A set of four workshops exploring intersections of motherhood, art practice and caregiving led by Dr Ruchika Wason Singh as an extension of the project A.M.M.A.A. – The Archive for Mapping Mother Artists in Asia.

Concept:

This tight set of four workshops facilitates an intimate space of conversations between artists searching for affinities in their experiences of motherhood and art practice. It encourages looking with the other /m/others as a coterminous act, and a method to make possible anecdotal enquiries and sharing.

The participants may talk about lived experiences of mothering, and share stories of navigating choices, priorities and challenges in maternal performance, studio practice and supporting the self while multitasking responsibilities. Through different exercises, each consecutive workshop will prompt and create a safe space to narrate and develop conversations and imaginaries of the past, present and future, through audio, visual and performative modes of storytelling and exchange.

As an extension of AMMAA, the project seeks to foreground and map the shared emotional and biological affinities of mothers/caregivers/parents who are also artists practicing or intermittently return to practice, beyond their sociocultural and generational identities.

The three modules of this project, conceived with and for KNMA, each composed of four sets of workshops, seek to create a common ground and a community of artists/mothers by bringing them closer to communicating with each other. The participants will contribute to and become part of this community of artists-mothers, artist-parents, and artist-caregivers.

WHO CAN APPLY (specific to MODULE 2)

-Visual and performance artists based in or present in Delhi during the workshop dates who are biological mothers and primary caregivers with children under 10 years of age.

-Artists should be available for the entire duration of all four workshops.

-Artists should agree to the details of the consent form and duly submit it before the workshops commence.

-Artists should be sensitive and respectful towards the shared narratives of other participants.

-Artists cannot do audio or video recordings during the workshop.

-Artist will be given a participation honorarium of Rs. 2500 per day, for their time and engagement

How can you apply

Please completely fill and submit the Google Docs form

Module 1 'Self, Motherhood and Art Making' comprises of four workshops that facilitate an intimate space of conversations between artist-mothers searching for affinities in their experiences of motherhood and art practice. It encourages looking with other (m)others as a coterminous act, and a method to make possible anecdotal enquiries and sharing.

During the sessions, participants may talk about lived experiences of mothering, and share stories of navigating choices, priorities and challenges in maternal performance, studio practice and supporting the self while multitasking responsibilities. Through different exercises, each consecutive workshop will prompt and create safe space to narrate and develop conversations and imaginaries of the past, present and futures, through audio, visual and performative modes of storytelling and exchange.

As an extension of AMMAA, the project seeks to foreground and map the shared emotional and biological affinities of mothers/caregivers/parents who are also practicing artists or return intermittently to practice, beyond their sociocultural and generational identities.

The artist project, conceived with and for KNMA, consists of three modules and seeks to create a common ground and a community of artist-mothers, artist-parents, and artist-caregivers.

 

WHO CAN APPLY (specific to MODULE 1)

- Visual and performance artists based or are present in Delhi during the workshop dates who are mothers of children above 10 years of age

- Artists must commit to all four workshops part of Module 1.

- Artists should agree to the details of the consent form and duly submit it before the workshops commence.

- Artists should be sensitive and respectful towards the shared narratives of other participants.

- Artists cannot do audio or video recordings during the workshop.

- Artists will be given a participation honorarium of Rs. 2500 per workshop, for their time and engagement.

 

 

How can you apply

Please completely fill and submit the Google Docs form

Concept

Spilling embodies excess, overflow, and defiance against containment. Like a river creating new tributaries, spillages disrupt boundaries, exposing structural weaknesses and fostering transformation. This fluid movement is a resistance against rigid categorizations, challenging fixed identities and predetermined paths.

At the heart of spilling lies morom—a philosophy of care and interconnectedness. Professor Dolly Kikon describes morom as love beyond romance, a relational force shaping survival and identity. Morom becomes an apparatus for artistic intervention in the workshop that will bind communities through sharing and mutual responsibility.

