Wednesday 31 May 2023


The ethos of the era that began with the aspiration of a highly advanced future and the metamorphosis into that future, together, form the quintessential pieces of storytelling in this exhibition.

  1) Image: Left astist - Anupama Dey, Ashwathi Avinash, Dattaram Nerurka, Curoter - Smita Kinkale and Bhaskarjyoti Gogoi.
Jehangir Art Gallery - Kala Ghoda

The world changed politically in 1991 with the collapse of Soviet Russia and followed by further mutations, brought over by technology, the information revolution, genome sequencing, communication, and AI. Biology became ideology and a strange moral preoccupation eclipsed the clarity and sanity of mind, twentieth century struggles with reality and reality became extremely complex with the introduction of virtual reality and a never expanding cyberspace brought in a dimension hitherto unknown to the human race. New loneliness and new meaninglessness challenged the existence on the one hand while on the other neoliberal capitalism with its ability to metamorphosis continuously and quickly introduced a new alienation & isolation, cutting off the individual from his or her social threading. Anthropocene, and the derangement it ushered unweaving of the strands embroidered over thousands of years between man and nature, not the world, the universe of the Man, and the universe within the universe changed and is still changing. This is a continuous cycle that takes place and, in this cycle, somewhere a pause occurs and everything starts with a new beginning like a renaissance.

Similarly in the field of art too we can see many changes. Artists had started to explore their surroundings which we can see in their paintings, religious themes had taken a back seat and replaced with present-day happenings and events also with insight into the future were depicted. These paintings were more fantasized, and romanticized at the same time depicting the real truth and the practicality. A new approach towards bright color new mediums can be seen hence paper and canvas were not the limits. Here only seeing and painting with a realistic approach was not only art, whereas combining the seen with own thoughts and providing it with a self-touch was also art.

Jehangir Art Gallery

Expressing oneself in their desired expression in different ways whether it is color, brushing, forms like geometric forms, distorted forms, etc., or whether it is any other medium for the depiction of thoughts.


1)Image : Artist Nilesh Kinkale, Raj Shirke and Hansodnya Tambe  2 ) Prakash Waghmare and Dattaram Nerurkar 3) Shri. Vishwanath Sable, Dean, Sir JJ School of Art, Pradeep Palav and Gurmani Das - Nine Fish Gallery 

But still, the fundamentals and principles kept running in this whole process which made the works look stronger and elegant in depiction which also helped the artist convey their thoughts to the viewer’s strongly. ”Good composition is like a suspension bridge -each line adds strength and takes none away. No one is an artist unless he carries his picture in his head before painting it and is sure of his method and composition” -Robert Henri. This purely defines the concept here, when we are practicing art having strong fundamentals with a concept will give great results.

Our practicing artists of the show are completely immersed in their works and excellently depict their thoughts and surroundings with a fundamental perspective with the help of their respective mediums. Which directly connects their thoughts and works with the viewers.

 Anupama Dey

Born and brought up with a rich artistic background in a small village in West Bengal, Artist, and Printmaker Anupama Dey tries to depict the connection between humans and neglected creatures such as house lizards. She strives to kindle human emotions towards nature through her work.

Intrigued by the way house lizards move and communicate, the artist found inspiration in their rhythm and body language. She carefully observed their every movement, taking note of the sounds they made and the energy they exuded. Eventually, this fascination with the tiny creatures infiltrated her art, as she began to incorporate their unique qualities into her printmaking and drawing. Through her creations, she was able to express the beauty and complexity of the lizards in a way that honored their existence as much as it celebrated her own artistic talent.

Her expertise lies in various methods of printmaking such as etching, lithography, woodcut, serigraphy, etc. Post-pandemic, her interest in masks grew slowly which sparked her interest in going back to the concept of masks and how they were traditionally made and used. From ancient times masks were used to survive in the wild to the present day where a different version of these masks help us fight diseases is a concept that she is currently engaged in studying and researching to be able to effectively represent it all in her works.

