Sohrab Hura will present oil paintings from his body of work The Forest. The title encompasses the act of waiting within itself, evoking the forest as a space of myriad possibilities—it can harbour secrets, offer refuge, or provide a sense of solace and comfort. For Hura, the forest becomes both a physical and psychological manifestation. These works emerge from a place of remembrance, anticipation, and imagination. In the recent months, Hura has been accompanying his father to medical appointments that made him acutely aware of how time can feel interminable in the hospital waiting rooms. When he began working with oil paint, he felt a similar sense of waiting—the slow process of allowing one layer to dry before applying the next.  

Sohrab Hura lives and works in New Delhi, India. Select solo and group exhibitions include 61st International Art Exhibition of La Biennale di Venezia, In Minor Keys, Venice, 16th Gwangju Biennale: You Must Change Your Life, Gwangju (2026), A Winter Summer, Experimenter – Colaba, Mumbai, The Forest, Experimenter – Ballygunge Place, Kolkata (2025–2026), A Winter Summer, Alipore Museum, Kolkata, (2025–2026), Sohrab Hura: Mother, MoMA PS1, New York, (2024–25); Post Scriptum. A Museum Forgotten By Heart, MACRO, Rome (2024–25, among other,

Through deep engagement with diverse indigenous textile techniques, material investigation, and inherited knowledge systems, Chanakya School’s practice, led by Karishma Swali, forms a conduit between contemporary thought and ancient processes.

In Chanakya School’s body of work Saptamatrika, the movement from textile process to sculptural form, constructed from coconut, banana, and jute fibres. The female figures that inhabit these works draw upon the philosophical and iconographic histories of the Saptamatrikas, the Seven Mothers whose manifestations belong to the larger field of Shakti, the divine feminine force. Yet these figures are not simply returned to as historical symbols. They are reactivated through the conditions of making. Curiosity, insight, nourishment, protection, transformation, resilience, and collective strength become less attributes of represented deities than principles embedded within the labour of the work itself.

Saptamatrika X (Narasimhi) depicts one of the divine mothers who rise together to protect cosmic order. Narasimhi is the sudden, intense protective power that breaks through moments of great danger, instantly destroying fear and shielding the innocent.

Braiding, coiling, binding, wrapping, and weaving—gestures conventionally associated with textile—are released from the plane and allowed to occupy volume. The resulting forms inhabit an unstable territory between body, architecture, and organic matter. They suggest that sculpture need not begin with the solid or the monumental; it may emerge instead from acts of joining, gathering, enfolding, and holding. In this transition from surface to volume, Chanakya School’s long engagement with textile becomes an inquiry into what textile might become when it exceeds the limits of cloth.

Chanakya School’s first solo exhibition with Experimenter, Trace, was presented earlier this year at Experimenter – Ballygunge Place, Kolkata. Recent institutional presentations include Indigo: The Sky Below (2025) at the Mobilier National, Paris; En Route (2025) at the Vatican Apostolic Library, Rome; and Cosmic Garden (2024), presented as a Collateral Event of the 60th International Art Exhibition – La Biennale di Venezia (2024).

Sahil Naik (b. 1991) draws from a range of disciplines and exercises, including architectural practice, forensics, archaeology, and landscape painting to conjure propositional images.

Naik presents paintings from the series And then beyond the humidity, an un - surveyed landscape glistened.

Dream-like, a vision forms slowly-- a ship sick from the sea peers through the haze to arrive at a lush, wild landscape. Intuition and hearsay, become discovery. Since the earliest records of colonized lands were produced by the imperial eye, it is safe to say that no authentic first image exists. What kind of methods can we employ to recuperate the image to its closest, “native” self.

In the series, And then beyond the humidity, an un-surveyed landscape glistened Naik seeks the first (or early) images of these “discovered” tropical lands stretching from Car Nicobar to Malacca. Priests, cartographers, surveyors quickly etched these images of “pristine” lands, strange and wild. These images were not necessarily accurate and depended on the skill and knowledge of whoever was drawing them. Naik engages in two “corrective exercises” - the first is the identification and careful elimination of non-native plants and trees painted because the task was to present lushness, and the painters relied on images of the flora they knew to fill the gaps. The second is for Naik to replace these with native flora of the region — Excerpt from text by Mario D’Souza

Sahil Naik lives and works in Goa, India. His works were included in the 17th Lyon Biennale (2024–25); 5th edition of the Kochi-Muziris Biennale (2022–23); and the 5th Art Encounters Biennale, Timisoara (2023). Solo presentations include Sour Stars and Breadfruit Monsoons, Experimenter – Colaba, Mumbai (2026); Spectres, Specimens and Ships in Doubt, Experimenter – Ballygunge Place, Kolkata (2023); All is Water and To Water We Must Return, Experimenter – Ballygunge Place, Kolkata (2021); Monuments, Mausoleums, Memorials, Modernism, Experimenter – Hindustan Road, Kolkata (2020) and Ground Zero (2017) at  Experimenter – Hindustan Road, Kolkata. Other presentations include In-ruins at the Matera National Museums, Italy; TBA 21 on st_age; and at Foundation Elpis, Milan; How to reappear at the Kochi-Muziris Biennale, among others

Kallol Datta is an artist and independent researcher. Their practice reflects upon reconstructing, repurposing, and restructuring donated items of clothing and reclaimed textiles that hold memory, episodic events, and history, to negotiate larger questions of work and production, of labour and use, cultural sustainability, and of ideas revolving around research as production. Datta lives and works in Kolkata, India.

The current chapter of Volume 4 is based upon the largely undocumented lives of the queer community during the Late Joseon period. The earliest Korean record of homosexuality was of Silla Dynasty’s 36th ruler, King Hyekong. During the Late Joseon period, fleeting records of homosexuality in the imperial court and among nobility were registered in the Veritable Records of the Joseon Dynasty.

The namsadang were indigenous travelling theatre groups who performed songs, masked dances, skits, and puppet shows which reflected the harsh living conditions of the commoners and their resentment towards upper classes. With the rise of Neo-Confucianism in the Korean Peninsula, same-sex relationships were viewed as immoral, the namsadang were treated as outcastes, and they were not included in the rigid caste system. Under Japanese colonisation, the namsadang troupe activities at first came under restrictions, leading to a complete ban.

Their lives are reimagined in this chapter of Volume 4: at work, under occupation, and in retirement, as family portraits. Families documenting their lives through photography were largely limited to the upper classes. The textile works in this series foreground the informal family structure of each namsadang troupe and their lives.

Select solo and group exhibitions include Volume IV: Truths, Half-Truths, Half-Lies, Lies, Experimenter – Colaba, Mumbai (2025); Ties that Bind, State of Fashion Biennale, Arnhem (2024); Volume 3, Issue 2 (2022), Experimenter – Hindustan Road, Kolkata; and Random Access (2017), Experimenter – Hindustan Road, Kolkata, among others. They have also exhibited at Aomori Contemporary Art Centre, Aomori; Beirut Design Fair; Centro Cultural La Moneda, Santiago; Museo Franklin Rawson, San Juan; National Museums Scotland, Edinburgh; Nomad Monaco; and Victoria and Albert Museum, London. Kallol is on the curatorial team of the Indian Ocean Craft Triennial 2027 and a member of the Creative Advisory Council for the State of Fashion Biennale 2026 and was curator of the inaugural edition of Kolkata Queer Arts Month 2023 and interlocutor at the State of Fashion Biennale (STOF) 2024, Arnhem.