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The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject.

Photos by: Philippe Calia & Sunil Thakkar/ Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject.

Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

The history of photography in India presents some unexplored and unexpected gaps. One of the most understudied concepts is that of ‘vernacular’ photography – a term often applied to quotidian images, which in India, given its colonial connotations, has been amended by visual anthropologists such as Christopher Pinney with the term mofussil, or that which lies outside the centre and besides the strictly metropolitan. The colloquial referencing of ‘vernacular’ focuses heavily on that which is ‘native,’ as distinguished from the ‘national.’ Hence, the focus on local, community-oriented, marginalised zones that may represent elided traditions come to the fore as viable parameters within which the term is broadly understood. Ephemeral seeks to broaden the engagement with the term ‘vernacular,’ in both subject and representation, in order to think about how, with overlapping histories today, we can enhance our understanding of a lens culture around the subject. Photos by: Philippe Calia & Sunil Thakkar / Courtesy: Serendipity Arts Festival

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

Curated by François Cheval and Rahaab Allana the exhibition showcased the works of 16 photographers (Anouck Durand, Anshika Verma, Asmita Parelkar, Baptiste Rabichon, Charles Freger, Dhruv Malhotra, François Burgun, Indu Antony, Laetitia d’Aboville, Marion Gronier, Philippe Petremant, Sohrab Hura, Sukanya Ghosh, Thierry Fontaine, Vibha Galhotra and Yannick Cormier) from France and India.

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

A tribute to one of the forgotten pioneers of Indian cinema, the cinematographer Josef Wirsching, this exhibition showcased, for the very first time, original photographs and digital reprints from the Wirsching Archive. Taken between the 1920s – 60s, the photographs provided a glimpse to the aesthetic decisions, creative communities, and cross-cultural exchanges that were vital to filmmaking in late colonial India. The acclaimed production studio, Bombay Talkies, played a major role in defining the form of mainstream film in India, established by Himanshu Rai in 1934. The exhibition foregrounded the critical role German technicians and interwar image-making practices in the history of Indian cinema, presenting some of the best-known actors and technicians from Devika Rani, Ashok Kumar and Leela Chitnis, to Jairaj, Hansa Wadkar, and Dilip Kumar.

Photographs Courtesy: Serendipity Arts Trust

Alliançe Français de Delhi
24th November - 13th December 2016

Alliançe Français de Delhi
24th November - 13th December 2016

Alliançe Français de Delhi
24th November - 13th December 2016

Alliançe Français de Delhi
24th November - 13th December 2016

Alliançe Français de Delhi
24th November - 13th December 2016

Alliançe Français de Delhi
24th November - 13th December 2016

The Alkazi Foundation and British Council, India came together for this photo project titled Origins, an exhibition of photographs capturing the rich diversity of the connections between the UK and India through the work of 31 emerging and established photographers from both nations.

This exhibition was a partner event of the Delhi Photo Festival, 2015. Organized in consultation with Street Level Photoworks, Glasgow, UK, the exhibition was curated by Rahaab Allana.

Artists Featured:
Alan Knox, Alexandra Lethbridge,  Alexandra Vacaroiu, Arpita Shah, Bharat Choudhary, Blazej Marczak, Caroline Douglas, Craig Gibson, Devansh Jhaveri, Dougie Wallace, Evan Thomas, James W. Norton, Jocelyn Allen, John Glenday, Karan Kapoor, Kotryna Ula Kiliulyte, Laura Pannack, Liz Orton, Nikhil Roshan, Nupur Nanal, Pallavi Gaur, Patrick Sutherland, Philipp Ebeling, Rachel Cunningham, Ravikumar Kashi, Robert Ormerod, Ryan Lobo, Sarah Amy Fishlock, Signe Emma, Srinivas Kuruganti and Wendy McMurdo

The Gallery, British Council, New Delhi
15 October, 2015 - 3 January, 2015

Celebrating 10 years of partnership between India and AFD, the travelling exhibition highlighted collaboration on projects that promote sustainability in all its dimensions – social, economic and environmental. It was inaugurated by President Emmanuel Macron in New Delhi.

Celebrating 10 years of partnership between India and AFD, the travelling exhibition highlighted collaboration on projects that promote sustainability in all its dimensions – social, economic and environmental. It was inaugurated by President Emmanuel Macron in New Delhi.

Celebrating 10 years of partnership between India and AFD, the travelling exhibition highlighted collaboration on projects that promote sustainability in all its dimensions – social, economic and environmental. It was inaugurated by President Emmanuel Macron in New Delhi.

Celebrating 10 years of partnership between India and AFD, the travelling exhibition highlighted collaboration on projects that promote sustainability in all its dimensions – social, economic and environmental. It was inaugurated by President Emmanuel Macron in New Delhi.

Since 1884, Bulgari jewels have been an emblem of Italian excellence with their extraordinary quality and distinctive style, a balance of classicism and modernity. It has had an enduring relationship with movie stars and royalty over 130 years.

The luxury Italian brand relaunched in the country with the opening of its first company owned store in the national capital at DLF Emporio, the country’s only uber luxury mall. The exhibit had to fit and conform to mall regulations. Walls and panels couldn’t be higher that 7’ and store fronts couldn’t be obstructed. The design for the fountain area occupied 12’ of space, with images split into narrow 6"x7’ panels, allowing customers a peek at the stores behind.

In the atrium area, a display of the brands philosophy and history occupied a 20'x20’ area. A large tiled LED wall displayed the brands video content and acted as an backdrop for photo-ops during the launch.