ASIGN, #4, 2nd Street, Drive Radhakrishnan Salai, Mylapore, Chennai (2026)

26/04/2026

Asign brings you the latest art news from around the world. Learn more about exceptional announcements and captivating exhibitions that fascinated art enthusiasts this week.

Image Courtesy:
Tile 2: Caliedoscope
Tile 3: IAS gyan
Tile 4: The Hindu
Tile 5: Times of India
Tile 6: Artnet
Tile 7: The guardian
Tile 8: Great Britain News

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24/04/2026

The Bollywood Art Project was founded by Ranjit Dahiya, an artist and graphic designer working between commercial design and public art. The project has largely been self-supported, with murals often funded through his own work, allowing it to develop independently over time.

At its core, the project uses art to shift where cinema is seen. By moving film imagery out of theatres and into public space, art becomes the medium through which a missing visual connection is rebuilt. The use of the hand painted poster style plays a key role in this. Once widely used across the film industry, it shaped how cinema was remembered. Reintroducing it at this scale restores a way of seeing that is tactile, immediate, and rooted in the city.

Through this, the project achieves something subtle but significant. It does not just place cinema on walls. It allows the city to recognise it again, within its own streets, rhythms, and daily movement.

Image Courtesy:
Tile 1: Your Story
Tile 2: Bollywood Art Project Website
Tile 3: Mid-day
Tile 4: Flickr

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24/04/2026

Across decades, B. Prabha returns to a singular figure, the rural woman, with striking consistency in form and medium. From 1950s restraint to 1980s scale, this repetition shapes both identity and market. With works exceeding estimates and reaching crores of rupees, her practice demonstrates how clarity and consistency can translate into lasting value.

Image Courtesy:
Tile 1: Sotheby’s

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24/04/2026

In Pingla, located in the Paschim Medinipur district of West Bengal, Patachitra continues to be a living, community-driven practice. The village is home to a large number of Patuas - traditional artists who create narrative scrolls using colours derived from natural sources. Their works move across mythological stories, local folklore, and even contemporary social themes, reflecting both continuity and change within the tradition. What makes this practice distinctive is its performative element, where each scroll is accompanied by song, transforming storytelling into a shared, immersive experience.

Over time, the artists of Pingla have expanded beyond traditional scrolls, adapting their visual language onto a range of everyday objects. This shift has allowed the practice to engage new audiences while also creating sustainable livelihoods for the community. Even as it evolves, Patachitra in Pingla remains rooted in its materials, methods, and collective spirit, making it one of the most enduring and eco-conscious art traditions in the region.

Image Courtesy:
Tile 2: Google Arts and Culture
Tile 3: Art Family
Tile 4: Down to Earth

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23/04/2026

Naresh Agarwal is a self-taught artist whose practice emerges from a life shaped across Sikkim, Singapore, and the United States. His work draws from Indian spiritual traditions while remaining attentive to memory, migration, and the quiet shifts that come with living between cultures.
With ‘From Canvas to Calendar,’ Agarwal moves beyond the canvas to question not just what art shows, but how it is encountered. By placing paintings within a functional object, he alters the rhythm of viewing, replacing the singular moment of attention with something slower and more continuous.

This gesture also sits within a longer trajectory in Indian art, where artists like Raja Ravi Varma used reproduction to expand access rather than limit it. Here, the calendar becomes a contemporary extension of that idea, allowing images to circulate within everyday spaces rather than remain within institutional ones. Over time, this repeated presence changes the role of the artwork. It is no longer something to be sought out or framed as an event, but something that settles into daily life, shaping how it is seen, remembered, and lived with.

Image Courtesy: India New England

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23/04/2026

M.F. Husain is widely regarded as one of India’s most influential modern painters, but his creative practice extended beyond painting into filmmaking. Across both mediums, he worked with a strong emphasis on visual composition, often treating the image itself as the primary carrier of meaning. His approach to cinema moved away from conventional storytelling, focusing instead on rhythm, form, and symbolic imagery.

His first short film, Through the Eyes of a Painter (1967), presents a fragmented visual study of Rajasthan, built through observation and imagery rather than a structured narrative. Across both painting and film, he consistently foregrounded image, composition, and rhythm over conventional storytelling. He later directed Gaja Gamini (2000) and Meenaxi: A Tale of Three Cities (2004), where narratives unfold through recurring figures, shifting contexts, and symbolic visual elements. Instead of linear plots, these films reflect his painterly way of seeing, where cinema becomes an extension of his artistic practice, shaped by visual language and layered perception.

Image Courtesy:
Tile 1: Internet Archive
Tile 2: Alamy
Tile 3: From the short film Through the Eyes of a Painter
Tiles 4 & 5: IMdb

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22/04/2026

Art is no longer limited to where it is displayed. It begins to move through bodies, through repetition, and through everyday life. As artworks shift onto the body, they are experienced differently. Scale becomes closer, encounters become more frequent, and art moves from something visited to something carried. The act of viewing becomes less intentional, and more a part of routine.

