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Pulp Society Presents Things Are Not As They Seem, A Solo Exhibition By Manuja Waldia
Manuja Waldia, Future Ex Muse, 2026, oil on wood, 16 x 16 in, 2026 Pulp Society is pleased to present Things Are Not As They Seem, a solo exhibition by Manuja Waldia, marking her debut in Delhi.
In this body of work, Waldia reflects on desire and the strange position we occupy within it, as both participants and, at times, powerless observers. Her paintings draw us in through familiar images of luxury, beauty, and cultural icons, but beneath their seductive surfaces lies a quieter unease.
The works gesture towards a larger backdrop shaped by ecological collapse, conflict, and a growing sense of spiritual dissonance, conditions tied to systems of excess, individualism, and constant consumption. While individuals are often made to feel responsible for these crises, the structures that shape and sustain desire remain harder to locate, and even harder to confront.
Taking cues from Plato’s Cave, and the endless scroll of social media, Waldia builds a visual language that moves between illusion and intimacy. Glossy, advertisement-like images sit alongside moments of memory and love. Through the meticulous and slow process of oil painting, every image becomes a psychological landscape, dissolving the boundary between what is culturally constructed and what is deeply meaningful to the individual.
At its core, the exhibition asks: if our inner worlds mirror the collective, what might we uncover by paying closer attention to what we desire?
Venue
B-247, Pocket B, Okhla Phase I, Okhla Industrial Estate, New Delhi, Delhi 110020, IndiaArtists
Manuja WaldiaExhibition Dates
August 8 – October 9, 2026Gallery Hours
Monday – Saturday | 11 AM – 6:30 PMWebsite
https://pulpsociety.in/Instagram
https://www.instagram.com/pulpsociety/Contact
info@pulpsociety.inAbout the Aritist
Manuja Waldia (b. 1992) is an artist known for evocative, surreal, and cinematic visual narratives that explore her brown feminine identity and experience of growing up in India. Her work blends traditional techniques with contemporary sensibilities, rooted in her lived experience.
Formally trained as a visual designer, she has collaborated with clients such as Sephora, Google, and Penguin Random House, and her work has been recognised by Forbes, Communication Arts, CNN, and The Atlantic.
A deep engagement with art history and a desire for creative autonomy have led her to focus on self authored oil painting as her primary mode of expression.
About Pulp Society
Pulp Society is a contemporary art gallery, focusing on showcasing practices of Print, Paper, and Pulp. Through a dynamic and approachable program of exhibitions, podcasts, artist residencies, cultural events, etcetera, Pulp Society endeavours to explore the endless possibilities of print, pulp, and paper; and expand the artistic discourse in South Asia.
Pulp Society has grown out of the legacy of Sona Fine Papers, which has a rich history of selling fine papers in the Indian subcontinent, and the Middle Eastern countries. Established in 1966, Sona has been a name of high repute for introducing new and innovative ranges in speciality papers to the market. Today, it takes pride in associating with the world’s leading paper mills, and enjoying the sole distribution and marketing rights of the world’s finest papers in many markets.
(Text and images courtesy of Pulp Society)
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Alisan Fine Arts Presents The Art of Chao Chung-hsiang at Asia Week New York
Poster credit: Alisan Fine Art Alisan Fine Arts celebrates 45 years of championing contemporary Chinese art in 2026. Chao Chung-hsiang, alongside notable artists like Zao Wou-ki, Chu Teh-chun, Walasse Ting, and Lui Shou-kwan, has been a vital part of the gallery’s history since our early days.
Chao studied under the renowned Lin Fengmian at the National College of Art in Hangzhou, graduating in 1939 before immigrating to Taiwan in 1948. His studies in Spain and experiences in Europe led him to New York in 1958, where he encountered the dynamic world of American Abstract Expressionism and other post-war art movements. His works explore themes of nature, spirituality, and abstraction, featuring flowers, fish, birds, and cosmic imagery.
Our presentation for Asia Week New York focuses on Chao’s black-and-white abstract ink paintings alongside his renowned “hybrid paintings” of birds and fish. The interplay of circles, squares, and geometric forms executed in bright acrylics atop traditional ink washes demonstrates Chao’s unique artistic approach, which incorporated abstract symbolism into ink wash painting. Chao’s integration of yin-yang symbols and references to Chinese philosophy enriches his work, embodying a hybrid quality and a conscious expansion to the traditional Chinese artistic language.
In the 1970s and 80s, Chao found institutional recognition through several important solo exhibitions in New York, including the Brooklyn Museum, the Arnot Art Museum, and the Parrish Art Museum. In 1972, Chao won the New York Creative Arts Public Service Program Award. From 1997-99, his works were exhibited in the traveling exhibition, Asian Traditions/Modern Expressions, organized by the Jane Voorhees Zimmerli Art Museum, Rutgers University. His work was also included in the seminal exhibition, China: 5,000 Years, at the Guggenheim Museum in 1998.
Chao’s works are in the collections of the Metropolitan Museum of Art, New York; The Art Institute of Chicago, Chicago; National Art Museum of China, Beijing; Shanghai Art Museum, Shanghai; Taipei Fine Arts Museum, Taiwan; Hong Kong Museum of Art, Hong Kong; and M+, Hong Kong.
Venue
Alisan Fine Arts, 120 East 65th Street, New YorkArtists
Chao Chung-HsiangExhibition Dates
September 12 – October 17, 2026Gallery Hours
Tuesday – Saturday | 10 AM – 6 PMWebsite
https://www.alisan.com.hk/Instagram
https://www.instagram.com/alisanfineartsnyc/Contact
info@alisan.nyc(Text and images courtesy of Alisan Fine Arts)
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Johyun Gallery Presents As It Is, a Solo Exhibition by Kim Taek Sang
Kim Taek Sang, Flows 26-70, 2026, Water acrylic on canvas, 173.5 x 119.5 cm Johyun Gallery is pleased to present As It Is, a solo exhibition by painter Kim Taek Sang, on view from August 26 through November 8, 2026. Presented simultaneously across Johyun Gallery_Dalmaji, Johyun Gallery_Haeundae, and Johyun Gallery_Seoul, the exhibition brings together more than 50 works, including the artist’s new Ice Blossom series, a new large-scale painting, and a video installation work.
