Golpo Kotha: Debosmita Samanta Brings Stories of Memory and Heritage to Method Delhi

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October 7, 2026

Method Delhi will present Golpo Kotha, a solo exhibition by artist Debosmita Samanta, from 9 October to 26 November at its Defence Colony space in New Delhi. The exhibition explores themes of intimacy, memory, family history, and ancestral wisdom through a body of work shaped by storytelling traditions and personal narratives. Open daily from 12 PM to 7 PM, except Mondays, the exhibition invites viewers into a visual world informed by family memories and cultural heritage.

Stories Beyond Fairy Tales

At the centre of Golpo Kotha are the stories that Samanta heard from her grandmother while growing up in West Bengal. The artist uses the idea of “fairytales” not as fantasy alone, but as a way of understanding lived experiences. According to the exhibition concept, her grandmother’s stories combined personal memories with metaphorical characters that reflected social realities, struggles, and injustices.

These narratives become a framework through which Samanta examines the meaning of home, belonging, and intergenerational connections. The exhibition draws from family histories while also addressing broader themes that resonate across communities.

Family Histories as Visual Narratives

The works in Golpo Kotha were developed through conversations and interviews with family members and women the artist has known since childhood. Many of the figures depicted in the exhibition are based on relatives, friends, and people encountered during her travels.

Rather than presenting a strictly autobiographical account, the exhibition seeks to connect personal memory with collective experience. Literary and visual references drawn from Bengali fairy tales, short stories, and mythological narratives expand the scope of the work, linking individual histories with larger cultural traditions.

Exhibition Highlights

Paintings inspired by oral storytelling traditions
Characters based on family members, friends, and personal encounters
References to Bengali folklore, literature, and mythology
Themes of memory, home, ancestry, and identity
Exploration of women’s lived experiences across generations

About the Artist

Born and raised in West Bengal, Debosmita Samanta studied painting at the College of Art and Design, Burdwan University, where she completed her Bachelor of Visual Arts in 2010. She later earned a Master of Fine Arts in Painting from the S.N. School of Arts and Communication, University of Hyderabad, in 2012.

Samanta was awarded the Elizabeth Greenshields Foundation Grant in 2025, a programme widely recognised for supporting emerging representational artists internationally. The grant has supported generations of painters, draftspeople, and visual artists working across the world.

Method’s Focus on Emerging Voices

The exhibition is presented by Method, a contemporary art platform with spaces in Mumbai and New Delhi. Founded in Mumbai in 2019, Method has developed a reputation for supporting emerging and experimental artistic practices while encouraging dialogue across disciplines. The organisation regularly showcases young artists and has participated in major events including India Art Fair, Art Mumbai, ARCO Lisboa, and Asia Now Paris.

Method describes its approach as one that balances introspection with engagement in wider cultural and social conversations. Through exhibitions, collaborations, and public programmes, it seeks to create opportunities for artists at formative stages of their careers.

Visitor Information

Event	Details
Title	Golpo Kotha
Artist	Debosmita Samanta
Venue	Method Delhi, D-59, Basement, Defence Colony
City	New Delhi
Opening Date	9 October
Exhibition Dates	9 October – 26 November
Organiser	Method

A Reflection on Home and Identity

Through personal narratives, folklore, and family memories, Golpo Kotha examines how stories are passed between generations and how they continue to shape identity. By bringing together intimate histories and cultural traditions, the exhibition offers a reflection on the role of memory in contemporary life. It also highlights the enduring importance of storytelling as a way of preserving heritage, fostering empathy, and understanding the shared experiences that connect individuals across communities.

Nilaya Anthology’s Across the Line Residency Brings South Asian Design Dialogues to Mumbai

By

Nagaraj

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October 6, 2026

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Nilaya Anthology in Mumbai will present Across the Line, its first design residency exhibition, from 9 October 2026 onwards. Conceived and curated by designer and cultural entrepreneur Aku Zeliang, the exhibition brings together eight collaborative design pairings from India and across South Asia. Through a shared process of exchange, the participating designers have created collectible objects that examine how culture, material traditions and local knowledge are carried through design.

A Residency Built Around Exchange

According to the organisers, Across the Line was developed around a central question: how do cultural practices become embedded within objects? Rather than working within a common material or aesthetic language, the participating makers were encouraged to explore shared histories, inherited knowledge and contemporary interpretations of craft traditions.

The residency focused on three key ideas culture, collaboration and provenance. Each designer brought elements from their own background while engaging with a collaborator from another region, resulting in works that reflect multiple perspectives and production processes.

Curator Aku Zeliang’s Approach

The exhibition is curated by Aku Zeliang, a Nagaland-based designer known for his work connecting indigenous craft traditions with contemporary design practice. As Creative Director of Heirloom Naga Centre and founder of Urra Design, Zeliang has worked extensively with artisan communities while promoting regional craftsmanship through collaborative projects.

