A cosy art space in Thamel comes alive this month with soft light filtering through glass windows and settling gently on ceramic works that radiate both silence and strength. Much like specks of dust shimmering in a sunbeam, fragments of uneven mirrors scattered at the centre of the exhibition catch fleeting reflections of passersby that force visitors to reflect on <a href="https://nepalitimes.com/review/the-fabric-of-society">life and society</a>. From a distance, the mirrors resemble playful, anime-style sunny side ups in bright shades. It may look random, but on closer inspection the <a href="https://nepalitimes.com/multimedia/hari-the-potter">meticulous craftsmanship</a> reveals itself in every curve, giving more permanent shape and form to the artist’s fingers on the original clay. Alongside are cups, vases, and plates adorned with <a href="https://nepalitimes.com/review/facades-and-flowers-from-nepal-to-italy">delicate sketches</a> of animals, houses, and trees. Some have inscriptions drifting across surfaces like floating letters. The vases rise in varying heights, dressed in muted greens, while some are blended with soft browns and yellows.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025082711084_3ccb0e0e002bee9521867cbca82d56a1dc1e3ed799c5159fc07adc6f674325ab.jpg" data-media-id="editor_3" data-image-id="2025082711084_3ccb0e0e002bee9521867cbca82d56a1dc1e3ed799c5159fc07adc6f674325ab" data-rendition-name="original" width="1080" height="810" loading="lazy" alt="Firing her imagination"> <figcaption>Photo: DALAI-LA ART SPACE</figcaption> </figure>  “Ceramics have taught me patience in unpredictability,” says ceramic artist Aishworya Shakya, 26, whose work is currently on display at Dalai-la gallery in Thamel. Shakya began with simple drawings, but as she delved deeper into her studies of fine arts, she began exploring new concepts and methods of idea formation. She found herself increasingly drawn to <a href="https://nepalitimes.com/banner/take-to-pottery-during-the-pandemic">the expressive potential of ceramics</a>. “Clay is flexible and transformative, and the process of turning it into a hardened form is cathartic,” she explains. “For me, it’s about free forms, feelings, and the intangible, which often take shape in <a href="https://nepalitimes.com/multimedia/kiran-manandhar-in-the-abstract">abstract ways </a>through ceramics.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250827100812_4e2efcf1284d6589d5eafb34b276b8d4c69ebba9453efe4af9a70c51b2e31d6f.jpg" data-media-id="editor_6" data-image-id="20250827100812_4e2efcf1284d6589d5eafb34b276b8d4c69ebba9453efe4af9a70c51b2e31d6f" data-rendition-name="original" width="739" height="985" loading="lazy" alt="Firing her imagination"> <figcaption>Photo: DALAI-LA ART SPACE</figcaption> </figure>  The writings on her finished ceramics are deeply rooted in her academic explorations of personal history. Shakya contemplated family relationships, and transformed them into patterns and inscriptions on clay — giving her private meditations an extension on <a href="https://nepalitimes.com/review/an-ode-to-the-ordinary">life and lessons</a>. “It is never fixed what I want to make when I begin,” says Shakya. “There might be a frame, but never anything too specific. My forms come through an intuitive process. If I try to meticulously plan everything, it never works out, so I just let it flow.” What begins as an imagined idea often transforms through the process, shaped by the unpredictability of clay and fire, keeping her grounded and open-minded. Shakya’s works usually undergo three rounds in the furnace: beginning with bisque firing, followed by layers of engobe underglaze mixed with pigments, which she applies in three coats before the second firing. Finally, she adds the glaze before the final firing. The most demanding part is actually in <a href="https://archive.nepalitimes.com/news.php?id=13617">preparing and mixing the clay</a>, removing bubbles, and refining it so the final product has at least some predictability, she says.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025082711080_d4856f6f195e9b2ad06144832121da0068aaf0f94800c483b278a204fbf3865e.jpg" data-media-id="editor_9" data-image-id="2025082711080_d4856f6f195e9b2ad06144832121da0068aaf0f94800c483b278a204fbf3865e" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="Firing her imagination"> </figure>  The title Burned and Being comes from the ceramic-making process itself. “But more than just the process, it is an embodiment of my existence. As a person learning to take up space, I am filling my surroundings with things that inspire and align with me to create a sense of being and take a stand for myself,” Shakya explains. The artist is now looking ahead to expand her art beyond vases and mirrors to explore more sculptural forms. Burned and Being Till 30 September 11am to 7pm Dalai-la Art Space, Thamel

