METTĀ – A Practice of Presence Brings Five Artists Together at Mumbai’s Nehru Centre

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METTĀ A Practice of Presence Brings Five Artists Together at Mumbai’s Nehru Centre-01

A new contemporary art exhibition titled METTĀ — A Practice of Presence: In Continuation… will open at the AC Art Gallery, Nehru Centre, Mumbai, on 15 September 2026. Bringing together five artists—Ramesh Thorat, Ranjit Deshmukh, Guhyacitta, Gopal Gangawane and Jagruti Sonawane—the exhibition explores ideas of awareness, contemplation, nature and human experience through painting and sculpture. The exhibition will remain open until 22 September 2026.

Exploring the Idea of Presence

The exhibition takes its inspiration from the Buddhist concept of Metta, often understood as loving-kindness, compassion and an open-hearted relationship with life. Rather than presenting presence as merely a state of being, the exhibition approaches it as a way of engaging with art and the world. Through five distinct artistic journeys, the participating artists examine introspection, sensitivity, existence and human connection, inviting visitors to slow down and observe more attentively.

Five Artists, Five Perspectives

Gopal Gangawane, Untitled, Oil on Canvas, 11 x 8 Inches, 2026
Gopal Gangawane, Untitled, Oil on Canvas, 11 x 8 Inches, 2026

Although united by a common thematic framework, each artist brings a unique visual language and creative process to the exhibition.

Ramesh Thorat’s work is rooted in the belief that art extends beyond the canvas into everyday life. His paintings encourage viewers to look closely and reflect on perception, awareness and the ways meaning is constructed through experience.

Ranjit Deshmukh’s sculptural practice grew from traditional Ganpati murti-making. His works emerge through a close dialogue with stone and material, balancing restraint, form and a sense of harmony while remaining attentive to natural rhythms and structures.

Contemplation and Material Practice

Jagruti Sonawane, Endless Knot, Acrylic on Canvas, 24 x 24 Inches, 2026
Jagruti Sonawane, Endless Knot, Acrylic on Canvas, 24 x 24 Inches, 2026

Guhyacitta’s artistic practice is informed by a contemplative way of life. Living and working within a Buddhist retreat environment, he approaches painting and sculpture through openness and experimentation. His works evolve through observation and discovery, often allowing traces of the creative process to remain visible within the finished form.

Gopal Gangawane’s work explores the relationship between light, shadow and states of mind. His paintings develop through layered gestures and intuitive mark-making, creating visual spaces that encourage reflection while remaining open to multiple interpretations. His wider engagement with sculpture, tool-making and musical instrument construction also informs his artistic approach.

Returning to Painting

Guhyachitta, Bhumi Sparsha, Fiber, 21 x 16 x 10 Inches, 2026
Guhyachitta, Bhumi Sparsha, Fiber, 21 x 16 x 10 Inches, 2026

Jagruti Sonawane began her creative journey in commercial art before returning to painting after a long period away from the field. Her practice draws upon ideas of mindfulness, impermanence and compassion. Through restrained compositions and a deliberate working process, she creates works that emphasise attention, observation and personal reflection.

Exhibition Highlights

Ranjit Deshmukh, Form - 12, Basalt Stone and Wood, 25 x 24 x 58 cm, 5.4 kg, 2023
Ranjit Deshmukh, Form – 12, Basalt Stone and Wood, 25 x 24 x 58 cm, 5.4 kg, 2023

Key aspects of the exhibition include:

  • Five contemporary artists exhibiting together.
  • Paintings and sculptures informed by personal experience and reflection.
  • Exploration of mindfulness, awareness and human connection.
  • Artistic approaches shaped by nature, contemplation and material engagement.
  • A shared exhibition framework inspired by the concept of Metta.

Venue and Visitor Information

Event Details
Title METTĀ — A Practice of Presence: In Continuation…
Venue AC Art Gallery, Nehru Centre
City Mumbai
Opening Date 15 September 2026
Inauguration 5:00 PM, 15 September 2026
Exhibition Dates 15–22 September 2026
Timings 11:00 AM – 7:00 PM
Organiser In association with Infinity Art Collaborators (IAC)
Entry / Tickets Not specified in the exhibition materials
Address Ground Floor, Discovery of India Building, Dr Annie Besant Road, Lotus Colony, Worli, Mumbai – 400018

 

Participating Artists

  • Ramesh Thorat
  • Ranjit Deshmukh
  • Guhyacitta
  • Gopal Gangawane
  • Jagruti Sonawane

Conclusion

METTĀ — A Practice of Presence presents a collective exploration of observation, reflection and artistic inquiry. By bringing together five distinct creative practices, the exhibition offers visitors an opportunity to engage with questions of awareness, compassion and human experience. Through painting and sculpture, the participating artists create a space where contemplation and dialogue remain central to the encounter with art.

Divine Detour by Dr. Vishal Chaturvedi Traces the Journey Behind Hanuman Ansh

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Divine Detoure by Dr. Vishal Chaturvedi-01

A spiritual memoir documenting an unexpected encounter at Kainchi Dham has found renewed attention following its connection with the recently released film Hanuman Ansh. Published by Truth and Social Publication, Divine Detour That Changes My Life by Dr. Vishal Chaturvedi explores themes of faith, devotion and spiritual transformation that later informed the narrative world of the film. According to the publisher, the book’s account of personal spiritual experiences and Hanuman devotion became an important source of inspiration for the cinematic project.

A Journey That Began at Kainchi Dham

The memoir centres on a turning point in 2006 when Dr. Chaturvedi was travelling towards Nainital and unexpectedly stopped near what he later learned was Kainchi Dham, the Uttarakhand ashram associated with Neem Karoli Baba. The author describes the event as the beginning of a profound spiritual journey that reshaped his life and devotional practice.

Kainchi Dham remains one of the most visited spiritual destinations in northern India. Founded by Neem Karoli Baba in the 1960s, the ashram has attracted devotees from India and abroad and is known for its association with teachings centred on devotion, service and compassion.

Exploring the Influence of Neem Karoli Baba

Rather than presenting a conventional biography, Divine Detour examines Neem Karoli Baba’s influence through the author’s personal experiences. The book reflects on themes of seva, Hanuman devotion, mysticism and spiritual discipline while engaging with one of Maharajji’s most widely cited teachings: “Love everyone, serve everyone.”

