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Issue 14 — Witness. Artist Alea Ferdous and others before Rupnogar Jamindar Bari, photograph by Sayeeda Khanam.
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Witness Issue 14 · January 2026
Cover Art: Artist Alea Ferdous and others before Rupnogar Jamindar Bari
Medium: Photograph
Credit: Courtesy Drik Picture Library, Dhaka

Artist: Sayeeda Khanam (1937–2020)

Sayeeda Khanam was the first female professional photographer of Bangladesh.

Self-taught, she began her career in 1956 with Begum, the country’s only women’s newspaper at the time, and went on to photograph Satyajit Ray’s films and portrait figures including Mother Teresa, Indira Gandhi, and Neil Armstrong. She documented the Bangladesh Liberation War of 1971 and received the UNESCO Award for Photography in 1985. Her archive is held at Drik Picture Library, Dhaka.
Issue 13 — Memories of the Future. Liquid Sky, 2014, by Poonam Jain. Public installation, mirror acrylic sheet suspended on a nala near Aarey colony, Bombay.
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Cover Art: Liquid Sky
Year: 2014
Medium: Public installation — mirror acrylic sheet suspended in a nala, Aarey colony, Bombay

A mirror acrylic sheet was suspended on a nala that may once have been a stream — now the identity of the locality near Aarey colony in Bombay. The reflection of the sky makes the mirror look like a clear water plot. When a bird flew over, it seemed as if a fish swam.

Documentation of the work was later displayed in galleries. At 1×1 Art Gallery, Dubai, a video of the installation was projected onto a table in a darkened room — a common space where people could sit and converse. During the opening, people chatted, rested their wine glasses and bags on the table. The wine glass was at once resting on the nala flowing underneath, and on the sky passing by.


Artist: Poonam Jain (b. 1989)

Poonam Jain (b. 1989) works with drawing and installation to highlight structures within the fields of pedagogy, economy, and architecture.

Her interest lies in looking at rituals or practices that determine the distribution of power in society at large and within the unit of the family. She has recurrently addressed the function of language and how it is used to order the world, exploring possibilities of creating a gap between symbols and their meanings. Currently, Jain is researching the history of letterpress printing in South Asia, with an emphasis on the consolidation and exclusion of scripts and languages that has taken place in the region over time.

She was a member of the artists’ union Clark House Initiative, Mumbai, from 2011 to 2016. Her work has been shown in group exhibitions at Sapar Contemporary, New York (2017); New Gallery, Paris (2016); INSERT 2014, New Delhi; Gdanska Galeria Miejska 2, Poland (2014); and Kadist Art Foundation, Paris (2013). She has had solo exhibitions at Art Dubai with 1×1 Art Gallery (2018), Clark House Initiative, Mumbai (2014), and 1×1 Art Gallery, Dubai (2014).
Issue 12 — Gender & its Discontents. Here I Am, collage by Bakula Nayak.
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Cover Art: Here I Am
Medium: Collage

This artwork belongs to a series exploring themes of individuality, societal expectations, and the intersection of the natural and constructed world. The background, a vintage ledger, serves as a record of transactions — a nod to the commodification of value, including a woman’s worth in patriarchal structures. The bold coral surrounding the figure embodies protection and fertility, juxtaposing the figure’s modern, self-assured stance. The snail shell at her feet grounds her in cycles of growth and introspection, while the fish above her reinforces the transformative journey. Together, these elements create a layered narrative, questioning how identity is shaped within the constraints of tradition and expectation.


Artist: Bakula Nayak (b. 1975)
Bakula Nayak

Bakula Nayak is an artist based between Bangalore and Pittsburgh, working at the intersection of motherhood, reproductive justice, and equality.

Born in 1975 in India, Bakula Nayak completed an undergraduate degree in architecture and a master’s of science in communication design from the Pratt Institute, Manhattan. After a long career in the US, she moved back to her hometown of Bangalore. With an impassioned curiosity for discovering beauty in the mundane, and a self-taught prowess for line, symbol and narrative composition, Bakula began her journey as an artist in 2013.

