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Ayesha Sultana’s (b. 1984, Jashore, Bangladesh, lives and works in Atlanta, USA) graphite drawings signify a delicate yet intriguing dissonance between appearance and reality, revelation and ambiguity – through configurations and arrangements of geometric shapes and spatial structures, in a frame-by-frame progression of image and time. On closer viewing, the smooth surface of the paper is dark but reflective, nestled within it lies an intricate mesh of frictions and ruptures which animate the tactile surface resembling the texture of metal underscoring the mineral attributes of graphite and referring to an element of three-dimensionality produced by the dialogue between the versatile malleability of paper and the austere physicality of graphite.
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T. Vinoja’s (b. 1991; Kilinochchi, Sri Lanka) practice is influenced by contemporary art and Tamil literature, particularly the lived experiences of the Sri Lankan War (1983- 2009). Her work explores the war-torn landscapes, social conflict, and collective memory. Rooted in textile-based practices, her weaving embodies the concept of skin—both as a physical boundary and a metaphor for land, identity, and loss. The act of weaving itself is a process of connecting lines, much like the threads of history and personal experience. These lines symbolise both the fragility and resilience of human existence. Fabric, like skin, accompanies us through life and death, serving as a second layer that records our presence and absence. Through her practice, Vinoja seeks to evoke this enduring relationship between body, land, and memory, reflecting on the marks left by war and the stories woven into our collective past.
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T. Vinoja, Timeless Shadows of Space, 2025
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T. Vinoja, Timeless Shadows of Space, 2025
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T. Vinoja, Timeless Shadows of Space, 2025
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T. Vinoja, The Living Land 2, 2026
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T. Vinoja, Thresholds, 2026
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T. Vinoja, Elegy for a Hibiscus, 2026
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T. Vinoja, Drifting Horizons, 2026
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T. Vinoja, Autumn, 2026
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T. Vinoja, Sea, 2026
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T. Vinoja, Thresholds, 2026
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The Length of a Dream / स्वप्नांची दीर्घता is a recent body of work by Prabhakar Pachpute (b. 1986; lives and works in Pune, India), where he simultaneously explores ideas of alteration and renewal—elements that stand in contrast to one another while also coming together to anchor critical introspection. Reflecting on Gregor Samsa’s transformation in Franz Kafka’s Metamorphosis, Pachpute considers whether Gregor truly changed, or whether something had merely been revealed. The works meditate on the condition of reducing oneself to a function, a commodity, or an object, and inhabiting a world where passion becomes transactional and care conditional. At the same time, the works search for a path towards regeneration—one that embraces resilience, revival, and the process of carving out an identity that one once deeply believed in. The body of work reflects on the trajectory of the dream that calls for such transformation, while holding on to the possibility of hope that still lies within.For more than a decade, Pachpute has critically examined the impact of mining on both the environment and human lives. What began as a study of altered natural and industrial landscapes has deepened into an exploration of the inner worlds of those most affected. This series of artworks engages with social and psychological dimensions of hardship and systematic abuse.
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Vikrant Bhise’s practice reflects on the lives of various migrant and marginalised communities who have been discarded by society but continue to fight for identity and acceptance. Bhise is showing three new bodies of work—They Made Us Wear It, Unsettled Grounds, and Denied Lands. These works are a continuation of an earlier series that engaged with communities such as snake charmers and monkey charmers, among others, who perform on streets while moving from village to village with no permanent homeland.These migrant communities construct temporary tents from whatever materials they have accumulated, and the tent becomes both an abode and something they can call their ‘own’. Tents, in particular, carry a politics of their own—they can become stages for performers who wander from place to place, speaking to the realities of such communities, while also serving as shelters for worn-out beings in moments of protest. The works reflect Bhise’s mindscape, where land, tents, cloth, people, and objects churn together in turmoil, much like the lives of these communities that remain in a constant state of upheaval.
