In our issue this time, we address the intense relationship between food and art. I trace how artists in India have employed food – as an image system and as an occasion for curating public interventions as Shweta Upadhyay records how food and its contexts have been captured and re-presented by photographers.

We have one of our finest artists Shilpa Gupta collaborating with
institution builders and cultural workers Sneha Ragavan and Vidya
Shivadas – they have guest edited an issue for us this time. ‘What
keeps You Awake at Night?’ is the prompt around which they have
built the edifice of the issue, gathering strong voices and steering them
effectively. Along with this special issue is our regular magazine, the
one that you are holding. Interestingly, it comprises ‘The Morning
After’, a shadow prompt that responds to the question raised by the
guest editors, complementing and complicating it.

In this issue, therefore, we profile some of the key change makers, artists who are
pushing the envelope and altering the landscape. Arushi Vats discusses Rajyashri Goody searing explorations of the Dalit experience as Sonal Sundararajan dwells on the contextual drives of Samira Rathod art and architectural practices and many more

The Garden of Forking Paths. The Garden of Earthly Delights. The Perfumed Garden.
A story. A painting. A treatise.

In this issue, we visit most of the significant national and international exhibitions. At the latest Whitney Biennial, Rohini Iyengar discusses the issues of representation that plague the most prestigious survey of contemporary art in America as Tanya Abraham writes from Kassel about the controversial documenta 15, in the dock for its alleged anti-Semitic slant. Caught between the pandemic and a scorching heat wave, the 13th India Art Fair in Delhi has been staged successfully,
assures Aranya. Nauman Khalid responds to Ali Kazim’s show at the Ashmolean in Oxford as Yashodhara Dalmia visits the 97-year old Krishen Khanna’s mini-retrospective in Delhi.

From Subodh Gupta and Pushpamala N. to Ranjani Shettar and Seher Shah, almost all the key exhibitions this summer have been engagingly discussed in this edition. We carry a host of other features as well. A detail from Manisha Gera Baswani’s Bejewelled Spring graces the cover. Using incisions and ruptures, Gera Baswani explores liminal states persuasively in much of her recent work – thresholds between life and death, borders between nations, divisions between intimate
interiorities and remote projections. As we find ourselves in the middle of transitions, we are drawn to her explorations of conflictual states – disease and health, for instance – that also signal their deep translationality, their abiding mutuality.

Since 1996, ART India has been one of the most dedicated platforms taking stock
of the transforming art scene in the country; it has nurtured debate and channeled
informed discussion through its thematic issues. Without fear or favour, it has
assessed projects and productions, ideas and exhibitions, offering a compelling
map of the multi-featured topography of the South Asian artscape. With a dynamic
culture studies perspective that believes in inter-disciplinary inter-contextuality,
ART India has, over the last quarter of a century, comprehensively addressed
diverse art genres (Video art, Graphic novels, Performance art, Street art, among
others), assessed international art cultures (art in China and Pakistan, for instance),
addressed provocative themes like censorship and terror, food and festivals, gender
and identity, and committedly probed the intense relationship between image and
text. Observing India’s evolving visual culture in local and international settings, and
contemplating its omissions and commissions, has been one of its watchful drives.
The last six issues, for instance, offer a rich documentation of art in the shadow of the Covid pandemic.

In this issue, we map the art scene before, between and just after the third wave. Through reviews, reports and conversations, we check out shows by Varunika Saraf, Hemali Bhuta, Bharti Kher, Shezad Dawood, Radhika Khimji, Kartik Sood, Praneet Soi, Baaraan and Moonis Ijlal, Hetain Patel, Paula Sengupta, Piyali Sadhukhan, Paula Sengupta, Jayasri Burman, Sharbendu De, Sheetal Gattani, Antra Sinha, Khanjan Dalal, Sosa Joseph, Ravikumar Kashi, Neerja Kothari, Manish Nai, Tanmoy Samanta and several others.

Though seasons have been mined relentlessly by platitudinarians 
to peddle consumerist propositions and celebrate exoticscapes, 
their power to put you in touch with the changing phases of the 
world remains undiminished. The idea of transformation that they 
foreground suggests renewal and regeneration but also departure and longing. 
The seasons within are occasions that often reflect the transformations without. There are emotional upheavals and 
biological changes; possibilities of love, loss and restoration; moulting of skins and sloughing of memories.

