Anica Mann

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

You play longer and walk further when you have someone to share the journey with. We are proud to announce that The Ardee Foundation @ardeefoundation is an institutional partner for Holiday Homework - A LOAM Show. Here’s to showing the world The Art Of Childhood. @theardeeschools @shefalivarma.official @anicamann @gayeti

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 )

Join us for the preview of 𝗛𝗼𝘂𝘀𝗲𝘀 𝗜 𝗔𝗹𝗺𝗼𝘀𝘁 𝗟𝗶𝘃𝗲𝗱 𝗜𝗻 and a walkthrough led by 𝗔𝗻𝗶𝗰𝗮 𝗠𝗮𝗻𝗻 with the exhibiting artists 𝗦𝗵𝗮𝗹𝗶𝗻𝗮 𝗩𝗶𝗰𝗵𝗶𝘁𝗿𝗮, 𝗣𝗼𝗼𝗷𝗮 𝗜𝗿𝗮𝗻𝗻𝗮, 𝗥𝗮𝗷 𝗝𝗮𝗿𝗶𝘄𝗮𝗹𝗮, 𝗦𝗮𝗺𝗶𝘁 𝗗𝗮𝘀 𝗮𝗻𝗱 𝗠𝗮𝗵𝗲𝗻 𝗣𝗲𝗿𝗲𝗿𝗮. Based in Delhi, Anica Mann’s practice bridges archaeology and contemporary art. She has worked with institutions such as Vadehra Art Gallery and DAG, and previously curated the Young Collectors Programme at India Art Fair, where she developed new frameworks for engaging emerging patrons. Her ongoing project Delhi Houses, published as a weekly column in Hindustan Times, documents modernism through the lens of domestic vernacular architecture. She will lead a walkthrough of the exhibition, offering insights into the practices of Shalina Vichitra, Pooja Iranna, Raj Jariwala, Samit Das, and Mahen Perera and excavating the idea of what a home is. Preview: 23 April 2026, 5:30 PM onwards 📍 Latitude 28, B 74, Defence Colony, New Delhi On view until 25 May 2026 Mon–Sat | 11 AM – 7 PM RSVP: +91 8368320353 | [email protected] This exhibit is a part of Defence Colony Art Night.

₹289 Crores, and Still No Archaeologists? The Pandit Deendayal Upadhyay Institute of Archaeology architecturally grand built with precise Vāstu Śaṣtra: ₹289 crores spent to train 25 students for a PG Diploma, ostensibly the surest passage into the Archaeological Survey of India. Yet the ground beneath it is less stable. The campus empty, the kitchen with rats, and no faculty in any room. Reporting by @murari97 in @theprintindia , alongside figures cited in @economictimes , reveals an institution being treated by its very agents with absolute irrelevance. Of 8,755 sanctioned posts, only 4,845 are filled. 3,203 remain vacant, shuttled between deputation, promotion, and the slow machinery of Union Public Service Commission and Staff Selection Commission. They do not recommend trained archaeologists but generalists. If you’re lucky you may find someone who is fond of history. In such hands relies all matters of heritage and archaeology. But the most telling moment is almost incidental. At Agroha, the Director General Yadubir Singh Rawat advises students to consider alternatives. Museology, perhaps. A Plan B. The implication is stark. If a ₹289 crore edifice cannot secure the making of an archaeologist, then what precisely is being produced? Not field practitioners, it would seem, but ab ignored and covered up education system with no takers. And so the question lingers, unresolved and rather uncomfortable: who, then, will excavate India’s past?

Hold on to your art. Time has a way of telling you what it was worth all along. Works like these by M. F. Husain and K. G. Subramanyan remind us that playful objects were never outside the world of serious art. What may once have looked small or simple went on to hold artistic, cultural and market value over time. For more art for children, DM us for our catalogue.

At the Godrej Design Lab Fellowship Retreat 2025, we sat down with Anica Mann to explore how our past continues to shape the future of design. Drawing from India’s archaeological and architectural history, she reflects on the intellectual depth embedded within ancient structures, systems of sustainability, environmental responsiveness, and intuitive design that remain relevant today. From the efficiency of Harappan drainage systems to the community-driven role of stepwells, these practices reveal a nuanced understanding of resource management and collective living. Much of this knowledge still awaits deeper engagement, offering valuable insight into how we approach contemporary challenges. @anicamann @delhihouses @youdigpodcast (Godrej Design Lab, design fellowship India, design residency India, design retreat India, design cohort, design thinking, design research, interdisciplinary design, design practice, design process, systems design, architecture India, contemporary architecture, urban design India, spatial design, built environment, Indian craftsmanship, artisan collaborations, craft revival, traditional techniques, material exploration, vernacular design, sustainable design, climate conscious design, circular design, social impact design, community design, creative community India, emerging designers India, design conversations, design discourse, creative collaboration, design storytelling, accessible design, design education, design for people, everyday design)

Some joyful art to get through these bleak times. Last day to catch “Woke Up A Dinosaur” by Vinayak Sarwankar, curated by Anica Mann, presented by Loam at Method Kala Ghoda. DM @methodindia to collect available works.

Woke Up A Dinosaur by Vinayak Sarwankar, curated by Anica Mann, presented by Loam. Last weekend to catch this joyful body of work at Method Kala Ghoda.

Lay on the grass. Climb a tree. These are some of the joys of childhood that stay with us for a lifetime. In those moments, time felt unmeasured, and the world, vast yet somehow entirely yours. In an era where our children are saturated with tech, these are some of the fleeting sensory experiences perhaps now overlook. But what if we teach them to attach value to these feelings? Scribble on the Wall presented by LOAM is a group exhibition aimed at children & family. Each artwork imbibes an aspect of childhood, whether a moment of uninhibited play, a quiet act of curiosity, or simply colorful creativity. This is the last weekend to see the exhibition at Method Kala Ghoda. DM @methodindia or @loam.story for the dossier of available works.

This is probably the first gallery show that allowed visitors to add to the art on the walls. Scribble On The Wall was a dream come true for us. We featured artists that parents and children enjoyed. Some of the collection is still live on our catalogue, do feel free to DM us for further information.

Open Call for Artists Functional Art for Children LOAM invites artists to participate in its July 2026 exhibition, exploring work at the intersection of art, play, and everyday life. We are looking for artists interested in creating functional works that move beyond the wall and into the lived spaces of childhood—bedrooms, playrooms, school bags, dining tables… This is an invitation to consider what art becomes when it is used, handled and lived with. For this exhibition, LOAM seeks proposals for objects that blur the boundaries between artwork, design and play. Possible formats include (but are not limited to): • Wearable art — clothing, shoes, accessories • Textiles — rugs, blankets, soft sculptures • Lighting — lamps or luminous objects • Everyday objects — pencil boxes, school items, bags • Sculptural toys or play objects • Mobiles or room installations • Hybrid works merging sculpture, design, and utility We are particularly interested in works that: • Engage childhood as a space of imagination and experimentation • Invite interaction rather than passive viewing • Integrate into a child’s daily environment Selected works will be presented in LOAM’s July 2026 exhibition in New Delhi. Final artworks must be ready by 1 July 2026. ⸻ Submission Guidelines Please include: • Artist bio and CV • Concept note (max 300 words) • Sketches or references • Images of past work • Materials to be used • Dimensions / size • Proposed cost / pricing • Number of editions (if applicable) Submissions: [email protected] Deadline: extend to May 15, 2026 Selection: May 30, 2026 Final delivery: July 1, 2026 (to New Delhi) LOAM reserves the right to select works based on conceptual strength, feasibility, and alignment with the exhibition.