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TAKE on Art Magazine A biannual art journal that covers contemporary art and culture from a South Asian perspective

The 14th edition of the Experimenter Curators’ Hub at Experimenter – Hindustan Road, Kolkata started today. Listen to th...
18/07/2025

The 14th edition of the Experimenter Curators’ Hub at Experimenter – Hindustan Road, Kolkata started today.

Listen to the conversation onsite or tune in via Experimenter’s website and YouTube channel for a live stream of the 2-day sessions. Online audiences can also engage with speakers in real time through Q&A.

Day 1, July 18, 2025: Speakers

Sharmini Pereira – Chief Curator, Museum of Modern and Contemporary Art Sri Lanka

Amal Khalaf – Co-curator, Sharjah Biennial 16 & Director of Programmes, Cubitt, London

Mohamed Almusibli .rtf – Director & Chief Curator, Kunsthalle Basel

Akansha Rastogi – Senior Curator, KNMA, New Delhi

Day 2, July 19, 2025: Speakers

Puja Vaish – Director, Jehangir Nicholson Art Foundation, Mumbai

Anne Barlow – Director, Tate St Ives, Cornwall

Fatima Bintou Rassoul Sy – Independent Curator & Director, Akpé Cultural Space, Dakar

Justine Ludwig – Executive Director, Creative Time, New York

Moderated by:
Rattanamol Singh Johal – Curator, art historian, and Assistant Professor at the University of Michigan, Ann Arbor – joining Experimenter Curators’ Hub as co-convenor of the Hub for the first time.

Presented by Experimenter Learning Program Foundation, with generous support from , , , , and media partner .

Where does a thread take you? For .surana_ , it drifts somewhere I have never travelled, tracing quiet questions about ...
16/07/2025



Where does a thread take you? For .surana_ , it drifts somewhere I have never travelled, tracing quiet questions about how we hold things together and the gentle labour of connection.

Her debut solo at Art Alive Gallery borrows its title from E.E. Cummings’ poem and, like the poem, meditates on the complexity of human connection. Indigo vat dyeing, rooted in India’s heritage and known as ‘blue gold’, carries a legacy that bridges past and present. French knots sprout like lichens, nourishing their surroundings and invoking collective support and renewal. Seed stitches become a metaphor for growth, while slashes and scorches mark both destruction and repair.

Through embroidery, each stitch, knot, and tangle becomes a marker of perseverance, echoing the quiet effort needed to nurture relationships and keep them alive.

On view at Art Alive Gallery, New Delhi, from 25 July to 20 August 2025.

Artwork 1: Cloth, indigo dyed gauze, shibori cloth, hand embroidery, eco printing, mono printing, 26 x 24 inches, 2025
Artwork 2: Hand made paper, gateway paper, monoprinting on cloth, hand embroidery, pen marks, 5 x 9 inches, 2024
Artwork 3: Hand made paper, Japanese kozo paper, machine embroidery, acrylic paint, pen, watercolor on paper, 30 x 22 inches, 2025
Artwork 4: Cloth creme, cyanotype on cloth gauze,net, hand embroidery, 9.5 x 9 inches, 2025

The 14th edition of the Experimenter Curators’ Hub brings together eight leading curators from India and around the worl...
10/07/2025

The 14th edition of the Experimenter Curators’ Hub brings together eight leading curators from India and around the world to Experimenter—Hindustan Road in Kolkata, India on July 18–19, 2025. Each curator has worked across diverse geographies, disciplines, and institutional frameworks that have been pivotal to their curatorial practices. Together, they will contribute to the long-standing objective of knowledge-making that the Hub has cultivated over the years.

Rattanamol Singh Johal joins the Hub this year as the new moderator and co-convenor. The participating curators at ECH 2025 are: Akansha Rastogi, Amal Khalaf, Anne Barlow, Fatima Bintou Rassoul SY, Justine Ludwig, Mohamed Almusibli, Puja Vaish, and Sharmini Pereira.

The Hub will also be live-streamed on Experimenter’s website and YouTube channel, making it accessible to audiences around the world.



Image credits:
Akansha Rastogi. Photo credit: Kiran Nadar Museum of Art
Amal Khalaf. Photo credit: Christa Holka
Anne Barlow. Photo credit: Kirstin Prisk
Fatima Bintou Rassoul SY. Photo credit: Mathilde Agius
Justine Ludwig. Photo credit: Nicholas Parakas
Mohamed Almusibli. Photo credit: Mathilde Agius

Today marks the 100th birthday of Krishen Khanna, one of India’s most iconic modernist artists—an extraordinary life in ...
05/07/2025

Today marks the 100th birthday of Krishen Khanna, one of India’s most iconic modernist artists—an extraordinary life in art. From his early figurative works that captured the subtle intensity of everyday life to bold, vibrant canvases reflecting human dignity and emotion, Khanna’s journey has captured every walk of life. A key member of the Progressive Artists’ Group, he helped shape postcolonial Indian modernism alongside contemporaries like M.F. Husain and F.N. Souza. His work bridged tradition with experimentation, bringing a humanistic depth to modern Indian art. Khanna’s canvases echo the socio-political churn of a newly independent India, rendered through an empathetic lens. His visual language—poetic yet grounded—carved space for personal narrative within a collective history.

