Australian
gallery returns stolen strut to Nepal : A 13th-century
wooden strut stolen from a Patan temple finally comes
home from Australia after almost 50 years, by Ashish
Dhakal (nt 19/05/2023)
The
master craftsman : Artist Lok Chitrakar believes there
is a great need for a rethink of society’s understanding
of art, by Mimamsha Dhungel (kp 24/04/2023)
The
persistent painter : Artist Pramila Bajracharya talks
about her love for the feminine form, abstract
cityscapes and how she can’t help but paint every day,
by Urza Acharya (kp 03/04/2023)
NY
Museum Encases Stolen Nepali Idols, by Namrata
Sharma (rn 22/03/2023)
A
job done with passion : ‘I’m made for the arts,’ says
painter, illustrator and designer Rashana Bajracharya,
by Aashika Gautam (kp 20/02/2023)
Art
galleries galore : The studio art scene in Nepal is at
its peak. The Post covers five art galleries worth
visiting in Kathmandu valley, by Bishesh Dhaubhadel
(kp 18/01/2023)
Capturing
the nation’s mood through abstract art ; Suresh Basnet
offers commentary on the nation’s prominent issues
through his own paradigms of societal norms and biases
in his painting for the masses, by Bishesh
Dhaubhadel (kp 11/01/2023)
Of
private art collections and deities : ‘Deities of Nepal’
effectively dramatises Nepali artists’ imaginaire about
divine motifs, by Abhi Subedi (kp 18/12/2022)
The
delta of kāma : Erotic carvings on Kathmandu’s temples
are explicit, expressive, and their meaning just as
elusive, by Ashish Dhakal (nt 04/11/2022)
In
Save the Children’s ‘climate canvas,’ children call for
a greener, fairer future through art (nlt
16/10/2022)
The
many dimensions of Nepali art : The paintings of younger
artists show some features that are very encouraging,
by Abhi Subedi (kp 09/10/2022)
Himalayan
Art Festival begins at Nepal Art Council (rn
28/09/2022)
Twenty
three years after being lost, Nil Barahi statue found in
Singapore museum (nlt 14/08/2022)
Nepali
times in traditional art : The greatest attribute of
Sharma's paintings is his imaginative recreation of the
past, by Abhi Subedi (kp 31/07/2022)
Celebrating
the evolution of Nepal’s contemporary art scene :
Bikalpa Art Center’s latest interdisciplinary
exhibition, ‘Revisiting the Roots in a Modern Nuance’,
attempts to make sense of Nepal’s contemporary art scene
journey, by Srizu Bajracharya (kp 11/05/2022)
What
once was lost : A collective effort by activists,
historians, journalists, and curators has resulted in
the return of stolen Nepali artifacts from foreign
lands, but constant vigilance is still necessary, by
Sophia L Pandé (rec 18/04/2022)
Taking
in art : The recently concluded month-long art festival
Kathmandu Triennale 2077 attracted thousands of
visitors, and we set out to find out what people thought
of the exhibitions, by Srizu Bajracharya (kp
07/04/2022)
The
highs and lows of Kathmandu Triennale : As Kathmandu
Triennale 2077, Nepal's biggest art event, is set to
conclude in a week, the Post reviews what worked and
what didn't, by Ankit Khadgi (kp 25/03/2022)
Nepal
Receives Two Cultural Artifacts In London (sp
19/03/2022)
Atlas
of art in a world in motion : Kathmandu Triennale
exhibition reimagines landscapes through diverse
expressions of cartography, by Ashish Dhakal (nt
18/03/2022)
New
ways of seeing : New realities–and ways of
seeing–impress upon us the need to constantly ‘rewrite
the books of the past’, by Amish Raj Mulmi (kp
18/03/2022)
Plunder
Of Nepal's Heritage Goes on, by Binu Shrestha and
Aashish Mishra (rn 27/02/2022)
How
an art centre is preserving—and questioning—Nepal’s
culture : The most significant impact Karnali Arts
Centre has made over the years is engaging people in
conversations related to caste and gender, by Ankit
Khadgi (kp 24/02/2022)
Revisiting
a pioneering Nepali artist : An exhibition in New York
brings Lain Singh Bangdel’s art to a new audience,
by Shradha Ghale (kp 12/02/2022)
Recovered
statues, artefacts gathering dust in police stations,
by Ujjwal Satyal (ht 09/02/2022)
Apocalyptic
vision in Nepali art : The overall genius of modern
Nepali paintings is one of calmness and hope rather than
of ‘pralaya’, by Abhi Subedi (kp 16/01/2022)
Rubin
