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methoddelhi
Method Delhi
On view : SLOW ROT
A common ghost asked another:
“Tell me, do you believe in humans?
Do you think they exist?”
The second ghost, a timorous kind,
Seemed to shudder at the question.
Then, glancing here and there, muttered
“Must you ask such things after nightfall?”
The first ghost prodded,
“This means you do believe in humans,
You are afraid of them, consider them extant”.
The second ghost conceded, saying
“Is there a way not to believe in them?
Just today, hordes of them
Crammed the Maidan for a meeting,
Millions daily throng the roads, shops,
Strolling about, working, looking for work,
Laughing, crying, loving, arguing…”
Before he could finish, the first one,
Stealing his words, probed pointedly,
“But how do you know they are human?
Have you peered inside any of them?
Have you found any trace of their
Human essence, soul, conscience?”
The second ghost said, cautiously,
“Have not been so close, have not dared”.
The first ghost, with a clinch, stated
“Then, in future, don’t rush to
Conclude that there are humans,
And you have seen them.”
...
The above lines are from Ghosts and Humans by Tarapada Roy. Tr.
...
The artwork on view is Pei Kadhai by M. Imran Ahamed
Acrylic on Canvas
60” x 48”
M. Imran Ahamed was named National Awardee for staged narratives, for this work, at Tata Trusts Student Biennale, Kochi.
...
DM @methoddelhi for more details and enquiries.
A common ghost asked another:
“Tell me, do you believe in humans?
Do you think they exist?”
The second ghost, a timorous kind,
Seemed to shudder at the question.
Then, glancing here and there, muttered
“Must you ask such things after nightfall?”
The first ghost prodded,
“This means you do believe in humans,
You are afraid of them, consider them extant”.
The second ghost conceded, saying
“Is there a way not to believe in them?
Just today, hordes of them
Crammed the Maidan for a meeting,
Millions daily throng the roads, shops,
Strolling about, working, looking for work,
Laughing, crying, loving, arguing…”
Before he could finish, the first one,
Stealing his words, probed pointedly,
“But how do you know they are human?
Have you peered inside any of them?
Have you found any trace of their
Human essence, soul, conscience?”
The second ghost said, cautiously,
“Have not been so close, have not dared”.
The first ghost, with a clinch, stated
“Then, in future, don’t rush to
Conclude that there are humans,
And you have seen them.”
...
The above lines are from Ghosts and Humans by Tarapada Roy. Tr.
...
The artwork on view is Pei Kadhai by M. Imran Ahamed
Acrylic on Canvas
60” x 48”
M. Imran Ahamed was named National Awardee for staged narratives, for this work, at Tata Trusts Student Biennale, Kochi.
...
DM @methoddelhi for more details and enquiries.
A common ghost asked another:
“Tell me, do you believe in humans?
Do you think they exist?”
The second ghost, a timorous kind,
Seemed to shudder at the question.
Then, glancing here and there, muttered
“Must you ask such things after nightfall?”
The first ghost prodded,
“This means you do believe in humans,
You are afraid of them, consider them extant”.
The second ghost conceded, saying
“Is there a way not to believe in them?
Just today, hordes of them
Crammed the Maidan for a meeting,
Millions daily throng the roads, shops,
Strolling about, working, looking for work,
Laughing, crying, loving, arguing…”
Before he could finish, the first one,
Stealing his words, probed pointedly,
“But how do you know they are human?
Have you peered inside any of them?
Have you found any trace of their
Human essence, soul, conscience?”
The second ghost said, cautiously,
“Have not been so close, have not dared”.
The first ghost, with a clinch, stated
“Then, in future, don’t rush to
Conclude that there are humans,
And you have seen them.”
...
The above lines are from Ghosts and Humans by Tarapada Roy. Tr.
...
The artwork on view is Pei Kadhai by M. Imran Ahamed
Acrylic on Canvas
60” x 48”
M. Imran Ahamed was named National Awardee for staged narratives, for this work, at Tata Trusts Student Biennale, Kochi.
...
DM @methoddelhi for more details and enquiries.
A common ghost asked another:
“Tell me, do you believe in humans?
Do you think they exist?”
The second ghost, a timorous kind,
Seemed to shudder at the question.
Then, glancing here and there, muttered
“Must you ask such things after nightfall?”
The first ghost prodded,
“This means you do believe in humans,
You are afraid of them, consider them extant”.
The second ghost conceded, saying
“Is there a way not to believe in them?
Just today, hordes of them
Crammed the Maidan for a meeting,
Millions daily throng the roads, shops,
Strolling about, working, looking for work,
Laughing, crying, loving, arguing…”
Before he could finish, the first one,
Stealing his words, probed pointedly,
“But how do you know they are human?