Neem Karoli Baba, often referred to by followers as Maharaj-ji, was a 20th-century spiritual teacher whose teachings on devotion and service continue to resonate across generations. His influence has extended internationally through disciples such as Ram Dass and devotional musician Krishna Das.

From Memoir to Cinema

Divine Detour Inspires Massive Hit Hanuman Ansh-01

The publisher states that the devotional themes explored in Divine Detour later inspired Hanuman Ansh, a film that has drawn significant audience attention. The connection between the memoir and the film illustrates how personal spiritual narratives can move across different creative forms, from literature to cinema.

Recent media coverage has highlighted the growing public interest in stories linked to Neem Karoli Baba and Hanuman devotion following the film’s release. Reports note that the film has contributed to renewed discussion around the saint’s teachings and the cultural significance of Kainchi Dham.

Building a Community of Devotion

According to the publisher, Dr. Chaturvedi’s spiritual journey extended beyond writing. Over the years, he established a community of more than 12,000 Hanuman devotees who participate in Hanuman Chalisa recitation and devotional activities. The memoir documents how personal experiences of faith evolved into collective spiritual practice.

Key themes explored in the book include:

  • Hanuman bhakti and devotional practice
  • Neem Karoli Baba’s teachings
  • Kainchi Dham and spiritual pilgrimage
  • Seva and community engagement
  • Guru-disciple relationships
  • Faith, surrender and transformation

The Role of the Publisher

Truth and Social Publication, also known as TS Publication, published the memoir and supported its outreach efforts. The publisher’s co-founder, Tusharika Sharma, described the book as a story about how unexpected moments can become defining turning points in life. According to Sharma, the connection between the memoir and Hanuman Anshdemonstrates how a personal experience can resonate with a wider audience.

About the Author

Dr. Vishal Chaturvedi is a medical graduate, screenwriter, filmmaker and creative entrepreneur based in Lucknow. Beyond his literary work, he is associated with the television series Fauji-2, currently streaming on Waves OTT, and the forthcoming feature film Setu. His creative work often engages with themes connected to spirituality, culture and personal transformation.

Faith, Storytelling and Cultural Memory

The story of Divine Detour reflects a broader trend in contemporary Indian cultural storytelling, where personal spiritual experiences are increasingly finding expression across books, films and digital media. By connecting an individual journey with larger traditions of Hanuman devotion and the legacy of Neem Karoli Baba, the memoir offers readers an account of faith shaped by lived experience. Its relationship with Hanuman Ansh further highlights how spiritual narratives continue to influence contemporary cultural production and public conversations around devotion, identity and meaning.

KYNKYNY Mumbai Hosts Vivek Radhakrishnan-Led Walkthrough of Priyanka Aelay Exhibition

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KYNKYNY Mumbai Hosts Vivek Radhakrishnan-Led Walkthrough of Priyanka Aelay Exhibition-01

KYNKYNY Mumbai will host a curated walkthrough of “It Will Rain Again When We Meet“, a solo exhibition by artist Priyanka Aelay, led by gallery co-founder Vivek Radhakrishnan on 12 September at 12:00 PM. The exhibition, currently on view until 1 October, presents a new body of paintings that explore forests, folklore, ecology and visual storytelling through richly layered acrylic works on linen canvas.

A Guided Look at the Exhibition

The walkthrough is designed to offer visitors a closer understanding of Aelay’s latest series, in which the forest becomes both a physical environment and an imaginative realm. Animals, plants and natural forms appear within expansive landscapes where distinctions between land, water and sky become fluid. Through detailed compositions and luminous colour palettes, the artist constructs spaces where reality and imagination coexist.

The exhibition is being presented at KYNKYNY’s Mumbai gallery in Kala Ghoda, located within the historic Gool Mansion building in Fort. The gallery recently expanded its presence to Mumbai after more than two decades of operating from Bengaluru.

Folklore and Visual Culture

Aelay’s practice draws from academic research in film studies and visual culture, as well as from folklore and mythological narratives. Stories such as Baalanagamma have informed her approach to visual storytelling, resulting in paintings that move between observation and invention.

In these works, ferns can resemble coral formations, water may appear as sky, and animal life occupies interconnected ecosystems. According to exhibition materials, the paintings invite viewers to consider relationships between different forms of life while reflecting on themes of coexistence and transformation.

Priyanka Aelay’s Artistic Practice

KYNKYNY-Priyanka-Aelay-PYA71-and-83

Hyderabad-based artist Priyanka Aelay is known for creating intricate acrylic paintings that combine elements of folk traditions with contemporary visual language. Drawing inspiration from Telangana’s cultural heritage, indigenous flora and fauna, her works are often populated by birds, animals, flowers and trees rendered in vivid colours and elaborate patterns.

Rather than following a conventional linear perspective, Aelay experiments with space and dimension, allowing landscapes to appear free-flowing and immersive. Her enchanted forest environments have featured in several exhibitions, including previous solo presentations at KYNKYNY.

Exhibition Highlights

Key themes explored in the exhibition include:

  • Forests as ecological and imaginative spaces
  • Interconnected relationships between flora, fauna and landscape
  • Influences of folklore, mythology and storytelling traditions
  • Acrylic paintings created through layered techniques on linen canvas
  • Contemporary interpretations of nature and cultural memory

Visitor Information

Event Details
Title It Will Rain Again When We Meet
Artist Priyanka Aelay
Venue 4th floor, 20, Gool Mansion, Homji St, Kala Ghoda, Fort, Mumbai, Maharashtra 400001
City Mumbai
Walkthrough Date 12 September, 12:00 PM
Exhibition Dates Ongoing until 1 October
Organiser KYNKYNY Art Gallery
Entry / Tickets Free Entry | RSVP for Walkthrough: +91 79755 10000
Website https://www.kynkyny.com

Gallery Information

  • Venue: KYNKYNY Mumbai
  • Location: Gool Mansion, Homji Street, Kala Ghoda, Fort, Mumbai
  • Timings: Monday–Saturday, 11:00 AM–6:00 PM
  • Closed on Sundays
  • Entry: Free

For more information, visitors can explore Priyanka Aelay’s exhibition page and the gallery’s official website.

