Nayan

A roof of one's own is a personal, hybrid documentary about the slow disappearance of Barsatis — rooftop homes that once dotted Delhi’s skyline, offering shelter to students, artists, migrants, and working-class families. What began as a historical exploration of these spaces turned into something more intimate: a meditation on home, loss, and belonging. I moved to Delhi two years ago from rural Madhya Pradesh and ended up living in a Barsati myself. Over time, I realised that I wasn’t just documenting a vanishing form of housing; I was also processing my own complicated relationship with home, shaped by grief and migration. The film blends observational footage, voiceover, and self-aware commentary to reflect on who gets to belong in a city that’s always reinventing itself, and what gets erased in the name of progress. It’s also an attempt to reimagine what the nonfiction medium can look like: honest, sharp, and fun.

Abhirup Bhattacharjee

Arko, my household nickname, meaning Sun, forms the soul of this deeply personal series. Born from introspection and cosmic curiosity, it consists of 12 large oil paintings and 366 unique etching prints exploring metaphysical realms, celestial bodies, and the sun’s role across mythology, numerology, surrealism, and personal transformation. Titles like "Core", "Sungazing", and "Superstar" mirror inner revelations and universal phenomena. The evolving color palette follows seasonal light cycles — spring to winter — mirroring moods from serene to cataclysmic. A “Sun” insignia marks each piece, tying them together as one radiant narrative. I also intend to incorporate augmented reality into select pieces via the use of the Artivive app. Upon completion, I hope to present this series in a singular, immersive exhibition experience at a major art platform like the India Art Fair.

Smaer Saggar

Slideshoweveryday is a storytelling-driven archive project exploring how culture, creativity, and memory collide. It began with a simple impulse, to document visual references that moved me, but quickly grew into a platform that dissects the meaning behind trends, subcultures, and overlooked creative histories. I create long-form Instagram carousels that feel like editorial essays in disguise tracing the roots of diasporic style, under-the-radar artists, forgotten design movements, and culturally rich collaborations. What sets Slideshoweveryday apart is our commitment to context. he project is deeply influenced by the Archive Instagram movement (like Samutaro and Hidden.NY), but Slideshoweveryday is rooted in an Indian lens, localising global stories while spotlighting voices from the margins. Long-term, the goal is to evolve slideshoweveryday into a full-fledged cultural studio, a tastemaker brand that interprets, archives, and co-creates future-defining culture.

Amrapali Shindhe

Project gāthā is a multilingual music and visual storytelling series that reimagines Indian and Western poetry through powerful, cross-cultural collaborations. Born from a desire to move beyond trend-based music releases, the project explores the deeper connection between poetry, heritage, and sound. I aim to create three original songs in collaboration with poets, tribal and contemporary musicians, and filmmakers blending Indian folk traditions with global genres. Each song will be accompanied by a documentary-style video that captures not just the performance, but the process, conversations, and cultural exchanges behind it. This is not just about music it’s about reclaiming space for literature, language, and underrepresented voices in a modern context. project gāthā is a love letter to collaboration and a bridge between generations, cultures, and art forms.

Aarushi Bhawsar, Titikhya Mullick

This project is a multi-sensory time capsule dedicated to preserving the cultural memory of the Bhil and Bhilala tribes of Madhya Pradesh. Known for their vibrant storytelling, ritual practices, and deep connection to the land, these communities hold living knowledge that is at risk of quiet erasure. Rather than treating their heritage as static records, this project seeks to translate it into experiences that can be felt. Through soundscapes, scent, touch, and visual storytelling, we aim to create an archive where the rhythm of a Bhilala harvest song or the earthy fragrance of a Bhil festival become windows into a world often overlooked. Inspired by a decolonial approach to cultural documentation, this work places the community at the center, empowering them to narrate their own stories. It is not merely a record but a living, breathing memory — an invitation to experience tradition as something present, personal, and profoundly human.