Have you peered inside any of them?
Have you found any trace of their
Human essence, soul, conscience?”
The second ghost said, cautiously,
“Have not been so close, have not dared”.
The first ghost, with a clinch, stated
“Then, in future, don’t rush to
Conclude that there are humans,
And you have seen them.”
...
The above lines are from Ghosts and Humans by Tarapada Roy. Tr.
...
The artwork on view is Pei Kadhai by M. Imran Ahamed
Acrylic on Canvas
60” x 48”
M. Imran Ahamed was named National Awardee for staged narratives, for this work, at Tata Trusts Student Biennale, Kochi.
...
DM @methoddelhi for more details and enquiries.
A common ghost asked another:
“Tell me, do you believe in humans?
Do you think they exist?”
The second ghost, a timorous kind,
Seemed to shudder at the question.
Then, glancing here and there, muttered
“Must you ask such things after nightfall?”
The first ghost prodded,
“This means you do believe in humans,
You are afraid of them, consider them extant”.
The second ghost conceded, saying
“Is there a way not to believe in them?
Just today, hordes of them
Crammed the Maidan for a meeting,
Millions daily throng the roads, shops,
Strolling about, working, looking for work,
Laughing, crying, loving, arguing…”
Before he could finish, the first one,
Stealing his words, probed pointedly,
“But how do you know they are human?
Have you peered inside any of them?
Have you found any trace of their
Human essence, soul, conscience?”
The second ghost said, cautiously,
“Have not been so close, have not dared”.
The first ghost, with a clinch, stated
“Then, in future, don’t rush to
Conclude that there are humans,
And you have seen them.”
...
The above lines are from Ghosts and Humans by Tarapada Roy. Tr.
...
The artwork on view is Pei Kadhai by M. Imran Ahamed
Acrylic on Canvas
60” x 48”
M. Imran Ahamed was named National Awardee for staged narratives, for this work, at Tata Trusts Student Biennale, Kochi.
...
DM @methoddelhi for more details and enquiries.
A common ghost asked another:
“Tell me, do you believe in humans?
Do you think they exist?”
The second ghost, a timorous kind,
Seemed to shudder at the question.
Then, glancing here and there, muttered
“Must you ask such things after nightfall?”
The first ghost prodded,
“This means you do believe in humans,
You are afraid of them, consider them extant”.
The second ghost conceded, saying
“Is there a way not to believe in them?
Just today, hordes of them
Crammed the Maidan for a meeting,
Millions daily throng the roads, shops,
Strolling about, working, looking for work,
Laughing, crying, loving, arguing…”
Before he could finish, the first one,
Stealing his words, probed pointedly,
“But how do you know they are human?
Have you peered inside any of them?
Have you found any trace of their
Human essence, soul, conscience?”
The second ghost said, cautiously,
“Have not been so close, have not dared”.
The first ghost, with a clinch, stated
“Then, in future, don’t rush to
Conclude that there are humans,
And you have seen them.”
...
The above lines are from Ghosts and Humans by Tarapada Roy. Tr.
...
The artwork on view is Pei Kadhai by M. Imran Ahamed
Acrylic on Canvas
60” x 48”
M. Imran Ahamed was named National Awardee for staged narratives, for this work, at Tata Trusts Student Biennale, Kochi.
...
DM @methoddelhi for more details and enquiries.
A common ghost asked another:
“Tell me, do you believe in humans?
Do you think they exist?”
The second ghost, a timorous kind,
Seemed to shudder at the question.
Then, glancing here and there, muttered
“Must you ask such things after nightfall?”
The first ghost prodded,
“This means you do believe in humans,
You are afraid of them, consider them extant”.
The second ghost conceded, saying
“Is there a way not to believe in them?
Just today, hordes of them
Crammed the Maidan for a meeting,
Millions daily throng the roads, shops,
Strolling about, working, looking for work,
Laughing, crying, loving, arguing…”
Before he could finish, the first one,
Stealing his words, probed pointedly,
“But how do you know they are human?
Have you peered inside any of them?
Have you found any trace of their
Human essence, soul, conscience?”
The second ghost said, cautiously,
“Have not been so close, have not dared”.
The first ghost, with a clinch, stated
“Then, in future, don’t rush to
Conclude that there are humans,
And you have seen them.”
...
The above lines are from Ghosts and Humans by Tarapada Roy. Tr.
...
The artwork on view is Pei Kadhai by M. Imran Ahamed
Acrylic on Canvas
60” x 48”
M. Imran Ahamed was named National Awardee for staged narratives, for this work, at Tata Trusts Student Biennale, Kochi.
...
