Just do it.

Mehroo Mistry: Passing away of Ratan Tata and the gambit of crocodile tears. 

Not a single politician who now talks of being sad on the passing away of Ratan Tata actually cares. A single member of the Tata family has done more for the country and given more to the country and the poor than all the politicians and their families put together.

So Mr Politician, cut the crap. You didn't give him the Bharat Ratna when you should have. You didn't have the balls to name an airport after JRD Tata who gave India its airline but will happily name it after some union leader or politician to pander to them for vote banks.

Cut the bull, Mr Politician, about being sad. You don't care about any of the Tatas...

If you do, let us see you name the new upcoming airport in Mumbai after the Tatas.

Rustom Jamasji

Mehroo Mistry: Let's start a movement by sending this message, making it viral that the new airport of Navi Mumbai be named after Ratan Tata. I am sending this first message on our group and intend making it viral. I want all of you to think and, if you agree, just do it.

“UJJAL” An Exhibition of Paintings & Sculpture by 6 renowned artists in Jehangar Art Gallery

The group show “UJJAL” displays paintings and sculptures by six contemporary Indian artists: Bappa Maji, Pravat Manna, Subrata Paul, Sudeshna Sil, Sudip Biswas, and Tanmoy Hazra.

"UJJAL" (meaning bright, luminous) draws viewers into a deep conversation with form, colour, memory, myth, and nature. These six artists, regardless of their fields, combine tradition and novelty, the physical and the lyrical, the individual and the general.

Sudeshna Sil's work reflects her sensitivity, influenced by Bengal's nature and art training. Through watercolour, mixed media, and fabric, she portrays nature's depth, offering escape from city life.

Bappa Maji of Kolkata sculpts sacred and animal forms using the Bengal Dokra tradition. He reinterprets mythological Vahanas in new materials. His art considers humans, animals, myth, and daily life, prompting viewers to feel respect and think.

Pravat Manna uses paint to change the canvas into a landscape of feelings, using oil, acrylic, and mixed media. Through layered compositions, he explores memory, identity, and humanity, using technical skill and personal symbolism.


Active since the late 1990s, Subrata Paul sculpts, often with bronze and wood, moving beyond mere replication to reveal the hidden energies of form. His sculptures communicate human feelings and interactions, using both old and new artistic methods.

Sudip Biswas, a notable modern Indian painter, creates stories of quiet feelings, cultural remembrance, and tradition. Benaras and the Ganga influence his paintings, which combine abstraction and figuration. His recent awards highlight the impact of his work.

The exhibition also includes Tanmoy Hazra's work, which is characterized by its expressive and innovative qualities and engagement with diverse materials, form, context, and meaning. 

The six artists engage in a complex dialogue, rich with layers of myth and matter.

"UJJAL" presents a unique mix of artists, allowing art lovers to dive into modern Indian visuals that are both classic and forward-looking. We welcome everyone to experience these artworks 

 UJJAL” — A Radiant Confluence of Painting & Sculpture
14 – 20 October 2025 | Jehangir Art Gallery (Auditorium Hall), Mumbai

From: 14th to 20th October 2025

VENUE: Jehangir Art Gallery, Auditorium Hall, 161-B, M.G. Road, Kala Ghoda, Mumbai 400001

Timing: 11am to 7pm, Contact: +91 9163718889, +91 9831307228

A Solo Show of Recent Work by Renowned artist Vishwa Sahni

“Visthapan”

Vishwa Sahni’s painting seems to have been focused for some time on the contention that abstraction, if allowed to breathe in a deeper pictorial space, can maintain visual opulence without drifting too far from its essentially two-dimensional syntax. Among a generation of artists who matured on this side of painting’s pluralist expansion, where each painter’s style, look and touch was far more varied than that of their predecessors, Sahni held to a firm figurative scaffold based on migration both perceived and imagined. Though the iconography in this recent work remains readable each painting’s horizon is still easy to find, there is in newer panels a softening of the edges and a swelling of forms that now shimmer behind translucent washes instead of bending, as they once did, into each other’s space. From an optimal distance coerced from the viewer by the five feet by nine feet spread of their frames their reconfigured cohesion seems to rely less on drawing and more on a spontaneous manipulation of hue and texture.

Artist: Vishwa Sahni

The resulting airiness is a clear departure from his earlier work, which is reprised in this exhibition, an example of his harder-edged shapes, apparently reconstituted during the painting’s many stages of development so as not to diminish the careful coordinating of its unique structural invention. To drift from the success of this method is risky, for what’s been so appealing about Sahni’s work until now has been precisely its interconnected complexity. The changes seen in this exhibition may be attributed in some measure to his establishing a studio in Mumbai, a move from country life in Madanpur, for reasons linked to the landscape itself, resetting a painter’s perspective.