In Across the Line, Zeliang sought to bring together practitioners who are investigating similar questions about heritage and identity from different cultural contexts. The residency examines how these conversations can be translated into physical objects while retaining their distinct histories.

Eight Collaborative Projects

The exhibition features eight partnerships spanning India, the Philippines, Indonesia and Thailand. Each project draws on shared cultural references, materials or craft practices.

Featured collaborations include:

Deco Passage by Vaishnavi Walvekar and Clark Mendoza, inspired by Art Deco architecture in Mumbai and the Philippines.
Entwine by Abdullah Ansari and Cyrus Dan Cañares, exploring wool as a structural material.
Brass Fields by Namit Khanna and Owen Pradipta Golim, drawing from Indonesia’s terraced rice landscapes.
Between Two Blooms, Shared Blooms and Tower of Blooms by Nynika Jhaveri and Achariyar Rojanapirom, combining ritual vessel traditions from India and Thailand.
Rakshak Gabay by Rhea Mehta and Chini Lichangco, informed by protective mask traditions from India and the Philippines.
Sky and Earth in Conversation by Punit Jain, Srishti Agarwal and Zulyo Kumara, inspired by the shared mythology of Garuda and Naga.
Parabula Ng Makta (Parables of Matka) by Aku Zeliang and Allyza Tresvalles.
Pravāla by Kush Bhayani and Bianca Carague, examining coral ecosystems and environmental change.

Materials, Craft and Provenance

A notable aspect of the exhibition is its emphasis on production histories. The works were created through collaborations with artisans and manufacturing communities in locations including Moradabad, Bhadohi, Surat, Nagaland, Mumbai, New Delhi and Chiang Mai.

Materials used across the collection include:

Brass
Stainless steel
Capiz shell
Wool
Cane
Wood
Bronze
Aluminium
Copper
Glass and enamel

The exhibition highlights how workshops, factories and artisan communities shape the final form of an object, making provenance a central component of the design process.

About Nilaya Anthology

Presented by Nilaya Anthology, the exhibition forms part of the institution’s wider cultural programme. Established by Asian Paints, Nilaya Anthology spans approximately 100,000 square feet in Mumbai’s historic mill district and brings together international and Indian brands, collectible craft and design-led experiences. The venue has positioned itself as a destination for design enthusiasts, architects and collectors interested in contemporary material culture.

Visitor Information

Field	Details
Event Name	Across the Line
Curator	Aku Zeliang
Presented By	Nilaya Anthology
Venue	Nilaya Anthology, Peninsula Corporate Park, Peninsula Point, Senapati Bapat Marg, Lower Parel West, Mumbai
Exhibition Dates	From 9 October 2026 onwards
Participating Designers	Eight collaborative pairings from India, Thailand, Indonesia and the Philippines
Entry / Tickets	Not specified
Website	https://www.nilayaanthology.com/

Takeaway

Through collaborations that cross geographic and cultural boundaries, Across the Line explores how design can serve as a carrier of memory, identity and shared knowledge. By bringing together makers from different traditions, the exhibition highlights the role of dialogue in contemporary craft practice while drawing attention to the communities, materials and processes that make creative production possible. In doing so, it offers visitors an opportunity to consider design not only as an object, but also as a record of cultural exchange across South Asia.

Auroville Singing Festival 2026 Brings 32 Voices and 24 Languages to Cripa

By

Cscope Staff

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October 5, 2026

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The Auroville Singing Festival 2026 will take place on 9 and 10 October at Cripa, Auroville. The two-day community music event is open to all and offers an opportunity to experience a diverse range of vocal performances in a shared cultural setting.

Event Overview

The festival will feature 32 singers and groups performing across two evenings. The programme includes songs in 24 different languages, reflecting the linguistic and cultural diversity that characterises Auroville’s international community.

Each evening will present a different line-up, giving audiences the chance to hear a wide variety of musical traditions, styles, and vocal expressions.

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What Participants Can Expect

Visitors can enjoy:

Performances by 32 singers and vocal groups
Songs presented in 24 languages
Community participation and sing-along moments
An open and welcoming atmosphere
A celebration of cultural diversity through music

The event is designed for music lovers, residents, visitors, and families interested in experiencing collective singing and community-based performance.

Event Details

Event	Details
Name	Auroville Singing Festival 2026
Venue	Cripa, Auroville
Date	9–10 October 2026
Time	7:00 PM
Entry / Registration	Free entry, open to all; contributions welcome

The festival will be held over two evenings beginning at 7:00 PM at Cripa, Auroville.
Entry is free and open to all. Voluntary contributions are welcome.

Takeaway

The Auroville Singing Festival 2026 offers an opportunity to experience music as a shared cultural practice. Bringing together performers singing in multiple languages, the festival highlights the role of collective music-making in fostering connection and community. Audiences are invited to attend, listen, and participate in two evenings of vocal performances at Cripa.