Kim Taek Sang has pursued a painterly inquiry mediated by water and pigment for over thirty years. He received his B.F.A. in Painting from Chung-Ang University and his M.F.A. in Western Painting from Hongik University. After a long career teaching and mentoring future generations at Cheongju University, he retired in 2020 and has since fully devoted himself to his practice. Over the decades, Kim has cultivated a singular visual methodology that harmonizes nature’s autonomous generative processes with pictorial materiality. As water and pigment diffuse, dry, and deposit in layers over the canvas following the rhythm of the seasons, his work operates through an ethos of relinquishing human agency. This methodology is the expression of Kim’s rigorous painterly practice, embracing natural shifts not as passive subjects, but as active partners in mutual coexistence, respecting their singular rhythms and durations.
Kim Taek Sang, Ice blossom 26-53, 2026, Water acrylic on cavnas, 223 x 214.5 cm Kim Taek Sang’s signature series—Breathing, Flows, and Resonance—embody the temporality of spring, summer, and autumn, respectively. The Ice Blossom series, unveiled for the first time in this exhibition, expands his artistic domain into winter. The artist states that the fourth season had previously been inaccessible due to environmental constraints. While earlier works focused on the fluid movement and evaporation of water, this new body of work illuminates the trajectories of crystallization formed through thermal shifts and freezing. As water and pigment repeatedly freeze under sub-zero temperatures and thaw, the “ice blossoms” on the canvas become crystalized denials of all artificial intervention, standing as pure products of nature’s self-forging process. By welcoming winter into his practice, Kim brings to fruition his long ascetic journey across the seasons, settling the full resonance of time embodied by water and pigment onto the canvas.
Furthermore, the exhibition introduces three innovative formats that expand Kim Taek Sang’s artistic vocabulary across the gallery’s three locations. At Johyun Gallery_Dalmaji, the moving-image work There utilizes ultra-microscopic photography to reveal the hidden interior life of his canvases, translating the subtle movement of minute pigment particles floating between layered strata into a dynamic visual experience. Meanwhile, Johyun Gallery_Haeundae showcases Non-linearity, a key piece within his winter series that highlights the organic, white crystalline lines generated by freezing temperatures, introducing a formal language distinct from his earlier fluid gestures. Unifying these site-specific presentations across all three venues are five monumental paintings, each expanding to over ten meters in scale to capture the multi-faceted variations of water within a single, continuous breath. Far from attempting to master natural phenomena, these new works intensify Kim’s defining ethos: a radical surrender of artistic agency that allows the medium to self-manifest.
Kim Taek Sang, Ice blossom 26-50, 2026, Water acrylic on canvas, 251 x 195 cm Beneath the quiet surfaces of Kim Taek Sang’s practice lies a sharp engagement with the contemporary zeitgeist. Often categorized within Post-Dansaekhwa or abstract painting, his work moves beyond mere formal aesthetics to offer a phenomenological inquiry into intangible time condensed within matter. In an era where rapid advancements in artificial intelligence outsource even the most routine decisions to machines, Kim’s persistent commitment to analog waiting stands as an intentional act of resistance, reasserting the value of temporal stillness in an age of algorithmic acceleration.
This posture embodies an “aesthetics of non-egoic emergence”—a deliberate surrender of artistic intent that allows the canvas to become of its own self-so-ness, setting his practice apart from the formal reductionism of Western Minimalism or Monochrome. His performative patience in awaiting the artwork’s course of taking up its own patterns, paired with an ecological reverence for nature’s intrinsic state, cuts through an age obsessed with hyper-density, efficiency, and control. By restoring our shared rhythm with the natural world, As It Is reaffirms the aesthetic necessity and timely resonance of Kim Taek Sang’s painting.
Kim Taek Sang, Flows As It Is 26-2, 2026, Water acrylic on canvas, 240 x 1100 cm Venue
Johyun Gallery_Dalmaji, 171 Dalmaji-gil 65 beongil, Haeundae-gu, Busan, South Korea
Johyun Gallery_Haeundae, 5 Haeundaehaebyeon-ro 298 Beon-gil
Johyun Gallery_Seoul, B1 The Shilla, 249 Dongho-ro, Jung-gu, Seoul, South Korea 04605Artists
Kim Taek SangExhibition Dates
25 Aug – 8 Nov 2026Gallery Hours
Tuesday – Sunday | 10:30 AM – 6:30 PMWebsite
https://www.johyungallery.comInstagram
https://www.instagram.com/johyungalleryContact
info@johyungallery.comAbout the Artist
Kim Take Sang (b.1958) https://www.johyungallery.com/artists/76-kim-taek-sang/overview/
Kim Taek Sang has been experimenting with the diffusion, sedimentation, and layering of color for over three decades through the medium of water. His process is iterative—mixing trace amounts of pigment into water, pouring the solution onto a canvas laid flat, then allowing it to dry. Repeated dozens of times, this practice is both ascetic and curative; he has come to describe it as the aesthetics of care. This delicate layering of sediment on canvas creates subtle interstices that scatter light and permeate the surface with depth and density, evoking nature’s own palette of serene and understated hues. Kim describes his creations as dàamhwa (淡畵 – dàam painting), where dàam carries meanings of clear, delicate, faint, or thin in tint.
Kim’s earliest works in the early 1990s contained commentaries on socio-political issues, but he experienced an artistic turning point when he was captivated by the prismatic waters of the Yellowstone Caldera. Through this encounter, he began incorporating natural elements—water, air, light, and gravity—into his studio practice, developing a distinctive visual language that bridges materiality and the senses, concept and nature. Kim’s works avoid overt contrasts, favoring elusive similarities, subtle oscillations, and minute pulses of light. While his work is discussed within the lineage of Dansaekhwa, his practice stands apart, reflecting a deeply personal exploration of the relationships between nature, humanity, medium, and perception.
Kim holds a B.F.A. in Painting from Chungang University and an M.F.A. in Western Painting from Hongik University. His works are included in the collections of the National Museum of Modern and Contemporary Art (MMCA), Korea; Kumho Museum of Art; Leeum Museum of Art; and Suwon I’Park Museum of Art.
