition survives—not through preservation alone, but through inquiry, adaptation, and dialogue. By treating choreography as a continuum rather than a relic, the conference reaffirms the relevance of Indian classical dance in addressing contemporary realities. In doing so, it honours Dr. Maya Rao’s enduring belief that legacy lives only when it is allowed to evolve.

Echoes of the Hand: Gaurab Das Explores Material Memory at Black Cube Gallery

By

Nagaraj

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January 16, 2026

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Black Cube Gallery, New Delhi, presents Echoes of the Hand, a solo exhibition by Santiniketan-based sculptor Gaurab Das, on view from 30 January to 20 February 2026. Curated by Sanya Malik, the exhibition brings together a significant new body of sculptural works that explore material memory, tactile form, and emotional presence. The show will be held at G12A, Hauz Khas, New Delhi, and will be open Tuesday to Saturday, from 12 pm to 6 pm.

Exhibition at a Glance

Aspects	Details
Title	Echoes of the Hand – Solo Exhibition by Gaurab Das
Artist	Gaurab Das
Gallery	Black Cube Gallery
Venue	G12A, Hauz Khas, New Delhi
Exhibition Dates	30 January – 20 February 2026
Timings	Tuesday to Saturday \| 12:00 PM – 6:00 PM
Mediums	Bronze, Wood, Stone

Material, Memory, and the Language of Form

Working primarily with bronze, wood, and stone, Gaurab Das creates fluid sculptural forms that hover between the human, the animal, and the elemental. His practice is deeply rooted in the tactile experience of clay—his earliest medium—which continues to inform the gestural quality and surface sensitivity of his mature works. Through voids, contours, and rhythmic abstraction, Das allows form to carry emotional resonance rather than literal representation.

Themes of Connection and Relational Presence

At the core of Echoes of the Hand are themes of connection—between mother and child, human and nature, buffalo and land. These relationships unfold slowly through abstraction, inviting viewers into a contemplative engagement rather than immediate interpretation. The sculptures resist narrative certainty, instead revealing meaning through surface, weight, and balance. Presence, in Das’s work, is relational—rooted in empathy and physical proximity.

Santiniketan and the Legacy of Contextual Modernism

Trained at Kala Bhavana, Santiniketan, Das inherits a legacy of contextual modernism that foregrounds materiality, craft, and an ethical engagement with the living world. In an Indian art landscape increasingly shaped by digital acceleration and conceptual expansion, his practice offers a grounded counterpoint. His sculptures reaffirm the value of slowness, touch, and embodied making, positioning material as both medium and memory.

An Artistic Journey Shaped by Place and Practice

Born in Bangladesh in 1992, Gaurab Das grew up in an environment where art was inseparable from daily life. Early exposure to his father’s painting practice and the ritual labour of local idol makers shaped his artistic sensibility. After graduating from Khulna Art College, Das moved to India in 2012 to study sculpture at Kala Bhavana, completing his D.F.A in 2016 and A.D.F.A in 2018. He has since established his practice in Santiniketan.

Recognition and an Expanding Practice

Das’s work has received international recognition, including the Elizabeth Greenshields Foundation Grant (2019). He has held a solo exhibition at the Academy of Fine Arts, Kolkata, and has participated in numerous group exhibitions across India and Bangladesh. While his primary materials remain bronze, wood, and stone, his practice continues to evolve through experimentation with mixed media, fibre resin, and bronze dust.

Takeaway

Echoes of the Hand positions Gaurab Das as a compelling voice in contemporary Indian sculpture—one who balances tradition with immediacy, abstraction with empathy, and material with memory. At Black Cube Gallery, his sculptures offer a quiet yet powerful space for reflection, where form becomes emotion and making becomes an act of presence. In an era of speed and spectacle, this exhibition reminds us of the enduring resonance of the hand, the body, and the lived world.

Rethinking Popular Fashion Brands in a Changing Industry

By

Cscope Staff

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January 15, 2026

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Fashion is evolving faster than ever, but so is the way people think about what they wear. Shoppers are no longer interested only in style or price. They want to understand how brands operate, how clothing is produced, and whether their choices align with personal values. This growing awareness has brought more attention to discussions around fast fashion and brand transparency.

As consumers become more informed, they start asking specific questions rather than following labels blindly.

Why Fast Fashion Questions Matter

Fast fashion is often associated with speed, volume, and constant trend cycles. While this model makes clothing accessible, it also raises concerns around sustainability, labor practices, and long-term value. Understanding where a brand fits within this system helps shoppers make more conscious decisions.

Questions like is aritzia fast fashion reflect a desire to look beyond surface aesthetics and explore how brands balance quality, pricing, and production.

Comparing Brand Approaches and Identity

Not all popular brands operate the same way. Some focus on rapid trend turnover, while others aim for a more curated seasonal approach. Pricing, materials, and marketing strategies all play a role in how a brand positions itself within the industry.

Discussions such as is hollister fast fashion help highlight these differences and provide context for shoppers who want to understand what they are buying into.