Museum of Art to return two Nepali relics from its
collection : The sculptures are believed to have been
stolen from two religious sites in Kathmandu Valley,
by Devendra Bhattarai (kp 12/01/2022)
Who
looted Nepal’s gods? Focus on antiquities in museums in
West detracts from role of Nepalis who stole and sold
them, by Ashish Dhakal (nt 07/01/2022)
An
interactive Mithila art exhibition : SC Suman’s latest
solo exhibition, aptly titled ‘Mithila Cosmos: The Story
of Cyclical Time’, fulfils the goal of the artist to
fuse contemporary issues with traditional Mithila
artwork, by Shranup Tandukar (kp 05/01/2022)
Art
and culture in 2021 : An ounce of hope in moments of
total despair, by Sangita Shrestha (rep 01/01/2022)
‘Women
Violence - From Womb To Tomb’ On Display (rn
04/12/2021)
The
enigma of arrival of Nepal’s gods : The re-consecration
in Kathmandu of a sacred sculpture 40 years after it was
stolen sets a precedent, but throws up new dilemmas,
by Ashish Dhakal (nt 03/12/2021)
Mithila
tales from Janakpur : For these women artists from
Tarai, Mithila art serves as their source of strength
and happiness in an imperfect world, by Srizu
Bajracharya (kp 27/11/2021)
The
unplundering of Nepal’s artifacts : With many of Nepal’s
art and artifacts being repatriated, questions still
remain about how those antiquities left the country and
what will happen to them when they come home, by
Prasansha Rimal (rec 18/11/2021)
Remembering
Lain Singh Bangdel : The artist’s first solo posthumous
exhibition in Yeh Art Gallery, New York is all set to
put the spotlight on Nepal’s international art history
and how modern art made it to the country, by Srizu
Bajracharya (kp 18/11/2021)
Art
for conservation’s sake : The ongoing exhibition, ‘Tale of a
city’, urges viewers to think critically beyond the white cube
spaces of the exhibition and its artworks. But in its
storytelling, it holds from giving too much information,
by Shranup Tandukar (kp 16/11/2021)
Art
sells, but who’s buying?, by Sajeet M Rajbhandari (rec
09/11/2021)
Using
art to create and tell stories of identity and equality :
Srijanalaya and the UN Women Nepal’s ‘We for Us’, a digital
exhibition, gives a glimpse of two gender equality activists’
lives, by Srizu Bajracharya (kp 10/11/2021)
Depicting
emotions through artworks : Sangee Shrestha’s exhibition
explores human resilience in the midst of a deadly second wave
of Covid-19, by Ankit Khadgi (kp 05/10/2021)
2
more Nepali antiquities traced to US museum : Activists aim to
have the sacred objects returned to shrines in Kathmandu from
which they were stolen (nt 24/09/2021)
63
lost statues brought back to Nepal (rep 18/09/2021)
Ethics
and engagement in community art, by Shuvangi Khadka (rec
16/09/2021)
Mona
Lisa of the East: A long lost Nepali woodcarving rediscovered,
by Bibek Sitaula (kp 02/09/2021)
Decolonizing
museums, repatriating Nepali heritage, by Slok Gyawali (ae
22/07/2021)
Repatriating
Nepal’s stolen artefacts : Started in 2015, Lost Arts of
Nepal, a Facebook page, has been informing people about
Nepal’s stolen artefacts and their whereabouts, by Ankit
Khadgi (kp 02/07/2021)
Nepali
sculpture and modernity debate : An important feature of
modern Nepali sculpture is the creative activism of the
artists, by Abhi Subedi (kp 25/04/2021)
The
homecoming of Nepal’s gods : The repatriation of Kathmandu’s
stolen religious objects appears to be gathering pace, by
Alisha Sijapati (nt 16/04/2021)
Despite
diversity, Classic Gallery’s latest show does not capture
one’s imagination : From personal reflections, muses to
stories of how women, or perhaps everyone, see their identity
questioned and boxed, ‘Reflection of Feminine Power on
Art’ is intriguing but it misses effectiveness, by Srizu
Bajracharya (kp 26/03/2021)
Who
said art is just about paints and canvas? ‘Perception 2020’ is
not your regular art exhibition. The works on display defy the
conventional understanding of art—they deserve attention,
by Ankit Khadgi (kp 20/02/2021)
A
lesson on why art should be accessible to all : Through their
latest exhibition, Movement-Restriction-Space, Kaalo.101 makes
a thoughtful attempt to bring art closer to the public.