She has done a Bachelor degree (B.F.A) in painting at Govt. Chitrakala Mahavidyalaya, University of Nagpur and received a one year fellowship at Nagpur Govt. Art College. She completed her master degree (MFA) in Printmaking at Indira Kala Sangit Vishwavidyalaya, Khairagarh and recieved a junior fellowship of ministry of culture, New Delhi an still continues to practicing and explore printmaking at Indira Kala Sangit Vishwavidyalaya, Khairagarh. Currently she is pursuing her PhD in Printmaking from IKSV, Khairagarh.

 Ashwathi Avinash

She completed her early education at Sacred Heart High School, Navi Mumbai. In 2014, and final schooling from Atomic Energy Junior College, Mumbai, in 2016.

In the year 2022, she completed her education in BFA ceramics at the Sir J.J. School of Art, Mumbai.

The start of her professional career involved working as an intern in a well-known pottery studio. This experience proved to be valuable as she gained a lot of expertise in creating high-quality tableware products. Her creations were appreciated by renowned celebrities and design houses. Additionally, during her internship period, she demonstrated her versatility and creativity by designing unique porcelain buttons for a fashion designer.

In her capacity as a ceramic artist, her creations and the diverse experiences she has accumulated in the course of her artistic practice stand as a testament to her creative abilities and expertise. Her body of work is a reflection of her artistic prowess, manifested through her technical skills and intrinsic understanding. She made clay compositions and glazes from scratch. Her work was also displayed at the Embassy of Switzerland for the “Every Mother in India” Stakeholder event in New Delhi.

She inspected and practised 10 gas firings of glazed wares and acquired knowledge about the slip decoration technique. Currently, she's working at Studio White & Grey Lifestyle, designing and creating products for a fine interior company, The Great Eastern Home. Also, putting on her skills on the combination of wood with ceramic in furniture and as art.

Bhaskarjyoti Gogoi

Bhaskarjyoti Gogoi is a skilled and experienced artist who hails from Assam Guhati. He pursued his education in the field of fine arts and successfully completed his bachelor's degree in 2016 and masters degree in 2018 from Indira Kala Sangit University Khairaghar, which is an esteemed institution for arts education. His talent has been recognized by various authorities at the state and national level in the form of numerous prestigious awards. As an active participant in the art community, he has showcased his work in multiple group exhibitions all across India.

The artist hails from a region that is naturally diverse and rich in culture. This influence is evident in his works, which are executed in a minimalist fashion. He creates a pleasant atmosphere in his paintings with the use of cool tones, which provides a soothing and relaxing experience to the viewers. His artistic skills are evident in his ability to beautifully depict the culture, people, flora, and fauna of north Assam in his paintings, where every painting captures the essence of the region's rare flowers, birds, textures, and colors. His artworks showcase the unique beauty of his native region in an exquisite way, and they are a true reflection of the artist's love for his homeland.

The artist's body of work is not simply a reflection of his hometown's landscapes, but a call to action aimed at individuals to do their part in preserving them. By using artistic pieces that display the charm and potential of the natural world we inhabit, he prompts onlookers to conserve and secure their environment. The artist's work can act as a compelling tool for conservation and is an excellent example to inspire everyone to recognize the need to protect and preserve the earth.

Dattaram Nerurkar

Dattaram Sudhakar Nerurkar is an upcoming Indian artist born in Mumbai. He completed his bachelor's degree from Sir J.J .School of Art in the year 2018. He has received numerous national awards and has also been selected for the France based scholarship Euro art, a culture exchange scholarship for sculpture in the year 2019. He has participated in many group shows namely "Rupayatan" Postage group shows in Chandigarh and Busan.

His expertise lies in various mediums, out of them all, he is fond of working with metal and wood. He generally works on topics related to migration and depicts his thoughts through the grains and lines of the wood which helps him portray his thoughts clearly. Wood is his chosen language of expressing his thoughts through its natural textures and lines in these sculptures.

