Wednesday 27 March 2024

“Tradition Bound” Solo show of paintings By Well-known artist Kappari Kishan in Jehangir


Artist: Kappari Kishan

Kappari Kishan's paintings showcase a plethora of cultural and colourful vibes. His works accentuate happiness, simplicity and traditional ethos of his native being. The timeless hair decorations,  formal attires worn by Telugu women are an uncommon site these days and are best reserved for festivities. Here the artist still remains truthful to his subject and continues to being elusive. Come rain or shine the characters are geared up to brace the natural form of adversaries donning beautiful umbrellas. 

Acrylic on canvas

Braids, tiny hair jewellery and flowers are  featured in his work. The costumes of the characters have a distinct south Indian flavour and his love for painting the rear anatomy of his characters and painting Telangana women consistently for more than two decades now is  certainly  admirable. 


With the progression of time artists disembark from forms but Kappari Kishan is vehemently inducing serenity and mindfulness into his work.


Serene Buddha's, scenes from the Jataka tales along with the women characters is the metamorphosis and obvious in his present body of work. The faceless characters may appear quite mundane but for him the journey is quite therapeutic and a  motivation to open up his canvas. 


And one fine day when these traditional looking damsels vanish from the earth Kappari Kishans works will narrate "once upon a time they were people who dressed up so beautifully"  and the story continues and becomes elusive.

From 25th to 31st March 2024

“Tradition Bound”

Solo show of paintings

By Well-known artist Kappari Kishan



Jehangir Art Gallery

161-B, M.G. Road

Kala Ghoda, Mumbai 400 001

Timing: 11amto 7pm.

Contact: +91 9848747432


Sunday 24 March 2024

“A WALK THROUGH THE CITY – 2” I Solo show of Paintings by well-known artist Maredu Ramu in Nehru Centre Art Gallery

Rooted in an agricultural background, Maredu's imagery is a lexicon that is compelling in the works on display. Each composition has a message for the observer, be it through the hoardings or in the markings of a burgeoning metro. He is inspired by the growth in the city of Hyderabad, which is his domicile.

Artist: Maredu Ramu

His interest in architecture and the planned layout started on being inspired by the layout of the ancient city of Mohenjo-daro. The fact that there has been centuries of evolution in terms of materials use to build cities. Each city has a history and he experiences pride that his city of Hyderabad is "solid" in terms of not experiencing natural calamities and that there has been unprecedented growth.

Water bodies and birds form part of the linear compositions as the organic elements are part of his childhood and the village life that is deeply embedded in his imagination. Life in the city since adolescence has left an impact as one sees film hoardings of actors or of politicians who have left a mark in their field of work or who have brought about remarkable changes to society. His paintings have created a visual language with dense and opaque forms with multiple references. There is a child-like approach to his renditions that have thick brush strokes to emphasize certain symbolisms in his compositions. Unfinished works in the city that have created an impact in his life, are symbolic of the infinite growth that is the identity of an Indian city! Maredu Ramu has created a landscape for the observer to imagine and create their own journey.

From: 26th March to 1st April 2024


Solo show of Paintings by well-known artist Maredu Ramu



Nehru Centre Art Gallery

Dr. Annie Besant Road

Worli, Mumbai 400 018

Timing: 11am to 7pm.

Friday 22 March 2024

"Lines of Insight"


Director's Note

Paper as a medium has been used in art for centuries. Innumerable artists have used paper as an inspiration to create stunning artworks. It's not just limited to traditional paintings and drawings but also used in other art forms, such as origami, sculptures and collages. Incidentally some artists create their own paper, which can be quite a meticulous process resulting in an exceptionally delicate and beautiful medium to work on.

Paper incredibly is the most versatile and a primary medium for any artist. Although, the ‘handle with care’ reminder always resonates with these artworks, nevertheless it has its own effective being.

