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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.
Xem Câu Chuyện Instagram Bí Mật
Trình Xem Câu Chuyện Instagram là một công cụ dễ sử dụng giúp bạn xem và lưu câu chuyện Instagram, video, ảnh hoặc IGTV một cách bí mật. Với dịch vụ này, bạn có thể tải xuống nội dung và thưởng thức ngoại tuyến bất cứ lúc nào. Nếu bạn tìm thấy điều gì đó thú vị trên Instagram mà bạn muốn xem sau này hoặc muốn xem câu chuyện mà vẫn giữ ẩn danh, Trình Xem của chúng tôi là lựa chọn hoàn hảo. Anonstories cung cấp giải pháp tuyệt vời để giữ kín danh tính của bạn. Instagram ra mắt tính năng Câu Chuyện vào tháng 8 năm 2023, và nhanh chóng được các nền tảng khác áp dụng do định dạng hấp dẫn và nhạy cảm với thời gian. Câu Chuyện cho phép người dùng chia sẻ cập nhật nhanh, bất kể là ảnh, video, hay selfie, được bổ sung với văn bản, emoji, hoặc bộ lọc, và chỉ hiển thị trong 24 giờ. Khoảng thời gian giới hạn này tạo ra mức độ tương tác cao so với các bài đăng thường xuyên. Trong thế giới ngày nay, Câu Chuyện là một trong những cách phổ biến nhất để kết nối và giao tiếp trên mạng xã hội. Tuy nhiên, khi bạn xem một Câu Chuyện, người tạo có thể thấy tên của bạn trong danh sách người xem, điều này có thể gây lo ngại về quyền riêng tư. Nếu bạn muốn duyệt Câu Chuyện mà không bị phát hiện, Anonstories sẽ hữu ích. Nó cho phép bạn xem nội dung công khai trên Instagram mà không tiết lộ danh tính của mình. Chỉ cần nhập tên người dùng của hồ sơ mà bạn tò mò và công cụ này sẽ hiển thị Câu Chuyện mới nhất của họ. Các tính năng của Trình Xem Anonstories: - Duyệt Ẩn Danh: Xem Câu Chuyện mà không xuất hiện trong danh sách người xem. - Không Cần Tài Khoản: Xem nội dung công khai mà không cần đăng ký tài khoản Instagram. - Tải Nội Dung: Lưu bất kỳ nội dung Câu Chuyện nào trực tiếp vào thiết bị của bạn để sử dụng ngoại tuyến. - Xem Highlight: Truy cập các Highlight trên Instagram, ngay cả khi đã qua 24 giờ. - Theo Dõi Đăng Lại: Theo dõi các bài đăng lại hoặc mức độ tương tác trên Câu Chuyện của hồ sơ cá nhân. Hạn chế: - Công cụ này chỉ hoạt động với các tài khoản công khai; các tài khoản riêng tư không thể truy cập. Lợi ích: - Thân thiện với quyền riêng tư: Xem bất kỳ nội dung Instagram nào mà không bị phát hiện. - Đơn giản và dễ dàng: Không cần cài đặt ứng dụng hoặc đăng ký. - Công cụ độc quyền: Tải và quản lý nội dung theo cách mà Instagram không cung cấp.
Lợi ích của Anonstories
Khám Phá Câu Chuyện IG Một Cách Riêng Tư
Theo dõi các cập nhật Instagram một cách kín đáo trong khi bảo vệ quyền riêng tư của bạn và vẫn giữ ẩn danh.
Trình Xem Instagram Riêng Tư
Xem hồ sơ và ảnh một cách ẩn danh dễ dàng với Trình Xem Hồ Sơ Riêng Tư.
Trình Xem Câu Chuyện Miễn Phí
Công cụ miễn phí này cho phép bạn xem Câu Chuyện Instagram ẩn danh, đảm bảo hoạt động của bạn không bị phát hiện bởi người tải lên câu chuyện.
Câu hỏi thường gặp
Ẩn Danh
Anonstories cho phép người dùng xem Câu Chuyện Instagram mà không cảnh báo người tạo.
Tương Thích Thiết Bị
Hoạt động mượt mà trên iOS, Android, Windows, macOS và các trình duyệt hiện đại như Chrome và Safari.
An Toàn và Quyền Riêng Tư
Ưu tiên duyệt web an toàn, ẩn danh mà không yêu cầu thông tin đăng nhập.
Không Cần Đăng Ký
Người dùng có thể xem Câu Chuyện công khai chỉ bằng cách nhập tên người dùng—không cần tài khoản.
Định Dạng Hỗ Trợ
Tải ảnh (JPEG) và video (MP4) một cách dễ dàng.
Chi Phí
Dịch vụ này miễn phí.
Tài Khoản Riêng Tư
Nội dung từ các tài khoản riêng tư chỉ có thể truy cập bởi những người theo dõi.
Sử Dụng Tệp
Các tệp chỉ được sử dụng cho mục đích cá nhân hoặc giáo dục và phải tuân thủ quy định bản quyền.
Cách Hoạt Động
Nhập tên người dùng công khai để xem hoặc tải xuống câu chuyện. Dịch vụ tạo liên kết trực tiếp để lưu nội dung vào thiết bị của bạn.