This is the Age of Uncertainty. Conditions around us swerve between being buoyant and being cheerless. Lockdowns are imposed to check diseases that you thought were on their way out. Conditions worsen and things get better but you keep on wondering about the temporariness of the respite. Is the Third Wave round the bend, you ask yourself?How do artists respond to this precarity, this lurking shadow of danger, this battle between hope and hopelessness? 

This issue continues with our documentation of these difficult times and carries features about all the important shows in the last three months.

Stationed between disease and disorder, and denying every uncontested resolution, the future seems caught in a limbo, the kind that brings to mind the 19th century British poet and critic Matthew Arnold, who talks of swerving between two worlds, “one dead, the other powerless to be born.”

In the face of the technological revolutions of the last couple of centuries, the
contest between the natural world and the human world has progressively
intensified. The urban dystopia is the toxic location where the present has been
anchored for several years. How do we belong to these dangerous times, this
catastrophic age, as propagators and inheritors of crises that include the Global
Climate Change and the Coronavirus Pandemic?

How have artists and writers faced up to this unprecedented and continuous panic? The issue assembles images, meditations and philosophical positions these fraught times have triggered. Here then is an album of images that opens a portal into the inner lives of artists and writers –
a swarm of thoughts that unsettles them and the demons they grapple with.

As we confront what is arguably the worst health crisis in the last hundred years, we witness devastating economic and social transformations around us. It is in times such as these that one realises the reassurance literature and art have to offer. With other forms of creative expression like cinema, they explore the resilience of the human spirit – the will that finds no problem insuperable. In our panel discussion this time, Sangita Jindal, Shireen Gandhy, Atul Dodiya and I look at art in the time of the pandemic and respond to some of the challenges.

In our issue this time, the curator of the pavilion Roobina Karode discusses her vision and choice of artists with Meera Menezes as Atul Dodiya shares stories about his growing relationship with the Mahatma in an interview. Tasneem Zakaria Mehta walks through the Arsenale and the Giardini to carefully respond to national pavilions and individual artworks in the Special Review.

Underwired by a large network of biases that are both societal and institutional, this complicated relationship has as much to do with skewed caste and class relations as with the hierarchisation of taste. How do socio-aesthetic categories get ossified and what holds them back from tearing through their definitional boundaries?

We finally got our Indian Pavilion at the Venice Biennale. 

The Arsenale was abuzz with collectors and artists. The kaleidoscopic range of Indian art was on display.  Atul Dodiya’s cabinets were haunting; G. R. Iranna’s installation inspired by Mahatma Gandhi’s khadau depicted the power of collective action. The masterpiece was Rummana Hussain’s work that interpreted moments of conflict.

In this issue, we carry critical assessments of three major retrospectives. Geeti Sen goes back in time as she responds to KNMA’s comprehensive Arpita Singh show and Roshan Shahani rediscovers Navjot Altaf’s spirit of continuous enquiry at the NGMA, Mumbai. Sanjana Srinivasan travels to three venues in Chennai to check out S. G. Vasudev’s work over the last 50 years. 


In our issue this time, we have invited critics, curators, writers and academics to come up with close readings of layered images and critical experiences – paintings, performances, murals, photographs and film stills.

Very few expressive genres have suffered from an identity crisis as deep and abiding as the one Photography finds itself in the middle of. The cameraphone has become a double-edged sword – as its easy availability and usability transforms us into a nation of obsessive image-makers, the photograph as an object and occasion loses its sheen and suffers from acute status anxiety

If opening a magazine was similar to entering a gallery, you would think of its pages as walls.
What if these pages were invitations – for hanging art, assembling ideas and installing different kinds of images? In this issue, we have experimented with the possibility of creating a series of shows between the covers, by inviting thinkers, artists and writers to curate a sheaf of pages around diverse themes.

In this issue, we have tried to comprehensively cover the growing scene. At least four retrospectives have been explored. Rhana Devenport talks to Nalini Malani and writes about the first part of her grand show at the Centre Pompidou, Paris, as I gather my thoughts about the impressive exhibition of Vivan Sundaram’s works at the KNMA, New Delhi.

With growing governmental support and corporate sponsorship, street art in India seems to be gathering steam: over the last decade, it has decidedly gained in visibility, especially in metropolitan centres. Strategic beautification drives and social message campaigns have helped promote the embellished
public image in a variety of ways. Has this been achieved by compromising on its capacity to be socially and politically provocative? What do these interventions tell us about the changing visual culture of the country?