Dhoomimal Gallery & Nexus Art initiated the “Lines of Insight” show which interestingly captures the flow of lines in drawings, lithographs, etchings, woodcuts etc. on paper. For potential art connoisseurs & lovers, giving emphasis to top quality artworks from the well-known moderns and contemporary artists on ‘paper’ can significantly give an evaluation and competitive pricing compared to the artworks on canvases. This becomes an encouraging aspect for the potential buyers to build their collection. The following exhibiting artists denote their exemplary styles:-

Almelkar, A. P. Santhanaraj, A. Ramachandran, Aalap Shah, Ambadas Khobragade, Amit Ambalal, Arpana Caur, Bhupen Khakhar, Bimal Das Gupta, Dhruva Mistry, Dushyant Patel, F. N. Souza, G. R. Santosh, Ganesh Haloi, Ganesh Pyne, Gogi Saroj Pal, Gulam Mohammed Sheikh, Haren Das, Jagannath Panda, Jamini Roy, Jatin Das, Jeram Patel, Jogen Chowdhury, Jyoti Bhatt, K. G. Subramanyam, K. Laxma Goud, Krishen Khanna, Lalu Prasad Shaw, M. F. Husain, Manjit Bawa, N. S. Bendre, Nilima Sheikh, P. D Dhumal, Piraji Sagara, Rabin Mondal, Reba Hore, Rini Dhumal, Sailoz Mookherkjee, Sakti Burman, Satadru Sovan, Shibu Natesan, Shyamal Dutta Ray, Somnath Hore, Sunil Das, T. V. Santosh, T. Vaikuntam, Vivan Sundaram, and Vrindavan Solanki. (in alphabetical order).

The objective behind presenting this paperwork collection is to share with the audiences the talent and dedication with which each artist visualises his or her perception, the right choice of implements that make each of these artworks come to life. Pencils, markers, coal, paints and others hold connotations, while using the correct type of paper is of equal importance for the media to flow across the page. Finer quality of paper helps the art stay seamless and stiff without any tears. The choice of paper compliments the art that the artist is making – painting flows better on a smooth surface while uneven textured paper is better for sketches. Now it is for the audiences to make such observations and help create awareness.

I leave you with this wonderful show to identify your lines of artist interest in these contemporary artworks. Grow more trees…….. did I hear that!

Uday Jain

Dhoomimal Gallery

March 2024


Curator's Note- "Lines of Insight"

The exhibition delves deep into the nuanced and diverse expressions of artistic practices that harness the power of lines to convey profound insights into the human experience. Within these lines, we discover a remarkable blend of introspection and exploration, revealing the artists' perspectives on the world and the inner workings of their creative minds.

Drawing is often regarded as the most fundamental artistic medium, as it offers a direct line from the artist's hand to the viewer's perception. At its core, drawing is a language—a visual language that transcends spoken and written words and communicates with immediacy. It is the most primal of artistic endeavours, and is an act of creation that goes beyond the mere physical representation of subjects. It serves as the bedrock upon which countless artistic journeys have been built.

The title, "Lines of Insight," encapsulates the notion that lines are not just marks on paper or canvas; they are pathways to understanding, self-discovery, and revelation. Each artist featured in this exhibition employs the drawn line as a conduit for sharing their unique insights into the world, the self, and the human experience. The exhibition explores this elementary act of mark-making as a conduit for profound exploration. Drawing, in its various forms, allows artists to communicate their insights into a complex, multifaceted world through the subtlety of lines, shades, and shapes.

The exhibition critically explores themes that transcend the superficial act of representation and delve into the essence of human existence. Furthermore, by bringing in artists from diverse pedagogical schools of India, the exhibition offers the viewers a unique opportunity to understand how artists draw inspiration from a wide range of sources, including their personal experiences, societal observations, and even the spiritual and metaphysical realms. It allows for a complete cross section of Indian Art from across masters, senior practitioners, as well as young minds.