Suggested Story: A path to sustainable living – Auroville

LATITUDE 28 Presents Long Short Stories, a Solo Exhibition by Waswo X. Waswo in New Delhi

By

Nagaraj

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October 4, 2026

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LATITUDE 28 in New Delhi will present Long Short Stories, a solo exhibition by artist Waswo X. Waswo, opening on 9 October 2026 and continuing until 20 November 2026. The exhibition brings together a new body of work that combines photography and miniature painting to construct a fictional narrative centred on memory, exile, observation, and the stories that often remain absent from official histories.

A Narrative Built Through Art

At the centre of the exhibition is a fictional tale involving a Dandy who arrives from a “Distant Land” and journeys into an “Ancient Land.” Through encounters with a Prince and the inhabitants of an Ancient City, the story unfolds through themes of friendship, fascination, rivalry, and eventual exile. The exhibition uses this narrative framework to examine how personal experiences are remembered, forgotten, or transformed into legend.

The conceptual text accompanying the exhibition describes “long short stories” as deeply personal experiences that are rarely spoken aloud because they are too intimate, painful, or socially forbidden. These stories may disappear from public memory, yet continue to shape lives and histories in unseen ways.

Revisiting Observation and the Colonial Gaze

Throughout his career, Waswo X. Waswo has explored the complexities of cultural observation and representation. Born in Milwaukee, USA, and based in Udaipur for more than two decades, the artist is known for combining photography with traditional Indian miniature painting through long-term collaborations with local artists. His works frequently place himself within the narrative, using humour and self-reflection to question ideas of identity, belonging, and the legacy of Orientalism.

Art historians and critics have often noted how his work examines the relationship between ethnographic observation and artistic imagination, frequently blurring the line between critique and homage. Monsoon Malabar

Highlights of the Exhibition

Visitors can expect:

A fictional narrative spanning friendship, desire, exile, and memory.
New works combining photography and miniature painting.
References to observation, travel, and cultural encounter.
Exploration of untold or forgotten personal histories.
Collaborative works developed with traditional miniature painters.

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The Story of the Dandy and the Prince

The exhibition’s central narrative follows the Dandy as he documents landscapes, flora, fauna, and people using tools such as telescopes, binoculars, cameras, and magnifying glasses. These instruments become symbols of observation and remembrance while also suggesting the power structures historically associated with looking and recording.

As the Dandy’s friendship with the Prince deepens, the story moves beyond observation into participation. Their relationship evolves through exchanges of knowledge and magical practices before suspicion and hostility emerge from those around them. The narrative eventually culminates in the pair leaving the Ancient City together, entering exile and leaving behind a story with no definitive ending.

About the Artist

Waswo X. Waswo has exhibited widely in India and internationally. His work is held in major collections including the Art Institute of Chicago, the Asian Art Museum in San Francisco, the Kiran Nadar Museum of Art, and the Museum of Art and Photography in Bengaluru. He has also authored and contributed to several publications focused on photography, culture, and Rajasthan. Wikipedia

For more information about the artist, visit Waswo X. Waswo Official Website.

Visitor Information

Event Name	Details
Title	Long Short Stories
Artist	Waswo X. Waswo
Venue	LATITUDE 28, B-74, Ground Floor, Block B, Defence Colony, New Delhi
Opening Date	9 October 2026 \| 6:00 PM – 9:00 PM
Exhibition Dates	9 October – 20 November 2026
Organiser	LATITUDE 28
Website	https://www.latitude28.com

Takeaway

Through a fictional narrative layered with symbolism, Long Short Stories reflects on the fragile relationship between memory and history. By foregrounding experiences that remain undocumented or forgotten, the exhibition invites audiences to consider how personal narratives continue to influence collective understanding. In doing so, it contributes to broader conversations around identity, belonging, cultural exchange, and the preservation of stories that exist beyond official records.

Morphology Exhibition Opens at KYNKYNY Mumbai Featuring Meenal Singh and Sandilya Theuerkauf

By

Nagaraj

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October 4, 2026

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KYNKYNY Mumbai will present Morphology, a two-person exhibition featuring artists Meenal Singh and Sandilya Theuerkauf, from 9 October to 6 November 2026. Bringing together two distinct contemporary practices, the exhibition explores ideas of form, transformation and abstraction through painting and sculptural relief works. The exhibition will be held at KYNKYNY’s Mumbai gallery in Fort and will be open to the public with free entry.

A Shared Exploration of Form

Artist Meenal Singh & Sandilya Theuerkauf — Meenal Singh and Sandilya Theuerkauf

Although their artistic languages differ significantly, both artists engage with questions surrounding the emergence and evolution of form. The exhibition takes its title from the concept of morphology the study of structure and development and uses it as a framework to examine how forms grow, change and dissolve. Rather than presenting fixed representations, the works on display focus on processes of becoming, drawing inspiration from natural systems and ecological relationships.

