East meets west, traditional meets modern at a gallery in Zurich, where two Nepali artists are exhibiting their art using digital frames cycling multiple works in a single slideshow. Kailash K Shrestha and Krisha Tamrakar, the founders of <a href="https://artudio.net/">Artudio</a> in Kathmandu are presenting In Between the Unseen at HeLai Art Gallery in this Swiss city using digital frames by AELIG to present their work as dynamic digital papers, cycling multiple works in a single slideshow. Powered by batteries, the frames make exhibitions more sustainable and adaptable to smaller spaces. The digital frames bring art into the real world, verifying the authenticity of the work through non-fungible tokens (NFT) and displaying them simulating natural light. Tamrakar’s Between Colors and Spaces was <a href="https://nepalitimes.com/review/reimagined-roots">previously featured in Nepali Times</a>, and traces the delicate interplay of memory and transformation. Through layered imagery and nuanced use of vibrant colours, she meditates on the quiet tension between tradition and<a href="https://nepalitimes.com/banner/giving-prayer-wheels-an-arty-spin"> consumerism</a>. The brass utensil shops of her community <a href="https://nepalitimes.com/here-now/patan-for-beginners">in Patan</a>, once central to local life, have been replaced by rows of clothing and shoe stores. Similarly, Shrestha’s Phantasmal Series nestles on the boundary between illusion and reality. Drawing on glitch-inspired repetition, he distorts familiar sociopolitical imagery — speaking to the instability of memory and the disorientations of the present in Nepal with its ever-changing but recurring faces. The personal is political through his art.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025090412090_cab65104c87feead5b72e901123de91b3e4bd2d5349bbac0900207ebcbb6038a.jpg" data-media-id="editor_4" data-image-id="2025090412090_cab65104c87feead5b72e901123de91b3e4bd2d5349bbac0900207ebcbb6038a" data-rendition-name="original" width="1280" height="960" loading="lazy" alt="Nepali art in Zurich"></figure>  The exhibition transforms Shrestha and Tamrakar’s works into spaces of encounter, where what is hidden, erased, or displaced becomes momentarily tangible. Together, their works probe what lies in between and in the unseen threads of daily existence. Using digital frames allows them to facilitate circulation and sales, including transfers for NFT collectors. This can be useful in expanding the reach and longevity of Nepal’s contemporary art. “Nepal’s art scene is often misunderstood,” Shrestha told us on a call from Zurich. “Many still assume that we only have <a href="https://nepalitimes.com/here-now/five-decades-of-lok-chitrakar">traditional art</a>. Our collectors and the international art community are frequently surprised by the vibrancy of <a href="https://nepalitimes.com/here-now/fusion-fashion">contemporary Nepali practices</a>.” These <a href="https://nepalitimes.com/review/an-ode-to-the-ordinary">young Nepali artists </a>serve as Nepal’s cultural ambassadors to the world, and use international collaborations through residencies, curatorial projects, intellectual exchanges to network. “Nepal is an ideal landscape for contemporary art interventions. Compared to other South Asian countries, there are unique opportunities here,” adds Shrestha. “<a href="https://nepalitimes.com/editorial/south-asia-2040-qxr16oup">Geopolitical contexts</a> and cultural history provide artists with freedom and space to explore. There is immense potential for art to thrive.” Yet, both artists feel Nepal needs to nurture a supportive environment for artists. “Celebrating and documenting art, music, film, and literature, and creating feasible working conditions needs conducive policies. The government should <a href="https://nepalitimes.com/opinion/investing-in-people">invest in </a>the talent that already exists.”  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025090412094_c7d7bbb00916efec7ad9a58820bff2e7063a15a7c1ac2aa431f3e19c7c533435.jpg" data-media-id="editor_10" data-image-id="2025090412094_c7d7bbb00916efec7ad9a58820bff2e7063a15a7c1ac2aa431f3e19c7c533435" data-rendition-name="original" width="960" height="1280" loading="lazy" alt="Nepali art in Zurich"></figure>  Digital innovation is also transforming the field. The artists have noticed how digital certification, NFTs, and tracking databases are the next frontier in art, and these mediums are needed for <a href="https://nepalitimes.com/banner/nepals-new-generation-of-alternative-artists">contemporary Nepali artists</a> to expand reach and visibility globally. Back home, at Artudio Center for Contemporary Visual Arts, the duo is constantly uncovering overlooked narratives and promoting sustainable art. It is now a dynamic hub for Nepal’s contemporary art, pioneering transformative practices, experimental exhibitions, residencies, and educational programs to create a vibrant, interconnected art community. The artists are giving a special talk at the gallery, sharing insights on the stories behind their works, the evolving Himalayan contemporary art scene, and their ongoing projects in Nepal. HeLai Art Gallery, Zurich, Switzerland Till September 19, 2025 Curated by Miao He Presented by Swiss Nepal Chamber of Commerce (SNCC) and HeLai Art Gallery

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Nepali zero waste art in Zurich