DM @methoddelhi for more details and enquiries.
A common ghost asked another:
“Tell me, do you believe in humans?
Do you think they exist?”
The second ghost, a timorous kind,
Seemed to shudder at the question.
Then, glancing here and there, muttered
“Must you ask such things after nightfall?”
The first ghost prodded,
“This means you do believe in humans,
You are afraid of them, consider them extant”.
The second ghost conceded, saying
“Is there a way not to believe in them?
Just today, hordes of them
Crammed the Maidan for a meeting,
Millions daily throng the roads, shops,
Strolling about, working, looking for work,
Laughing, crying, loving, arguing…”
Before he could finish, the first one,
Stealing his words, probed pointedly,
“But how do you know they are human?
Have you peered inside any of them?
Have you found any trace of their
Human essence, soul, conscience?”
The second ghost said, cautiously,
“Have not been so close, have not dared”.
The first ghost, with a clinch, stated
“Then, in future, don’t rush to
Conclude that there are humans,
And you have seen them.”
...
The above lines are from Ghosts and Humans by Tarapada Roy. Tr.
...
The artwork on view is Pei Kadhai by M. Imran Ahamed
Acrylic on Canvas
60” x 48”
M. Imran Ahamed was named National Awardee for staged narratives, for this work, at Tata Trusts Student Biennale, Kochi.
...
DM @methoddelhi for more details and enquiries.
A common ghost asked another:
“Tell me, do you believe in humans?
Do you think they exist?”
The second ghost, a timorous kind,
Seemed to shudder at the question.
Then, glancing here and there, muttered
“Must you ask such things after nightfall?”
The first ghost prodded,
“This means you do believe in humans,
You are afraid of them, consider them extant”.
The second ghost conceded, saying
“Is there a way not to believe in them?
Just today, hordes of them
Crammed the Maidan for a meeting,
Millions daily throng the roads, shops,
Strolling about, working, looking for work,
Laughing, crying, loving, arguing…”
Before he could finish, the first one,
Stealing his words, probed pointedly,
“But how do you know they are human?
Have you peered inside any of them?
Have you found any trace of their
Human essence, soul, conscience?”
The second ghost said, cautiously,
“Have not been so close, have not dared”.
The first ghost, with a clinch, stated
“Then, in future, don’t rush to
Conclude that there are humans,
And you have seen them.”
...
The above lines are from Ghosts and Humans by Tarapada Roy. Tr.
...
The artwork on view is Pei Kadhai by M. Imran Ahamed
Acrylic on Canvas
60” x 48”
M. Imran Ahamed was named National Awardee for staged narratives, for this work, at Tata Trusts Student Biennale, Kochi.
...
DM @methoddelhi for more details and enquiries.
I’m no more your mother
Than the cloud that distils a mirror to reflect its own slow
Effacement at the wind’s hand.
All night your moth-breath
Flickers among the flat pink roses. I wake to listen:
A far sea moves in my ear.
One cry, and I stumble from bed, cow heavy and floral
In my Victorian nightgown.
Your mouth opens clean as a cat’s. The window square.
.....
The above lines are from Morning Song by Sylvia Plath
....
The artworks on view as part of our exhibition “SLOW ROT” at Method Delhi are,
Untitled by Tithi Das
Acrylic & Oil on Canvas
96” x 60”
The Garden & The Grave by Tithi Das
Watercolour on collected photograph
10” x 15”
...
DM @methoddelhi for more details and enquiries.
I’m no more your mother
Than the cloud that distils a mirror to reflect its own slow
Effacement at the wind’s hand.
All night your moth-breath
Flickers among the flat pink roses. I wake to listen:
A far sea moves in my ear.
One cry, and I stumble from bed, cow heavy and floral
In my Victorian nightgown.
Your mouth opens clean as a cat’s. The window square.
.....
The above lines are from Morning Song by Sylvia Plath
....
The artworks on view as part of our exhibition “SLOW ROT” at Method Delhi are,
Untitled by Tithi Das
Acrylic & Oil on Canvas
96” x 60”
The Garden & The Grave by Tithi Das
Watercolour on collected photograph
10” x 15”
...
DM @methoddelhi for more details and enquiries.
I’m no more your mother
Than the cloud that distils a mirror to reflect its own slow
Effacement at the wind’s hand.
All night your moth-breath
Flickers among the flat pink roses. I wake to listen:
A far sea moves in my ear.
One cry, and I stumble from bed, cow heavy and floral
In my Victorian nightgown.
Your mouth opens clean as a cat’s. The window square.