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Employing a range of processes that are central to her works, including photographic transfers from personal archives, collage, painting, stitching and drawing, Radhika Khimji (b. 1979; lives and works between Muscat, Oman and London, United Kingdom) pushes the edges of her practice. Khimji’s ongoing interests in expanding the possibilities of thinking through shapes, geometry, and the body in relation to landscapes are often the point of departure in the works. Abstracted landscape forms and images from construction sites seem ensconced within innumerable repeated dots and oblong shapes, an act that makes the surface of her works tactile and acutely textured.Through an engagement with planetary transits and bodily sensations, Khimji’s works “Scissors cut your inner grace, your perfect lace to puncture” and “Cracked a heart in longitude lanes, field ablaze with cut marks” draw from the relationship between Neptune—associated with water and dissolving boundaries—and Saturn—the planet of structure and containment. The titles attempt to make concrete what has become abstract, images once grounded in material experience, now transformed through a layered process of making. The current alignment of the planets evokes moments when established systems begin to erode; the last major conjunction coincided with the fall of the Berlin Wall. Inspired by photographs of the port of Salalah in Oman, the works focus on fences, cables, and barriers separating land from sea. Across the works, these rigid structures begin to fray and fall apart, echoing wider instability and transformation. Each work becomes a reading of self, landscape, and belonging—holding tensions between chaos and harmony, darkness and light.
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Aziz Hazara
Moonsightings, 2024Aziz Hazara (b. 1992 lives and works in Berlin) derives the vivid green in his work Moonsightings from retinal scans and biometric data that he excavates from night-vision goggles. Frequently left behind in conflict zones by foreign military forces, these goggles and their data are often sold in the markets in the United States, Afghanistan, and the surrounding region at large. Hazara looks at supply chains and the production of surveillance technologies and their afterlives in regions that have recently been occupied by the United States.Aziz Hazara is an artist who works across various mediums, including photography, video, sound, programming languages, text, and multimedia installations, exploring questions of memory, archives, surveillance, and migration within the context of power relations, geopolitics, and the panopticon. -
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Bani Abidi, Ayyar the trickster, Berlin, 2026
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Bani Abidi, Ayyar the trickster, Berlin, 2026
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Bani Abidi, Ayyar the trickster, Berlin, 2026
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Bani Abidi, Ayyar the trickster, Berlin, 2026
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Bani Abidi, Ayyar the trickster, Berlin, 2026
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Bani Abidi, Ayyar the trickster, Berlin, 2026
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Bani Abidi, Ayyar the trickster, Berlin, 2026
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Bani Abidi, Ayyar the trickster, Berlin, 2026
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In recent years, Bani Abidi has been drawn to the role of disobedience, wit, and disruption in an increasingly acquiescent, cowardly, and silent world. After Seeking Comfort In A German Chair (2024) and Attempts At Measuring Refusal (2025) her latest work is set of water color studies titled Ayyar the trickster, Berlin.At a time of heightened state repression against pro-Palestinian voices in Germany, Abidi and her thirteen-year-old son—who live in Berlin—often discuss questions of resistance. She observes him: a young boy on the cusp of adulthood, at a stage of life that manifests a cocktail of daredevilry, innocence, and a clear sense of justice. Inspired by him and by questions about her own role as an artist in these times, she is drawn to histories of ‘Tricksters’ in world literature, myths, and folklore as regulators of power in societies. Tricksters are complex anti-heroes who are mischievous, slippery, witty, and cunning—often gender benders and shape-shifters—who are always on the side of truth, but usually the ones who ‘trick’ justice into becoming. She is enchanted by their wit and independence.In her watercolour studies, Ayyar the trickster, Berlin, Abidi draws from various performative gestures choreographed by her son, while also choosing some from the radical Eastern European art history of the 70s.Bani Abidi (b. 1971) uses video and photography to comment upon politics andculture, often through humorous and absurd vignettes. Abidi studied visual art at the National College of Arts in Lahore and at the School of the Art Institute of Chicago. She lives and works between Berlin, Germany and Karachi, Pakistan.
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