However, its dependency on technology deters it from achieving
its mission, by Ankit Khadgi (kp 06/02/2021)
Nepal’s
gods return from exile : Western museums are under pressure to
send back Kathmandu Valley’s stolen deities, by Alisha
Sijapati (nt 29/01/2021)
Celebrating
the art in nudityCurated by Roshan Mishra and Kapil Mani
Dixit, ‘The Virtually Nude Show’ is a thoughtful virtual
exhibition that tries to break away from the conventional
connotations attached to nudity in art, by Ankit Khadgi
(kp 26/12/2020)
Nepal’s
history through art : Rediscovering the Victorian-era
paintings of Kathmandu by early British and Nepali artists,
by Lisa Choegyal (nt 11/12/2020)
The
absent art critic in the Nepali art scene : To push the
discussion of art forward and to see art in more meaningful
ways, focus has to be on developing better art critics,
artists say, by Srizu Bajracharya (kp 09/12/2020)
Ambivalence
in modern Nepali art : Nepali artists found the modernist
technique a useful way of shifting their focus to the self,
by Abhi Subedi (kp 08/11/2020)
What
determines the value of art? To an outsider, how the price of
any artwork is determined is a mystery, but here is how you
can begin to understand it, by Srizu Bajracharya (kp
07/11/2020)
A
celebration of diversity : Although not perfect, the
exhibition, Allegory, is filled with diverse works from
artists from different cultural and social backgrounds, whose
varied experiences and perspectives make the artworks more
impactful, by Ankit Khadgi (kp 30/10/2020)
Classic
Gallery’s latest exhibition fails to leave an impression: ‘The
Intersection of Ten Thoughts Part II’ is a big miss not
because the artworks are dull, but because the gallery relies
on a short, four-minute video to depict 20 artworks of 10
contemporary artists, by Ankit Khadgi (kp 07/08/2020)
Gateway
to Nepali art: Newars create artwork in almost everything and
everywhere, and the doors to their homes are no exception,
by Sanyukta Shrestha (kp 21/06/2020)
Practising
and discussing art in the time of Covid: With galleries shut
and events cancelled, here’s how some art collectives are
keeping art alive and thriving in the country, by Srizu
Bajracharya (kp 02/06/2020)
In
the current pandemic, there is much at stake for the Nepali
art scene: The uncertainty of these times will have a lasting
impact on the art ecosystem of the country—one that it might
take years to recover from, by Srizu Bajracharya (kp
20/05/2020)
Every
month, an opportunity to learn about Nepal’s contemporary art
movements: If we care about raising individuals who are
concerned about Nepal’s civil society, the Nepal Art History
Discussion Series could prove to be a good starting point,
by Niranjan Kunwar (kp 22/02/2020)
Kathmandu's
metal sculptors have a new enemy—technology: The traditional
art form is facing competition from Chinese market and
technology, by Shashwat Pant (kp 22/01/2020)
Nepali
art lacks serious study: The academic interest in Nepali art
today calls for a need to theorise art criticism and art
history, by Abhi Subedi (kp 19/01/2020)
The
fate of completed artworks: Artists put a lot of effort into
conceptualising and bringing life to their artworks. But what
happens to them after they’re exhibited?, by Srizu
Bajracharya (kp 14/01/2020)
Art
uncensored: A gift from ancient sculptors: The erotic art
carved on the struts of the temples around Kathmandu Valley is
fascinating, but its purpose still remains elusive, by
Ankit Khadgi (kp 11/01/2020)
Journeying
towards the redolent silence: Sanjeet Maharjan’s ‘Silence is
beautiful’ reveals nothing but the ordinary, yet it is
alluring and delightful, by Srizu Bajracharya (kp
02/01/2020)
Art
that speaks of an indigenous community’s historical
subservience: Artist Lavkant Chaudhary’s latest exhibition
‘Masinya Dastoor’ brings forward the silenced narratives of