Takeaway

It Will Rain Again When We Meet brings together ecological observation, folklore and contemporary painting practice through a series of immersive landscapes. By blurring boundaries between the real and the imagined, Priyanka Aelay’s works encourage reflection on humanity’s relationship with nature and the interconnected systems that sustain life. The exhibition offers visitors an opportunity to engage with themes of memory, coexistence and environmental awareness within the context of contemporary Indian art.

Many Modernisms at Thapar Gallery Revisits the Diverse Histories of Indian Modern Art

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Many Modernisms at Thapar Gallery-01

Thapar Gallery in New Delhi is presenting Many Modernisms: Figuring the New Artistic India, a group exhibition that brings together works by some of the most influential figures in twentieth-century Indian art. Open since 31 August 2026 and continuing until 15 October 2026, the exhibition examines the varied ways artists responded to social, cultural and political change during a transformative period in India’s history. The exhibition is on view at the gallery’s space at Kapashera Estate, Rajokri Crossing on NH-8 in New Delhi.

A Broader View of Indian Modernism

Many Modernisms at Thapar Gallery-02

Rather than presenting Indian modernism as a single movement, the exhibition proposes a more expansive understanding of the term. Through works that span different regions, generations and artistic approaches, the show explores how artists developed distinct visual languages while engaging with questions of identity, memory, modernity and tradition. According to the gallery, the exhibition considers modernism as an evolving field shaped by individual experiences and multiple histories.

Artists Featured in the Exhibition

The exhibition includes works by several major names associated with modern Indian art, including:

Jamini Roy Amrita Sher-Gil
K.K. Hebbar M.F. Husain
F.N. Souza Ram Kumar
Bhupen Khakhar Sadanand Bakre
A. Ramachandran Badri Narayan
Satish Gujral Sohan Qadri
B. Prabha Haku Shah
Himmat Shah

Together, these artists represent a wide range of artistic concerns, from figurative narratives and social realities to abstraction, spirituality and experimentation with form.

Themes Across the Exhibition

Many Modernisms at Thapar Gallery-03

The works on display engage with recurring themes that shaped modern Indian art throughout the twentieth century. Landscapes, mythology, faith, labour, urban life and the human figure appear across different artistic styles and mediums.

Visitors will encounter works that move between village and city life, local traditions and international influences. The exhibition also highlights how artists explored emotional intensity, social observation and personal reflection through painting, drawing and sculpture. According to the organisers, these varied approaches reveal the breadth of artistic responses that emerged during a period of rapid societal transformation.

Continuing Conversations on Modern Art

Many Modernisms at Thapar Gallery-04

The exhibition aligns with Thapar Gallery’s broader engagement with modern and contemporary art. Since opening its Delhi space, the gallery has organised several exhibitions examining different strands of Indian modernism, including presentations focused on artists such as Krishen Khanna, Prabhakar Kolte and A.A. Raiba. These exhibitions have explored themes of memory, history and artistic experimentation within modern Indian art.

Visitors interested in learning more about the gallery can visit the official website of Thapar Gallery. Additional information about the participating artists can also be found through the gallery’s exhibitions and artist archives.

Gallery Director on the Exhibition

Many Modernisms at Thapar Gallery-05

Ashish Thapar, Director of Thapar Gallery, notes that modern Indian art emerged through multiple artistic trajectories rather than a single stylistic development. He describes the exhibition as an opportunity to view Indian modernism as a plural and evolving field shaped by visual memory, formal experimentation and diverse artistic visions across generations and geographies.

Visitor Information

Event Name Details
Title Many Modernisms: Figuring the New Artistic India
Venue Thapar Gallery, The One, Kapashera Estate, Rajokri Crossing on NH-8, New Delhi
City New Delhi
Opening Date 31 August 2026
Exhibition Dates 31 August 2026 – 15 October 2026
Organiser Thapar Gallery
Entry / Tickets Entry details not specified
Website https://thapargallery.com

Takeaway

Many Modernisms: Figuring the New Artistic India offers an opportunity to revisit the diverse artistic practices that shaped modern Indian art during the twentieth century. By bringing together artists with distinct visual languages and perspectives, the exhibition highlights the complexity of India’s modern art history. The show encourages viewers to consider how artists responded to social change while contributing to broader conversations about culture, identity and artistic expression that continue to resonate today.

Taboola Ads Explained and How to Make Them Actually Work in 2026

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Taboola Ads Explained and How to Make Them Actually Work in 2026-0A

You have seen Taboola ads even if you do not know the name. They are the row of headlines with small pictures at the bottom of a news article. Some say “You won’t believe what this actor looks like now.” Some are real offers from real businesses. All of them are there because someone paid Taboola to put them there.

Taboola is the biggest company doing this. It reaches about 1.4 billion people a month across about 9,000 websites, and it has exclusive deals with NBC News, the USA Today network and Microsoft’s MSN. In the second quarter of 2026 it added Fox News to that list.

A lot of businesses try Taboola ads once, lose money, and decide the platform is junk. Most of them made the same three or four mistakes. This article explains how the platform works in 2026, what those mistakes are, and how to avoid them.

What Taboola ads are

Taboola is a native ad network. Native means the ad looks like part of the page. On a news site, that means it looks like another headline you might click.

You pay per click, in an auction. You write a headline, add a picture, and point the ad at a web page. Taboola shows it to readers on its network of websites. When someone clicks, you pay, usually somewhere between 20 and 50 cents in the United States. Broad, low-quality placements can go as low as 10 cents. Busy categories like finance push higher.

The important thing to understand is who is clicking. Nobody on Taboola was searching for you. They were reading a news story. Your headline caught their eye and they clicked out of curiosity. This is a very different person from someone who typed your product into Google. They are cheaper to reach, and they are much less ready to buy.

What changed in 2025 and 2026

Taboola rebuilt its advertiser platform in 2025 and named it Realize. If you read an old guide, half of it no longer applies.

