india pavilion explores memories of home through thread, bamboo, and earth in venice

Tomas Kauer - News Writer and News Moderator

india pavilion explores memories of home through thread, bamboo, and earth in venice

India returns to Venice with Geographies of Distance

The National Pavilion of India returns to the Venice Art Biennale in the Arsenale with Geographies of Distance: remembering home, a group exhibition tracing how memory, material, and migration shape the idea of home. Curated by Dr. Amin Jaffer and presented by the Ministry of Culture, Government of India, the pavilion marks India’s first national presentation at Biennale Arte since 2019, bringing together five artists whose practices move through soil, thread, bamboo, paper, discarded matter, and architectural memory.

The exhibition opens inside a raw Venetian interior of exposed timber, brick, and industrial scale, where each work seems to test how fragile structures can hold emotional weight. Across the India Pavilion, home appears as a partial image: a cracked earthen wall, a transparent facade, a suspended botanical form, a bamboo structure gathered from fragments. The rooms carry the feeling of places remembered through touch before they are understood as images.

National Pavilion of India, Venice Art Biennale 2026

Home as material memory

The exhibition features Alwar Balasubramaniam, Sumakshi Singh, Ranjani Shettar, Asim Waqif, and Skarma Sonam Tashi, artists working across different regions of India and across distinct material languages. Their practices share an interest in organic and traditional materials, which the National Pavilion of India frames through a larger question during the Venice Art Biennale: what remains of home when physical places change, expand, or disappear.

That question feels especially present in Sumakshi Singh’s translucent architectural installation, where embroidered thread renders fragments of domestic and urban space at full scale. Walls, windows, grilles, and doorways appear in pale lines, suspended in air with the precision of a drawing and the vulnerability of a memory. The work invites movement through its openings, turning architecture into something porous and ghostlike, a place that can be entered while remaining out of reach.

Permanent Address, Sumakshi Singh

Fragility at architectural scale

Skarma Sonam Tashi’s work brings another register to the India Pavilion, drawing on the landscape and architecture of Ladakh through recycled materials and traditional techniques such as paper mâché. His clustered architectural forms appear compact and earthen, stacked like a settlement shaped by climate and terrain. Up close, the surfaces carry a granular texture, with small windows and ledges giving the work the intimacy of a model and the presence of a built landscape.

A large cracked wall pushes that sense of fragility into a direct spatial encounter. Lit from above, its dry surface breaks into irregular plates, recalling parched ground as much as damaged architecture. The piece holds ecological pressure and cultural memory in the same plane, using a familiar earthen language to suggest how landscapes and homes can be altered by forces beyond the frame.

Echoes of Home, Skarma Sonam Tashi

Suspended forms and handmade time

Ranjani Shettar’s suspended sculpture introduces another tempo. Her hand-formed organic shapes drift through the upper volume of the pavilion, their pale and amber surfaces catching light against the dark ceiling. The forms recall flowers, seed pods, and marine life without settling into a single reference, giving the space a sense of growth that has been slowed down and lifted into the air.

Shettar’s work has long explored natural materials and craft processes, and here that approach gives the India Pavilion a tactile softness without losing structural intent. Each element feels made through repetition and patience, but the installation reads as a continuous movement across the room. It carries home into the air, away from the wall and floor, where memory can hover as much as it can settle.

Under the same sky, Ranjani Shettar

Bamboo, movement, and participation

Asim Waqif’s installation occupies the pavilion with a dense bamboo structure that feels provisional, energetic, and alive to its surroundings. Trained as an architect, Waqif works with organic and discarded materials, creating structures that ask visitors to move around and through them. Here, bamboo poles gather into a sprawling framework beneath the timber roof, echoing scaffolding, shelter, and improvised construction.

The work gives the Venice Biennale presentation a strongly physical rhythm. It does not sit apart from the body at a distance. It asks for proximity, scale, and navigation. In the context of Geographies of Distance, Waqif’s installation suggests home as something assembled through use, pressure, and repair, a structure held together by touch as much as by material.

Chaal, Asim Waqif

A national pavilion shaped by distance

For curator Dr. Amin Jaffer, the exhibition responds to the 61st International Art Exhibition’s theme, In Minor Keys, through ‘the nuances of distance and the enduring power of memories of home.‘ He describes the pavilion as an exploration of home as ‘an emotional space carried within the self,‘ formed through culture, personal mythology, and emotion.

That framing gives the India Pavilion at the Venice Biennale its strongest through line. The exhibition does not treat home as a stable image or a nostalgic destination. It approaches it through material traces, handmade systems, and structures that seem to remember touch. In a moment of rapid urban growth and global movement, Geographies of Distance gives the idea of home a physical presence in Venice, one built from fragments, craft, and the fragile persistence of belonging.