Latest news with #KiranNadarMuseumofArt
Indian Express
16-07-2025
- Entertainment
- Indian Express
On filmmaker Jafar Panahi's 65th birthday, a documentary pays homage to Iranian cinema and literature
By: Deepak Rajeev Known to make films undercover and in rather clandestine ways, the 'rebel' filmmaker Jafar Panahi recounts a rare anecdote about his suicide attempt after a year of depression due to the Iranian government's decision to ban him from making films. He says: 'I remember one night I went to the sea to kill myself. But the heavy waves of the sea rejected me. I went deep inside for about two or three kilometres but rushed out crying. That night, I decided no matter what happens, I will find a way out to make films.' Panahi says this in Sreemoyee Singh's 'And, Towards Happy Alleys' that was screened in Delhi last week. Panahi is known for his critically acclaimed films such as The White Balloon (1995), 3 Faces (2018), This Is Not A Film (2011). In the film, Sreemoyee is in his car and we see a happy, down-to-earth Panahi who continues to make award-winning films even after being arrested, jailed and banned by the Iranian government. He tells her that making films is what provides meaning to his life and he won't leave the country even though the government wants him to. On his birthday, July 11 Sreemoyee's documentary And, Towards Happy Alleys was screened at Kiran Nadar Museum of Art, New Delhi. The film, which could be considered as a cinematic and poetic love letter to Iranian New Wave cinema and literature, also reminds us about the deep burden of authoritarian restrictions and artistic censoring imposed by the Iranian government on its citizens. The screening was followed by a discussion, moderated by the organisers of the initiative, Ishan Sharma and Neha Tickoo, which spotlighted the socio-political condition of Iran since the Iranian Revolution in 1979. 'And, Towards Happy Alleys' had its world premiere in the Panorama Section at Berlin International Film Festival in 2023. It develops as a travel diary of the director through Iran, a country that produces cinematic milestones and literary gems even under the threat of the theocratic republic's scissors of censoring. For Sreemoyee, who hails from Kolkata and knows fluent Persian, this is her first feature length documentary. Her fantasy short film 'Flying Taxi', released this year, has Ratna Pathak Shah in the lead. In the beginning of 'And, Towards Happy Alleys' itself wondering about the marvellous sense of hope and poetic sublimity emanating from the art of Iran, Sreemoyee asks: 'Where did this hope emanate from? How could such life-affirming stories of beauty emerge from the claustrophobia of censorship?' Through her interactions with Palme d'Or-winning director Panahi, lawyer and activist Nasrin Sotoudeh, filmmaker Mohammad Shirvani and others, Sreemoyee tries to answer these questions in the film. Furthermore, the patriarchal and restrictive socio-political situation of the country that doesn't allow women to visit public places without hijab, punishes women who sing in public and where the government uses Morality Police, violence, and force to suppress protesting voices—also comes to light through her journey. The poetry of Forugh Farrokhzad, the rebel poet who unveiled her hijab and openly wrote about her desires, sexuality and womanhood, flows through the heart of this film. Sreemoyee herself said during the discussion following the screening: 'Forugh is a big part of this film. She is pivotal; she drives the film.' Sreemoyee, who completed her PhD on Iranian cinema and travelled through Iran, compares it with India and says when it comes to the experience of a woman, the countries aren't very different. Even though the degree of policing, censorship and panic is higher in Iran, 'we have had very similar struggles'. During the discussion, she said, 'As a woman in India, I didn't feel like Iran was a very different space. In India, too, women have been taught to always be on our guard. We have to be careful, every time.' The film also reminds us that the Reza Shah Pahlavi government that ruled before the Iranian Revolution in 1979 — prior to the accession of Ayatollah Khomeini as supreme leader — was also not very favourable for women. Putting forth a Western model of developmental plan, the Reza Shah regime banned hijab altogether without taking into account the Iranian women's freedom of choice. Therefore, Maede M, a writer featured in the documentary, tells Sreemoyee: 'Both the bans are like each other. This law that enforces the hijab and Reza Shah's ban of hijab are the same as both disrespect the choice of the people. Because it's all about our choices. My mother is a person who believes in the hijab and yet she doesn't agree with mandatory hijab. Because it's an insult to her choice.' As the documentary ends, a subtle feeling of awe and uneasiness fills the heart of the spectator, thinking about the greatness of filmmakers and poets such as Abbas Kiarostami, Panahi, Farrokhzad and the struggles and sacrifices of protesters and women for freedom. It ends with a poem written by Forugh that represents the powerful, indomitable and passionate spirit of women who are facing injustice, read aloud by the writer Jinous Nazokkar with tearful eyes: 'When my trust was suspended from the fragile thread of justice And in the whole city they were chopping up my heart's lanterns When they would blindfold my innocent eyes with the dark handkerchief of Law And from my anxious temples of desire fountains of blood would squirt out When my heart had become nothing, nothing but the tick-tock of a clock I discovered I must, must, must love insanely.'