Duthik: Stories from Dolpo at The Kala Salon is Chering Gyaoo Gurung’s ode to his homeland of Dolpo using its native textiles and jewelry. It is also an urgent call to preserve the region’s culture, eroded by encroaching modernity, migration, and a changing climate. ‘I have always loved the textiles of my home, and these, along with the lapis, coral and other minerals used in our jewelry, have inspired my art,’ writes Gurung in his artist’s statement. The famous Dolpo blankets, weighty, richly coloured with linear patterns, hang alongside his paintings in the Salon, on the top floor of the Chhaya Center in Thamel. One of the blankets is his grandmother’s. “It almost still smells smoky, since we only use firewood,” says the soft-spoken 25-year-old. Dolpo in the trans-Himalaya is to the north of the Dhaulagiri range. Most people, incluyding the artist’s family are pastoralists, herding 100 yaks, goats and sheep. Many families also collect yarsagumba, and at one point that would make enough money to last the year, but not anymore. “From Dolpo, it is pretty unheard of to pursue art,” says Gurung, who is not traditionally trained in thangka like other Himalayan artists like Tsherin Sherpa or Dorjee Karmarong. But his passion for art showed early, when he came to Kathmandu at five to study.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250723080712_be467c0e9b9f2fd01148efb464a1c785b8c9ba66f09dd8308c311859a3682a9d.jpg" data-media-id="editor_0" data-image-id="20250723080712_be467c0e9b9f2fd01148efb464a1c785b8c9ba66f09dd8308c311859a3682a9d" data-rendition-name="original" width="667" height="1000" loading="lazy" alt="The fabric of society"> </figure>  “In Dolpo, we used to go to school for six months and work with our parents for six months. An aunt suggested that I might as well get some tuition during this time off. Once I came to Kathmandu, we found French sponsors and I stayed here to study,” recounts Gurung. Gurung lived in a hostel and studied under that sponsorship until grade ten. He got support from home for further studies until a bachelor’s in art, which he only finished two years ago. In the meantime, for him, art was a hobby he was good at, he would often win at competitions that this school took him to. Following graduation, many of Gurung’s peers did a lot of commission work and got burned out, while he received residencies, allowing him to stick to his own process and ideas, subsequently developing a style and a voice of his own. Gurung was the first of his family to move to Kathmandu like he did, and while that has led to a blossoming art career, he is wistful about the life he left behind. “The people I left behind lived sort of a perfect life in the village,” he says, even as it is clear herding yaks would not have been enough for his independent spirit. And migration is a big theme in his work, six of the paintings at the exhibition are named as much. Two of them show a mother walking with a baby on her back, and one depicts a snow leopard on the move with its cub.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250723080720_a916959c5a945e9d8c147219a094a548d9a08c8eb93d554a5e62105551a86592.jpg" data-media-id="editor_1" data-image-id="20250723080720_a916959c5a945e9d8c147219a094a548d9a08c8eb93d554a5e62105551a86592" data-rendition-name="original" width="1000" height="667" loading="lazy" alt="The fabric of society"> </figure>  “People migrate in generations, and because of this, they lose culture,” notes Gurung. Three others under the theme are spirals of clothes and masks, seemingly saying that migration causes deep changes in, and confusions about, one’s identity. The fabric of Dolpo and the outfits are prominently featured in almost every painting. “The women, in particular, are complete in how they dress up,” says Gurung. His women wear bhakkus and belts, and blankets and a complete set of necklaces and jewelry. An important detail is the vajra, traditionally a powerful Buddhist and Hindu mythical object and weapon, that the women use as a clip to hold the hems of their shawl together. “Note how the colours of the fabric are dull,” points out Gurung, explaining that these cloths are dyed naturally with ‘stone’ colours but fade quickly in the sun and the dust storms of Dolpo. To Gurung, the fabrics signify the Dolpo culture that he is so fond of, but disappearing. He laments that people would rather buy similar but cheaper blankets from Kathmandu or Tibet, and are abandoning traditional occupations, instead running hotels. “His feeling for Dolpo really shines through, and makes the paintings feel very warm,” says curator Sophia Pande. “I think the exhibition shows the unique style Chering has developed, and his range.” Another Dolpo detail that features heavily is bhoj patra, or birch bark paper which is used to write on as well as roofing material, given that it is waterproof. The sap of the birch tree is so sweet that it is also tapped and boiled for sugar. “People also carry it on yarchagumba trips, to use as light plates or cups. They can be washed and reused too,” adds Gurung.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250723080716_84ceef8066260cbe271158790e77bfc867dbab9cbaf23d13dc39202ef2a949f1.jpg" data-media-id="editor_2" data-image-id="20250723080716_84ceef8066260cbe271158790e77bfc867dbab9cbaf23d13dc39202ef2a949f1" data-rendition-name="original" width="667" height="1000" loading="lazy" alt="The fabric of society"> </figure>  Like the Dolpo blankets, reams of this bhoj patra and a bowlful of yarcha are also displayed and give a nuanced understanding of the Dolpo way of life. Gurung also has a series of paintings on the bark paper, the first of which is a sky blue ‘DHARMA MASK’ or ‘MUKUT’. &nbsp;“I mixed acrylic paint with glue and diluted it to use like watercolour on the bhoj patra, and I was very happy with how it turned out,” he explains of the piece. Gurung works out of White Yak studio in Lalitpur, a name he chose for the rare and revered version of the animal. “I plan to carry on with this subject matter as I haven’t exhausted all my ideas,” he says, “and I can still get better with my colouring.” Duthik: Stories from Dolpo By Chering Gyaoo Gurung The Kala Salon Chhaya Centre, Thamel 11am-8pm Until 17 August

Vishad Raj Onta

The fabric of society

For the last thirty years, Kapil Mani Dixit has been obsessed with the naked human figure. All he has painted are female and male nudes.&nbsp; He has drawn the human body so often that he can paint them from memory. The intention is not to draw perfect bodies like Greek statues, but evoke emotions about human force, frailty or beauty among viewers. “I don’t need models anymore,” says Dixit, who has a solo exhibition Lines of Emotions: Nude Expressions at Takpa Gallery this month. The works break the rules to convey human emotions in a raw, unprocessed style. Fingers can look like toes, and eyes can take the place of heads.&nbsp; Read also: <a href="https://nepalitimes.com/review/south-asia-in-the-abstract">South Asia in the abstract</a>, Vishad Raj Onta Only seeing it as nude art would not do justice to Dixit’s pieces. In one painting, a warped female figure is lying on her side, her body spilling onto the ground. “The inspiration for this one was when I saw a woman reclining comfortably in a park,” explains Dixit, moving on to another painting also inspired by a park spectacle: a couple embracing, one figure behind the other making the body look double-headed, multi-armed and hugging itself.&nbsp; Dixit keeps the colours simple and does not hide the underpainting on the canvas. The bodies are jarring but fascinating to look at, they are deliberately imperfect as the artist lets his intuition guide the process.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250103130144_402251ccfa231c45e24caa509dda3b111c3de2c119605db8473cf02fa03fe5d0.jpg" data-media-id="editor_1" data-image-id="20250103130144_402251ccfa231c45e24caa509dda3b111c3de2c119605db8473cf02fa03fe5d0" data-rendition-name="original" width="1000" height="1000" loading="lazy" alt="ART"> </figure>  “I don’t paint over mistakes. They don’t matter to me. Sometimes there are six fingers instead of five,” he says. “I work every day, all the time, fast, in flow. I don’t know what’s going to come out when I sit down to paint.” &nbsp; In many of the paintings at his show, Dixit has abandoned the brush and painted with his fingers, likening this to the feeling of sculpting with clay. The spontaneity and improvisation is different from <a href="https://nepalitimes.com/banner/nepali-art-going-places">traditional Nepali art forms</a>.&nbsp; But Dixit has faced criticism throughout his career for the nudity he portrays, with some saying it is ‘un-Nepali’. When asked, he replies with the air of someone who is tired of answering this question: “That does not make a lot of sense to me, since I am a Nepali and this is my work. Just look at the <a href="https://nepalitimes.com/here-now/kathmandu-s-temple-restoration-after-1934-quake">temples in Kathmandu</a>, you see nudity everywhere.” &nbsp;&nbsp; And yet Nepal deserves a lot of credit: it is a lot more tolerant than many other places in the world today. Even in the US, one of Dixit’s exhibitions was deemed suitable only for people 18 and over. There is no such label at Takpa.&nbsp; “Actually, the art audience in Nepal is quite open-minded to new ideas,” he says. “But I still wish my work would start to be seen more as a form of self-expression, rather than just focusing on the nude aspect. My children have no problem saying in school that their Dad is a nude painter.”&nbsp; Indeed, Dixit thinks he was inspired by his father who used to sketch the human body. He shifted later from drawing landscapes to painting the humanscape.&nbsp; Dixit always knew he was going to be an artist, but it was while pursuing fine art at the University of Texas in Austin that he began drawing nudes. “It was pretty unheard of, for a Nepali, to study art. People were always pushing me towards more sensible fields, like tech,” recalls Dixit, who worked fast food, pizza delivery, and gas station jobs to pay his way. Read also: <a href="https://archive.nepalitimes.com/article/review/Manandhar-fourth-exhibit-Nepal,2641">Empowering expressionism</a> Dixit says he has gone through phases as an artist, and currently he is fascinated by eyes. Large, complex eyes are present in almost all of the pieces at the Takpa exhibition.“The human eye reveals a person’s naked emotion,” he says. “I started painting eyes during the pandemic after noticing how people’s eyes were full of fear and confusion. And with everyone having masks on, the eyes were much more prominent.”&nbsp; Given the modern taboos about nudity and the lack of understanding of post-impressionist art in Nepal, Kapil Mani Dixit’s exhibition is courageous and contemporary. &nbsp; Lines of Emotions: Nude Expressions by Kapil Mani Dixit Takpa Gallery &nbsp;(4 January - 1 February)