Moving Toward More Intentional Shopping

As awareness grows, many people are shifting toward intentional wardrobes. This doesn’t mean avoiding mainstream brands entirely, but rather understanding how often items will be worn and how they fit into daily life. Versatility, durability, and comfort often matter more than chasing every new trend.

Fashion choices become more thoughtful when guided by knowledge rather than impulse.

Balancing Style, Access, and Responsibility

The fashion industry is complex, and there is rarely a simple answer. Brands operate within different constraints and target different audiences. By learning how brands function, consumers can balance style preferences with practical considerations.

This balance allows for personal expression without ignoring broader industry impacts.

Making More Informed Fashion Decisions

Understanding how fashion brands operate empowers shoppers to choose with confidence. Asking informed questions about production models and brand practices helps align purchases with personal values. As conversations around fast fashion continue to grow, thoughtful analysis becomes an essential part of modern style awareness.

Prakalpana: Bhushan Bhombale, Reclaiming Space, Repairing Society

By

Kriti Sen

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January 15, 2026

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Reclaiming Space, Repairing Society

Mumbai houses some of the most thrilling art exhibitions and a high-energy artistic ethos within the city. Recently, the heart of Mumbai has been buzzing with an effervescent aura in the Strangers House Gallery, as they are currently showcasing the exhibition titled Prakalpana, featuring the works of Bhushan Bhombale, an artist whose art is devoted to the “architecture of repair.” The exhibition, curated by an artist cum activist, Prabhakar Kamble, is a deep dive into a judicious conjunction of the raw and the metaphysical.

Slated to run from January 8 to February 18, 2026, from 11 AM to 7 PM with free entry, this exhibition frames paradigm-shifting visual elements within the moulds of caste, migration, and material memory. One of the signature concepts propounded by the artist is that of “pais,” a term directly derived from his mother tongue that refers to something undefined yet metaphysically charged. The artist reimagines pais as the thread that connects human existence to cosmic puissance.

The Architecture of Repair

Bhushan Bombale’s Pais is seamlessly depicted as a tool that navigates even through the “undefined space.” Through the artist’s lens, the pais exhibits an inherent dichotomy and serves two primary functions. Metaphysically, it is the unending pillar of infinite height, an axis that connects the individuals to the chaotic synergy of the endless universe. The other side is socio-political. The obverse side of pais is imagined as an immigrant entering the megapolis of Mumbai. He uses pais to forge an intimate area for himself, which acts as a breathing room to continue remaining citified in an asphalt jungle.

Artist Bombale is an Ambedkarite, and this ideology is well reflected in his art as he carves out a distinct space that is quintessentially political. Residing in a society that is visibly fractured and punctuated by the concrete divisions of caste, language, and religion, his work seeks “repair.” He sculpts his art with mathematical precision that reflects a new “way of living.” His depiction of life and living refuses to be diminished by systemic discrimination.

The Media of Expression

The artist executes his art through a plethora of media. He works with recuperated wood, reclaimed steel parts originally carved to build fish trawlers in the Arabian Sea, speaker systems from folk festivals, Japanese paper, and rough cloth layered upon canvas. All these elements bear imprints of labour, ritual, and movement, and are reassembled into sculptural forms that articulate what he describes as an “undefined space.” As a result, these structures’ efflorescence blooms as what the artist calls the “speculation of life.” This “recuperation” is an act of salvage. By taking the debris of the maritime and the musical and refining them into geometric forms, he transforms the “waste” of a megacity into a sophisticated language of resilience.

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The curator, Prabhakar Kamble, also played a very crucial role in nudging the exhibition to its zenith. He is acknowledged for his refined engagement with Ambedkarite aesthetics and radical cultural discourses. As an Ambedkarite, Bhushan Bomble situates his practice within a broader struggle against caste-based discrimination and socio-political fragmentation. His sculptures do not merely occupy space; they intervene in it, proposing alternative architectures of belonging and dignity.

Glimpses of The Exhibition

Aspects	Details
Title	Prakalpana
Artist	Bhushan Bhombale
Venue	Strangers House Gallery, Mumbai
Dates	8 January – 18 February 2026
Timings	Tuesday – Sunday, 11 AM – 7 PM
Entry	Free
Curator	Prabhakar Kamble
Conceptual Framework	Pais – metaphysical and socio-political space
Materials	Reclaimed wood, steel, speaker systems, Japanese paper, rough cloth
Notable Achievements	36th Bienal de São Paulo (2025), India Art Fair Outdoor Sculpture Program

Key Highlights

Sculptures constructed from reclaimed industrial and cultural materials
Conceptual grounding in Pais, bridging metaphysical and socio-political space
Ambedkarite ideological framework addressing caste, migration, and belonging
Curated by Prabhakar Kamble, a significant voice in radical contemporary art discourse
Continuation of Bhombale’s engagement with reclaimed metal forms first seen in Cycle Forms (2023)
Part of Mumbai’s broader contemporary art circuit and Gallery Weekend programming

A Global Trajectory

Hitherto, Bhushan Bomble took part in the 36th Bienal de São Paulo (2025) and the Cairo Biennale. This exhibition brings him closer to home. Moreover, his public sculpture for the India Art Fair’s Outdoor Program in 2025 demonstrated his ability to scale his intimate explorations of Pais into the public consciousness. He was present during the opening of the Strangers House Gallery in 2023. “Prakalpan” represents a more mature and expansive version of what it means to create something with purpose. “Prakalpana” translates to an intent of creation arising from a purpose that combines varied schools of thought and material, an act of conceptual creation.