Realize has four ways to bid. Fixed CPC means you set the exact price per click yourself. SmartBid is semi-automatic, raising your bid a little on clicks that look likely to convert and lowering it on the rest. Maximize Conversions is fully automatic and goes after as many sales as it can inside your budget. Target ROAS chases a return figure. Taboola’s own number is that Maximize Conversions cuts cost per sale by about 15 percent on average.

There is also Taboola Select, which is the top 15 percent of its US websites, including Yahoo, Business Insider, the Associated Press, CNBC and the BBC. You can choose to run only on those.

And there is DeeperDive, which is new. It is an AI that sits on news websites and lets a reader ask questions about the article they just read. Taboola puts ads inside those AI answers. The company’s CEO has said those ads convert better than anything else Taboola runs. You reach them through the same account you use for normal campaigns.

One more change that catches people out. Since early 2026, Taboola reads your landing page and scores it, not just your ad. Thin pages built to make money from ads get rejected on the page, even if the headline is fine.

The budget rule nobody tells you

Taboola Ads Explained and How to Make Them Actually Work in 2026-01

Here is the number that explains most failed Taboola tests.

Taboola’s own guidance is that its automatic bidding needs a daily budget of 10 to 15 times your target cost per sale before it has enough data to work. If you want to pay $50 per sale, that means $500 to $750 per day, per campaign.

Most people who test Taboola run $50 to $100 a day. At a $50 target, they are spending a tenth of what the automation needs. It never learns, it buys the cheapest clicks it can find, and those are on the worst websites. Then the advertiser concludes the platform is junk.

The right side of that chart is a real test one advertiser published. He spent $150 on Taboola for a fitness offer with an email sign-up. He got 760 clicks at 20 cents each and 29 sign-ups, which is 3.8 percent of clicks, at $5.17 per sign-up. Outbrain, the other half of his $300 test, came out almost the same.

The test proves the clicks were real people. Bots do not sign up at 3.8 percent. What it does not prove is profit. His product sold for $60 at a 30 percent margin, so 15 to 20 percent of those sign-ups would have needed to buy for $5.17 a lead to pay off, and he had not checked how good the emails were. He had also sent people straight to the form, with no article in front of it, which is the next mistake.

Mistake one, sending the click to a product page

This is the big one. Someone who spent four years selling Taboola ads said pointing an ad straight at a product page fails about 99 percent of the time.

Think about the reader. They were reading the news. They clicked a headline because they were curious. Now they are looking at a price and a buy button for something they had never heard of ten seconds ago. They leave.

What works is a page in between. A long article, a list, or a comparison page that picks up the story the headline started, makes the case for the product, and only then sends the reader on to buy. The reader was promised a story. Give them the story first.

Mistake two, using your Facebook ads

Taboola ads look different because people see them differently. On Facebook the ad interrupts someone scrolling. On Taboola the ad sits next to an article and needs to look like it belongs there.

Polished brand ads with a logo and a product on a white background tend to die on Taboola. The audience skews older and is reading, not scrolling. The ads that work look like a headline with a picture. Taking your Facebook creative and uploading it unchanged is one of the most reliable ways to fail.

The specs are simple. A 16 by 9 image, ideally 1,000 by 600 pixels. A headline of 34 to 45 characters. Test several headlines, not one. Pause anything with a click rate under about 0.3 percent after a day or two.

Mistake three, never looking at where the ads ran

Taboola runs on thousands of websites. Some are great. Some are not. If you launch with no plan for which sites to avoid, your money flows to wherever the cheapest clicks are, and those are often the sites you would least want to be on.

The platform shows you exactly which websites served your ads. It lets you block sites. And it lets you set rules that block sites automatically. Two rules experienced buyers use from day one: block any site name containing a hash symbol or the word “push,” which show up a lot in low-quality app inventory, and block any site where the click rate is very high but the sales rate is very low. On mobile, a click rate over 3 percent is usually a warning sign. On desktop, over 1.5 percent.

Since early 2026 you can also block or allow specific sections of a website, not just the whole domain. That matters when a big publisher has one good section and five bad ones.

Mistake four, judging it in three days

Taboola needs 10 to 14 days to give you a readable result. The first few days are the system spreading your money around to find out what works. Reading the numbers during that time tells you about the learning phase, not about the platform.

Also, send it more than just the sale. If you only report purchases, a small campaign might show the system one sale every few days, which is not enough to learn from. Send add to cart, checkout started, and time on page as well. These happen far more often, and they let the system learn while the sales build up.

And read your results somewhere other than the Taboola dashboard. Taboola ads often start a purchase that a Google search or a retargeting ad finishes days later. The Taboola dashboard does not see that sale. Advertisers who use a tool that tracks the whole customer journey often find Taboola was making money when the dashboard said it was not.

What you can and cannot target

Coming from Facebook, the first thing to get used to is that Taboola cannot target by age, gender or interests. It does not know people that way.

What you can control: country, region and city; desktop, phone or tablet; operating system; browser; retargeting lists and lookalike audiences built from your own pixel data; which websites and sections you run on; time of day; and how you bid. And that really is the full list. Your headline, your landing page and your website list are the real targeting.

One practical tip. Run mobile and desktop as separate campaigns. Mobile has far more inventory, so a combined campaign sends almost all the money to mobile and your desktop test never happens.

Is the platform going anywhere

Worth checking before you spend, and the answer is reassuring.

In the second quarter of 2026 Taboola made $476.8 million in revenue, up 2.4 percent on the year, and a net profit of $4.3 million where it had lost money a year earlier. Its profit after traffic costs rose almost 12 percent. It raised its forecast for the year and has bought back about a fifth of its own shares since 2025. The stock still fell almost 30 percent on results day because revenue was lower than analysts expected. But the business is profitable, it is spending on the Realize platform, and it spent the quarter removing low-quality websites from its network, which is what an advertiser wants to hear.

Getting a Taboola account

Signing up for Taboola is free and takes a few minutes. Getting approved and getting past the early limits is the slow part.

New accounts get reviewed. Your landing page gets reviewed. Categories like finance, crypto and supplements go into slower manual review. A rejection often comes with no reason. And new accounts have spending limits and no one to call when something breaks. Getting a managed account with an assigned contact at Taboola usually takes a test budget of around $10,000.