 Artist : Tanuja Rane, Nilesh Kinkale, Apurba Nandi, Tathi Premchand, Raj Shirke, Hansodnya Tambe,
Prakash Waghmare, Dattaram Nerurkar, Vishwanath Sable, Pradeep Palav and Gurmani Das - Nine Fish Galler

The sculptures of this artist are an exquisite mix of Indian philosophy, tradition, culture and modernity. Through his work, he beautifully captures the essence of culture at the level of consciousness, which has evolved over thousands of years. The core of his sculptures lies in the form and beauty of culture, which is intricately woven into his art. His sculptures are not merely objects of beauty, but also serve as a reflection of our shared heritage and cultural legacy. Through his fusion of ancient and modern concepts, he brings to life a new and dynamic vision of Indian culture, one that is both timeless and relevant to our contemporary world.

Our artists being from the millienismal period are the touch bearers who preserve the past and inculcate the future to create and document  our present and the past and portray it through their own style to the viewers. Which is a part of this huge and continuous cycle of our contemporary art.

“Understanding the past are steps to craft the future, thoughts breed actions and with action comes creation and inspiration takes hold and the cycle begins anew.”


-Smita Kinkale

Artist and Art Educator

Jehangir Art Gallery

30th May to 5th June 2023

Address161B, Mahatma Gandhi Road, Kala Ghoda, Fort, Mumbai, Maharashtra 400001 

Bengal Beyond Boundaries

The presence of Aakriti Art Gallery in contemporary Indian art is both exemplary and exceptional in its artistic evolution over the pst. It reveals its commitment to serious and meaningful pursuits.In a historic unveiling the gallery will showcase works of Bengal artists beginning from Early Oil paintings, works by Bengal Masters as well as important contemporary practitioners who have contributed to the making and evolution of Indian art.

The works which will be presented at Bikaner House titled 'Bengal Beyond Boundaries'. and curated by noted writer and art critic Uma Nair, will showcase a wonderful process and spirit that provokes a dialogue that will not question our own notion of culture but will also reflect the beauty of the human imagination.

In an remarkable assembly of works the show will be a quest to accomplish deeply impressive satisfying mélange of artists, each of whom possesses a sprightly distinctive approach. The compositional variety and the grammar of execution shall make for a lively diversity of angles as well as satisfying narrative styles.

Aakriti’s famous Masterpiece shows over more than a decade has defined them as a gallery that with works of artists who have been showcased along with Masters to ensure the very best representations of contemporary developments. Thus from a profusion of options the gallery has been able to distill a coherent and positive selection of artists over the years.

Aakriti’s exhibition history is one of explorations that run back and forth in melding the past and the present. It has always had a distinctive policy of having immense respect for senior and established talents and the discernment of a new promise through thoughtfully curated exhibitions. Its most coveted exhibitions like ‘Gen Next’, have put contemporary Indian and International Art before the public in an appraised and consistent manner. Though its emphasis has largely been on Indian art, in particular, it has also showcased meaningful works from abroad at regular intervals.

Aakriti is known for its archival collections, collectors, anywhere in the world may collect artwork from a huge range of works available on gallery’s website, online. The gallery has also produced a huge corpus of literature on Indian and international art, published a much sought after art magazine named Art Etc. Some of the sterling essays will be carried out in the book which will come out during the exhibition.

At the forthcoming exhibition, Aakriti Art Gallery under the stewardship of Gallery’s Director Vikram Bachhawat will present a mapping of the Bengal School along with a unique perception of the social and cultural future with Early Oil Paintings, the works by Masters and practicing artists through its interaction with the audience. Over the years Aakriti is known to create shows that provide rich audience perceptions, as well as understandings of the creative potential of some of fresh talents. In this unveiling there will be a conjunction of established artists as well as Masters and emerging names.