The fact that makes this exhibition distinct is that he combined varied schools of thought and material practices. He forged this into an act of assembling fragments of industrial and cultural memory into speculative architectures that challenge normative spatial orders. Thus, he created an ode that propounds the fact that art is not an accident of aesthetics, but a deliberate “intent.” It is a visual metaphor for the modern Indian experience: a struggle to find balance and beauty amidst the heavy machinery of history and social hierarchy.

Takeaway: The Intent of Creation

Prakalpan is one of the most intellectually and ideologically driven exhibitions that 2026 is witnessing. Bhushan Bomble’s art resists decorative consumption; it demands contemplative engagement and ethical reflection. By reclaiming discarded materials and reconfiguring them into architectures of Pais, Bhombale does more than create objects; he constructs a language of repair. Prakalpana is thus not merely an exhibition; it is a necessary proposition for reimagining space, dignity, and belonging in contemporary India.

Mysore Chitra Santhe 2026: A Grand Celebration of Visual Arts at JCAC

By

Cscope Staff

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January 14, 2026

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Reviving the Cultural Pulse: The 2026 Mysore Chitra Santhe

Mysuru is set to be painted with iridescent hues at the Mysore Chitra Santhe. Chitra Santhe literally translates to art market in Kannada, a concept that has famously alchemized the streets of Bengaluru into a radiant plein-air festival and is now being embraced by Mysuru. The event is scheduled to take place on January 17th and 18th, 2026, at the Jagannatha Centre for Art and Culture (JCAC), in association with the Association of Visual Artists (AVA). This is one of the key cultural events in the city, bringing together art lovers, creators, and the wider community through a shared celebration of visual culture.

This two-day extravaganza will feature a panoply of artworks aimed at democratizing the viewing experience. Its guiding sentiment is reflected in the phrase, “Art isn’t just seen here, it’s felt.” The santhe (market) moves beyond the confines of elite gallery spaces, allowing art to breathe freely in a public and inclusive environment. Anchored in the philosophy of “Art for All,” this initiative emerges from the deep artistic sensibilities embedded in the region’s cultural fabric. Over time, Chitra Santhe has grown into a must-visit cultural phenomenon across South India.

The Artistic Appeal of the Santhe

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At its core, Chitra Santhe functions as an interactive marketplace where artists become sellers and audiences become direct patrons of art. This structure enables immediate feedback and direct monetization for emerging creators, helping them better understand audience engagement and market dynamics. Mysuru—often regarded as the cultural capital of Karnataka—provides an ideal backdrop for such an initiative. From intricate traditional Mysore paintings and classical portraits to contemporary abstractions and vibrant visual expressions, the diversity of works on display caters to a wide range of aesthetic sensibilities.

Historically, the Bengaluru edition of Chitra Santhe has drawn thousands of art enthusiasts, reinforcing its vision of an egalitarian creative ecosystem. The Mysore edition aspires to replicate this immersive experience for a new audience. The involvement of the Association of Visual Artists (AVA) ensures strong artistic and technical standards, while JCACprovides the necessary infrastructure to manage visitor flow. Events of this nature are also known to boost local tourism by attracting art enthusiasts from various regions.

Important Notations of the Chitra Santhe

Aspects	Details
Event Name	Mysore Chitra Santhe 2026
Dates & Timing	January 17th & 18th, 2026
Venue	Jagannatha Centre for Art and Culture (JCAC), Vijayanagar
Organizers	Association of Visual Artists (AVA) & JCAC
Entry Fee	Free Entry for All Visitors
Core Objective	To showcase and sell art while fostering artist–public interaction
Focus	Art market (painting, sculpture, visual arts)

Key Highlights

Free entry for all visitors across both days
Hosted at Jagannatha Centre for Art and Culture (JCAC), Mysuru
Organized by the Association of Visual Artists (AVA)
Participation from local and wider Indian art communities
Wide range of artistic media including painting, sculpture, and visual arts
Direct engagement between artists and audiences
Elimination of middleman commissions, making art more accessible
JCAC’s professional yet welcoming environment suitable for families, students, and collectors
A networking platform for AVA members to connect with patrons and fellow artists

The Vision of the Avant-Garde Event

Chitra Santhe breaks away from rigid artistic frameworks by embedding art into everyday life, transforming cultural centres and open spaces into arenas of creativity and exchange. The organizers emphasize that the event is not only for seasoned collectors but for anyone who appreciates beauty. By focusing on emotional resonance and human connection, the Santhe encourages visitors to view art as an essential part of lived experience rather than a luxury commodity.

Visitors increasingly seek stories behind artworks—why an artist uses certain techniques, what inspires a sculptor’s form, or how traditional practices evolve into contemporary expressions. Such interactions deepen engagement and foster emotional connections, shifting art beyond commerce into shared cultural meaning.