Sandilya Theuerkauf’s Material Investigations

For Bengaluru-based artist Sandilya Theuerkauf, form begins with the material itself. His sculptural reliefs incorporate tree bark, thorns, dried vines, twigs and other collected organic matter. Through systematic arrangements and repeated visual rhythms, he transforms natural materials into abstract compositions that investigate structure, texture and spatial relationships. Theuerkauf is also known for his work as a restoration ecologist and environmental educator, and his artistic practice is deeply informed by close observation of the natural world.

Highlights of Theuerkauf’s practice:

Sculptural reliefs made from found natural materials
Exploration of botanical structures and textures
Connections between ecology, observation and abstraction
Geometric and organic visual systems derived from nature

Meenal Singh’s Chromatic Landscapes

Artist Meenal Singh approaches abstraction through colour, memory and perception. Working primarily with oil and pigment, she allows paint to flow, pool and dissolve across large canvases, creating immersive environments that suggest imagined landscapes and atmospheric terrains. Rather than depicting specific locations, Singh’s paintings explore emotional and psychological spaces through layered colour fields and transparency.

Singh trained as an architect before pursuing visual art and continues to draw on ideas of structure and spatial experience. She lives and works between Bengaluru and a reforestation project in Tamil Nadu, where environmental engagement remains an important influence on her artistic practice.

Abstraction as a Process

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A central theme of Morphology is the idea that abstraction can function as a method of inquiry rather than a fixed visual style. Both artists allow materials and processes to guide the development of their works, embracing chance, experimentation and transformation. While Singh works through colour and memory, Theuerkauf engages directly with physical matter and ecological observation. Their approaches differ, yet both investigate how forms emerge and evolve over time.

Visitor Information

Event	Details
Event Name	Morphology
Artists	Meenal Singh & Sandilya Theuerkauf
Venue	KYNKYNY Art Gallery, Mumbai
Opening Date	9 October 2026
Exhibition Dates	9 October – 6 November 2026
Organiser	KYNKYNY Art Gallery
Venue Address	4th Floor, 20 Gool Mansion, Homji Street, Fort, Mumbai 400001
Timings	Monday – Saturday, 11:00 AM – 6:00 PM

Takeaway

By bringing together two artists working through markedly different materials and methods, Morphology offers a nuanced exploration of how forms emerge, transform and acquire meaning. The exhibition highlights contemporary concerns around ecology, perception and materiality while demonstrating the continuing relevance of abstraction as a space for reflection and inquiry. Through painting and sculptural relief, visitors are invited to consider the dynamic relationship between nature, memory and artistic process.

PhotoMuse Festival of Photography 2026 Brings 490 Artists from 31 Countries to Kerala

By

Nagaraj

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October 3, 2026

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A 122-day photography festival spanning more than 25 venues across Kerala opened on October 2, 2026, bringing together artists, exhibitions, screenings, educational programmes and archival projects from around the world. Organised by the Better Art Foundation’s PhotoMuse – The Museum of Photography, the PhotoMuse Festival of Photography 2026 is running until January 31, 2027, marking one of the largest photography-focused cultural initiatives in India.

A Statewide Photography Festival

Unlike many photography festivals that are centred in a single city, the PhotoMuse Festival is structured as a statewide event. The main venues include the PhotoMuse Museum Gallery at Chungal in Thrissur, Kerala Lalit Kala Akademi in Thrissur, and the Art Museum of Love in Kodakara. Additional parallel exhibitions and programmes are taking place across districts including Ernakulam, Kollam, Thiruvananthapuram, Malappuram, Palakkad, Kozhikode and Kannur.

The festival opened on Gandhi Jayanti, October 2, 2026, and continues through January 2027, a period that coincides with global commemorations marking 200 years of photography. The event adopts the theme “Open Origins – Open Ends,” exploring photography as a medium that connects cultures, histories and communities.

About PhotoMuse and the Organiser

PhotoMuse, established in 2014 under the Better Art Foundation, describes itself as India’s first public museum dedicated exclusively to the art, history and science of photography. Based in Thrissur district, the institution has organised hundreds of exhibitions, workshops and educational programmes while developing a collection of historic photographs, cameras, books and archival materials.

According to festival materials, the museum currently holds more than 16,700 archival photographic objects and has positioned photography as a tool for education, heritage documentation and cultural engagement. The institution also publishes the annual PhotoMuse Journal and regularly hosts exhibitions featuring Indian and international photographers.

International Participation and Scale

Festival organisers report participation by 490 photo-artists representing 31 countries, alongside 1,530 photographs and approximately 70 exhibitions. The programme also includes documentary screenings, artist talks, academic discussions and collaborations with photography festivals and museums from multiple countries.