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Firing her imagination

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00a69c7e80680e0a35ecjpeg.jpg" alt="" width="4096" height="2730"/><figcaption>All photos: MONIKA DEUPALA</figcaption></figure>In the centre of the room of the ground floor at Siddhartha Art Gallery, tattooed ceramic female figures stretch languidly astride grazing horses.The 12 blue and white raku ware pieces are part of a collection of ceramic artwork by noted sculptors <a href="https://www.nepalitimes.com/banner/melding-expressions/" target="_blank" rel="noopener noreferrer">Gopal Kalapremi Shrestha</a>, Yamuna Shrestha, and Shushank Shrestha. The exhibition features four-year-long work of a family of artists — Gopal and Yamuna are husband and wife, and Shushank is their son.Gopal founded the <a href="https://www.facebook.com/kalapremiceramic/" target="_blank" rel="noopener noreferrer">Kalapremi Studio</a> to teach and promote clay art forms in Nepal in 2006. Yamuna and Shushank’s artworks also feature prominently in the studio.Much of Kalapremi’s artwork included in the exhibition is an attempt to explore gender dynamics in post-modern Nepali society.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00a99c7e80680e0a35edjpeg.jpg" alt="" width="4096" height="2730"><figcaption> </figcaption></figure>One of his more notable collections titled gaali features a series of anthropomorphised female figures with their arms outstretched in a peace sign. The animals (monkey, dog, sheep, donkey) are a physical manifestation of some derogatory terms women are addressed by like bandarni, kukurni, and gadhaini.In another collection of intricate blue and white raku sculptures titled Basti basti bata uthne haru, Kalapremi has reimagined the sacrificial pawns in a chess piece as women with purpose. Anthropomorphised mares dressed in bukhu, lehenga and other traditional dresses represent various professions including a doctor, performers, and sportswomen.Read also: <a href="https://www.nepalitimes.com/banner/vibrant-mithila-art-thrives-in-nepal/" target="_blank" rel="noopener noreferrer">Vibrant Mithila art thrives in Nepal</a>, Anita Bhetwal<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00ad9c7e80680e0a35eejpeg.jpg" alt="" width="4096" height="2730"><figcaption> </figcaption></figure>Some of his other collections include a series of 15 ceramic paintings titled Silent Scream II, which feature fragmented human forms meant to depict the angst and pain of recent crises in the country.“The element of fantasy, playfulness, the very tongue-in-cheek way of expressing things is what is most striking about Gopal’s work,” says <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/sangeeta-thapa-siddhartha-art-gallery,1999" target="_blank" rel="noopener noreferrer">Sangeeta Thapa</a> of the Siddhartha Gallery about Kalapremi’s artwork.Meanwhile, Yamuna Shrestha, having watched Gopal and Shushank build their careers as artists, had found her own medium in origami work. But eventually, she too forayed into ceramic artwork, where she began infusing Mithila motifs in her clay earthenware.Colourful flowers, birds, and other nature motifs adorn her ceramic plates, bowls, and cups on display at the gallery. Some of her blue and white raku fired vases, however, while incorporating <a href="http://archive.nepalitimes.com/news.php?id=3697" target="_blank" rel="noopener noreferrer">Mithila animal motifs</a>, also serve as a thematic companion to Kalapremi’s work.Upstairs, Shushank Shrestha’s artworks are showcased through a variety of mediums from watercolour to acrylics to ceramic work. His pieces offer a marked tonal shift from deliberate, commentary-infused artwork displayed on the floor below, and are as vividly imaginative as they are nostalgic.His 39-piece Jutta series of ceramic shoes traces his imagined evolution of his grandfather’s old footwear, which he took inspiration from. The shoes hung in the wall begin from muted, masked, three-eyed beings — emblematic of the times we are living in.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00b09c7e80680e0a35efjpeg.jpg" alt="" width="4096" height="2730"><figcaption> </figcaption></figure>Shushank, who is currently pursuing a Masters in Fine Arts degree overseas, has stacked two styles of ceramic artwork, showcasing the depth of knowledge in his craft. While the shoes themselves are glazed, the masks and bandannas have cloth textures.The shoes move on to become richly patterned, grinning faces and creatures with their lips peeled back in grotesque laughter, a homage to the fictional monoliths of popular culture.Read also: <a href="https://www.nepalitimes.com/review/riding-on-the-waves-of-colours/" target="_blank" rel="noopener noreferrer">Riding on the wave of colours</a>, Shristi KarkiThey also take a living, breathing form on canvas and in sculptures, as the grinning, three-eyed shoe gods sit cross-legged, adorned with the golden headgear of our culture’s mythic heroes and gods, melding tradition with the absurd.Shushank’s next collection is a series of shimmering, lustrous glazed cups done in rich blue and soft pearl. This glaze technique has been used by an artist for the first time in Nepal.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00b49c7e80680e0a35f0jpeg.jpg" alt="" width="4096" height="2730"><figcaption> </figcaption></figure>Another one of his collections pays homage to his family’s dog, reimagining it as a three-eyed, lion-dog creature. Shushank has captured the animal’s playfulness and love in the tilted heads and the wide grins of the creature, imbuing the works with enough personality that one would almost expect the creatures to come to life and wag their tails if they were to reach out and touch them.Alien creatures, a concept he has been working with since the beginning of his artwork, also feature on canvas as one-eyed ceramic creatures standing solemnly alongside the cheerful lion-dogs, and as pastel coloured vases covered in eyes, bearing sharp teeth.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221110141144/636d00b79c7e80680e0a35f1jpeg.jpg" alt="" width="4096" height="2730"><figcaption> </figcaption></figure>Although Gopal and Yamuna have shown at the gallery previously, Thapa suggested the three artists show as a family after she saw Shushank’s work in 2016 and eventually convinced Yamuna, who had previously not ventured into painting and ceramics, to try her hand at the new medium.“This is a very painstaking process,” Thapa says of ceramic artwork, “It’s simultaneously cost-intensive and work-intensive”Indeed, it would take one LPG cylinder on average to cast one of the artwork on display at the exhibition. Each piece needs to go through four processes, getting cast in fire, painted, then cast in fire again before the glaze is finally applied.But the time and effort that the family has poured into their craft shine in each of the artwork, Thapa notes about the three artists’ four-year process, saying: “They have managed to create such a diverse body of work.”‘Where the wild things are’ will run until 3 September at Siddhartha Art Gallery