A clue to the path taken in this shift between the earlier compositions and these newer, cloudier apparitions may be found in seven-foot square painting representing the artist’s trials at keeping the structure fixed tighter to the surface. Here, a familiarity with Sahni’s elevated horizon line helps the viewer read the ghost of a landscape that still exists despite the missing diagonals and story-book trees of his earlier work, elements that had once supported the artist’s penchant for excavating spatial illusion with little cost to a lively surface. Visthapan marks the change as its simplified shapes are not immediately recognizable as landscape elements. They also seem unusually tolerant of each other’s position in the composition.

And yet to my eye the most adventurous of the newer canvases in the show, still owes something to the lexicon of the earlier work, though here it seems Sahni’s method has turned to a new and pronounced improvisation. Visthapan’s surface remains in a perturbed state. Edges are ragged and makeshift. Translucency dominates. There is even a gestural coarseness replacing what was once a controlled chaos of endlessly suggestive shapes. The color alone in Visthapan provides the link to earlier work, being mostly middle tones of contingent primary and secondary hues.

For anyone who has followed Sahni’s work these many years, an effort to catch up to where he is now will require diligence, which I believe is a fair expectation for him to make as his paintings have always appealed to a visually smart audience. Because his abundant inventiveness had constituted as near a legible pictorial language as created by any painter in recent memory, encountering its contraction will demand a real and unavoidable learning curve. Sahni is a painter whose strength had always been his ability to develop variations on a theme. The construction of an intelligent, readable and teasingly ambiguous pictorial image, still speaks to a continuity of vision.

Sahni has never been a painter fixated on concocting a new look, and there is no indication here of chasing novelty, nor is there any hint of applying arbitrary effects to avoid comparison with contemporaries. From the beginning his work has been a conscious adaptation of migrant landscape elements knit tightly into compositions that owed a great deal of their cohesion to those compositional properties that as any instructor knows are maddeningly difficult to formulate verbally but can be appreciated in its many variations. As galleries continue to hawk brightly colored things apparently meant for the simpler aim of accessorizing the expansive blank walls that once provided inexpensive working space for artists, it gives one hope to watch a painter keep to self-imposed limitations, not in spite of, but because there is more than enough room within a rectangle of canvas to address a thoughtful and historically aware sensibility.

Abhijeet Gondkar

October 2025, Mumbai

From: 14th to 20th October 2025

VENUE: Jehangir Art Gallery,161-B, M.G. Road, Kala Ghoda, Mumbai 400001, Timing: 11am to 7pm

A selection of works from one of the masters and prominent contemporary Indian artists

Curated for art lovers, aspiring collectors, and seasoned aficionados

by Sukruti Singh With years of experience in showcasing India’s finest contemporary art.

Artist: Achuthan Kudallur

Achuthan Kudallur: The Poetics of Colour and Silence

The exhibition celebrates the life and art of Achuthan Kudallur (1945–2022), one of India’s most significant abstract painters whose work transformed colour into emotion and silence into form.

Born in Kudallur, Kerala, Kudallur trained as an engineer before moving to Chennai, where he discovered his true calling in art. A largely self-taught artist, he began with figurative works and gradually evolved into pure abstraction, exploring the depth and intensity of colour with unmatched sensitivity.

Kudallur’s canvases—marked by vibrant reds, serene blues, and luminous yellows—embody a meditative rhythm. His abstraction was not decorative but deeply personal, reflecting memory, mood, and the inner landscape of thought. A key figure of the Madras Art Movement, his works bridged discipline and spontaneity, emotion and restraint.

Recipient of the National Academy Award (1988) and the Tamil Nadu Lalit Kala Akademi Award (1982), Kudallur exhibited widely across India and abroad, with works held in major collections including the National Gallery of Modern Art, New Delhi.

This presentation honours Achuthan Kudallur’s enduring legacy—a visionary who made colour his language and silence his signature.

Artequest Art Gallery (AAG), nestled in the heart of Mumbai since 2010, shines as a radiant beacon for modern and contemporary Indian art. Renowned as a vibrant cultural hub, AAG dazzles with its curated blend of masterpieces by iconic artists like S.H. Raza, F.N. Souza, Tyeb Mehta, M.F. Husain, Anjolie Ela Menon, and Prakash Bal Joshi, alongside the bold, innovative works of emerging talents shaping the future of Indian art.

Far more than a gallery, Artequest is a dynamic bridge connecting artists, collectors, and art lovers with a shared passion for creativity. Committed to authenticity and excellence, it offers a trusted platform for collectors and a nurturing space for artists to flourish. Through vibrant exhibitions, prestigious art fairs, and exciting international collaborations, interacting with foreign embassies, AAG amplifies the global resonance of Indian art while remaining deeply rooted in Mumbai’s electrifying art scene.

Solo Exhibition: Achuthan Kudallur– Silent Colours

Dates: 4th – 10th October 2025

Time: 10:00 am – 9:30 pm (Entry by appointment only)

Venue: Artèquest Art Gallery, A3/103, BGTA Ganga Premises, Near Atul Seth, Opp. New Cuffe Parade – Lodha,Wadala (E), Mumbai – 400037, India

For further details, contact:🌐 www.artequest.com