14 Apr 2026

Camera Yoga™ & Nature Art Films – Anil Annaiah’s New Paradigm in Art & Mindfulness

Anil Annaiah Introduces Camera Yoga™ & Nature Art Therapeutic Films as a New Paradigm in Art, Mindfulness, and Well-being

Bengaluru, India — Filmmaker, artist, author, and innovator Anil Annaiah announces an expanding body of work that brings together handcrafted Nature, Art, and Mindfulness through his signature concept Camera Yoga™ and Nature Art Therapeutic Films—positioning them as powerful tools for emotional well-being, awareness, and experiential engagement.

Anil Annaiah Camera Yoga nature art photography

A New Paradigm in Art and Mindfulness

Anil Annaiah’s work emerges from a deep, intuitive alignment with nature and visual storytelling.

What started as Nature Art photography evolved into a profound practice—one that goes beyond capturing images to cultivating awareness, stillness, and emotional balance. Through years of mindful immersive observation and creative exploration, Camera Yoga™ has taken shape as a method that transforms “seeing” into a meaningful inner experience. As he says, “Camera Yoga™ is not just created. It is realized.”

Public Survey on Emotional Well-being

As part of this evolving initiative, a public survey has been launched to study the impact of Nature Art Therapeutic Films on individuals. The survey is an integral part of Anil's 13th year of Earth Day Celebrations, and the initiative seeks to demonstrate the transformative power of art and mindfulness by measuring how Camera Yoga™ and Nature Art Therapeutic Films influence emotional well-being. Through immersive visual experiences, the project aims to:

Elevate Emotional Health: Foster calm, joy, and resilience by engaging with nature-inspired imagery.
Enhance Mental Clarity: Encourage focus, stillness, and mindful awareness in everyday life.
Boost Energy & Mood: Use visual storytelling as a catalyst for positivity and vitality.
Promote Holistic Well-being: Position art as a therapeutic tool that bridges creativity, science, and human experience.

By inviting public participation in surveys and workshops, the initiative not only validates the impact of art on wellness but also builds a collective movement where creativity becomes a pathway to healing and connection.

This effort is designed to bridge art, human experience, and measurable outcomes, contributing to a growing conversation around art as therapy.

Participants are invited to contribute and be part of this meaningful exploration. Click here for the survey

Upcoming Workshops & Subscription-Based Programs

Anil Annaiah will soon introduce guided Camera Yoga™ workshops and subscription-based programs, offering structured engagement for individuals seeking mindful and creative practices.

These programs are designed to:
Encourage deeper observation and connection with nature
Promote emotional balance through visual expression
Provide a guided pathway into art-based mindfulness
Explore the therapeutic dimensions of creative practice

More details and schedules will be announced shortly.

Bespoke Nature Art Stills and Films for Corporates & Institutions

In a significant expansion, Anil Annaiah is offering bespoke, specially commissioned Nature Art Films and Photographic Images for corporates, institutions, and brands.

These curated visual installations such as Floating with Serenity and My Mirror are designed to:

Enhance workplace well-being
Reduce stress and improve focus
Create immersive and calming environments
Align brand spaces with sustainability and mindful engagement

Delivered as video installations and digital visual experiences, these works transform physical spaces into zones of calm, reflection, and connection. You can watch some of these films here.

About Anil Annaiah

Anil Annaiah is a filmmaker, photographer, artist, podcaster, and author of ten books. He is the founder of Annleela Films and Brand Radianz – Me The Changemaker, and the innovator of Camera Yoga™, a unique practice integrating nature, mindfulness, storytelling, and conservation. His work spans films, visual art, podcasts, and social impact storytelling, with a consistent focus on creating meaningful engagement through creativity.

Website www.CameraYoga.com

YouTube www.youtube.com/anilannaiah

Contact:
anil@camerayoga.com
anilannaiah@gmail.com

Mobile: 9980740118

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27 Jan 2026

apexart International Open Call 2026-27

Opening of Skate, Create, Liberate: Women Artists and the Future of Radical Space in Ethiopia, an open call winning exhibition curated by Betelihem Zena, 2025

apexart INTL Open Call for group exhibitions

Accepting proposals: February 1 - March 1, 2026

apexart invites 500 word idea-based group exhibition proposals for 2026-27 INTL Open Call from February 1 - March 1, 2026. Five winning proposals will each receive a $10k exhibition budget to become apexart exhibitions in their respective locations around the world as part of their 2026-27 exhibition season. Curators, artists, writers, and creative individuals, regardless of experience level or location, are invited to submit a proposal online.

The submission process
Proposals should describe a focused, idea-driven, original group exhibition of 3 or more artists. No biographical info, CVs, links, or images will be accepted. Submissions cannot exceed 500 words and must be submitted in English. Jurors from 85 countries then jury the proposals based on their personal interest, cultural assessment, content and communication of the idea. See examples of winning proposals here.