.....
The above lines are from Morning Song by Sylvia Plath
....
The artworks on view as part of our exhibition “SLOW ROT” at Method Delhi are,
Untitled by Tithi Das
Acrylic & Oil on Canvas
96” x 60”
The Garden & The Grave by Tithi Das
Watercolour on collected photograph
10” x 15”
...
DM @methoddelhi for more details and enquiries.
I’m no more your mother
Than the cloud that distils a mirror to reflect its own slow
Effacement at the wind’s hand.
All night your moth-breath
Flickers among the flat pink roses. I wake to listen:
A far sea moves in my ear.
One cry, and I stumble from bed, cow heavy and floral
In my Victorian nightgown.
Your mouth opens clean as a cat’s. The window square.
.....
The above lines are from Morning Song by Sylvia Plath
....
The artworks on view as part of our exhibition “SLOW ROT” at Method Delhi are,
Untitled by Tithi Das
Acrylic & Oil on Canvas
96” x 60”
The Garden & The Grave by Tithi Das
Watercolour on collected photograph
10” x 15”
...
DM @methoddelhi for more details and enquiries.
I’m no more your mother
Than the cloud that distils a mirror to reflect its own slow
Effacement at the wind’s hand.
All night your moth-breath
Flickers among the flat pink roses. I wake to listen:
A far sea moves in my ear.
One cry, and I stumble from bed, cow heavy and floral
In my Victorian nightgown.
Your mouth opens clean as a cat’s. The window square.
.....
The above lines are from Morning Song by Sylvia Plath
....
The artworks on view as part of our exhibition “SLOW ROT” at Method Delhi are,
Untitled by Tithi Das
Acrylic & Oil on Canvas
96” x 60”
The Garden & The Grave by Tithi Das
Watercolour on collected photograph
10” x 15”
...
DM @methoddelhi for more details and enquiries.
I’m no more your mother
Than the cloud that distils a mirror to reflect its own slow
Effacement at the wind’s hand.
All night your moth-breath
Flickers among the flat pink roses. I wake to listen:
A far sea moves in my ear.
One cry, and I stumble from bed, cow heavy and floral
In my Victorian nightgown.
Your mouth opens clean as a cat’s. The window square.
.....
The above lines are from Morning Song by Sylvia Plath
....
The artworks on view as part of our exhibition “SLOW ROT” at Method Delhi are,
Untitled by Tithi Das
Acrylic & Oil on Canvas
96” x 60”
The Garden & The Grave by Tithi Das
Watercolour on collected photograph
10” x 15”
...
DM @methoddelhi for more details and enquiries.
I’m no more your mother
Than the cloud that distils a mirror to reflect its own slow
Effacement at the wind’s hand.
All night your moth-breath
Flickers among the flat pink roses. I wake to listen:
A far sea moves in my ear.
One cry, and I stumble from bed, cow heavy and floral
In my Victorian nightgown.
Your mouth opens clean as a cat’s. The window square.
.....
The above lines are from Morning Song by Sylvia Plath
....
The artworks on view as part of our exhibition “SLOW ROT” at Method Delhi are,
Untitled by Tithi Das
Acrylic & Oil on Canvas
96” x 60”
The Garden & The Grave by Tithi Das
Watercolour on collected photograph
10” x 15”
...
DM @methoddelhi for more details and enquiries.
I’m no more your mother
Than the cloud that distils a mirror to reflect its own slow
Effacement at the wind’s hand.
All night your moth-breath
Flickers among the flat pink roses. I wake to listen:
A far sea moves in my ear.
One cry, and I stumble from bed, cow heavy and floral
In my Victorian nightgown.
Your mouth opens clean as a cat’s. The window square.
.....
The above lines are from Morning Song by Sylvia Plath
....
The artworks on view as part of our exhibition “SLOW ROT” at Method Delhi are,
Untitled by Tithi Das
Acrylic & Oil on Canvas
96” x 60”
The Garden & The Grave by Tithi Das
Watercolour on collected photograph
10” x 15”
...
DM @methoddelhi for more details and enquiries.
At sunset, on the river ban, Krishna
Loved her for the last time and left...
That night in her husband’s arms, Radha felt
So dead that he asked, What is wrong,
Do you mind my kisses, love? And she said,
No, not at all, but thought, What is
It to the corpse if the maggots nip?
...
The above lines are from “The Maggots” by Kamala Das”
...
The artwork on view is अधूरे ख़्वाब by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
18” x 24”
DM @methoddelhi for more details and enquiries.
At sunset, on the river ban, Krishna
Loved her for the last time and left...