Tharu community, by Srizu Bajracharya (kp 16/12/2019)
Crafting
a heritage: For the famed Shilpakar family of Bhaktapur, wood
carving requires more than a deft hand, by Shriluna
Shrestha (nt 13/12/2019)
‘Bodhicitta
Compassion’ is more than self-expression, it’s
self-reflection: In his latest exhibition, artist Tulku
Jamyang deploys contemporary cultural motifs to delve into
Buddhism and spirituality, by Ankit Khadgi (kp 05/12/2019)
A
statue stolen 35 years ago from Patan exhibited at Dallas
Museum of Art: The statue is among one of the artefacts
mentioned in Lain Singh Bangdel’s book ‘Stolen Images of Nepal’
(kp 21/11/2019)
An
intriguing, confusing art festival: There's much to make
meaning out of at the Kathmandu International Performance Art
Festival 2019, yet the festival falls short of making the art
powerful, by Srizu Bajracharya (kp 06/11/2019)
Loud
artistic juxtapositions steal Krama exhibition’s charm:
‘Krama—The rise of the female artists in the 21st Century’
celebrates the work of female artists, but disappoints as
spectators get no lasting impression, by Srizu Bajracharya
(kp 22/10/2019)
The
colours and narratives waiting to be spilled: The third
iteration of Himalayan Art Festival brings together the works
of 150 artists and is a magnificent display of the evolving
art scene in Nepal, by Srizu Bajracharya (kp 01/10/2019)
Witnessing
history unfold, in colour and on canvas: Hari Prasad Sharma’s
detailed documentation of history through his artworks is
heritage in itself, by Asmita Manandhar (kp 17/09/2019)
Why
the study of Nepali art history is important: Sound knowledge
of art history can help promote Nepal’s ancient and medieval
heritage internationally, by Suyog Prajapati (kp
08/09/2019)
Structures
without a soul: Bidhata KC’s abstract renditions of Mustang
homes appear fascinating from afar, but on a closer view,
there is little that is interesting, by Abani Malla (kp
21/08/2019)
Musings
on museums: The government of Nepal has not given much
priority to museum development and its protection. Existing
museums in Nepal date back to the days of monarchy, by
Prem Singh Basnyat (rep 06/07/2019)
Drawing
inspiration from memory: In his latest exhibition, Umesh Shah
gets as personal as one can get with his/her
art—combining his childhood, admiration for women, and his
thoughts on humanity, by Abani Malla (kp 26/05/2019)
Winds
of change: Mann Gurung’s paintings explore the juxtaposition
between a rapidly modernising world and the culture and
traditions of the past, by Rose Singh (kp 22/05/2019)
Nepali
Art going places: Largest ever international exhibition of
contemporary Nepali art opens at Weltmuseum Wien, by Kunda
Dixit (nt 19/04/2019)
The
artist
who uses Mithila painting to challenge social norms: Ranju
Yadav’s paintings mock and satire what are considered
society’s norms: gender inequality and the caste system,
by Tsering Ngodup Lama (kp 13/04/2019)
Petition
filed to repatriate ancient Nepali paubha painting from US
museum, by Timothy Aryal (kp 04/01/2019)
Breaking
my art: An exhibition shows the injustice and violence of the
Maoist insurgency (kp 09/10/2018)
Art
and Nepali times: The second edition of the Himalayan Art
Festival showcases the creative prowess of today’s youth,
by Abhi Subedi (kp 16/09/2018)
Venus
of
Dhobikhola: A discarded sculpture resting by the banks of the
Dhobikhola might just be one of the most important
archaeological finds of recent years, by Rahul Dhakal (kp
25/08/2018)
Rajman
Singh: A Lost Nepal found in London, by Sanyukta Shrestha
(kp 28/07/2018)
Sacred
vs
Sold: The fact that traditional art forms are surviving, and
experiencing an influx of artists to boot, means that these
art forms are negotiating our globalised world’s economic
structures and rules, by Kurchi Dasgupta (kp 20/05/2018)
Sacred