A lot of businesses skip that by going through an account provider such as AdScaleLab. The account sits inside an existing relationship with Taboola, so the landing page is checked before any money moves, the spending limits are higher, and there is a person to reach when a campaign gets stuck. It is the same idea as using a customs broker instead of learning all the import paperwork yourself.

Either way, ask four questions before you pay anyone. When is my landing page checked, before or after I pay? What happens to money I do not spend? What happens if my account gets suspended? What am I not allowed to run?

The short version

Taboola ads reach a huge audience of people who were not looking for you. They are cheap to reach and slow to buy. The platform works when you send them to an article first, use headlines that look like headlines, block the bad websites before you launch, give the campaign enough budget and enough days to learn, and read your results in a tool that sees the whole customer journey.

It does not work when you upload your Facebook ads, point them at a product page, run $50 a day for three days, and read the dashboard. Almost everyone who says Taboola is junk did exactly that. The platform is fine. The setup was not.

Shakti Design Residency to Make Homo Faber Debut with Collaborative Naga Craft Project in Venice

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Prorůstání Growing Into091

Shakti Design Residency will participate in Homo Faber 2026 for the first time, presenting Prorůstání / Growing Into, a sculptural table created through a collaboration between Czech artist Tadeáš Podracký, master artisan Ajay Gour and the Heirloom Naga Centre in Dimapur, Nagaland. The work will be exhibited as part of Homo Faber 2026: An Island of Light at Fondazione Giorgio Cini in Venice from 1 to 30 September 2026. The presentation marks an important moment for Indian craft traditions on an international platform.

A Collaboration Rooted in Nagaland

Developed during Podracký’s residency in Dimapur in 2025, Prorůstání / Growing Into combines hand-carved timber and woven cane. The work emerged through direct collaboration between the designer and artisans at the Heirloom Naga Centre, where local material knowledge played a central role in shaping the final object. Rather than treating craftsmanship as a production process, the residency model positions artisans as creative collaborators whose expertise informs the direction of the work.

The sculptural table reflects the architecture and social significance of the Naga morung, a traditional communal house that serves as a space for learning and cultural transmission. According to the residency documentation, the carved timber surface references Konyak woodcarving traditions, while the woven cane base draws from techniques passed down through generations of Naga makers.

From Milan Design Week to Venice

ShaliniMisra-HomoFaber-
Altripiani Photography Venezia

Before arriving in Venice, the work debuted at Alcova during Milan Design Week 2026. Its inclusion in Homo Faber places it within one of the most prominent international events dedicated to contemporary craftsmanship. Organised by the Michelangelo Foundation for Creativity and Craftsmanship, Homo Faber brings together artisans, designers and makers from around the world at Venice’s Fondazione Giorgio Cini.

This year’s edition, titled An Island of Light, will run throughout September 2026 and feature hundreds of artisans and creative practitioners. Tickets begin at €16, with concessions available through the official Homo Faber platform.

About the Artist

Tadeas Podracky x Heirloom Naga Centre images Vikepe Yhokha

Tadeáš Podracký is a Czech artist whose practice spans sculpture and design. Known for transforming familiar materials into experimental forms, his work often challenges conventional notions of function and utility. His projects have been exhibited internationally at Design Miami, PAD London, PAD Paris, FOG Design+Art, TEFAF and Milan Design Week, among other venues. He also leads the Department of Concept–Object–Meaning at the Academy of Art, Architecture and Design in Prague.

The Role of Ajay Gour and Heirloom Naga Centre

Ajay Gour

Ajay Gour, a lead artisan at the Heirloom Naga Centre, has worked with cane and bamboo since 1999. His expertise in weaving and bending locally sourced cane was instrumental in translating Podracký’s ideas into a finished object. The Dimapur-based centre supports traditional craft practices while exploring contemporary applications of indigenous knowledge.

Founded by Jesmina Zeliang, Heirloom Naga is recognised for promoting Naga textile and craft traditions while creating sustainable livelihoods for artisans across the region. The organisation has become an important platform for preserving cultural heritage while engaging with contemporary design practices.

Shakti Design Residency’s Collaborative Model

ShaliniMisra-HomoFaber
Altripiani Photography Venezia

Established by interior designer and philanthropist Shalini Misra, Shakti Design Residency was launched to foster new relationships between Indian craftsmanship and international design. The programme pairs global designers with Indian ateliers, encouraging research-driven collaborations that place equal emphasis on the contributions of designers and makers.

Highlights of the Project

  • First participation of Shakti Design Residency at Homo Faber.
  • Collaboration between Tadeáš Podracký, Ajay Gour and Heirloom Naga Centre.
  • Inspired by Naga morung architecture and traditional craft techniques.
  • Developed during a residency in Dimapur, Nagaland in 2025.
  • Previously exhibited at Alcova during Milan Design Week 2026.
  • Presented within Homo Faber 2026: An Island of Light.

Growing International Recognition for Indian Craft

The presentation also coincides with a partnership between JSW Foundation and the Michelangelo Foundation aimed at increasing international visibility for Indian artisans and creative traditions. As discussions around authorship, collaboration and material knowledge continue to evolve within the design sector, projects such as Prorůstání / Growing Into demonstrate how traditional craftsmanship can contribute to contemporary design discourse without losing its cultural context.

Final Thoughts

The presentation of Prorůstání / Growing Into at Homo Faber 2026 highlights an evolving approach to contemporary design that values collaboration between designers and artisans. By bringing together Czech artistic practice and Naga craft traditions, the project reflects broader conversations about cultural exchange, authorship and material knowledge. For visitors, the work offers insight into how traditional skills can remain relevant within contemporary design, while contributing to greater international recognition of India’s diverse craft heritage.

Sing. No Cry Group Exhibition Brings Nine Artists Together at Thapar Contemporary

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Sing. No Cry Group Exhibition at Thapar Contemporary-01

Thapar Contemporary in New Delhi is presenting Sing. No Cry, a group exhibition that brings together nine artists whose works engage with instinct, experimentation and the freedom to move beyond established conventions. Curated by Jasone Miranda-Bilbao and Vaibhav Raj Shah, the exhibition remains on view until 15 October 2026 at the gallery’s Kapashera space. The exhibition takes inspiration from the spirit of David Lynch’s Wild at Heart, using the idea of artistic freedom as a framework for examining contemporary creative practice.

