The title Infinity in the Void of our group exhibition is inspired from one large work Cul-de-Sac by Ranbir Kaleka, one of the most regarded artists from South Asia. Where painting and performance come together, this work creates atmospheric perspective and introduces the concept of time, allowing us to imagine another world into a void. Gallery under the Mango Tree is proud to present this group exhibition, bringing together 8 contemporary artists from the south asian background. Drawings, paintings, Serigraphs and video projections, that considers time, transformation and the conditions through which form becomes perceptible. Participating artists are Ranbir Kaleka (India), Anando Moy Banerjee (India), Nidhi Agarwal (India), Shehzil Malik (Pakistan), Mark Morris & Arjun Panayal( India), Saurabh Narang( India) Vineet Kumar( India)

The beginnings of new media art in the Indian subcontinent can be traced to the latter end of twentieth century (i.e. the 1990s). Convinced to realize that one must move beyond the painted image in order to garner and engage with a larger audience, the first wave of new media artists in India included Ranbir Kaleka (1953, India), who was involved in this change from the beginning. The artist reminds us of the fragility and the beauty of the human consciousness, with its unsettling dependence on an eloquent enterprise by which it feels simultaneously restrained and empowered. Kaleka´s works have an open-ended narrative and evoke the idea of exploring eternal subjects like life, death, loss, identity and aspirations.

Ananda Moy Banerjee’s (1959, India) art became his response to the urban chaos of life coupled with jostling for power among humans. His quest for understanding human existence attained a spiritual perspective that distilled through his series Purusha (human) and Prakriti (Nature). Recently, his works have become introspective, drawing from his own life, and from universal human feelings. Banerji has collaborated with renowned printmakers like Carol Summers, Krishna Reddy, and Paul Lingren

Nidhi Agarwal (1972, India) paints contemporary miniatures that are landscapes full of semi abstract figures, faces, limbs, organs that live within a community and yet appear solitary entities confronting each other. There is also a consciously created silence in her works.Sexual instinct throws a sarcasm of irresistibility so that the whole space is a chamber of disquiet. She expresses each and every cell or a part of the body participates in sexual activity when there is an arousal. Choosing to show the erotic pleasure in parts of the body, Nidhi´s miniatures are compositional structures of the torment enforced by time, flesh, customs and desires. Her characters stand like an exhibit on a pedestal in a theatrical setting, a gesture of protest for extreme attention.

Undoubtedly a transcultural artist, Narang has never travelled abroad, yet, he has been constantly in dialogue with the work of representatives of the European avant-garde of the early 20th century. He is a spiritual brother of Wassily Kandinsky,

Narang (1975, India) is inspired by the avant-garde tradition of abstraction, which he cultivates and continues in his own way, building tension between the physical and the metaphysical. He plays with geometric abstraction, but sometimes the lines drawn by his hand become organic, slightly curved, as if bending towards us. Their absolute geometry is broken by soft vibrations created by purely optical effects associated with the close proximityof each successive line drawn on the paper.

Shehzil Malik (1980, Pakistan), shows two works which act in conversation with one another about the impersonal structures that assign identities and the Self resisting categorisation. A constant mediation between the quiet and the announced, the subject and the object, respect and reverence, belonging and exclusion. Taking cues from life in Germany and Pakistan, the works speak to ideas of gender, migration, bureaucracy, belief, and the individual in search of self.

Solitary Walks. Windblown leaves. Being one with the Nature. While painting, living withdrawn in solitude, Vineet Kumar (1953, India) works on paper have a natural rhythm. With no preconception, his works develop stroke by stroke, in a kind of continuous journey. “The feelings, the concentration, the effort, etc. are all there, but the joy of the process rather than just the end work, surpasses it all. At times, I have to wait for years to see the result.”

Handmade Glycerin Soap stones. As part of the Fire exhibition on view through summer 2026 at the St. Nikolai Memorial, Hamburg, these soap bars were once Mark Morris’s (1992, Malaysia) site-specific sculpture, The Chain Reaction. This sculpture was an outline of the contours of an absent pillar at the St. Nikolai Memorial that connects to Alfred Nobel’s presence in Germany and his laboratory in Hamburg, where dynamite was invented and distributed beginning in 1867. The sculpture traces and resurrects the pillars using the same ingredients Nobel employed in his factory: glycerin and kieselguhr. Rain and fluctuating temperatures had since softened the glycerin, which begun to melt down the steps. With the collective agreement that the glycerine sculpture should be removed from its initial installation, artist Arjun Panaval (India) joined in and reformed the glycerin into 580 bars of hand soap. Rematerialized, these handcut, pressed, and packaged remnants, no longer a sculpture but a meaningful consumable meant to be used, to lather, to cleanse to disappear down the drains, flowing from sinks across the city. We invite you to take a bar and continue the chain reaction, allowing what was withdrawn from the site to re-enter back into circulation. As with the invention of dynamite and the journey of this artwork thus far, what follows this gesture is beyond anyone’s foresight or control.