Sriparna Dutta

The silent fight: Unveiling Marginalized Narratives is not just a project — it's a commitment, a resistance, a stitched cry for justice. As a caregiving community art practitioner and activist, my work is rooted in lived experience. I walk with the women, I sit with the children, I listen, and I create alongside them. Through embroidery, painting, storytelling, and fabric books, I archive voices that have been silenced for generations. These are not just crafts — they are testimonies of pain, survival, and resilience. Over four months, I will collect over 1,000 works — paintings, stitched narratives, personal objects — each carrying a story that society has refused to see. In Nanoor and Bharatpur, I will live, eat, cry, and create with the communities. A collective Kantha quilt will emerge — layered with memories, resistance, and shared breaths. This is not just an archive. This is a fight. A movement. A mirror held up to society’s hidden wounds.

Sarthak Ray

Project hamsadhwani is a genre-defying sonic ensemble that melds the rich textures of cinematic and ambient music with the raw intensity of grunge and the transcendence of Hindustani space rock. Founded on the principles of musical exploration and cultural fusion, the project is a testament to the boundless possibilities of sound.

Mayank

Queer childhoods is a media, research and archival project in which through facilitating readings and conversations over childhood photographs in family albums of queer individuals, I am building an open media archive. I have also created a photographic performance that gives a curated glimpse into its concerns and conversations: https://drive.google.com/open?id=15wFfaK5C5TqS8uJOSW5DgV32kVs2kWs1 By prioritising the agency of the adult queer individual in rereading these photographs, facilitating a queer gaze into one’s own past and ‘listening’ to the photograph beyond seeing, the project complicates notions of visuality. It approaches images through listening and orality in order to attune to the silences and ghostly spectres that may not be visible 'inside' the image but are there in the individual's imaginary. The project began from a very personal place and through conversations initiated through my own childhood photographs.

Jahnvi Raj

Piya Rang Mitti is a folk musical inspired by the life of Bhakti saint Meerabai. It explores a long walk across the desert and unravels several struggles and desires of rural South Asian women, folklores about their madness and their inner quest for enlightenment. It follows the life of a young girl Runjhun who finds herself stranded between the memories of her mother and the music of the desert, all the while struggling to make ends meet as an idol sculptor. The musical is an interdisciplinary intervention that aims to bring together several mediums of story telling such as theatre, dance, music, paintings and puppetry on one stage. It is inspired also by our fieldwork engagement with women of Andore village of Rajasthan.

Aliya Khan

Chimbai is a documentary about a 400-year-old Koli fishing village in the heart of Mumbai - one of the city’s last coastal communities. As urban pressures grow, the film preserves chimbai’s layered cultural landscape in the face of sweeping change. Blending documentary footage with music, illustration, and poetry, we’re working with local artists, musicians, and children to co-create a multidimensional portrait of the village. In addition to the film, we are building a short-form content repository to make chimbai’s heritage accessible to wider audiences. This project challenges top-down documentation by inviting communities to represent themselves. It aims not only to archive what exists, but to strengthen what can grow from it: cultural equity through creative pathways, connecting grassroots artists with wider networks in Mumbai and beyond.

Ujjwal Agarwal / KALA

Raga.fm is a generative music project by Ujjwal Agarwal that explores the deep-rooted philosophy of Indian classical ragas and their relationship with time. It features an intelligent algorithm that composes real-time melodic progressions based on ancient raga rules like aaroh, avroh, pakad, vadi, and samvadi. The system serves ragas appropriate to the listener’s current time of day, creating a meditative audio stream that feels personal and timeless. Complementing this digital experiment is Ujjwal’s ongoing attempt to build electro-acoustic instruments using solenoids, such as a modern jal tarang powered by an ESP32 microcontroller. These instruments create physical vibrations and real sounds, merging digital intelligence with traditional musical materiality. Together, the projects reflect Ujjwal’s fascination with time, sound, and computation — redefining how we experience classical music through code, interface, and tactility.

