28 Jul 2025

Curating Corporate Art Collections

- by Nalini S Malaviya, Art Consultant
Curating Corporate Art Collections, Art Consultant Nalini Malaviya
Art by Sunil Mishra, Reference Image, pic by author 
Curating a corporate art collection for a discerning client is an exciting and challenging process. It involves much more than selecting paintings or sculptural installations to beautify the lobby or the boardroom walls. 

It’s a strategic opportunity to build a visual identity that aligns with brand values, fosters team morale, and influences cultural dialogue beyond the workplace.

Having curated corporate art collections over the years, it has been a truly enriching process for me.

Corporate art initiatives, whether building an art collection or supporting a local art project offer a unique opportunity to make a difference and create occasions for public engagement. There have been instances, where I have also organized and conducted panel discussions and walkthroughs for employees and visitors as an adjunct activity to the art collecting process, and which I found have deepened audience engagement substantially.

Why should corporates invest in art?

Curating Corporate Art Collections, Art Consultant Nalini Malaviya
Rendered Image for Reference

As I’ve written earlier in The Fine Art of Collecting, collecting art is no longer just about financial investment—it’s about intention and creating an identity.

  • A well-curated corporate collection while contributing to the overall decor and environment, reflects the organization’s values and vision.
  • Cultural positioning: It signals a company’s commitment to creativity and thought leadership.
  • Brand storytelling: Art becomes a medium to communicate innovation, inclusivity, or local culture, or all three in equal measure.
  • Internal engagement: Employees feel more motivated and enthused in an environment that values aesthetics and expression.

Supporting Artists and the Ecosystem

Corporate collections can play a pivotal role in nurturing artistic talent, especially local artists.

  • Commissioning new work: Encourages experimentation and site-specific installations.
  • Showcasing emerging voices: Offers visibility to emerging artists.
  • Collaborative programming: Talks, walkthroughs, and workshops can activate the collection beyond static display.
This aligns with the ethos I’ve always championed for, which focuses on sparking dialogue around art; it is as important as the art itself and nurtures art appreciation.

Curating Corporate Art Collections, Art Consultant Nalini Malaviya
Image for reference, pixabay
Curatorial Challenges

Curating for a corporate space comes with unique considerations:

  • Balancing aesthetics and accessibility: The art must resonate with diverse audiences while remaining unoffensive. While one may prefer provocative art, in a corporate setting a neutral voice is generally desired.
        • Navigating spatial constraints: Lobbies, corridors, and breakout zones each demand different approaches, placements and mediums.
        • Ensuring longevity: It is imperative to factor in conservation, lighting, and rotation schedules which impact the life of an artwork.
Yet, these challenges are what make the process so rewarding. Each decision is an opportunity to educate, learn or engage further.

It is fortunate that a growing number of corporates are looking at art for their premises, not just for the sake of it, but also because they are passionate about it, and are now looking at diverse art forms, media and styles. Many actively try to overcome financial constraints and budgets, after all, let’s face it, investing in art requires intention and effort.

In India too, we’re seeing a growing interest in this space, with more companies recognizing the long-term value of art as both asset and advocacy.

Curating a corporate art collection is a dynamic, layered process—one that blends aesthetics with strategy, and passion with purpose. Each collection requires thought so that the archive grows along with the organization, and remains relevant over time.

Do reach out if you would like to initiate or support an art project, or wish to start an art collection. 
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12 Jul 2025

Mukesh Sharma’s Art Graces Rushdie’s Latest French Edition

Shalimar le clown book by Salman Rushdie, Art Scene India
Shalimar le clown book cover

Mukesh Sharma’s Art Graces Rushdie’s Latest French Edition

Delhi-based contemporary artist Mukesh Sharma is making headlines with his artwork which has been featured on the cover of the newly released French edition of Shalimar le clown - Salman Rushdie’s celebrated novel, which was first published in 2005.

Sharma reveals that author Rushdie and French publisher Antoine Gallimard came across the painting on his Instagram page. He elaborates, “Salman Rushdie took a liking to it and asked his publishing house to reach out to me.” After several conversations and review of many other paintings as well, their team felt this work was best suited for the cover of the novel.

Mukesh Sharma is a painter, printmaker, and installation artist from Alwar, Rajasthan. He holds an MFA degree in Printmaking from MS University in Baroda, and is known for expressing urban complexities, with imagery inspired by Rajasthani miniature paintings, frescos and block-printing of Sanganer. His work often explores the stresses between human and environmental relationships, while navigating intersecting concerns - the isolating effects of social media, the excessive use of technology and a capitalist culture.

Shalimar le clown book by Salman Rushdie, cover by Mukesh Sharma, Art Scene India
Mukesh Sharma

Sharma integrates ready-made materials, including e-waste such as parts of scrapped keyboards into his work to distill complex ideas into accessible visual narratives. His process forms a critique of consumerism while exploring technology’s influence on contemporary life, creating compelling narratives.