A Dialogue on Artistic Freedom

Sing. No Cry Group Exhibition at Thapar Contemporary-02

According to the curators, Sing. No Cry is less concerned with rebellion and more focused on the ability of artists to trust their instincts. The exhibition considers how creative practices evolve when artists allow themselves to move beyond familiar structures, visual languages and expectations. Through varied media and approaches, the participating artists explore ways of seeing that remain open to uncertainty and possibility.

The title itself suggests an act of expression. “Sing” refers to finding and asserting one’s voice, while “No Cry” points toward resilience and the refusal to allow difficulty or uncertainty to silence creative expression.

Nine Artists, Distinct Approaches

Sing. No Cry Group Exhibition at Thapar Contemporary-04

The exhibition features works by Amikam Toren, Asha Vaidyanath, Basist Kumar, Holly Hendry, Katie Pratt, Rahul Papaniya, Shivangi Ladha, Vanita Gupta and Willa Hilditch. Rather than presenting a unified aesthetic, the exhibition foregrounds the differences between their practices.

Featured artists include:

  • Amikam Toren, known for conceptual and mixed-media works developed over decades in the UK.
  • Holly Hendry, whose sculptural installations investigate hidden systems, architecture and the human body.
  • Basist Kumar, recognised for atmospheric landscape paintings shaped by his studies in India and China.
  • Shivangi Ladha, whose printmaking and multidisciplinary practice has been exhibited internationally.
  • Vanita Gupta, whose work spans sculpture, video and installation, often challenging conventional artistic categories.
Amikam Toren Asha Vaidyanath
Basist Kumar Holly Hendry
Katie Pratt Rahul Papaniya
Shivangi Ladha Vanita Gupta
Willa Hilditch

International and Indian Perspectives

Sing. No Cry Group Exhibition at Thapar Contemporary-05

Several participating artists bring international experience to the exhibition. London-based sculptor Holly Hendry has recently completed major commissions in Tokyo and London, while painter Katie Pratt has exhibited extensively across Europe and the United States.

Alongside them, Indian artists such as Basist Kumar, Shivangi Ladha, Rahul Papaniya and Vanita Gupta contribute practices rooted in painting, printmaking and sculpture. Their works reflect different engagements with materiality, observation and personal experience, reinforcing the exhibition’s emphasis on diverse artistic voices.

Curatorial Framework

Miranda-Bilbao and Shah describe the exhibition as an exploration of spaces where perception shifts and questions remain open. Rather than directing viewers toward fixed conclusions, the curators are interested in practices that maintain a degree of uncertainty and experimentation.

This approach continues a curatorial dialogue previously explored at Thapar Contemporary through exhibitions addressing contemporary social, political and cultural concerns.

Exhibition Highlights

Sing. No Cry Group Exhibition at Thapar Contemporary-06

Visitors can expect:

  • Paintings, sculptures and installations
  • Works exploring perception, materiality and observation
  • Dialogues between Indian and international artists
  • Diverse approaches rather than a single thematic visual style
  • A curatorial focus on instinct, experimentation and creative freedom

Visitor Information

Event Details
Title Sing. No Cry
Venue Thapar Contemporary, Kapashera
City New Delhi
Opening Date September 2026
Exhibition Dates On view until 15 October 2026
Curators Jasone Miranda-Bilbao and Vaibhav Raj Shah
Organiser Thapar Contemporary

Takeaway

By bringing together nine artists with distinct practices, Sing. No Cry offers an examination of how contemporary artists navigate uncertainty, intuition and experimentation. Rather than presenting a single narrative, the exhibition encourages viewers to encounter multiple ways of seeing and making. In doing so, it contributes to broader conversations about artistic freedom and the role of creative expression in contemporary cultural life.

Revisiting Jhankar Beats of Hindi Film Music: The Jing-Chak Revolution of the 1990s

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Revisiting Jhankar Beats of Hindi Film Music-01

Today, we see Saregama uploading many Jhankar beat versions of the classic Hindi songs on the internet. This includes the songs that were produced before Jhankar beats arrived in the beginning of 1990s. As the name suggests, ‘Jhankar beats’ is the addition of fresh upbeats to the soundtracks of the Hindi movies. The listener feels that there is more bass and can be used in parties. Some experts say that it provides a ‘dhinchak’ or ‘jing-chak’ effect.

Production Of Jhankar Beats

Most of these Jhankar beats were produced by using Octapad Roland electronic drum, especially the model SPD-11. The music labels like T-Series, Tips, Venus Records & Tapes, HMV and Weston Musicassettes released Hindi music with Jhankar beats from 1990 to 1994. The T-Series and HMV marketed their version as ‘Super Jhankar Beats’. This include ‘Aashiqui’, ‘Sadak’ and many other chartbusters. During this period, they also re-released late 1980s songs with added Jhankar beats. The ‘Jhankar’ seemed to be the successor to the cover versions which were widely sold in the 1980s that had different artists singing the same song of the original. Instead, in Jhankar, the singer remained the same and beats are included as just ‘extra’ in the same music.

Popularity Of Jhankar Beats

It proved to be highly popular among the North Indian mass like truck drivers and auto-rickshaw drivers. It was an energy booster for them since this allowed them to listen to beat songs in their own language rather than depending on English which most of them don’t fully understand. Since most of the Hindi songs were melodious back in early 1990s, the people would have no choice but to listen to older Hindi songs such as ‘I am a disco dancer’ for beat. Jhankar beats found a way out by inserting beats in the latest songs of the period. Of course, there were some elite purists who hated Jhankar beats as it was seen as ‘western’ in the sense that it was destroying the originality of the recordings. Due to the popularity of Jhankar beats among the youth belonging to poor and lower middle classes, the cassettes were priced cheaper for them to buy. It also helped the people who could not afford to buy high-quality music systems to still enjoy their favourite music in beats.