Shristi Karki

The house of Kalapremi

New and old, businessmen and former diplomats, engineers and academics — they have all been trooping to the Election Commission to register political parties ahead of the Sunday deadline.
Till press time Thursday, five new parties had been registered and 21 new parties were in the process of applying. Behind the scenes, new parties are head-hunting, well-known figures are shopping for parties to join, while older parties are splitting or uniting to form new united parties.
“It is reason for optimism that people are enthused to form new parties,” notes political analyst Indra Adhikari. But, she adds, this does not mean that despite the celebrity status they will win votes and succeed in politics.
The outlier in all this are the Nepali Congress (NC) and the UML, which are still licking the wounds after being swept out of power by the GenZ protests in September. Neither are too keen on elections because of the prospect of losing badly.
Former prime minister K P Oli is the most recalcitrant, and seems to want to scuttle elections so Parliament will be reinstated. After announcing that he was stepping down, the NC’s Sher Bahadur Deuba has had a change of heart in Singapore and is gunning to restore Parliament.
Neither party and their leaders have shown any remorse for the 8 September massacre, or understood the outrage on the streets against their decades-long incompetence and corruption. &nbsp;
Among those registering parties are various GenZ youth groups and family members of those killed during the September protests. Notable among the new parties certified this week was Gatishil Loktantrik Party (गतिलो) backed by Buddha Air founder Birendra Basnet and led by sociologist Dinesh Prasai. Dharan Mayor Harka Sampang’s Shram Sanskriti Party is also registered.
Energy and Infrastructure Minister in the interim government Kulman Ghising has backed the Ujyalo Nepal with former secretary Anup Kumar Upadhyaya as its chair. Ghising has been playing coy about his political ambitions, and is planning to resign from his cabinet post before elections.&nbsp;
Ghising had been talking to Rabi Lamichhane’s RSP about joining, but that negotiation failed. Former RSP lawmaker Sumana Shrestha was supposed to join Ghising, but pulled out following Ghising’s reluctance to resign from government.
Ghising has much public support because he is credited with ending power cuts as head of the Nepal Electricity Authority, but is now getting flak for being unwilling to give up his ministerial portfolios while still wanting to contest elections. &nbsp;
Ujyalo has hit other snags. GenZ activist Tashi Lhazom, who was considered for a Cabinet position last month but was dropped by Prime Minister Sushila Karki, has said she is not in Ujyalo despite being listed as a Central Committee member. Another member has said that he will not be a part of Ujyalo due its “a lack of political culture”.
Even though Nepalis from across backgrounds and professions are eager to participate in the country’s new political landscape, there are doubts about the structure of their parties, ideology and electoral platforms.&nbsp;
Hurriedly set up parties without a shared philosophy have less chance of political influence and longevity. For example, the RSP was formed just months before the 2022 polls to become the fourth-largest party in Parliament, has lost its momentum, and its leader is in jail.
“Parties like the RSP, which did some positive work after being elected, have still not been able to establish a clear ideological roadmap or organisational structure,” Adhikari says. &nbsp;“It is easy to form parties, the real work goes into building an institution, which is the hard part”
Meanwhile, despite expectations of increased and inclusive youth participation not just at the polling booths but also on the ballot, only a few GenZ-led parties are applying at the Election Commission. They include the Rastriya Pariwartan Party and the Rastriya GenZ Party Nepal. Most other parties are led by men in their 40s, even in their 70s.&nbsp;
Analysts note that despite hopes of young blood in politics, Nepalis are still inclined to trust those with experience, as evidenced by GenZ’s choice of Sushila Karki to succeed KP Oli as Prime Minister after the September protests.&nbsp;
“So it will be difficult for young Nepalis without prior political experience to lead parties and it will be even more difficult for them to cultivate enough public trust to get votes,” says Adhikari.&nbsp;
Then there are the old political players, who have been breaking up and making up new alliances. Resham Chaudhary quit his Nagarik Unmukti Party and registered a new one.
Last week, Puspha Kamal Dahal’s Maoist Centre, and Madhav Kumar Nepal’s Unified Socialists merged along with smaller leftist parties to form the Nepali Communist Party (NCP). Disgruntled former UML members like Bhim Rawal have also joined the NCP. On the other hand, Janardan Sharma has fallen out with Dahal and is going his own way.&nbsp;
Even though the NC, UML and NCP show little sign that they have learnt their lesson and will be turning a new leaf, they still have the party organisation and vote banks to fall back on at election time in the runup to 5 March. &nbsp;
Says Adhikari: “At the end of the day, Nepali society remains hyper-partisan. And although the newly-formed parties and their popular candidates may give older leaders a run for their money, established parties will still benefit from their solid vote base.”