Kash

On a sweltering summer day, Kudrat, 30s, witnesses a young girl become the subject of a stranger’s unsettling attention during a crowded bus ride. The film Babygals (bbg) confronts a violence that often begins quietly through small, calculated acts disguised as kindness. I was compelled to tell this story because grooming, and the way it thrives in public, remains largely invisible. It hides behind politeness, age, and male authority. By placing this narrative in a bus, a space of shared silence, unspoken rules, and everyday negotiations, I wanted to amplify the claustrophobia of being watched, followed, judged, and targeted. Kudrat’s reaction is a reflection of the relentless fear women carry with them, even after the bus has stopped. It is the lingering cost of confrontation in a world where the danger does not end with the ride. It follows you.

Aswin Prakash

Balaramapuram project explores the cultural, historical, and class dynamics surrounding the iconic Kerala saree. Rooted in the southern district of Thiruvananthapuram, it investigates how this weaving tradition — once tied to royal patronage — shaped Kerala’s visual identity. The project contrasts this legacy with contemporary shifts in labor, value, and representation, especially in comparison to the cultural aesthetics of Kerala’s northern districts. Through textiles, oral histories, and collaborative design, it aims to revive and reframe balaramapuram’s significance within modern Kerala’s socio-cultural landscape, questioning who gets to define heritage and whose stories are preserved.

Varoon P. Anand

Adbhut is an immersive AI-powered performance installation that captures the profound moment of wonder when technology enables impossible communication. The project explores breakthrough moments - when someone who has lost their voice speaks again through AI synthesis, when a grandmother in rural Punjab suddenly understands her grandson's English poetry through real-time translation, when a child with autism finds words they never had through assistive technology.

Sayantan Sharma

"I SUGAR YOU BONE TO BONE আমি তোমায় হাড়ে হাড়ে চিনি (I know you intimately)" The sculptural installation can be approached from more than one corner and each would arrive at the epicenter that discusses the issue of food security - a pressing concern of today’s society. I have visually attempted to give shape to the complex issue by acknowledging the peripheral issues affecting the moot. Each entry point to the structural puzzle acknowledges other strong socio-political-economic issues intertwined with each other, making the structure complicated. The freestanding installation is primarily inspired by organic forms that adhere to the logic of cardboard puzzles. By manipulating the organic bone-like form, I conceptualized each side of the plates to convey my concerns about the facets that influence food security. While planning and executing this piece, I was convinced that the socio-ecological systemic complexity like our body.

Jayesh Patil

Many creatives — artists, writers, musicians, designers, and anyone who identifies as “creative” — often feel stuck between surges of inspiration and complete creative blocks. They lack community support and frequently feel isolated in their journey. Drawing from my own path — reading Steal Like an Artist, The Artist’s Way, and especially Daily Rituals — I built a web prototype (artistrituals.in) that matches your daily habits to those of historic icons. The long term goal is to create a one-stop productivity and community platform for creatives of all kinds.

Sanjoy Rakshit

The concept of the "invisible guillotine" captures the silent, unseen forces shaping our world today. It represents hidden rules and motives that strip away our humanity, dignity, morality, and freedom without us even realizing it. This invisible blade cuts deeper than any physical weapon, affecting lives in subtle but profound ways. As an artist, I feel this loss personally. Fifty-one years of my life have slipped away — my childhood, my youth — all overshadowed by this relentless force. Alone in this vast world, I find solace only in the stars above. Yet, every night, I witness the bloodshed surrounding me. Despite striving to be kind and rhythmic in my actions, my spirit feels hollow, my emotions starved. This is but one example among many, reflecting a larger truth.

pause.dxa by Sahitya and Harsh

Bedtime sonic fables is a sonic experience designed to transport participants through a dream-like journey, mirroring the fluid transitions of the sleep cycle. Blending Dhrupad vocals with live electronic soundscapes and acoustic sound textures the performance creates an evolving landscape of shifting sonic states. Inspired by the nonlinear nature of dreams, each section represents a distinct dream world, flowing seamlessly from ethereal expanses to abstract noise, from drifting through the ocean’s depths to slipping in and out of the surrounding soundscape, where distant echoes of life linger like memories between sleep and wakefulness. At the heart of the space, a water cymatics installation visually translates sound into organic, hypnotic patterns, allowing audiences to both hear and see the vibrations of the sonic environment.