Revitalising Memory2018, acrylic on canvas, which is now on the book cover, blends keyboard imagery with 'myth, memory, and identity'. Drawing from Indian miniatures and Panchatantra tales, it reflects on technology’s role and the blurred lines between control and manipulation. Sharma explains that, through this fusion, he critiques scenarios where the boundaries blur, and where it’s difficult to gauge and differentiate between the manipulator or the puppeteer and the puppet. 

The 2005 novel Shalimar le clown set in Kashmir and Los Angelos spans continents and explores themes of themes of love, revenge, and betrayal amidst political and cultural differences and unrestA richly woven story of personal and political transformation, the chronicle navigates identity and ideology, while tracing lasting impacts of violence. 

Shalimar le clown continues to enthrall readers, and Sharma’s artwork on the cover of the French folio is bound to attract new audiences with its visual intrigue.

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14 Jun 2025

Beyond the Reopening: Reviving Venkatappa Art Gallery

Venkatappa Art Gallery view, Art Scene India
Venkatappa Art Gallery view, Art Scene India

After months of anticipation and extensive renovation efforts by The Brigade Foundation, the Venkatappa Art Gallery reopened its doors. More than 200 artists and enthusiasts gathered for the ‘Gallery Pravesha’ on the morning of 13th Jun, a day after the official inauguration, which was boycotted by the artist fraternity.

Venkatappa Art Gallery view, Art Scene India
Rumale Chennabasaviah Exhibition

The renovated Venkatappa Art Gallery now has three exhibition spaces for artists, but only one was utilized for the inaugural display: a condensed yet well-presented exhibition on Rumale Chennabasaviah made possible by Sanjay Kabe. The absence of exhibitions in the other two galleries on the ground floor was in my opinion a missed opportunity—an inaugural showcase across all spaces would have added much to the event. 

Venkatappa Art Gallery view, Art Scene India
KK Hebbar Gallery
The second floor houses the K.K. Hebbar exhibition, unfortunately, non-functional lighting left a small section in partial darkness, and his publications were not on display, at least one could not spot them. A thoughtful reassessment of the design and display of this space would help in bringing a more coherent and engaged display and do justice to Hebbar’s legacy.

K. Venkatappa’s main gallery on the first floor, however, is well curated and presents his paintings, veenas, awards, and personal memorabilia all displayed in a manner that honours his multifaceted practice and interests. Yet here, too, flickering lights interrupted the experience—a recurring technical issue that needs resolution.

Having said that, all of these concerns are minor in comparison to what has been achieved during the restoration – from addressing leaky ceilings and walls, mold, and cracks, to structural repairs, well designed lighting and accessibility features with ramps and elevators, have made a huge difference. In addition, there is a 100-seat auditorium, a sculpture park, a cafe, and outdoor spaces which have been redesigned.

The overwhelming turnout from artists demonstrated the community’s commitment to supporting institutional spaces. Navigating the exhibits amid the crowds made it difficult to engage with the artworks in depth—and one would have to visit again to view the exhibitions in detail.

The Future

Looking ahead, several crucial aspects must be addressed. Clarity on how artists can book the gallery spaces, the fee structure, and programming guidelines must be communicated in a transparent manner. Furthermore, a dedicated team—comprising curators and art experts—should be established to steer the activities, ensuring thoughtful exhibitions, critical dialogue, and sustained engagement with the space.

Venkatappa Art Gallery with its unique location and its rich history has the potential to be a vibrant cultural hub, once again. With careful planning, artist-centered programming, and infrastructural refinements, it can evolve into an institution that not only preserves artistic legacies but also fosters contemporary conversations. The reopening was a significant milestone—now it’s time to ensure the momentum leads to meaningful change.


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10 Jun 2025

Art News: Venkatappa Art Gallery: Renovation

Venkatappa Art Gallery: Renovation 

Venkatappa Art Gallery: Renovation and the Art Community’s Exclusion, Art Scene India
Rendered drawing only for representation
Established in 1975, the Venkatappa Art Gallery in Bengaluru has hosted generations of artists, fostering creativity and dialogue. However, years of neglect left the institution in dire need of restoration. The renovation was undertaken as part of a Corporate Social Responsibility (CSR) initiative and aimed to modernize the gallery while preserving its historical essence. According to a Bangalore Mirror report, the project was completed at a cost exceeding Rs 8 crore with plans for five exhibition galleries, a permanent collection space, and enhanced infrastructure, including a dedicated artists’ room. The purpose of the restoration was to breathe new life into the venue, and ensure it remains a vital hub for cultural activities.

Despite the excitement surrounding the gallery’s reopening on June 12, controversy has emerged over the alleged ‘exclusion of the local art community’ from the event. While government officials and corporate representatives are expected to attend, many artists—who have long advocated for the gallery’s preservation—have reportedly been left out of the celebrations.