Bakula weaves together her personal histories with those of others and her work engages with themes of motherhood, reproductive justice, and equality, offering a nuanced commentary on the female experience. She explores themes of synergy between the individual and the collective, processes of art- and meaning-making, the experiences of women as well as contemporary cultural and psycho-social situations.

Recently living in Pittsburgh, she has exhibited her work extensively in India, with additional shows in Germany, Canada, and Singapore.

“Believe you can & you are halfway there”

@bakulanayak on Instagram →
Issue 11 — Appetite. Nudeltisch (Spaghetti painting) by Giulia Andreani.
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Cover Art: Nudeltisch (Spaghetti painting)
Year: 2019
Medium: Acrylic on canvas, 114 × 195 cm (44 7/8 × 76 3/4 in)
Credit: © Giulia Andreani ADAGP, 2024. Courtesy Galerie Max Hetzler Berlin | Paris | London | Marfa. Photo: Emma Burlet. Also courtesy Fondazione Sandretto Re Rebaudengo and The Manetti Shrem Museum of Art.

Nudeltisch (Spaghetti painting) depicts four pinups at a table, swallowing — or regurgitating — spaghetti that resemble dripping paint strokes. The work references a post-perestroika painting by East-German artist Sighard Gille, and more broadly interrogates clichés about women and Italians reproduced across both popular and high art.


Artist: Giulia Andreani

Giulia Andreani is a French-Italian painter whose work engages with art history, feminism, and the politics of representation.

Giulia Andreani’s paintings draw on archival sources — historical photographs, postcards, and popular imagery — which she translates into monochromatic or muted-palette canvases that question the representation of women in cultural memory. Her work is held in major collections and has been exhibited internationally, including at Galerie Max Hetzler, Berlin and Paris, and Fondazione Sandretto Re Rebaudengo. She is represented by Galerie Max Hetzler, Berlin | Paris | London | Marfa.
Issue 10 — The Body. Pieta, 2018, by Bharti Kher. Plaster and wax sculpture.
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The Body Issue 10 · December 2023
Cover Art: Pieta
Year: 2018
Medium: Plaster, wax · 69 × 30 × 30 in (175.3 × 76.2 × 76.2 cm)
Credit: Photography: Jeetin Sharma

Artist: Bharti Kher (b. 1969)

Bharti Kher (b. 1969) was born in London and is one of the most celebrated contemporary artists working between India and the West.

She majored in Painting, Fine Arts BA, from Newcastle Polytechnic in the UK. Her art gives form to quotidian life and its daily rituals in a way that reassesses and transforms their meaning, with her own personal language of alchemy and mythology. Her use of found objects is informed by her position as an artist located between geographic and social milieus. Amongst her signature materials, loaded with symbolism, is the bindi, which first appeared in her work in 1995.

Recent solo exhibitions include A consummate Joy, Irish Museum of Modern Art (2020); Chimeras, Centre Pasqu’Art, Biel (2018); and Dark Matter, Museum Frieder Burda, Berlin (2017). In 2022, Ancestor, an 18-foot-tall bronze sculpture commissioned by Public Art Fund, was unveiled in New York.

Her works are held in the collections of the Tate and British Museum, UK; the National Museum of Canada; the Guggenheim Abu Dhabi; the Walker Art Center; and the Metropolitan Museum of Art, New York, among others.
Issue 9 — Violence. Imphal Encounter, photograph by Akshay Mahajan.
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Cover Art: Imphal Encounter
Medium: Photograph

Dedicated to the ongoing violent unrest in Manipur.


Artist: Akshay Mahajan

Akshay Mahajan is a documentary photographer who explores the personal histories of people around him.

Akshay Mahajan is a documentary photographer who likes to explore the personal histories of people around him, and the long-standing relationship between the observer and the subject. He publishes his work on Flickr under the handle lecercle. His website is akshaymahajan.in.
Issue 8 — Kindness. Iran Protests, September 2022, photograph by Taymaz Valley.
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Kindness Issue 8 · December 2022
Cover Art: Iran Protests
Date: September 25, 2022
Medium: Photograph

Artist: Taymaz Valley

Taymaz Valley is an artist and photographer based in Ottawa, Canada, originally from London.