The paradox of “Northeast” swings between significance and insignificance, necessitating its context while demanding a fracture in the subtle hegemonic presence. Through one and half months of online and onsite intensive lectures, practices, and dialogues, the program will embrace spillages—small leaks; will reimagine beyond rigid definitions. Each week the participants will be engaged with different scholars and practitioners leading to the development of various practices. By embodying affection and empirical outcomes, the program is envisioned to bring works that challenge politics of aesthetics and image making, fostering dialogue and new possibilities of belonging. The ideas, projects, interventions etc.— spillages evolved through this intensive program will be displayed in the form of a pop-up exhibition.

Eligibility Criteria:

• Young emerging creative practitioners from all disciplines from the states of Assam, Arunachal Pradesh, Meghalaya, Mizoram, Manipur, Nagaland, Tripura, and Sikkim.
• Final-year bachelor's students and individuals with up to five years of experience after completing a postgraduate degree are welcome to apply.
• We encourage different kinds of practitioners for the interdisciplinary interactions among participants not limited to visual arts.

We offer

• Continuous Mentorship by two Artist Educators for the entire duration of the Education Program.
• Online/Onsite Guest Lectures by artists and scholars.
• Travel expenses maximum up to Rs. 10,000/- per person for the round trip.
• Production Budget up to Rs. 25,000/- per participant.
• Accommodation for the entire duration of onsite workshop program.
• Support for the Pop-up exhibition after the workshop.

Mentors -

• Bazik Thlana – Artist, Educator & Researcher
• Praveen Ashokan – Artist, Educator & Researcher

Guest Lecturers -

• Dolly Kikon - Anthropologist & Filmmaker
• Mridu Rai - Writer, Curator & Researcher
• Devadeep Gupta - Artist & Researcher
• Lapdiang Artimai Syiem - Artist & Storyteller
• Aama Collective- Artist collective
• Samudra Kajal Saikia- Artist, Filmmaker & Researcher

Requirements for the Application:

• Letter of Intent referring to the following questions. (max. 500 words, to be uploaded in the google form)
  
  Q1- What are the areas of interest that you address in your practice?
  
  Q2- How do you want to contribute to the larger conceptual framework of the program through your practice, participation and areas of interest?
  
  
• Portfolio/ Past Works with images, video links (YouTube, Vimeo, etc.), not more than 10 pages max. 10 MB size. All combined into a single pdf.

• Participants will be expected to commit to the online sessions (a maximum of two per week) and attend the onsite session until the pop-up exhibition.
• Selection of participants will be carried out by the mentors of the program and the KNMA curatorial team.

Imagine a train of thirst enters inside a glowing screen and intricately crafted leather puppets tell the story of a young boy traveling to meet his father. At just nine years old, he documented his experience of thirst, revealing the deep injustices of exclusion.

Step into this world of Bioscope Tales, where history unfolds through shadow puppetry, folk songs, and performative archives. This project challenges the illusion of neutrality in education, using art as a medium to uncover long-silenced narratives.

The journey of collaboration begins in the village Nimmalakunta of Andhra Pradesh where Sinde Family of traditional leather puppeteers of Tholu Bommalata style meet with contemporary spirit of art, education and theatre practice. We are bridging generational knowledge, power of folk song with contemporary discourse of art to transform forgotten histories into immersive, interactive experiences.

The bioscope—a portal between past and future—offers a space where storytelling becomes a form of resistance.

What Awaits You?

Storytelling through a Shadow puppetry & live folk song performance, Peek through a bioscope and Interactive activities.

It is more than a performance, Bioscope Tales invites you to listen, question, and participate. Will you look closer? Will you hear the whispers of history?

Join Us. The bioscope is waiting for you.

Biography of Artists

Smita Urmila Rajmane is a public intervention artist, performer, and educator whose multidisciplinary practice addresses themes of caste, class, gender discrimination, and communal violence. Using participatory methods such as Augusto Boal’s Theatre of the Oppressed, puppetry, and game-based activities, she amplifies marginalized voices through archival installations and performances. Notable projects include I Hear You, The Battle of Ram Rajya – The Game of Chess, and The Ambedkar Age Digital Bookmobile. Her work has been exhibited globally. Smita has also curated participatory shows for children, such as Mokita, which explores the Dalit Panthers movement (2018), and the Dr. Ambedkar Festival. She has received multiple project grants and residencies.