The range of mediums and compositional forms will make for a lively diversity of angles and satisfying narrative styles. Aakriti’s past experience with Indian Masters will be an abacus to ensure the very best representations of contemporary developments. The present may be interrogated in an attempt to decipher in it the heralding signs of a forthcoming event. Here we have the principle of a kind of historical hermeneutics from Anonymous Early Bengal, Hemendranath Mazumdar, Jamini Roy, Rabindranath Tagore, Abanindranath Tagore, Nandalal Bose, Manishi De, Somnath Hore, Gopal Ghosh, Rabin Mondal, Ganesh Haloi,Bikash Bhattacharjee,Sakti Burman, Bikash Bhattacharjee, Gobardhan Ash, Kartick Chandra Pyne, Jogen Chowdury, Arpita Singh, Lalu Prasad Shaw,Pradeep Moitra,Anjolie Ela Menon,Samir Aich,Shuvaprasana,Shipra Bhattacharjee,Paresh Maity,Jayasri Burman,Jayashree Chakravarty, Tapas Konar, Aditya Basak, Chhatrapati Dutta, Sudip Roy,Chandra Bhattacharjee, Samindranath Mazumdar, Akhil Chandra Das, Subrata Biswas, Tapas Biswas and others.

Venue : Bikaner House. New Delhi 

Date.   : 7 July To 16 July 2023.

Aakriti Art Gallery

(A unit of Chisel Crafts Pvt. Ltd.)
Orbit Enclave, First Floor
12/3A, Hungerford Street
Kolkata-700 017
Phones: +91 33 22893027 / +91 33 22895041
Fax No: +91 33 22895042
Mob No: +91 9830411115 / +91 9830411116 

Saturday 20 May 2023

थुक लगाना मना है !!

दक्षिण मुंबईस्थित, गॅलरी निप्पोन मध्ये गेले काही दिवस एक प्रदर्शन सुरु होत, आज शनिवारी त्याचा शेवटचा दिवस. प्रदर्शन निलेश किंकळे या चित्रकार, शिल्पकार आणि क्युरेटर( नियोजनकार/नियोजक) यांनी क्युरेट केलं होत. त्यासोबत अर्क आर्ट ट्रस्ट यांचंही सहकार्य या प्रदर्शनाला लाभलं.

प्रदर्शनाचं नाव अगदी वेगळं होतं. “ थुक लगाना मना है “ जाणीवपूर्वक बोलीभाषेतला वाकप्रचार त्यांनी वापरला.

एकेकाळी पोस्टाचे स्टॅम्प/ तिकिटं याला मागच्या बाजूला गोंद लावलेली असे. तिला थोडं ओलं करून पत्रावर, पाकिटावर चिकटवत असत. नोटा एकमेकाला चिकटतात, त्यांनाही मोजताना हळू हळू थुकीचा वापर करणं सुरु झालं. एखादी कृती करण्यासाठी थोडा ओलावा निर्माण करायचा असेल तर मानवाची थुकी/थुक वापरणे हि एक पद्धत रूढ झाली. पण पाण्याच्या किंवा इतर द्रवपदार्थाच्या ऐवजी थुक वापरणे याला अजूनही एक अर्थ प्राप्त झाला. खोट्याचं खरं करणे.

निलेश किंकळे

पाणी किंवा इतर द्रव पदार्थ या ऐवजी थुक वापरून काम करणे.

कलाक्षेत्रात खोट्याच खरं करणे या अर्थी तो त्यांनी वापरला!!.

कलेमध्ये खोट्याच खरं करणं यालाही अनेक अर्थ आहेत. एक प्रसिद्ध कलाकार, त्याची मौल्यवान कलाकृती याची नकली प्रतिकृती बनवून तिला अस्सल म्हणून विकणे. तसेच एखादा कलाकार हा खूप प्रसिद्ध झाला, त्याच्या कलाकृती अनेकांना ‘विकत घ्यावी’ असा वाटू लागलं, की गम्मत होते. एकतर मागणी जास्त तशी किंमत वाढू लागते आणि त्यामुळे कलाकार किंवा त्याच्या कलाकृतींची विक्री करणारी गॅलरी, दलाल कलाकाराच्या कमी दर्जाच्या कलाकृतीही उच्च दर्जाच्या म्हणून विकतात. नकली बनवून विकतात, विकू शकतात. कलाकारांची एक वैचारिक, ‘सांस्कृतिक मुल्यामध्ये भर घालणारा’ अशी एक प्रतिमा, निर्माण केलेली असते, झालेली असते. त्यावरही त्याच्या कलाकृतीची किंमत ठरते. पण अनेक वेळा, कोणती कलाकृती खरंच मुल्यनिर्मिती करत आहे आणि कोणती करत नाही, सर्वसाधारण दर्जाची आहे ह्याच भान न ठेवता सर्व सामान्य कलाकृतीही,असामान्य,मुल्यवान म्हणून खपवल्या जातात. पिकासो ह्या स्पॅनिश चित्रकाराबाबत असं नक्कीच झाल्याचं आपण मागे वळून पाहताना आढळून येत. कलाव्यवहारातील खऱ्याखोट्याची कलाकाराला पूर्ण कल्पना असते, तो त्याबाबत मौन बाळगून  म्हणजे तो त्याच्या कलानिर्मितीच्या प्रामाणिक मुल्याला लवचिक ठेवतो, जेव्हा फायदा असेल तेव्हा तो अप्रामाणिक राहतो आणि इतर वेळी प्रामाणिक असाही अर्थ थुक लावणे याचा निघतो. थुक लावणे = दुसऱ्याला /स्वतःला फसवणे आणि यश मिळवणे.