Antariksh Records

For our 7th anniversary, we wish to produce a compilation album in the form of limited-edition vinyl records and cassette tapes. We have noticed a significant increase in initiatives promoting vinyl culture and analog technologies nationwide. We believe this analog resurgence can be attributed to seeking a lack of algorithmic surveillance. We are seeking a reduction in the pace of life, which offers a concrete way of being in the world. Alongside this, through our project we wish to stick to our resolve of giving a platform to lesser-known, yet equally talented Indian artists. These artists, for the lack of access, are not fully recognized for their otherwise outstanding work among the global Eurocentric communities and electronic dance music cultures. This project, hence, aims to set a benchmark in the cultural landscape of electronic dance music, not just in India, but also on a global scale.

Arindam Manna

This project explores the intertwined stories of tradition, technological change, and environmental transition in Arjangarh, a unique Delhi locality. Central to this is the Guru Shyam Lal Akhara, whose wrestling traditions sustain physical culture, community connections, and ancestral practices amid rapid urban change. It also highlights Arjangarh’s strategic military role, marked by a Cold War-era defense installation, and its proximity to the ecologically vital Delhi Ridge. Using immersive fieldwork — including visits, drawing, painting, ambient sound and video recordings and photography — this work examines how akharas function as living vessels of local history, endurance and adaptation. The resulting multimedia installation brings to life these connected stories of place, body, and memory, inviting audiences to engage with heritage as a dynamic, layered fabric shaped by complex urban forces.

Bhuvanesh Ajithkumar Sheeba

A short film that explores the grief over their son's death sparks a conflict between the father and his son's friend, Nisha, whom he blames for the tragedy. Can we forget our deepest truma can we forgive someone for our unintentional fault. It is a quiet tale of forgival and guilt.

House of Katha

In the era of constant notifications, 10 minute food delivery, 15 seconds content pieces and 3 seconds attention span, we invite you to pause, calm down and reflect. Our immersive installation explores how today's constant digital flow, like a raging river, overwhelms us. We feel drowned in the ocean of information which is meant to help us. Step into a space where visuals depicting the daily information overload are projected onto the walls and speakers. Approach the console which captures your heartbeat, and as you breathe slowly, the chaotic audio and visuals will calm down, mirroring your inner peace.

Farah Mulla

Erasure is built from cassette tapes recorded during a time when I was moving through the aftermath of a relationship — one that left behind a tangle of unsaid saids. Over the course of a year or more, I recorded fragments: voice notes, ambient soundscapes, quiet reflections. As the dust of that connection began to settle, these sounds layered, blurred, and distorted — just like memory does. Eventually, a decade later, I pulled the magnetic ribbons from the cassettes and began weaving them into a tapestry. What began as an attempt to speak became something else entirely — a letter that starts in language and ends in the noise of silence. A map of emotions that were once felt but could never be fully expressed. The process embraced erasure not as removal, but as a method of inscription — an act of drawing silence.

Nitish Jain

A chance to pause and reset. First-hand is a unique, multisensory experience designed to counteract the overstimulation of screen-heavy culture. Participants are invited on a tactile, olfactory, and gustatory journey. Through blindfolds, headphones, and guided interactions, it creates a space for pausing and enhancing the imagination. Rooted in Dr. Seligman’s PERMA model of positive psychology, it promotes mental well-being by reducing fatigue, burnout, and apathy. Marvellous stories from the animal kingdom, told through sensory stimuli, foster a deeper relationship with nature encouraging curiosity, happiness, engagement, and meaning. Ideal for those feeling disconnected in an accelerating world, first-hand serves as a restorative, immersive “reset button”, bridging mental wellness and environmental awareness through an artistic experience.