That night in her husband’s arms, Radha felt
So dead that he asked, What is wrong,
Do you mind my kisses, love? And she said,
No, not at all, but thought, What is
It to the corpse if the maggots nip?
...
The above lines are from “The Maggots” by Kamala Das”
...
The artwork on view is अधूरे ख़्वाब by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
18” x 24”
DM @methoddelhi for more details and enquiries.
At sunset, on the river ban, Krishna
Loved her for the last time and left...
That night in her husband’s arms, Radha felt
So dead that he asked, What is wrong,
Do you mind my kisses, love? And she said,
No, not at all, but thought, What is
It to the corpse if the maggots nip?
...
The above lines are from “The Maggots” by Kamala Das”
...
The artwork on view is अधूरे ख़्वाब by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
18” x 24”
DM @methoddelhi for more details and enquiries.
At sunset, on the river ban, Krishna
Loved her for the last time and left...
That night in her husband’s arms, Radha felt
So dead that he asked, What is wrong,
Do you mind my kisses, love? And she said,
No, not at all, but thought, What is
It to the corpse if the maggots nip?
...
The above lines are from “The Maggots” by Kamala Das”
...
The artwork on view is अधूरे ख़्वाब by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
18” x 24”
DM @methoddelhi for more details and enquiries.
At sunset, on the river ban, Krishna
Loved her for the last time and left...
That night in her husband’s arms, Radha felt
So dead that he asked, What is wrong,
Do you mind my kisses, love? And she said,
No, not at all, but thought, What is
It to the corpse if the maggots nip?
...
The above lines are from “The Maggots” by Kamala Das”
...
The artwork on view is अधूरे ख़्वाब by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
18” x 24”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
Sakina’s mother was dead. She had died right in front of Sirajuddin’s eyes. But where was Sakina? As she lay dying, Sakina’s mother had urged him, ‘Don’t worry about me. Just grab Sakina and run!’
…
His mind was bursting with questions, but there were no answers. He needed sympathy, but everyone around him needed it too. He wanted to cry, but couldn’t; his tears had dried up.
…
The doctor glanced at the body lying on the stretcher. He felt a pulse and, pointing at the window, told Sirajuddin, ‘Open It!’
With lifeless hands she slowly undid the knot of her waistband and lowered her shalwar.
‘She’s alive! My daughter is alive!’ Old Sirajuddin screamed with unbounded joy.
The Doctor broke into a cold sweat.
…
The above lines are from Khol Do by Manto.
…
The artwork on view is खामोशी की गूंज by Riya Chandwani, on view at Method Delhi as part of the exhibition “SLOW ROT”
Oil on Canvas
24” x 54”
DM @methoddelhi for more details and enquiries.
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
SLOW ROT, currently on view at Method Delhi.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
📸 @kan.corder
“In this, it’s true: that which makes iron
Makes roses makes saints makes rapists
Makes the decay of a tooth and a nation.” Charles Bukowski in “in this –”.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Slow Rot opens at Method Delhi on Saturday, 9th May 2026.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
“In this, it’s true: that which makes iron
Makes roses makes saints makes rapists
Makes the decay of a tooth and a nation.” Charles Bukowski in “in this –”.
Slow Rot withers into the Grotesque, an artistic style that warps reality to expose its more sinister aspects. The grotesque is a confrontation with the frailty of selfhood rather than just a reflection of the monstrous.
Slow Rot opens at Method Delhi on Saturday, 9th May 2026.
Participating Artists:
Aditya Dhabhai (@______farebi______)
Dhruvi Jain (@dhruvi_jain_)
M. Imran Ahamed (@iiimran.ahamed)
Milan Sharma (@milansharmaaadi) c/o @artheritagegallery
Mitali Das (@mitalidas_28) c/o @emami_art
Priyesh T. (@priyesh_t)
Revant Dasgupta (@head_on_stick)
Riya Chandwani (@riiaa1313)
Sajid Wajid Shaikh (@sajidwajidshaikh)
Tithi Das (@_tithiiiiii_)
In Points of Cont(act), Sehaj Malik attempts to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
At its core is To the Cosmos and Back in 29 Steps, an instruction-based durational work that operates as both score and diagram. Borrowing the language of user manuals, industrial protocols, and scientific diagrams, I wish to frame the gallery space as a chamber set-up, through which the body travels like a mass in motion. The work proposes a simple but disorienting premise - that the body, by moving, curves the space around it. Each step becomes an attempt to register that impact. It will mark force, friction, interference, and return.