The selection process
Rather than a typical 5-person panel to review hundreds of ideas, apexart’s crowd-sourced system involves hundreds of jurors from more than 85 countries, reviewing proposals at their own schedule over one month. The jury is composed of up to individuals from a wide variety of professional backgrounds and international locations including students from 20 participating university classes who will rate the proposals. Proposals are anonymous and randomized to ensure each submission receives equal consideration, resulting in more than 30,000 votes on over 600 proposals. apexart staff does not influence the results of the jury in any way.

The results
Each of the five winning proposals will receive an exhibition budget of $10,000; the exhibition brochure, printed and mailed to over six thousand international recipients; and to be a part of apexart’s 2026-2027 exhibition season. apexart provides full admin and logistics support, assisting curators to realize their original ideas into apexart exhibitions. Exhibition curators must work within the funding provided to transform their winning proposals into focused, noteworthy exhibitions.

To submit an exhibition proposal, visit https://apexart.org/opencalls.php between February 1 and March 1, 2026.

To contribute articles, please get in touch at artsceneinfo@gmail.com

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8 Dec 2025

Art News: India Art Festival Bengaluru, December 2025

India Art Festival returns to Bengaluru with its 5th edition

Over 3,000 artworks, 20+ galleries and 300 artists under one roof

India Art Festival (IAF) is back in Bengaluru for its fifth edition from 12 to 14 December 2025 at the Crown Pavilions, Palace Ground, Gate No. 5.

India Art Festival 5th Edition, Bengaluru, 12-14th Dec, Palace Grounds; Art Scene India

Laxma Goud

The Bangalore art market is expanding rapidly in proportion to its population. Currently, its population is almost half of that of Mumbai and Delhi. Rajendra Patil, Director of India Art Festival elaborates, “the city has a large, diverse, and growing community that enjoys art, right from young professionals, families, and art buyers all of whom actively visit art events. In fact, people come to the art festival not just to see art but also to find artworks that make their homes feel more inspiring. Bengaluru also has museums, cultural spaces, historical landmarks, and many corporates that support creative activities. All of this makes the city a strong place for artists to present their work and for the festival to reach new audiences.”

Rajendra recollects that when India Art Festival began in Mumbai, there was no art fair in the city. “Similarly, when we started the festival in Bangalore five years ago, there was no platform where galleries and artists could come together with the city’s art lovers. Clearly, there was a real need for such a space and we are happy to be back in Bengaluru.”

As part of the India Art Festival, for three days, the city will host a vibrant showcase of contemporary Indian art, bringing together over 20 galleries and 300 artists from 25 cities across India.

This year’s edition will feature a wide range of artworks across mediums – including paintings, sculptures, photographs, ceramics, installations, traditional art forms and more – making it a must-visit for both seasoned collectors and first-time buyers.

It is to be noted that the art market and the profile of art buyers in India have changed a lot in the past decade. Earlier, it was mainly large corporates who bought art, but now individuals are buying more art for their homes and offices.

Yusuf Arakkal

According to Rajendra, “There’s also a big shift from the real-estate and interior design end. Developers and interior designers are constantly looking for good artworks that are not necessarily expensive - pieces that are original, appealing, and fit well into modern living spaces. Another noticeable change is that many new bankers, tech professionals, and young homeowners are buying art too. They may not think of themselves as “collectors” because they usually buy only a few pieces. They buy art simply because they like it, not because they’re thinking about investment.

In all major cities, this group of spur-of-the-moment, first-time art buyers has increased in huge numbers. And events like India Art Festival play a key role in expanding this circle of art patrons. By bringing galleries, artists, and the public together under one roof, the festival makes art more accessible and encourages many new people to start buying and appreciating art.”

Ramesh Gorjala

IAF, 12 - 14 December 2025, Bengaluru

More than 3,000 artworks will be on display, ranging from oil, acrylic and watercolour works to mixed media, installations and regional art traditions. The festival aims to make art accessible and enjoyable for everyone – whether you’re an art connoisseur, a young collector, or simply curious about the world of art. India Art Festival has always focused on creating a balance between emerging talent and established masters. This year too, young and independent artists will show their works alongside eminent names in Indian art, offering visitors a rich and diverse view of today’s contemporary art scene.

Special Curated Exhibition: Brushstrokes of Karnataka

One of the major highlights of this year’s festival is the specially curated exhibition ‘Brushstrokes of Karnataka’, led by Prof. K.S. Appajaiah. This showcase brings together the works of more than 30 renowned artists from Bengaluru and across Karnataka, celebrating the state’s breathtaking landscapes and rich heritage. From the historic ruins of Hampi and Badami to the lush Western Ghats and diverse regional terrains, the exhibition captures the true spirit and beauty of Karnataka.