(Text and images courtesy of Johyun Gallery)
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FUMA Contemporary Tokyo | BUNKYO ART Presents Utai: Jo-no-Mai, A Solo Exhibition by Yoshiyasu Tamura
Yoshiyasu Tamura, Mitate Ise Monogatari, 2026, Acrylic, gold leaf, glitter on canvas, 114.5 x 162.0 x 6.0 cm FUMA Contemporary Tokyo | BUNKYO ART is pleased to present a solo exhibition by Yoshiyasu Tamura, “Utai: Jo-no-Mai.”
Yoshiyasu Tamura has developed a distinctive approach to painting by drawing freely from images and visual traditions across different cultures and periods, including manga, Japanese art, and Western painting. For this exhibition, he takes the Noh play “Sumidagawa” as the starting point of his creative exploration. Originally based on a story from “Ise Monogatari (The Tales of Ise),” “Sumidagawa” has been adapted and passed down through generations, including through kabuki theater and ukiyo-e prints. By tracing these transformations, Tamura examines from a contemporary perspective how cultural narratives are adapted, reinterpreted, and passed on across different periods and regions.The exhibition title, “Utai,” refers to a traditional form of Noh chanting and symbolizes the continuity of culture. Stories may change their form as they are passed from one generation to another, yet their voices and meanings continue to resonate. Under the subtitle “Jo-no-Mai,” meaning an introductory dance in Noh, the exhibition presents a new body of paintings, including “Mitate Sumidagawa,” which incorporates visual references from shin-hanga (the “new prints” movement). In these works, images from different periods and cultures overlap within a single pictorial space, giving rise to new narratives.
Yoshiyasu Tamura has received international recognition for his distinctive visual language, which combines Japanese manga, classical Japanese painting, and Western art. He has presented his work in solo exhibitions and art fairs in cities around the world, including New York, Amsterdam, Florence, Basel, and Mexico City. Through his ongoing international practice, Tamura reinterprets Japanese culture through the language of contemporary painting, creating new connections between traditional imagery and the present day.
Venue
FUMA Contemporary Tokyo | BUNKYO ART
9F, Nagasaki Bldg., 1-3-9 Irifune, Chuo-ku, Tokyo, 104-0042 JAPANArtists
Yoshiyasu TamuraExhibition Dates
September 8 – September 19, 2026Gallery Hours
Tuesday – Saturday | 12 PM – 7 PMWebsite
https://bunkyo-art.co.jp/Instagram
https://www.instagram.com/fuma_contemporary_tokyo/?hl=enContact
fuma.con6@gmail.com(Text and images courtesy of FUMA Contemporary Tokyo | Bunkyo Art)
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Artemin Gallery Presents A Solo Exhibition By Lee Ji Eun: Elsewhere
Poster credit: Artemin Gallery This exhibition is a story about healing—for all of us. The worlds each of us carries are different, but artist Lee Ji Eun believes the exhaustion and uncertainty we feel within them are not so different after all. Through paintings filled with quiet stories, she wanted to gently ease this tired life and mind, even if only a little.
Looking back, Ji Eun feels her paintings have always held rest, stillness, and the process of healing. She finds herself drawing whenever life feels difficult or her mind grows weary, and within that act, she finds a quiet solace. As she sets her complicated thoughts aside and paints, she slowly looks inward, and gains a small strength to move forward again. In this way, painting has become more than simply making something for her—it has become a means of tending to her weary mind, and to herself.
Whether a painting holds humor or sadness, Ji Eun has consistently worked while dreaming of moments and spaces where one can rest for a while. Since she is already living a life full of stimulation, perhaps this is her way of picturing her own utopia—a process of slowly furnishing and arranging her own home and garden. She hopes the landscapes she creates within her paintings can become a comfortable place where someone else, too, can pause for a moment.
She hopes everyone who visits this exhibition can, for a moment, slow their steps and rest. Just as we pause on our way home at the end of the day to watch a beautiful sunset spreading across the sky, or unexpectedly encounter, on a journey, an unfamiliar blue landscape we might otherwise pass by without noticing, she hopes this exhibition can be a time to empty the mind and look back at oneself again.
Venue
Artemin Gallery, 1F., No. 32, Ln. 251, Jihe Rd., Shilin Dist., Taipei, TaiwanArtists
Lee Ji EunExhibition Dates
August 22 – September 26, 2026Gallery Hours
Tuesday – Saturday | 11 AM – 6 PMWebsite
www.artemingallery.comInstagram
https://www.instagram.com/artemin.gallery/Contact
info@artemingallery.com(Text and images courtesy of Artemin Gallery)
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Emami Art Presents A Solo Exhibition: নিত্য – নূতন: The New in the Everyday
Poster credit: Emami art, Kolkata India 2026 Emami Art is pleased to present নিত্য – নূতন: The New in the Everyday, an exhibition of recent works by Soma Das, opening on 8 August 2026. Soma Das draws inspiration from her day-to-day existence and the scenes she witnessed growing up, for her works feature ordinary women and men leading unglamourous lives yet carving out spaces for joy, community, and rest. As she holds up a mirror to the mundane absurdities of daily life, a tongue-in-cheek sense of humour shows up, and the strata of society that we often tend to take for granted reveals its many joyful selves. At the same time, inanimate things in the house and in the hands of Das’s protagonists come alive, sharing centre stage with the people.
Although Das borrows the technique and approach from the tradition of Indian miniature paintings, but her nayaks and nayikas, often portrayed against floral backgrounds and domestic environments, demonstrate intention and agency – they are equals in the work they do together. With her keen observation skills and enduring empathy for her female protagonists, Das seeks out novelty in the everyday. In the vernacular language of the middle-class, she traverses the intricacies of gendered labour and leisure.
Soma Das draws inspiration from a multitude of influences, including her late father’s livelihood as a carpenter; a liberating experience of living away from her familiar space at an artist residency; and her mother’s habit of collecting bits and pieces from magazines, among other things. This has shaped her recent explorations in newer mediums alongside paintings in gouache – she now works with metal, wood, and terracotta. Such a range of artworks record a deeply relatable humanity, fulfilling a need for connection in the artist, her community, and the viewer.
