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Zahra Khan

@zahrafkhan

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Creative Director @artdivvy
Curator at Art Mill Museum @qatar_museums

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We are delighted to share glimpses of Shapoor N. Bhedwar’s 𝘈𝘳𝘵 𝘚𝘵𝘶𝘥𝘪𝘦𝘴 album, from the Alkazi Collection of Photography, currently on view as part of @tate’s new exhibition, 𝘓𝘪𝘨𝘩𝘵 & 𝘔𝘢𝘨𝘪𝘤: 𝘛𝘩𝘦 𝘉𝘪𝘳𝘵𝘩 𝘰𝘧 𝘈𝘳𝘵 𝘗𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺. Our sincere thanks to Charmaine Toh, Curator of the show, for including the album in her selection, and to Diva Gujral (Catalogue Author), Zahra Khan (Curator, @artmill_museum), and Shreela Ghosh (@charleswallaceindiatrust) for spending time with this extraordinary object.

Previously featured in 𝘛𝘩𝘦 𝘈𝘳𝘵𝘧𝘶𝘭 𝘗𝘰𝘴𝘦: 𝘌𝘢𝘳𝘭𝘺 𝘚𝘵𝘶𝘥𝘪𝘰 𝘗𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 𝘪𝘯 𝘔𝘶𝘮𝘣𝘢𝘪, 𝘤. 1855–1940 — an exhibition co-organised by the Alkazi Foundation for the Arts in partnership with the @bdlmuseum sixteen years ago in 2010, with a @mapin_india catalogue having contributions by Partha Mitter, Akshaya Tankha, Suryanandini Narain and Rahaab Allana — the album offers insight into Bhedwar’s eclectic and performative style. His images were even published by Alfred Stieglitz in 𝘊𝘢𝘮𝘦𝘳𝘢 𝘞𝘰𝘳𝘬.

A significant figure in the history of photography in Bombay, Bhedwar drew on allegory and narrative, theatrical conventions and spiritual traditions to create carefully staged compositions. Influenced by the international Pictorialist movement and the Pre-Raphaelites, he explored photography as a fine art.

The exhibition also features a single work of O.P. Sharma — a portrait of art critic Geeta Kapur, previously showcased in a tribute exhibition organised by the Alkazi Foundation at @triveni.kala.sangam, curated by Sukanya Baskar in 2024. Seen together, these works offer points of entry into different moments debating and expanding the documentary/analogue potential/s of image-making in the subcontinent.

𝘓𝘪𝘨𝘩𝘵 & 𝘔𝘢𝘨𝘪𝘤: 𝘛𝘩𝘦 𝘉𝘪𝘳𝘵𝘩 𝘰𝘧 𝘈𝘳𝘵 𝘗𝘩𝘰𝘵𝘰𝘨𝘳𝘢𝘱𝘩𝘺 is on view at Tate Modern, London, until 21 February 2027.

#ShapoorNBhedwar #OPSharma #TateModern #HistoryOfPhotography #IndianPhotography

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#artlover #contemporaryart #damascus #uae #mixedmedia

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Hard to believe it’s been over a month since my solo exhibition, Halcyon Waves took place @fobcofficial ☺️ As I reflect on all the wonderful conversations we had and everyone’s thoughtful responses to the work, I just wanted to take a moment to personally thank everyone who made it to the exhibition in person and those who supported me here and from afar. It meant so much to me that each and every one of you took out the time to experience this show in the flesh, to support me and hold space for one another, and pay tribute to my beloved father in this beautiful chapel. The show was an incredibly moving experience for me and a pivotal moment in my career, enriching my personal life as I worked through feelings of grief through colour and repetitive mark-making. Thank you so much for being a part of this journey, and I hope the experience left you feeling uplifted too🫶🏽🤍🙏🏽

For those of you who couldn’t make it, I would be happy to send you the e-catalogue. DM if you’d like to see it - not the same of course, but would be the next best thing!

Thank you again to the wonderful @cath_erine_li and @fobcofficial for having me 🫶🏽🤍🙏🏽

#londonart #watercolour #miniaturepainting #collectors #artcollector

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Please join us for this week’s Art Divvy Conversation with Manmeet K. Walia on @artdivvy’s instagram-live on Thursday 27 August 2026 at 5:00 PM PKT / 5:30 PM IST / 1:00 PM UK / 7 AM EST - https://www.instagram.com/artdivvy/.

Manmeet K. Walia is an independent curator and cultural advocate based in London, specialising in South Asia and the diaspora. Her curatorial practice is driven by a commitment to cultivating inclusive dialogue, amplifying marginalised voices, and creating transnational narratives that transcend rigid national identities. Walia’s work spans curating exhibitions, public programming, and institutional collaborations, and she also teaches at the University of the Arts London.