This exclusion has sparked discontent among Bengaluru’s artistic circles as evident through a number of social media posts. It must be pointed out that the gallery’s revival was largely driven by years of lobbying from several artists, who were diligent about keeping it from falling into private hands. 

Future of Artistic Spaces

In general, it is important to include artists at every stage to ensure their involvement in shaping cultural institutions, and to avoid a precedent for a ‘top-down management of artistic spaces’, which could reduce opportunities for grassroots engagement.

Artists and cultural advocates are now calling for greater transparency and inclusivity in the gallery’s future programming. While the renovation is a welcome development, its success will ultimately depend on how well it serves the artistic community it was built for.

As Bengaluru’s art scene continues to evolve, the Venkatappa Art Gallery stands at a crossroads—will it remain a true home for artists, or become a polished but detached institution? The answer lies in how its custodians respond to the voices of those who have long fought for its survival.

What are your thoughts and suggestions on this topic?

Note: the article was updated on Jun 11 

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6 Jun 2025

Namma Hampi - A Symbol of Lasting Beauty

In the 14th and 15th centuries, Hampi, the former capital of the Vijayanagara Empire, was one of the most flourishing urban centers, with its architectural brilliance and vibrant economy. Even today it stands as a testament to the intersection of grandeur and destruction. Following the empire’s defeat in 1565, the city was left in ruins—a stark reminder of the fragile nature of power and prosperity.
‘Namma Hampi - The Epitome of Beauty’ by Lokesha R & Bhyrava B M, Art Scene India

This exhibition ‘Namma Hampi - The Epitome of Beauty’ by Lokesha R and Bhyrava B M seeks not only to celebrate Hampi’s artistic allure but to engage with its historical transformations, questioning the romanticized view of its remnants and reflecting on the forces that shaped its legacy.

The Virupaksha Temple, one of the few structures that survived the city’s downfall, remains an enduring religious landmark. Dedicated to Lord Shiva, it continues to serve as a place of worship, defying the destruction that enveloped Vijayanagara. The temple’s towering entrance gateway and finely carved details exemplify the refined artistry of the Dravidian style. Yet, its significance goes beyond aesthetics—it embodies perseverance amid adversity. Beneath its surface lie subterranean chambers, enveloped in mythology and mystery, with traditions linking them to the exile of Lord Rama and Sita.

‘Namma Hampi - The Epitome of Beauty’ by Lokesha R & Bhyrava B M, Art Scene India
Deep within Hampi’s architectural wonders stands the Vijay Vittala Temple, a structure that symbolizes the lost magnificence of the empire. At its core lies the famed Stone Chariot, an icon of sculptural artistry. Designed to resemble ceremonial temple chariots, it forms a visual contradiction between movement and permanence. The temple complex, dedicated to Vishnu, once echoed with melodies from its ingenious musical pillars—columns so precisely carved that they emitted harmonic sounds when struck.

Hemakuta Hill offers an architectural contrast, rising above the Virupaksha Temple with its understated shrines and mandapas. Unlike the towering grandeur of other Vijayanagara temples, Hemakuta’s shrines are modestly scaled, harmonizing with the rocky terrain. Their surfaces, adorned with delicate carvings of lotus motifs, entwining foliage, and serene depictions of deities, reflect the spiritual essence of the era without excess. This exhibition, expressed through watercolor and textured techniques, does not merely present Hampi as a visual spectacle—it interrogates its historical narratives. It compels viewers to reevaluate the ruins beyond their aesthetic appeal, examining the cultural, political, and economic shifts that define them.
‘Namma Hampi - The Epitome of Beauty’ by Lokesha R & Bhyrava B M, Art Scene India

The featured artists, Bhyrava B M and Lokesha R, bring their distinctive perspectives to this exploration. Bhyrava, based in Mysore, captures the nuanced interplay between realism and emotion through his delicate yet intricate watercolors. Lokesha, with roots in Tumkur, approaches art as an evolving conversation, engaging in experimentation across mediums, with printmaking at its core. His work bridges artistic tradition with contemporary discourse, fostering engagement between creator and observer. Hampi’s stones embody both triumph and loss, and this collection does not merely admire them—it listens. It encourages viewers to reconsider what has been preserved, what has faded, and what echoes remain embedded in its legacy. Through each brushstroke, Hampi’s story is reinterpreted—not as a static monument but as a fluid, evolving testament to time.

The exhibition continues till Jun 8 at Karnataka Chiitrakala Parishath

References 

- Catalogue text
- Fritz, J., & Michell, G. (2003). Hampi: A Travel Guide
- Raja, T. (2016). Dravidian Architecture and Vijayanagara Temples
- Thapar, R. (2012). Early India: From the Origins to AD 1300
- UNESCO. (2023). Hampi: A World Heritage Site


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