Facts From Personal Experience

Revisiting Jhankar Beats of Hindi Film Music-02

  • The tracking list (Side A and Side B numbering) is the same as that of a normal music cassette.
  • The wording ‘with Jhankar beats’ is only given in the inlay card and not on the cassette. So, if it is misplaced in the original music cassette box, it is very difficult to identify whether it is a Jhankar beat unless it is played.
  • Jhankar beats are more noticeable when played in Walkman (a portable player with headphones) rather than a Hi-Fi component stereo system.
  • Since all the songs in the cassette have Jhankar beat, some may feel that there is an unnecessary beat in the sad songs.

Decline And Successors

This era of Jhankar beats did not last long as the production of new Hindi cassettes with Jhankar ceased in the mid-1990s. The introduction of Indi-pop music and the advent of MTV music channel on TV led to decline of Jhankar’s popularity. Around the same time, the pirated releases of Jhankar also stopped due to strict implementation of anti-piracy laws. Music directors were experimenting with different types of remixes like ‘10,000 watts remix’ of the 1997 film ‘Gupt’. In the 2000s, both the original and remixes began to be included in the single audio cassette. It was very different from the release of Jhankar beats when original and Jhankar used to be separate cassettes. The Hindi film songs with Jhankar beats produced during early 1990s continued to be reissued in cassette format in late 1990s and MP3 CDs in early 2010s. In late 2010s, these songs with Jhankar beats became available online for downloads.

Revival & Relevance

In the early 2020s decade, there was a resurgence of Jhankar beats as we witnessed the release of late 1990s and early 2000s music with 2020s Jhankar beats over the streaming platforms like YouTube. The Gen Z have started discussing the Jhankar beats in social media where they mention a scene in Netflix web series ‘Guns and Gulaabs’ as their source of knowledge. It is to be noted that the search results in web regarding ‘Jhankar beats’ would take most users to a 2003 film of the same name rather than opening pages of ‘Legacy of Jhankar Beats’. Interestingly, the original 1990s Jhankar beats audio cassettes are still available to buy at music stores, but it is priced more than normal music cassettes citing the limited stock. Nowadays, the DJ and club remixes of 1990s music became a trend as these are named as ‘2.0’ and released in present Bollywood movies. The main difference between the Jhankar era and present-day beat is that the Jhankar era produced remixes of its own times in contrast to the current remixes that are mostly remixes of old songs.

Jhankar beats continue to live in the music market among the niche audience that include nostalgic people and young persons with retrophilia. Therefore, the ‘Jhankar Beats’ that mark one of the first steps in the historical evolution of remixes in India continues to be relevant for those who require emotional connection with minimal manipulation of the actual music.

Suggested Story: Reminiscing The Journey of Bollywood Music Through The Decades

References

Khan, A. (2024, June 14). How jhankar beats gloriously burst onto the Indian music scene in the ’90s. Vogue India. https://www.vogue.in/content/how-jhankar-beats-gloriously-burst-onto-the-indian-music-scene-in-the-90s
Vasudeva, R. (2023, August 26). The jing-chak era of Jhankar beats. Deccan Herald. https://www.deccanherald.com/entertainment/the-jing-chak-era-of-jhankar-beats-2661577
editorpaperclip. (2023, September 12). Jhankar Beats. Paperclip. https://thepaperclip.in/jhankar-beats/

Bail Pola 2026 – A Festival to Show Gratitude to Hard-Working Bulls

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bail pola festival

Have you ever seen yellow-coloured bulls decorated with ornaments? What’ll be your first thought if you saw such a bull?

Have you heard of a festival that is celebrated by decorating and worshipping bulls?

An Introduction to Bail Pola

I guess the answer will be ‘no’ because the festival of Bail Pola is not as famous as holi or Diwali, both of which are celebrated across the country. Bail Pola is observed only in the rural areas of certain states like Chhattisgarh and Maharashtra. Even then, it is a very important part of the unique and vast Indian culture.

What is the story behind Pola?

Bail pola is a carnival for farmers to offer their deepest gratitude to bullocks which drive their ploughs so that farmers can sow seeds and earn a living. It is a day when bullocks are worshipped for the rigorous hard work they do in the field, to initiate the seed sowing process and satisfy human hunger.

A Childhood Memory of Bail Pola

Bail-Pola-Maharashtra
Image – Exploremaharashtra.blogspot.in

Having been born and brought up in an urban city with no knowledge of the farming profession, I hardly knew about this festival in my childhood days.  But I still remember an incident from back then. It was the day after a Bail Pola celebration. I had accompanied my mom to the temple. In the vicinity of temple was an open land with grass. There, I saw two bulls, coloured yellow and wearing ornaments. Being a young boy, I was amazed upon seeing them and started imagining all kinds of reasons for the same.

How is Bail Pola celebrated?

Bail Pola Festival-3

The first reason I thought of was rangpanchami. On rangpanchami, we throw water and colour on each other. So I imagined that even the bulls had celebrated their rangpanchami and so were coloured. But again I thought how can four-legged animals throw colour at each other? And so, this reason was rejected.

Looking at the ornaments worn by the bulls, another thought came up – marriage. For marriage ceremonies, turmeric is applied on couples and they wear ornaments. In the same way, turmeric must have been applied on the bulls and ornaments worn as yesterday could have been their marriage. But then I thought – who has the time to conduct rituals and marry bulls? So I discarded that thought too.

Bail-Pola-or-Bendur
Image – Myfestives.wordpress.com

Soon, another thought flashed through my mind. I remembered the time when my friend fell into a manhole and all his clothes became black from the dirty manhole. So I thought even these bulls must have fallen into a pool of yellow-coloured substance. But how can both the bulls fall in the same pool? And how come only half their body was coloured?

Why are these bulls coloured?

Why bulls coloured during Bail Pola

Irritated by so many questions, I asked my mom, “Why are these bulls coloured?”

She replied, “Yesterday was Bail Pola and people decorate and worship bulls and so they are coloured.”

Her answer brought out another query, ‘Why and who worships bulls?’ My mom was getting late for some important work and so she ignored my question. But this unanswered query remained dormant in my mind.

Learning About Bail Pola

Bail Pola Festival-4

Last year, on the day of Bail Pola, a few of my seniors were wishing one of their batch mates a happy birthday. Even I thought it was his birthday and wished him. Later a senior told me that they were teasing that guy, calling him a bull for his bulky body and because it was bull’s day they were greeting him. This incident roused my dormant query and I asked one of my batch mates who comes from a village, “Do you know about Bail Pola festival?”