In this shift, brands and their initiatives play a role in widening access. By translating artworks into wearable formats, they bring art into circulation beyond institutions and into public, shared spaces of daily life.

Image Courtesy:
Tile 2: Marketech APAC
Tile 3: Swatch Group
Tile 4: Vogue

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22/04/2026

Raghav Babbar (b. 1997, Rohtak, India) is an Indian-born, London-based artist whose practice centres on portraiture. His work emerges from closely observing people and everyday environments, drawing from both his surroundings in India and his experiences abroad. Through this, he builds a body of work that reflects on lived moments, memory, and the quiet presence of individuals within daily life.

Working primarily in oil, Babbar constructs his portraits through dense, textured layers that emphasise materiality and time. His subjects are often ordinary, anonymous figures - people encountered in passing - captured in unguarded, intimate moments. With tightly framed compositions and a focus on subtle gestures and expressions, his paintings move away from idealisation, instead offering a grounded and attentive portrayal of human presence.

Image Courtesy:
Tile 1: Official IG page of Raghav Babbar
Tiles 2 & 5: Whitewall
Tiles 3 & 4: The Nod Magazine
Tile 6: Esquire India

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22/04/2026

Asign’s tribute to B.C. Sanyal celebrates his multifaceted legacy as an artist, teacher, and institution-builder who played a defining role in shaping modern Indian art. Educated in the academic tradition in Calcutta, Sanyal’s career unfolded across Lahore and Delhi, where he established key institutions and nurtured artistic communities. His practice traversed sculpture, painting, and printmaking, often portraying everyday life, landscapes, and semi-abstract forms shaped by modernist and Bengal School influences. International exhibitions, including the Venice and São Paulo Biennales, positioned him on a global stage, while national recognition followed through commemorative honours. The auction highlights his continued market presence, marked by limited supply, consistent demand, and notable peaks in recent years, reaffirming the enduring relevance of his artistic legacy.

Image Courtesy:
Tiles 1 & 2: Shantala Paintings Wordpress

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21/04/2026

Jintumoni Gogoi, known as Bhejal, is a street artist based in Guwahati whose work shifts how public space is understood. Working in a city shaped by rapid change, his interventions are deliberately minimal, yet they carry a distinct position. Instead of imposing an image onto the surface, he responds to its existing conditions, allowing time, weather, and natural growth to remain visible within the work. In doing so, authorship becomes shared, between the artist and the environment itself.

This way of working sits within a broader ecological sensibility, where the environment is not edited out but engaged with. It resists a familiar urban logic that prioritises uniformity and control, and instead proposes a mode of attention that is slower and more responsive to context. What emerges is not just a visual shift, but a change in how value is assigned within the city. The work, then, extends into how space is perceived, negotiated, and ultimately preserved.

Image Courtesy:
Tiles 1 & 4: Instagram Page titled 'artist'
Tile 2: Newsbreak 24live Official Instagram
Tile 3: Pratidin Time

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21/04/2026

At 079 | STORIES, Ahmedabad, ‘Portraits of the Unseen’ brings together a solo presentation by New York-based artist Vaidehi Kinkhabwala, shaped by her lived experience and cross-cultural perspective between India and the United States. The exhibition turns towards the often-unspoken spaces of motherhood and caregiving, where emotional and physical effort quietly structure everyday life.

In these works, repetition and sustained attention become visual language. Scenes unfold with a restrained palette and flattened environments, where faceless figures gather, support, and lean into one another. A strong presence of red moves through the compositions, holding together moments of intensity, warmth, and emotional grounding within otherwise still settings.

By removing specific identity from the figures, the works shift emphasis toward shared human experience. Rather than focusing on who is shown, the paintings draw the viewer into what is happening, offering a space to reflect on care as something collective, felt, and continuously lived.

Image Courtesy: 079 | STORIES

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20/04/2026

The appearance of blue in Ajanta is not simply a matter of artistic choice, but one shaped by material access and historical circumstance. Unlike earth pigments that were locally available, the blue used in these murals was derived from lapis lazuli, a mineral that had to be sourced from regions beyond the Indian subcontinent. Its presence in the caves therefore points to systems of exchange that extended far beyond the site itself.

The gradual increase in its use during the 5th century reflects a moment when these networks became more active, allowing rarer materials to circulate more widely. In this context, colour becomes a record of movement, linking the Ajanta caves to broader patterns of trade, cultural contact, and shifting political conditions across regions.

Image Courtesy:
Tile 1: Maharashtra tourism
Tiles 2 & 4: Wikipedia
Tiles 3 & 5: Acta Asiatica Varsoviensia

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