Visible to the naked eye

Whenever Nepali art is mentioned, the first things that come to mind are <a href="https://www.nepalitimes.com/banner/sacred-survival/" target="_blank">thangka</a> paintings or bronze Tara. Now, an exhibition at Europe’s foremost ethnographic museum in Vienna &nbsp;paints a surprisingly vibrant picture of contemporary art in Nepal.
The <a href="https://www.weltmuseumwien.at/ausstellungen/nepal-art-now/" target="_blank">Nepal Art Now</a> exhibition at the <a href="https://www.weltmuseumwien.at/" target="_blank">Weltmuseum Wien</a> is the largest ever exhibition of modern Nepali art outside the country, and includes 130 paintings, sculptures, video art and installations by 40 artists from Nepal.
“This is an exhibition that showcases the creativity and energy of Nepali artists who redefine the influence of the West, and it shows how the local, national and global permeate each other,” said Christian Schicklgruber, director of the Weltmuseum Wien, who co-curated this exhibition.
Read also: <a href="https://www.nepalitimes.com/banner/nepal-art-now-in-vienna/">Nepal Art Now in Vienna</a>
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Schicklgruber and the late <a href="https://archive.nepalitimes.com/regular-columns/On-the-way-up/complete-projects-of-Dina-Bangdel,977" target="_blank">Dina Bangdel</a> came up with the idea for a major exhibition three years ago. Bangdel died suddenly in 2017, but the project went ahead in her memory with co-curator Swosti Rajbhandari Kayastha of the Nepal Art Council. In the mezzanine of the Weltmuseum is another presentation of <a href="https://www.nepalitimes.com/review/mithila-art-with-a-message/" target="_blank">Maithil art</a> by female painters, put together by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Himalayan-style-kelly-burkert-book-review,2032" target="_blank">Claire Burkert</a>.
“The hardest part of the exhibition was to select art works from more than 800,” recalls Kayastha. “We worked extra hours to curate it, and had to leave behind many works by artists we knew. But these paintings represent the best of Nepali art today.”
Indeed, the works by <a href="http://archive.nepalitimes.com/blogs/thebrief/2017/07/26/using-art-for-social-change/" target="_blank">Hit Man Gurung</a>, <a href="https://archive.nepalitimes.com/article/review/nepali-artists-showcase-work-on-migrant-workers-in-dhaka-art-summit,1110" target="_blank">Sunil Sigdel</a>, <a href="https://archive.nepalitimes.com/article/review/amalgam-2014-review,1489" target="_blank">Sanjeev Maharjan</a>, <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139" target="_blank">Ang Tsherin Sherpa</a>, <a href="http://archive.nepalitimes.com/news.php?id=5323" target="_blank">Asha Dangol</a>, <a href="http://archive.nepalitimes.com/blogs/kundadixit/2012/09/20/intolerance-of-tolerance/" target="_blank">Manish Harijan</a> and <a href="http://archive.nepalitimes.com/news.php?id=3817#.XLXCw4kza70" target="_blank">Ashmina Ranjit</a>, among others, represent world-class talent that blend traditional Nepali art forms like paubha, wood carving and metal work, with modern elements. Although ‘modern’ has come to mean ‘western’, the exhibition is proof that Nepal is now recognised as a centre for contemporary art that shuns western homogeneity, and has carved out its own space based on tradition, shared national history, and cosmopolitan influences.
“When you said Nepali art in the past, people expected traditional art forms. What we see at this exhibition is the vibrancy and creativity of contemporary Nepali art, the role of women, as well as the global and local impact of the works. Being an ethnographic institution, it makes sense to have the exhibition at the Weltmuseum,” director general Sabine Haag said at the inauguration here last week.
Read also: <a href="http://archive.nepalitimes.com/news.php?id=5941#.XLhM1jAzbIU">In Vienna museum, Nepalis worship stolen Buddha</a>, Erwin Melchart
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Even though some of the art works are rooted in Nepali culture and traditions, they use modern forms of oil and canvas, installations and sculptures to address contemporary issues like exclusion, social justice, gender, conflict, the 2015 earthquakes, the commodification of religion, migration and the environment. In fact, many of the works are not just aesthetic or spiritual in their function but are imbued with deep socio-political commentary.
The inaugural ceremony of the exhibition at the Weltmuseum featured the Himalayan Quartet, led by Nepali composer Rupak Kumar Shahisamuda, which played several fusion pieces based on popular Nepali folk songs. The Weltmuseum is located in Vienna’s Hofburg, the winter palace of the Hapsburgs that became infamous for a speech given by Adolf Hitler from one of its balconies after the Anschluss (forced unification of Germany and Austria) in 1938.
Nepal’s traditional carvings and paintings by anonymous masters that adorn temples and monuments have been worshipped over the centuries, and are still regarded as embodiments of the divine. However, they came to be regarded as ‘art’ after being stolen and exhibited in museums in Europe and America, and were detached from their original spiritual value.
The contemporary Nepali art on exhibit here is defined not by its style, but by paintings, sculptures and installations that were created in the past 50 years, with diverse themes ranging from devotional, social commentary, abstract and modern.
Most of the artists have shunned ‘Western’ techniques, and gone global to develop a unique grammar of their own. Says Schicklgruber: “Modernism had Paris, London and New York as its traditional centres of art. In the postmodernist age other cities have joined this exclusive club. One of them is Kathmandu.”
Read also: <a href="https://www.nepalitimes.com/banner/new-newa-art/">New Newa art</a>, Sewa Bhattarai
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Before going to Vienna, Nepal Art Now was <a href="https://www.nepalitimes.com/banner/nepal-art-now-in-vienna/" target="_blank">pre-exhibited</a> at the Nepal Art Council in Kathmandu in December 2018. Most of the works on display are different from both traditional Nepali art and western postmodernism. You can see influences of Picasso, Matisse and Warhol, but almost as parody. Mona Lisa also appears in Manuj Babu Mishra’s famous ‘selfie portrait’.
Manish Harijan’s audacious renditions of deities duelling with modern cartoon characters are a critique of the commercialisation of religion, and got him into hot water with fundamentalists in 2012. Asha Dangol’s theme deals with disasters like earthquakes and environmental degradation.
One could say that Nepali artists are not influenced by the ‘West’ but by ‘trans-continentalism’, fusing Nepali religious and cultural visual metaphors with modern techniques giving our vernacular a new spin – turning the local into global.
Nepal Art Now
Open daily except Wednesdays
10AM – 6PM
Adults €12
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<h2>Maithil folk art now</h2>
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The mezzanine floor of the Nepal Art Now exhibition at the Weltmuseum in Vienna is devoted to Maithil art from the Janakpur Women’s Development Centre. The separate exhibit proves that contemporary Nepali art needs to look beyond Kathmandu Valley. In the 30 years since the establishment of the Centre, women painters in Mahottari have developed as individual artists, and used traditional techniques and styles to experiment with new expressions. The exhibit includes self-portraits of these ight artists, along with photos and their life stories in their own words: Anuraghi Jha, Remani Mandal, Rebti Mandal, Suhagbati Saha, Madhumala Mala, Manjula Thakur, Sailo Yadav, Sudhira Karna, Komal Purbe, Rajkumari Mandal, Nirmala Ram, Renu Yadav, Pano Das and Indrakala Nidhi. Their paintings are arranged by theme from traditional imagery to depictions of planes, motorcycles, radios, irons and sewing machines. The paintings are fresh, original, and give the artists of Maithil the recognition they are long due. Curated by Claire Burkert.
Read also: <a href="https://www.nepalitimes.com/review/mithila-art-with-a-message/">Mithila art with a message</a>, Prakriti Kanel
<h2>The Chitrakars of Kathmandu</h2>
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Ever since <a href="https://www.nepalitimes.com/here-now/the-life-and-times-of-arniko/">Arniko travelled to the court of Kublai Khan</a> in the 14th century, Nepali artists have ventured abroad, and picked up new techniques. <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/pencilling-in-kathmandu-rajman-singh-chitrakar,3379" target="_blank">Raj Man Chitrakar</a> did sketches and watercolours with British resident and naturalist <a href="http://archive.nepalitimes.com/news.php?id=3246#.XLbXFIkza70" target="_blank">Brian Houghton Hodgson</a> in the mid-19th century and <a href="http://archive.nepalitimes.com/news.php?id=5358#.XLbXQ4kza70" target="_blank">Bhaju Man Chitrakar</a> accompanied <a href="https://www.nepalitimes.com/review/the-rest-is-history-for-john-whelpton/" target="_blank">Jang Bahadur</a> to Victorian England in 1850. It was <a href="http://archive.nepalitimes.com/news.php?id=2051#.XLbX2Ykza70" target="_blank">Dirgha Man Chitrakar</a> who travelled to England with <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/the-rana-reign-a-recap-of-history,3751" target="_blank">Chandra Shumsher Rana</a> in 1908, and there is a long line of Newa artists including <a href="http://archive.nepalitimes.com/news.php?id=2051#.XLbX2Ykza70" target="_blank">Tej B Chitrakar</a> right down to <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank">Lok Chitrakar</a> in the present day, whose <a href="http://archive.nepalitimes.com/news.php?id=11339#.XLbYj4kza71" target="_blank">pauba</a> of Vasudhara is among the exhibits in Vienna.
Coinciding with the Nepal Art Now exhibition was <a href="https://www.dieangewandte.at/en/news/exhibitions/detail?artikel_id=1551192322335" target="_blank">Preserving a Legacy</a>, an exhibition of photographs by <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Illustrated-history-of-chitrakars-nepal,3655" target="_blank">four generations of Chitrakars</a> at the <a href="https://www.dieangewandte.at/en" target="_blank">University of Applied Arts</a> in Vienna. The exhibition, which ended on 12 April, included prints by Dirgha Man Chitrakar, Ganesh Man Chitrakar, Kiran Man Chitrakar and Swaraj Man Chitrakar.
Read also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/Illustrated-history-of-chitrakars-nepal,3655">An illustrated history of the Chitrakars</a>, &nbsp;Sahina Shrestha