survival: Exhibition showcases contemporary Nepali Thangka and
Paubha painters, by Michael Gordon (nt 11/05/2018)
Sangeeta
Thapa’s
art recovery: Nepali artwork must be classified, catalogued
and preserved so our icons can be saved before it is too late,
by Abhi Subedi (kp 29/04/2018)
That
time I met Lok Chitrakar, by Rahul Dhakal (kp 07/04/2018)
Two
stolen idols returned to Kathmandu after 30 years (kp
05/04/2018), Stolen
idols returned to Nepal, by Ujjwal Satyal (ht 05/04/2018),
Bringing
our
Gods home: Two 1,000-year-old stone deities return to Nepal,
but hundreds of other stolen objects are still out there,
by Sahina Shrestha (nt 06/04/2018)
Visual
engagement: Nepal's nature and culture connect in a month-long
art exhibit (nt 02/03/2018)
Nepal
and
the globalised art world: Remittance can be channelled towards
the creation of programmes for the economic empowerment of
women, by Kurchi Dasgupta (kp 25/02/2018)
Nepali
art
and imitationIdentifying the difference between authentic
derivation and reproduction is necessary and urgent in
Nepal’s expanding art sphere because it helps one
understand how the art culture is growing and being shaped,
by Sandesh Ghimire (kp 27/01/0218)
Home
isn’t where the art is: Stumbling upon Nepali art antiques in
London, by Sanyukta Shrestha (kp 16/12/2017)
Art
and
the Rohingya of Kathmandu: In Sujan Dangol’s Displaced are
images of moments stolen from the lives of people trying to
lead fruitful, ordinary lives in sync with the culture
of a foreign land, by Kurchi Dasgupta (kp 17/09/2017)
Murals
making way to city walls, then to financial success,
by Ujjwal Satyal (kp 10/09/2017)
Learning
the
art of showing: A new wave of young Nepali artists is
emerging and graduation shows are ensuring they find a
platform, by Nhooja Tuladhar (kp 05/08/2017)
Art
against
trafficking and exploitation (kp 12/07/2017)
Art
in
a virtual world: Self-taught digital artist Ashim Shakya
received a lot of attention on social media after the
earthquake and blockade for his surrealistic digital
images, by Sahina Shrestha (nt 07/07/2017)
Incubating
art:
Collective memory on the lived experience of being in
Kathmandu city, by Kurchi Dasgupta (kp 02/07/2017)
Rebuilding
Recaptured:
A community art project involving 18 artists from four
different countries seeks to break through time worn
barriers, and heal an earthquake ravaged community
through art, by Kurchi Dasgupta (kp 18/06/2017)
In
choked
Capital, artists perform against pollution: Students
wrapped in plastic sheets take to streets, by
Samikshya Bhattarai (kp 14/04/2017)
Chitrakars
at
triennale: Joint endeavour of artists, art historians
and art curators can be instrumental in producing
important works, by Abhi Subedi (kp 02/04/2017)
Traditional
woodcarvings
on display at Newa Chen (kp 26/03/2017)
Nature
art
fest kicks off in Nawalparasi (kp 21/03/2017)
Art
and
liberal education: Those organising big art events and
those struggling to pursue art education deserve kudos,
by Abhi Subedi (kp 19/03/2017)
The
Man
Who Cares About Detail, by Sophia L. Pande (kp
19/03/2017)
Kathmandu
Triennale
starts with artist presentations (kp 12/03/2017), Kathmandu
triennale
to celebrate the city (kp 21/03/2017), Artavaganza:
The
Kathmandu Triennale puts Nepal and Nepali artists on the
world map with a two-week festival of creativity, by
Smriti Basnet (nt 24/03/2017), Kathmandu
Triennale
2017: The person in a woman; Reflections on Aamaa—an
experience of womanhood across generations—slated to be
performed at Kathmandu’s biggest art jamboree, by
Irina Giri (kp 25/03/2017), Nepal’s
largest
art fest kicks off: Spread over eight venues in the
Capital, Kathmandu Triennale will include works by 70
artists from 26 different countries (kp 26/03/2017),
Kathmandu
Triennale:
Artists in the City: The art festival is an exploration
of the city, spread over historical spaces dense with