Anjaneyeulu Sinde and his family, revered masters of leather puppetry from Nimmalakunta village, Andhra Pradesh, carry a rich legacy of craftsmanship passed down through four generations. With a collection of over 800 meticulously crafted puppets, they have created thousands of pieces that blend tradition with contemporary themes. Their artistry has earned them prestigious accolades of various kinds National Awards including the Padma Shri and Sangeet Kala Academy Award, and they continue to inspire future generations through workshops at renowned academies, preserving and innovating their cultural heritage.

Umesh Kumar is a Delhi-based, professionally trained puppeteer with 14 years of experience at Kat Katha Puppet Arts Trust, specializing in puppet design, diorama sets, and workshops for children and adults. He is the founder of "Arth The Meaning Puppet Arts," using puppetry to address social and interpersonal issues, and has performed nationally and internationally, including in Russia and at venues like the CSMVS Museum in Mumbai.

Uma Y.G. is a celebrated folk singer and theatre artist from Karnataka, known for her performances in Kannada Kogile and films like Cinema Bandi. She has won awards such as Karnataka Sangeetha Kala Ratna and Janapada Gaanasiri for her contributions to folk music and theatre.

“My journey is an ongoing blend of tradition, community, and innovation. From rolling simple clay coils as a child to shaping my identity as an artist, the soil remains at the heart of my story.” … Bhisaji Gadekar

The earth whispers through the rift, echoing the songs from soil to clay to touch to mould to sound.

Matiyecho Aawaz is an elegy to the potter community of Goa, an attempt to knead the anecdotes of everydayness, shaping clay to form testaments to resilience and levitating forgotten dialogues.

Since its antiquity, Goa is animating with terracotta hues, sustained even during the Portuguese rule, now faces the abrasion of its artisanal heritage. The potters, once the lifeblood of village rituals and household crafts, are now confronting by industrial alternatives and dwindling recognition. Through the stepping, footing, pressing, shaping of clay and the voices imbued within earthen vessels, Bhisaji will draft his presence not just as a yarn of a potter but also a storyteller of ancestral wisdom, aspirations, and the silent struggles of artisans. A durational performance that melds sound, touch, and memory, this work transforms the venue Kala Academy into a living, breathing landscape of cultural resonance. With every coil and sculpted form, the artist will reveal a mosaic of community, and the transformative power of earth. This performance does not merely recount—it invites us to listen, touch, smell, remember and reimagine.

Join us for to breath these riddles of soil and clay.

Sound Design by: Akshay Bhise and Nidhi Mardolkar

Writing Support by: Neha Timande

Audio Recording by: Potter Community of Goa.

Artist Bio:

Born in the Mandrem village of Goa, Bhisaji Gadekar belongs to a peasantry family and raised in the embrace of the soil. His earliest curiosity with clay began with the playful engagements with the Idol makers in his childhood at home, coiling the clay intrigued him to commence a journey to become an artist. Bhisaji initially sought admission to a formal institute but faced rejection due to his age. Undeterred, he joined a company specializing in hand-painted Azulejos tiles near Bicholim, a village celebrated as the pottery hub of Goa. There, he trained under senior artists and potters, laying a strong foundation for his skill. The following year, he enrolled in a master pottery course in Khanapur, Belgaum, where he spent three months mastering the art. This marked the start of Bhisaji’s journey as a potter—not by birth, but by choice. Over the years, he continued to refine his skills by working closely with master potters and experts in Goa, Mumbai, and Pune, enriching his artistic vision and technical expertise.

This journey of resilience and dedication shaped Bhisaji's identity as a multidisciplinary artist. Alongside his pottery practice, he pursued higher education in fine arts, earning a Bachelor’s degree from the Goa College of Art in 2012 and a Master’s in Sculpture from the Visva-Bharati University, Santiniketan, in 2014.