Over the last couple of years, programmes presenting a variety of conversations around art works, shows and movements have grown appreciably in number – panel discussions, short courses and lectures hosted by a number of well-meaning institutions seem to offer the curious or the committed viewer a range of events to dip in and out of.

It’s always rewarding to know more about the debt contemporary art owes to pioneers from an earlier time. In this issue, we revisit the careers and contributions of some of our senior artists. How have they shaped and steered the story of modern art in India?

Drawing on the passions of a diary, the energies of a graphic book, the enthusiasms of
an album and the gravitas of a sculpture, the artist’s book allows for critical relationships between words and images that are often complex – situations, stories and journeys get played out in different equations, in a manner biographical and sociological, intense and intimate. Have artists’ books come of age in India? What worlds do they try to capture and recreate?

In our issue this time, we carry four Special Reports – Shweta Upadhyay critically evaluates the latest edition of the India Art Fair as Zehra Jumabhoy assesses the Dhaka Art Summit. Rakhee Balaram muses about the Istanbul Biennial’s critique of institutional enthusiasms as I look at the South Asian presence at the Venice Biennale.

Hema Upadhyay’s unexpected and brutal death has shaken the art world. As a sensitive artist committed to exploring the transforming landscape around us, she leaves behind a rich hoard of memories. Numb and grieving with her family and friends, we dedicate this issue on Gender to her. Reflecting on the bizarreness of life and death, Shireen Gandhy pays a heartfelt tribute by writing her a touching Letter. We also carry a telling detail of her Hopes of Conversation on a Locked Terrace on the cover.

Compared to several genres, contemporary ceramic art practices have suffered from protracted neglect. Ignored by institutions, curators, and collectors, they have however, managed to grow in different directions. In our issue this time, we look at the expanding ceramicscape in the country.

Offering a balanced review is one of the most crucial acts of Criticism. Often considered lowly, a review or a report is easily dismissed as a pointed, opinionated piece that errs on the side of brevity. In a landscape where the catalogue essay reigns supreme, the humble review has an important role to play – it has to flex its muscle but be responsible; it has to provide the reader information and insight and do it without fear or favour.

In our issue this time, we bring you a bouquet of features on all the important shows in the last five months. In the Special Reports, we have Pepe Karmel contextualizing the V. S. Gaitonde show at the Guggenheim, New York, and Zehra Jumabhoy considering carefully the installations at the Sharjah Biennial. Meera Menezes takes stock of the India Art Fair in Delhi as I respond to the spirit that moves the Kochi-Muziris Biennale.

We carry more than 25 long and short reviews. Meera Menezes enters the image worlds of Arpita Singh, Anita Dube and Anju Dodiya as Amitava Kumar moves through the stories spun by the Raqs Media Collective. Girish Shahane spends time with Atul Dodiya and Arun Kolatkar at the Bhau Daji Lad Museum as Prajna Desai makes sense of Pierre Huyghe’s monkey in a mask. Vivek Menezes is moved by Lancelot Ribeiro’s paintings as S. Kalidas assess es Haku Shah’s new works featuring Gandhiji. Kamayani Sharma visits CAMP and A. Balasubramaniam as Quddus Mirza takes us to the finest shows in Pakistan.

February 2024 - Issue

February 2024 -Special Issue

April 2023

December 2022

August 2022

March 2022

February 2022

November 2021

July 2021

March 2021

February 2021

December 2020

July 2020

January 2020

December 2019

August 2019

ART India is India's premier art magazine: over the last 25 years, it has been responsible for the promotion of a critical discourse around diverse art forms, activities and disciplines.

As an important forum for discussing, interrogating and appreciating art practices, ART India has been responsible for giving a platform to artists and critics to engage in a mutually replenishing intellectual dialogue with each other. This has led to the fostering of a vibrant atmosphere of sustained debate around crucial issues linked to the theory and practice of painting, sculpture, installation art, new media art, photography and architecture.

We have taken care to be multi-disciplinary in our approach as well as to dwell on diverse visual cultural issues of importance and urgency.

ART India has been launched successfully in Dubai, New York, London, Lahore, and Karachi, among other international venues.

ART India has a huge international following and has been chosen by Beaux Arts magazine, Paris, as one of the leading art magazines in the world.

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Art India Magazine - September 2016

Art India Magazine - September 2016

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