Quotes
“Emami Art is delighted to present নিত্য – নূতন: The New in the Everyday, a solo exhibition featuring works by Soma Das, a contemporary artist from Bengal, this August. I have had the pleasure of being associated with Das since 2018 and it has been a long journey of watching the unique protagonists of her work evolve and grow as she navigated national and international residency programmes, art fairs, and group exhibitions. This solo highlights her enduring experimentation with mediums.”
Richa Agarwal
CEO, Emami Art
“নিত্য – নূতন: The New in the Everyday is a much-awaited solo of Soma Das’s works – one that we have been eagerly looking forward to since her duo show with us in 2022. This time, Emami Art is showcasing a variety of works in wood, metal, and hand-embroidered textile alongside her paintings in gouache. Her works, grounded firmly in the living reality of working-class women and men of India, navigate love, labour, and leisure in equal measure, highlighting the simple joys of living. Painting a picture of quiet strength with a certain tongue-in-cheek humour running through her oeuvre, Das delights us with her range of works.”
Ushmita Sahu
Director and Head Curator, Emami Art
About the Artist
Soma Das (b. 1979) is a contemporary Indian artist who graduated with a First Class in her BVA and MFA in Painting from Rabindra Bharati University in 2007 and 2009 respectively.
Notable exhibitions include a solo show Different Facets of Life, Gallery Nakshatra, Kolkata, 2010; a duo show, Between Selves and Silhouettes curated by Adip Dutta, Emami Art, Kolkata, 2022; Bengal Nama curated by Ina Puri at Bikaner House, New Delhi and presented by Gallery Art Positive, 2022; CIMA Awards Show, CIMA Gallery, Kolkata, 2015 and 2017; Summer Show CIMA Gallery, Kolkata in 2015 and 2017; Lalit Kala Academy, Kolkata, 2015; among several others. Her works were presented by Emami Art at Art Mumbai 2025, 2024; IAF EDI+IONS Hyderabad 2025; India Art Fair 2025, 2024, 2023, 2022, and 2020; and Art Düsseldorf 2024.
She participated in the International Artists Residency Exchange Program at Kira A. Princess of Prussia Foundation (Germany, Italy) in collaboration with Emami Art in 2022; and the residency program at the Hampi Art Labs for the October – December (2024) session. She was awarded a Certificate of Merit by the Academy of Fine Arts in 2009 and the State Academy Award in 2008.
Soma Das lives and works in Kolkata.
About Emami Art
Emami Art is a prominent contemporary art gallery and cultural production space located on the ground floor of the Kolkata Centre for Creativity’s Green Building. Established in 2017, it adopts a forward-looking, multi-dimensional approach that reflects South Asia’s history, socio-cultural, and geo-political narratives. Emami Art operates within an inclusive framework where profitability supports sustainable resource regeneration and public service.
The gallery features a dynamic program of curated exhibitions, ranging from large-scale presentations to more intimate displays. It actively participates in both national and international events and art fairs. Emami Art represents a wide spectrum of contemporary artists, including emerging, mid-career, and established talents, with a special emphasis on the East and North Eastern regions of India. Several of its artists’ works are featured in prominent national and international collections, including public foundations and museums. A key initiative is the annual Emami Art Experimental Film Festival, which provides a platform for alternative and experimental filmmaking, video art, and moving image practices. This festival brings together internationally acclaimed artists and filmmakers alongside recent critical productions from India.
Through short- and long-term projects, Emami Art supports the local and regional arts community by offering regular mentorship programs, workshops, residency opportunities, and innovative educational activities. These initiatives foster artistic development, build collaborative networks, and provide a supportive environment for emerging talent. The gallery also organizes regular talks, seminars, panel discussions, and conversations with artists, curators, and key partners, creating a space for critical engagement. Committed to promoting a regional, national, and international agenda, Emami Art emphasizes community engagement, socially relevant initiatives, and institutional partnerships. With a multi-year vision for the future, it continues to be a catalyst for change, research, innovation, and inclusivity.
Venue
777, Anandapur, EM Bypass, Kolkata 700107Artists
Soma DasExhibition Dates
August 8 – September 18, 2026Gallery Hours
Tuesday – Sunday | 11 AM – 7 PMWebsite
https://www.emamiart.com/Instagram
https://www.instagram.com/emami_art/Contact
sreyashi.pr@emamiart.com
ushmitasahu@emamiart.com(Text and images courtesy of Emami Art)
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Eikowa Contemporary Presents Group Exhibition: Progressive Failure
Installation view of Progressive Failure, Courtesy of Eikowa Contemporary Eikowa Contemporary presents Progressive Failure that brings together contemporary artists from Delhi whose works trace the city’s shifting landscapethrough the entanglement of architecture, remembering, and lived experience. Contributed by Ganga Narayanan, Harman Taneja, Ravi Morya, Sourabh Chhawry, Vikrant Kano, and Yashna Kaul, the exhibition draws upon archives, recorded histories, and imagined geographies to reflect on what remains when the structures that once held memory begin to give way. As old structures in and around Delhi are altered, erased, or absorbed into cyclesof urban expansion, the exhibition considers how the built environment reshapes bothpersonal and collective histories. Curated by Yash Vikram, Progressive Failure questionshow histories endure, transform, or disappear when the architecture that once anchoredthem slowly fades.
Progressive Failure previews at Eikowa Contemporary, Gurgaon on Saturday, 18th July2026, from 5-8 PM.
Installation view of Progressive Failure, Courtesy of Eikowa Contemporary GANGA NARAYANAN
Born in 1998 in Kannur, Kerala, Ganga Narayanan is a visual artist based between Delhi andVadodara. She holds an MVA in Painting (Mural) and a BVA in Painting from the Faculty ofFine Arts, Maharaja Sayajirao University of Baroda, Vadodara (2023, 2021). Her practice isinformed by her engagement with art history, architecture, and conservation, exploring therelationship between memory, material, and the traces left behind by time. Narayanan’spractice reflects on the relationship between presence and absence, exploring howfragments, remnants, and material changes carry histories forward.