Festival Highlights

490 participating photo-artists
31 countries represented
1,530 photographs on display
Around 70 exhibitions
11 documentary screenings
More than 25 venues across Kerala
Over 30 school and college programmes
International festival and museum collaborations

Programme and Collaborations

The festival programme extends beyond gallery exhibitions. Organisers have scheduled artist talks, photographic exchanges, educational workshops, performances and screenings throughout the four-month event. Several international photography festivals are listed among the collaborators, alongside museums, educational institutions and cultural organisations.

Key Programme Components

Print and projected photography exhibitions
Documentary film screenings
Artist and curator talks
Academic discussions on photography
Educational outreach in schools and colleges
International photography exchanges

The festival’s curatorial team is led by Dr. Unni Pulikkal S., President of the Better Art Foundation and founder of PhotoMuse. The selection panel includes photography educators, curators and practitioners from India, Europe and Australia.

Photography Beyond the Gallery

Festival documents describe the initiative as an effort to connect photography with wider public life rather than limiting it to museums and galleries. Alongside exhibition venues, programmes are taking place in educational institutions and community spaces. Organisers state that the event aims to encourage dialogue around visual culture, photographic history and contemporary image-making while creating opportunities for emerging photographers.

The festival also arrives at a moment when photography’s bicentenary is being discussed internationally. Through its exhibitions and educational activities, the event seeks to place Indian photographic histories alongside global conversations about the medium’s past, present and future.

Visitor Information

Event Name	Details
Title	PhotoMuse Festival of Photography 2026
Theme	Open Origins – Open Ends
Venue	PhotoMuse Museum Gallery, Chungal; Kerala Lalit Kala Akademi, Thrissur; Art Museum of Love, Kodakara; and multiple venues across Kerala
City	Thrissur and various locations across Kerala, India
Opening Date	October 2, 2026
Exhibition Dates	October 2, 2026 – January 31, 2027
Organiser	Better Art Foundation / PhotoMuse – The Museum of Photography
Participation	490 Photo-Artists from 31 Countries
Entry / Tickets	Refer to official festival announcements
Website	https://www.photomuse.in

Details and updates are available through the festival organiser’s official website: PhotoMuse Festival Information

Takeaway

By extending across museums, galleries, educational institutions and public spaces, the PhotoMuse Festival of Photography 2026 presents an expansive platform for photographic culture in India. Bringing together artists, archives, research and public engagement, the festival highlights photography’s role in documenting society and shaping visual understanding. As the festival unfolds across Kerala over four months, it offers audiences opportunities to engage with diverse photographic practices and participate in wider conversations about visual culture, history and the evolving role of photography in contemporary society.

Artist Swati Goel to Present ‘emotions of (BOM)bay’ at Nehru Centre, Mumbai

By

Nagaraj

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October 2, 2026

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Mumbai-based artist Swati Goel will present emotions of (BOM)bay, her seventh solo art exhibition, from 13 to 19 October 2026 at the AC Gallery, Nehru Centre, Worli, Mumbai. Open daily from 10 am to 8 pm, the exhibition examines the city not only as a physical environment but as an emotional experience shaped by movement, memory, relationships and aspirations.

A Personal Reading of the City

Through this new body of work, Swati Goel turns her focus toward the emotional character of Bombay/Mumbai. Rather than depicting landmarks or monuments, the exhibition looks at the city through everyday experiences and human interactions. The artist presents Bombay as a place defined by resilience, longing, tenderness, ambition and constant change.

According to the exhibition statement, the city’s identity emerges through the lives of its residents—from crowded trains and bustling streets to quiet moments by the sea. The works seek to capture how these experiences become part of a shared emotional landscape.

The Many Rhythms of Mumbai

A recurring theme in the exhibition is movement. Mumbai’s local train network, often described as the city’s lifeline, appears as a metaphor for collective experience. Within these spaces, ambition, fatigue, hope and perseverance intersect.

The artworks also reflect fleeting encounters between strangers and the sense of connection that develops within a densely populated city. Alongside this energy, the exhibition presents moments of pause and reflection, particularly through imagery inspired by Mumbai’s coastline.

Exploring Contrasts and Contradictions

The exhibition addresses the contrasts that have long shaped Mumbai’s identity. Towering commercial districts exist alongside densely populated neighbourhoods, while prosperity and hardship remain visible in close proximity.

Rather than attempting to resolve these oppositions, Goel embraces them as essential elements of the city’s character. The works examine how struggle and opportunity, loneliness and belonging, often coexist within urban life.

Monsoon as Emotional Memory

Another important aspect of emotions of (BOM)bay is the city’s annual monsoon. The exhibition explores how rain alters Mumbai’s colours, pace and atmosphere.

The monsoon is presented not only as a weather phenomenon but also as an emotional experience. Through changing skies, reflections and rain-soaked streets, the works consider how disruption and beauty often arrive together. These transformations become symbols of adaptation and resilience within the city.