Bhisaji's contributions to sculpture, installation, and performance art have earned him widespread recognition. He was awarded the Emerging Artist Award 2020 by the Foundation for Indian Contemporary Art (FICA) and the Junior Fellowship from the Ministry of Culture, India, in 2017-18. His work has been showcased at prestigious platforms such as the Kochi-Muziris Biennale and Serendipity Arts Festival. An active member of the Goa Artists Collective, Bhisaji continues to innovate while fostering connections between artisan communities and contemporary artistic practices.

Rolling Museum is a curatorial program that transforms the concept of a museum into a dynamic, moving entity, weaving art seamlessly into the fabric of urban, sub-urban or rural life. Rooted in the philosophical idea of 'praxis'—the process by which theory, lessons, or skills are enacted, embodied, or realized—this program invites artists/ groups/ collectives to engage in various kinds of public interventions and community engagement programs. Decentralizing the museum experience, the programme tries to redefine public space as ever-evolving cultural landscape, encouraging dialogic acts, where artists choose their sites for the performance or any sort of engagement program with communities, educational institutes, artist-run studios, art institutions etc. The initiative not only democratizes the access to the artistic expressions, but also making the public sphere itself a living, breathing museum in perpetual motion.

Join us for a walkthrough and discussion at the Geology Museum, Department of Geology, Delhi University, led by Dr. Partha Chakraborty, Dr. Ashim Saikia, Dr. Naresh Rana and Dr. Aditi Sharma.

This interactive session will take us through different geological time scales, fossils, model organisms and types of minerals displayed in the museum. Professors and students from the department will share some of their methods of studying the history of life on Earth, how Earth originated and what change it underwent with time, geochronology and mineralogy.

The walkthrough is organized in collaboration with the Department of Geology, Delhi University, and a collateral event of the exhibition ‘The Elemental You’ at the Kiran Nadar Museum of Art. Event will be followed by light refreshments

The exhibition The Elemental You initiates a critical dialogue among the works of three artists: Simryn Gill, Neha Choksi, and Hajra Waheed. Featuring substantial bodies of work from each artist, the exhibition begins with an exploration of the element ‘Earth’ as a geological, cultural and material experience. For decades, the three artists have engaged with rocks, stones, sand, plants, trees, fruits, light, animals and other beings as subjects and materials for their work, focusing on their multifaceted relationship with the natural world.

A central part of the exhibition is The Working Space, that features two special projects, first is Samba Shiva: A Coursework by Vijai Maia Patchineelam presents a personal and geographical narrative based on the life and work of his father, geologist Sambasiva Rao Patchineelam, exploring themes of family, land, and memory. Another project, 5-4-3-2-1 by Ranjana Dave, is a participatory movement installation based on the artist’s hiking experiences, inviting visitors to explore the body’s relationship with its surroundings. The Working Space also holds Artists’ Roundtable, which is dedicated to research and collaborative projects, including artist interventions and public programs exploring themes such as fieldwork, memory, and care for the Earth. The exhibition invites reflection on humanity's profound relationship with Earth and the natural world.

What to Expect

A collaborative performance by Gyanwant Yadav with Keshav Devi, who sing in the Birha style. Together, the songs unfold the resonances between Gyanwant’s portraiture of the land and the villagers’ lived experiences. The performance will be followed by an informal discussion with Suresh Mishra, a local farmer, exploring the idea of tools-extensions developed by Gyanwant to assist the villagers.

Facilitator

Gyanwant completed his Bachelor’s degree in 2017 and his Master’s degree in 2019 from the College of Art, Delhi. He developed a new identity as a contemporary artist while also gaining inspiration from others in the field. Gyanwant’s journey began in his village, where he completed his schooling before moving to Delhi for higher education. From a young age, he worked alongside his parents in the fields, gaining firsthand experience in rural living, including tasks such as crop cutting, seed sowing, plowing, and potato farming. He is deeply aware of the challenges of this lifestyle, which has significantly influenced his work.

