Clik | Edition 54 | March 2026.
We are delighted to connect with you through live events at physical spaces or virtually at the click of a button! We invite you to join us, whenever you are ready, or from wherever you are, on myriad creative journeys, where with valued partners in India and in Korea, we explore new pathways and experiences, the magic of live performances and exhibitions or engage with those newly imagined from creation to reception and distribution on digital platforms. We invite you to evocative journeys and sensory experiences that though moored in local culture, connect and resonate with audiences worldwide!
We hope, with this e-digest, to stay meaningfully connected with you, to discover and engage with the unique, local characteristics as well as the shared, global dimensions of the dynamic, ongoing intercultural dialogue between India and Korea.
Annyeong Station, is a platform in our online infotainment section, for conversation, interaction and exchange. With a focus on Korean popular culture, this online space will periodically present K-lounge curated interactions with industry specialists and influencers.
In the fourth episode of Season 5 of the K-lounge section on Annyeong Station, we present an engaging conversation exploring the mass appeal of Hallyu - particularly across film and music sectors - its vibrancy and inclusivity as a genre. Our guest, Siddhi Konduskar—Producer and Founder & CEO of Kino House, a Korea–India creative production company, has been actively building cross-border collaborations in film and music between the two markets. Having worked across India and South Korea on diverse creative projects, including K-pop collaborations with groups such as NMIXX and Blackswan, Siddhi brings a unique insider perspective on the growing cultural exchange between the two countries. In a conversation moderated by our host Puja Talwar, she shares insights on the global rise of K-dramas and Hallyu and what it means for creators and audiences alike.
Join us for what promises to be an insightful, sparkling conversation.
Siddhi Konduskar Konduskar is a producer and Founder & CEO of Kino House, a Korea–India creative production company developing cross-border films, music collaborations and cultural IP between the two markets. She began her career at 18 in India, working in the video department at Rolling Stone India before moving into music production and Assistant Director roles across commercial and independent projects. She later worked at IncInk Records, where she led video and digital content initiatives.
As a Director, she has worked on music projects including Dil Na Jaaneya (in collaboration with Dharma Productions and Lauv) and Beparwahi for Sasha Tirupati, while also developing independent short films. After moving to South Korea and learning Korean, she worked across Korean companies and K-pop projects, conducting artist interviews and contributing to cross-cultural productions with groups such as NMIXX, TWS, Blackswan and AIMERS.
Today, through Kino House, she builds structured India–Korea collaborations across film, music and brand partnerships, while actively sharing practical insights for those aiming to build careers in the Korean entertainment industry.
Puja Talwar is the Senior Journalist & Editor with over 30 years’ experience in Broadcast Journalism. Puja is a Writer, Show Host and Moderator. She hosts the popular series 'Candid Conversations With Puja Talwar' on YouTube and a podcast titled ‘Entertainment Unlimited' on Spotify. She lives for coffee, travel and K dramas!
Saturday, 7 March 2025 at 12.30 p.m. IST.
To join this conversation, click on: https://inkocentre.org/annyeong_station_season5_episode4.html
For further information, please contact InKo Centre - T: 044 24361224; E: enquiries@inkocentre.org.
Presented by
Supported by
‘INHERITANCE: Memory and Matter’ is an exhibition that brings together women artists from South India, exploring and discussing the spiritual, emotional, and material connections between past and present and the passage of these inherited attributes into the future. Known for their practices in printmaking, the artists have been brought together as an extension of the curator’s research on women printmakers in South India, part of which was published as an essay in Chihna, a bilingual publication of art by the Gauhati Artists Guild, 2025.
Asma Menon
B. Padma Reddy
Champa Sharath
Dimple Shah
Gouri Vemula
B. Karuna
Mayookha P
Premalatha Seshadri
Nijeena Neelambaran
Urmila V.G.
Lina Vincent
Asma Menon hails from Chennai and Bangalore. With a Master's degree in Fine Arts from the Government College of Arts and Crafts, Chennai, she has gained recognition both nationally and internationally for her skill in painting and printmaking. Her works have been featured in more than 10 solo exhibitions and 50 group exhibitions, including creating a presence in auctions at the prestigious Christie’s. For more than 25 years, her art has illuminated and emphasized both the ancestral and contemporary Indian character, in a unique intertwining of myth and everyday life, through her artistic expression. Her practice also includes engaging with children, conducting corporate training and participating in both Indian and international art and printmaking camps.