Since she replied in the affirmative, I became inquisitive and asked her to tell me everything she knew about it.

Rituals and Celebrations of Bail Pola

Bail-Pola-Festival
Image – Soniarevankar.wordpress.com

She told me that it is celebrated by farmers in the villages of Maharashtra and Chhattisgarh. It is observed on full moon day, in the month of sharavana, according to the Hindu calendar. It is celebrated to offer gratitude to bulls and worship them for all the hard field-work they do.

The bulls are taken to a river or water reservoir and given a nice bath. They are then coloured, decorated, studded with ornaments, shawls and garlands. Then they are worshipped and fed good food. Poranpoli and five other vegetables are given as a meal for the day. Most importantly they are given complete rest for the entire day. In the evening, there is a procession in the village with music and dancing.

Takeaways

After hearing this, I felt stupid about all the reasons my small brain had made up for coloured bulls, back in my childhood. Now that I know the reason for the festival, I feel it is important to offer gratitude not only on a single day but every day which also means proper care and good diet for the bulls. Because of them, farmers feed us and we are healthy. So here is a shout-out to the bulls and Happy Bail Pola.

FAQs About Bail Pola Festival

Question: Why is Bail Pola celebrated?

Answer: In Maharashtra Bail Pola is celebrated to honor and thank bullocks for their tireless role in farming and sustaining rural life.

Question: What is the occasion of Pola?

Answer: Pola is the occasion observed on the Amavasya of the Bhadrapada month, when farmers worship and celebrate their bullocks in gratitude for their role in agriculture.

Question: What do they eat on Pola festival?

Answer: On Pola festival, farmers cook Puranpoli, lentil dishes, and a variety of seasonal vegetables, which are first offered to the bullocks and then enjoyed by the family.

Question: Which animal is worshipped in the Pola festival of Maharashtra?

Answer: In the Pola festival of Maharashtra, bullocks are worshipped for their vital role in farming and agriculture.

Question: In which state is Bail Pola celebrated?

Answer: Bail Pola is primarily celebrated in the Indian states of Maharashtra and Chhattisgarh.

Before You See the Scar: Monica Dhaka’s Photography Exhibition to Open at Dhoomimal Art Centre

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Skin, Mirrored II

A new photography exhibition by Monica Dhaka will open at Dhoomimal Art Centre in New Delhi on 14 September 2026. Titled Before You See the Scar, the exhibition brings together photographic works developed in collaboration with acid attack survivors associated with the Brave Souls Foundation in Delhi. The exhibition focuses on identity, survival, and the ways in which visible scars can shape public perception.

Opening with a Panel Discussion

The exhibition will open with a panel discussion at 5 PM on 14 September at Dhoomimal Art Centre, Connaught Place. Participants include Shaheen Malik, Founder and Director of the Brave Souls Foundation; Reshma Bano Qureshi, National Coordinator of the foundation; and Ms. Premlata. The discussion will be moderated by Michelin-star chef and artist Suvir Saran. The preview will run from 5:00 PM to 8:00 PM.

The exhibition will remain on view until 23 September 2026 and can be visited from Monday to Saturday between 11:00 AM and 7:00 PM at Dhoomimal Art Centre, A8 Connaught Place, New Delhi.

Exploring Identity Beyond Visible Scars

Skin, Mirrored I

According to the organisers, Before You See the Scar is not solely about violence or trauma. Instead, it examines the lives of women beyond the experiences that altered them. The exhibition seeks to draw attention to their identities, aspirations, relationships, and futures rather than reducing them to a single aspect of their personal history. All proceeds from the exhibition will be directed to the Brave Souls Foundation.

The project encourages viewers to reconsider first impressions and reflect on how individuals are often defined by visible differences before being recognised as complete human beings.

Monica Dhaka’s Artistic Practice

Monica Dhaka is a visual artist whose practice spans India and the United Kingdom. Her work frequently investigates themes of identity, belonging, community, and gender-based discrimination. Recent interviews and public presentations of her work indicate an ongoing interest in challenging stereotypes and exploring how people navigate social stigma and questions of acceptance.

For this exhibition, Dhaka uses close-up photographs of skin, scars, bodies, and physical marks. Through techniques such as mirroring, repetition, and digital image manipulation, these images are transformed into abstract compositions and landscape-like forms. From a distance, the works may appear decorative or unfamiliar, but closer viewing reveals traces of lived experiences and personal histories.

Highlights of the Exhibition

  • Photographic works created in collaboration with acid attack survivors.
  • Abstract visual compositions derived from skin, scars, and bodily marks.
  • Exploration of identity, belonging, and social perception.
  • Fundraising support for the Brave Souls Foundation.
  • Public panel discussion featuring survivors, activists, and cultural voices.

Voices Behind the Project

Skin, Mirrored II

Speaking about the exhibition, Monica Dhaka noted her interest in the marks people carry through life and how these visible traces can shape perceptions of individuals and communities. Suvir Saran described the exhibition as an effort to create space for participants to be heard on their own terms rather than becoming symbols of a larger issue. Mohit Jain highlighted the way the photographs move beyond aesthetics to address the lasting consequences of violence and memory.

Event at a Glance

Event Details
Title Before You See the Scar
Artist Monica Dhaka
Venue Dhoomimal Art Centre, A8 Connaught Place, New Delhi-110001
City New Delhi
Opening Date 14 September 2026
Exhibition Dates 14 September – 23 September 2026
Opening Event Panel Discussion, 5:00 PM – 8:00 PM
Organiser Dhoomimal Art Centre
Entry / Tickets Not specified
Website www.dhoomimalartcentre.com

Takeaway

Before You See the Scar brings together photography, personal narratives, and social engagement to examine how identity is formed and perceived. Through collaboration with acid attack survivors, Monica Dhaka’s exhibition encourages viewers to look beyond physical appearances and consider the complexity of individual lives. Presented at Dhoomimal Art Centre, the exhibition contributes to ongoing conversations about representation, dignity, and belonging within contemporary society and the arts.