Party Time

The very first frame in The Lama’s Son starts with a vision of Shangrila and the quest of a mythical utopia in the Himalaya when the rest of the world is crumbling away. It is also the personal search of filmmaker Kesang Tseten, but what he finds there are adherents of the Bon Po faith clinging to the last remnants of a culture as it erodes away like the sandstone cliffs of Mustang. “It was while editing the documentary that the story became distilled: how does what we see in the high Himalaya relate to the notion of the Shangrila idyll that especially the West ascribed to them,” asked Tseten during a recent trip to Kathmandu from Berne where he now lives. He continued: “Often and perhaps rightly criticised as an orientalist construct, I wondered if there was any basis at all to the Shangrila notion, and I hung the film on that idea.”&nbsp; Tseten takes us to the vast vistas of Mustang and Dolpo, a landscape of his Tibetan ancestors. This is as much an intimate documentation of families on Nepal’s Himalayan rimland torn between remoteness and globalness as it is about Tseten’s own quest for rootedness.&nbsp; We start from Lubra, a 3,000m village in Mustang the 15 households of which follow the Bon faith. Lama Tsultrim is from a 900-year-old lineage of the animist faith and an exponent of the tradition that is slowly being subsumed first by Buddhism and now modernism. For Tseten, the material is familiar, and not at all exotic as it is for non-Nepalis and indeed for many urban Nepalis. Bon, founded in Tibet, predates Buddhism, but over time, the two religions have come to resemble each other.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113111156_ecf8148fbaa17b93c81ddfa3ed244bed266e3ef6af0cd5e6ca7b64c181b97d45.jpg" data-media-id="editor_0" data-image-id="20251113111156_ecf8148fbaa17b93c81ddfa3ed244bed266e3ef6af0cd5e6ca7b64c181b97d45" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="The periphery cannot hold NT"> </figure>  ‘Both believe in karma, rebirth, and that humans can become enlightened. Nature and spirits are predominant in Bon, and rituals are what keep them benign and alight,’ says Tseten, who rarely narrates in his documentaries. “This is not really a personal film as such, but it has a point of view,” Tseten said. “I decided to have a voice-over on this one and cast my presence in the film.”&nbsp; Lubra's Lama Tsultrim is called upon to perform rituals from Kagbeni and other villages, but there is no one to continue the tradition after him, which is passed from father to son. Lama Tsultrim’s son (hence the title of the film) is a sushi chef in New York and has been gone for 20 years. “The Lama is like a setting sun, his son should come back and take over his father’s responsibilities,” says a local youngster chatting with friends. “If he dies tomorrow, where do we go? We can’t just light butter lamps ourselves to the gods.” It is not only the Lama’s son who has left. The village is nearly empty, and more are planning to leave. One of them is Chimi, a teacher who will be joining her fiancé who is an Uber driver in New York. Her brother is already in Hong Kong. In Lo Manthang a local is back home for a three-month vacation after being in New York for 12 years. A shopkeeper was in Japan for several years, and has returned. “Everything has changed, our language, our tsampa, our religion. We used to work and live together, now the children live separately,” says a middle-aged woman. “There are roads now, and vehicles stop right outside our house, but what’s the point? No one stays home.”  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113111156_47b4c4984fa33e42791b16dba1f078aaa7f9d8bd51ca3bfd5415b436c3a0bf2c.jpg" data-media-id="editor_1" data-image-id="20251113111156_47b4c4984fa33e42791b16dba1f078aaa7f9d8bd51ca3bfd5415b436c3a0bf2c" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="The periphery cannot hold NT"> </figure>  Like most of Tseten’s films, The Lama’s Son is an honest documentation of a place and people whose lifestyle, culture and heritage cling precariously to the past. In Dri village we come across local women filling their buckets with water. Tseten asks them why the village is so empty: “Where is everyone?” The women reply that they are “here, there and everywhere”. Then it is their turn to ask Tseten about where he lives and what he is doing in their village. Migration is a recurring theme in Tseten’s documentaries from We Corner People, In Search of the Riyal, or Saving Dolma. His previous film Diversity Plaza documented the lives of Nepali and Tibetan emigrants in Jackson Heights in the borough of Queens in New York.&nbsp; Diversity Plaza was shown at DOC NYC in 2023, and The Lama’s Son will be one of only two Asian films shown next week at one of the biggest documentary film festivals in the world.&nbsp; “The Lama’s Son is not loud, not attention grabbing but intimate, so I was surprised they chose a quiet film for a big, flashy event,” Tseten told us. In Lama’s Son, we also see how climate breakdown is impacting Nepal’s trans-Himalayan regions. Lama Tsultrim shows us the aftermath of a recent glacial flood that swept away houses and fields. The debris-covered farms are as hard as cement.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113111156_c82126a3c2dc4577b99beb9bef20aafa16f532a3f41e59caea17c93914c59fff.jpg" data-media-id="editor_2" data-image-id="20251113111156_c82126a3c2dc4577b99beb9bef20aafa16f532a3f41e59caea17c93914c59fff" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="The periphery cannot hold NT"> </figure>  The nearby village of Dhey at 3,900m is a high and dry cold desert. Farmers get one crop in a year, but the springs have gone dry and there is no snow in winter. So they are relocating to New Dhey, closer to the road. We follow Kesang Tseten to Samling in Dolpo, which at 4,200m is another Bon village. Locals are preparing for the Walchu festival in which Lama Sherrab carries out elaborate rituals to appease spirits that can turn malevolent. But unlike Lama Tsultrim in Lubra, Lama Sherrab has a community of lamas to help him, including two sons, one of whom will eventually take on his role. We move on to the adjacent village of Bicher and listen in as locals talk about how despite being dirt poor, they thrive in scarcity and are resilient. “We wear sheepskin, eat stew and yak meat, and drink wine. But we are very poor, we have nothing. Look at how dirty our clothes are. We may be dirty, but we have few illnesses,” says one. But even here in Upper Dolpo, a week’s walk from the nearest road, things are changing. There are mobile phones, readymade clothes and instant noodles.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113111156_d1472165cfa9ffa6edbf72de59167e8cbddcc2bf4a7928f7830e099966259a78.jpg" data-media-id="editor_3" data-image-id="20251113111156_d1472165cfa9ffa6edbf72de59167e8cbddcc2bf4a7928f7830e099966259a78" data-rendition-name="original" width="1920" height="1080" loading="lazy" alt="The periphery cannot hold NT"> </figure>  At the Walchu ritual, Tseten watches men and women with hand-woven blankets and down jackets sing and dance after the main ceremony. He narrates: “Bon is sustained by a way of life that fosters a fine but fragile balance between nature and people, where humans come before gods. This is what lies at the heart of Shangrila if there is such a thing.” The film then takes us half-way around the world to a Bon centre in New York, but (spoiler alert) the eponymous Lama’s son never appears. He did not want to be filmed, but it makes for a more powerful portrayal of the life of emigrants forever trapped between two worlds. “Bon villages may be in danger, but the Bon has spread widely across the world,” narrates Tseten, a director who likes to call his storytelling ethnographic, and avoids coming to an apt conclusion. Lama Sherrab’s words after the Walchu ritual is a perfect segue:&nbsp; “Whether you say om mani padme hum (in Buddhism) or matri mi yu (in Bon) they are the same. When you go up, it’s the same heavenly realm. If you go down, it’s still the lord of death who awaits. There isn’t a separate heaven and hell for Buddhists and Bon, it has to be the same for both.” &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025111312110_82817ef48840bb6baa1732d5b0b90c90ead2f9bd9eb0c289940fa61d8058de8d.jpg" data-media-id="editor_4" data-image-id="2025111312110_82817ef48840bb6baa1732d5b0b90c90ead2f9bd9eb0c289940fa61d8058de8d" data-rendition-name="original" width="7087" height="10004" loading="lazy" alt="The Lama's Son NT"> </figure>  The Lama’s Son by Kesang Tseten, 2025 Shunyata Films To be screened at DOC NYC 16 November at 2:05PM local time, Online: 17-30 November Details <a href="https://www.docnyc.net/film/the-lamas-son/">here</a>.