Moments of Romance and Everyday Life

Goel’s interpretation of Bombay also includes intimate and personal moments. Late-night conversations, cutting chai, illuminated streets and monsoon evenings appear as recurring motifs throughout the exhibition.

Highlights of the exhibition include:

Interpretations of Mumbai’s local train journeys
Paintings inspired by the city’s coastline and sea
Works reflecting the monsoon season
Visual explorations of urban relationships and romance
Studies of Mumbai’s social and economic contrasts

These elements contribute to a broader narrative about how personal emotions become intertwined with the identity of a place.

Venue and Cultural Context

The exhibition will be hosted at the AC Gallery of the Nehru Centre in Worli, one of Mumbai’s established cultural venues. The Nehru Centre Art Gallery has served as a platform for emerging and established artists since its inauguration in 1992 and regularly hosts exhibitions across painting, sculpture, photography and other visual arts disciplines.

Located within the Discovery of India Building, the gallery is known for supporting contemporary artistic practices while providing exhibition opportunities for artists from across India.

Event Name	Details
Title	emotions of (BOM)bay
Artist	Swati Goel
Venue	Nehru Centre, AC Gallery, Worli, Mumbai
Exhibition Dates	13–19 October 2026
Organiser	Swati Goel / Exhibition Team

Takeaway

With emotions of (BOM)bay, Swati Goel offers a reflection on Mumbai as a lived and felt experience rather than a geographical location. Through themes of movement, resilience, romance and contradiction, the exhibition invites visitors to consider the emotional layers that shape urban life. By focusing on shared experiences and everyday encounters, the exhibition contributes to ongoing conversations about identity, memory and belonging within one of India’s most dynamic cities.

Artisera and Dhoomimal Gallery Present Ashok Bhowmick’s First Solo Show in Bangalore

By

Nagaraj

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October 2, 2026

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Bangalore-based Artisera, in collaboration with Delhi’s Dhoomimal Gallery, has opened Intersections, a solo exhibition by senior Indian artist Ashok Bhowmick. Running from 26 September to 5 November 2026 at Artisera’s gallery space in Indiranagar, the exhibition marks Bhowmick’s first solo presentation in Bangalore and brings together paintings, drawings and sculptures spanning more than five decades of artistic practice.

A First Solo Exhibition in Bangalore

The exhibition represents a significant moment in Bhowmick’s long career, introducing Bangalore audiences to an artist whose work has been exhibited across India and internationally. Presented jointly by Artisera and Dhoomimal Gallery, Intersections explores recurring themes, figures and visual languages that have shaped the artist’s practice over several decades. Rather than following a chronological format, the exhibition draws connections across different periods and mediums, highlighting the continuity within his evolving body of work.

Exploring the Language of Cross-Hatching

Born in 1953, Ashok Bhowmick is widely recognised for his mastery of cross-hatching, a technique that uses dense networks of intersecting lines to create light, shadow and form. Over the years, he has transformed the method into a distinctive visual language that extends beyond technique into a means of expression. His works often balance figuration and abstraction while maintaining a strong connection to human experience and observation. Bhowmick’s approach to cross-hatching has been noted as one of the defining aspects of his artistic identity, developed through decades of experimentation and practice. Ashok Bhowmick

Subjects That Recur Across Decades

At the centre of Intersections are subjects that have repeatedly appeared throughout Bhowmick’s career. Workers, coal miners, birds, animals and recurring characters such as Amina populate his visual world. Alongside paintings and drawings, the exhibition includes sculptures that translate many of these familiar forms into three-dimensional works.

Highlights of the exhibition include:

Paintings created using Bhowmick’s signature cross-hatching technique
Sculptures exploring recurring human and animal forms
Works featuring labourers, miners and social narratives
Pieces that connect observation, memory and imagination across different periods of the artist’s career

These works collectively reveal the artist’s ongoing engagement with society, identity and everyday life.

Beyond Painting

While best known as a painter, Bhowmick’s practice extends into sculpture, writing and sustained engagement with literature and theatre. His multidisciplinary interests have informed the development of a body of work that often moves between narrative, symbolism and social observation. According to biographical accounts, the artist has held exhibitions in cities including New Delhi, Kolkata, Mumbai, Tokyo, Sydney and New York, contributing to his reputation as an important figure in contemporary Indian art. Dhoomimal Gallery

A Collaboration Between Two Galleries

The exhibition also marks a partnership between two galleries from different cities. Founded in 2015, Artisera has built a presence through both physical exhibitions and digital initiatives focused on contemporary Indian art and collectibles. The gallery opened its dedicated Indiranagar space in Bangalore in recent years, expanding its exhibition programme. Artisera

Its collaborator, Dhoomimal Gallery, was established in 1936 and is regarded as one of India’s oldest galleries dedicated to modern and contemporary art. Over the decades, it has supported generations of artists and played a notable role in the development of India’s modern art ecosystem. Dhoomimal Gallery

Visitor Information

Event Name	Details
Artist	Intersections
Title	Ashok Bhowmick
Venue	Artisera, 3rd Floor, B.K.N. Ambaram Estates, Indiranagar Stage 1, Bangalore
Exhibition Dates	26 September – 5 November 2026
Organiser	Artisera in collaboration with Dhoomimal Gallery

Further details are available through the gallery’s official website: Artisera Official Website.