Narayanan has received the K. Karunakaran Memorial Scholarship Award from KeralaLalithakala Akademi, Thrissur (2023) and the Padmashri Ramgopal Vijayvargiya Sammanfor Miniature Painting from Lalit Kala Akademi, Rajasthan and Kalavritt, Jaipur (2021). Shehas participated in several exhibitions, including Emergence: Pop Art at Alliance Française,Ahmedabad (2026); 52nd State Exhibition by Kerala Lalithakala Akademi, Kochi (2025); Artand Charlie with Raw Collaborative, Gandhinagar (2024); PRISTINE by Priyashri Art Gallery atKamalnayan Bajaj Art Gallery, Mumbai (2022); and Kochi-Muziris Students Biennale (2021),among others.
Ganga Narayanan lives and works in between New Delhi and Vadodara.
HARMAN TANEJA
Born in 1994 in New Delhi, Harman Taneja holds a Bachelor of Architecture from theUniversity School of Architecture and Planning, New Delhi (2017). Her architectural trainingdeeply informs her artistic practice, through which she explores built environments asrepositories of personal and collective histories, fragmented memories, and the socio-political structures that shape everyday experiences of space. Working across sculpture andmaterial-based practices, Taneja examines the relationship between architecture, memory,and belonging. Her works consider spaces not merely as physical structures, but asemotional landscapes that preserve traces of human presence, transformation, and loss.
Taneja has participated in several group exhibitions across India and internationally. Recentexhibitions include Space Studio Alumni Show at Space Studio, Vadodara (2026); BengaluruArt Weekend, Bengaluru (2026); Walking Past at Bikaner House by Galleries Splash, NewDelhi (2025); Mind Echo at Chemould Colab in collaboration with Space Studio, Mumbai(2024); Seixart at the Agbara Series Auction, London (2023); Landscapes by MAGContemporary, Delhi (2023); Summer Somethings at Pulp Society, New Delhi (2023); andUnveiled Horizons at VHC, Pune (2023), among others.
Taneja has also participated in several artist residencies, including Art For Change India,Mussoorie (2023); Space Studio, Vadodara (2022); and Round Them Oranges, Leh (2021).
Harman Taneja lives and works in New Delhi.
RAVI MORYA
Ravi Morya was born in 1992, Gwalior, India. He pursued BFA in Painting, from RMT
University in 2015. Within Morya’s practice, repetition evolves into a conceptual frameworkfor understanding the human experience. It is through the repetition of motifs, gestures, andprocesses, that he unveils the overtones of our collective consciousness, offering glimpsesinto the nature of our being.
His works have been exhibited in several solo, and group shows in India. Additionally, Ravihas been a scholar at the Ministry of Culture on the Young Artist scholarship. He has alsobeen a part of shows like the Art Incept grant show, CIMA art gallery annual show, BirlaAcademy, Kolkata, and is a recipient of awards like the Prafulla Dhanukar Art, CIMA award,Madhya Pradesh State award, and the All India Art award from the state gallery of art,Hyderabad.
Ravi Morya lives and works in New Delhi, India.
SOURABH CHHAWRY
Born in 2003 in New Delhi, Sourabh Chhawry is a visual artist based in India. He holds aBachelor of Fine Arts in Painting from the Faculty of Fine Arts, Maharaja Sayajirao Universityof Baroda, Vadodara (2026). Chhawry’s practice is rooted in close observations of everydaylife, exploring intimate moments, shared spaces, and subtle human interactions. Drawingfrom personal photographs and memories of family and friends, Chhawry’s paintings reflecton ordinary gestures, quiet states of presence, and the emotional textures of livedexperiences.
Chhawry has participated in several group exhibitions, including Annual Degree Show at theFaculty of Fine Arts, MSU Baroda, Vadodara (2026); Verve at Gallery Mold, Vadodara (2025);Nasreen Mohamedi Scholarship Display at the Painting Department, Faculty of Fine Arts,MSU Baroda, Vadodara (2024, 2025); and Sangath (Batch Preview Exhibition) at theExhibition Hall, Faculty of Fine Arts, MSU Baroda, Vadodara (2024). He has also participatedin a theatre workshop on “Mausoleum” led by Manan Gangopadhyay (2024), engaging withhistories of theatre, the commodification of art, and community-based practices.
Sourabh Chawwry currently lives and works in New Delhi, India.
VIKRANT KANO
Vikrant Kano was born in 1992 in Delhi, India. He completed his Bachelor of Fine Arts (2016)and Master of Fine Arts (2018) at the College of Art, New Delhi. His practice explores the“idea of home” by delving into his family history and archives. Through his work, Vikrantexamines the interconnected themes of home and homelessness, migration and landownership, physical and mental boundaries, memory and trauma, as well as fact and fiction.
In 2021, Vikrant held his first solo online exhibition, PRAF Discover Series-04: Lost InTranslation, supported by Prameya Art Foundation. He has also participated in numerousexhibitions across India and internationally. Notable exhibitions include Transitions andTransformations: The Constant Flux of Personal Structures curated by Geraldine Ondrizeckat Palazzo Bembo, Venice (2022), the online video art exhibition Diaphragm – MixingCultures at the Wrong Biennale (2022), and Call to Disorder: Experiments in Practice andResearch curated by Vidya Shivadas at the Serendipity Arts Festival, Goa (2019). Vikrant’swork has also been showcased in Castelnuovo Fotografia at the Castle of Rocca Colonna,Rome (2019), and Proyector by Indus Art Collective in Madrid, Spain (2019).
Vikrant Kano lives and works in New Delhi, India.
YASHNA KAUL
Yashna Kaul was born in 1995 in New Delhi. She completed BFA in Photography andImaging from Tisch School of the Art, New York University in 2018. Through her practice,Kaul reflects on the nature of memory itself—how it is preserved, how it is altered, and how itis sometimes lost. Her work challenges us to consider the ways in which photography canboth reveal and obscure, offering a nuanced meditation on the role of images in theconstruction of our personal and collective identities.
Her work has been exhibited both in India and internationally. Her most recent exhibitionsinclude ‘Kyotographie’ in Kyoto, Japan, in 2024; the Serendipity Arts Festival in Goa in 2023;the Photo Vogue Festival in Milan, Italy, in 2023; and the India Art Fair in 2023, amongothers. She was awarded the 2024 Japan Photo Award and received an honourable mentionfor the 2023 PhMuseum Women Photographers Grant New Generation Prize.