Why It Matters

The Mysore Chitra Santhe at JCAC represents a significant cultural infusion into Mysuru’s heritage landscape. It enhances artist visibility while inviting the public into an immersive space where creativity, commerce, and community converge. At a time when art spaces can feel exclusive, initiatives like this reaffirm that art belongs to everyone. Through Chitra Santhe, cities like Mysuru and Bengaluru continue redefining how art is experienced, supported, and celebrated.

Takeaway

Mysore Chitra Santhe stands as a vital pillar of the city’s evolving cultural identity. By prioritizing physical craftsmanship over purely digital consumption, it encourages meaningful face-to-face interactions between artists and audiences. With free entry ensuring accessibility for all, the Santhe transcends its role as a marketplace to become a living testament to Karnataka’s enduring artistic spirit—deserving of the spotlight it continues to command.

Unstill Life: Dheer Kaku Explores Urban Ruins & Inner Architecture at Method Gallery

By

Kriti Sen

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January 14, 2026

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Unstill Life: Architecture of the Soul

Tucked away from the busy bylanes of the chaotic city of dreams, the Method Kala Ghoda is noted for its serene and halcyon artistic presentations that encourage visitors to slow down and engage with art in a more sensorily immersive way. This sui generis showcasing of art is pleased to unveil “Unstill Life,” a thought-provoking solo exhibition by the interdisciplinary artist Dheer Kaku. The exhibition is on view till February 15, 2026. This exhibition is a meditative construct that positions itself at the intersection of physical ruins and psychological unrest.

The artist, Dheer Kaku, is an alumnus of Rachana Sansad and a recipient of the INLAKS Fine Art Award. He manifests a deep visceral outlook on the canvas, metamorphosing the blank spaces into a warm, albeit fractured, map of human emotions. He represents the commotion of emotions that trembles, collapses, fragments, and yet persists. His canvases feature repeated obliteration, redrawn lines, and foliated facades, making the act of looking feel archaic. His art emphasizes the emotional labor of surviving within constricted, shared, and often eroding environments.

Spaces that Remember, Ruins that Breathe

Growing up with cramped personal space, the artist now finds solace in frequently neglected and overlooked corners. He chose terraces, narrow edges, and hidden gaps to express this sense of attachment. These marginal spaces become the safehouse of the metaphors expressed in his current corpus of art. For the artist, the city is a mirror, and thus, he has developed an intimate connection with the “architectural corners.” These neglected corners are places where others perceive urban neglect, but Dheer Kaku traces a peculiar “order.” In his narration, he describes these sharp shapes as tools to “bring order to inner confusion.”

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In segments like “Out of Context” and “Safeplace,” disjointed interiors suspend between collapse and survival. He recreates the urban demolition sites and exposes their vulnerability. Another artwork, Settler, transforms a single brick mounted on fragile wire legs into an anthropomorphic being. This figure appears like a displaced being that mirrors the living conditions in rapidly transforming cities. Meanwhile, Face of a Broken Home presents a ruin that forces the viewer to perceive how domestic spaces mold identity and memory. The artist’s “objects” are buildings, excavators, and crumbling walls that seem to breathe, decay, and struggle for stability. His works are characterized by a process of restraint.

Glimpses of The Exhibition

Aspects	Details
Exhibition Title	Unstill Life
Artist	Dheer Kaku
Duration	On view until February 15, 2026
Venue	Method Kala Ghoda, Fort, Mumbai
Primary Mediums	Drawing, lens-based media, installation
Key Themes	Psychological architecture, urban decay, loss of shared space

Key Highlights

Reimagines the still-life genre through unstable, decaying architectural forms.
Employs layered drawing techniques of erasure and redrawing to convey emotional sedimentation.
Explores psychological interiors shaped by shared, diminishing urban spaces.
Integrates archaeological and anthropological methodologies into contemporary visual language.
Presents architecture as a metaphor for memory, grief, restraint, and endurance.
Continues themes from Kaku’s ongoing series Casual Thoughts of Doom.
The buildings portrayed are not literal structures but representations of internal mental states, exploring themes of endurance and tension.
Kaku challenges traditional aesthetics by finding “softness” and meaning within fractured and damaged forms.
The physical act of erasing and redrawing serves as a metaphor for the passage of time and the fading of memory.
A subtle but powerful commentary on how neofascist movements and sensationalist media contribute to a sense of “impending doom” that manifests in our physical environment.
Hosted by Method, the show aligns with the gallery’s “extrospective” approach, encouraging art that breaks away from predetermined outcomes.

From Public Squares to Fragile Interiors

A central thematic core of this exhibition is the Hermeneutic congruency depicted by the artist. He manifests spaces where communities once gathered are being replaced by smaller, more congested private cells. The interiors of these structures grapple to huddle together against the weight of the outside world. His ongoing series, “Casual Thoughts of Doom,” reflects on the ongoing era as an “archaeological spot.” Through this construct, the artist asks: What will remain of us?