Through their works we encounter various facets of Inner Journeys via chronicling personal thoughts and emotional scapes; Social Commentary via shedding light on pressing issues, sparking dialogues and challenging the viewer to reflect on the world around us; Nature’s Whispers via offering viewers a fresh perspective on the environment and our place in it;

Metaphysical Explorations via exploring the realms of spiritual, mystical and philosophical experiences.

These artistic practices offer a playground for experimentation and challenge viewers to engage with form, color, and line in new and unexpected ways. Using drawing as a vehicle for conveying abstract concepts and ideas through symbolic imagery and thoughtful composition, they invite viewers to contemplate the deeper meanings within their works. They encourage viewers to embrace the power of observation. By following the process of seeing, feeling, and translating these perceptions into lines and shapes that resonate with meaning. Furthermore, the practices on display make use of digital mediums to express their innovations within the larger art historical understanding of drawing itself. In this manner the exhibition invites you to observe not only the artwork but also your own responses, allowing the lines on paper to awaken your own insights and emotions.

With this we invite you to "Lines of Insight," where we celebrate drawing as a medium of deep reflection and personal revelation. It is a journey into the minds and hearts of artists who use lines to convey the invisible threads that connect us all. As you navigate this exhibition, allow yourself to be drawn into the stories, emotions, and insights embedded within each stroke and mark. From the ethereal to the concrete, these works offer a glimpse into the inner workings of the artistic mind where we find not only the visions of artists but also the reflections of our shared humanity.

- Vaishakhi Mehta

Nexus Art



Thursday 14 March 2024

Anatomize by Nibha Sikander Booth 3D33 | Art Basel Hong Kong 2023

 March 5, 2024

About Anatomize Nibha Sikander’s artworks showcasing detailed representations of moths and birds are the artist’s attempt at a pointed confrontation of the violence we have exerted upon other species of our planet.

 In Anatomize, Sikander draws from a desire to elevate the level of deconstruction and abstraction that she had showcased in her last series, Wandering Violin Mantis. Moving away from anatomically accurate replicas of moths, the artist has made one major change in her work, by enlarging their forms. This allows her to study and analyse them in greater detail. Her arrangement of these details is influenced by the specimen-like presentation of taxidermy in museums. However, in this series Sikander’s methodical layout of the fragments of the species depicted appears closer to an imaginary script solidifying her position at the intersection of science, craft, and art.

As described by curator Roobina Karode, Sikander’s works “are manifestations of the artist’s entomological interest that seeks not to dissect, but to deconstruct the received notions of natural history.” Working exclusively with paper Sikander succeeds in creating a world that invites the viewer in closer, almost as if through a magnifying glass. According to her, paper mimics nature in its versatility – soft, stiff, malleable and flexible, almost like wings, feathers and antennae – allowing her to mould it to her will.

About the Artist

Nibha Sikander earned her Bachelors (2006) and Masters (2008) in Visual Arts from the Maharaja Sayajirao University, Vadodara.

In 2019, Nibha had her first solo exhibition, Wandering Violin Mantis at TARQ. Since her graduation, she has been part of several group exhibitions, some of which include The Inner Life of Things: Around Anatomies and Armatures at the Kiran Nadar Museum of Art, Noida (2022); ALCHEMY: Explorations in Indigo, Kasturbhai Lalbhai

Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi (2008-09).

Museum, Ahmedabad (2019); Beyond Borders, curated by the CONA Foundation at the Whitworth Gallery/Museum, Manchester, England (2017-18); A New Space, Nazar Art Gallery, Vadodara (2016); Back to College, VADFEST, Faculty of Fine Arts, Vadodara (2015); A Construal of Mourning and Rage, Emami Chisel Art, Kolkata (2014); Group show at Studio X, as part of the Paradise Lodge International Artist Residency, Mumbai (2013); Beauty and the Beast, Matthieu Foss Gallery, curated by Anne Maniglier, Mumbai, (2011); Show Girls!, Strand Art Room Gallery, curated by Anne Maniglier, Mumbai (2009); From our Cabinets to the Museum, Open Eyed Dreams Gallery, curated by Aparna Roy, Kochi (2009); and Class of 2008, Art Konsult Gallery, curated by Bhavna Khakkar, New Delhi (2008-09).