As celebrates not just his longevity, but his lasting contribution to shaping India’s artistic consciousness in the 20th century and beyond.

Image Details:
1. Krishen Khanna Painting in his Studio, New Delhi, circa 1970s, printed in 2010. silver gelatin prints on paper. Courtesy - Mutual Art.
2. From the archives of TAKE on Art Modern. 2010.
3. A young Krishen Khanna. Courtesy - Vogue India.
4. From the archives of TAKE on Art Modern. 2010.
5. Krishen Khanna. Lala Jamunadas. Digital fine art printing on archival acid free paper. Edition of 125. Courtesy - The curators art.
6. Krishen Khanna. Untitled. charcoal on paper. Courtesy: Latitude 28.

In "Why Did I Say Yes?", Viraj Khanna transforms the chaos of Indian weddings into vivid embroidered tableaus—satirical...
04/07/2025



In "Why Did I Say Yes?", Viraj Khanna transforms the chaos of Indian weddings into vivid embroidered tableaus—satirical, self-reflective, and undeniably striking. Presented by Rajiv Menon Contemporary in Los Angeles, the exhibition critiques excess and curated perfection in the age of Instagram through aari and zardozi techniques.

Khanna draws on his family’s legacy in fashion, his own time on the wedding circuit, and traditional textile craft to explore themes of identity, aspiration, and the performative rituals of love and celebration. Each work is a dreamscape of thread and sequins, blurring memory, spectacle, and self-presentation.

Rajiv Menon Contemporary, Los Angeles
On view: June 28 – August 30, 2025
Opening Reception: June 28 | 6–8 PM

Image 1: Who are these people.
Image 2: Ready to begin my Concert.
Image 3: I need a Shower.
Image 4: I like how he looks on Instagram.
Image 5: Family Discussion Before.

Currently on view at VHC is Waypoint, the India debut solo exhibition by Iranian artist, Farbod Elkaei. Created between...
25/06/2025



Currently on view at VHC is Waypoint, the India debut solo exhibition by Iranian artist, Farbod Elkaei. Created between 2019 and 2021, this body of work reflects a shift in Elkaei’s practice towards instinct, play, and abstraction. Cut paper meets amorphous landscapes to form poetic, layered compositions that explore the space between the seen and the felt. This exhibition is on view at VHC until 26 July.

This limited-edition sculptures, rendered in bronze and zinc, materially congeal Choudhary’s longstanding interest for ...
24/06/2025



This limited-edition sculptures, rendered in bronze and zinc, materially congeal Choudhary’s longstanding interest for lines in time and space and his interest in folk imaginations. A face that comes apart and together in a singular moment - strewn in suspension. Call it the suspension of a natural standpoint or the suspension of meaning-making itself; with this compositional move, Chowdhary beckons us to take stock of the illusory nature of persons and their markers. Elements from several faces across his works come together to form a composite face - perhaps a composite self-portrait of everyone and no-one?

Artist-exemplar of a tradition that brought craft, tradition, and modernity into conversation with each other, Jogen Choudhary sensorially evokes the wafts of folkloric time in his recent works. The beings in his imaginaries work as torchbearers, to a world perhaps out of reach or lost to perception, or a world yet to wake up. In this ensemble of works, a dialogue unfolds between two modes of imaginaries in the form of a curatorial dialectic.

Sculpture details 
72 x 47 x 36 inches, zinc plate and Brass wire, Untitled Sculpture (Edition 9/9)

 

We know that the normative frame of the contemporary art world has the tendency to flatten out complexity under the guis...
20/06/2025

We know that the normative frame of the contemporary art world has the tendency to flatten out complexity under the guise of the so-called democratic language of equality, inclusivity and diversity, as well as assume a universalist chrono-normativity key to colonial suppression. For Indigenous epistemologies and aesthetic practices to be adequately “met” by the global contemporary art apparatus, a veritable transformative epistemological and structural revolution is required by the latter. In the meantime, this issue takes some humble steps to honour the extraordinary work of epistemological, ontological, and axiological sovereignty conducted by Indigenous, Adivasi, Authochtonous and First Nations creative makers, storytellers, scholars, curators, spiritual thinkers, knowledge holders and land-guardians worldwide. Titled “Epistemological Confrontations. Within and Beyond the Institutionalising Frame of the Contemporary Art World”, the third section of the issue has an insightful essay by .juan , researcher and lecturer at Universidad Mayor de San Andres in Bolivia, which reflects upon the potentiality and pitfalls of the Aymara_Quechua led government in Bolivia (whose population is 41% Indigenous) whose construction of an Andean centred cultural infrastructure invokes the contradictory dynamics of hegemony and exclusion.” 