Asma has published her collection of short stories, titled Moonlight Baby. She has been awarded a Senior Fellowship from the Government of India, Ministry of Tourism and Culture, for the period of 2005 to 2007. Asma resides in Thiruvannamalai, Tamil Nadu and is currently engaged in the writing of her next novel.
B. Padma Reddy is a Hyderabad-based artist and art-educator working primarily as a print maker. She graduated from the College of Fine Arts and Architecture, JNTU Hyderabad and has a Master’s degree (Graphics) from MS University, Baroda. She received the NTS scholarship from the Ministry of Culture, Govt of India, the Common-wealth Merit certificate, England and awards from Japan, Finland and Korea. She has been awarded by SCZCC Nagpur, the Bombay Art Society, the Camlin foundation-Euro art award and AIFACS among others. She guided the Indian delegation at the first and second International children’s art competition, POYA Hong Kong and has led the Indian delegation to Prague, Czech Republic and to Hlohovec, Slovakia to receive Awards. She has had five solo shows and has participated in national and international exhibitions, including the National Art Exhibition of the LKA, ‘Footprints’, international travelling show by Chhaap, Baroda, The Habitat show New York, USA and 'Printed voices from India' by SOS in Cincinnati. She runs a non-profit rural Art Centre 'Sanskriti' engaging rural children in Hyderabad.
Born in Mysore, Karnataka, Champa Sharath completed her Masters in Printmaking from Faculty of Fine Arts, M.S. University, Baroda (2003) and her Bachelors in Printmaking from the Chamarajendra Academy of Visual Arts, Mysore (2000). She has held several solo shows including ‘Avatars’ (2025), ‘Divine Phantoms’, (2018); ‘Mirror of the Mind’, at Gallery Sumukha, Bengaluru (2007); Exhibition of Woodcut prints at Shristi Art Gallery, Hyderabad (2006); and more.
Her wood-cuts and graphic prints have been featured in several group exhibitions which include Seattle Art Fair, Gallery Sumukha, Seattle, USA (2022); ‘The Drawing Show - Part II’, Gallery Sumukha, Bengaluru (2021); The Delhi Contemporary Art Week- Edition 3, Gallery Blueprint 12, New Delhi (2019); 6th Bharat Bhavan Print Biennale, Bhopal, (2004); ‘Footprints – Women in Printmaking’, curated by Kavita Shah, a traveling show at Vadodara, Hyderabad, Mumbai, Bangalore & Kansas, USA, (2006); and others. She has participated in and conducted several regional graphic camps such as Woodcut workshop for the students of Chamarajendra Academy of Visual Arts (CAVA), Mysuru (2023) & (2018); Printmaking camp, Uttarayan, Vadodara (2022); Printmaking workshop at RMZ Ecospace, Bengaluru (2018). Champa lives and works in Bengaluru.
Dimple B. Shah is an interdisciplinary artist based in Bangalore, India, working across painting, printmaking, installation and live performance. Having originally received a master’s in visual arts at M.S. University Baroda, her practice unfolds through material processes and embodied actions, addressing memory, ecology, displacement and the politics of the body within shifting social and environmental landscapes. With over twenty-four years of experience in visual and performance art, she has presented her work at major international festivals and biennales, including the Bangkok Triennial, Guanlan International Print Biennial and Dada Fest. Her work has received support from ROSL UK, Villa Welbreta (Munich) and India Foundation for the Arts and is held in institutional and private collections. She has been recognised with the National Award, Govt. of India, as Common-Wealth Art & Craft Fellow and Grand Prix Award Winner among others.
Gouri Vemula is a visual artist working primarily in drawing and print-based practices. She completed her Bachelor of Fine Arts (Painting) from Jawaharlal Nehru Technological University, Hyderabad, in 1998 and her Master of Fine Arts (Printmaking) from the Sarojini Naidu School of Arts, University of Hyderabad, in 2000. Trained as a printmaker with a specialization in etching, she has developed a sustained practice that combines printmaking sensibilities with pen-and-ink drawing.