The Artists Showcasing in Brush Strokes of Karnataka include ‘Kantharaj N, Dundappa S Lolasoori, Shrisail Shrimant Kamate, Lingaraju M S, Prahallad K V Acharya, Chetan C S, Manjunath Wali, Syed Asif Ali, Makali K K, VRC Shekhar, Babu Jattakar, Sathish Biradar, Bheemrao K Badiger, Lokesh R, K S Kamatagoudar, Madivalappa S Langoti, Mallappa Halli, Gangadhar Bandanavar, Shirish Deshpande, Shweta, Hemavathi Sadashiv, D Pavan Kumar, Siddanna S Maragol, Roopesh Nanaiah

It stands as a heartfelt tribute to the land—its scenery, its cultural legacy, and its iconic temple architecture.

Rajeev Rai

Artists’ Pavilion: Young talent meets masters

The Artists’ Pavilion will feature more than 200 independent artists, exhibiting alongside around 100 established artists represented by galleries. Promising young artists such as Monica Ghule, Yuvraj Patil, Dev Mehta, Rajeev Rai, Sandeep Ghule, Anil Vergese, Anjali Prabhakar, Kalpana Soni and many others will be presenting their works. Their art will be shown alongside works by renowned masters including Yusuf Arakkal, Krishen Khanna, Manu Parekh, Ramesh Gorjala, T. Vaikuntam, Akbar Padamsee, Laxman Aelay, Seema Kohli and several others, offering visitors a rare chance to see multiple generations of Indian artists in one space.

Participating Galleries

From Bengaluru

Sara Arakkal Galerie, ReIGNITE EDTECH PVT LTD, Gallery Charvi

From Mumbai

House of Emerge, Studio3 Gallery, Studio Monica Ghule, Dev Mehta Art Gallery, Nitya Artists Centre, Curators.art and Chitraksh Art

From New Delhi & NCR

Gallery Pioneer, Uchaan, Artecious World Art Gallery, Aura Planet, Eminent Art Gallery, Shree Yash Art Gallery and Galerie Art Eterne

From Other Cities & Overseas

Gnani Arts, Singapore, Artsbreeze Art Gallery, Hyderabad, Pichwaiwala Narendra Art, Udaipur and M Narayan Studio, Pune

Event Details

Dates: 12–14 December 2025
Venue: Crown Pavilions, Palace Grounds, Gate No. 5, Bellary Road, Near Mekhri Circle, Bengaluru
Timings: 11:00 AM – 8:00 PM
Tickets: ₹199 season pass (valid all three days), available via BookMyShow and at the venue

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3 Nov 2025

Art News: Flux/Resonance at Visual Arts Gallery, Nov 7-11, 2025

Flux/Resonance

Curated by Nalini S Malaviya

Sonali Bose Chasm I

The exhibition Flux/Resonance brings together ten contemporary artists—Biswa Basu, Kantha Reddy, Malay Saha, Naba Kumar Chakraborty, Nandesha Shantiprakash, Partho Chatterjee, Rathin Kanji, Shridhar Iyer, Sonali Bose, and Yusuf—whose works respond to the currency of our times through a conceptual lens. Curated by Nalini S Malaviya, the show interrogates the cyclical nature of decay and renewal, offering a visual and philosophical inquiry into the elements that shape our urban and emotional landscapes.

Malaviya frames the exhibition around the paradox of collapse and regeneration. “The narrative of decay is a complex process involving degeneration and collapse, while simultaneously establishing the framework for the rejuvenation and re-emergence of newer constructs,” she writes in the curatorial note. The artists delve into this dynamic interplay—flux and resonance—as a metaphor for existence, exploring transformation, incoherence, and the tensions embedded in the built environment.

The exhibition navigates the metamorphosis of urban life, probing the interconnectedness between human experience and the cityscape. Themes of technological proliferation, media saturation, and consumerist culture emerge as critical touchpoints, where each artist brings a distinct voice to this collective interrogation.

Rathin Kanji, Seize the night

Biswa Basu deploys abstraction to depict societal disorder, chaos and emotional fragmentation. S. Kantha Reddy fuses mythology, nature, and temporal abstraction in sculptural forms drawn from everyday encounters, while establishing linkages to the past. Malay Saha examines spatial relationships and tensions between objects and human presence in urban settings.

Naba Kumar Chakraborty critiques the proliferative nature of technology and its role in influencing instant gratification. Nandesha Shanti Prakash reflects on the evolving relationship between selfhood and social purpose in contemporary life, and the oscillating nature of life and traits such as resilience. Partho Chatterjee explores chromatic and geometric dialogues between humans and their urban habitats, and the effect of design on these associations.