Kunda Dixit

Nepali Art going places

<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636936eb9c7e80680e03fe07jpeg.jpg" alt="" width="1500" height="1000"/><figcaption>Paintings of the Nepal Art Now Exhibition are in pre-display at Nepal Art Council for the next two weeks before being taken to Welt Museum in Vienna including this triptych by Sunil Sigdel. Photos: NEPAL ART COUNCIL</figcaption></figure>The <a href="https://www.weltmuseumwien.at/en/" target="_blank" rel="noopener">Weltmuseum Wien,</a> one of the most renowned ethnographic museums in the world, is organising a first-of-its kind exhibition to showcase the best works of Nepali contemporary and traditional art to a worldwide audience.Weltmuseum is collaborating with the Nepal Art Council, a national institution founded in 1962 to promote the arts and artists in Nepal, is the home-country partner and collaborator for this project.The Nepal Art Now Exhibition is scheduled for 11 April–05 November 2019 in Vienna, the capital of the Austro-Hungarian Empire and home to the great Hapsburg connoisseurs of the arts.Read also: <a href="https://www.nepalitimes.com/banner/artivists-at-the-bank/" target="_blank" rel="noopener">Artivists at the Bank</a>, Kanak Mani Dixit<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636936ee9c7e80680e03fe08jpeg.jpg" alt="" width="1500" height="1125">This exhibition will include 100 art works by 37 Nepali artists and will be the first major exhibition of Nepali art outside Nepal. The selection has been carefully curated by Christian Shicklgruber, Director of the Weltmuseum in Vienna and assisted by Nepal Art Council. It will be showcased at Welt Museum, which used to be the Hofburg Imperial Palace.The project was conceived in 2016, by the <a href="https://archive.nepalitimes.com/regular-columns/On-the-way-up/complete-projects-of-Dina-Bangdel,977" target="_blank" rel="noopener">late Dina Bangdel</a>, and was co-curated by Swosti Rajbhandari Kayastha from the Nepal Art Council Council. The project was coordinated by Sagar SJB Rana, Vice-President of the Council.“The exhibition will include original art works by the premier artists dating from the 1950s, the senior and the young emerging artists of today will compliment and enrich the collection,” Rana said.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636936f29c7e80680e03fe09jpeg.jpg" alt="" width="1500" height="1125">Some of the art were commissioned especially for the Vienna exhibition, while others were borrowed from collectors and the artists directly. The art works are embedded in the culture and traditions of Nepal but also discuss and probe into current international issues and social concerns, giving them a global relevance.Art historians emphasise the overriding influence of the art of the European masters in the evolution of contemporary art in Asia. The exhibition will demonstrate this cultural cross-pollination and and serve to highlight Nepali talent that builds on the country’s <a href="https://www.nepalitimes.com/banner/the-craft-of-art/" target="_blank" rel="noopener">traditional art-forms fused to modern influences and techniques</a>. The curators say that the works of Nepali artists underline the coming of age of Asian contemporary art that now compares well with the best works in the West.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107171148/636936f59c7e80680e03fe0ajpeg.jpg" alt="" width="1500" height="1125">While art works will dominate the exhibition, some outstanding sculptures and a few representative pieces of traditional metal, wooden and stone art will also be on display in Vienna to demonstrate and inform the international art community and visitors that these genre of art forms occupy equally important and vibrant space in the art of Nepal.A pre-show exhibition will be held at the Nepal Art Council 13-21 December before the pieces are flown to Vienna.Nepal Art Now Pre-ExhibitionNepal Art CouncilBaber Mahal13-21 December