She has taken part in residencies like Paradise Lodge International Artist Residency, Lonavala, Mumbai (November 2013); Sandarbh International Artists Residency Programme, Jaipur (November 2012); and Residency at the American School of Bombay, Mumbai (March – May 2010).

She is the recipient of the Nasreen Mohamedi Scholarship, Maharaja Sayajirao University, Vadodara, 2004-2005. She recently participated in India Art Fair 2020 in Delhi. Nibha currently works and lives in Murud-Janjira and Mumbai

About TARQ

TARQ was founded in 2014 by Hena Kapadia on the values of creating a meaningful conversation around art and its myriad connotations and contexts. It was envisioned as somet    hing of a laboratory – an incubator for young contemporary artists which would work towards pushing the boundaries of how contemporary art in India is exhibited and perceived. TARQ’s youthful and experimental ethos encourages collectors, novice and seasoned alike, to approach art collecting through a perspective that marries thoughtfulness with an inquisitive eye for aesthetics and artistic processes.

Since its conception, TARQ has endeavoured to create a robust outreach program that ties in with the gallery’s exhibitions and overall raison d’être. The program is an amalgam of educational initiatives in the form of workshops, gallery walk-throughs and talks. Our intention is to engage with a diverse audience to develop an informed viewership for contemporary art in the future


KK (Navsari) Chambers, Ground Floor, 39B AK Nayak Marg, Fort, Mumbai 400001, 022-66150424

Tuesday – Saturday: 11:00am – 6:30pm

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Women’s Day Special: Sunny Chandiramani, Senior Vice President, Client Relations at AstaGuru Auction House

Sunny Chandiramani has been part of AstaGuru for over a decade, actively participating in more than 50 auctions. Her extensive experience goes beyond just understanding the significance of each artwork; she possesses a deep knowledge of market fundamentals and data, making her a seasoned professional in the field. Established in 2008, AstaGuru was founded with the mission of creating a secure and reliable platform for online auctions. The name “AstaGuru” is a deliberate fusion of the Italian term “Asta,” meaning auction, and a Sanskrit word signifying “master,” reflecting our exceptional expertise in auctioneering art and treasures in India.

AstaGuru has evolved, conducting curated auctions across various categories such as heirloom jewellery, silver, and timepieces over the years. Sunny reflects on her time at AstaGuru, expressing gratitude for the significant learning and growth opportunities. She emphasises the satisfaction derived from curating each auction catalogue, providing her with a deeper understanding of the artistic evolution of numerous renowned artists who have left a lasting impact on the modern Indian art scene.

1. What is it like to be a Woman Leader in an Auction House?

It’s a very proud feeling. However, what makes me happier is that women are playing important roles in almost every department at AstaGuru. Whether it is a forefront role such as client relations and auction curation or working behind the scenes in departments such as Restoration, Marketing or Content, women are integral to the overall functioning of AstaGuru. While I am of the view that success and achievements should not be analysed from the standpoint of gender, it makes me truly ecstatic that AstaGuru takes the spirit of gender equality very seriously and has been a staunch advocate of the same. Our CEO, Mr. Tushar Sethi, is to be credited for this as he has been a consistent source of inspiration and encouragement to each one of us through the years.

2. Could Sunny share her story of leading 50+ successful auctions and highlight key elements contributing to her success in this competitive environment?

Since joining AstaGuru in 2013, my experience has been incredibly rewarding as I delved into the intricate details of Modern Indian Art. Transitioning from a non-art background, my journey has involved a significant learning curve. Whether it’s recognising milestones achieved by revered Indian modernists or studying the overall evolution of Modern Indian Art, I’ve engaged in continuous exploration, research, and learning to cultivate a keen eye for the auction industry. Each auction has contributed to my growing confidence.