Credits :
Artist : Sehaj Malik
Gallery : Method Delhi
Curators : Sahil Arora , Anica Mann
Videography : Yuvraj Chawla
Edit : Sarthak Chauhan
Track : Honor by Abhi Meer ( from Omerta EP )
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
An intimate evening with @heyyditty around her latest record KĀLĪ unfolded at @methoddelhi. From vinyl listening and screenings to conversations with @akshitagarud/ @two_odd_, @venus_maku and @akanksha070, the space moved gently between sound, visuals, and dialogue.
Thank you to everyone who came through, until the next one!
Celebration Partner: @pursuedrinks
• On view at Method Delhi ‘Points of Cont(act)’ by @sehaj.malik -A site specific solo •
#listeningsession #newdelhi #methoddelhi #boxoutfm #nocliquejustplay
Intervals 6, Intervals 5, Intervals 7 - 8” x 10” each / Mixed Media on Canvas
Points of Cont(act), the title of this exhibition is applied literally to this series of work, where the body is pressed against in the gesso-ed skin of the canvas. Plotted on a gridwork of rectangles, imprints of the ear, the hands, the eyes, become not just memory carriers of an absent body but disjointed entities revealed beneath the stickers.A curious anthropomorphism takes place here, of the imprint itself? The canvas?
Sense organs isolated from the body as tools of perception, accessories and bodies at once.
———————————
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 26th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
Intervals 6, Intervals 5, Intervals 7 - 8” x 10” each / Mixed Media on Canvas
Points of Cont(act), the title of this exhibition is applied literally to this series of work, where the body is pressed against in the gesso-ed skin of the canvas. Plotted on a gridwork of rectangles, imprints of the ear, the hands, the eyes, become not just memory carriers of an absent body but disjointed entities revealed beneath the stickers.A curious anthropomorphism takes place here, of the imprint itself? The canvas?
Sense organs isolated from the body as tools of perception, accessories and bodies at once.
———————————
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 26th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
Intervals 6, Intervals 5, Intervals 7 - 8” x 10” each / Mixed Media on Canvas
Points of Cont(act), the title of this exhibition is applied literally to this series of work, where the body is pressed against in the gesso-ed skin of the canvas. Plotted on a gridwork of rectangles, imprints of the ear, the hands, the eyes, become not just memory carriers of an absent body but disjointed entities revealed beneath the stickers.A curious anthropomorphism takes place here, of the imprint itself? The canvas?
Sense organs isolated from the body as tools of perception, accessories and bodies at once.
———————————
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 26th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
Intervals 6, Intervals 5, Intervals 7 - 8” x 10” each / Mixed Media on Canvas
Points of Cont(act), the title of this exhibition is applied literally to this series of work, where the body is pressed against in the gesso-ed skin of the canvas. Plotted on a gridwork of rectangles, imprints of the ear, the hands, the eyes, become not just memory carriers of an absent body but disjointed entities revealed beneath the stickers.A curious anthropomorphism takes place here, of the imprint itself? The canvas?
Sense organs isolated from the body as tools of perception, accessories and bodies at once.
———————————
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 26th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
Intervals 6, Intervals 5, Intervals 7 - 8” x 10” each / Mixed Media on Canvas
Points of Cont(act), the title of this exhibition is applied literally to this series of work, where the body is pressed against in the gesso-ed skin of the canvas. Plotted on a gridwork of rectangles, imprints of the ear, the hands, the eyes, become not just memory carriers of an absent body but disjointed entities revealed beneath the stickers.A curious anthropomorphism takes place here, of the imprint itself? The canvas?
Sense organs isolated from the body as tools of perception, accessories and bodies at once.
———————————
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 26th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
🔊🔛Thank you Euronews for featuring my work 🙏 much gratitude to Anushka Roy for the wonderful conversation & thoughtful interview 🌻
RITES will return ☀️
Photography of my RITES artwork by @kan.corder
Last slide is today’s somatic real time interactive audiovisual ritual hand coded in C++ on a secondhand computer well over a decade old crafting freely far away from enshxttified warmongering bloatware
DAY 2563 #codeart
.
.
.
.
.
#computerart #audiovisual #embroideryart #synesthesia
🔊🔛Thank you Euronews for featuring my work 🙏 much gratitude to Anushka Roy for the wonderful conversation & thoughtful interview 🌻
RITES will return ☀️
Photography of my RITES artwork by @kan.corder
Last slide is today’s somatic real time interactive audiovisual ritual hand coded in C++ on a secondhand computer well over a decade old crafting freely far away from enshxttified warmongering bloatware
DAY 2563 #codeart
.
.
.
.
.
