Mumbai T2 terminal's Art Collection

Published: Apr 1, 2014

Sethi sees the programme as design coming of age. “We don’t have a word for high art, cr

Image by : Prasad Gori for Forbes India

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Sethi sees the programme as design coming of age. “We don’t have a word for high art, craft, fine art in Hindi, Bengali, Marathi or any other Indian language. We have taken a lot of colonial excess baggage with
English,” he says

Different takes on Mumbai by artists Charmi Gada Shah, Parvathi Nayar and Akshay Rajpurkar

Image by : Prasad Gori for Forbes India

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Different takes on Mumbai by artists Charmi Gada Shah, Parvathi Nayar and Akshay Rajpurkar

A black-and-yellow Premier Padmini, an indelible part of Mumbai’s landscape, negotiates the ci

Image by : Prasad Gori for Forbes India

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A black-and-yellow Premier Padmini, an indelible part of Mumbai’s landscape, negotiates the city’s crowded streets in Baiju Parthan’s ‘Hope’. It is part of ‘Layered Narratives’ in the arrivals zone of the airport

The ‘Jaya He’ collection is a seamless blend of art and architecture

Image by : Prasad Gori for Forbes India

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The ‘Jaya He’ collection is a seamless blend of art and architecture

Image by : Prasad Gori for Forbes India

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The ‘Jaya He’ collection is a seamless blend of art and architecture

Rajeev Sethi, the curator standing in front of artwork created by Gond artists of Madhya Pradesh

Image by : Prasad Gori for Forbes India

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Rajeev Sethi, the curator standing in front of artwork created by Gond artists of Madhya Pradesh

Rajeev Sethi’s signature sculpture draws on the Hawa Mahal in Jaipur. The installation referen

Image by : Prasad Gori for Forbes India

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Rajeev Sethi’s signature sculpture draws on the Hawa Mahal in Jaipur. The installation references textile as architecture in the shape of a turban

As the programme moved from conceptualisation to realisation, a team of historians, conservation eng

Image by : Prasad Gori for Forbes India

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As the programme moved from conceptualisation to realisation, a team of historians, conservation engineers and restorers worked exclusively on the conservation and restoration of traditional artefacts. The collection has 3,000 antiques registered with the Archaeological Survey of India. Totems from Nagaland were rescued from termites. There are doors with tiger motifs sourced from Sikkim, traditional Kerala lamps rescued from a defunct private museum, stone pillars and huge chariots