Being an artist is difficult. In South Asia, it can be discouraging due to poor state funding, perplexed parents, and opaque market prospects. Talented, committed artists have set examples in the past— but women, especially from marginalized ethnic backgrounds, face additional systemic and patriarchal hurdles. An arts school education is accessible only to a small percentage. So, when a respected commercial gallery organizes a show featuring young practitioners, it becomes a noteworthy occasion. At the opening of I am rooted, but I flow at Takpa Gallery in early February, eight young Nepali women emerged from private worlds with stunning works of art, looking somewhat ready to embrace an artist’s life.

Emergence

The title of the exhibition, curated by Pratima Thakali, is derived from Virginia Woolf’s exploration of “the balance between inherent stability and our ever-evolving nature” ¹. Thakali selected artists who were rooted in cultural rituals while exploring novel, innovative modes of expression. Anmari Tamang’s terracotta sculptures are enlarged versions of jewelry commonly worn by her mother and aunts, while Pooja Duwal has painted scenes from her Bhaktapur neighborhood⎯ like the cozy interior of local momo² shops⎯ that are rapidly getting replaced by glass and concrete structures. The hand-painted signs, the elderly proprietor sitting next to his steel sieve, the azure curtains swaying in the breeze: all of these nooks are gradually getting erased from the city-space to make room for sanitized fast-food chains flooded in bright white light.

The gallery had established broad guidelines: to select younger artists from diverse backgrounds who work with a variety of materials and media. The curator made the decision to present an all-woman show. When I brought up two other ongoing exhibitions, one at Taragaon Next and the other at the Nepal Art Council with both featuring only women, Thakali reiterated her commitment to showcasing identities and experiences that have been historically marginalized in Nepal. The timing of the three exhibitions was purely coincidental and not a result of any coordination. Nevertheless, this temporal alignment was an invitation to contemplate how these three shows conversed with, and contributed to, the larger feminist discourse within Nepal’s art scene, such as past projects by Nepal Picture Library and an ongoing one by Kaalo 101³.

Empowerment

While the Takpa show was meant to encourage young women, a recently concluded exhibition at The Kala Salon titled Threads of Resilience was organized to empower those who have survived violence. The four-day exhibition of story clothes ⁴ was created through a series of workshops conducted by Sajha Dhago, a non-profit organization with a distinctive recovery program. In a collaborative environment, participants stitch and sew memories from their lives onto fabric. “These may look innocent or even joyful,” a caption explained, “but each fabric, stitch and choice of color depicts multiple stories…” One of the participants has sewn a story cloth depicting her daughters in graduation outfits. “My daughters are studying well,” the caption explains, and goes on to convey her pride. This is an example of an aspect of therapeutic work in which the survivor’s preferred narrative, consisting of new, positive memories, is actively nurtured. The meditative process fosters self-regulation and stabilization amongst participants; as they gradually open up and connect with others, they embark on a journey of healing. Rather than evaluating the maker’s artistic skill and comparing it with other participants, the goal is to use art as a medium to build relationships and provide relief. As they heal and examine their trauma more closely, they become empowered in a renewed sense of self. Art can thus alchemize a survivor’s relationship to her own trauma, helping her re-author personal narratives. When art is used in therapeutic settings, the ensuing exhibition becomes a celebration of collective, communal growth.

Embodiment

Coming together to commune and heal is an important aspect of feminist work. If the Sajha Dhago exhibition, accompanied by panel discussions and workshops, helped ordinary women extract and exhume psychic wounds, the ten female artists featured at Taragaon Next insist on focusing more squarely on the body. The exhibition opened on January 25,2025 with a performance by Ashmina Ranjit, whose diverse body of work constantly questions women’s subservient stature in Nepali society. Dressed in bridal garb and enclosed in a golden box, tethered and trapped, Ashmina wailed like a helpless animal. Using the body as her medium, and the familiar trope of a Hindu bride, the artist’s performance was meant to free the feminine from the clutches of Brahmanical patriarchy. After the wailing, finding herself in this impossible situation, the artist tossed her jewelry, shredded her hair, threw the sari, stamped her feet on ‘sacred text’ and walked away, vindicated, freely stretching her arms in a short black skirt.

This exhibition is titled Feminist Futures: Art, Activism and South Asian Womanhood and each artist’s work is a response to patriarchy and colonial histories, urging viewers to “re-evaluate their understanding of power, freedom and gender⁵”. By constructing belts made with metal and fabric, Pakistani artist Naiza Khan “investigates the politics of embodiment, …and how bodies are policed, celebrated and commodified”. Indian artist Mithu Sen explores ‘wet ontology’, a concept that examines suppressed emotions and female hysteria; whereas Uma Bista continues her exploration of the difficulty faced by girls and women during menstruation. In short videos, Bidhata KC responds to notions of impurity associated with the left hand in Nepali culture. She speaks about her guilt while performing rituals in the aftermath of a relative’s death because she is unable to use her right hand due to a birth defect.

Representing five⁶ South Asian countries, these are seasoned artists well-versed with their craft. No longer interested in merely being empowered, they coax the public to imagine a radically different future. Yes, oppressive Brahmanical texts ought to be stamped on! The sari can be thrown away! “Clothing, in my work, becomes an extension of the body,” Naiza Khan writes. She explains how imagined attire like the belt embody shifting identities while bearing witness to the violence women face. Anoli Perera’s Protest Series stages out-of-place hair, while Tayeba Begum Lipi constructs elaborate installations out of razor blades to depict ‘the other side’ of heteronormative weddings ostentatiously celebrated across South Asia.

