#esha-tewari

#esha-tewari

Ardeshir displays a confident command of the keys, building an insistent right-hand motif on the opening track that creates a foundation for saxophonist Rhys Sebastian's drawn-out notes.

The documentary, created by Dr. Igea Troiani, Dr. Mamuna Iqbal, artist and researcher Paula Roush, and filmmaker Rime Tsujino, brings visibility to the experiences of six architects of South Asian origin.

"Most people don't stop to observe the crews' work or the infrastructure they uncover," Tentler-Krylov said. "But these unseen things keep the city going."

These water-women are beings of transformation, embodying sensuality, cosmic energy, and the transmission of matrilineal knowledge.

Mumbai is a city of simultaneities. Its urban fabric is dense and restless a patchwork continually fractured by moments of porosity. Narrow alleys suddenly unfold into courtyards, and fleeting intimacies emerge between strangers in crowded trains. Rhythms of chaos and solitude overlap seamlessly to create an everyday theatre of resilience.

The Lower East Side institution's OMA-designed, $82 million expansion debuted this week to mixed reviews, reflecting a range of opinions on its new look and functionality.

The new New Museum is many things: contemporary, perhaps, but also a science, history, anthropology, and many other museums in one. It echoes the desire of its patron class to own the world and its affiliated courtier class to deliver it to them on a silver platter, or encased in perforated metal, in this case.

There is a scene in "Morgenkreis | Morning Circle" (2025), a 16-mm film by Berlin-based Palestinian artist Basma al-Sharif, that unfolds at the threshold of a daycare center. A young boy clings to his father, his fists locked into the fabric of his coat, his arms wrapped tightly around him. The father gently tries to pry himself free while a daycare worker crouches nearby, attempting to distract the child and coax him inside. It is an ordinary moment, one that anyone who has ever been a child - or cared for one - recognizes instantly, as well as the gut-wrenching feeling it provokes.

What began as a passion for collecting became a responsibility. She not only believes in the artistic genius of women, but she wants society in general to hold men and women artists in equal esteem-and to place the same monetary value on their work.

Perched on a steep hillside overlooking Naggar valley in Himachal Pradesh, India, Eila is an art retreat that functions as an extension to the terrain rather than a static object. Designed by MOFA Studio, the project champions fluid architecture through advanced computational design, realizing a structure that mimics the landscape. The site's masterplan adopts a stepped strategy that preserves topsoil and rainwater runways, organizing the resort as a gradual, terraced descent.

Going out and demonstrating is really important. But if you don't feel comfortable demonstrating, you can volunteer for organizations, you can donate to organizations, you can sign petitions, you can call your senator. There's no excuse not to be involved on some level.

Kohli's work is inspired by the generative forces of nature-its cycles of growth, dissolution, and renewal. Central to the artist's visual language is Shakti, the transformative power of the divine feminine. Kohli uses the womb as a potent symbol of creation and possibility, exploring transformation within the eternal cycles of birth and death.

We tell ourselves stories in order to live. For more than 50 years, the French artist Sophie Calle has worked in the space between facts and their retelling, demonstrating how the narratives we share about ourselves are always partial, constructed. Working across photography, text, film and installation, she reveals how fantasy and projection intervene in our best attempts to see and be seen.

Known most for her large-scale artworks created from vast, intricate networks of thread, she developed her unique practice to make tangible the endless speculative configurations of human connections - something to be experienced rather than defined. But by asking her to describe her new exhibition, Threads of Life at the Hayward Gallery, I'm dragging her back into a reductive world of language. "If I wanted to express myself in words, if I could explain in words, I'd rather write," she says. "So I want to build visually, and I want to create visually. What I want to describe is beyond words."

Running from 15 January to 22 February, the as-yet-untitled show includes works from across four decades of Ai's career. Among them are his large-scale Lego works based on famous artworks, including versions of Surfing (After Hokusai) and Water Lilies, a reinterpretation of Monet's triptych of the same title. To mark his India debut, he will also show new Lego works based on Pichwais, intricate cloth paintings depicting devotional Hindu subjects, as well as homages to the country's storied Modernist painters V.S. Gaitonde and S.H. Raza.

Situated in the southern tip of Mumbai, the neighbourhoods of Colaba and Fort are home to dock yards, grand colonial architecture and most of the city's museums and contemporary art galleries. But as Mumbai's art scene grows, it is also expanding beyond its historic art district into the fashionable western suburb of Bandra and high-rise financial districts like Lower Parel and Worli.

In 2024, I made a vow to never base my art criticism on wall labels. My decision came after reading reactions to that year's Whitney Biennial. "If every label in 'Even Better Than the Real Thing,' the 81st installment of the Whitney Biennial, were peeled off the walls and tossed into the Hudson, what would happen?" asked Jackson Arn in the New Yorker. (He went on to suggest that the overall show would have been much better.)

Regina Silveira has spent the better part of three decades considering the relationship between media and meaning, particularly as it relates to Latin America. First presented in 1997, "To Be Continued..." features 100 black-and-white reproductions of photos, newspaper clippings, propaganda, advertisements, and more. Silveira nests each image into an oversized puzzle piece, which cuts off faces and scenes to leave fragments of pop culture icons, flora and fauna, and even the occasional mugshot spliced next to one another.

In the language of climate, water is dialectical: It is overabundance and scarcity; needed as well as dreaded. Psychologically, it can represent the unconscious, the maternal, the prelapsarian. Artist Deborah Jack disrupts any viewer's impulse to find recreational soothing in the ocean's tidal landscape, as she openly critiques the legitimacy of cartography, empire, and ecological adaptation. Jack's six-channel video installation "a sea desalts, creeping in the collapse... in the expanse...a rhizome looks for reason... whispers an elegy instead"

The path to the first New York solo show for Elda Cerrato (1930-2023), now on view at Galerie Lelong, was a long and winding one. Born in Italy to Jewish parents, Cerrato was a child when her family fled fascism in Europe for South America. Authoritarianism continued to shape her life in adulthood, as Cerrato and her husband and son were forced to leave Argentina to escape persecution at the hands of the country's military junta in 1973.