निलेश किंकळे एका अर्थी सर्व कलाकारांना म्हणतात त्यांनी आयोजलेल्या प्रदर्शनात थुक लावणे, कमी दर्जाचं काही करणे, फसवणे याला वाव नाही.

गॅलरी निप्पोन हि एक छोट्या आकाराची गॅलरी आहे. ती प्रायोगिक कलाकारांसाठी उत्तम आहे असं निलेश मानतात.

 गॅलरी निप्पोन ह्या गॅलरीच्या आकारामुळे आणि स्टॅम्प ला थुक लावण्याची, कलेत खोट्याच खरं करणं या सांस्कृतिक सवयी या सगळ्याच मिळून चित्राचा आकार निश्चित झाला. त्यांनी देशोदेशीच्या अनेक कलाकारांना निवडलं,आव्हान केलं कि त्यांनी या प्रदर्शनात भाग घ्यावा. पण त्याकरता त्यांनी पोस्टाच्या स्टॅम्पची, त्याच्या स्वरूपाच्या अडीच इंच x तीन इंच या आकारचे कागद वापरले. ते त्यांनी सर्व कलाकारांना पोस्टाने पाठवले आणि कलाकार कोणत्याही स्वरूपाचं, मध्यमामध्ये काम करत असले तरी त्यांनी या एवढ्या छोट्या कागदवरच काम करून गॅलरीला पोस्टाने , कुरियरने पाठवावे अशी हि योजना होती. एकंदरीत भारतसह १३  देशातील २२० कलाकारांनी याला प्रतिसाद दिला. भारतातील अनेक प्रतिष्ठित, जेष्ठ , तरुण , नवोदित कलाकारांनी यात भाग घेतला.

प्रदर्शन पाहताना एक संवेदनशील अनुभव येतो. छोट्या आकारात कलाकारांनी इतक्या तरल कलाकृती बनवल्या आहेत की रसिक कलाकृतींच्या छोट्या आकाराच्या कोशामध्ये शिरतो. कोशाच्या आत तरल संवेदना, मूक भाष्य, चित्कार, घुसमट, भावनांची अभिव्यक्ती,निरीक्षणं,अश्या अनेक गोष्टी आपण पाहतो. एका अर्थी या छोट्या खिडकी मधून कलाकारही संवाद साधतो. अगदी कानात हळुवार बोलल्यासारखं.एखादा छोटा घास तयार करावा तस!! त्या कृती मध्ये भावनेचं मिश्रण अगदी सहज झालं आहे. हा अनुभव अस्सलतेची खात्री देत. जरी सर्व कलाकृती विक्रीसाठी असल्या तरी या सर्व प्रदर्शनात हे भान येताच नाही. जणूकाही सर्व जण अस्सलपणा, प्रामाणिकपणा, याबाबत एकमेकांना आपल्या भावना कळवतात असा काहीस स्वरूप याला प्राप्त झाल आहे.

