[et_pb_section fb_built=”1″ _builder_version=”4.27.4″ _module_preset=”default” background_color=”RGBA(255,255,255,0)” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” custom_padding=”65px|||||” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_image src=”https:\/\/galleryespace.com\/artespace\/wp-content\/uploads\/2025\/11\/editorial-text-2.png” title_text=”editorial-text (2)” show_in_lightbox=”on” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_text _builder_version=”4.27.4″ _module_preset=”0a6c4baa-304e-458e-9003-bb7edad6cc4b” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n
\u2026each time the world she paints is new<\/p>\n
(Excerpted from So Long, Tom; The Poetly Newsletter<\/u><\/a><\/span>)<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” max_width=”700px” module_alignment=”center” custom_margin=”||3px|||” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n My encounter with visual art grew from an affinity with sound \u2013 the deep more-than-human al\u0101p of dhrupad<\/em>\u00a0music gave birth to ways of apprehending and finding resonance with the visual world. The long, undulating m\u012bnds of al\u0101p <\/em>formed a parallel syntax of colour, rhythm, shape and performance. My Ust\u0101d \u2013 Zia Fariduddin D\u0101gar \u2013 explained to me one day, the meaning of remaking the world, each time we create. After an inspired class at our gurukul in Palaspe, Mumbai, I asked him about tradition and \u2018difference\u2019: \u201cWhen we sing, it must be such that a stranger walking on the road should be arrested in their tracks, by the unexpected music that reaches their ears. The same voice that speaks, can create magic. Every time I sing a r\u0101g it must be different. Every experience is different \u2013 so how can two bih\u0101gs <\/em>ever be the same?\u201d<\/p>\n Ust\u0101d was gesturing towards the creation of a \u201cspace\u201d of\u00a0<\/em>art-making, that is ever-evolving, in medias <\/em>res, always in the process of becoming. It is difficult to capture this space \u2013 to articulate its force through language. It is always<\/em>\u00a0new<\/em>. But what of the experience of art? What of the writer and the critic \u2013 what of the scholars who read meaning and feeling into the impulses of painters and poets, musicians and performers? How do we imagine that \u201cspace\u201d of encounter? In a world that is caught between the impulses of the \u201cmarket\u201d, the \u201cart critic\u201d, and the rasik<\/em>, there is no easy answer to this question.<\/p>\n The working space for an artist is an extension of the pictorial space, but also the \u201cworkshop\u201d. Speaking about the conception of a \u201cworking space\u201d the abstract artist and revolutionary thinker Frank Stella observes: \u201cBut, after all, the aim of art is to create space\u2014space that is not compromised by decoration or illustration, space in which the subjects of painting can live.\u201d That space is elusive, and its vanishing presence, today, is related to socio-political overwhelm, and rapid fragments of information assaulting our already diminished attention spans.<\/p>\n But the realisation hit me with the same force that the harmonic resonance of colour and form in a Raza painting frames the viewer\u2019s surprised body, the way the bulging eyes and pierced, bleeding breast of a figure in a Caravaggio painting arrests<\/em>\u00a0the viewer who is caught in the corporeal fire of that painted moment. This magical \u201cspace\u201d of engagement between the work<\/em>\u00a0of art, and the viewer is meaningful, and pervasive. It is replicated through writing \u2013 that contextualises the work through creative engagement that takes it beyond a simplistic fetishization as commodity. The work of art lives <\/em>in the imagination of its muse \u2013 the writer.<\/p>\n We encounter a new working space, now and a new kind of artist \u2013 the poet, perhaps?<\/p>\n The poet finds feeling and substance by writing into <\/em>the world \u2013 not by writing about it, in the way that a \u201ccritic\u201d does. What does it mean, then, to move beyond familiar modes of scholarship, familiar ways of making meanings, towards a working space<\/em>\u00a0of creative <\/em>engagement with a work of art? How can we write into<\/em>\u00a0the space of art, curating our efforts towards \u2018listening\u2019, and sensing, rather than imprisoning with meaning, the \u201ccritical\u201d space of the artist, and the artwork? How to verb like a poet \u2013 how not to enclose sensation and feeling within the rigid contours of the noun?