Nepal Art Now in Vienna

Exhibition showcases contemporary Nepali Thangka and Paubha painters <figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101152/6368d62d9c7e80680e03146bjpeg.jpg" alt="" width="1400" height="930"/><figcaption>Muna Photos: Michael Gordon</figcaption></figure>Walk into most <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">Paubha</a> or Thangka shops in Thamel or Durbar Marg, and you will probably hear a story about Tibetan monks grinding stone pigments high in the Himalaya. ‘Exotic’ spirituality has become as much of a brand as Iphones used to Instagram it, but in reality most of these paintings are produced by Tamangs, Gurungs, and Newars using inexpensive poster colors in warehouses around Boudha and Bhaktapur.The painting factories may not seem ‘authentic’, but for the artist it puts food on the table. The demands of economic survival and the need for cultural preservation create new terms of authenticity for paubha and thangka.Thangka and paubha were originally ritual objects for Vajrayana Buddhists. Many would like to separate what is sacred and what is sold, but this is a false distinction. The paintings always involved financial transactions.However, as secular art collectors and tourists buy more of them, profit drives commodification.Tularam Lama has been painting for over 25 years, yet he is still at the mercy of gallery dealers who do not share their profits with artists.“We are compelled to sell cheap,” says Lama, who founded the Nepal Association of Thangka Artists. He still strives to maintain artistic integrity, teaching Tamang students to paint with inexpensive pigments as well as to understand the tradition's cultural heritage.Some painters use the market to build connections. Bhim Thapa, manager of Tara Thangka Center in Thamel, donates 25% of his sales to his community in Sindhupalchok. Prior to the earthquake, Thapa’s sales supported orphan children and women’s education. Today he focuses on basic necessities like blankets and food. "Thangka is not about perfect iconography, says Thapa, “to help is my dharma.”At the other end of the spectrum, internationally renowned <a href="http://archive.nepalitimes.com/blogs/thebrief/2014/10/05/devoted-to-painting/" target="_blank" rel="noopener">Lok Chitrakar</a> paints with traditional mineral colors and works with scholastic rigour. He will be the first to gently remind you that paubha and thangka are not the same thing.Paubha was developed by the Newars of Kathmandu Valley in the 7th century. Nepali Princess Bhrikuti is said to have taken some of the images with her when she introduced Buddhism to Tibet 1,300 years ago. Over centuries, Tibetans developed their own stylistic code known as thangka. After the exile of the Dalai Lama in 1959, Tibet and its people gained increasing global popularity. Today, many tourists flock to Nepal as a surrogate for Tibet, hoping to find the monasteries (and thangkas) they saw in TinTin in Tibet and National Geographic documentaries.But what they find may defy expectations: Lok Chitrakar’s use of Hindu gods like Ganesh as icons of Newari Buddhism is not just an artistic choice, but a testimony to Nepal’s unique religious coexistence.<img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6309c7e80680e03146cjpeg.jpg" alt="" width="500" height="889">For many, however, maintaining these traditions is oppressive. Historically, thangka and paubha were made by men, but today the field is changing thanks to women artists like Muna Moktan. For her thangka means not just employment but also empowerment. She supports her family and a school of aspiring Tamang artists (mostly girls) with her paintings.“Women need to find a way to live on their own means, and I found it through thangka,” says Moktan.Read Also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Buzz-the-art,671" target="_blank" rel="noopener">The art of gods</a>, Tsering Dolker GurungSonam Dolma guides (rather than ‘teaches’) students in ritual pursuit of perfection.Many painting production centers now use transparent plastic overlays to rapidly reproduce outlines. Sonam’s students at the Tsering Art school use black wooden boards thinly coated with ghee and dusted with white chalk- to repeatedly draw until outlies are memorised, “by hand, mind, and heart.” The painters begin and end each day with prayer, to remember the true purpose of their craft.One of Sonam’s top students, Karma Rinchhen Gurung, paints to strengthen his practice as a Buddhist monk. At 15, he entered Samten Ling Monastery, and like his monastic vows, his painting brings him freedom through discipline. He considers his practice meditation, focusing his mind and brush on a single point. People often ask if he paints to make money. He himself wonders: “Am I doing this for dharma or for economic reasons?” Many students at Tsering Art School, including monks, paint for private dealers to afford living in Kathmandu.Read Also: <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/Illustrated-history-of-chitrakars-nepal,3655" target="_blank" rel="noopener">An illustrated history of the Chitrakars</a>,  Sahina Shrestha<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107101156/6368d6329c7e80680e03146djpeg.jpg" alt="" width="1500" height="986"><figcaption> </figcaption></figure>The foreign interest in thangka and paubha has also encouraged artistic individuality. <a href="http://archive.nepalitimes.com/news.php?id=3915#.WvP2AH_BXIU" target="_blank" rel="noopener">Tenzin Norbu</a> comes from a 400 year old lineage of thangka painters.Each new generation <a href="http://archive.nepalitimes.com/article/Nepali-Times-Buzz/The-world-beyond-thangkas,3139" target="_blank" rel="noopener">broke away from the stylistic trends</a> of their predecessors. Norbu now illustrates modern Dolpo life and has shown around the world from the Rubin Museum in New York to Luxembourg Gardens in Paris. His ancestors never signed their paintings, believing in the collective accumulation of merit. Norbu now champions his distinct style as an emblem of personal entrepreneurship.For some, the craft is a way of maintaining cultural and spiritual lineage. For others, redefining not only what is painted, but who gets to paint affirms the rapid democratisation of the art from. To all artists, the paintings are a means of sacred survival, providing both sanctuary and subsistence.Sacred Survival, an exhibition of seven contemporary thangka and paubha artists 11 to 21 May, Siddhartha Art Gallery, Baber Mahal Curated by Michael Gordon.

