TAKE on Art Magazine

01/06/2026

| E.SUN ART AWARDS 2026

Artists are invited to apply to the E.SUN Art Awards 2026, one of Asia’s leading international painting awards. It invites works that respond to nature, music, and the living landscapes of Yushan (Mt. Jade), Taiwan.

Open Call for International Artists
First Prize: USD 36,000 (International Category)
Themes: Yushan, Taiwan’s iconic peak | Music | Environmental Sustainability
Deadline: 17 July 2026 (online submission)
Apply Now: https://esunartawards.com/en/home/

Organised by E.SUN Bank, the awards foreground painting as a site for environmental awareness, cultural reflection, and cross-border artistic dialogue. Artists are invited to bring fresh perspectives to the enduring beauty of Yushan and its National Park. Apply through the link in bio.

Image details:

2) First Prize, Hai-Hui Wang (New Zealand), The Treasures of Yushan, 70 x 70cms, Oil Painting, Esun Art Awards, 2022

3) Special Selection, Birungi Arnold (Uganda), Yushan Wild, 91 x 72.5 cms, Acrylic Painting, Esun Art Awards, 2022

4) Special Selection, Julio Cesar Gomez Guerrero (Peru), Mystical Becoming, 90 x 70cms, Oil Painting, Esun Art Awards, 2022

5) Outstanding of the International Category, Emi Inaoka, Gyokuzan, 53 x 53cm, Acrylic Painting, 2022

6) Outstanding of the International Category, Chee-Keng, Yap, 91.5 x 61cm, Yushan on the Screen, Acrylic Painting, 2022

Images courtesy of E.sun Bank

29/05/2026

The opening of Lived-in Skin: Textile as Armour as Memory at LATITUDE 28 holds to the promise of Def Col night: offer visitors a spectrum of materials, materiality and thematic explorations across the art galleries in the vicinity. Bringing together the practices of Sabeen Omar, Meenakshi Nihalani, and Anshu Singh, the group exhibition oversees textile as an emotional residue, inherited histories, labour and memory across generations through acts of weaving, stitching, layering, and material accumulation. Textiles exist in intimate proximity to the body. They absorb gesture, repetition and time to accumulate emotional and historical weight through use. The artworks with the woven surfaces emerge as repositories of lived experience, where personal memory converges with broader histories of migration, displacement and survival.


Lived-in Skin: Textile as Armour as Memory
Sabeen Omar | Meenakshi Nihalani | Anshu Singh
LATITUDE 28
29 May - 25 June 2026 | 11 AM – 7 PM

Captions:

1. Anshu Singh, No more shall I weave a garment of pain, 2023.
2. Sabeen Omar, where does longing rest?, 2026.
3. Sabeen Omar, body holding its falling / softened armour, 2026.
4. Sabeen Omar, it is night with glaring sunshine, 2023.
5. Meenakshi Nihalani, The sun followed me/ dawn, 2026.
6. Meenakshi Nihalani, The sun followed me/ under the stars, 2026.
7. Meenakshi Nihalani, The sun followed me/ migration, 2026.
8. Sabeen Omar, Installation Shot, 2026.
9. Anshu Singh and Sabeen Omar, Installation Shot, 2026.
10. Anshu Singh, Gulistan, 2026.

All Images Courtesy: LATITUDE 28

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21/05/2026

COLLABORATION X Shalmali Shetty ( )

(Un)Layering the Future Past of South Asia: Young Artists’ Voices brought together twenty-six artists from across India, Pakistan, Bangladesh, Nepal, Sri Lanka, and Afghanistan at the SOAS Gallery ( ) in a research-led exhibition co-curated by Salima Hashmi ( ) and Manmeet K. Walia ( ). Through textiles, installation, photography, sound, video, and painting, the exhibition unfolded layered reflections on displacement, migration, memory, violence, and contested belonging across South Asia.

Writing for TAKE on Art’s Collaboration issue, Shalmali Shetty reflects on how the exhibition approached “homecoming” not as a fixed return, but as an emotional and political condition shaped by fractured histories, exile, and collective memory.

Following its presentation in London, the exhibition now travels to Bradford Museums & Galleries (. ( bradfordmuseums )at Cartwright Hall Art Gallery, on view from 28 March – 31 August 2026.

Read the full article—buy the magazine via the link in bio.
Images

Slide 1 : Detail of The Longest Revolution II Embroidery, Varunika Saraf, 2024. Image courtesy of the Artist & Chemould Prescott Road, India ( )

Slide 2 : Moonis Ahmad, Birds that walk on earth have eyes on the sky-II; Print on Dibond, 2024 ( )

Slide 3 : Hadi Rahnaward, Fragile Balance; Mixed media including matches, plastic mesh sheets, paper board, ink, and glue, 2023. Photo: Aurélien Mole ( )

Slide 4 : Ayesha Sultana, Pools; Hand-blown glass, 2024 Photo: The Artist & Experimenter, India ( ) ( )

Slide 5 : Hema Shironi, My Family is Not in the List - 10 Kg; Embroidery on rice bag, 2024 Photo: The Artist & Saskia Fernando Gallery, Sri Lanka ( ) ( )

19/05/2026

COLLABORATION x Jagannath Panda ( )

In The Long Now of Us, Jagannath Panda returns to Bhubaneswar with his first solo exhibition in the city after nearly three decades. Curated by Sibdas Sengupta ( )and presented at the Lalit Kala Akademi ( ) the exhibition assembles recurring motifs—chariots, dancers, architectural fragments, photographs, textiles—into layered visual terrains where histories continuously reappear and transform.