Issue 7 — Environment. Queen of the Jungle, Collarwali, photograph by Amit Pandya.
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Cover Art: Queen of the Jungle, Collarwali
Medium: Photograph

Collarwali was one of the most famous tigers in India, who had a pivotal role in changing the fortunes of Pench Tiger Reserve. So named because of the radio collar she wore, she gave birth to 29 cubs in eight litters over her lifetime — a prolific legacy. She became one of India’s best-known tigers after starring in the BBC Wildlife documentary Spy in the Jungle, which tracked the lives of four tiger cubs over two years.


Artist: Amit Pandya

Amit Pandya is a wildlife photographer.

Issue 6 — Freedom. Kamla Bhasin at Dhaka Lit Fest 2017.
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Freedom Issue 6 · December 2021
Cover: Kamla Bhasin at Dhaka Lit Fest 2017
Medium: Photograph

Dedicated to Kamla Bhasin (24 April 1946 – 25 September 2021) — feminist activist, author, and social scientist who spent her life fighting for gender equality across South Asia. The cover shows her at Dhaka Lit Fest 2017, the words Hum Kya Chaaahte Azaadi — What do we want? Freedom — beside her.


Subject: Kamla Bhasin (1946–2021)

Kamla Bhasin was one of South Asia’s most celebrated feminist activists, authors, and development practitioners.

Kamla Bhasin spent five decades working on issues of gender, education, and media with NGOs and the United Nations across South Asia. She is best known for her writings on feminism, patriarchy, and development — including Understanding Patriarchy and What is Feminism? — which have been translated into dozens of languages. She was the founder of Sangat, a South Asian feminist network, and the creator of the song Azaadi, which became an anthem of feminist resistance across the region. She passed away on 25 September 2021.
Issue 5 — Human Rights. Photograph by Hakan Nural.
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Medium: Photograph

Artist: Hakan Nural

Hakan Nural is a documentary photographer and designer.

Issue 4 — Lockdown. Photograph by Lina Krishnan, village library in Rajasthan, 2015.
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Lockdown Issue 4 · December 2020
Medium: Photograph
Year: 2015

A photograph taken in a village library in Rajasthan in 2015 — now quite prophetic.


Artist: Lina Krishnan

Lina Krishnan is an abstract artist and writer based in India.

Lina Krishnan is an abstract artist and writer in India. Her chapbook of nature verse, Small Places, Open Spaces, has been published. Her poems appear in sixteen anthologies, including the Black Bough Poetry Winter Anthology and three editions of the Yearbook of Indian Poetry in English.
Issue 3 — Voice. Illustration by Devanchi Cholera.
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Voice Issue 3 · December 2022
Cover Art: Untitled
Medium: Illustration — black and white ink

Artist: Devanchi Cholera

Devanchi Cholera is an illustrator and artist.

Issue 2 — Resist. Photograph by Poornima Kumar.
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Resist Issue 2 · March 2019
Medium: Photograph

Artist: Poornima Kumar

Poornima Kumar is a photographer.

Issue 1 — The Beginning. Photograph by Sumana Roy.
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Medium: Photograph

Artist: Sumana Roy

Sumana Roy is an Indian writer, poet, and nature lover based in Siliguri, West Bengal.

Sumana Roy is an Associate Professor of English and Creative Writing at Ashoka University, and has held fellowships at Cornell University, Harvard’s Dumbarton Oaks, and the Rachel Carson Center at LMU Munich. Her works include How I Became a Tree (2017), shortlisted for the Shakti Bhatt Prize; the novel Missing (2019); the poetry collection Out of Syllabus (2019); and My Mother’s Lover and Other Stories (2019). Her unpublished novel Love in the Chicken’s Neck was longlisted for the Man Asian Literary Prize.

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