Method

FRICTION is a counter-institution arriving at Method Kala Ghoda on April 18. A record store, an art repository, a library and a cultural laboratory in the making, FRICTION is a space where everything inside it is in conversation.
 Simone Weil wrote that attention is the rarest and purest form of generosity. James Baldwin said the task of art is to make people care enough to see what was always there. Walter Benjamin looked at the wreckage of progress and asked what we lost along the way.
 FRICTION pushes back against ease and erasure. It asks that you slow down long enough to notice what’s been taken away. And then decide what to build back. 
 Open from April 18, 2026 at Method Kala Ghoda. Experience FRICTION. Stay a while.

FRICTION’s event calendar for the month of May 2026: Mutual Interference - Weekly listening sessions pairing up albums that are sometimes disparate, sometimes spiritually connected or often in argument with each other. Why? More friction of course. Spotify didn’t destroy music. Rather it completed what the culture industry began by replacing the uncanny remainder of human longing with a frictionless interface for its simulation. And on that note, we’ll spend an evening discussing Mood Machine by Liz Pelly as well as how easy it is to emancipate yourself from extractive content platforms like Spotify. Right so you’ve said his name and maybe even passed the book around. And maybe you nodded at ‘hauntology’ and tried wearing its familiarity like a badge. Stop! That’s exactly what the late Mark Fisher was warning us about i.e. the system metabolising its own critique, turning dissent into content and making mourning “comfortable”. This is a friction-heavy dive into Postcapitalist Desire: The Final Lectures by Mark Fisher. People talk about community, consume it, wear it and attend it. But they rarely build it, pay for it or think of carrying its weight. This workshop + seminar will employ Adler’s psychology of belonging, indigenous music history and Dr. Ambedkar’s political philosophy to help sharpen the question we’re eventually looking to answer: What does it actually cost to be a villager? Rhythm House in Kala Ghoda was Mumbai’s most iconic record store. For decades it was the place where much of the city’s relationship with recorded sound was negotiated. This short documentary, The Last Music Store, filmed its closing in 2016. What it captured is not just the end of a record store but the end of a particular idea of what music is for. Collaborating With Machines is an open electronic music jam session with five decades of Roland synthesizers, drum machines, groove boxes and samplers. You don’t need to be a musician to come have fun and create. It’s Free/Play and it’s open to all ages.

𝗡𝗼𝘁 𝗪𝗵𝗮𝘁 𝗬𝗼𝘂 𝗦𝗮𝘄 by / von Keerthana Kunnath 📍 Q.E.D. – FKA Galerie Melike Bilir (Admiralitätstraße 71) 🎉 Friday, 5.6. from 3 PM / Freitag, 5.6. ab 15:00 Uhr 📅 5.6. – 5.7.2026 🔗 More info / Mehr Infos via link in bio. Not What You Saw is an ongoing project on female bodybuilders in South India who challenge traditional gender roles and beauty standards through physical strength. Their stories reveal the tensions between societal expectations of femininity and the demanding realities of shaping and sustaining their bodies. —— Not What You Saw ist ein fortlaufendes Projekt über Bodybuilderinnen aus Südindien, die traditionelle Geschlechterrollen und Schönheitsnormen durch körperliche Stärke herausfordern. Ihre Geschichten zeigen die Spannungen zwischen gesellschaftlichen Erwartungen an Weiblichkeit und den komplexen Realitäten ihres Körpers. Curated by / Kuratiert von Sahil Arora & Method 📸 Keerthana Kunnath, “Sandra”.

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 )

Crossing the 200 mark with this new batch of paintings.

🔊🔛Thank you Euronews for featuring my work 🙏 much gratitude to Anushka Roy for the wonderful conversation & thoughtful interview 🌻 RITES will return ☀️ Photography of my RITES artwork by @kan.corder Last slide is today’s somatic real time interactive audiovisual ritual hand coded in C++ on a secondhand computer well over a decade old crafting freely far away from enshxttified warmongering bloatware DAY 2563 #codeart . . . . . #computerart #audiovisual #embroideryart #synesthesia

Don't Look Down (2025) No one escapes the rat race. From my solo at Method Kala Ghoda “Unstill Life”. Ink and graphite on archival paper 12” x 18” Dm @methodindia for enquiries.

I have an ocean, yet I still long for a single drop.

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.

Everybody Come Alive Now by Vinayak Sarwankar 36” x 36” Mixed Media on Wooden Panel 🔴 This work is on view at Method Kala Ghoda as part of Vinayak’s debut solo exhibition “Woke Up A Dinosaur” DM @methodindia for the complete dossier of available works.