The Hindu
26-06-2025
- Entertainment
- The Hindu
Smile Train India's photo exhibition on children with clefts at KNMA Delhi is a powerful portrayal of reality and hope
In a world obsessed with perfection, airbrushed images, and filtered realities, a black-and-white portrait exhibition at the Kiran Nadar Museum of Art (KNMA) quietly but powerfully disrupts the noise. Every Smile Belongs is a compelling collaboration between Smile Train India, the world's largest cleft-focused charity organisation, and photographer Komal Bedi Sohal, who has come up with a series of photographs of children born with cleft lips and palates. But these are not pictures of sorrow or medical condition; they are stories of hope, courage, playfulness, and identity. 'The exhibition is not about evoking pity; it is about pride,' says Komal, who transitioned from an advertising creative director to a visual storyteller . 'When I pick up the camera, I do not want to tell a sad story. I want to tell a true story and one filled with light, hope and strength.' 'Advertising taught me how to communicate an idea in a few seconds,' she says. But the lens through which she now communicates is more intimate. 'The goal is different; it is not about selling a product, but about restoring dignity,' she says.' That dignity is woven through each portrait on display. Some of the children photographed are barely months old. Others are teenagers finding their way through dance, sports, or content creation. On one side of the gallery are newborns recovering from surgery, shot in quiet hospital rooms. On the other side, older children playful, vibrant, pose confidently in a public park. The collaboration with Smile Train India began with a conversation but quickly became a calling. 'When I started learning more about Smile Train, I was amazed,' Sohal recalls. 'It is not just about correcting a cleft but about building lives.' Smile Train's approach resonated deeply with her. 'Instead of glamour they wanted real, raw, honest storytelling. That was exactly what I also wanted.' For Komal, empathy was not just an attitude. It was a technique. 'I never walked in with a big flash or intimidating gear,' she explains. 'For the pre-op photographs, I used natural light in hospital rooms. No equipment, no flashes. Just light through a dusty window.' Each frame was a result of quiet trust. 'I sat beside the mothers so that their babies would not be scared. I played with the babies, talked to the children, showed them how the camera worked. It was never just 'point and shoot.' It was a process of building trust.' The post-operation portraits were shot at Sanjay Park, Delhi, during a frigid January morning. 'The kids were bundled up in warm clothes. But as we played, talked, and warmed up, they relaxed. Some said they loved to dance. One was a beauty influencer. Another loved cricket. One boy was studying horticulture. So I made images that reflected them, not just their faces.' What strikes throughout the exhibition is the absence of colour. 'I insisted on shooting in black and white. I did not want the distraction of colour. The focus had to be on the emotion, the gesture, the personality.' Komal's aim was to create what she calls 'naked portraits', raw, honest, unfiltered. 'We live in a world dominated by filters and retouching. I wanted to remind people that beauty lies in truth, not perfection.' KNMA's curation of the exhibition is appealing in that the portraits are grouped not by age or medical history, but by gestures, light and mood. One wall features children with expressive hands. Another plays with eye contact. Some are grouped by movement — like children playing ball. It is a small space, but has been used beautifully to evoke maximum emotional impact. Out of many, Komal narrates one moment when a young girl saw her portrait for the first time and walked up to the frame, put her cheek against it, and just stood there, holding it. 'That image, that moment is what this exhibition is all about,' she says. At KNMA, No. 145, DLF South Court Mall, near Select Citywalk Mall, Saket District Centre, Sector 6, Saket; Till July 6; 10.30am to 6.30pm; Mondays closed