The philosophical root traces back to Einstein’s idea of art as revolution and offers the ideal bedrock for this exhibition. The artist profoundly emphasizes experimentation, critical thinking, and artistic freedom, which resonates with the core of Unstill Life.By choosing restraint over spectacle, he invites the viewer to look closer at the “ruins” of their own lives. There is a profound empathy in his work; he doesn’t just show us a broken home, he shows us the face of it.

Takeaway

“Unstill Life” is an exhibition that bestows recognition on the tangibly intangible aspects of life. It taps into the ruptured emotional state of being that discloses the unfiltered realities of contemporary urban existence, where private spaces shrink, and psychological burdens grow heavier. It metamorphoses the debris and ruins of the city’s pockets into vectors of deeper meanings. The artist’s quotient does not aestheticize decay; rather, he humanizes it. His drawings remind us that even in broken architectures, both material and emotional resilience search for softness, belonging, and meaning. In a city like Mumbai, perpetually in flux, Unstill Life feels less like an exhibition and more like an introspective pause we urgently need. This exhibition is a must-visit for anyone who has ever felt “out of context” in their own city and is looking for a way to map their way back to a “safe place.”

15 Wishes on Makar Sankranti to Share with Your Loved Ones

By

Cscope Staff

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January 14, 2026

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Mid-January is the period of year when nature delivers the milder breezes of spring to India. Makar Sankranti, India’s most significant harvest festival, is celebrated around this time to honour the end of the winter season while welcome longer days owing to the sun’s northward march. This auspicious festival, also known as Sankranti, is a seasonal celebration in honour of Lord Surya, the Sun God. It marks the arrival of the sun in Makara rashi, or the Capricorn zodiac sign.

The event is named after the god Sankranti, who is worshipped as a God. Sankranti, according to Hindu belief, slew the demon Sankarasur. Karidin, or Kinkrant, is the day following Makar Sankranti. The Devi slew the demon Kinkarasur on this day.

Furthermore, the sun is an important part of Makar Sankranti. The sun shines largely over the earth’s southern hemisphere prior to the celebration. During the festival, though, it begins to travel northward. According to Hindu belief, this time period, known as Uttarayana or Winter Solstice, is fortunate. According to the Mahabharata epic, Bhishma, the supreme leader of the Kaurava troops, had awaited the Uttarayana period to die.

Makar Sankranti, the auspicious holiday, is celebrated with tremendous pomp and excitement throughout the country. It is regarded as a day that brings wealth, serenity, and pleasure. The kite-flying celebration is nearly associated with Sankranti. Devotees take baths in sacred rivers including the Ganga, Yamuna, Godavari, Krishna, and Kaveri. They believe that doing so cleanses them of their sins. Worshippers also make an effort to show their thanks and pay homage to the Sun God via a variety of spiritual deeds. People exchange sesame and jaggery-based sweets such as laddoos and chikkis. This action represents a need for togetherness, peace, and harmony.

In honour of this celebration, here are some good luck greetings, messages, and phrases to give to your family and friends.

Allow Makar Sankranti to wash away your sorrows and welcome you with blessings and the promise of a better tomorrow. Happy Makar Sankranti!

This Sankranti, may your house be filled with the light and blessings of the Sun God.

May you, like the magnificent kites in the sky, achieve new heights of pleasure and brightness. Happy Makar Sankranti!

May this harvest season bring you happiness and prosperity. Have a wonderful and safe Maar Sankranti!

The sky is filled with kites, the cheeks are full of smiles, and the hearts are full of joy – Makar Sankranti has arrived!

May the world become a better place for us to live and enjoy with the first festival of the year. Happy Makar Sankranti.

May you be showered with all the joy the earth has to give. Happy Makar Sankranti 2023!

May the sun’s heavenly beams shower you with pleasure and happiness. Happy Makar Sankranti!

The sun god will be the warm amber glimmer of hope at the end of the deep darkness this Makar Sankranti.

As the sun rises on Makar Sankranti, I hope it brings with it enough light to dispel all the darkness in your life.

Let us pray this Makar Sankranti to be with one other through thick and thin, connected by love and togetherness.

This Makar Sankranti, may you be connected to the brightest of times. And may you soar to great heights as the kites do on this auspicious occasion, adding to the attractiveness of your festivities. Happy Makar Sankranti!

This Makar Sankranti, the sun rises with hope, kites soar joyfully in the sky, and crops are ready for harvesting, all indicating optimism, joy, and abundance. Happy Sankranti.

As the sun begins its journey northward, he brings all the joy of the year. Happy Makar Sankranti to you and your family!

May the Makar Sankranti fire burn away all your sorrows and provide you with the warmth of pleasure, contentment, and love.

FAQs on Wishes for Makar Sankranti

Question: What is a traditional wish for Makar Sankranti?

Answer: A traditional Makar Sankranti wish conveys warmth, prosperity, good health, and positivity, often symbolised through sesame (til), jaggery, and the sun’s northward journey.

Question: Why are sweet wishes important during Makar Sankranti?

Answer: Sweet wishes reflect the festival’s message of speaking kindly, spreading harmony, and strengthening relationships, just like the sharing of til-gud.