Devanshi

Five elements was born from a simple yet profound realization: what if people didn't just trek through nature, but truly connected with every moment? Each vein on a leaf has a story, every mountain holds ancient wisdom — but we've lost the ability to listen. The story behind five elements is about rekindling that innate curiosity about our surroundings. We all share access to the same deeper intelligence, but at times need catalysts to reconnect with it. The Himalayas, nature, and intentional community become that bridge — helping people establish their own internal relationship with the wisdom that's always been there. five elements exists at the intersection of ancient knowledge systems, nature, music, art, and adventure. Through immersive experiences, we create spaces where healthy community thrives, where freedom is experienced authentically, and where genuine connections form — not just between people, but with the living world around.

THIS? / Prachee Mashru

Girls girls girls is a community-first event series by This? that celebrates women through music, conversation, and cultural connection. Curated to feel like your favorite night out with your girls, the event blends soft power with serious energy — featuring femme-led DJ sets, curated panels, cocktails, pop-ups, and more. It’s a space designed for women to feel seen, heard, and hyped, whether you're coming to dance, discover, or just decompress. From glossy soundscapes to real talk on identity, work, and expression, girls girls girls exists at the intersection of fun and feeling — creating moments that are both meaningful and electric. At its heart, it’s for the girls who romanticize their lives, show up for each other, and know the power of community. No gatekeeping, no pressure — just a room full of good people, good music, and good vibes. Come for the energy, stay for the sisterhood.

Himanya Behl

Music is a way to find our frequency. I use my studio to create sounds, make samples, cook beats and turn them into songs. My aim is to refine the process of making my next projects using trial and error.

Āyāhi - Experiential Art Atelier

Hyperreal is an audio-visual performance of experimental electronic music, generative audio-reactive visuals, and AI-based tools and processes, commenting upon the concept of “Intelligence" as it manifests in the digital realm. Inquiring into the perceived sentience behind digital systems, the show highlights a mysterious paradox: it is material Earth — silicon and metal — that forms the nerves of a digital system. Coursing through them is the primal force of Electricity, abstracted into data and logic which we call computing. It is the giddying acceleration and complexity of these processes of computing that we ultimately term A.I. Rather than attempting to answer “Can AI ever be conscious?”, our work takes the audience through the immersive worlds and processes of analog matter and circuitry, bits, code, data, and core AI principles; embodying the inquiry into a sensorial experience."

Samarth, Gayatri, Hana, Vedant

Kaleshi’s cottage is a universe in the making. At its core, it’s a game show, but it lives across a digital magazine, a comic strip, and live game events. Using a multi storytelling format we follow Kaleshi — a human navigating a mythic world that reflects layered South Asian aesthetics, traditions, and forward-fashion tribes. We use this universe to blend fiction and reality, exploring themes of identity, queerness, caste, and decolonial memory. We’re building a space where Dalit, Bahujan, and queer Indigenous voices lead the narrative — and where imagination becomes a tool for reworlding. From real-world games to comic panels, the project invites the audience not just to consume, but to play, question, and co-create.

Komal Mirani

Everywhere you look, signs of what’s next are already visible — not just in AI or robotics, but in how we learn, build, express, and connect. These shifts aren’t always mainstream, but they’re unfolding on the edges. If we pay attention, we can begin to understand the deeper changes taking shape. At the same time, there is a clear lack of nuance in media, especially when it comes to women. As more of our lives move online, media shapes what we notice, value, and act on. And in today’s world, attention is power. On second thought was created to help us navigate these shifts with curiosity, clarity, and agency. Through long-form conversations, I spotlight founders, thinkers, creatives, and changemakers whose voices are often overlooked. This project is a growing bridge to new possibilities. It is built through storytelling, grounded in community, and powered by a research-driven media network.