Sacred survival

After a week of violent and destructive protests, Nepal’s President Ram Chandra Poudel on Friday appointed <a href="https://archive.nepalitimes.com/regular-columns/Legalese/justice-in-chief,804">former Chief Justice Sushila Karki</a> as a caretaker Prime Minister to lead an interim citizens' government.&nbsp; Poudel had been in <a href="https://nepalitimes.com/news/what-next-nepal">closed-door discussions since Thursday</a> with youth members who spearheaded the protests, constitutional experts, the House Speaker, and the Army Chief. There was a consensus on the choice of Karki as candidate for interim prime minister, but her swearing-in was stalled due to a disagreement about Constitutional processes for her appointment.&nbsp; Youth delegates and Karki demanded that Parliament be dissolved before the appointment of the caretaker prime minister, while President Poudel had been arguing that Parliament would be automatically dissolved once the new council of ministers announced elections. Representing the GenZ movement, <a href="https://nepalitimes.com/here-now/who-or-what-is-hami-nepal">Sudan Gurung</a> (pictured, below) is said to have insisted that dissolution of Parliament first was non-negotiable because he did not trust the political parties. He is said to have added that he would call his supporters out into the streets, and the President relented. The military’s warning earlier that an emergency would be declared if there was no agreement tonight clinched it.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025091216098_cdd409c5824b578a04f05a43280e3f475d92bf7123d3a4565b4d720768fcc1b3.jpg" data-media-id="editor_3" data-image-id="2025091216098_cdd409c5824b578a04f05a43280e3f475d92bf7123d3a4565b4d720768fcc1b3" data-rendition-name="original" width="1080" height="600" loading="lazy" alt="Sudan Gurung"> <figcaption>Sudan Gurung of Hami Nepali during negotiations.</figcaption> </figure>  With this, Karki becomes Nepal’s first female prime minister, exactly a decade after she became the <a href="https://archive.nepalitimes.com/article/interview/a-woman-is-as-capable-sushila-karki,3375">country’s first female chief justice in 2016</a>.&nbsp; Nepalis, still shocked by the <a href="https://nepalitimes.com/news/nepal-s-8-september-massacre">death and destruction of the past week</a>, heaved a sigh of relief at the announcement, which was greeted as a victory of youth power for political reform led by the GenZ movement. Its initial anti-corruption protest on 8-9 September <a href="https://nepalitimes.com/news/kathmandu-burns-despite-pm-resignation">spiralled out of control into violence and arson</a> nationwide that claimed at least 51 lives. Several other candidates were floated for the caretaker prime minister’s post. Kathmandu Mayor Balen Shah and former head of the electricity utility Kulman Ghising were being considered, but both declined possibly because they want to contest the next national elections. Given her experience in the judiciary and zero tolerance for corruption, Karki was the favourite of various groups within the GenZ campaign.&nbsp; The site of the negotiations moved to the official residence of the president in Shital Niwas from the Nepal Army Headquarters on Thursday. The Army had come under criticism on social media and from civil society for detaining the President and not letting him speak or be a part of the negotiation.&nbsp; This fuelled public perception that the military had a soft spot for a return of the monarchy. There were widespread rumours on Thursday that king Gyanendra, who was ousted after the abolition of the monarchy in 2008, was trying to stage a comeback by piggybacking on the agitation. Writing on X, senior journalist Kishore Nepal revealed that the Chief of Army Staff Ashokraj Sigdel had allegedly asked Poudel to step aside and pave the way for the military to negotiate, to which the President is said to have replied: “I will not resign. Kill me instead and blame it on the protesters. Then you can do whatever you like.” Live broadcast of swearing in of Sushila Karki:&nbsp; <div class="embed-block"><iframe width="560" height="315" src="https://www.youtube.com/embed/53go4OxuOa0?si=Zd89QGIAX8-7Bm75" title="YouTube video player" frameborder="0" allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" referrerpolicy="strict-origin-when-cross-origin" allowfullscreen></iframe></div>  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025091219094_41b0f97a5925ab6969e1413636bf073ae43262893a55d9c177cb1312dea52f0d.jpg" data-media-id="editor_8" data-image-id="2025091219094_41b0f97a5925ab6969e1413636bf073ae43262893a55d9c177cb1312dea52f0d" data-rendition-name="original" width="1280" height="851" loading="lazy" alt="Sushila Karki swearing in"> <figcaption>President ram Chandra Poudel swearing in Sushila Karki as the 42nd Prime Minister of Nepal.</figcaption> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025091303098_8f2b6f98898c4cd73c271caa51b8e29d679a7385c249380aeb96d7cc2c3f6dba.png" data-media-id="editor_9" data-image-id="2025091303098_8f2b6f98898c4cd73c271caa51b8e29d679a7385c249380aeb96d7cc2c3f6dba" data-rendition-name="original" width="1480" height="924" loading="lazy" alt="Sushila Karki PM"> <figcaption>GenZ representatives with new Prime Minister Sushila Karki after her swearing in </figcaption> </figure>  COURAGE AND INTEGRITY Sushila Karki served as the chief justice between 11 July 2016 to 6 June 2017, and has been known for her frugal ways. She was a firebrand judge unafraid to ruffle powerful feathers, and as chief justice was behind ruling to impeach for abuse of office a powerful head of Nepal’s anti-graft body in 2016. She wrote that he had ‘<a href="https://archive.nepalitimes.com/regular-columns/Legalese/the-end-of-karkistocracy,827">neither the moral character nor qualifications for the post</a>’. Even before she became Chief Justice, Karki was one of the two judges on the bench that convicted the sitting Minister for Information and Communication, Jaya Prakash Gupta, of corruption in 2012. Then in 2016, a bench including Karki ruled against granting amnesty to former Maoist lawmaker and convicted murderer Bal Krishna Dhungel. Karki was born on 7 June 1952 in Biratnagar. She completed her undergraduate studies at Mahendra Morang College in 1972 before obtaining a postgraduate degree in political science from Banaras Hindu University in India three years later. This was followed by a Bachelor's in Law in 1978 from Tribhuvan University, and she started her law career as an advocate a year later. In 1985, Karki worked as a teacher at Mahendra Multiple Campus in Dharan, and was jailed for participating in the 1990 People’s Movement to overthrow the Panchayat absolute monarchy. She became a senior Advocate at the Nepal Bar Association in 2008 and was appointed an Ad-Hoc Justice at the Supreme Court in January 2009.&nbsp; On Thursday, there were supporters for other candidates for the post sloganeering against Karki’s nomination outside the Army Headquarters. Some on social media were also skeptical of her connection to the Nepali Congress (NC) party. Growing up in Biratnagar Karki was close to the family of B P Koirala, Nepal’s first elected prime minister in 1960. Her husband Durga Subedi was part of a group of underground Congress activists who hijacked a Royal Nepal Airlines plane in 1973, flying it to India to snatch cash belonging to Nepal Rastra Bank in the cargo hold.&nbsp; The money was used for the party’s pro-democracy campaign.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025091216098_1c030e7c42809a742e8082bff9663cec00b721eb48481dd40d4f632eaf44480e.jpg" data-media-id="editor_11" data-image-id="2025091216098_1c030e7c42809a742e8082bff9663cec00b721eb48481dd40d4f632eaf44480e" data-rendition-name="original" width="1838" height="1220" loading="lazy" alt="Sushila Karki"> <figcaption>Photo: SHAHIDUL ALAM</figcaption> </figure>  Karki has no love lost for the political establishment. In April 2017, the governing coalition under Maoist Prime Minister Pushpa Kamal Dahal <a href="https://archive.nepalitimes.com/article/editorial/lady-justice-sushila-karki,3693">submitted an impeachment motion against her</a> after the Supreme Court overturned his decision to install a favoured police chief, violating succession based on seniority. It was a political move backed by Dahal’s coalition partner Sher Bahadur Deuba of the NC who was waiting to become prime minister for the 4th time. CHALLENGES AHEAD With Karki now in charge of the interim government, she has the daunting task of forming a council of ministers made up of amorphous and disparate groups from the GenZ, technocrats, and current politicians. Karki has said she will not prevent members of her cabinet from contesting elections, which means those with electoral aspirations like Kulman Ghising, Balen Shah and Sumana Shrestha could be asked to join. Karki has her work cut out as she has to get her team members to pull in the same direction to hold free and fair elections. She also has to make sure she has the support of the military without giving the generals too much say, while also smartly maneuvering Nepal’s precarious geopolitical ties with its giant neighbours, China and India. But most of all, the new prime minister must lay the foundations to not just physically rebuild the judiciary, executive and legislature but also ensure that elections will produce a more accountable and efficient government. Read also: <a href="https://nepalitimes.com/editorial/trial-by-fire">Trial By Fire</a>, Editorial

Madam Prime Minister of Nepal

As arson and violence swept Nepal’s capital, Prime Minister K P Oli resigned on Tuesday. However, this did not stop angry protesters from setting fire to the Parliament building, homes of ministers, hotels and other property. Singha Darbar is also in flames. Meanwhile, former Prime Minister Sher Bahadur Deuba and his wife, Foreign Minister Arzu Rana Deuba were also attacked in their house. As protests spread, Police withdrew from guarding official buildings, and thousands of protesters entered the federal government secretariat at Singha Darbar, ransacking and setting fire to buildings.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250909120916_a86227e5556356134565053699ed9599f8b268d0c22815fa94410ffac52a49fa.jpg" data-media-id="editor_0" data-image-id="20250909120916_a86227e5556356134565053699ed9599f8b268d0c22815fa94410ffac52a49fa" data-rendition-name="original" width="1440" height="1042" loading="lazy" alt="de-escalation"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250909120916_995f368b8c372bf2f99b6a9c25c2816e941413b3c19d0f94458c07604391b039.jpg" data-media-id="editor_1" data-image-id="20250909120916_995f368b8c372bf2f99b6a9c25c2816e941413b3c19d0f94458c07604391b039" data-rendition-name="original" width="1440" height="1042" loading="lazy" alt="Kathmandu protests"> </figure>  Kathmandu Valley was shrouded in smoke under heavy monsoon clouds on Tuesday afternoon with an acrid smell covering the capital. The minister’s quarters in Bhaisepati were set on fire, the convention centre in Godavari, the Hilton Hotel and Chhaya Centre in Thamel, and the headquarters of all three main parties were also burning.&nbsp; The widespread arson was sparked by the <a href="https://nepalitimes.com/news/nepal-s-8-september-massacre">killing of at least 19 young protesters</a> as they tried to storm Parliament on Monday. A peaceful rally by youth against corruption and nepotism by Nepal’s GenZ movement in Kathmandu escalated after the killings. With the prime minister out of the picture, the government not visible and the security forces in retreat, protesters have had the run of the three cities of Kathmandu Valley.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250909120916_207c3c25f8aa9bd0934b8c98ccee1221e3a062815cfcb1e211deddb4dccd6511.jpg" data-media-id="editor_3" data-image-id="20250909120916_207c3c25f8aa9bd0934b8c98ccee1221e3a062815cfcb1e211deddb4dccd6511" data-rendition-name="original" width="1440" height="1042" loading="lazy" alt="Kathmandu protests"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250909120920_bb2c0f273dc95ef62c58b5f55045c58cbddc4b3b8f619e938be76ef2cda69468.jpg" data-media-id="editor_4" data-image-id="20250909120920_bb2c0f273dc95ef62c58b5f55045c58cbddc4b3b8f619e938be76ef2cda69468" data-rendition-name="original" width="1440" height="1042" loading="lazy" alt="Kathmandu protests"> </figure>  Nepal’s celebrity cricket captain Paras Khadka has appealed to to call off the agitation, saying: “The prime minister you wanted to kneel has already knelt.” Former prime minister and Maoist ideologue Baburam Bhattarai called for the formation of an interim government that included some young student leaders. He called for the agitating groups to find a solution from within the Constitution and a directly elected presidential system. All members of the opposition RPP and the RSP have resigned from Parliament, while party supporters entered the Nakkhu Jail and freed the RSP leader Rabi Lamichhane who had been detained for the past 8 months by the Oli government on charges of embezzlement. Some of the protesters also want an end to federalism, which was also the demand of opposition parties like the RSP and the pro-monarchist RPP. Chief Minister Satish Kumar Singh has stepped down. Many of the protesters have voiced support for Kathmandu Mayor Balen Shah, who &nbsp;posted on Facebook calling on the GenZ protesters to “be ready to talk to the Army … but only after Parliament has been dissolved”. Army Chief Ashok Raj Sigdel and the heads of security agencies have called on the protesting groups to excercise restraint and to find a solution through talks.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250909120912_cd93a827631d987ee52723aa270faf45aa42e4322eb8f06304b28215e3cea28a.jpg" data-media-id="editor_5" data-image-id="20250909120912_cd93a827631d987ee52723aa270faf45aa42e4322eb8f06304b28215e3cea28a" data-rendition-name="original" width="1440" height="1042" loading="lazy" alt="Kathmandu protests"> </figure>  Although the <a href="https://nepalitimes.com/news/nepal-s-gen-z-protest-turns-deadly">protests were sparked by the GenZ campaigners</a>, disparate groups, including monarchists, anti-federalists, disgruntled Maoists, dissidents from the mainstream parties, and others have joined the protests. But one thing that united them is extreme frustration with the mainstream parties and their leaders past and present who have taken turns running and ruining the country.