The periphery cannot hold

It was pure drama: the political transition in Madhes unfolded by the dawn’s early light. At around 4AM on Monday, Province Head Sumitra Subedi Bhandari quietly departed Janakpur saying she was headed to Kathmandu for health reasons.&nbsp;
Outgoing Chief Minister Jitendra Sonal, whose coalition had begun to unravel, even saw her off, asking supporters to clear the road for her motorcade.
But an hour later, instead of continuing on to the capital, Bhandari stopped in Bardibas on the East-West Highway. There, as the sun started rising over the misty plains, she administered the oath of office to Saroj Kumar Yadav of the CPN-UML, invoking Article 168(3) of the Constitution.&nbsp;
Bhandari is also a member of the CPN-UML. The provision she invoked is typically used only after coalitions fail under Article 168(2), and the timing and location of the swearing-in have since drawn scrutiny.
Bhandari was subsequently relieved of her duties, and former National Planning Commission member Surendra Labh Karna was sworn in as the new Madhes province head on Tuesday.
Sonal had formed his government barely a month ago, with the backing of 56 provincial lawmakers but it became evident he would not secure the 54 votes needed to survive a confidence motion.&nbsp;
Several lawmakers in his coalition publicly signalled they would abstain. Still, the seven-party alliance that opposed Yadav’s appointment argues that the Province Head, who is the highest constitutional rank in the provincial structure, acted prematurely and under pressure from central UML party command.&nbsp;
A coalition of seven parties, including the Nepali Congress (NC), had been urging the Province Head to invite them to form a new government under Article 168(2). At the same time, the UML, which had been holding demonstrations outside the Province Head’s office in Janakpur, was calling for the formation of a minority government under Article 168(3).
The alliance of the seven parties that included the NC and Maoist Centre took to the streets. By mid-morning, protests had escalated outside Madhes Bhawan with cadre vandalising both the Chief Minister’s office and the Province Head’s office.
This was the third government in Madhes to fall since the 2022 provincial elections, and it follows a similar pattern. The previous Chief Minister Satish Kumar Singh of the Janamat Party, resigned before a scheduled confidence vote after losing the support of his own party and others including NC and LSP.&nbsp;
His resignation unfolded amid nationwide GenZ protests against corruption, demanding accountability and reform. The recurring instability points to a structural tension in Nepal’s federalism.&nbsp;
Provincial politics remain closely tied to alliances shaped in Kathmandu. The withdrawal of support by parties like the NC and Maoist Centre in provinces often reflects national-level calculations rather than provincial priorities.
As a result, the Provincial Assembly is repeatedly consumed by survival of the coalition instead of governance. Development work stalls. Budget execution slows. Public frustration grows. In a province that was at the forefront of the movement for federalism to counter what is seen as neglect, apathy and discrimination by Kathmandu, the sense that the system may not delivering on its promise is becoming increasingly pronounced.
If federalism is to be strengthened, provincial governments must be able to function with a degree of autonomy that currently exists more in principle than in practice. Otherwise, the perception that federalism is costly, unstable, and ineffective will continue to expand, providing fertile ground for anti-federal sentiment that is already gaining traction.
Earlier examples such as the NC General Secretary Bishwo Prakash Sharma in January calling for a new government in Madhes led by his party demonstrates how the central party leadership deliberately intervenes in provincial affairs. His remarks came during campaigns for bi-elections in Madhes when former CM Singh had been in office for six months only.&nbsp;
Likewise, in early June 2024, the federal coalition in Kathmandu shifted from a Maoist Centre and NC to form a new alliance between the NC &nbsp;and the UML. Within a day, coalition negotiations in Madhes changed to mirror this.
UML leaders publicly stated: “The issues at the federal and provincial levels will be resolved together.” This indicated that the realignment in Madhes followed national party decisions rather than provincial deliberation.
The events that unfolded in Madhes are a reminder that federalism in Nepal is still in transition, and that its success depends on political actors honouring the constitutional framework.