We are looking forward to speaking with Manmeet about her curatorial focus, her most memorable projects and what’s next.

She co-curated (Un)Layering the Future Past of South Asia, an international exhibition at SOAS Gallery, London (2025), and We Sinful Women: The Library Project at SOAS Library in 2025, both with Salima Hashmi. Together, they also worked on Assassins and Lovers, a rehang of the South Asian Permanent Collection for an indefinite run at Cartwright Hall, Bradford Museums and Galleries- one of the oldest museums in the United Kingdom. Walia led The Library Project, an evolving curatorial initiative that interrogates knowledge production within institutional libraries. Her practice extends strongly into public engagement, having developed talks, tours, screenings and panel discussions alongside exhibitions for diverse audiences, including school groups, university students, academics, collectors, curators and the wider public.

Alongside curating, she writes regularly on contemporary art and visual culture. Her work has appeared in publications including Art India, Take on Art, Contemporary Art Society, Khaleej Times and other cultural platforms. Walia was recognised in 23 Women of Excellence by Women Listed in India in 2023.

@zahrafkhan @artdivvy @manmeetkwalia #artdivvyconversations #artfromsouthasia #contemporaryart

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🎬 Foundation Art Divvy presents: Divvy Film Festival 2026

Celebrating independent South Asian cinema and the filmmakers bringing our stories, perspectives and narratives to the screen. 🌏🎞️

Submissions are now OPEN!
Head to the link in our bio to find out more and submit your film.

(Films that had been submitted to Divvy Film Festival 2025 will be considered again.)

🔗 https://filmfreeway.com/divvyfilmfestival

#DivvyFilmFestival #ArtDivvy #SouthAsianCinema #IndependentCinema #SouthAsianFilmmakers FilmFestival IndieFilm Cinema

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https://feldmangallery.com/frayda-feldman

Frayda Feldman will forever be special to me, responsible for opening the door to a wider world. She has remained a source of light, both for me personally and for the Ronald Feldman Gallery.

I met Frayda when I was 19 years old. Having just completed my Freshman year of college as an art major at Syracuse University, I decided it was a good idea to get an internship at an art gallery. I took the bus into the city from NJ and hopped on the subway to my favorite street in NYC: Mercer Street. With the excitement of a naive and very young artist, I walked into each & every gallery on the cobblestone street and handed out my resume.

@feldmangallery was the last gallery I entered. There was a magnificent and odd group show entitled “Sampling,” which further ignited my excitement. This was where I wanted to work! Pretending to be confident, I approached the young woman at the front desk: “Do you accept interns? Can I give you my resume for consideration?” She replied, “I don’t think we’ve ever had an intern before, but I’m happy to pass it along.” It didn’t sound too promising, but I have always been one to hold out for unlikely possibilities.

After about a week, nobody called me back. Just when I made the decision to spend my summer working at Pearl Paint (so I could get a discount on art supplies), I got a call from the Feldman Gallery asking me to come in for an interview.

That’s when I met Frayda. Sitting across from me at her long white desk, she asked me questions that both made me feel kind of professional and also welcome. (Many years later, she loved to tell the story of when I first came in. Apparently, I was wearing black and white striped tights!)

Frayda was the one who personally ushered me into the NY art world. She had a way of instilling professionalism and warmth that made you feel like you were a part of something larger. She interacted with each person at the gallery uniquely, appreciating their natural gifts. She was like the center of a wheel, providing a foundation for the vast, inclusive, boundary-pushing, and innovative work that the Feldman Gallery is known for...

(cont. in comments)

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Venice Biennale Edition 61

This year I was free of commissioner duties at the British pavilion. I was left in an open structure to wander in wonder with the magic of ideas, contexts and aesthetics in the shimmering city of dreams… to renew and reboot with good friends in the business of Arts!