Fashion Value Chain
26-06-2025
- Health
- Fashion Value Chain
The Country's Largest Cleft-focused NGO, Smile Train India, Presents 'Every Smile Belongs'
The world's largest cleft-focused NGO, Smile Train, launched 'Every Smile Belongs' – a powerful photo exhibition and immersive tribute to inclusion, dignity, and hope with Kiran Nader Museum of Art as its venue partner. Captured by internationally acclaimed photographer Komal Bedi Sohal, the exhibition showcases unfiltered portraits of children with clefts. These striking images transcend aesthetics; each frame captures a pivotal moment in a child's journey, unfiltered emotions and expressions, aiming to shift public perception from sympathy to empathy, and from stigma to strength. The event was inaugurated by Dr. Sujata Chaudhary, Additional Director General of Health Services (Addl. DGHS), Ministry of Health & Family Welfare, Government of India, who appreciated the initiative for bringing cleft awareness into mainstream public discourse through the lens of art and empathy. 'Every Smile Belongs' – a photo exhibition by Smile Train India at the Kiran Nadar Museum of Art, celebrating smiles and stories of hope Mamta Carroll, Smile Train's Senior Vice Presidentand Regional Director for Asia, Smile Train, shared, 'The exhibition marks Smile Train India's 25-year milestone, celebrating our journey of supporting over 750,000 cleft surgeries across the country. Through this exhibition, we aim to foster greater understanding around clefts and advocate for timely, inclusive treatment, ensuring that every child can live with dignity and confidence. We are grateful to the Kiran Nadar Museum of Art and Komal Bedi Sohal for bringing their vision and partnership to this impactful initiative.' This collaboration with the Kiran Nadar Museum of Art (KNMA) as venue partner marks a powerful step toward using art as a catalyst for social transformation. By placing children with clefts at the heart of a respected cultural space, the exhibition affirms their visibility, celebrates their existence, and reinforces their rightful sense of belonging. Komal Bedi Sohal put great thought and care into taking these portraits, showing the unique beauty in every smile and emotion. Through her lens, the exhibition becomes a powerful reminder that behind every cleft is a story of strength, identity, and belonging. Komal Bedi Sohal, the photographer behind the lens, said, 'We live in a world obsessed with perfection. But these children showed me what real beauty looks like: raw, unfiltered, and full of expression and aspiration. This exhibition is about honoring the resilience of these cleft warriors and creating meaningful connections. I want people to pause and appreciate their presence, just as they are.' Every year, over 35,000 children in India are born with clefts, yet many go untreated, facing physical challenges and social isolation due to a lack of awareness and access to care. This collaboration between Smile Train and KNMA aims to shine a powerful spotlight on this issue, fostering greater understanding and driving meaningful conversations to ensure every child receives the support they deserve.