Yashna Kaul currently lives and works in between Mumbai and New Delhi, India.
YASH VIKRAM
Yash Vikram is an independent art curator and consultant based between New Delhi andVaranasi. With a background in engineering, Yash brings a fresh perspective tocontemporary art curation, emphasizing innovative ways of fostering new forms of meaningwithin the field. He is dedicated to exhibition-making practices that engage with pressingsocial, cultural, and political issues, aiming to amplify underrepresented and diverse voices.Through his work, Yash fosters dialogues that challenge and expand conventional narrativeswithin the art ecosystem.
Transitioning from engineering to the art industry, Yash founded Ether Project, a nomadic artplatform committed to supporting diverse artistic voices from South Asia, reflecting hisdedication to making contemporary art more accessible and inclusive, reaching beyondmajor urban centers to engage wider audiences. His experience includes working withinstitutions and galleries such as SA Ladakh, Akar Prakar, 1X1 Art Gallery, Vida HeydariContemporary, Tao Art Gallery, MAG Contemporary and others.
About Eikowa Contemporary
Eikowa Contemporary was founded by Vaishnavi Murali in 2024 as contemporary gallery inGurgaon, focused on promoting contemporary artists from the Indian subcontinent. With astrong focus on emerging and under-represented artists, practices that marry uniqueperspectives with complementary aesthetics, Eikowa Contemporary aspires to promotemuseum quality exhibitions while introducing new artistic practices working across newmediums, urgent concerns and contemporary narratives. Positioned in Gurgaon, the gallerycontributes to the cultural fabric of Gurgaon city through exhibitions, workshops, museumcollaborations and talks.
Since its inception, the gallery has held multiple group exhibitions and solo exhibitions.Eikowa Contemporary has discovered emerging artists like Bhuwal Prasad, and showcasedunderexposed artists like G Subramanian, and Vinita Dasgupta, through marquee soloexhibitions. Our group exhibitions have featured artists with varying seniorities yet uniquevoices like, Bhuri Bai, Vaishali Oak, Mukesh Sah, Kumaresan Selvaraj, Liactuallee, HirenPatel, Tapas Biswas, Anikesa Dhing, among others.
Vaishnavi herself has taken the unconventional path of fine art post a stellar career inluxury marketing and an MBA from the prestigious Indian School of Business. Vaishnavi hasbeen recognized as Forbes 30 under 30 Asia in 2017 for her contributions to Indian art. Ourparent gallery, Eikowa Art, was established in 2015, and has represented contemporaryartists and emerging masters over the past 11 years with 2 physical gallery spaces inGurgaon and Hyderabad, and a strong digital presence. Eikowa has also been a pioneer inglobal art tech, with our provenance chaining solution built on blockchain, this solutionallows art provenance to be tracked in an immutable manner across transactions and hasreceived global media attention.
Venue
A 29/5, DLF Phase 1, Gurgaon 122002Artists
Ganga Narayanan, Harman Taneja, Ravi Morya, Sourabh Chhawry, Vikrant Kano, and Yashna Kaul,Exhibition Dates
July 18 – September 20, 2026Gallery Hours
Tuesday – Sunday | 11 AM – 7 PMWebsite
https://contemporary.eikowa.com/Instagram
https://www.instagram.com/eikowa_contemporary/Contact
vm@eikowa.com(Text and images courtesy of Eikowa Contemporary)
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Art Incept Presents Group Exhibition: Empire Of Irony
Instalation view of Empire Of Irony, Courtesy of Art Incept Satire has long served as both a mirror and scalpel, reflecting the absurdities of its time while cutting through the narratives that sustain them. This exhibition gathers artists who probe the spectacle of contemporary life, its economies of attention, its digital performances, its manufactured crises, and curated identities. Through irony, exaggeration, parody, and dark humor, the artists aim to unsettle what feels natural or inevitable. Laughter becomes a method of critique, a strategy for survival, and a space for dissent. In amplifying the ridiculous, the works reveal structures of power that hide in plain sight, inviting viewers to question the scripts they inhabit.
Rather than offering straightforward condemnation, the exhibition embraces ambiguity, recognizing satire as a language capable of exposing contradictions without resolving them. The featured works move between the personal and the political, revealing how systems of consumption, surveillance, media, and governance shape everyday experience. Humor functions not as an escape from these realities but as a means of confronting them, making visible the tensions that often remain concealed beneath familiarity and routine. By exaggerating the logic of forms, they expose the mechanisms through which desire, authority, and belief are produced and maintained. Their interventions challenge the boundaries between sincerity and performance, truth and fabrication, participation and spectatorship.
At a moment when images circulate faster than reflection and outrage risks becoming another form of entertainment, satire acquires renewed urgency. It encourages viewers to linger with discomfort, to recognize complicity alongside resistance, and to imagine alternatives beyond dominant narratives. The exhibition ultimately proposes satire not merely as a genre of humor but as a critical practice, one that resists complacency, invites collective reflection, and opens space for questioning the values, myths, and performances that define the contemporary condition.