कलाकारांनी छोट्या आकारामुळे अगदी लघुचित्रकारच्या, सोनाराच्या नाजूकतेने काम केलं आहे त्याच भान पदोपदी येत. अनेकांनी त्यांच्या नेहमीच्या आकाराला सोडून, माध्यमाला सोडून , आणि तरीही त्रिमित वस्तू चिकटवूनही कलाकृती घडवल्या आहेत. ज्या विस्मय निर्माण करतात. छोट्या आकारात , काहीश्या कमी किमतीमध्ये उपलबद्ध  कलाकृती कला संग्राहकांना सुद्धा एक उत्तम संधी देतात.

हे प्रदर्शन अनेक जागी फिरणार आहे, प्रदर्शित होणार आहे. अस्सलपणा , प्रामाणिकपणा आणि तरलता यांचा संदेश सर्व ठिकाणी पसरवणार आहे. हि एका नवीन सुरवात ठरो !!

महेंद्र दामले

( चित्रकार, लेखक, कलाशिक्षणतज्ञ )

Wednesday 17 May 2023

Miniature Post Tickets - थूक लगाना मना है An Art Project by Arka Art Trust Curated by Nilesh Kinkale

Curator Nilesh Kinkale defines human experiences through senses, one of which resides in the mouth (tongue with saliva). It is an instinct and mental response that when we want to stick or lubricate naturally, we brush it with spittle. A substantial precedent is the affixing of stamps on postcards with saliva. A mark of self, sent to the recipient miles away. Screens though have now proclaimed “थुक लगाना मना है.”! Contemporaneously, this Hindi idiom means that people are outsmarting through 

Nilesh Kinkale 

trickery or deception, to beat and deceit the living competition. Today, it is a constant in politics, education, behavior, art and society to hoax others via vague reality. To further its tendency, it remains committed to the surface and prevents us from exploring the true depths of someone or something. What could be done to halt this corruption and experience morality? These miniature art stamps depict the impressions of Mughal Miniature paintings that once were storyboards/thoughts but now are history and treasure. To present a combination of philosophy, art, and history the curator bring to showcase Miniature Postage Stamp Masterpieces. The concept of ‘Licking/Tricking not Allowed’ presented up by the Arka Art Trust at Nippon Gallery provides a perspective to selected artists across the globe to manifest their perceptions on the postal tickets and stick/exhibit them on the gallery walls while proffering a message to the spectators.

The variety of the exhibition finds expression through the use of Post Stamps cut to fit size 3 x 2.5 inches, merging the school of thought, from “minimalism” to “postmodernism”, in confrontation with each other. The color excluded, the exhibition seeks to contrast the differences in personality and artistic direction of the Two Hundred Twenty Five artists around the world skill fully installed along with envelops through which the artist posted their works. At times of NFT and other new age art it feels refreshing to experience an old classical approach by the curator of the show, whereas the intimate gallery is nestled in an old colonial mansion in Flora Fountain. 

Drawing is the starting point for most of Jogen Chowdhury’s work from the rendering of image to a more intuitive, spontaneous approach his figures overlap one another to form a mosaic with an underlying message. Onkar Kshirsagar’s shapes are related to one another by tensions and fibers sometimes flowering into small delicate shapes. The thin glazes have a melting lyricism that is sophisticated and elegant, nowhere jarring and equally not hackneyed. The distinctive feature of Apurba Nandi seems to be the empathy it shares with his subjects caught in the common human predicament. Social issues finds a place in his work, but the overall treatment is subtle and restrained, even though pointed examining the sensual and sensory experience.

Antonia Bounchy, Nilesh Shilkar and Boryana Petkova Sofia have experimented with the visual capabilities of text working with words to devise textual configurations, semiotic imagery, and visual poetry. The iconography of woman is an important feature in works of Mithali Das and Kapil Alaskar their images are not devoid of context. The status of women in society and nuances find reflection in their work set in kinky dream like atmosphere. The highly finished smooth surfaces of Sudharak Olwe’s works are reminiscent of photography where the back and side lights are used to pick out or emphasise the plasticity of objects with naïve vision.