Question: What should a Makar Sankranti wish include?

Answer: A meaningful wish usually includes good harvest, happiness, peace, success, and new beginnings, aligning with the festival’s agricultural and spiritual significance.

Question: Can Makar Sankranti wishes be shared professionally?

Answer: Yes, Makar Sankranti wishes can be warm yet respectful, making them suitable for colleagues, clients, and workplaces to foster goodwill and positivity.

Question: How can I make my Makar Sankranti wishes unique?

Answer: You can make your wishes special by adding regional greetings, cultural references, or personal messages that reflect gratitude, hope, and renewal.

An Intimate Dialogue with Colour: Smrita Swarup at Gallery Pradarshak

By

Gauri Goel

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January 14, 2026

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India-born, Singapore-based artist Smrita Swarup will present a solo exhibition of paintings at Gallery Pradarshak, Khar West, Mumbai, from 16th to 22nd January 2026. Open to all with free entry, the exhibition brings together a recent body of work rooted in an expressionist vocabulary, unfolding as an immersive exploration of colour as emotion, memory, and movement. Artworks will be available for purchase during the exhibition.

Exhibition	Details
Type of Exhibition	Solo Exhibition of Paintings
Artist	Smrita Swarup
Curation	Gallery Pradarshak
Artist Profile	India-born, Singapore-based artist
Venue	Gallery Pradarshak, Khar West, Mumbai
Exhibition Dates	16th – 22nd January 2026
Entry	Free
Primary Medium	Acrylic on canvas
Artistic Style	Expressionist abstraction
Availability	Artworks available for purchase
Contact for Enquiries	+91 9920386641 \| pradarshak@gmail.com

The Artist’s Process: Between Body and Spirit

Swarup’s practice is shaped by a sustained negotiation between physical exertion and spiritual introspection. Working primarily with acrylics, she approaches the canvas through an instinctive and layered process that is as demanding as it is meditative. Paint is applied, scraped away, and reworked repeatedly, creating surfaces that record endurance, fatigue, and persistence. Each canvas carries the imprint of emotional pressure and bodily engagement, translating inner turbulence into a material language. In this body of work, paint is not treated merely as a medium but as a site of resistance and release, bearing witness to both struggle and renewal.

Nature as Sensation, Not Representation

Rather than depicting nature in a literal or illustrative manner, Swarup’s paintings evoke it sensorially. Hints of florals, growth, water, and organic movement surface through dense textures and rhythmic gestures, only to dissolve again. These references to the natural world function as fleeting impressions rather than fixed images. Motifs associated with gardens and blooming forms recur across the works, shaped as much by accumulation as by erosion. Form, in this context, is never stable; it emerges momentarily before receding, allowing meaning to unfold slowly and intuitively.

An Exhibition Without a Fixed Narrative

The exhibition resists a singular narrative or prescribed reading. Instead, it reveals itself as a sequence of emotional states that move fluidly across the gallery space. Viewers encounter moments of joy, calm, curiosity, and quiet contemplation, with no single work asserting dominance over the others. Together, the paintings create an immersive environment that encourages slow viewing and introspection. Colour becomes both language and experience—an invitation to pause, reflect, and engage with the subtleties of mood and sensation.

Process as Inquiry and Transformation

Swarup’s approach foregrounds process as a form of inquiry. The physicality of mark-making, the repetition of gestures, and the visible traces of revision underscore the idea that meaning is not fixed but continually negotiated. The surfaces retain evidence of what has been built up and worn away, suggesting that transformation is inseparable from effort and time. This emphasis on process aligns with the exhibition’s broader focus on emotional endurance and renewal, where resolution is not immediate but gradually earned.

Takeaway

Set within the intimate setting of Gallery Pradarshak in Khar West, the exhibition offers a contemplative counterpoint to the pace of contemporary life. The works invite viewers to engage with abstraction not as distance but as proximity—to feeling, memory, and the rhythms of the body. By privileging sensation over representation, the exhibition opens a space where viewers can encounter their own emotional responses without the pressure of interpretation.

The solo exhibition by Smrita Swarup will be on view from 16th to 22nd January 2026 at Gallery Pradarshak, Mumbai. Entry is free, and artworks will be available for purchase.

‘Linear Conversations: Between Line and Form’ Group Exhibition at Tarun Art Gallery

By

Kriti Sen

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January 14, 2026

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The Tarun Art Gallery, New Delhi, has officially opened its doors to a thought-provoking group exhibition titled “Linear Conversations: Between Line and Form.” This exhibition presents itself as a crucial juncture of contemporary Indian art. The exhibition aims to elevate and empower emerging artists and voices in the modern milieu. The showcase will continue to be on view till January 15, 2026, daily from 11:00 am to 7:00 pm, at M-7, M Block Market, Greater Kailash II, New Delhi. The exhibits accentuate the artistic potential of the “line.” The exhibits are willing to navigate through movement, emotion, and cognition in artmaking.