Instalation view of Empire Of Irony, Courtesy of Art Incept Debajit attempts to bridge the gap between memory, environment, and the surreal. His inspiration is the layered landscape of Tripura, where he grew up. Sparse and minimal in his approach, he offers a lens to view society through poetic gestures that emerge from everyday life. Ravi, in parallel, draws inspiration from India’s heritage, layered with political undertones. His works often emulate the strong, pristine lines of miniature painting, dabbling in experimentation through collage with gouache on rice paper. He also displays a reflective and pensive subjectivity, laden with play and contradictions. Hardev, in contrast, references agriculture, specifically cotton plantations and associated professions like garment manufacturing and tailoring. He aims to capture the delicate balance between nature and the impact of industrial development. Having formally studied applied arts and informally worked in a local tailoring unit, his work straddles these worlds. Illustrations, collages using print media, and photography often come together to form the imagery. Gargi is deeply influenced by her surroundings, a secluded, forested area where she shares space with a diverse array of flora and fauna. She documents their acts of carefree destruction of my seemingly ordered world, revealing a chaotic, deliberate reality that mirrors humankind. In her work, monkeys become reflections of the self, engaging in trickery, mind games, and violence in pursuit of the ultimate prize: bananas. As control shifts and evolutionary hierarchies blur, the boundaries between human and animal, man and woman, play and aggression dissolve. A distinctive element in her approach is an attempt at humor, sometimes subtle, sometimes blatant, used as both a coping mechanism and a tool for critique. Chinnarao, in contrast, observes the rural life of labour and intertwined rituals. Everyday community interactions are not isolated events. For him, they are living structures that construct identity and collective consciousness. He is interested in how these practices negotiate the space between devotion and necessity, violence and sustenance, tradition and transformation. Through careful observation and reinterpretation, his art examines how the human and animal body becomes central within these systems. Similarly, for Sanjeeva, social attitudes become visual metaphors. His response is to the individual ideas and navigation of identity, ego, and belonging within contemporary society. His art explores how these dynamics often reveal contradictions between appearance and inner reality. Animals become symbolic carriers of these ideas. Zebras and donkeys represent inflated egos and hollow ambition, for instance, and elephants emerge as recurring symbols of strength, memory, and integrity. Through the use of bold, vibrant colors, he attempts to capture a ‘look-at-me’ energy that exists within all of us.
— Rahul Kumar
Instalation view of Empire Of Irony, Courtesy of Art Incept About Gayatri Singh, Director, Art Incept:
After two decades in the corporate world, including founding an education company and receiving the Tata Stree Shakti Award, Gayatri entered the art world with a mission. Noticing how emerging artists were often overlooked, she founded Art Incept — a platform to mentor, support, and showcase new-generation artists, aiming to make Indian art globally recognised.
About the Curator
Rahul Kumar
An established artist, writer, and curator, he is known for mentoring young talent. Rahul is The Rockefeller Foundations’s Bellagio resident. He is also the former Founding Editor (Arts) of STIRworld, and a regular contributor to various publications like The Hindu, The Sunday Standard, and MINT Lounge. He left a successful corporate career to pursue his passion for visual art, earning prestigious accolades like the Fulbright and Charles Wallace scholarships.
About Art Incept
Art Incept is guided by a deep belief in art that is raw, honest, and rooted in lived experience. Our way of working comes from how we have always thought about art — as something that emerges from the ground up, shaped by place, memory, and everyday life.
We seek voices that reflect the pulse of our times, often emerging from regions and communities beyond the metros that are usually the loudest. These are practices that document realities frequently muted by noise — shaped by geography, movement, displacement, ritual, and survival. At Art Incept, we are drawn to artists whose work remains unfiltered, where making is inseparable from lived experience rather than market expectation.
For over five years, Art Incept has been committed to supporting South Asia’s emerging artists at critical stages of their journeys. Many of the artists we began working with continue to grow, evolve, and gain recognition, while remaining deeply engaged in inquiry, experimentation, and risk. We stay with practices over time, allowing artistic voices to mature without forcing labels or timelines.
This continuity has shaped both our programs and the spaces we inhabit. From formal gallery settings to more intimate, domestic environments, the intent remains consistent: to honour artistic voices with integrity, allow works to exist without filters, and create room for open engagement. At Art Incept, art is not prescribed — it is encountered.
Venue
227, South Point Mall, Golf Course Rd, DLF Phase 5, Gurugram, Haryana 122002Artists
Debajit R Paul, Degala Chinnarao,Gargi Chandola, Hardev Chauhan, Ravi Chunchula, Sanjeeva Rao GuthiExhibition Dates
July 23 – August 22, 2026Gallery Hours
Monday – Saturday | 11 AM – 6 PMWebsite
https://artincept.com/Instagram
https://www.instagram.com/artincept/Contact
info@artincept.com(Text and images courtesy of Art Incept)
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Mo Art Space Presents a Solo Exhibition by Tèo Phạm
Poster credit: Mo Art Space Mo Art Space cordially presents the project “This world is perfectly stunning, let us make it truly blinding” – a solo exhibition by artist Tèo Phạm, co-created with a scientist from the future: T.P.
Going beyond a conventional showcase of paintings, the project is a spatial experiment built upon a speculative narrative structure. The exhibition places viewers at the intersection of two timelines: Tèo Phạm’s 2026 – where sketches of bizarre creatures are born from pure artistic intuition, and T.P’s 2136 – a post-apocalyptic future where extreme scientific interventions have reached a complete dead end.
By juxtaposing the studio of a present-day artist with the remnants of a 22nd-century laboratory, the exhibition blurs the boundary between the irrationality of art and the logic of science. Here, the enigmatic creatures on canvas are no longer mere visual imageries; they are elevated into biological “top-secret keys” awaiting their awakening. Consequently, the exhibition space invites viewers into a cross-century dialogue: can the century-old sketches of an unknown artist truly be the last resort for a future on the brink of collapse?
Installation view of This world is perfectly stunning, let us make it truly blinding, Courtesy of Mo Art Space STATEMENT
T.P. – a creator from the year 2136, has traveled back in time to 2026 to reunite with his grandfather, an obscure painter named Tèo Phạm. He returned to the past not to alter the course of history, but to grasp the core ideology hidden beneath the works left behind by his predecessor. For in the world 110 years later, humanity is hurtling toward the brink of extinction due to unprecedented, devastating wars.
Having spent his entire life in a laboratory tasked with finding a salvation for mankind, T.P sought to use biological interventions to restructure both human physiology and psychology, forcing them into submission to correct their flaws and protect the Earth. Yet, after thousands of failed experiments, he realized that the classified key lay within the mystical creations sketched by his grandfather a century prior. That is why, in the year 2026, a 78-year-old scientist decided to stand before his grandfather, who had only just crossed into his 30s.