He is the recipient of several awards such as Inlaks Fine Art Award 2023, Certificate of Merit from College of Art (2019), Certificate of Merit from College of Art (2018), Sailaz Mukherjee Award from College of Art (2017), Certificate of Merit from College of Art (2016).

Event Flow

Introduction by Roobina Karode, Director, Chief Curator KNMA

A lecture by Kishore Singh, Head of Exhibitions & Publications, DAG on Mohan Samant’s Life & Artistic Practice

Followed by A Sarangi Recital by Murad Ali Khan

Magic in the Square - Mohan Samant, Centennial Exhibition, is a crisp exploration of Samant's practice, which is also a tribute to the artist.

Mohan Samant excavates sedimented memory, fossil-like forms and totemic imagery from his sand, dust and gravel layers -raising cut-outs from the primary surface, thus giving his paintings a three-dimensional effect. They are neither relief nor flat, this in-betweenness, perhaps is an adroit extension of his skills as a Sarangi player. The abstract nuance of classical music is translated in a subtle daintiness on his canvases.

About Mohan Samant

Mohan Samant was born in 1924, Goregaon, Mumbai. In 1952 he received his diploma from Sir J.J.

School of Art, Mumbai. During the same year he participated in his first solo exhibition. Through the years, Samant continued to showcase his multifaceted works in several prestigious museum and galleries in India and across the world like the Rome Institute of Oriental Studies, Italy (1958); World House Galleries, New York (1961); Gallery Chemould, Mumbai and New Delhi; Taj Gallery, Mumbai (1966). He took part in key group exhibitions like Contemporary Indian Painting 1973:

Commemorating the Silver jubilee of India's Independence, Renwick Gallery, Smithsonian Institution, Washington, DC (1973); Contemporary Indian Paintings, Fukuoka Art Museum, Japan (1984); The Group of Eight, Contemporary Arts of India, New York (1995); Ideas and Images Ill, National Gallery of Modern Art, Mumbai (2001). Samant has been felicitated with multiple awards and honors like the Lalit Kala Akademi's National Award in 1956, Gold Medal from the Bombay Art Society in 1956 and 1957 and the Asian American Heritage Award for lifetime achievement in the arts in 2000. Samant passed away in 2004 in New York.

About Kishore Singh

Kishore Singh is a columnist, editor and writer with experience in journalism and publishing. He is also an art writer and curator. He heads Exhibitions & Publications at DAG

About Murad Ali Khan

Born in a family of musicians originally from Moradabad, Murad Ali is a sixth generation sarangi player. The intensive training he had under his grandfather Ustad Siddique Ahmad Khan and father Ustad Ghulam Sabir Khan has stood him in good stead, and he is presently regarded as one of the leading sarangi players of the younger generation. His ancestors, Ustad Sagheer Ahmed Khan Sahib, Ustad Fakir Ahmed Khan Sahib, Ustad Rafique Ahmed Khan Sahib and his grandfather Ustad Siddique Ahmed Khan Sahib were all renowned sarangi players, musicologists and gurus of the Moradabad Gharana.. Please see the details below.

Don't miss this unique opportunity! Book your seat now!

In the shrinking landscape of freedom of expression in the public sphere, Black Mask on Roller Skates is an endeavour to reclaim public space by marginalised anecdotes. The performance initially conceptualised by the artist Amol K Patil, inspired from his inheritance of Powada culture of Maharashtra and his lived experiences.

Powada is a lyrical ballad of Maharashtra, can be traced from 13th century. Amol’s father was an anti-colonial Powada performer who mixed his critique of empire with that of violence embedded in the graded inequality of the caste system that hierarchically divides not just labour but labourers. A friend of Amol’s father, Anil Tuebhekar, moved on skates, with a broom in his hand and radio at his waist, sweeping the streets of Bombay every day. The performance was conceived through these personal narratives with a critique of social inequalities, precarity of workers and reimagines the public sphere. The first two iterations of this performance occurred in Kassel, Germany and Brussels, Belgium.