Kathmandu burns despite PM resignation

Many had never heard of <a href="https://www.haminepal.org/">Hami Nepal</a>, the organisation that is part of the GenZ movement that did not just topple the government this week, but <a href="https://nepalitimes.com/news/what-next-nepal">pushed Nepal’s political system into new, uncharted territory</a>. It was part of an organic coming together of various youth groups fed up with Nepal’s corruption, mismanagement and lack of accountability. Hami Nepal and its GenZ comrades are now part of the negotiations with the Army to form an interim government. Hami Nepal is a non-profit dedicated to supporting communities and individuals in need, guided by its motto ‘For the People, By the People’. Its core mission is to assist individuals and communities in need, particularly during emergencies and crises, with a focus on directly connecting donors with recipients, and delivering aid efficiently and transparently. It was set up after the 2015 earthquake, but was formally registered and gained recognition in 2020 during the Covid-19 pandemic. Hami Nepal is led by 36-year-old civic activist Sudan Gurung, and mentored by renowned ophthalmologist Sanduk Ruit. Gurung started the organisation after he lost his own son in the 2015 earthquake, and now has over hundreds of thousands of members, growing by the hour.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250911090920_34e57abe26d5b243a6c2d0c01215d2e7b55c7b36a3c13b9f82d421b9588482b9.jpg" data-media-id="editor_2" data-image-id="20250911090920_34e57abe26d5b243a6c2d0c01215d2e7b55c7b36a3c13b9f82d421b9588482b9" data-rendition-name="original" width="707" height="647" loading="lazy" alt="Who, or what, is Hami Nepal?"> </figure>  Leading up to the events this week, it played a central role in guiding the demonstrations, using its Instagram and Discord platforms to circulate protest information and share guidelines. Other GenZ groups used their own WhatsApp groups and other fora.&nbsp; Among the 20 or so volunteers is Ronesh Pradhan, who spoke to <a href="https://nepalitimes.com/news/nepal-s-gen-z-protest-turns-deadly">Nepali Times on 8 September </a>morning during the GenZ rally, before the violence escalated.&nbsp; “The voices of young people matter. We can’t keep being ruled by the same old men,” Pradhan said. “Our generation is the future and if there are older leaders in government, they need to be competent and accountable. We are ready to lead this country forward.” Hami Nepal’s earliest visible campaigns include donating more than 400 blankets to Bir Hospital’s Covid unit in 2022, creating a plasma and oxygen bank during the pandemic, and distributing school jackets to children in rural districts. More recently, it mounted a relief effort in response to the 2023 Jajarkot earthquake, reaching over 13,000 families with shelter, food, and medical support. The organisation was also associated with the two-month ‘Save Ghopa’ campaign, demanding effective and smooth administration of the BPKIHS (B P Koirala Institute of Health Sciences) in Dharan. The organisation was also actively engaged in providing rescue and relief during the Kagbeni and Sindhupalchok floods this year. It even sent aid to Turkey after its 2023 earthquake. After the Kavre floods last year, Hami Nepal donated solar lights. Funding for Hami Nepal comes directly from public donations, with a policy of channeling 100% of received funds for aid distribution. Volunteers self-finance administrative costs, and the group publishes detailed expenditure figures, regularly sharing updates and transparency reports through their social media and website which it launched at its Annual General Meeting in Bhaktapur last year.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250911090920_cd40c472bd7e06cc038a2d77a431cba777b6f53e4374a0216c9af2c4feb56c88.jpg" data-media-id="editor_4" data-image-id="20250911090920_cd40c472bd7e06cc038a2d77a431cba777b6f53e4374a0216c9af2c4feb56c88" data-rendition-name="original" width="1080" height="719" loading="lazy" alt="Who, or what, is Hami Nepal?"> </figure>  Following the death of Nepali student Prakriti Lamsal at KIIT University in India earlier this year, Hami Nepal advocated for justice using its Instagram account, raising concern about the safety of Nepali students. Its advocacy platform started with rescue and relief, and Hami Nepal managed to develop a track record for efficient campaigns and transparency in Nepal’s humanitarian landscape. But its work pushed the group to realise that there was a deeper malaise in Nepali society. Its #youthsagainstcorruption campaign on social media platforms gained rapid momentum, and that led to the rally on 8 September. Read also: <a href="https://nepalitimes.com/news/nepal-s-8-september-massacre">Nepal’s 8 September massacre</a>, Shristi Karki The international #Nepobaby trend on TikTok propelled the rally even more, and young Nepalis used it to expose the scions of powerful politicians and politically-connected influencers who were exhibiting their flashy lifestyles on social media while citizens struggled with joblessness, corruption and poor service delivery. Public anger reached a tipping point when the UML-NC coalition led by Prime Minister K P Oli announced a sweeping ban on major social media platforms citing tax revenue, cyber security, and lack of content moderation. Netizens, civil society and media, however, saw it as the latest authoritarian attempt by the government to clamp down on free speech, increase surveillance of citizens and constrict Nepal’s open society. Susmita Khadka, 22, told us at the rally: “Politics is everywhere. Gen Z has the most platforms, and we want a revolution.” Leading up to 8 September, the GenZ movement disseminated information and reassured participants with volunteers readily available for help, medical support, and assistance. It put up a protest support helpline so that students needing assistance could get help. As the protests intensified, leaving at least 20 dead outside Parliament, and forcing Prime Minister K P Oli to resign, Hami Nepal shifted into a mediator role, engaging in talks with officials and seeking GenZ’s views on future leadership.&nbsp; Influencers like TikToker Nimesh Shrestha publicly backed the group, amplifying their voice in ongoing negotiations with the Nepal Army alongside other GenZ representatives. However, as the protests escalated on 9 September, <a href="https://nepalitimes.com/news/kathmandu-burns-despite-pm-resignation">resulting in massive arson and vandalism of public and private property</a>, many GenZ activists disavowed association with the attackers, saying their movement had been infiltrated. The group backtracked, with Gurung saying he was not the leader of the protests.&nbsp; Meanwhile, others accused Hami Nepal for singlehandedly speaking with the Army chief, and said that they did not represent GenZ’s collective voice. Most GenZ supporters backed <a href="https://archive.nepalitimes.com/regular-columns/Legalese/justice-in-chief,804">Former Chief Justice Sushila Karki</a> as their candidate for interim prime minister in an online group. Not everyone in the GenZ movement agrees with that choice, with support for Kathmandu Mayor Balen Shah, even though he has endorsed Karki’s appointment. Dharan Mayor Harka Sampang rushed to Kathmandu on Wednesday to push his own candidacy. Hami Nepal has supported Balen Shah to lead the country for the next five years, not just during the interim period, and have called on the public to share their posts supporting Shah to amplify the message. With the old guard gone, there is a power vacuum with multiple actors with competing interests to fill it. GenZ’s youth-led activism has brought new energy for political reform, but its real test begins now — whether it can unite Hami Nepal and other sections to negotiate with the Nepal Army.&nbsp;

