Art Trail GLF 2025: Discovering South Asian voices in contemporary art

Photographers Nishan Perera and Anushka Wijesinha at their exhibition at The Heritage Hotel, Galle Fort 

By Anouk Devotta

The Galle Literary Festival 2025 (GLF) isn’t just about words—it is also a feast for the eyes with ‘Art Trail,’ which was added to the festival program just two years ago. The Art Trail has become one of GLF’s sub-brands, bringing another dimension to Sri Lanka’s most celebrated literary event, and enhancing its reputation as a catalyst of soft power.

As festival goers rushed between book readings, literary workshops and panel discussions, another kind of audience quietly followed a different path—one that led them through a striking collection of contemporary art. Works by Ali Kazim (Pakistan), Tayeba Begum Lipi (Bangladesh), and Anoli Perera (Sri Lanka), artists whose creations grace the Tate, Qatar Museums, and Guggenheim, took centre stage. 

Art Trail 2025, organised by ARTRA magazine, was also the platform to launch the magazine’s first-ever South Asian Contemporary Art Edition, celebrating the region’s most influential artistic voices. Azara Jaleel, Founder and Editor-in-Chief of ARTRA, speaking at the launch event said, “The South Asian edition we launched here at Art Trail today, is ARTRA’s first visual magazine exploring the works of three seminal South Asian Contemporary Artists. Published in 2021, the visual editions so far featured a curated collection of works of historical significance by pivotal Sri Lankan artists from the Modernist, Post-Modernist and Contemporary Periods from both private and public collections of significance. Therefore, this South Asian edition not only marks a monumental milestone in our 13th year in publishing but it is also a key undertaking towards broadening the scope of Sri Lankan Modern and Contemporary Art within a global context while widening the reach and relevance of ARTRA Magazine to include an international audience.”

Artists like Koralegedara Pushpakumara, Kesara Ratnavibushana, and French Cowboy showcased their unique works, while political cartoonist Gihan de Chickera’s satirical drawings had their own powerful impact. ARTRA’s rising stars, Rajani Serasinghe and Kopalapillai Mathiskumar, took visitors on a journey through their captivating mosaics, sculptures, and mixed media pieces, exploring themes of rapture and ruin. The stunning photography of Anushka Wijesinha, Nishan Perera, and the Streets of Colombo Collective captured the beauty and complexity of both nature and urban life, bringing to life the vibrant spirit of Art Trail by ARTRA 2025.

With each brushstroke and mosaic, the event expanded the festival’s creative horizons, proving that at GLF, storytelling is not limited to books but lives through canvas, in installations, and the powerful language of visual art. Ali Kazim, prominent contemporary artist and Assistant Professor at the National College of Arts, Lahore, in conversation with the Daily FT, said: “I see great potential in these platforms because they create space for conversation, idea-sharing, and connection with like-minded individuals. Events like the Galle Literary Festival go beyond just art—they spark discussions on politics, borders, trade, poetry, and visual arts. These conversations are essential because, over time, they drive meaningful change in society and help align communities through the power of artistic and intellectual exchange.”

Rajani Serasinghe, self-taught mosaic artist and one of ARTRA’s Emerging talents who is amongst the magazine’s Best of 2024 said, “I think the Galle Literary Festival is a great platform for artists, as it has traditionally focused on books, literature, and authors. I’m really glad they started inviting artists last year, and I’m honoured to be part of the festival this year. It’s important because so many visitors from both Sri Lanka and abroad are exposed to the diverse art that Sri Lanka has to offer—not just my work, but the work of all artists.”

The lively fusion of art and literature at the Galle Literary Festival marks the beginning of a larger movement for Sri Lankan contemporary art. While the festival showcased the country’s creative talent to local and international audiences, the impact of Art Trail extends beyond the walls of Galle Fort. 

Jagath Weerasinghe, a pivotal Sri Lankan contemporary artist and archaeologist commenting on the literary festival being held in a world heritage city like Galle said, “All these events make it more accessible to people to come to understand what heritage can do. Now heritage is not something that dwells in the past. It, like everything else right now, is right here with us. What this means is heritage buildings, heritage entities has to be consumed by living people at a particular point.” He says events like the Galle Literary Festival and Art Trail allow heritage spaces to be actively consumed by the people of today, transforming them into dynamic cultural hubs. 

The next step is to carry this energy, creativity, and cultural dialogue to cities across the island, bringing new voices and stories into the broader artistic conversation. By embracing regional diversity, Sri Lanka’s artists can ignite a nationwide movement that connects every community.

Bangladeshi contemporary artist, Tayeba Begum Lipi, known for her powerful explorations of female marginality and violence, using unconventional materials like razor blades and safety pins to reimagine everyday objects, told the Daily FT, that contemporary art in South Asia is steadily gaining recognition, despite initial scepticism. “Historically, innovative art movements have faced resistance before being embraced, and the same path is unfolding for contemporary art in the region. Pioneering organisations and initiatives have played key roles in promoting contemporary practices, helping artists gain visibility on international platforms.”

However, she says financial sustainability remains a challenge because contemporary art is yet to have a strong commercial market in South Asia especially with international funding and support becoming increasingly scarce. Many organisations rely on voluntary work and self-funding, but the global interconnectedness of the art world offers some hope, since South Asian artists are gaining recognition beyond their local contexts. Lipi adds, “Indian contemporary artists, for example, have already achieved international acclaim, showing that South Asia is an integral part of the global art movement. As the art landscape continues to evolve, appreciation for contemporary works is expected to grow, although full acceptance may take time.  But there is the perseverance of us artists, and that will no doubt ensure a bright future for contemporary art in the region.”

Azara Jaleel with Jagath Weerasinghe speaking at Koralegedara Pushpakumara's Exhibition at Fort Printers, Galle

'Burdan, 2020' by Artist Mohamed Hathi

Broken Butterfly Wing, 2024 by Artist Rajani Serasinghe exhibited at the GLF Art Trails, Galle Fort

Bangladeshi Contemporary Artist Tayeba Begum Lipi

Koralegedara Pushpakumara with his painting Poles on Saffron Color, 2017 exhibited at Fort Printers, Galle