Beautiful and broken
This insider’s view of the art world is at once a rollicking read and a serious commentary on the commercialisation of the art space. https://t.co/PpUNULTtfh
I carry the inheritance of Hindi in my breath, a language woven from my father's place and my mother's home. Now, I search for a resonance in the alphabet of another shore.
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Art seduces before it speaks.
When Salil Gupta enters the high-stakes world of collectors and auctions, he discovers that beauty can reveal as much as it hides.
In This Garden of Weeds, every masterpiece is a mirror—showing you who you are, and who you wish to be.
Girish loves Anjana but fears failure. A fragile artist who cooks, writes odd bathroom elegies, and fights crippling self-doubt.
This Garden of Weeds follows his struggle in a ruthless art world.
Will he find his voice—or fade away?
Find out in ‘This Garden of Weeds’
Childhood taught us transformation: frogs to princes, pupae to butterflies.
Kracher in Austria shows the same truth — botrytis-ruined grapes becoming the sweetest wines.
Like F.N. Souza’s art, there’s sublime beauty in the grotesque. This 6-bottle collection
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Powerful photography by Shirin Neshat and Robert Longo's deep dive into Sigmund Freud's world are on display at Sakshi Gallery. If you like your art with a healthy dose of symbolism and psychology, this is the spot.
Showing until Dec 5. Go ponder your existence!
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“Artist Undone” (2012) followed the journey of an outsider drawn into the art world intrigued, then seduced by it.
“This Garden of Weeds” now looks inward: an honest reflection on the creative souls shaping this world, and the tension between the art market and the art world
People always ask, "Why do you collect?" I think it's because art doesn't want to be owned. It just asks for a place to stay—a quiet persistence that, once you see it, takes up permanent residence in your mind.
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The world of art is never fully understood, only deeply felt. Grateful to poet and art lover Ashok Vajpeyi, whose words illuminate Indian culture, for seeing the “deep wisdom laughing with tears in its eyes” that I sought to capture in 'This Garden of Weeds'.
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Before this gopuram, I saw the architecture of my own narratives.
Chennai—vibrant, layered, and quietly intense—shapes every social commentary I write.
The city doesn’t shout; it whispers through my stories.
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Mumbai is less a destination and more a performance. You don't just see this city; you absorb its beautiful, chaotic truth in every sound, sight, and step. It's a place that speaks in its own vibrant language, a masterpiece that defies easy description.
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Brown paper fragments flow across white space like echoes of a forgotten hymn — a visual Morse code of human experience. Safaya breathes engineering stillness into geometry where silence holds stories of conflict and memory.
Artwork: Untitled (2021) by Ankush Safaya.
As an author and a gallerist, I'm thrilled that The Hindu recognized the 'heft' my perspective brings to ‘This Garden of Weeds.’ This novel is my way of exploring the high-stakes world of contemporary Indian art and the duo determined to shake it all up.
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Art doesn’t just belong to the artist; it spills into the lives of those who stand close enough to feel its pull.
For three strangers, The Sentient Host, the Voracious Critic, and the Bohemian Mother, that pull becomes impossible to resist.
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