Vemula’s work is informed by close observation of natural environments, particularly the forest landscape near her home, where she regularly sketches and develops visual ideas. Her drawings construct alternate worlds inhabited by real, imagined, human, animal and chimeric figures that move between natural, urban and rural settings. In 2019, she created an artist book based on the Mahabharatam, developed through Pen & Ink and Pencil drawings. Gouri Vemula was among the recipients of the 60th National Exhibition of Art (NEA), Lalit Kala Akademi. Her work has been widely exhibited and collected. She lives and works between Indore and Hyderabad, India.
B. Karuna is a Hyderabad based printmaker working in the medium of woodcut. She recently completed her research, ‘Artistic printmaking in Andhra Pradesh and Telangana: An Exploratory Study and was awarded Ph.D. (2022) from University of Hyderabad, the institution where she earlier concluded her MFA in printmaking and continues as a Guest Faculty. She is a recipient of Junior Fellowship and Senior Fellowship by University Grants Commission (2010). She held a solo Exhibition of paintings and drawings at Shrishti Art Gallery in 2008. Her national and international printmaking group shows include ‘India inked – A curated show of prints from India’, Milwaukee, Wisconsin, in 2017, Between the Lines: Identity, Place and Power, by Waswo X. Waswo at India Habitat Center, New Delhi, N.G.M.A, Bangalore and N.G.M.A, Mumbai (2012- 13). THE FULL SCAPE, the exhibition of large-scale woodcut prints at DHI Art Space, Hyderabad, 2015. Her works are bold, women-oriented, represented as visual diary. She has attended art camps organised by Vishnu Manchu Art Foundation, Tirupati, (2025), 'Oeuvre - An Art Camp' conducted by SBI, (2023), International Woman Art camp (2016). “Wood Cut” Art camp, at Dhi Art Space, Hyderabad (2015) and many others.
Mayookha P is an artist working with painting and printmaking. Her work explores the subjective experiences and emotions of those around her, capturing their inner feelings through her unique perspective. An alumna of Govt. College of Fine Arts, Thrissur and Kala Bhavan, Visvabharati University, Santiniketan, she has exhibited in Kerala and beyond, including the 61 State Exhibition and Bengaluru Print Exchange International.
One of the Group Exhibitions featuring her work has been - Dusselamulla Poocha, at Kerala Lalithakala Academy Kozhikode. Mayookha is a recipient of the Kerala Lalithakala Academy Students Scholarship (2023-2024). Her art reflects a deep engagement with personal narratives and the people around her, presenting themes with a focus on human connections. As an artist, Mayookha's works are a reflection of her encounters with people and spaces.
Premalatha Seshadri trained in art in the mid-60s at the Government Arts College under the stewardship of K.C.S. Paniker and other senior artists of the Madras School of Art. She has experimented with block prints at Gandhinagar Madurai. She did printmaking at Garhi Studios in Delhi, where she was mentored by artist Devraj Dakoji. She started painting landscapes with oil paints and knives in her early days and slowly found her inimitable style, which could be called Reverence to the line. She has been a recipient of the Mysore State Lalit Kala Akademi Award (1969); Alliance Françoise de Bangalore Award (1971); Department of Culture, Government of India, Fellowship for Painting (1983-5); British Council Visitor (1986). She has travelled as British Council Scholar to Hornsey College of Arts, Middlesex University, London (1978-9); received the Department of Culture, Government of India, Fellowship for Painting (1990-1); was Nominated to Executive Body of Association of British Scholars, Chennai (2008). In 2025, her most recent solo exhibition, The White House by the Sea was presented by Ashvita’s spanning five decades of her artistic creations.
Nijeena Neelambaran is an artist and founder of a printmaking studio in Kerala. An alumna of Trivandrum College of Fine Arts and M.S. University Baroda, she is a recipient of the scholarship and junior fellowship of HRD Ministry of India, IFACS Award, K.A.Francis Memorial Award and Fellowship of Kerala Lalithakala Akademi 2018. Selected Group exhibitions include National Exhibition of Lalitkala Akademi, 2001 New Delhi, Post biennale 2012 Kochi-Muziris Biennale, ‘Lokame Tharavadu’ show curated by Bose Krishnamachari 2020, Indo-Japan Print Exhibition, 2025 Monsoon Art fair shows, 2023 Women's Art show in Chennai, etc. She has held 8 solo shows in major cities in India and been part of various residencies in India and abroad. She has been actively involved in various art groups across the country. Nijeena has lived and worked in Chennai, Vadodara, Mumbai, Delhi, Dubai, Qatar and currently resides in North Paravoor, Kerala.