Who, or what, is Hami Nepal?

A rally organised by young Nepalis across the country against corruption, impunity and restrictions on freedom of expression on Monday turned into one of the deadliest days in the country's recent history. As of Monday evening, the death toll from the protest had reached 19, with 17 killed in Kathmandu and two in Itahari. More than 350 people were injured. Police have arrested more than 40 protesters. Home Minister Ramesh Lekhak of the Nepali Congress resigned, and there have been calls from opposition parties for the entire NC-UML coalition to step down and announce early elections. The protest followed a growing online movement led by young Nepalis exposing the ostentatious display of privilege by the offspring and relatives of politicians and other public figures, which had sparked discourse about nepotism, corruption and the wealth gap in Nepal. Confronted with joblessness and corruption, Nepali youth looked to the recent street movement in Bangladesh, where a student uprising against quota-based recruitment for government jobs expanded last year and toppled the autocratic Sheikh Hasina government. In Indonesia, public frustration with government apathy boiled over into a national movement last month after it emerged that elected officials and the political elite enjoyed perks while citizens faced a cost of living crisis. In the Philippines, as disaster mitigation-infrastructure projects failed to work, citizens began to question where the funds for such projects were actually going. This prompted social media users to look deeper into the lives of the politically-connected figures who flaunted their lavish lifestyles online. In Nepal public outrage has been building up against nepotism, corruption and impunity in government. Facing unemployment at home, nearly 10% of Nepalis, mostly youth, toil overseas or leave Nepal in search for better lives abroad. Meanwhile, the well-connected posted images online of themselves enjoying holidays abroad paid with the ill-gotten wealth of relatives in high places. Young GenZ Nepalis, frustrated with establishment politicians, had called for an anti-corruption, anti-government movement across the country. This coincided with the Nepal government’s decision on 5 September to ban 26 social media sites for failing to register and pay taxes in Nepal.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20250908120956_53f97cf0de3ddc8d5c823686f56e71981df922d0ecd2989ad842245acdf71aa6.jpg" data-media-id="editor_0" data-image-id="20250908120956_53f97cf0de3ddc8d5c823686f56e71981df922d0ecd2989ad842245acdf71aa6" data-rendition-name="original" width="1600" height="1200" loading="lazy" alt="Gen Z protest"></figure>  Faced with the government's social media blockade, the protests took to the street. The movement was supposed to be apolitical, and focused against corruption. It garnered support from public figures and opposition leaders, some of whom conveniently forgot that they had been in government when the TikTok ban was imposed in Nepal in 2023. On Monday morning, protesters showed up at Maitighar with slogans and placards, many of them college students, even school children. The organisers had called for young Nepalis to join in their uniforms, believing that it would protect them from violence that might occur during the course of the day. By mid-morning, thousands of Nepalis had gathered at the Mandala intersection, playing music and chanting slogans. The mood was almost festive. Shortly after noon, however, a rally that had begun peacefully descended into violence after protesters broke the police barricade in Baneswor to storm Parliament. Police first began firing tear gas and water cannons, and then live ammunition at demonstrators. The Kathmandu district administration is said to have authorised full use of force against protestors who vandalised public property after protestors infiltrated the Parliament grounds.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025090818090_84e4a5bdcf19aa3cbf03831140120c88d9f3fe5a12d47041588fea7409988e67.jpg" data-media-id="editor_1" data-image-id="2025090818090_84e4a5bdcf19aa3cbf03831140120c88d9f3fe5a12d47041588fea7409988e67" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Gen Z protests"><figcaption>Photo: SUDIKSHA TULADHAR</figcaption></figure>  Organisers Hami Nepali had requested demonstrators to go home as the protests turned deadly, saying that those who stormed Parliament were not associated with them, hinting that the rally had been infiltrated by radical groups. But by that time, the demonstration had got too large to contain. In the ensuing violence, hundreds were left injured, including journalists, and 17 dead so far in Kathmandu. Nepal’s leadership and security forces do not seem to have learnt their lessons about managing mass protests after the pro-monarchy demonstrations in March in which two people were killed. The indiscriminate use of force against unarmed Nepalis turned into a massacre. The emergency wards in Kathmandu are filled with those with bullet wounds on their legs, arms and heads. Hospitals have called for blood donations. At the time of publishing, there has been no statement from the Prime Minister, who before the protest on Monday had belittled GenZ youth as being naive, wet behind the ears, and their movement being ‘led by provocateurs’. Oli has presided over a slew of Bills to constrain the press, social media, and civil society, he has silenced and mowed down competitors and critics within his own party. This week, the UML got rid of age and term limits for party chairmanship, effectively clearing the way for 74-year-old Oli to head the party for the foreseeable future. Also feeding into the anger in the GenZ protest was a CCTV clip of a young woman being hit on Saturday at a zebra crossing by the car of a provincial minister in Godavari. The video of the car speeding away without stopping went viral on TikTok, one of few social media platforms still functioning.  <figure><img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025090818090_35799a98e5a7f5f865bb6f94633059d2baa66ec57ea0d396ab020f2f8f912387.jpg" data-media-id="editor_2" data-image-id="2025090818090_35799a98e5a7f5f865bb6f94633059d2baa66ec57ea0d396ab020f2f8f912387" data-rendition-name="original" width="854" height="641" loading="lazy" alt="Gen Z protest"><figcaption>Photo: SANGYA LAMSAL</figcaption></figure>  Oli fuelled the outrage by dismissing the victim’s injury as “minor”, and accusing political rivals of magnifying the issue. Opposition leaders and members of civil society have called for the government to resign en masse, and the fourth-largest party in Parliament, the RSP, has called for a snap election. As per his agreement with the NC, Oli is supposed to hand over power early next year to its leader ’s Sher Bahadur Deuba. Some analysts have suggested that if Oli did the handover now, he could help defuse the situation and earn brownie points ahead of the 2027 elections. But such political calculation would belittle the tragedy that has befallen the families of the 19 who were killed on Monday. Nepal’s political leadership cannot think that just reshuffling its three-card prime ministerial deck will quell public anger now. Nepal’s next generation wants to uproot the rot of corruption from politics, governance, and the bureaucracy. It wants elected leaders to deliver services, provide jobs and raise living standards. Monday’s massacre has only made them angrier, and bolstered their resolve to lead from the front.

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