Hindustan Times
21-06-2025
- Entertainment
- Hindustan Times
Caravaggio's 'Magdalene in Ecstasy' is an experience to behold, say visitors to art gallery
Bengaluru, The thing that got 11-year-old Mahaavin amazed when he discovered European master Caravaggio for the first time is the fact that the painting that hung at National Gallery of Modern Art was done in 1606. Caravaggio's 'Magdalene in Ecstasy' is an experience to behold, say visitors to art gallery Till July 6, NGMA will be displaying one of Caravaggio's works, "Magdalene in Ecstasy", thanks to Italian Embassy in Delhi, and in particular Alfonso Tagliaferri, Consul General of Italy in Bengaluru, who made sure the painting that was loaned to China, made a pitstop in Bengaluru too on its way back to Italy. After a month in Delhi, at Kiran Nadar Museum of Art, it arrived in Bengaluru on June 13. "That is like more than 400 years old. How can something this old be this well preserved," said Mahaavin, who had accompanied his dad to NGMA. The pre-teen, a native of Tumakuru, but who lives in Vijayawada, is no stranger to art. His father, Vinod Kumar, an artist himself, and who teaches visual art at the same school his son is studying, had ensured that his education is wholesome by enrolling in a school that pays attention to art as much as learning a math formula. Kumar said he also made sure they visit some interesting places, including museums, on their school breaks, like now, considering they get breaks together. "But nothing really prepared me for this experience here," said Mahaavin. Every visitor that PTI spoke to on June 20 echoed this sentiment. Seventy-plus years old Kiran Ganapathy, a native of Coorg, who is visiting her daughter in Bengaluru, said she was extremely glad that she let her daughter persuade her to come. "I studied here in Bengaluru and in my college days, frankly, Bengaluru had lot more to offer in terms of art. All those iconic places are now gone, really. I think the last time that I had an art outing here was probably in the 1980s," said Ganapathy. But being an Army wife, Ganapathy said she has travelled a lot. "We have been to Florence and been to those countless museums there. I am sure I have come across Caravaggio there," she said. But here in NGMA though, a huge empty hall is plunged into darkness with only a tiny light right above the painting illuminating it in such a way that the entire focus, no matter where you go in the hall, is only the painting –- that of Mary Magdalene, the woman believed to be a sex worker and Jesus Christ's disciple. The painting captures her rapture, highlighted by, as critics put it, "a ray of intense light, her head lolling back and eyes stained with tears". "I think this is perhaps the best way to learn about an artist, without feeling that fatigue one tends to in museums. I think one gets to understand Caravaggio's art much better like this than walking through a series of his paintings," added Ganapathy. It helped that the visitors also had an option to know a little bit more of Caravaggio's life, his style and his other famous works through an eight-minute virtual reality presentation. But some, like 71-year-old Annapoorna Sitaram, an artist herself, chose to sit in the bench placed strategically in front of the painting, lost in contemplation. When PTI caught up with Sitaram, she was already sitting there close to 30 minutes, taking in all the symbolisms that the artist has packed into his painting. She readily points them out to us: The little triangles that shoulders, neck and the drape of her clothes formed which in Medieval Europe primarily linked to Christian Holy Trinity . The greyish undertone to the skin that is to be expected of a woman who was a sex worker in those times. The stark contrast between red and white of the clothes, which denotes the clashing personality of Magdalene passionate and pure. The clash of light and darkness, which is an underlying theme of every Caravaggio. "As an artist though, I am amazed at how much drama he managed to create with so little. At a time when his fellow artists were filling the canvas with things, he stripped them bare. Just the effect of light which pours from the top left – has more drama than most animated figures of other artists," said Sitaram. Tagliaferri said this "theatricality" is called Caravaggesque style. "He was very ahead of his time. He created a sense of photography, cinematography even, with the way he handled light. His paintings take you directly to that moment of drama – in this painting, it is the ecstasy of Magdalene. This is what makes Caravaggio's works compelling," said Tagliaferri. Sneha, who is "taking a break" from teaching, said she had a moment of epiphany while standing in front of the painting: once a teacher, always a teacher. Her "teacher" eyes immediately spotted possibly the only thing that went wrong — lighting is too dim to make out the most famous symbolism in "Magdalene in Ecstasy", the 'cross and crown of thorns'. According to a signage nearby, the skull at the bottom right and the cross at top left denote the eternal pull between the good and the evil that mankind goes through. "I mean, wasn't that the point of the painting? How can we compromise on that? Somebody needs to tell the organisers to brighten the lights a bit more," said the 45-year-old teacher. This article was generated from an automated news agency feed without modifications to text.