Urmila V.G is a visual artist based in Bangalore, India. She had her Bachelor of Fine Arts in Painting from College of Fine Arts, Karnataka Chitrakala Parishath, Bangalore and Master of Fine Arts in Printmaking from Kala Bhavana, Visva Bharathi University, Santiniketan. She had four solo shows and participated in numerous national and international exhibitions such as Bharath Bhavan International Biennale of Print Art, Bhopal; ‘Lino-Cut Today’- Graphic Arts Prize Competition of Bietigheim-Bissingen, Germany; ADOGI Mini Print International of Cadaques, Barcelona, Spain; Kyoto International Woodprint Association, Japan; Woodcut Print Exhibition, Theertha Red Dot Gallery, Colombo, Sri Lanka; ‘SETHUSAMUDRAM’ Sri Lanka + India, curated by Suresh Jayaram, 1Shanthi Road Gallery, Bangalore; ‘Stree Vision’, 51 Women Indian Printmakers, Gallery Betonowy, Eugeniusza Gepparta Academia of Art and Design, Wroclaw, Poland; Engravist International Virtual Printmaking Biennial, Istanbul, Turkey; ‘Continuity’ VI Biennial of Contemporary Graphics - DIEGO DONATI Prize, Perugia, Italy; The 22nd Triennale of Mini Prints, Grenchen, Switzerland; ‘Printed Voices from India: Social and Cultural Reflections’, an exhibition of contemporary Indian Printmaking curated by Saad Ghosn, Kennedy Heights Arts Center, Cincinnati, USA; Miniprint International Plantas Nativas, Juan Carlos Castagnino Municipal Art Museum, Buenos Aires, Argentina. She is a recipient of many awards and scholarships including Karnataka Lalithkala Academy Award, National Scholarship,
The artworks in the exhibition reflect on ideas of continuity; they explore the spiritual, emotional, and material connections between past and present, and the passage of these inherited attributes into the future. The ten artists elaborate on personal and collective experiences of womanhood, contemplating aspects of matrilineal knowledge, and the sense of shared purpose in a contemporary milieu that can often be disorienting. Traversing memory, reality and imagination, the artists open up their internal and external worlds in different ways. Their expressions bring together moments of playfulness and profundity, discomfort and joy, power and vulnerability – presented through the interface of varied aesthetic languages and forms of printmaking. Relating to everyday environments, people and place, Champa Sharath, Mayookha P. and Urmila V.G. translate physical experiences, observations and tangible ideas into imagery, each composition encapsulating the transition of time and space. Deriving meaning from mysteries of the forest, Asma Menon and Gouri Vemula both evoke spiritual and mythological realms in their work, as they articulate otherworldly presences. B. Karuna and Premalatha Seshadri approach emotional resonance and mundane observation in different ways. While Premalatha translates her experiences in lyrical forms, marks and linear configurations, Karuna uses a personalized symbology in describing her space, investigating identity and belonging. The female body and mind, and its negotiation of the politics of living are explored by Dimple B. Shah, B. Padma Reddy and Nijeena Neelambaran, raising questions on patriarchy and privilege, and provoking thought on universal feminine agency, the struggles and resilience.