The performance will happen first time in India and reimagined the Indian public sphere in collaboration with skateboarder and rapper Asha Gond and a Rap duo of Khirki Village Vaastav Ek 7.

Don't miss this unique opportunity! Register now for free!

Artist Bios -

Asha Gond, a skateboarder and rapper from the Gond Community, has made waves both nationally and internationally with her skating achievements. Overcoming societal pressures and patriarchal norms, she became one of India's top female skateboarders, representing the country at the World Skateboarding Championship in Nanjing, China and won multiple gold medals in different Indian National Skateboarding Championships. Asha has made significant contributions to her community by co-founding the Barefoot Skateboarders Organisation, which empowers rural children, particularly in her rural village at Janwaar, Madhya Pradesh. Inspiring anecdotes of Asha’s breaking barriers, beautifully rendered in the book ‘Skater Girl Asha’ written by Asha herself with German activist Ulrike Reinhard. Her journey reflects her resilience and pride in her Gond heritage, which she celebrates through her rap performance, community engagements and public speech.

Amol K Patil is a conceptual and performance artist based in Mumbai. His artworks are an ongoing excavation and investigation to recapture the pulsating, vibrating movements and sound of the ‘chawl’ architecture and habitus. Amol grew up in an area of ‘chawls’, a built form specific to Bombay/Mumbai 5 story social housing for mill and factory workers, built in the early 1900s. From his family archive, Amol stages dynamic live ambiance, such as where a tape runs a conversation between a machine, a siren, and a mosquito, where the sound of the machine and the siren are recordings made by his father, an inheritance from someone long gone.

Amol K Patil (b. 1987, Mumbai) has shown at Hayward Gallery (London 2023), Kochi-Muziris Biennale (Kerala 2022-2023); Documenta fifteen (Kassel, Germany 2022): Yokohama Triennale (Yokohama, 2020); Goethe- Institute / Max Mueller Bhavan (Mumbai, 2019), Goethe-Institut / Max Mueller Bhavan (New Delhi, 2019), The Showroom (London, 2018), Tensta Konsthall (Stockholm, 2017), Pompidou (Paris, 2017), Pune Biennale Habit-co Habit (Pune, 2017), New Galerie (Paris, 2016), Dakar Biennale (Dakar, 2016), Myymälä2 (Helsinki, 2015); Japan Foundation (Delhi, 2015); Stedelijk Museum (Amsterdam, 2015). His works are in the collection of various prestigious museums of the world including Tate Modern London, Stedlijk Museum Amsterdam, Kadist Art Foundation, Paris, and Kiran Nadar Museum of Art, India.

Vaastav Ek 7 is a duo rap band consisting of Sahil, aka Suspense, and Sumit, aka Sanyasi. Both Sahil and Sumit are currently pursuing bachelor's degrees in Delhi University and reside in the Khirki locality of New Delhi-110017. Vaastav Ek 7 embarked on their rap journey in 2021 by releasing their debut single, "Shuruwaat hain," on their YouTube channel, "Vaastav Ek 7." Through their music, they aim to address societal injustices and share their experiences growing up as poor and Dalit in the Khirki locality. The band has performed at prestigious venues such as the Indian Habitat Center and the American Embassy School.Currently, they are active members and leaders of the art collective "Khirki Renaissance" within The Community Library Project.

This event is part of Rolling Museum, a curatorial programme that transforms the concept of a museum into a dynamic, moving entity, weaving a broader spectrum of art seamlessly into the fabric of urban, sub-urban or rural life. Rooted in the philosophical idea of 'praxis'—the process by which theory, lessons, or skills are enacted, embodied, or realized—this program invites artists/ groups/ collectives to engage in various kinds of public interventions and community engagement programmes. Decentralizing the museum experience, the programme tries to redefine public space as ever-evolving cultural landscape, encouraging dialogic acts, where artists choose their sites for the performance or any sort of engagement programme with communities, educational institutes, artist-run studios, art institutions etc. The initiative not only tries to democratizes the access to the artistic expressions, but also making the public sphere itself a living, breathing museum in perpetual motion.