Takeaway

Intersections offers Bangalore audiences an opportunity to engage with the breadth of Ashok Bhowmick’s artistic practice through works that span more than fifty years. By bringing together paintings, drawings and sculptures from different periods, the exhibition highlights the enduring concerns and visual strategies that have shaped his career. At a broader cultural level, the collaboration between Artisera and Dhoomimal Gallery reflects the growing exchange between artistic communities across Indian cities, creating new opportunities for audiences to encounter significant artistic practices.

Under the Moon Across Many Waters: Arpita Akhanda Explores Memory and Migration at Emami Art

By

Nagaraj

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October 1, 2026

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A new solo exhibition by artist Arpita Akhanda will open at Emami Art in Kolkata on 9 October 2026. Titled Under the Moon Across Many Waters, the exhibition runs until 26 December 2026 and marks Akhanda’s first major solo presentation at the gallery. Bringing together paper weavings, textile-based works, installation and archival materials, the exhibition examines inherited memories, migration histories and the continuing impact of displacement across generations.

A Decade of Artistic Research

Developed over the last two years, the exhibition draws from more than a decade of Akhanda’s multidisciplinary practice. Working across photography, performance, video, drawing, installation and weaving, the artist investigates how memories are carried through family stories, photographs, documents and everyday objects. The exhibition focuses on the afterlife of historical displacement rather than on a single historical event, examining how experiences of migration become embedded within family histories and daily life.

According to the artist, memory is not linear but repeatedly reconstructed through storytelling, recollection and loss. Archival photographs and family documents appear throughout the exhibition in altered and reimagined forms, reflecting the fragmented nature of remembrance.

Family Histories and Partition Legacies

The exhibition is rooted in the histories of Akhanda’s own family, whose members migrated from regions that are now in Bangladesh following the Partition of Bengal. References to Comilla, Barishal and Faridpur appear throughout the works, connecting personal narratives with broader histories of migration and belonging. Family photographs, letters, telegrams and oral histories become starting points for new visual interpretations that explore both memory and absence.

Akhanda’s wider practice has consistently explored themes of home, migration and intergenerational memory. Through performance, photography and weaving, she examines how inherited experiences continue to shape contemporary identities. Emami Art

Weaving Memory into Material Form

At the centre of the exhibition is Akhanda’s ongoing engagement with weaving as both process and metaphor. Archival photographs are cut into strips and rewoven, creating fragmented images that reveal and conceal information simultaneously. The artist describes the woven structure as a meeting point between past and present, where memories are reconstructed through physical acts of making.

Highlights of the exhibition include:

Large-scale paper weaving works derived from family archives
A new kinetic installation examining borders and movement
Akhanda’s first presentation of Jacquard weaving projects
Textile-based works developed over the past five years
Installations exploring memory, geography and displacement

The Meaning Behind the Title

The title Under the Moon Across Many Waters reflects the exhibition’s interest in distance, geography and time. In the exhibition narrative, the moon functions as a shared point of reference across generations and locations, while water becomes a symbol of movement, transformation and memory. Together, these elements create a framework through which the artist considers places connected through migration yet separated by political borders and historical change.

About the Artist

Born in 1992, Akhanda completed her BFA and MFA in Painting from Kala Bhavana, Visva-Bharati, Santiniketan. Her previous solo exhibitions include Weaving Water at Kyoto Art Centre in Japan and Körper: The Memory Collector in Switzerland. Her work has also been presented internationally through exhibitions, residencies and art fairs across Europe and Asia. In 2025, she received the Sovereign Asian Art Prize and was later selected to serve on the jury for the 2026 edition. Emami Art

Event at a Glance Table

Event	Details
Title	Under the Moon Across Many Waters
Artist	Arpita Akhanda
Venue	Gallery 1, Emami Art, Kolkata, India
Opening Date	09 October 2026
Exhibition Dates	09 October – 26 December 2026
Organiser	Emami Art
Website	https://www.emamiart.com

Takeaway

Under the Moon Across Many Waters brings together personal history, archival research and contemporary artistic practice to explore how memories survive across generations. Through weaving, installation and performance-based approaches, Arpita Akhanda examines the relationship between home, migration and belonging. The exhibition offers visitors an opportunity to engage with questions of memory and identity while reflecting on broader cultural histories that continue to shape contemporary society.