Exchange

Socio-political conversations and concerns for accessibility are at the center of Kaalo 101’s creative activism. For the past year or so, they have networked with independent collectives in Bangladesh, Sri Lanka and India to curate exhibitions featuring mostly femme, mostly queer work exhibited inside Patan courtyards and alleys. “What is art if it does not contribute to change, understanding and community?” they pose in a printed pamphlet. Kaalo 101 regularly organizes workshops and social events where critical, cross-cultural ideas are exchanged. Their space at the heart of historic Patan is usually open on Saturday afternoons where those who feel alienated within patriarchal family settings or at ‘elitist spaces’ can come together and hang out.

For their ongoing exhibition, South Asian Playground, Swati Bhattarai painted a mural in Pimbahal featuring a domestic goose amidst traditional motifs. The daily labor of walking to the venue, setting up supplies, and spending time in the locality illustrates a young artist reclaiming public space, and in the process strengthening her bond with Patan’s historic heritage. To execute this project, permission was required from the locals, as well as contributions by multiple people⎯ from the one who supplied paint to the one who raised funds. The whole process requires a continual exchange of information and expertise. I can envision Swati engaging with curious onlookers and inspiring many young people, both while painting and during breaks.

Not all exhibitions prioritize communal exchange; however, certain forms of art may indeed speak for themselves, needing neither talks nor group discussions. At Nepal Art Council, a diverse display by another set of fourteen female artists “challenge monolithic representations of femininity”⁷. Rajani Sinkhwal’s paintings contain traditional Buddhist iconography while Mahima Singh has used video projection and sensors for her multimedia installation. Together, these pieces are meant “to create a sense of dialogue…inviting broader reflections of collective identity” ⁸. Simply titled Women in Art, the show provides a helpful snapshot of a range of feminine skills and concerns currently prevalent in Nepal’s contemporary art scene, platforming artists who, over many years, have developed signature styles. These women may not be very vocal or loud, but their presence in this show is a testament to their discipline and deep commitment to their crafts.

Engagement

On the other hand, exhibitions by Nepal Picture Library (NPL) usually include various programs and panel discussions. Committed to public outreach and engagement, NPL has invested in educational programs and worked with civil society leaders, teachers and students. Their ongoing Feminist Memory Project (FMP) was first exhibited as part of Photo Kathmandu in 2018 and the team is preparing subsequent editions. In recent years, NPL team members have traveled across the country to speak to veteran women activists and leaders in order to learn about their participation in unfolding socio-political events. By studying and categorizing photographs donated by these private collectors, the goal of these researchers is to build a dedicated women’s archive. In doing so, contributions by scores of unacknowledged women from the past are both made visible and memorialized in the public consciousness. Different versions of FMP have traveled to locations inside and outside Nepal, including India and Istanbul. The works of hundreds of women from across the political, economic and social spectrum are getting documented, revealing varied lives and compelling personalities. Project director Nayantara Gurung Kakshapati reflects on how this process prompted her to consider the diverse ways in which women engage with feminism, “through words or political mobilization or education or grassroots actions or the arts”.

Apart from providing a more wholesome and fair representation of Nepali history, FMP also demonstrates that using visual materials for research can be effective as well as necessary, unveiling another critical role of the arts in modern society⎯ to engage, educate, unlearn and relearn. In 2023, an eponymous photo book was published, put together from contributions made by over 150 individuals and organizations presenting “publicness itself as a key feminist strategy in Nepal”.

To end

So, what does feminist art look like in Nepal? It’s multifarious, representing a rich history of dynamic intermingling. It also represents a diversity of choices and ways of being. Some are just stepping out to explore while others choose to stay in, their practice being a form of meditation, a repetition of styles and strokes. Some can never stay still so they write grants, make phone calls, organize gatherings and events to create connections and solidarities.

As patriarchal white supremacy rises in the West, I take refuge in South Asian femininity and grace. Activist Chani Nicholas, in response to multiple disasters unfolding in the world, nudges us to use art “as a tool to dismantle supremacy”. Because it always has been and always will be, authoritarian governments and systems try to defund and dismiss the arts. The women currently displaying their work in Kathmandu demonstrate how the arts can be potent and powerful. “Art connects us to one another and to the human experience,” writes Chani. “When we are fully engaged with really deep and profound and thoughtful and critical works of art, we are deeply engaged with not only our own humanity and experience, but also with the realities of people that we live amongst,” like our mothers and aunties, and didis and ayahs, who could not pursue their passions and who don’t have the time or the privilege to sit and introspect. That’s why Priyanka Singh Maharjan’s work at Takpa gallery, To all the women who came before me is so poignant. She has embroidered visuals of women involved in daily household chores, reminding us that not everyone is equipped to step into public life, but without their quiet indoor presence, so many of us would not be able to come out, to paint or speak or write.

The review encompasses five shows: The group show, curated by Pratima Thakali, “I am rooted, but I flow” was exhibited at Takpa gallery from 8 February till 8 March, 2025. “Threads of Resilience”, a showcase of story clothes by numerous survivors, was showcased from 12 to 16 February, 2025 and was co-curated by The Kala Salon (where it was exhibited) and Sajha Dhago.  The group show “Feminist Futures: Art, Activism, and South Asian Womanhood”, curated by Dr Arshiya Lokhandwala opened at Taragaon Next on Jan 25 and will continue until May 31, 2025.  “Southasian Playground Solidarities” a regional, ongoing group show organized by Kaalo.101 has been rotating different exhibitions in Patan starting 11 February, 2025. “The Public Life of Women: A Feminist Memory Project” was published in 2023 by photo.circle/Nepal Picture Library.

Title Image: ‘Sita! The Ideal Wife?’ (2025) Ashmina Ranjit, Performance and Installation. Image courtesy @Taragaon Next