Rathin Kanji confronts the contradictions of progress—juxtaposing innovation with ecological and cultural decline. Shridhar Iyer captures the cosmic and terrestrial dualities through chaotic yet interconnected visual narratives. Sonali Bose exposes the paradox of digital intimacy versus emotional isolation in her mixed media works. Yusuf offers minimal, metaphor-rich compositions that evoke the psychological terrain of human emotion.

Flux/Resonance offers a space to contemplate on impermanence, contradiction, and the layered complexity of contemporary existence. Through varied visual vocabularies, the artists articulate the chaos and lucidity that define our lived realities, inviting viewers to engage with the subtle interludes of resonance that punctuate the flux of life.

Flux/Resonance featuring paintings, mixed media and sculptural works will be held from November 7-11, at Visual Arts Gallery at the India Habitat Centre, New Delhi.

For info contact: +91 9434592326 / 9831182657

Based on the press release

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26 Sept 2025

GST on Fine Art: Benefits and Implications

The recent reduction of Goods and Services Tax (GST) on fine art (associated with HSN Code 9701) from 12% to 5% under India’s GST 2.0 reform, which came into effect from Sept 22, has been welcomed by artists, galleries, and collectors alike. At first glance, the move appears to be a positive step towards catalyzing the market towards increased growth. Normally, lower tax rates should translate into increased affordability, widen the market, and convert into higher sales volumes. However, it might be worth considering some of the implications which may play a part in the overall outcome.

GST Cut on Fine Art: Benefits and Implications, Art Scene India

Photo by Dannie Jing on Unsplash

Lower Prices, Higher Demand

Reducing GST to 5% directly lowers the cost of acquisition for buyers, making fine art more accessible to a wider demographic. This is particularly significant in a market where price sensitivity often deters first-time collectors and younger buyers. Galleries may benefit from increased footfall and transaction volumes, while artists also stand to gain both financially and from the exposure.

The reform is intended to broaden cultural consumption and support creative disciplines, and it does so by reducing the tax burden. With a lower GST rate, it could also perhaps encourage greater compliance and bring in more artists and dealers into the GST net.

Input Tax Credit

Subathra Mylsamy, Managing Partner and Lawyer, A.K. Mylsamy & Associates LLP breaks it down for us, "For much fine art when sold by its original creator, the GST Council has notified a concessional rate of 5%, but with a crucial caveat: the artist or gallery cannot claim ITC for the GST paid on the inputs. This 5% rate is specifically granted on a “without ITC” basis, as prescribed in Notification No. 1/2017-Central Tax (Rate) and subsequent updates. This creates a problem because artists often pay higher GST rates—sometimes 12–18%—on the materials and services comprising their input costs (such as paint, rent, insurance, and logistics).

When the artwork is sold and ITC is not permitted, the GST paid on these inputs cannot be recovered, so it becomes a permanent additional cost for the artist or gallery. As a result, instead of passing the benefit of the lower tax rate to buyers, sellers typically increase their base price to compensate for the unrecovered tax, which ultimately makes art less accessible and harms both creators and buyers."

It implies that under the 12% structure, galleries and artists were able to offset taxes paid on inputs such as material costs, framing, logistics, printing and other services. Now, at 5%, this credit is no longer available, and which effectively increases the cost of creating art and the profit margins on sales.

Similarly, the inability to claim ITC could now influence gallery functioning and their profitability. Subathra Mylsamy expands, "For galleries, the inability to use ITC is even more pronounced because their operating costs— rent, curation, logistics, and insurance—are almost always taxed at 18%. When outward supplies can only be taxed at 5% and ITC is denied, the gallery experiences a loss that mainly affects smaller businesses. Larger galleries may have mechanisms to survive (by raising prices or absorbing costs), but smaller ones struggle, reducing opportunities for emerging artists and weakening the formal art ecosystem."

Is it better for the buyer now? "From a buyer’s perspective, the lower shown GST rate often does not translate into real savings, since sellers typically raise their base prices to offset tax stranded in the process. This cycle discourages formal transactions and record keeping, pushes smaller entities out of the market, and may lead to a shift back toward informal or cash-based deals—undermining transparency and trust in fine art as an investment asset," points out Mylsamy.

It leads to the question - in the long term, will it affect investment in infrastructure, promotion and marketing of art and thereby the ecosystem at large?

Compliance Factors

The shift in tax structure will require a recalibration of pricing strategies, and other modalities of functioning to optimize costs and profits.

Additionally, inter-state transactions involving integrated GST (IGST) remain complex, particularly for artworks crossing state borders for exhibitions or sales and these also have to be taken into consideration.

Overall, the GST reduction on fine art as part of a simplification of the GST brackets should help the art community, but moving forward the loss of input tax credit and increasing operational complexity must be factored in and thought out to ensure long-term sustainability of this sector.

Write in your thoughts in the comments section or email on artsceneinfo@gmail.com