Writing for TAKE on Art’s Collaboration issue, Pradosh Kumar Mishra reflects on Panda’s use of collage as both material strategy and philosophical proposition. Rather than preserving cultural memory as fixed inheritance, the works disassemble and reconstruct vernacular histories through contemporary visual language, allowing meaning to remain open, unstable, and in motion.

Across the exhibition, memory unfolds less as archive and more as accumulation: fragmented, recurring, and continually reinterpreted through acts of return.

Read the full article—buy the magazine via the link in bio.

All images courtesy of
Biswajit Sahani.
Jagannath Panda, Installation View, The Long Now of Us, 2026

18/05/2026

TAKE PICK: National Pavilions at the 61st International Art Exhibition — La Biennale di Venezia ( )

Presented by the National Institute of Fine Arts and National Institute of Fine Arts and Literature (INBAL) and curated by Jessica Berlanga Taylor ( ) Actos invisibles para sostener el universo by the collective RojoNegro ( .ome ) represents Mexico at the 61st International Art Exhibition — La Biennale di Venezia.

Through installation, sound, performance, and organic materials such as salt and clay, the exhibition reflects on ancestral memory, ritual technologies, and decolonial forms of knowledge.

Structured as a sensorial and meditative environment, the exhibition considers breath, matter, gesture, and listening as carriers of memory, spirituality, and collective experience. A line of salt shaped as a Mesoamerican vírgula symbol guides visitors through the space, alongside bird-shaped vessels, sound, and audiovisual elements that unfold through rituals of care, transformation, and expanded listening.

All Images courtesy of Courtesy of RojoNegro and Instituto Nacional de Bellas Artes y Literatura (INBAL)

15/05/2026

TAKE PICK: Collateral Exhibitions at the 61st International Art Exhibition — La Biennale di Venezia ( )

Presented by the Victor Pinchuk Foundation and PinchukArtCentre, Still Joy — From Ukraine Into the World unfolds at Palazzo Contarini Polignac as an official Collateral Event of the 61st International Art Exhibition — La Biennale di Venezia. Curated by Björn Geldhof and Oleksandra Pogrebnyak, the exhibition brings together Ukrainian and international artists reflecting on joy as both a fragile human condition and a radical act of resilience amid war, displacement, and loss.

Through video, installation, painting, photography, sculpture, and immersive environments, the exhibition unfolds through testimonies, survival, memory, intimacy, and collective care. The exhibition includes works by Tacita Dean, Julian Charrière, Ryan Gander, Gabrielle Goliath, Zhanna Kadyrova, Ashfika Rahman, and Nikita Kadan, among others. Moving between rave footage from Kyiv, installations built from salvaged materials, personal testimonies, and meditations on love and endurance, the exhibition reflects on the persistence of humanity within conditions of ongoing conflict.

All photographs courtesy of Victor Pinchuk Foundation

Slide 1: Gabrielle Goliath, Personal Accounts (a quiet rush), 2025 ( )

Slide 2: Janet Cardiff & George Bures Miller, Conversations with My Mother, 2023 ( , )

Slide 3: Ashfika Rahman, Than Para — No Land Without Us ( )
2025

15/05/2026

TAKE PICK: Collateral Exhibitions at the 61st International Art Exhibition — La Biennale di Venezia ( )

Presented by the Victor Pinchuk Foundation and PinchukArtCentre, Still Joy — From Ukraine Into the World unfolds at Palazzo Contarini Polignac as an official Collateral Event of the 61st International Art Exhibition — La Biennale di Venezia. Curated by Björn Geldhof and Oleksandra Pogrebnyak, the exhibition brings together Ukrainian and international artists reflecting on joy as both a fragile human condition and a radical act of resilience amid war, displacement, and loss.

Through video, installation, painting, photography, sculpture, and immersive environments, the exhibition unfolds through testimonies, survival, memory, intimacy, and collective care. The exhibition includes works by Tacita Dean, Julian Charrière, Ryan Gander, Gabrielle Goliath, Zhanna Kadyrova, Ashfika Rahman, and Nikita Kadan, among others. Moving between rave footage from Kyiv, installations built from salvaged materials, personal testimonies, and meditations on love and endurance, the exhibition reflects on the persistence of humanity within conditions of ongoing conflict.

All photographs courtesy of Victor Pinchuk Foundation

Slide 1: Gabrielle Goliath, Personal Accounts (a quiet rush), 2025 ( )

Slide 2: Janet Cardiff & George Bures Miller, Conversations with My Mother, 2023 ( , )

Slide 3: Ashfika Rahman, Than Para — No Land Without Us ( )

Slide 4 : Katya Lesiv, I Am Going Home to Eat Mulberries from the Tree, 2023-2026. ( .lesiv )

Slide 5: Janet Cardiff & George Bures Miller, Conversations with My Mother, 2023

Slide 6: Tacita Dean, If I Were at the Adlon, 2025 ( )

Slide 7: Kateryna Lysovenko, Soldiers and Stars, 2026

Slide 8 : Lesia Vasylchenko, 1534, 2026 ( )

Slide 9 : Yurii Gruzinov & Oleksiy Sai, Land, 2026

Slide 10 : Simone Post, She Knew She_It_They Would Melt, 2026 ( )

Slide 11 : Alevtina Kakhidze, Joy, 2026. Still Joy

Slide 12 : Gabrielle Goliath, Personal Accounts (a quiet rush), 2025

12/05/2026