<\/p>\n ArteSpace<\/em>\u00a0was born out of these potent questions about form, with the vision of providing a space for the artisanal craft of writing that goes beyond \u201cart\u201d as it is understood. \u201cArte\u201d, in the romance languages, etymologically refers to \u201dskill\u201d, \u201ccraft\u201d, or \u201cart\u201d. \u2018Arte\u2019 is also associated with \u00a0the Ancient Greek ‘\u03c4\u03ad\u03c7\u03bd\u03b7’ (\u201ctechne\u201d, again, meaning ‘skill, craft, art’). Heidegger says of \u201ctechne\u201d that it \u201cis the name not only for the activities and skills of the craftsman, but also for the arts of the mind and the fine arts.\u201d But techne is also connected with \u201cknowing\u201d – an opening up, \u201crevealing.\u201d This is the kind of work the magazine hopes to give space to. In \u2018Arte\u201d, then, we find stories, artists, and artworks that reveal<\/em>.<\/p>\n It is revelation that reveals, even art writing, as art. In aligning with the senses, with sensation, movement, and feeling ArteSpace<\/em>, seeks a pursuit that is not at odds with \u201ccritical scholarship\u201d, but a praxis that subverts its singular impulse towards argument. Writing into art, creatively, by locating the experience of self and spirit within the work of art \u2013 turns, even viewing, into an active exercise. It allows the work of art to become a social entity, contextualising it in the realm of democratic imagination, not<\/em>\u00a0the hubristic urge to control, or express power over the work of art.<\/p>\n The first edition of \u201cstories\u201d reflects this vision, bringing together an eclectic set of fresh voices that contextualise, and narrate art praxis through poetry, critical and creative commentary, and provocative scholarship.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” custom_padding=”65px|||||” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_image src=”https:\/\/galleryespace.com\/artespace\/wp-content\/uploads\/2025\/11\/aranya-flowers.jpg” title_text=”aranya-flowers” show_in_lightbox=”on” _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” text_font=”Archivo||||||||” text_font_size=”16px” text_line_height=”1.6em” text_orientation=”center” max_width=”500px” module_alignment=”center” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.27.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_heading title=”Flower Gathering” _builder_version=”4.27.4″ _module_preset=”default” theme_builder_area=”post_content” hover_enabled=”0″ sticky_enabled=”0″ max_width=”700px” module_alignment=”center”][\/et_pb_heading][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” theme_builder_area=”post_content” sticky_enabled=”0″ max_width=”700px” module_alignment=”center” custom_margin=”||47px|||”]<\/p>\n anthology(n.) – <\/span>anthos<\/span><\/i> (<\/span>Greek)<\/span><\/i> “a flower” + <\/span>logia<\/span><\/i> “collection, collecting”<\/span><\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.27.4″ _module_preset=”default” max_width=”700px” module_alignment=”center” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n Artespace opens with Akash Bharadwaj\u2019s<\/strong>\u00a0The \u2018Invisible\u2019 Network: Galleries, Collectors, and Artists in India<\/u><\/em><\/a><\/span>\u00a0that traces a historical journey of contemporary Indian Art by exploring the different emergent centres of artistic exploration in the country. His essay contextualises the human element of \u201crelationships\u201d within the material institutions that dominate the scenario, today. Shweta Upadhyay\u2019s <\/strong>Ways of Reading: Unravelling the Use of Poetry in Indian Contemporary Art<\/u><\/em><\/a><\/span>\u00a0<\/em>casts a net that is both wide, and deep, while exploring Indian artists\u2019 engagement with poetry. Sandra Elizabeth\u2019s<\/strong>\u00a0Saturated Waterscapes in Paula Sengupta\u2019s Oeuvre<\/u><\/em><\/a><\/span>\u00a0<\/em>explores artist Paula Sengupta\u2019s intimate relationship with ecology, and more-than-human environments. Roma Chatterji\u2019s<\/strong> The Making of Pardhan-Gond <\/u><\/em><\/span>art<\/u><\/span><\/a>\u00a0looks at the formation of an epistemic and aesthetic category – problematising age-old labels of \u201cfolk\u201d and \u201cart\u201d. Her study, enriched with personal anecdotes, foregrounds the question: \u00a0\u201cWhat is the significance of the art world in constituting \u201cfolk art\u201d practices?