#computerart #audiovisual #embroideryart #synesthesia
🔊🔛Thank you Euronews for featuring my work 🙏 much gratitude to Anushka Roy for the wonderful conversation & thoughtful interview 🌻
RITES will return ☀️
Photography of my RITES artwork by @kan.corder
Last slide is today’s somatic real time interactive audiovisual ritual hand coded in C++ on a secondhand computer well over a decade old crafting freely far away from enshxttified warmongering bloatware
DAY 2563 #codeart
.
.
.
.
.
#computerart #audiovisual #embroideryart #synesthesia
🔊🔛Thank you Euronews for featuring my work 🙏 much gratitude to Anushka Roy for the wonderful conversation & thoughtful interview 🌻
RITES will return ☀️
Photography of my RITES artwork by @kan.corder
Last slide is today’s somatic real time interactive audiovisual ritual hand coded in C++ on a secondhand computer well over a decade old crafting freely far away from enshxttified warmongering bloatware
DAY 2563 #codeart
.
.
.
.
.
#computerart #audiovisual #embroideryart #synesthesia
🔊🔛Thank you Euronews for featuring my work 🙏 much gratitude to Anushka Roy for the wonderful conversation & thoughtful interview 🌻
RITES will return ☀️
Photography of my RITES artwork by @kan.corder
Last slide is today’s somatic real time interactive audiovisual ritual hand coded in C++ on a secondhand computer well over a decade old crafting freely far away from enshxttified warmongering bloatware
DAY 2563 #codeart
.
.
.
.
.
#computerart #audiovisual #embroideryart #synesthesia
🔊🔛Thank you Euronews for featuring my work 🙏 much gratitude to Anushka Roy for the wonderful conversation & thoughtful interview 🌻
RITES will return ☀️
Photography of my RITES artwork by @kan.corder
Last slide is today’s somatic real time interactive audiovisual ritual hand coded in C++ on a secondhand computer well over a decade old crafting freely far away from enshxttified warmongering bloatware
DAY 2563 #codeart
.
.
.
.
.
#computerart #audiovisual #embroideryart #synesthesia
🔊🔛Thank you Euronews for featuring my work 🙏 much gratitude to Anushka Roy for the wonderful conversation & thoughtful interview 🌻
RITES will return ☀️
Photography of my RITES artwork by @kan.corder
Last slide is today’s somatic real time interactive audiovisual ritual hand coded in C++ on a secondhand computer well over a decade old crafting freely far away from enshxttified warmongering bloatware
DAY 2563 #codeart
.
.
.
.
.
#computerart #audiovisual #embroideryart #synesthesia
🔊🔛Thank you Euronews for featuring my work 🙏 much gratitude to Anushka Roy for the wonderful conversation & thoughtful interview 🌻
RITES will return ☀️
Photography of my RITES artwork by @kan.corder
Last slide is today’s somatic real time interactive audiovisual ritual hand coded in C++ on a secondhand computer well over a decade old crafting freely far away from enshxttified warmongering bloatware
DAY 2563 #codeart
.
.
.
.
.
#computerart #audiovisual #embroideryart #synesthesia
🔊🔛Thank you Euronews for featuring my work 🙏 much gratitude to Anushka Roy for the wonderful conversation & thoughtful interview 🌻
RITES will return ☀️
Photography of my RITES artwork by @kan.corder
Last slide is today’s somatic real time interactive audiovisual ritual hand coded in C++ on a secondhand computer well over a decade old crafting freely far away from enshxttified warmongering bloatware
DAY 2563 #codeart
.
.
.
.
.
#computerart #audiovisual #embroideryart #synesthesia
🔊🔛Thank you Euronews for featuring my work 🙏 much gratitude to Anushka Roy for the wonderful conversation & thoughtful interview 🌻
RITES will return ☀️
Photography of my RITES artwork by @kan.corder
Last slide is today’s somatic real time interactive audiovisual ritual hand coded in C++ on a secondhand computer well over a decade old crafting freely far away from enshxttified warmongering bloatware
DAY 2563 #codeart
.
.
.
.
.
#computerart #audiovisual #embroideryart #synesthesia
Reach! Across Lines - 12” x 36” / charcoal, graphite, acrylic, stickers on canvas
What was your original (sur)face — the one you had before your parents gave birth to you?
Can you rise above it?
You can make the sound of two hands clapping,
now what is the sound of one hand?
a finger?
a phalange?
if you listen closely, does it breathe?
———————————
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 19th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
Reach! Across Lines - 12” x 36” / charcoal, graphite, acrylic, stickers on canvas
What was your original (sur)face — the one you had before your parents gave birth to you?
Can you rise above it?
You can make the sound of two hands clapping,
now what is the sound of one hand?
a finger?
a phalange?
if you listen closely, does it breathe?