Linear Conversations metamorphose the creative space as a reflector that unfurls abstraction, structure, and rhythm. The exhibition exhibits the works of six artists, namely, Anup Kumar Chand, Bikash Poddar, Tapan Dash, Goldminson Aimol, Harshh Kumar, and Ishu. These artists engage in their distinct artistic practices that reconcile individual approaches with shared linguistic threads woven through line and form. This exposition opens up a window for art enthusiasts to engage with works that challenge traditional boundaries of structure and rhythm.

The Intersection of Geometry and Emotion: A Visual Narrative

The buildup of the exhibition is based on the “line,” demarcating the nascent notions and the fenestration of emotions. By coalescing the works of six distinct artists, the gallery has molded a safe space for the emergence of an eclectic style that melds with the syncretic dialogue expressed through these pieces. Each artist brings a unique medium and philosophical approach to the table, yet they are all united by an investigation into how linearity dictates our perception of space and movement. The curation of this exposition is guided by Director Tarun Sharma, who moved beyond mere aesthetics and highlighted the “conceptual tools” that artists use to articulate narratives, both personal and collective, making the “linear” a vehicle for storytelling.

Essential Exhibition Details

Aspects	Details
Exhibition Title	Linear Conversations: Between Line and Form
Gallery Name	Tarun Art Gallery
Location	M-7, M Block Market, G.K. II, New Delhi
Inauguration	Preview held on December 18, 2025, with the presence of eminent critics
Exhibition Dates	Currently on view until January 15, 2026
Visiting Hours	11:00 am to 7:00 pm
Featured Artists	Anup Kumar Chand, Bikash Poddar, Tapan Dash, Goldminson Aimol, Harshh Kumar, and Ishu
Director	Mr. Tarun Sharma
Inaugurated By	Prayag Shukla and Vinod Bhardwaj
Conceptual Focus	Dialogue between line and form as structural and emotive devices
Gallery Heritage	Established in 1983, the modern and contemporary art focus

Key Highlights

Central to the exhibition is the exploration of “line” as a generative force, extending beyond formal composition to become a conduit for rhythm, texture, and movement in art.
Works range across painting, mixed media, and experimental abstraction, allowing audiences to experience varied material interpretations of linearity and spatial dynamics.
The curated ensemble blends more established practices with emerging sensibilities, showcasing the plurality of contemporary Indian artistic approaches to structure and abstraction.
The exhibition preview was graced by Prayag Shukla, poet and art critic, and Vinod Bhardwaj, art and film critic, whose perspectives enriched the discourse around the artworks.
Tarun Sharma emphasizes that the exhibition invites slow looking and sustained engagement, encouraging viewers to interpret line and form not just visually but conceptually.
Located in the heart of G.K. II, the gallery continues its 40-year legacy of making high-quality Indian art accessible to the public.

A Closer Vision of The Artistic Lens

Artist Anup Kumar Chand presents his artworks with a unique aspect, where he employs linear elements to obfuscate the extremities between geometry and emotion. His artistic composition feels very organic and structurally molded. Bikas Poddar incorporates punctilious interlacings of lines that imitate tension and release. This creates a real effect in the eyes of the beholder and nudges the audience to bypass form and gesture in the traditional sense. Tapan Dash and Goldminson Aimol both use texture and contour in a dichotomous manner, where lines become active vectors of mise-en-scène. Harshh Kumar and Ishu demonstrate how line can be used as a narrative device, structuring not just shape but the emotional cadence of each work.

A Legacy of Excellence: Tarun Art Gallery’s Evolving Vision

Founded in 1983 by Mr. Surender Sharma, Tarun Art Gallery has emerged as a pillar of the Indian art market. It is acknowledged for its impressive collection of Indian masters. The gallery has displayed an extraordinary blend of historical depth and contemporary relevance. Under the directorship of Tarun Sharma, the institution has pursued a reinvigorated curatorial philosophy. His notions balance reverence for artistic lineage with an openness to experimental forms and ideas.

Mr. Tarun Sharma has nudged the organization towards a more contemporary and experimental future. This reinvention of curatorial thought is well reflected in “Linear Conversations.” The gallery is committed to authenticity and dedicates its resources to artistic integrity. By positioning established artists with budding talents, the gallery sustains cross-generational dialogues. Through this exhibition, the gallery will ensure a continuity of practice that is essential for the health of the Indian art ecosystem.

A Critical Perspective: The Power of Minimalist Inquiry

“Linear Conversations” is a bold move that forces the viewer to strip away the noise of the external world. This exhibition has an inherent sense of honesty in the artworks, as it compels the viewers to contemplate and reflect on themselves. When Tarun Sharma mentions that the intent is to “encourage viewers to slow down,” he is addressing a necessity for mindfulness. This exhibition is a testament to the fact that contemporary Indian art is not just about vibrant colors or social commentary; it is an intellectual and aesthetic proposition.

The precise focus on the “line” is what makes all the difference. With line becoming the fundamental foundational element of visual representation, the exhibition heightens the scope of mindful curatorial intent and features a fresh artistic vision amidst an age dominated by high-speed digital consumption. Thus, Tarun Art Gallery reinforces its role as a pivotal platform for critical exchange in India’s contemporary art landscape. The exhibition rewards those who engage deeply, offering insights that linger beyond the gallery walls and contribute meaningfully to ongoing dialogues in visual culture.