Installation view of This world is perfectly stunning, let us make it truly blinding, Courtesy of Mo Art Space CONCEPT
The story begins in the year 2136. T.P, a 78-year-old creator of the 22nd century, is the grandson of Tèo Phạm—an obscure painter. Exposed to his grandfather’s art from early childhood, T.P. grew up immersed in a world filled with bizarre drawings and sketches of mystical creatures that the old man had painstakingly brought to life. It was this grotesque world that shaped T.P.’s lifelong ideology: he wanted to use science to realize the visions his grandfather had only ever dreamed of in the realm of art. T.P. entered the medical field not to learn, but to redefine it. He claimed the top of his class, then proceeded to tear through his master’s and doctoral degrees at a terrifying speed. The academia of the time realized with horror that his theories were a whole century ahead of their time. Just when it seemed his life was fully accomplished, a catastrophic crisis struck.
Conflict broke out in a form that had never existed before: soldiers equipped with modified genomes, possessing abilities far beyond normal human limits. Bitterly, those were none other than T.P’s own inventions, originally designed to help humans adapt to Earth’s harsh future conditions. His laboratory destroyed, he narrowly survived by hiding in a backup bunker deep underground. What was once his faith and life’s achievement vanished into thin air in the blink of an eye, leaving behind nothing but absolute fury. The time had come for him to reboot the project he had buried for decades—the final salvation for a humanity on the brink of collapse.
Tèo Phạm’s century-old sketches of mystical creatures, along with experiments on powerful beasts capable of infiltrating the human mind, had been carefully preserved by T.P., awaiting the day of awakening. And that time was now. This was not a new project; T.P. had been quietly developing it for decades, but one core missing link remained open, preventing the experiment from succeeding. Furthermore, his time was running out as his blindness grew more severe by the day.
“It is time to use it,” T.P. mused.
Pressing his withered palm against the biometric scanner, the door hissed softly and slid open. He stepped into the secret room. A massive architectural structure occupying half the space loomed ahead—there it was, the time machine powered by dark matter. The very thing old Stephen Hawking never thought could exist now stood towering right in front of T.P. “Only at the end of his life did father let me know it actually existed,” he murmured as he began to boot up the system.
The machinery wailed loudly; the warning systems inside the bunker reacted violently. The entire power grid of the city above went pitch black in an instant—the exorbitant price for a round-trip ticket into the quantum realm. “To think it’s only when I’m nearly in the grave that I get to experience this. Even if it fails, it is a magnificent thing.” He put on his protective suit, stepped into the pod, closed the glass canopy, and pressed the button.
“Pop!”
The sound was incredibly faint, a stark contrast to the roaring shrieks of the machinery just moments before. T.P. found himself standing inside an art studio—or perhaps, something much more than that.
Installation view of This world is perfectly stunning, let us make it truly blinding, Courtesy of Mo Art Space About Artist
Tèo Phạm (b. 1996), born Phạm Văn Vũ in Lien Nghia (Lam Dong), later moved to Da Lat with his family. He graduated from the Ho Chi Minh City University of Fine Arts in 2020 and currently lives and works in Ho Chi Minh City.
Tèo Phạm has participated in several domestic group exhibitions such as “Same Same But Different” (The Factory Contemporary Art Centre, HCMC, 2020); “Foliage IV” (Vincom Contemporary Art Centre VCCA, Hanoi, 2022). His recent solo shows have also attracted considerable public attention such as “What’s left behind the Rectum? Chapter 1: The Feast of the Digestive System” (Uom Art Hub, HCMC, 2021); “Huh? Why Am I Here?” (XYZ Cafe & Art Space, HCMC, 2023); and What Remains Behind the Rectum? – Chapter 2: The Great Excretion (Mo Art Space, Hanoi, 2023).
About Mo Art Space
Founded with the aim of contributing to the development of Vietnam’s cultural and artistic landscape, Mo Art Space is committed to supporting Vietnamese artists and fostering meaningful engagement between art and the public. Located in Hanoi’s Old Quarter, Mo Art Space serves as a bridge between audiences and contemporary art, focusing on the discovery, selection, and presentation of contemporary artworks by Vietnamese artists within a distinctive exhibition setting.
Through carefully curated exhibitions, Mo Art Space showcases a wide range of artistic practices and media, exploring themes that reflect the intersections of past and present, tradition and future, heritage and contemporary life. We are dedicated to promoting Vietnamese contemporary artists with long-term commitment, helping to bring their works, ideas, and artistic philosophies to a broader network of collectors and art enthusiasts both in Vietnam and internationally.
Venue
Mo Art Space, B3 Floor, 136 Hang Trong, Hoan Kiem, HanoiArtists
Tèo PhạmExhibition Dates
July 21 – August 30, 2026Opening Hours
Tuesday – Sunday | 9 AM – 8 PMWebsite
https://www.moart.vn/en/homeInstagram
https://www.instagram.com/mo_artspace/Contact
info@moart.vn(Text and images courtesy of Mo Art Space)
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Dogma and A Sông Presents Group Exhibition: precious forest
Poster credit: Dogma Presented by Dogma and Đà Nẵng based art collective A Sông, “miền trung dung / precious forest” engages with the greater region of Đà Nẵng, a complex land with rich natural resources, cultures, and worldviews. In recent years, rampant development and touristification has reshaped the lives of all who inhabit the region—from the Katu people of the western mountains to the Kinh of the coastal city center.
This exhibition takes its name from the Confucian concept of trung dung, or the doctrine of the Mean: trung (中), the state of being in the middle, and dung (庸), steadiness, or the capacity to maintain balance in life. As a curatorial framework, trung dung does not describe neutrality but the ability to multiple perspectives—from those with different stakes and positions—on ecological and cultural preservation.
Venue
27A Nguyễn Cừ, Thảo Điền, Quận 2, Hồ Chí Minh CityArtists
Trần Tuấn, Ly Hoàng Ly, Phạm Bá Lĩnh, Nguyễn Ngọc Hải, Đoàn Hồng Lê, and Nguyễn Đình Phương; Katu artisans Alăng Blêu, Bh’ríu Pố, Bh’ríu Toàn, and Ating Nga; and archival wartime field sketches from Dogma Collection.Exhibition Dates
June 5 – August 31, 2026Opening Hours
Thurssday – Sunday | 11 AM – 6 PMWebsite
www.dogmacollection.comInstagram
https://www.instagram.com/dogma.collection/Contact
info@dogmacollection.com(Text and images courtesy of Dogma)