In Sanctum

Soil - 4' Dia Block print on cotton paper In Soil, we are born and grown From dust to life Within this earth he resides Among us, beside us, in us it hides, Guiding our journey, showing the way night and day, Guardian of the earth, keeper of the lore, Whispers of wisdom, from shore to shore, From ground to sky, the cycle complete, In unity, our destinies meet

Aabha Soumitra and Peace Projects

They say farming is the seed of civilisation. And yet, women - who have always built the world, return home to invisible labour: pressure cookers, unfinished tasks, unshared weights. songs of working women is a choral-theatre performance rooted in songs sung by women while working ; in fields, homes, factories, and on the move. Born of repetition and memory, these songs are not decoration. They are survival, resistance, repair. First created in 2024 by Ensemble Sahanaad, the piece is now being expanded by Peace Projects into a full-length work built entirely from voice. We collaborate with folk artists singing from lived experience, placing native Indian traditions in dialogue with global choral textures. In a world where urban women have no ritual of collective song, this work asks: what happens when we gather and sing, not for spectacle, but for what we carry? We hope the songs go home with you, and stay.

Kavya Ganesh

Stand-up natyam is a genre-defying dance theatre work that blends the physical vocabulary and dramaturgy of Bharatanatyam with the relatability, relevance and immediacy of stand-up comedy through collaborative performance sets. It’s an artistic experiment and cultural intervention - one that seeks to subvert expectations around classical Indian art forms and expand its accessibility. By combining Bharatanatyam with elements of mime, live crowd work, spoken word, beatboxing, and rap, stand-up natyam creates a platform where diverse performance languages not only coexist but actively enrich one another. This isn't fusion for fusion’s sake - it's a studied, dramaturgically-rooted encounter between widely different artists and art forms that upends binaries between classical and popular, sacred and profane, traditional and contemporary.

Sai Gitanjali Poluru

Terracoustics is a sculptural sound project that reimagines terracotta as a living, acoustic body. Blending terracotta with sound technology, the work transforms hand-built earthen forms into resonant chambers that emit, absorb, and remember sound. Drawing inspiration from India’s sonic architectural heritage, such as the whispering domes of Agra Fort or the vaulted acoustics of Gol Gumbaz the project, explores how voids, not solids, shape sonic experience. Using real-time sound interactions, each sculpture becomes a responsive organism. Sounds emerge not from external sources but from the tuned geometry of the clay itself. By collapsing boundaries between craft and code, Terracoustics invites audiences into a tactile, intimate mode of listening. It is both an artistic and cultural inquiry into how space, material, and memory resonate, inviting silence, vibration, and breath as tools of engagement.

Aditya Sinha

The aftertaste of loneliness aims to document and amplify the lived experiences of queer migrants in India — individuals who often navigate complex intersections of displacement, identity, and resilience — by creating a visual archive that resists both assimilation and erasure. Through its layered use of photographs, archival imagery, and mixed media, the work aspires to offer both imaginative and real representations of what queer liberation might look like in an Indian context. This project began as a personal exploration of queerness and home: how queer bodies carry grief, memory, and longing when dislocated from their places of origin. It would culminate in a photo book that blends documentary and magical realism, expanding from a deeply personal narrative into a broader collective portrait of queer India.

Divya Kharnare

Set amidst an environmental conflict in an urban landscape, the art of revolution is a feature length documentary which questions whether art and activism can co-exist in a competitive environment. It's set in a world where the stage serves as a microcosm for larger societal issues, where the characters use their craft to challenge and provoke the authorities. I believe that the stage has the ability to bring us together as a community, to challenge our beliefs, and to give voice to those who might otherwise be silenced. Through this lens, I hope to spark a conversation about the role of art in our political discourse. This film is a call to action, a reminder of the importance of our natural world and the need to protect it. I believe that art has the power to inspire and motivate, to bring attention to the issues that matter most, and to create a more just and sustainable world.