Fevicryl’s The Art Chapter Showcases Local Artists at Ahmedabad Ni Gufa

By

Kriti Sen

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January 13, 2026

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A Platform for the Grassroots of Indian Art

India’s contemporary artscape is transforming from a stringent elite gallery to a more public-oriented, inclusive, and community-driven platform. A prime example of this metamorphosis is the iconic Ahmedabad Ni Gufa. It is a one-of-a-kind underground art gallery where Fevicryl launched its latest initiative: “The Art Chapter – Celebrating the Local Artist.” The organizers have transformed this unique space into a bustling hub for over 50 local creators, and they emerged as a vital patron of art. This exhibition was not just a display of talent; it was a strategic intervention designed to bridge the gap between talented local professionals and the mainstream art market.

The Ni Gufa, designed by Balkrishna Doshi in collaboration with M.F. Hussain, is a space that is dedicated to experimental and indigenous artistic practices. The positioning of The Art Chapter within this space, the organizers placed this initiative within a lineage of Indian modernism that values accessibility, rootedness, and public engagement. This six-day exposition, featuring over 50 artists represent a radiant spectrum of medias including acrylic paintings, mixed-media works, sculptural forms, folk-inspired motifs, and contemporary reinterpretations of mythological iconography. This diversification in the modes of expression reflects on something beyond artistic aesthetics; it signifies the heterogeneity of India’s living art traditions.

Bridging the Gap: Empowering the Grassroots Creative Economy

This exhibition is expecting a footfall of nearly 5,000 visitors that signifies a growing public appetite for locally rooted art narratives. More importantly, the exhibition generated tangible economic outcomes; several artists reported on-site sales. All these convert cultural visibility into professional opportunity. The artisans display a plethora of works to represent the versatility of modern Indian art. From traditional folk-inspired pieces to contemporary mixed-media experiments, the walls of the Gufa were alive with color and narrative. Among all the artworks on view, a painting titled “Melody of Knowledge” stands out. It depicts a stylized, ethereal figure of a goddess (Saraswati) playing a Veena, rendered in warm, earthy tones. This piece, alongside others like the vibrant, intricately painted bird masks, showcased the meticulous skill that Fevicryl aims to champion.

Important Points of The Exhibition

Aspects	Details
Event Name	The Art Chapter – Celebrating the Local Artist
Primary Organizer	Fevicryl (Pidilite Industries)
Venue	Ahmedabad Ni Gufa, Gujarat
Participant Profile	50+ Artists (Fevicryl Certified Professionals & Emerging Talent)
Chief Guest	Dr. Bhanwar Rathore (Founder & President, BRDS)
Core Activities	Exhibition, Indian Art Workshops, Live Sales & Commissions

The Other Perspectives

Beyond the display of artworks, the organizers have also curated a special Indian Art Workshop that offered participants hands-on exposure to traditional techniques and motifs. In fact, the category Head at Fevicryl, Manam Chandarana’s presence has amplified the overall enthusiasm and ethos of the event. His presence amplified the voices of artists and provided them with the “recognition and confidence they truly deserve.”

The presence of Dr. Bhanwar Rathore, Founder and President of Bhanwar Rathore Design Studio (BRDS), lent further credibility to the initiative. The organizers emphasized the fact that The Art Chapter reflects the brand’s long-standing commitment to nurturing India’s local art ecosystem by creating platforms that amplify artistic confidence, recognition, and commercial sustainability. In a bigger context, this initiative redirects attention towards grassroots creativity.

Key Highlights

Over 50 artists showcased diverse mediums and styles
Footfall exceeding 5,000 visitors in six days
On-site sales and multiple commission inquiries generated
Indian Art Workshop enabling hands-on cultural engagement
This session allowed visitors to transition from passive observers to active creators, learning the nuances of traditional Indian motifs using modern Fevicryl tools
Hosted at the iconic Ahmedabad Ni Gufa
Graced by Dr. Bhanwar Rathore (BRDS)
His presence provided the participating artists with invaluable networking opportunities and professional validation
Reinforced Fevicryl’s role as a catalyst in India’s creative economy
Unlike many “viewing-only” galleries, The Art Chapter facilitated direct commercial engagement
Many artists secured immediate sales, while several others received lucrative commission inquiries for future work
The initiative aligned with the national sentiment of supporting homegrown talent, providing a high-visibility platform for artists who might otherwise struggle to find gallery representation in major cities.

Takeaway

“The Art Chapter” represents a masterful blend of corporate social responsibility and brand community building. This model is exactly what the Indian art scene needs: a move away from the “starving artist” trope toward the “artist-entrepreneur.” By investing in visibility, pedagogy, and economic opportunity for local artists, the initiative re-centres the conversation around accessibility and cultural continuity.

More than a showcase, it is a model for how corporate stewardship can ethically and effectively nurture India’s vast but underrepresented artistic grassroots. This exhibition wasn’t just about paint on canvas; it was about the dignity of labor and the celebration of the local identity in an increasingly globalized world.