memory and history, as well as new commercial spaces
palpitating with the possible birth of still newer urban
mythologies, by Sanjeev Upretyn (kp 01/04/2017)
Grief
on
canvas: Rabindra Shrestha’s solo exhibition of
fingerprint-art and paintings draw on anguish of people
in disaster-hit and war-torn areas (kp 12/03/2017)
Nepal’s
bird
family: Hira Dangol has got his whole clan to blend art
with ornithology, by Smriti Basnet (ht 03/02/2017)
Feminism
through
art: Artist Meena Kayastha’s Divine Debris draws on her
personal experience as a woman growing up in Nepal
watching other female figures around her struggle with
the limits imposed upon them, by Sophia L. Pande (kp
08/01/2017)
Joint
painting
exhibit at Newa Chen, by Samikshya Bhattarai (kp
30/12/2016)
Artists
and
their cities: On creating and dying, departing and
returning, leaving and arriving, by Niranjan Kunwar
(kp 24/12/2016)
Cultural
Memory
Transformed: Divine Debris is significant that not only
because the artist has taken an esoteric, oral tradition
and made it public; she has also made visible a form
that has almost always remained invisible, by Kurchi
Dasgupta (kp 04/12/2016)
Anxiety
and
originality in art: In Nepal, it is difficult to
theorise the question of patronage and legacy in arts,
by Abhi Subedi (kp 27/11/2016)
High
on
art: Gokyo Village, perched on a pristine, enchanting
lake, now has another surprise for travellers: The
world’s highestart gallery , by Anuj Adhikari (kp
29/10/2016)
The
root
of things: Sculptor Narendra Prasad Shrestha’s solo
exhibition, Dristikon, is a manifesto of a life devoted
to arts, by Timothy Aryal (kp 21/09/2016)
The
persistence
of memory: Five contemporary artists from Kathmandu
explore memory and loss in Dolakha’s Gairimudi, by
Pranaya SJB Rana (kp 03/09/2016)
Taking
art
out in the open: The shift in setting of Kathmandu’s
arts from private to public spaces could be a catalyst
for change, by Smriti Basnet (nt 02/09/2016)
When
Words
Fail: Using art as a catalyst for healing in a society
that continues to stigmatise mental health issues,
by Sujan G. Amatya (kp 06/08/2016)
Women
in Thangka painting, by Priyanka Gurung (rep
29/07/2016)
Sharada
Chitrakar’s
odyssey: I was simply struck by the Chitrakar tradition of
not giving their daughters the family art education,
by Abhi Subedi (kp 24/07/2016)
A
world through paubha: Samundra Man Shrestha’s collection
of paintings is currently on display at Nepal Art Council,
by Rea S. Mishra (kp 31/05/2016)
Time
travel
through portraits: At the Patan Museum, with images from a
bygone era, Nepal Picture Library is creating a portal to
a time when a photographic revolution was taking seed,
by Sujan G Amatya (kp 14/05/2016)
Art
in
the open: The Book Bus revisits Gorkha with tales,
memories and art in tow, by Pranab Man Singh (kp
07/05/2016)
Pasa
Pi:
Artists for the people; Art in its highest ideal can
reflect society back on itself, and artists, then, act as
public servants, by Mark Harris (kp 07/05/2016)
Anthropomorphism
and
mythology: Artworks that compel the audience to
contemplate human attributes from a fresh new transgenic
perspective, by Smriti Basnet (nt 06/05/2016)
Art
of
friendship: The Mithila painting not only evoked a sense
of acceptance of police, but also conveyed a message of
goodwill, by Ayush Joshi and Bijay Jha (rep
04/05/2016)
From
the
streets, into the gallery: At the low-brow mix-media
exhibition, currently on at the Siddartha Art Gallery, you
see two very young artists trying to find a voice that
they can stick with, by Nhooja Tuladhar (kp
30/04/2016)
Art
and
the earthquake: Where does art come in during a natural
disaster when there are so many other needs to meet?,
by Sophia L. Pandé (kp 23/04/2016)
The
solace
of art: The current exhibition at Siddhartha Art Gallery