———————————
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 19th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
Reach! Across Lines - 12” x 36” / charcoal, graphite, acrylic, stickers on canvas
What was your original (sur)face — the one you had before your parents gave birth to you?
Can you rise above it?
You can make the sound of two hands clapping,
now what is the sound of one hand?
a finger?
a phalange?
if you listen closely, does it breathe?
———————————
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 19th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
Reach! Across Lines - 12” x 36” / charcoal, graphite, acrylic, stickers on canvas
What was your original (sur)face — the one you had before your parents gave birth to you?
Can you rise above it?
You can make the sound of two hands clapping,
now what is the sound of one hand?
a finger?
a phalange?
if you listen closely, does it breathe?
———————————
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 19th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
Reach! Across Lines - 12” x 36” / charcoal, graphite, acrylic, stickers on canvas
What was your original (sur)face — the one you had before your parents gave birth to you?
Can you rise above it?
You can make the sound of two hands clapping,
now what is the sound of one hand?
a finger?
a phalange?
if you listen closely, does it breathe?
———————————
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 19th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
Reach! Across Lines - 12” x 36” / charcoal, graphite, acrylic, stickers on canvas
What was your original (sur)face — the one you had before your parents gave birth to you?
Can you rise above it?
You can make the sound of two hands clapping,
now what is the sound of one hand?
a finger?
a phalange?
if you listen closely, does it breathe?
———————————
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 19th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
In Points of Cont(act), I attempt to construct a system in which the body is both instrument and particle. It is an active agent entering, testing, and reconfiguring the space it inhabits. The exhibition unfolds as a set of charged interactions between organism and architecture, gesture and surface, instruction and exhaustion.
Points of Cont(act) is currently on view at Method Delhi until 19th April.
📸 @_yuvrajchawla_
———————————
DM @methoddelhi for more information.
View Instagram Stories in Secret
The Instagram Story Viewer is an easy tool that lets you secretly watch and save Instagram stories, videos, photos, or IGTV. With this service, you can download content and enjoy it offline whenever you like. If you find something interesting on Instagram that you’d like to check out later or want to view stories while staying anonymous, our Viewer is perfect for you. Anonstories offers an excellent solution for keeping your identity hidden. Instagram first launched the Stories feature in August 2023, which was quickly adopted by other platforms due to its engaging, time-sensitive format. Stories let users share quick updates, whether photos, videos, or selfies, enhanced with text, emojis, or filters, and are visible for only 24 hours. This limited time frame creates high engagement compared to regular posts. In today’s world, Stories are one of the most popular ways to connect and communicate on social media. However, when you view a Story, the creator can see your name in their viewer list, which may be a privacy concern. What if you wish to browse Stories without being noticed? Here’s where Anonstories becomes useful. It allows you to watch public Instagram content without revealing your identity. Simply enter the username of the profile you’re curious about, and the tool will display their latest Stories. Features of Anonstories Viewer: - Anonymous Browsing: Watch Stories without showing up on the viewer list. - No Account Needed: View public content without signing up for an Instagram account. - Content Download: Save any Stories content directly to your device for offline use. - View Highlights: Access Instagram Highlights, even beyond the 24-hour window. - Repost Monitoring: Track the reposts or engagement levels on Stories for personal profiles. Limitations: - This tool works only with public accounts; private accounts remain inaccessible. Benefits: - Privacy-Friendly: Watch any Instagram content without being noticed. - Simple and Easy: No app installation or registration required. - Exclusive Tools: Download and manage content in ways Instagram doesn’t offer.
Advantages of Anonstories
Explore IG Stories Privately
Keep track of Instagram updates discreetly while protecting your privacy and staying anonymous.
Private Instagram Viewer
View profiles and photos anonymously with ease using the Private Profile Viewer.
Story Viewer for Free
This free tool allows you to view Instagram Stories anonymously, ensuring your activity remains hidden from the story uploader.
Frequently asked questions
Anonymity
Anonstories lets users view Instagram stories without alerting the creator.
Device Compatibility
Works seamlessly on iOS, Android, Windows, macOS, and modern browsers like Chrome and Safari.
Safety and Privacy
Prioritizes secure, anonymous browsing without requiring login credentials.
No Registration
Users can view public stories by simply entering a username—no account needed.
Supported Formats
Downloads photos (JPEG) and videos (MP4) with ease.
Cost
The service is free to use.
Private Accounts
Content from private accounts can only be accessed by followers.
File Usage
Files are for personal or educational use only and must comply with copyright rules.
How It Works
Enter a public username to view or download stories. The service generates direct links for saving content locally.