Enjoy a series of films that offer a unique perspective on art and storytelling, handpicked from the private collection of Amitava. From Ingmar Bergman’s poignant explorations of human emotion to Akira Kurosawa’s mesmerising storytelling, each screening offers a chance to experience masterpieces that have shaped the world of film. The screening is a part of Amitava's solo exhibition which can be viewed with Mohan Samant's solo exhibition at KNMA Saket.

Movie Synopses

Wild Strawberries, 1957 dir. Ingmar Bergmann
91 minutes (1 hr 31) Lang. Swedish

Crotchety retired doctor Isak Borg travels from Stockholm to Lund, Sweden, with his pregnant and unhappy daughter-in-law, Marianne, in order to receive an honorary degree from his alma mater. Along the way, they encounter a series of hitchhikers, each of whom causes the elderly doctor to muse upon the pleasures and failures of his own life. These include the vivacious young Sara, a dead ringer for the doctor’s own first love.

Hiroshima Mon Amour, 1959 dir. Alain Resnais
92 minutes (1 hr 32) Lang. French, Japanese

The deep conversation between a Japanese architect and a French actress forms the basis of this celebrated French film, considered one of the vanguard productions of the French New Wave. Set in Hiroshima after the end of World War II, the couple – lovers turned friends – recount, over many hours, previous romances and life experiences. The two intertwine their stories about the past with pondering the devastation wrought by the atomic bomb dropped on the city.

The Great Dictator, 1940 dir. Charlie Chaplin
125 minutes (2 hr 5) Lang. English

Dictator Adenoid Hynkel tries to expand his empire while a poor Jewish barber tries to avoid persecution from Hynkel’s regime.

The Sacrifice, 1986 dir. Andrei Tarkovsky
149 minutes (2 hr 29) Lang. Swedish, English, French

Alexander, a journalist, philosopher and retired actor, celebrates a birthday with friends and family when it is announced that nuclear war has begun.

Pather Panchali, 1955 dir. Satyajit Ray
125 minutes (2 hr 5) Lang. Bengali

Impoverished priest Harihar Ray, dreaming of a better life for himself and his family, leaves his rural Bengal village in search of work. Alone, his wife, Sarbojaya, looks after her rebellious daughter, Durga, and her young son, Apu, as well as Harihar’s elderly aunt Indir. The children enjoy the small pleasures of their difficult life, while their parents suffer the daily indignities heaped upon them.

Meghe Dhaka Tara, 1960 dir. Ritwik Ghatak
127 minutes (2hr 7) Lang. Bengali

A selfless young woman, the daughter of a middle-class refugee family from East Pakistan, sacrifices her own happiness for her unappreciative family.

Dreams, 1990 dir. Akira Kurosawa
119 minutes (1 hr 59) Lang. Japanese, French, English

THE PAST, PRESENT, AND FUTURE. THE THOUGHTS AND IMAGES OF ONE MAN… FOR ALL MEN. ONE MAN’S DREAMS… FOR EVERY DREAMER. A collection of magical tales based upon the actual dreams of director Akira Kurosawa.

The 400 Blows, 1959 dir. Francois Truffaut
99 minutes (1 hr 39) Lang. French

For young Parisian boy Antoine Doinel, life is one difficult situation after another. Surrounded by inconsiderate adults, including his neglectful parents, Antoine spends his days with his best friend, Rene, trying to plan for a better life. When one of their schemes goes awry, Antoine ends up in trouble with the law, leading to even more conflicts with unsympathetic authority figures.

La règle du jeu (The Rules of the Game), 1939 dir. Jean Renoir
106 minutes (1 hr 46) Lang. French

A weekend at a marquis’ country château

This program is a non-commercial event for educational purposes.

Don't miss out on this special opportunity to watch handpicked classics and enjoy a journey through cinema with us, along with viewing Amitava's and Mohan Samant's works in their solo exhibitions at KNMA.

Book now for free to reserve your seat!