- Excerpt from Guest Editor’s Note by

To read more get your copy of TAKE Indigenous from the link in bio.

“We don’t end at our edges.”
Explore Fragile Worlds, a review of Ravikumar Kashi’s solo at the Museum of Art & Photogra...
20/06/2025



“We don’t end at our edges.”

Explore Fragile Worlds, a review of Ravikumar Kashi’s solo at the Museum of Art & Photography, Bengaluru—an exhibition that weaves porosity, language, and materiality into sculptural form. Unravel an eclectic ephemerality with us through this read masterfully worded by Meera Menezes.

Read the full piece on our website.

🔗 Link in bio



Section two is titled “The Polyphonic Power of Adivasi Voices in India Today”. The more than 80 million Adivasi people t...
19/06/2025

Section two is titled “The Polyphonic Power of Adivasi Voices in India Today”. The more than 80 million Adivasi people that currentlylive within the nation state borders of India, constitute almost 20 percent of the global Indigenous population; the latter is itself a planetary force almost 500 million in size. A highly diverse and complex community, Adivasi peoples are holders of time-tested, and ever- adaptive, knowledges that advocate for collective living, matriarchal relations, food and medicinal sovereignties, as well as spiritual practices premised upon the indivisibility between people and the world around them. They also speak eloquently regarding human ́s duty of care towards lands, waters, fauna, flora and more than human entities, and are thus of singular relevance in the context of today ́s global socio-political, climate and security urgencies. Mumbai based, cultural theorist and curator discusses the dynamics at play between current Adivasi artistic practices mobilized by ancestral, premodern Adivasi ethics, aesthetics and epistemologies, in relation to normative discourses of artistic modernity in India. 

- Excerpt from Guest Editor’s Note by

To read more get your copy of TAKE Indigenous from the link in bio.

Gallerie Splash’s second edition of the curatorial fellowship takes as its starting point the tension between clarity a...
18/06/2025



Gallerie Splash’s second edition of the curatorial fellowship takes as its starting point the tension between clarity and ambiguity, presence and disappearance, movement and stasis. Signal and Drift foregrounds the ways in which media, spaces, and belonging intersect across unstable terrains—where meanings are transmitted, disrupted, and reassembled. In an age of accelerated connectivity and persistent displacement, this curatorial platform invites explorations of how messages travel across borders, how identities shift through mediated encounters, and how both signal and noise become forms of resistance, memory, and negotiation. It supports exhibitions and research that dwell in the in-between: in the drifting archives, ghosted presences, interrupted transmissions, and the fragile insistence of connection.

3 parallel exhibitions open on the 21st of June, at CCA, Bikaner House, New Delhi
“PR Kiya Toh Darna Kya” by
“ I, We, Them” by
“Walking Past” by



Artists featured:

t.k.sandeep .br .exe
.afza .sugandha

This is the first of two issues of TAKE on Art, laying the ground for a deep dive into Indigenous perspectives. Issue on...
18/06/2025

This is the first of two issues of TAKE on Art, laying the ground for a deep dive into Indigenous perspectives. Issue one is titled “Indigenous. Resistant Epistemologies and the Normative Frame of the Contemporary” and seeks to catalyse alliances between readers and the diverse, complex and longstanding field of Indigenous ways of thinking, doing, being and making. Taking a global perspective (without attempting to be comprehensive or universalist), the issue addresses the agency of Indigenous thinkers and makers (historically and into the future), their recent heightened presence in the contemporary art world as well as the epistemological clashes this attention elicits. The issue kicks off with a first section titled “Recalling Indigenous Epistemological Lineages. A Short History of Indigenous Anticolonial Counter-Narrators from the Nineteenth and Early Twentieth Centuries”.  Assistant Professor at Edinburgh University, introduces the thinking of the Munda tribal leader Birsa Munda who in 1866 launched the first tribal uprising in India, in opposition to the British imposed Forest Act. Munda is the only Adivasi leader to have a portrait hung in the Indian Congress in Delhi, yet his voice remains
to date cast within the shadows of history. 
 
- Excerpt from Guest Editor’s Note by
 
To read more get your copy of TAKE Indigenous from the link in bio.

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