The artists come together as an extension of the curator’s research on the subject of women printmakers in South India. From its humble beginnings as a technology developed out of a grape-and-olive press in the 15th century, the printing press, and along with it, the art of printmaking has come a long way. The documented history of modern and contemporary art in India is not long, just a little more than a century in its span. In the national discussion, prominence is given to northern developments, rather than the south; the history discusses male artist achievements, more than the contributions of women; it separates fine-art in urban centres from vernacular arts; and lastly, includes printmaking often as a peripheral or associated stream of practice alongside painting or sculpture. With shifts within technology and the arts industry as a whole, it is important to document certain practises that may otherwise be lost through the cracks of the same history. With this as a background, the essay and exhibition look at the southern states of Karnataka, Tamil Nadu, Andhra/Telangana, and Kerala, with a focus on representative women artists who have explored printmaking techniques centrally in their practises. (excerpt from essay)
- Lina Vincent
Lina Vincent is an independent art historian and curator with two decades experience in arts management. She is committed to socially engaged practices that reflect in the multi-disciplinary projects she has developed and participated in. Under her consultancy LVAC, the focus areas include arts education, printmaking history and practice, the documentation of living traditions, and environmental consciousness in the arts. Since 2021 she heads the ‘Sunaparanta Art Initiator Lab’, (S.A.I.L) mentorship program, Goa and has co-curated ‘Goa Familia’, archival photography project, Serendipity Arts Foundation since 2019. She concluded the development of ‘Sandooka – The Living Museum of Kodava Culture,’ virtual museum commissioned by India Foundation for the Arts (IFA). She is an Associate Curator with ARTPORT_making waves – global arts program for climate-action. Lina regularly curates exhibitions with galleries across India and contributes to publications on art history and contemporary cultural practices. She holds a BFA in printmaking from Bangalore University and MFA in Art History from the same institution.
On view until Saturday, 18 April 2026.
(except Sundays and published holidays).
For further information, please contact InKo Centre - T: 044 24361224; E: enquiries@inkocentre.org
Presented by
In association with
Mountain, Tree, Cloud and Tiger began with an exploration of traditional dance within the currents of migration. The work has evolved through ongoing research and collaborations with Korean diaspora dance communities in different regions, attending to how dance is transmitted through lived experience and embodied knowledge. In its third iteration, Revisited, Lim works with local dancers in Chennai, approaching tradition as an intergenerational practice that is constantly negotiated and reimagined. The work weaves rupture and continuity in knowledge transmission, turning them into creative possibilities. It creates a space for gathering that fosters dialogue and exchange across different contexts, conditions and techniques. Drawing on the dancers’ personal experiences, the work unfolds individual narratives into a relational one, offering a critical perspective on canonical histories while engaging with knowledge that is embodied, internalized and visceral.
Concept, Choreography: Jee-Ae Lim
Performance, Creation: Akila P, Pallavi Sriram, Sravanthi V, Vikram Iyengar
Sound: Kyan Bayani
Costume, Prop: Akila P, Pallavi Sriram, Sravanthi V, Vikram Iyengar and Jee-Ae Lim
Earlier versions of Mountain, Tree, Cloud and Tiger and Mountain, Tree, Cloud and Tiger Ver.0 premiered at Sophiensaele in Berlin and Art Sonje Center in Seoul.
Jee-Ae Lim
Akila P
Pallavi Sriram
Sravanthi V
Vikram Iyengar
Jee-Ae Lim is a dancer and choreographer based in Berlin, originally from South Korea, who studied Korean dance in Seoul and completed her MA in Solo/Dance/Authorship at the HZT/University of Arts Berlin. Jee-Ae has developed a distinct choreographic practice straddling the two languages of contemporary and traditional dance. Her artistic interest lies in observing the body as a repository of cultural experiences and memories that span tradition and contemporaneity, individual memory and cultural remembrance, mobility and home. Her work derives from her personal experience of diaspora, which she reflects corporeally in dance. She was recently awarded the Pina Bausch Fellowship for 2024.
Jee-Ae’s choreography has been performed at Volksbühne, Sophiensaele, Berliner Festspiele, Brücke-Museum, Berliner Ringtheater in Berlin, K3 Center for Choreography in Hamburg, Tanzhaus NRW in Düsseldorf, Dansehallerne in Copenhagen, Tokyo Metropolitan Theater, Korea National Contemporary Dance Company and Art Sonje Center in Seoul and Asian Cultural Center in Gwangju, among others. She was named Hoffnungsträgerin (Promising Artist) by Tanz Magazine in Germany in 2014 and Young Leading Artist 2015 by Gaeksuk Magazine in Korea.