Artist: Saju Kunhan

Saju Kunhan and Anjana Mehra sequence of juxtaposing nature in urban architecture which follow a narrative, linear in the way it reads but elastic in the way that it enables us to comprehend and examine their subject. A radical denial of belonging to any style, rejection of the modernistic traditions of painting and the continued critical discussion characterize the works of Prashant Salvi. Turning thing upside-down, inverting them, mixing them up and thus destroying conventions, this has almost become a trademark. The contribution Sadanand Shirke made to assemblage, of paper strip constructions is significant. The basis for all his activities and ways of working is his outlook that exploded conventional systems of thought and was essentially visionary. 

Artist: Jatin Das

Tathi Premchand’s work over the years evolved a personal idiom of undulating lines and contortions on the paper. Her work involves and transports the spectator into a world of ceaseless movement. Rajesh Salgaonkar, Sagar Kamble works are not melancholy in nature; however they transport us to a world of fable and folklore of blue eyed goddess reclining odalisques and bizarre hybrid beasts. S.G. Vasudev and Jatin Das with their free and vigorous ink-works unprecedented in time continue to fascinate the viewer. It has been the practice of their work which establishes them as avant-garde artist, resolved to re-think the demands of their art and to address them in an entirely new way. 

Artist: Dilip Ranadae

Madhao Imartey and Dilip Ranade create a luminal zone between the real and the imaginary, between the viewer and the image. Whereas abstraction is often associated with the effacement of metaphor and the distillation of essence from appearance, the result, is an ambiguity which ensures a layering of metaphor: the image becomes capable of many competing evocations. Shivani Dubey plays with forms in an irreverent manner yet the whole composition has a sublime effect. The forms remain centered even as the cosmos goes through the motions of fusion and fission in the periphery. In Ratnadeep Adivrekar’s view time and space are not finite, although in human reckoning time is divided into moments, just as space is divided into points. He is concerned to show that the external is immanent in the temporal process and yet transcends it.

( Interactive art थूक लगाना मना है by Nilesh Kinkale )

This well-documented and unusual exhibition includes an archival display of Postage Stamps materials in form of drawing, painting, text-art, two dimensional sculpture, and photograph, specially produced by artist from India and across the world for this project. Nilesh Kinkale considers all these curatorial elements, along with his multi-media work, as integral constructs of this project.

Abhijeet Gondkar


 (Abhijeet Gondkar is an independent writer and curator based in Mumbai.)

👇Miniature Post Tickets - Art show Until 20th May 2023

Gallery Trimmings: 3pm to 7pm / Sunday Closed.

 Nippon Gallery 30/32, 2nd Floor, Deval Chambers, Nana Bhai Lane, Flora Fountain, Fort, Mumbai – 400 001, India.M: 9820510599 /

visit show click below link show 

Maharaja’s Treasure: an exhibition of select works of art from the famed Air India Collection.

After the last month extremely successful launch of NGMA music video anthem and  Ricky Kej LIVE  music concert by the 3 x Grammy award winning music composer and environmentalist at the Iconic Gateway of India, this month NGMA Mumbai would be presenting Maharaja’s Treasure:  an exhibition of select works of art from the famed Air India Collection

This exhibition is the first of many to celebrate the iconic Air India collection which was a pioneer in promoting our art heritage across the globe. The exhibition showcases iconic works of masters such as V.S.Gaitonde, M.F.Hussain, B. Prabha, G. R Santosh, Raghav Kaneria etc. The famous ashtray designed by 'Salvador Dali' also forms part of the display.

The exhibition inauguration and preview is scheduled at NGMA Mumbai on 27th April, 2023 at 6:00 pm in the august presence of Shri G Kishan Reddy, Hon'ble Union Minister of Culture, Tourism and DoNER , and other distinguished dignitaries and invitees.

It is my honour and pleasure to extend our special invite on behalf of the Director NGMA Mumbai, to be our esteemed  guest and grace the exhibition inaugural event at NGMA Mumbai  on 27th April 2023 at 6:00 pm.

We look forward to your gracious presence at the exhibition inauguration. A line of confirmation from your end would be highly appreciated and help us plan better.