There were so many inspirational moments and surprises be that the late Koyo’s curation in the main exhibition spaces in the Arsenale and Giardini, experience exceptional pavilions of the Bahamas or India led by NGMA @ngma_delhi and Serendipity @serendipityartsfestival - feel the depth of strong memories etched permanently by epic art works and exhibitions such as Michael Armitage, Lorna Simpson and Amar Kanwar at the Pinault Collection or the incredible dialogue of ideas between Arthur Jafa @anamibia and Richard Prince’s exhibition at Prada Foundation @fondazioneprada

Moments of joy, seeing friends like Faiza Butt @faizaaugust7 launch a national Pavilion - Pakistan’s second, reconnect with good friends especially unscheduled reflections and pauses with Smoking Dogs Films, Ekow Eshun, Justine Simons, Julie Lomax, Zahra Khan, Joseph and Meneesha, Deep and Nav, Sally Tallant and Tamsin, Alex Farquarson, Sarah Carrington, Neri Torcello, Osman Yousefzada, Ibrahim Mahama to name a few. Seeing the Kochi-Muziris family (led by @jitishkallat @shwetalashvinpatel ) announce Kader Attia as their future curator, KNMA’s @knmaindia epic projections of Nalani Malini, celebrating Kiran Nadar’s 75th birthday - making new plans and collaborations, but also see the passion of protest by those that care about humanity and equality reminded me of the power of culture and how important the Venice platform is.

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A year ago I lost my beautiful khala, Humra.

A mother’s sister becomes a sort of mother-sister. And to me she was also a muse and an inspiration. Towering and imperious - stylish and bohemian - equally mesmerising and intimidating. Like many women in her family - including my Nani - was hugely prolific in her work and life. But she was also a rebel always - she lived on her own terms - her royalties went to charities- she is the first person I’ve seen wearing trainers with saris - she carried love and joy and curiosity and grief and loneliness and intensity and emotion in all she did.

Author of countless books and articles and stories - nonfiction and fiction. Collaborator of the great writer Khushwant Singh and muse of India’s modernist giant M.F. Hussain.

I have known nobody else like her.

Fiercely political and brave - she wrote on the Muslims in Kashmir and the daily tragedies of women in India. Her last article - on Gaza - was published days before she died.

She left us suddenly and senselessly. I had such a difficult year - I’m so happy it’s all over but some things cannot be reversed. Please send a little prayer her way, if you can. ❤️

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Martand Khosla & Zahra Khan

Artist, Architect and academic Martand Khosla speaks with Art Divvy’s Creative Director Zahra Khan about his diverse practice.

Martand Khosla (b.1975) is an artist and an architect based in New Delhi, India.

Khosla’s art practice challenges urban and historical concepts by distorting the very modes of habitation. His sculptural language of distortion, destruction, and motion of quotidian objects create new lenses through which urbanization may be understood and critiqued. Resistance and social frameworks remain central to his practice as he critiques the very foundations of 20th century urban planning.

Khosla runs an architectural studio, RKDS in Delhi and teaches a studio on informal urbanism at CEPT university in Ahmedabad.

This week’s Art Divvy Conversation with took place on @artdivvy’s instagram-live on Thursday 15 January 2026 at 6 PM PKT / 6:30 PM IST / 1 PM UK- https://www.instagram.com/artdivvy/

@zahrafkhan #artdivvyconversations @martandkhosla

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New time! - 6 PM PKT / 6:30 PM IST / 1 PM UK

We are delighted to be speaking with Martand Khosla for this week’s Art Divvy Conversation. Join us on @artdivvy’s instagram-live on Thursday 15 January 2026 - https://www.instagram.com/artdivvy/

Martand Khosla (b.1975) is an artist and an architect based in New Delhi, India.

Khosla’s art practice challenges urban and historical concepts by distorting the very modes of habitation. His sculptural language of distortion, destruction, and motion of quotidian objects create new lenses through which urbanization may be understood and critiqued. Resistance and social frameworks remain central to his practice as he critiques the very foundations of 20th century urban planning.

Khosla runs an architectural studio, RKDS in Delhi and teaches a studio on informal urbanism at CEPT university in Ahmedabad.

@zahrafkhan #artdivvyconversations @martandkhosla

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recalling first few days of this week before it ends. thanks to a privileged filmed dialogue with Her Excellency thru the “I. M. Pei: Life Is Architecture” show and my last guided tour of it, i got to see additional layers of Doha: beautiful overhangs, fins, recessed openings and semi-outdoor spaces of the former Ministry of Interior by William Sednaoui; the ground comfort of the circular #majlis seating outdoors, Yasmeen Lari’s octa-green mud-and-thatch shelters built as a continuous exhibition space, and thriving medicinal-culinary nursery cultivated under harsh climate conditions at @heenatsalma; much serendipitious encounters with inspiring folks intersecting in this city + yumm zaatar/egg/cheese #regag for the first time 🙏🏻🙏🏻 hosts

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An unforgettable #qatarcreates @qatarcreates in the books.
Celebrating 50 years anniversary of the National Museum of Qatar. Celebrations focus on Qatar's rich heritage, cultural evolution, national identity, and growing international relations with events, art exhibitions and commemorative stamps. @almayassabnthamad @qatarcreates @qatar_museums

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