\u201d Kamayani Sharma\u2019s<\/strong> Cantus Firmus: Notes on Listening to Jangarh Singh Shyam<\/u><\/em><\/a><\/span>\u00a0is a reflexive foray into the poetics of \u201clistening\u201d as method \u2013 within, and beyond\u00a0<\/em>the archive \u2013 articulating Jangarh Singh Shyam\u00a0<\/em>and his practice, harmonising \u201ctestimonies\u201d of his life and work, with Shyam\u2019s own voice and perspective. Imran Ali Khan\u2019s <\/strong>Sitting Still: Reading Tanmoy Samanta\u2019s Artworks<\/u><\/em><\/a><\/span>, is a meditative exploration on time, space, and \u2018object\u2019 in Tanmoy Samanta\u2019s layered compositions. In They are Always Working\u2026 <\/em>Lina Vincent<\/strong>\u00a0writes about the practice of Waswo X Waswo<\/u><\/a><\/span>\u00a0and the \u201ccohesive wholeness\u201d, in the labour and teamwork that has become a hallmark of the collective. \u00a0Arushi Vats\u2019s<\/strong> experimental essay Lateness as Method: Three Fragments on Music and Love<\/u><\/em><\/a><\/span> takes a contemplative, less-traveled path through a forest alive with the works of Zarina, Seher Shah, and Lala Rukh. With poetry as companion, Theodor Adorno, and Edward Said as allies, Arushi leafs through the entanglements of \u201ccatastrophe\u201d and \u201crupture\u201d, \u201cexile\u201d and \u201clove\u201d. Poet Ajay Kumar\u2019s<\/strong>\u00a0<\/u><\/a><\/span>series of poems, <\/u><\/span>\u201c<\/u>after movement<\/u><\/em><\/span>\u201d<\/u><\/em><\/a>\u00a0writes creatively into <\/em>\u201curban\u201d artworks by artist Ashwin J Chandran from a series entitled \u201cMovement of Madras\u201d. These poems go beyond ekphrastic and \u201cart-historical\u201d modes, by deepening the \u201cworking space\u201d shared by artist, artwork and poet-witness, in a silver chain of aesthetic comradeship. In Indigo: Sensorium of Colour<\/u><\/em><\/a><\/span>, Handloom Futures<\/strong>, a research collective of artisans and historians of science, collectively documents the centuries old living tradition of fermentation dyeing and dye-making as experienced by the indigo dyers. In Paper Trails<\/u><\/em><\/a><\/span>\u00a0Ravikumar Kashi\u2019s tender musings on the craft of \u201cworking with paper\u201d, deftly threads a body of work, developed over decades, into an uneven but intricate tapestry of loss, belonging and vulnerability. In Time and Space: Sarker Protick\u2019s Photographic Continuum<\/u><\/a><\/span>, Sudeshna Rana\u00a0<\/strong>journeys through the artist\u2019s landscapes of light and loss that negotiate the shifting contours of history and intimacy, labour, life and livelihood. In Walking the labyrinth<\/u><\/em><\/a><\/span>\u00a0<\/em>Avani Tandon Vieira<\/strong>\u00a0speaks to Philippe Calia about the complex dynamic between photography and urbanity. Saranya Subramanian\u2019s<\/strong> visceral engagement<\/u><\/a><\/span>\u00a0with Anupam Roy\u2019s 2025 exhibition \u201c…ing: Sceneries Without Sovereignty\u201d <\/em>gestures towards the ways in which gallery-art can go beyond the white cube space, subverting dominant political and cultural narratives of sovereignty, by laying bare the grotesque, corporeal body-politic of systemic oppression.<\/p>\n <\/p>\n ___<\/p>\n \u00a0<\/strong><\/p>\n We cast these stray musings and renegade ideas before you, the way the city casts petals of copper-pod and amaltash on pre-dawn streets. We spread before you these notes snatched from the silent melody of our vaulting delight. Walk with us, dear reader. tread softly.<\/em><\/p>\n <\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" \u2026each time the world she paints is new (Excerpted from So Long, Tom; The Poetly Newsletter)My encounter with visual art grew from an affinity with sound \u2013 the deep more-than-human al\u0101p of dhrupad\u00a0music gave birth to ways of apprehending and finding resonance with the visual world. The long, undulating m\u012bnds of al\u0101p formed a parallel […]<\/p>\n","protected":false},"author":22,"featured_media":704,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_FSMCFIC_featured_image_caption":"","_FSMCFIC_featured_image_nocaption":"","_FSMCFIC_featured_image_hide":"","footnotes":""},"categories":[14],"tags":[13],"class_list":["post-572","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-editorials","tag-editorials"],"_links":{"self":[{"href":"https:\/\/galleryespace.com\/artespace\/wp-json\/wp\/v2\/posts\/572","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/galleryespace.com\/artespace\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/galleryespace.com\/artespace\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/galleryespace.com\/artespace\/wp-json\/wp\/v2\/users\/22"}],"replies":[{"embeddable":true,"href":"https:\/\/galleryespace.com\/artespace\/wp-json\/wp\/v2\/comments?post=572"}],"version-history":[{"count":26,"href":"https:\/\/galleryespace.com\/artespace\/wp-json\/wp\/v2\/posts\/572\/revisions"}],"predecessor-version":[{"id":1006,"href":"https:\/\/galleryespace.com\/artespace\/wp-json\/wp\/v2\/posts\/572\/revisions\/1006"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/galleryespace.com\/artespace\/wp-json\/wp\/v2\/media\/704"}],"wp:attachment":[{"href":"https:\/\/galleryespace.com\/artespace\/wp-json\/wp\/v2\/media?parent=572"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/galleryespace.com\/artespace\/wp-json\/wp\/v2\/categories?post=572"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/galleryespace.com\/artespace\/wp-json\/wp\/v2\/tags?post=572"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}