Chronic instability in the Madhes

The sixth edition of PhotoKTM will mark a decade of visual storytelling and continue its role as a vital platform for photographers and visual artists to explore the politics of photographs and their role in shaping our histories and futures.&nbsp; The month-long festival across Kathmandu Valley features 18 exhibitions, slideshows, workshops, artist talks, panel discussions, portfolio reviews, and film screenings. While Nepal Art Council will be the anchor venue, the festival will go on the road in Mangahiti and Chyasal in Patan, Nigu Pukhu in Madhyapur Thimi, Nandi Keshar Bagaincha in Naxal and Tribhuvan University. The curatorial themes of PhotoKTM 6 Global South Solidarities draws inspiration from the historic 1955 Bandung Conference in Indonesia, which marks its 70th anniversary this year.&nbsp; The festival explores the political and cultural legacy of the Third World Project, exploring the history of global resistance and solidarity, and how they have shaped contemporary processes to reclaim sovereignty of regions battered by centuries of colonialism, exploitation, and violence.&nbsp; The festival spotlights the work and curatorial voices of artists from over 40 artists based in the Global South, from Santiago to Lubumbashi and Quito to Dakar, alongside Nepali photographers and filmmakers. “We hope this year’s coming together will deepen cultural understanding among artists and cultural communities across the Third World, strengthen reciprocal transnational solidarities through the sharing of our histories, stories, struggles and hopes, and open up pathways for more south-south collaboration and exchange across geographies,” says NayanTara Gurung Kakshapati, co-founder and festival director.&nbsp; Also featured are eight Nepali artists from the 2025 photo.circle fellowship cohort, whose works explore questions, challenges, and contradictions surrounding the notions of ‘development’ and ‘progress’ in contemporary Nepal.&nbsp; The festival comes two months after the GenZ protests, at a pivotal moment when Nepal is navigating significant political transitions. Says curator Diwas Raja KC: “From anti-colonial struggles to the Bandung Conference, to the non-alignment movement and revolutionary cultural exchanges, these histories continue to shape how countries like Nepal imagine their place in the world.”&nbsp; PhotoKTM6 is supported by the Shikshya Foundation Nepal, the Embassy of Switzerland in Nepal, as well as independent non-profit organisations FreeMuse and Cultural Workers Solidarity Front. “I think it is particularly relevant that these spaces are created and maintained because it is only if people meet and continue to do this important work, in which they think collectively, they work collectively, and they hold up certain values, that they will be capable of contributing to what I would call a ‘free world’,” says yasmine eid-sabbagh, who is the invited interlocutor to this year’s festival. &nbsp;&nbsp; <h2>Ji ta Newa Bhyaa Mawa (I don’t know Nepal Bhasa)&nbsp;</h2> Jyoti Shrestha  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121124_0fbeb8abf122867f5d5294c6e4c7ef2a4e3785e2d4083fb663ebe543e9b8396d.jpg" data-media-id="editor_0" data-image-id="20251113121124_0fbeb8abf122867f5d5294c6e4c7ef2a4e3785e2d4083fb663ebe543e9b8396d" data-rendition-name="original" width="1000" height="667" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: JYOTI SHRESTHA</figcaption> </figure>  Jyoti Shrestha was born to Newar parents in Kathmandu but grew up without learning the mother tongue, Nepal Bhasa. ‘My parents, with the best of intentions, taught us English and Nepali—languages of success and survival in a world that had set ours aside... A Newar without language, I felt alien in the very culture that was meant to be mine,’ writes Shrestha in her testimony. Nepal Bhasa is in UNESCO’s ‘definitely endangered’ list. Shrestha has begun to learn her language with help from her parents, and in doing so, their relationship has shifted for the better. She adds: “No census counts the intimacy of a shared memory, the tenderness of language passed between generations, or the weight of an inherited silence.” <h2>The Land Remembers Our Name&nbsp;</h2> Rejin Purja  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_14b44a9e7a9d27c9ac5e893e59930d049d1be05401a42217c304a7d08c2e47e2.jpg" data-media-id="editor_1" data-image-id="20251113121128_14b44a9e7a9d27c9ac5e893e59930d049d1be05401a42217c304a7d08c2e47e2" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: RENJIN