Panorama of Indian art on display at the Red Fort Biennale

Seven curators have put together an experience at the India Art, Architecture & Design Biennale (IAADB) against one of the most majestic backdrops, the historic Red Fort. The ongoing show combines physical and digital exhibitions as well as interactive installations on seven different themes.

Mugdha Sinha, Joint Secretary, Ministry of Culture, says this is the first time that the government has stepped in to do a biennale. “The time was right to create a product in the cultural space. With the government stepping in, the canvas got broader and more egalitarian, inspiring a huge number of people,” she says.

In Sthapatya, one of India’s leading photographers Amit Pasricha explores the timeless design and architectural resilience of Indian temples. Through a visual journey of photographs, panoramas, murals, sculptures, lithographs and technological displays, the pavilion showcases the rich traditions and craftsmanship in temple architecture. “The diverse threads of the exhibition weave together a rich tapestry of faith, expressing a profound appreciation for the enduring legacy of temples – timeless testaments to human creativity, adaptability and spirituality,” says Pasricha.

Roma Madan Soni immortalises the historical, architectural and artistic grandeur of the Hoysaleshwara Temples, with a three-metre-tall mixed multimedia interactive artwork. Ashok Singh meticulously carves replicas of the gopuram, a prominent structure of South Indian temples as well as the Nandi statue located in the Veerbhadra temple at Lepakshi in Andhra Pradesh. Scrap metal artist Zakir Khan crafts intricate models that represent renowned structures, such as the Shore Temple in Mahabalipuram and the musical pillars of Hampi. The pavilion also consists of a carefully curated collection of Raja Ravi Varma’s lithographic press.

Director of Ojas Art, Anubhav Nath curates Deshaj, which seeks to explore the living heritage of India’s indigenous folk arts and design traditions. “These arts have not only endured the test of time, migrations and changes in society but continue to evolve, deeply rooted in the day-to-day lives of people through practised rituals and traditions,” says Nath. Featuring a large collection of paintings, sculptures and objects reflecting the rich diversity of indigenous artistic expressions across various states, the exhibition also showcases works of mainstream urban artists who have been inspired by indigenous art forms.

Anjchita B Nair curates Bagh-e-Bahar, a pavilion delving into the concept of gardens as universes. While one of its sections highlights rock art across the country, another portrays gardens as evoked in the country’s dance traditions, and another offers an immersive experience in which one can step into a realm of botanical gardens. “Each segment peels back the layers, exposing artists’ relationships with real and imagined gardens – formal, public, abstract and intimately personal,” elaborates Nair. In works such as Flower Garden and Butterflies in the Garden, Santoshi Shyam depicts garden scenes consisting of bright flowers and butterflies, using decorative Gond motifs and the Bhil artform technique of dots.

Swati Janu curates Samatva, an exploration of women’s contribution to architecture. There is very little documentation and dissemination about the contributions of first-generation women architects of the country, beginning with Eulie Chowdhury. “From donors to dwellers, women’s pivotal role in architecture building in our history and contemporary times calls for readdressing the male-centric monophony in the field,” says Komal Pande, Deputy Curator, National Museum.

Using oral history recordings, visual documentation and storytelling tools, the archive traces the journeys of 80 women practitioners, mapping their contributions as significant landmarks in the larger narrative of India’s architectural history. Sheila Sri Prakash reminisces growing up unbeknownst of any gender bias, which landed her a seat in a male-dominated architecture school in 1972. Chitra Vishwanath talks about her professional journey while being pregnant and as a new mother. Similarly, Minakshi Jain discusses the challenges she faced in setting up her practice after returning from a six-year maternity leave. “How can we ensure that more women, non-binary and transgender designers get to occupy positions of power, leadership and visibility is the kind of critical discourse I am looking to create through this exhibition,” says Janu.

Aditya Arya guides visitors through Pravesh, exploring the historic and artistic metaphors associated with the philosophy of doors and gateways. “Traversing beyond the display of images by showcasing doors as portals of transition, as symbols of opportunities, guardians of secrets, reflections of choice and embodiments of identity, the exhibition invites viewers to contemplate the deeper layers of meaning that doors hold,” explains Arya.

Curated by Ratish Nanda and Vikramjit Rooprai, Sampravah focuses on India’s baolis (stepwells). While explaining the ancient science of the stepwell, it traces the history of several baolis through interesting stories and anecdotes. Gurdev Singh visualises magnificent installations inspired by Ugrasen ki Baoli in Delhi and Chand Baori in Abhaneri. . Shikha Jain and Adriana A. Garreta present Vismaya, a pavilion that celebrates India’s post-independence architectural splendour. The exhibition explores a range of monuments that cross over the realms of art, architecture and design.

The India Art, Architecture & Design Biennale is on display at the Red Fort Delhi till March 31; 11am to 10pm (Mondays closed)