Aakshat Sinha reviews tthe solo show of Bangladeshi artist Shahabuddin Ahmed, settled in Paris, "Waves of Impasto" at CCA, Bikaner House, New Delhi (4-12 July 2026), curated by Jyotirmoy Bhattacharya, and presented by Prashant Tulsyan of Tulsyan Family Beneficiary Trust.

John Elliott reviews the recent solo exhibition by Anish Kapoor held at London's Hayward Gallery, which included his most recent huge red bulbous sculptural installations.

John Elliott reviews the recent solo exhibition by Anish Kapoor held at London's Hayward Gallery, which included his most recent huge red bulbous sculptural installations.

Ranjan Kaul interviews multidisciplinary artist Payal Arya, who engages with science, ecology, history, and personal narratives to examine the intersection of the self and the non-self. Her practice questions ideas of distance, position, and bodily tolerance.

Ranjan Kaul reviews "Portraits in Time" held recently at Bikaner House, New Delhi. Curated by Sonali Batra, the chronically arranged portraits in the show ranged from the formal restraint of aristocratic portraiture to the introspective exploration of identity. What the show clearly brought to the fore is the relevance of portraiture in today's age.

Arundhat Gupta reviews to recent solo exhibition, "Our Ashram . . . Santiniketan" held at Visual Arts Gallery, New Delhi. Her body of work includes vignettes of nature and habitat typical of Santiniketan -- the various activities of the local Santhals, birds, flora and fauna, monkeys, owls, cats and dogs.

Artandyou.ru correspondent Elena Rubinova interviews well-known multidisciplinary Russian artist Alena Romanova, whose work encompasses several mediums, including painting, graphic design, metal and enamel, sculpture and installation.

Dhritabrata Bhattacharya Tato reviews Inder Salim's on-going show at Gallery ONKAF. Well-known for his major contributions to performance art, the show brings together for the first time both his early conventional paintings and later multi-media works and those using found objects.

Ranjan Kaul writes on the amazing use of tattoos and other symbols by pro-democracy activists as part of their ongoing pro-democracy resistance and civil disobedience movement in Myanmar. The article also gives a brief account of the Spring Revolution in February 2021 following the military coup and the arrest of the State Counsellor Aung San Suu Kyi.

Georgina Maddox reviews the recent exhibition titled "The Art of Fabulousness: In Praise of Presence" curated by Myna Mukherjee of Engendered and held at The Leela in New Delhi. The exhibition is themed around the book by Shalini Passi "The Art of Being Fabulous". It celebrates the complimentary elements of Fabulousness: beauty and decorativeness as one element and fierceness, knowledge and power as the other.

Ranjan Kaul interviews multidisciplinary artist Suman Kabiraj, whose socially engaged art practice explores labour, urbanization, and migration.

John Elliott reviews the ongoing exhibition by the Singh Twins in the Shirley Sherwood Gallery of Botanical Art in Kew. The show was the result of the invitation to the Singh Twins by Britain's Royal Botanical Gardens to explore Kew's archives and the links to colonisation.

Aakshat Sinha previews the forthcoming show 'Inheritance of Light, Geographies of Loss' that brings together more than forty artists working across painting, textiles, glass, photography, fashion, sculpture, architecture, video, and artificial intelligence to examine how light has travelled between India and the Netherlands, from the era of Mughal miniatures and Dutch Golden Age painting to today’s digital and globalised world.

Ranjan Kaul critically reviews Pintu Sikder's recent show of sculptural works titled "Perception Unfold 25-26" held in Shridharani Gallery, Triveni Kala Sangam Complex, New Delhi.

Ranjan Kaul interviews multidisciplinary artist Ramani Mylavarapu whose community-based art with various tribes, fisherfolk and farmers includes photo-performance.

Responding to the artamour questionnaire, artist Remya Brijesh discusses her art journey and her themes that relate to the natural environment and the people around her.

Ranjan Kaul interviews Reinar Foreman, a talented young artist from Iceland, who recently held his solo exhibition "Shani's Chariot" n at Urban Fringe - the underground studio, New Delhi. The show was curated by Aakshat Sinha and Olga Lystsova.

Aakshat Sinha reviews the forthcoming show 'The Darkness and the Star' featuring the works of Waswo X Waswo and his team of collaborative artists. The show is presented in conjunction with Gallery Espace and will be held between 4 and 14 December 2025 at Bikaner House, New Delhi.

Ranjan Kaul critically reviews Gautam Bhatia's show "All the Beauty in the World" held in October 2025 at Bikaner House, New Delhi. Presented by WEFT Foundation, the exhibition featured 20 art objects created by fusing together everyday objects.

What unites these regions is not uniform style but a shared urgency to institutionalize impermanence. The transition from spontaneous street art to sustained arts infrastructure marks a profound shift in the politics of cultural production across the Global South. The Fearless Art Foundation, through initiatives like Art of Liberation, embodies this transition. By bridging grassroots movements with museums, archives, and pedagogy, it reframes protest as a long-term, interg

. . . there could not be a better moment to introduce art lovers to Indian contemporary art. The Russian audience and the key players in the art market are accustomed to the fair’s diverse and high-caliber offerings from various countries. But in the context of current sanctions and the extent of art market isolation, the audience is clearly more than open and hungry for new artistic explorations.

Artist Palak Modi in Conversation with Ranjan Kaul New Delhi-based visual artist Palak Modi explores the profound interplay between...

Ranjan Kaul writes a critical note on Harmandeep Keerti's ongoing solo exhibition, "Begumpura: Shoots and leaves" at Triveni gallery, Triveni Kala Sangam, New Delhi.

Poet performance storyteller, and maker of masks, Tansy Troy uses as reference woodcuts of Thomas Bewick, published as "Bewick's Birds", and Ranjan Kaul's series of paintings inspired by Shelley's allegorical, protest poem, "Masque of Anarchy" to speak about our turbulent times and the need to appreciate the interdependence between all life forms. She revisits Shelley and his poetry, starting from his earliest childhood to understand the influences and sensations that shaped