depicts a wide range of emotional responses to the April
earthquakes, by Sophia L. Pandé (kp 27/03/2016)
Reclaiming
possibilities:
Introducing arts education to a marginalised school
community in Rasuwa, by Niranjan Kunwar (kp
19/03/2016)
Building
an
art movement: For contemporary art in Kathmandu to truly
become exciting, artists must not expect formal
institutions to lead the way, by Mark Harris (kp
19/03/2016)
The
Giving
Tree: The Kalpavriksha in the Mithila Cosmos, by
Sophia L. Pandé (kp 20/02/2016)
The
Mithila
avatar: In 'Kalpavriksha', S C Suman implores us to
imagine a more harmonious future for Nepal, by Michael
Nishimura (nt 12/02/2016)
Artists
transforming
Taltalaiya into a sculpture museum, by Amar Khadka
(rep 06/02/2016)
Subedi’s
solo
sculpture exhibition kicks off (kp 24/01/2016)
The
Gods
are still leaving: Despite their theft finding national
and international limelight, antiques from Nepal remain
vulnerable as ever, by Sewa Bhattarai (kp 09/01/2016)
Power
of
paintingsZhao Jianqui’s works are brilliant examples of
the Chinese ink wash technique, by Abhi Subedi (kp
18/10/2015)
Nepal
in
ink and brush: A Chinese artist’s creative journey across
the Himalaya, by Justin Zhao (nt 02/10/2015)
History
on
canvas: If you have time to see very few art exhibitions
in Kathmandu this week then this selection of paintings by
Hari Prasad Sharma should be it, by Nischhal Pradhan
(nt 02/10/2015)
Rebuilding
through
art: The efforts of an artist collective in the aftermath
of the Great Quake have left a lasting
mark on the affected people of Thulo Byasi, by Nhooja
Tuladhar (kp 18/07/2015)
Writing
about
art, by Sophia Pande (kp 12/07/2015)
Art
for
therapy, by Niranjan Kunwar (kp 11/07/2015)
NAFA-Sumeru
exhibition
focuses on local artisans’ skill at traditional work
(ht 05/07/2015)
Rising
from
the ruins, by Nhooja Tuladhar (kp 04/07/2015)
Bridging
the
gap: The number of people who write about art in Nepal has
increased—there is so much more than art-critic rant to
read now. But has art writing actually seen development in
quality?, by Nhooja Tuladhar (kp 20/06/2015)
Murals
of
hope: After the earthquake, street artists coloured
Kathmandu’s walls with messages of hope, by Stéphane
Huët (nt 19/06/2015)
A
natural performance: After the quake, the tedious
repetition of the same old things will not work anymore in
art, by Abhi Subedi (kp 14/06/2015)
Getting
art
out there, by Sophia Pandey (kp 14/06/2015)
Of
tragedy,
experience and the arts: In addition to relief funds, the
wide domain of art can help significantly in restoring
normalcy, by Deepesh Paudel (kp 17/05/2015)
Remembering
the
stolen gods, by Rachana Chettri (kp 25/04/2015)
Hair
strands
and dark voids: Saurganga Darshandhari and Surendra
Maharjan, two printmakers who were handed The Australian
Himalayan Foundation Art Award last year, are currently
exhibiting their works at the Siddhartha Art Gallery in
Babermahal, by Nhooja Tuladhar (kp 18/04/2015)
Enabling
art:
Artists best express themselves through their work and
then it is the curator’s job to take their art to the
public, by Nhooja Tuladhar (kp 28/02/2015)
Welcome
to
the machine: Performances by the Nepali artists are what
the Nepali public is most used to viewing, and
because they deal with issues that are close to home, they
are much easier to access, by Rachana Chettri (kp
28/02/2015)
Outing
evil:
Artworks such as Rape Me are meant to shock us out of our
slumber and they force us to take a deep look at our
social evils, by Kashish Das Shrestha (kp 31/01/2015)
Between
heaven
and earth, by Rachana Chettri (kp 17/01/2015)
How
printmaking
in Nepal could change, by Nhooja Tuladhar (kp
10/01/2015)
Journeying
for
art: Gurung’s approach reflects a sensibility that should
be welcomed in contemporary Nepali visual culture (nt
09/01/2015)
Paving
the
way of diplomacy through art (kp 08/01/2015) |