Mint
21-06-2025
- Entertainment
- Mint
‘Remembering': Spotlighting the healing voice in Arpita Singh's art
The works of Arpita Singh— considered one of the country's leading contemporary artists—draw you in with their multi-layered narratives. Over the years, her paintings have been included in major collections across the world, and also been part of significant group shows. In 2019, the Kiran Nadar Museum of Art, Delhi, celebrated the 87-year-old artist's practice through the retrospective, Six Decades of Painting. And now, an ongoing show, Arpita Singh: Remembering at the Serpentine Gallery— her first solo at a major institution abroad—takes six decades of her work to London. The exhibition features a mix of large-scale oil paintings and small watercolours and ink drawings on paper. Many long-term friends and collaborators like Nilima Sheikh, Geeta Kapur, Gayatri Sinha and Deepak Ananth have contributed their perspectives on her practice through essays. Art historian and curator Kapur, for instance, in the essay titled Iconoclast, offers two theoretical frameworks for aesthetically examining Singh's works—feminist psychoanalysis and philosophy. 'Much of Arpita's work, world and ideology is history compressed into fables and allegories; what we witness are diverse imaginaries," she writes. Singh was born in 1937 in Baranagar, Kolkata, just before World War II. The period of her early childhood was marked by famine, riots and the final thrust for independence. The artist believes that our memories transcend our lifetimes, and carry imprints of our ancestors. This retrospective brings alive those traces of memory in repetitive, frenetic bursts of expression, through repetitive motifs and symbols and questions the cycle of exploitation and erasure. You enter the show with Searching Sita through Torn Papers, Paper Strips and Labels (2015). The large painting encapsulates Singh's focus on the impact of external sociopolitical events on women. The repetitive ticker that runs through the top of the canvas, Sita. You. I. Us is telling, as are the words 'Abducted, Abused, Slandered, Oppressed, Abandoned, Cursed, Lost", which occupy the edge of the painting towards the bottom right. The torn strips of paper, which traverse the painting like futile paths, reveal her anxiety and hopelessness, as she is tormented by her quagmire (of being forsaken). Also read: Artistic encounters: How animals contemporary artists Another work, My Lily Pond (2009) is far removed from the idyllic water lily ponds that would have dotted bucolic Bengal during her early childhood. Rather, it alludes to the toxic cesspool of power and geopolitics. Helpless figures in red with their arms raised are confronted by soldiers in army fatigues, and the word 'water" fills up the background like a deluge of helpless emotions. The American naval base Guantanamo Bay on the map of Cuba, painted prominently, points to the source of the oppression. 'Whatever I tell you three times is true" stencilled at the top right of the work speaks to the posttruth propaganda that normally accompanies such action. Through both visual and written motifs, she speaks to the collective disenchantment. My Lollipop City: Gemini Rising (2005) is a testament to the city of Delhi. She moved there just before independence and has called it home since. At its heart, the painting is about the labyrinthine palimpsest of Delhi which takes a lifetime to navigate, but where millions of refugees and migrants have found a sense of belonging. It is teeming with figures and familiar motifs that pervade her oeuvre— like swarms of airplanes flying above, gerrymandering bureaucrats and politicians, historical monuments, and serpentine roads. At the very bottom of this large painting, she writes 'You are here", perhaps implying the uphill task migrants face when they aspire for a better life in the city. In the show, the viewer can observe several inflection points in Singh's career. The period between 1974 and 1982 is referred to as the 'black-and-white" one in her practice. Singh, when queried about this phase by art curator and critic Hans Ulrich Obrist in an interview in August 2024, commented, 'At some point, I couldn't move easily across the canvas. I had to pause and think every time: 'What shall I do next? So, I gave up everything and made the basic elements of art—dot and line, dot and line. They became abstract works because nothing is recognisable in them. But it gave me a certain freedom." It is this freedom of expression that is reflected in the larger oil paintings that she made subsequently— many of these are featured in the exhibition. The other significant shift is observed in works such as My Mother (1993), heavily influenced by communal riots in the aftermath of the Babri Masjid in Ayodhya in 1992. It heralds a sharper focus on the horrors of violence and their impact on society. Against this backdrop stands the solitary figure of her mother dressed in mournful white sari worn by widows. It is revealing of the tragedy and loss that families, and women