Harbin in Winter and Beyond: Finding a Hotel That Keeps the Trip Comfortable

By

Somya Goel

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October 1, 2026

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Harbin asks a simple favor of its visitors: take the cold seriously. A beautiful winter walk can lose its charm when gloves are damp, boots are uncomfortable, or the hotel room is difficult to warm. The right accommodation gives you a dependable place to thaw out, eat well, and decide whether the next outing should be long or short.

When reviewing harbin hotels, read past the photographs and ask about heating, room temperature, and the route from the entrance to the street. A central address can be convenient for evening lights and food, but a quiet room and easy indoor access may matter just as much.

Cold-weather Geography

Harbin’s attractions are spread across different parts of the city, and winter clothing makes every transfer feel longer. Choose a hotel near the area you most want to see, or near a metro and taxi route that keeps the rest manageable. The best address reduces the time you spend standing outside while deciding where to go next.

If you visit outside winter, the calculation changes. Parks, river walks, and outdoor sightseeing may become more important, while heating gives way to cooling and shade. Always read accommodation details in the context of your travel month.

What Warmth Really Includes

A warm bedroom is important, but so are the bathroom, lobby, elevators, and spaces where you remove coats. Ask about hot water, drying wet clothing, and storage for winter layers. A chair near a table helps you organize gloves, chargers, and day-trip items without covering the bed.

Windows deserve a check as well. Street views can be lovely, yet a draft or strong road noise can affect sleep. Reviews that mention temperature and sound are especially useful for a cold-weather stay.

Heating information for the exact travel season
A nearby place to eat without a long outdoor walk
Storage for coats, boots, and shopping
Breakfast timing for early winter excursions
A clear route to transport and major indoor attractions

These are practical comforts, not extras. They keep the weather from dictating every decision.

Food is Part of the Warm-up

A hot meal can make an evening in Harbin feel much shorter. Look for a hotel with a restaurant, room service, or nearby dining that remains convenient after dark. If you are traveling with children or older relatives, keep one familiar option in reserve alongside the local specialties.

Breakfast should be filling and timed to your day. On a very cold morning, a quick meal downstairs may be preferable to searching outside. On a slower day, a cafe can become part of the itinerary.

Indoor Breaks Make Better Sightseeing

Winter trips work best when outdoor stops are separated by warm places to sit. Choose museums, restaurants, shops, or the hotel itself as anchors between walks. A room that is pleasant enough for a midday break allows you to return outside with more energy.

Do not judge the day by how much ground you cover. A shorter walk with clear weather can be more memorable than a long route taken while everyone is uncomfortable. Harbin’s atmosphere is still there when you slow down.

Room Choice for Couples, Friends, and Families

Couples may want a quiet view and a place to drink tea. Friends may need storage for extra layers and a sitting area for planning. Families may care about a lift, early food, and enough space for wet clothes. Look at room categories through those needs rather than choosing the biggest number on a listing.

A property that gives clear information before arrival is reassuring. Ask direct questions and keep the answers with your booking notes.

Warmth Lets the City Speak

Harbin is more enjoyable when the hotel handles the cold instead of adding another problem. Choose a practical location, confirm heating, plan indoor pauses, and give everyone permission to come back early. Comfort does not take away from the adventure. It gives you the energy to experience more of it.

Pack a small indoor kit for winter days: spare socks, hand warmers, lip balm, and a bag for damp items. Keep your hotel address available in an easy-to-read form and decide where you will meet if the group separates. These details are easy to prepare at home and genuinely helpful once the temperature drops. A warm room and a flexible plan are the foundation of a good Harbin visit.

Prepare for Indoor Pauses

Pack a small indoor kit for winter days: spare socks, hand warmers, lip balm, and a bag for damp items. Keep your hotel address available in an easy-to-read form and decide where you will meet if the group separates. These details are easy to prepare at home and genuinely helpful once the temperature drops. A warm room and a flexible plan are the foundation of a good Harbin visit. When the weather turns severe, a shorter walk followed by a hot meal is still a successful day.

A Non-winter Note

Harbin can be pleasant outside the coldest months, when parks and riverside routes take on a different character. The hotel decision still follows the same principle: match the room to the season and the route to the way you want to spend the day. Cooling, shade, breakfast, and outdoor access replace some winter questions. Good planning is seasonal, not permanent.

A Balanced Winter Schedule

Aim for a pattern of outdoor time, indoor warmth, food, and rest. This is kinder than spending one entire day outside and losing the next to fatigue. Harbin’s atmosphere can be enjoyed in short sections, especially when the hotel is close to a meal or transport stop. The right room gives you somewhere to warm up without feeling that you have abandoned the trip.

The Room Should be Your Warm Center

After a day in Harbin, the room is where you sort gloves, dry a coat, and decide whether the evening needs another outing. Choose accommodation with a place for those tasks. A small table, good hooks, and a dependable bathroom can make a modest room feel far more useful. When the indoor details work, even a short outdoor walk can feel satisfying.