Aditya Lodha

A raw, stripped-down artist-to-artist music series hosted by Adi Lodha & Dishaan Gidwani. Each 12–15 min episode features a candid conversation and a live performance of three original tracks by India’s most exciting young musicians.

Gia Singh Arora and Somya Kautia

Under body, below word - a space began as a disassembly of one Bollywood item number: Beedi Jalaile from Omkara. But as we created the piece during a period of military tension & media attention on India, Pakistan, & Kashmir, terms like “non-escalatory” & “in national interest” began to seep in. Suddenly, Beedi & this rhetoric began to intermingle each reshaping the other. The performance moves from spectacle to scrutiny: dancers are interrogated for a smile, a shoulder drop, a hip movement. Through army drills, courtrooms, & projected scan lines, their gestures are reconditioned, disciplined, surveilled. Blending dance, projection, and text, this interdisciplinary work asks: what power structures are we consuming when we consume performance? How might the smallest gestures those dismissed as ‘just dance' hold entire ideologies beneath them?"

Elsa Roy Gupta

We dey inside is an intimate, immersive Afro-dance retreat ingrained in storytelling, cultural exchange, and embodied learning. Created in response to the disconnection between movement & its cultural origins, the retreat offers a space to unlearn and reconnect with your identity, ancestry, and purpose. Through Afro-dance, dialogue, music, and community, this 3N/4D journey invites artists to rediscover their “why” & embody dance as a living archive of history, resilience, and collective memory. Drawing from Indian & African legacies, the retreat bridges cultures through intentional movement practices, self-exploration, & shared lineage. It prioritises spaces where movement is lived, & not just performed, where dancers can reclaim their voice & explore dance as a medium for healing, empowerment, and transformation. we dey inside is more than training — it’s about remembering, returning, and reimagining what it means to MOVE with MEANING.

Nitya Amarnath

Weavsy is a mindful crafting project that brings Indian tactile traditions, like weaving and embroidery, into modern life through portable, design-forward DIY kits. It invites people to slow down, unplug and reconnect, offering craft as a meditative, creative ritual. Rooted in my experience as a textile designer working with artisans across India, weavsy emerged from the quiet power of handwork. I often carried crafting with me, calming my thoughts during transit and moments of rest. When shared, this practice sparked emotional responses: calm, presence, curiosity. weavsy builds on that response, offering kits that are easy to carry and use anywhere, at home, outdoors or hanging out with friends. The project aligns with movements around slow living and wellness, while enticing you to have a living relationship with heritage crafts. weavsy reframes traditional techniques as accessible, daily acts of self-care and cultural connection.

Varsha Iyengar

Objects and technologies are not created in isolation; they are products of complex geopolitical, cultural, and social landscapes. Where things go is an immersive performance integrating contemporary and classical dance forms, interactive technology and generative visuals that interrogates these invisible connections, exploring how tools and design embody histories, biases, and values. The project builds upon Paul Dourish's concept of Embodied Interaction — "Users, not designers, create and communicate meaning" — positioning objects as active participants in networks of relationships. The central question becomes: how much agency do we have within the consumption cycle governing our lives?

Krantikhana

A small fortune, a trans-queer punk band, a fleeting safe house of friends and lovers, and a freedom they had only ever dreamed of. But the voices of their murdered friends echo across the house. How does the band create music affirming love, life, joy, and anger? Can they put up a show in the memory of their fallen comrades, before time and money force them back into a disapproving world? Zinda hai, a queering of the documentary form, shot on two phone cameras, explores the concept of martyrdom within the queer context. The film, like the music of the band, comes from a place of invention, an urge to express queerness not just in its misery but also in its joy and freedoms.