PURJA</figcaption> </figure>  The Department of Mines and Geology has confirmed the presence of iron ore in Jhumlawang in East Rukum. Iron mining has not started yet but a Kathmandu-based private company is said to have won the bid at Rs40.3 million. If the project indeed takes off, most of the families will have to be evacuated. “Not only will they lose their houses, land, and forests, but their roots, culture, and autonomy are also at stake. How can this project be considered of national benefit when it forces the very people it should serve to live in fear of their future?,” Rejin Purja writes in his testimony. Economic development exploits the natural resources of native and indigenous communities. Such projects may boost GDP and corporate profits, but they rarely improve the lives of the people whose land is being extracted from. This work reflects the uncertainty felt by the local people about their village’s future. <h2>Fragmented Land and Me</h2> Sujata Khadka  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_f28f960361f822792d8e4442f61deaea71bdf6022b9906509b7e9258939fdbcb.jpg" data-media-id="editor_2" data-image-id="20251113121128_f28f960361f822792d8e4442f61deaea71bdf6022b9906509b7e9258939fdbcb" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: SUJATA KHADKA</figcaption> </figure>  Sujata Khadka’s ancestral home in Godavari’s Jharuwarasi was destroyed in the 2015 earthquake, after which her family built a new house on a small plot of land nearby. In the decade since the earthquake, rapid land trade has turned the farmland surrounding her home into a housing development. For the past 10 years, Khadka has been watching natural and man-made events unfold on the plots from her window on the second floor of her house. The land has been witness to playing children, negotiating brokers, bulldozers, and prowling wildlife. But despite relentless hemming and hawing by buyers and sellers over the past decade, no houses have been built on the land. &nbsp;“This misshapen land feels like a stage where a cast of characters performs an ongoing act,” says Khadka. “Perhaps this land and I are spectators to this drama.” <h2>Why doesn’t home feel like home?</h2> Karma Tshering Gurung  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_c568cdf076247f8904b289e9108ed4e7b5187d86694913751123a6b5df663142.jpg" data-media-id="editor_3" data-image-id="20251113121128_c568cdf076247f8904b289e9108ed4e7b5187d86694913751123a6b5df663142" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: KARMA TSHERING GURUNG</figcaption> </figure>  Karma Tshering Gurung was born in Manang to a Manangi family, where he was raised with his siblings. But in recent times, whenever he has visited his family in Manang, he has felt a sense of unease, like the place sees him as an occasional visitor, an outsider who no longer understands the aspirations of his people. As Manang becomes a tourist spot, Gurung’s brother thinks it is a good idea to tear down their ancestral house and build a snooker house in its place. But Gurung thinks the house is their Appa’s legacy, and worth preserving. The brothers’ ideas of home have diverged. &nbsp; &nbsp;“With a camera in hand, I am trying to rediscover my relationship with this place, with my past, navigating ideas of home and belonging tied to Manang,” he says. “Maybe home for me is no longer just a place, but this search for identity, memory and connection.” <h2>Life and Struggle of Garment Workers&nbsp;</h2> Taslima Akhter (Bangladesh)  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_9447434bde6d70048768c33dda8001e4e3f8da0718c8fff8f96970c4d69139ef.jpg" data-media-id="editor_4" data-image-id="20251113121128_9447434bde6d70048768c33dda8001e4e3f8da0718c8fff8f96970c4d69139ef" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: TASLIMA AKHTER@Taslima Akhter</figcaption> </figure>  This project focuses on the millions of workers who leave their villages and move into crowded worker barracks in the cities of Bangladesh, in search of a better life. <h2>Between Us, a Thread&nbsp;</h2> Ahmed Alaqra (Ramallah)  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_805845728d6e1fd13539d5c0af35f202f72ffbfb8e7dd502cc3c44067e2b574f.jpg" data-media-id="editor_5" data-image-id="20251113121128_805845728d6e1fd13539d5c0af35f202f72ffbfb8e7dd502cc3c44067e2b574f" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: RUBA ALFARAOUNA</figcaption> </figure>  A quiet gesture between photographers, image-makers, and those who hold memory like a fragile light. Palestinian, Arab, scattered — yet orbiting the same wound.