in particular, are left to cope with in the aftermath of violence triggered by patriarchal, colonial or capitalist overreach. Also read: 'Something like Truth': Staging four monologues around truth and justice Works such as Woman with a Boat (2002) or For Fenugreek (2005), are testament to her sensitive portrayal of the ageing female body—thereby elevating both the fragility and the resilience of a woman, who has survived patriarchy, marriage, childbirth, body shaming, depression, and more. Ultimately, her paintings are significant because they capture the precarious lived realities of post-independence India profoundly. Her repetitive motifs work despite their overwhelming presence, because they leave room for interpretation. Critically, the intergenerational traumas that women carry both from their collective pasts and uncertain futures, find a healing voice in her paintings—creating room for contemplation, support and empathy. At Serpentine North Gallery, London until 27 July. Anindo Sen is an independent art writer. A spotlight on South-Asian artists Aarti Lohia first discovered her passion for collecting art while living in Indonesia years ago. Today, she is a trustee of the South London Gallery and the Kochi Biennale Foundation, and serves on multiple councils such as at the Tate Modern. Through the S.P. Lohia Foundation—an international notfor-profit established in the UK in 2016—she backs South Asian artistic voices on the global stage. In 2022, she supported London's National Gallery's modern and contemporary programme, followed by a collaboration with the South London Gallery to bring Nairy Baghramian's Misfits series to London. Most recently, Lohia has supported Arpita Singh's major solo at the Serpentine. In an interview with Lounge, the Londonbased philanthropist reflects on the significance of Singh's practice and the broader role of philanthropy in strengthening South Asia's cultural ecosystem. Edited excerpts: How significant is Arpita Singh's exhibition at the Serpentine? Arpita Singh's works trigger emotions in the audience. Her works blend form and style with cartography, imagined and continued characters, and are done with a flourish in colour that is authentically Indian. We consider it a matter of pride to be able to bring Arpita Singh's solo works to one of the most impactful global art galleries. The fact that it is taking place during the London summer makes it a great opportunity to present her work to people from everywhere, and from across age groups and cultures free of cost. It is amazing that it has taken six decades to bring Arpita Singh's works to the world stage in a solo institutional exhibition. This has become a valuable opportunity to open doors for more artists from India and South Asia on globally relevant platforms What role has philanthropy played in strengthening the art ecosystem in South Asia? The Global South has emerged as a fluid and evolving concept, especially as colonial histories are being re-examined through contemporary voices. Artists from these regions offer alternative perspectives on recent history, young democracies, and social change. Philanthropy plays a key role in amplifying their work globally—but there's still much ground to cover. Arpita Singh, for instance, offers a deeply personal and powerful view of India's evolving society, especially through the experiences of its women. The S.P. Lohia Foundation is committed to supporting artists from or connected to the Global South, and Singh's work aligns closely with that mission. Also read: Lounge Loves: Vodka sodas, a musical time machine and more Are there intersections between your collecting and philanthropic journey? My interest in collecting began in Indonesia, surrounded by its rich traditions of art and craft, and deepened in Singapore, where I engaged more closely with Indian contemporary artists. I noticed a clear philanthropic gap in supporting this space. While my collection is personal, my philanthropic work—through the foundation and engagement with institutions like Tate and the Museum of Modern Art—is focused on amplifying South Asian voices globally. I was among the early supporters of the Kochi-Muziris Biennale and continue to champion it internationally. For me, collecting is a hobby; philanthropy is a passion rooted in creating visibility and impact for Indian artists. What leads to the decisions to support particular artists/ organisations/ museums? Art institutions hold lasting value—they preserve cultural memory beyond shifting governments or politics. I'm drawn to organisations that share our foundation's values and aim to broaden representation. Personally, I connect with artists whose work is consistent and meaningful over time. At Serpentine, for instance, I appreciate how Hans Ulrich Obrist highlights underrepresented female voices. Supporting Nairy Baghramian's Jumbled Alphabet aligned with our belief in championing immigrant narratives. We're drawn to institutions that embrace diverse, progressive perspectives beyond the mainstream. —Avantika Bhuyan