Akila P started her dance career as a student of Bharatanatyam (Indian Classical Dance). She holds an M.Phil degree in Indian Music from Madras University. She started working with choreographer Padmini Chettur in the year 2005 and has performed in the productions Pushed (2006), Paper doll, Beautiful thing1(2009) , Wall Dancing(2012). She toured Korea and Europe (Belgium, Netherlands, Austria, Germany, France, Italy, Portugal) for major contemporary dance festivals with the company. As an independent artist in the field of contemporary dance in India, she has choreographed a short duet, Unstill images(2011), COUNTER (2012), Collaborated UDALMOZHI (2014), solo Three , Kaathiruthal (2017), THEENDA THEENDA (2015/2018) a duet based on local socio-political context. She has danced in the duet WHAT TALK OF BODY(2021) of Anoushka Kurien and also co- composed the music for the same. She has also worked on the music for VAASI PINNAL 12 (2023) of Chandiran. In addition to dance, Akila is a teacher and performer of Carnatic music (South Indian Classical Music) and also had a brief experience in theatre.
Pallavi Sriram is an experimental artist centered on embodied movement work and a critical scholar addressing siloed histories of dance, political geographies and long durée connections across South Asia and Indian Ocean connected African-Asian worlds. She is Associate Professor of Dance Studies at Colorado College and holds a PhD in Culture and Performance from UCLA. She In her creative work, Sriram has roots in South Asian dance and music worlds and now branches South Asian and postmodern physical idioms of myth-building / storytelling, material space and collaborative scores, to expand into memory and possible present-futures as distinctly felt worlds – and radical praxis. This work is often intimate, deeply collaborative and process driven. Prior and upcoming work has been/ will be presented in venues like Highways Performance Space, LA, Asian Art Museum SF and the Fine Art Center, Colorado Springs. Her critical writing appears in the collection Imagining Indian Ocean Worlds, the Oxford Handbook of Indian Dance and the forthcoming Oxford Handbook of Dance Praxis.
Sravanthi V finished her formal training in Bharatanatyam at Kalakshetra in the year 2012. After which she went to work with Mr Vijay Padaki for year and Indianostrum theatre Pondicherry from 2012 to 2015. 2016 to 2019 she was working with Padmini Chettur in Chennai. Sravanthi moved to Bangalore in 2020 just before the pandemic. Currently she teaches movement to special needs children and yoga for dancers. She takes part in dance productions from time to time and currently works with Padmini Chettur in her new production, ‘Stilling’.
Vikram Iyengar is an arts leader and connector based in Calcutta, India and working internationally. He is a dancer-choreographer-director, curator-presenter and arts researcher-writer. Trained in kathak by Padmashree Smt. Rani Karnaa, Vikram’s performance work is noted for the conscious bringing together of classical dance, movement, drama and design creating an experience of total theatre. His range of work spans choreography for stage and film, dance and theatre explorations and performance collaborations. This diversity is linked by a fundamental and continuing engagement with the principles of the kathak form and the kathak informed body and mind, exploring and engaging in multiple dialogues to create fresh challenges within and in relation to, the form.
Basement 21 is a group of creative artists based in Chennai, investigating contemporary thought and action by focusing not just on the artistic ‘product’ but the artistic process and the surrounding discourse, thus providing a necessary context often in needing to be reconstructed. It is run by practitioners, informed by practice and therefore committed to enabling and strengthening the growth of contemporary arts practice. March Dance is a contemporary dance festival in Chennai conceived and curated by Basement 21 in collaboration with Goethe- Institut/Max Mueller Bhavan, Chennai.
The Goethe-Institut Goethe-Institut is the Federal Republic of Germany’s cultural institute, active worldwide. It promotes the study of German abroad and encourages international cultural exchange. The Chennai chapter of the Institut has been active in the development of contemporary expression over many years and has supported and housed the March Dance festival since 2017.
For further information, please contact InKo Centre - T: 044 24361224; E: enquiries@inkocentre.org
Presented by
With the TOPIK exams round the corner, get a head start to prep for one of the most challenging sections of the exam.
At Chennai 1 King Sejong Institute, we offer a short one-month course to help you master the writing section and secure a higher score!
TOPIK II Writing Classes (Offline):
Classes start from: Wednesday, 4 March 2026
Time: 3.00 p.m. - 4.30 p.m.
Course duration: 1 Month
Classes on: Wednesdays and Fridays
Venue: InKo Centre
Limited seats available. Registration will be on a first-come, first-served basis.
To register, please click: https://forms.gle/uEYqVfapX1qBPWiKA
For further information, please contact InKo Centre - T: 044 24361224; E: enquiries@inkocentre.org.