&nbsp; <h2>Possible and Imaginary Lives&nbsp;</h2> yasmine eid-sabbagh / Rozenn Quéré  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_a30877e2c30764d5d29c0b0457e2722685138e968549dedd8803dee1299bc45c.jpg" data-media-id="editor_6" data-image-id="20251113121128_a30877e2c30764d5d29c0b0457e2722685138e968549dedd8803dee1299bc45c" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo Courtesy: YASMINE EID-SABBAGH AND ROZENN QUÉRÉ(Photo: ) </figcaption> </figure>  An exhibition, based on family photographs and taped interviews, tells the story of four strong and feisty Palestinian-Lebanese sisters, exiled to the four corners of the globe. <h2>Martyrs, Saints &amp; Sellouts&nbsp;</h2> Siona O’Connel (South Africa)  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121128_7b84f695bdd27353af1f35ff5f739283d739b4fa7594e4965ca1230d4d60940b.jpg" data-media-id="editor_7" data-image-id="20251113121128_7b84f695bdd27353af1f35ff5f739283d739b4fa7594e4965ca1230d4d60940b" data-rendition-name="original" width="1200" height="800" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: BENNY GOOL</figcaption> </figure>  Comprised of photographs by Benny Gool, Zubeida Vallie and Adil Bradlow, documenting apartheid South Africa, this exhibition presents a vivid narrative of violence, loss and injuries that continue to reverberate under the rhetoric of the post apartheid landscape. <h2>Humo, Semilla, Raíz</h2> Isadora Romero (Ecuador)  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251113121132_b01b94f340265fd42dcdffd98f39f58d3b1b3385718cb055d2b35e04fb1eda58.jpg" data-media-id="editor_8" data-image-id="20251113121132_b01b94f340265fd42dcdffd98f39f58d3b1b3385718cb055d2b35e04fb1eda58" data-rendition-name="original" width="1200" height="798" loading="lazy" alt="The politics behind photographs NT"> <figcaption>Photo: ISADORA ROMERO</figcaption> </figure>  An alternate look into environmental issues through the prism of possibility, instead of catastrophic consequence is what this exhibition brings. Romero’s visual research engages with how the loss of ancestral memory and Indigenous knowledge resulting from colonisation, forced displacement, and racism is causing seeds to disappear at an alarming rate. <h2>First week schedule (selected)</h2> Friday, 14 November Bhandarkhal Garden, Patan Museum, 5:30pm -7:30pm Festival Opening + Award of Excellence Saturday, 15 November Yala Maya Kendra, Patan Dhoka 3pm-4pm Demounting Louis Agassiz – Artistic Renegotiation of Archive, Memory &amp; Place. Talk by Sasha Huber (moderated by Diwas Raja Khatri) 4:30pm-6pm Witness or Accomplice: Photography, Human Rights and the Question of Freedom. Talk by Prof. Siona O’ Connell (moderated by NayanTara Gurung Kakshapati) Sunday, 16 November Yala Maya Kendra July, Unfinished. Jaheen Faruque Amin in conversation with Sabnam Lama, 3pm- 4pm When The World is Blind – Images by Palestinians. Ahmed Alaqra in conversation with yasmine eid-sabbagh, 4- 6pm Manga Hiti, 7pm-8pm Slideshow – Who Does The River Belong To? Monday, 17 November Yala Maya Kendra, 3pm - 4pm Memory is an Inaccurate Place: Dialogues Across Time, Territories, and Histories. Isadora Romero in conversation with Tanvi Mishra 4:30pm-6pm Third Camera – a Film Series: Ernest Cole: Lost and Found Dir. Raoul Peck 2024 | 1h 46m | English Tuesday, 18 November Yala Maya Kendra Sustaining Art Ecosystems That Resist and Nurture – Part 1 Paola Farran in conversation with Jessica Lim, 3pm- 4pm Sustaining Art Ecosystems That Resist and Nurture – Part 2 Chelsea Chua in conversation with Tif Ng, 4pm:30-6pm Khapinchhen, Patan A Photographer’s Fifty-Year Journey in Nepal. A Slideshow and Talk with Kevin Bubriski, 7-7:30pm PhotoKTM Bhoé, 7:30pm-9:30pm Rs1,800 (early bird), Rs2,000 (door sale) Wednesday, 19 November Yala Maya Kendra 3pm- 4pm Sustaining Art Ecosystems That Resist and Nurture – Part 3 Andrea Thal in conversation with Diwas Raja Khatri 4:30pm-6pm We must refuse silence! Samir Eskanda, Shahidul Alam, and Tabara Korka Ndiaye in conversation with yasmine eid-sabbagh Thursday, 20 November Nepal Art Council, 4pm- 6pm Walk-thru at NAC with Enuma Rai, Jyoti Shrestha, Karma Tshering Gurung, Manoj Bohara, Manjit Lama, Rejin Purja, Sujata Khadka, Sushila Bishwakarma More details <a href="https://photoktm.com/photoktm6-schedule/">here</a>. PHOTOKTM6 14 November-14 December Kathmandu Valley All events free and open

ceramic-art

Firing her imagination

The house of Kalapremi

Party Time

The periphery cannot hold

Chronic instability in the Madhes

The politics behind photographs