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On the Occasion of the 61st Venice Biennale, India Pavilion  Artist Skarma Sonam Tashi © India Pavilion. By Isabel Jiménez (Elisée de Valtor) and Nermin Ahmet. In the quietude of the Arsenale’s mezzanine, amidst the grand narratives of the 61st Venice Biennale, lies a settlement that feels both ancient and ephemeral. It is the work of Skarma Sonam Tashi, an artist who has recently made history as the first from the Ladakh region to receive India's National Award. His participation in the India Pavilion, curated by Dr. Amin Jaffer under the evocative title Geographies of Distance: Remembering Home, marks a pivotal moment for Himalayan contemporary art. Through a delicate alchemy of recycled cardboard, paper-mâché, and natural binders, Tashi translates the architectural resilience of his homeland into a universal language of fragility and belonging. You were honored with the National Award at the 64th National Exhibition of Art in New Delhi—a historic first for an artist from Ladakh. What does this recognition signify for your practice and your region? Skarma Sonam Tashi - This recognition carries immense weight, both personally and for the collective identity of Ladakh. To be the first artist from the region to receive such an honor was a moment of profound pride. Beyond personal validation, it granted my practice a necessary visibility and opened doors that previously felt distant. More importantly, it demonstrated that the specific stories and artistic voices of Ladakh possess a resonance that can transcend regional boundaries to engage with national and international dialogues. It has instilled in me a renewed sense of sincerity and a responsibility to carry these narratives forward. Did this accolade serve as the catalyst for your invitation to exhibit here in Venice? In many respects, yes. The Lalit Kala Akademi was already attuned to my practice, but the National Award certainly amplified that attention. My work was brought to the notice of Dr. Amin Jaffer, the curator of the India Pavilion. Our subsequent discussions regarding the Biennale theme, In Minor Keys, and the Pavilion’s focus on Geographies of Distance, revealed a deep alignment between my material explorations and his curatorial vision. Those conversations were the bridge to my participation in Venice.  Skarma Sonam Tashi © Philippe Calia, courtesy of India Pavilion.  Skarma Sonam Tashi © Andrea Avezzù.  Skarma Sonam Tashi and Elisée de Valtor at the India Pavilion, Venice Biennale 2026. Background: Echoes of Home, exploring the architectural soul of Ladakh. What was your immediate reaction to the nomination for La Biennale? It was a moment of complete, breathtaking surprise. The timeline was remarkably swift; shortly after our initial contact, Amin (ed. Dr. Jaffer) visited my studio at the Lalit Kala Akademi in Delhi. To see a lifelong dream—participating in an international exhibition of this caliber—manifest so suddenly felt almost surreal. I had always hoped my art would allow me to travel the world, but I never imagined my first international stage would be the Venice Biennale. It was an overwhelming and exhilarating realization. How has your Ladakhi heritage informed your approach to the fine arts? Ladakh is not merely my birthplace; it is the fundamental architect of my artistic journey. The mountains, the climate, and the vernacular architecture dictate how I perceive material, form, and the concept of sustainability. Ladakhi homes are built in a silent, harmonious dialogue with nature. This intrinsic relationship between ecology and the built environment inspires me to value simplicity, resilience, and a quiet coexistence with our surroundings.  Skarma Sonam Tashi with his art installation at the Indian Pavilion, Echoes of Home. Photo Joe Habben. Details of Skarma Sonam Tashi’s Echoes of Home. A masterclass in decontextualizing architectural forms to create a new, tactile presence of the past. Your work is notably tactile. What research precedes your creative process? Material research is the heartbeat of my practice. I am fascinated by the transformation of discarded or fragile materials into forms of substance. For the work presented in Venice, I explored the architectural logic of Ladakhi dwellings, experimenting with cardboard, clay, and natural binders like tamarind and lime. My research is a hybrid of the conceptual and the physical—a process of observation, memory, and the meditative rhythm of repeated making. What do you hope the international audience perceives in your installation? I prefer the work to remain an open vessel. Visitors arrive with their own unique tapestries of memory and experience, and I wish for the installation to invite a quiet reflection rather than a dictated response. While the pieces speak of home, fragility, and the nuances of belonging, I hope they find a connection that is personal and unforced. The work should speak for itself in the silence of the pavilion. Sustainability is a recurring theme in contemporary art. How central is it to your philosophy? For me, sustainability is not a trend; it is a core philosophy shaped by necessity. Growing up in Ladakh, where resources are finite, one learns to value everything. Using recycled cardboard and organic pigments is a reflection of that environmental stewardship. It is a philosophy of respect—both for the materials I use and the nature that provides them. How do you view the role of contemporary art in the cultural preservation of Ladakh? Ladakh possesses a staggering heritage, from Buddhist murals to traditional crafts. While this must be preserved with great care, contemporary art is the vital pulse that creates new dialogues. It allows us to expand our ideas and inspires younger generations to engage with their roots through a creative, forward-thinking lens. During your time in Venice, which artworks or experiences have left the greatest impression on you? This is my third visit to Venice, having been here for the installation phases, and it remains enchanting. During a brief excursion to Florence with my assistants, seeing Michelangelo’s David at the Accademia Gallery was a transcendent experience—it truly gave me goosebumps. Similarly, visiting the Leaning Tower of Pisa was unforgettable. These encounters with the weight of history provide a beautiful counterpoint to the fragile, contemporary materials I work with today. Follow Skarma Sonam Tashi’s latest work at @skarma_sonam_tashi About the Artists:
Dr. Amin Jaffer is Director of The Al Thani Collection, an encyclopaedic holding of more than 5,000 works of art spanning millennia. Dr. Jaffer, whose academic and curatorial work focuses on the meeting of European and Asian cultures, was an Artistic Director for the second Islamic Arts Biennale (January-May 2025) and Senior Curator at the Victoria & Albert Museum (1995-2007). Jaffer has curated exhibitions at institutions ranging from the Museum of Fine Arts, San Francisco to the Doge’s Palace, the Forbidden City and the State Hermitage Museum. Working to the vision of Sheikh Hamad bin Abdullah Al Thani, he oversaw the creation of The Al Thani Collection museum space at the Hôtel de la Marine, Paris, which opened to critical acclaim in November 2021. Since its inception, the space has presented exhibitions in partnership with prestigious institutions such as the Calouste Gulbenkian Museum, Lisbon; the Galleria Giorgio Franchetti alla Ca D’Oro, Venice; and the Victoria and Albert Museum, London. About NMACC The Nita Mukesh Ambani Cultural Centre (NMACC) is a first-of-its-kind, multi-disciplinary cultural space in the sphere of arts. Situated in Mumbai, the centre was envisioned by Mrs. Nita M. Ambani, and aims to preserve and promote India’s rich art, culture, and heritage through varied art forms. Opened in 2023, NMACC is home to three performing arts spaces: the majestic 2,000-seater Grand Theatre, the technologically advanced 198-seater Studio Theatre, and the dynamic 125-seater Cube. It also features the Art House, a four-storey dedicated visual arts space that houses shifting exhibits and installations from the finest artists across India and the world. Spread across the Cultural Centre’s concourses is a captivating mix of public art by renowned Indian and global artists, including the famed Japanese artist Yayoi Kusama’s Infinity Mirrored Room, an immersive installation, and ‘Kamal Kunj’ – one of the largest Pichwai paintings in India.  Comments are closed.
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