The wrists of two wrestlers frozen in a near clasp, one (of the vanquished?) buried in sand, the other (of the victor?) nestled above it, amidst a carnival of soil and dust.

There is something ineffably extraordinary about Delhi-based artist Saba Hasan’s mixed media works that or on display at the Art Konsult in New Delhi till March 26.

HE straddles two worlds, often going back and forth between art and enterprise.

On a pleasant, breezy Wednesday afternoon, thirty-year-old Rasta Thomas, the “bad boy” of dance, speaking on the phone from the Pink City of Jaipur where he’s opening his six-city India tour, sounds buoyantly upbeat and unmistakably excited. He has a reason to be rosy: In the evening, he is all set to take Jaipur down a staggering dancing lane at the Birla Auditorium. We speak a few hours after he and his dancer wife, Adrienne Canterna (both vegetarian), had relished dal, aloo gobhi and palak paneer, washed down with sweet lassi. “This is the best breakfast I ever had,” he told his mother, who accompanies him on the tour.

By Sunil Raman and Rohit Agarwal

Rs 495

There is a lot that lies buried in the ruins and ramparts that catch your eye when you take a tour of Delhi. The tombs, parks and monuments, tucked away on a quiet street or off a busy thoroughfare, silently tell the tale of their past, somewhat forgotten, glory, besides the story of our monumental civic neglect.

S.H. Raza, the grand old figure on world art firmament, turns 90 on February 22.

You must have seen many adaptations of plays written by that great master of comedy, Molière.

The jury for the Man Booker Prize may have given an Indian author (or an author of Indian origin) a miss this year, but the celebration of the Indian writing in the subcontinent continues with undimin

The Wedding Wallah, a boisterous read of a novel, combines marriages and Maoism to create a lovely story, written in tremendously lucid prose, of modern India where the rich are becoming richer and the poor poorer.
The disparity or the divide has grown and given rise to Naxalism.

For Jussi Adler-Olsen, the celebrated Danish crime fiction writer, writing about a character, any character, is like embracing, inhabiting him/her. He may write murder mysteries, delving into the world of detectives hard pressed to find clues to seemingly unsolvable crimes, but what Adler-Olsen, in all his page-turning thrillers, essentially does best is to empathise.