3. How does Sunny view the evolving roles of women in the Artworld from an industry perspective, and in what ways are they inspiring others?

The past few decades have played a crucial role in elevating the recognition of women in the art world. Women artists have left a lasting impact with grand retrospectives at esteemed institutions sparking a surge of interest in the artistic achievements of Indian women. Notable examples include Arpita Singh’s retrospective, ‘Six Decades of Painting,’ at the Kiran Nadar Museum of Art in New Delhi and Nalini Malani’s retrospective at the Centre Pompidou in Paris, both earning consistent critical acclaim. The art market has witnessed remarkable auction results for works by women artists, prompting the collector community to take notice and acknowledge their mastery. These triumphs signify a significant shift in the Indian art market, recognising and honouring women artists with the recognition they have long deserved.

Esteemed contemporary artists such as Anju Dodiya and Bharti Kher have also received praise for their distinctive works and practices, echoing the recognition seen in various aspects of the Indian art world. Whether in the roles of collectors, bidders, gallerists, art writers, or critics, women are shattering the glass ceiling on a global scale. The trend continues in the auction industry, where women actively contribute to various facets of auction house operations. Their involvement extends to outstanding curation and restoration work, as well as supporting departments like Logistics, Marketing, PR, and Content, showcasing the diverse and impactful roles women play in shaping the art landscape.

4. What are Sunny Chandiramani’s top 3 favourite Women Artists, and what qualities in these artists does she find inspiring?

My choice would be Amrita Sher-Gil, as she undeniably stands as one of the preeminent avant-garde women artists of the early 20th century, credited with single-handedly elevating Indian art onto the global stage. Even after eight decades since her untimely passing in 1941, she remains the focal point of numerous auctions and exhibitions showcasing Indian art. Another artist I deeply appreciate is Meera Mukherjee, celebrated for her distinctive creations. Her artistic journey featured innovative bronze casting techniques, and she played a pivotal role in refining traditional Dhokra style sculpture by incorporating lost-wax casting methods, acquired during her time among artisans in the Bastar region of central India. I’m also an avid admirer of Arpita Singh’s work. With a unique style and technique, each of her compositions narrates its own story. I particularly value her exploration and presentation of women’s lives, weaving a complex tapestry drawn from diverse sources, including personal experiences, mythology, fiction, and Bengali folklore.

5. Finally, what advice does Sunny have for the next generation of Women aiming to make an impact in the Artworld? How can they navigate challenges and build successful careers in this dynamic industry?

The Indian art scene thrives with a multitude of artists, each possessing a unique visual language. Engaging with various mediums, these artists continually explore, pushing the boundaries of traditional art definitions. My advice to all, including women artists, is to remain authentic in your artistic expression and maintain an open mindset towards continuous learning. The nuances of the art world are ever-evolving, making the journey of understanding a perpetual process.


Head Office Hargovindas Building, 2nd Floor, K. Dubash Marg, Kala Ghoda, Fort, Mumbai – 400 001.

Gallery 22/26 ICIA Building, K. Dubash Marg, Kala Ghoda, Fort, Mumbai – 400 001.

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Wednesday 13 March 2024

. Jogen Chowdhary / Tapas Konar / Jatin Das / Chandra Bhattacharyya / Riyas Komu More then 300 artists around the world

Jogen Chowdhary / Tapas Konar / Jatin Das / Chandra Bhattacharyya / Riyas Komu
More then 300 artists around the world

Miniature Postage Stamp Masterpieces
KOLKATA -Joy of Art city

Curated by Nilesh Kinkale
Date: 2nd April to 8th April 2024
Time: 11am - 5pm

Srabani Sarkar

Tel Phone: +91 9845041552

Gallery Charubasona
Jogen Chowdhury Centre For Arts. Charubasona. 388B/1 Prince Anwar Shah Road. Kolkata, India.

Tathi Premchand

Nippon Gallery
Mumbai- 400 001


Sunday 10 March 2024

Tuesday 5 March 2024

New York: Adam Pendleton An Abstraction / May 3 – Jun 20, 2024


Pace is pleased to present An Abstraction, an exhibition of recent paintings and drawings by New York-based artist Adam Pendleton, at its 540 West 25th Street gallery in New York from May 3 to June 20.

Pendleton’s first solo show at Pace’s New York gallery in ten years, An Abstraction follows a series of significant solo exhibitions by the artist at museums around the world, including the Museum of Modern Art in New York in 2021; the Montreal Museum of Fine Arts in 2022; and mumok, Vienna in 2023. The return to his home city marks a continuation of his career-long project of creating spaces of engagement and “fighting for the right to exist in and through abstraction.”

Pendleton’s work indexes and documents the physical process of painting to create layered pictorial fields that—in their painterly, psychic, and verbal expressions—announce a new mode of visual composition for the 21st century. He is guided by a visual and structural philosophy he has termed “Black Dada,” an ongoing inquiry into Blackness and its relationship to abstraction and conceptions of the avant-garde. Investigating Blackness as a color and theoretical proposition, the artist’s work reflects a contrapuntal understanding of the world in both sensorial and conceptual terms.

In An Abstraction, the artist’s 12 paintings and 13 drawings will hang within a monumental, site-specific architecture consisting of five black triangular forms. These sculptural walls will reorder the gallery into new, unexpected spaces and extend the visual language of the exhibited works.

Bringing together the artist’s Black Dada and Untitled (Days) bodies of work, the new paintings and drawings in the exhibition feature a variety of marks—spray painting, stenciled geometric forms, and expressionistic brushstrokes—to blur distinctions between painting, drawing, and photography and propose painting as a documentary and performative act.

Pendleton’s new Black Dada works imbue his iconic black and white compositions with focused and saturated colors. Each of the paintings and drawings in this body of work bears one or more typographic letters from the phrase “BLACK DADA,” rendered in a sans serif font amid the artist’s gestural marks. Continually transposing and overwriting these two modes of inscription, Pendleton cultivates a living library of his own ever-evolving gestures and processes.

Paintings and drawings from Pendleton’s Untitled (Days) body of work will also be featured in An Abstraction. Using collagist strategies of indexing, daily mark-making, fragmentation, and recombination, these works create a cumulative portrait of the artist’s experimentations in the studio.

In spring 2025, the Hirshhorn Museum and Sculpture Garden in Washington, D.C. will present Love, Queen, a landmark exhibition of Pendleton’s work that will anchor the institution’s 50th anniversary year.

About the Artist

Born in Richmond, Virginia in 1984, Adam Pendleton completed the Artspace Independent Study Program in Pietrasanta, Italy, in 2002. His work has been featured at major museums around the world, including solo exhibitions at the Baltimore Museum of Art; Le Consortium, Dijon, France; Isabella Stewart Gardner Museum, Boston; KW Institute for Contemporary Art, Berlin; Museum of Contemporary Art Cleveland; and Museum of Contemporary Art Denver, among others.

Adam Pendleton’s work is a reflection of how we increasingly move through and experience the world on a sensorial level—a form of abstraction that, in its painterly, psychic, and verbal expression, announces a new mode of visual composition for the twenty-first century.

It investigates Blackness as a color, an identity, a method, and a political subject—in short, as a multitude. His work also poses questions about the legacy of modernism in the present day, reactivating ideas from historic avant-gardes across mediums and moments in time. Since 2008 he has articulated much of his work through the frame of Black Dada, an evolving inquiry into the relationships between Blackness, abstraction, and the avant-garde. It’s a visual philosophy that confounds the distinctions between legibility and abstraction, past and present, familiar and strange, reminding us that meaning always develops through difference.

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