16th January 2025  Bengaluru, Karnataka, India Truecaller, the leading global communications platform, today announced the appointment of Hemant Arora as Vice President, Global Ad Sales Business. With this strategic addition to its leadership team, Truecaller aims to further strengthen its position in the ads business and double down on its largest revenue stream, redefining its global ad sales strategy.

With over 25 years of expertise in driving high-growth revenue strategies and managing global operations, Hemant has consistently delivered transformative results for top-tier media and technology companies such as TikTok, Times Network, Dainik Bhaskar Group, NDTV Media and Discovery Networks South Asia. In his previous role at TikTok, Hemant was heading global accounts for Europe, APAC and METAP regions.

Expressing his enthusiasm, Hemant Arora, Vice President, Global Ad Sales Business, Truecaller said, “With a global active user base of over 425 million people, Truecaller is uniquely positioned at the intersection of technology, trust, and communications. I am excited to join the team and look forward to driving impactful growth and deepening our partnerships, globally.”

“Hemant’s proven track record of building scalable revenue models and his deep understanding of global markets make him the ideal leader to drive Truecaller’s ad sales strategy,” said Rishit Jhunjhunwala, CEO, Truecaller. “His appointment will further strengthen our vision to revolutionize how brands connect with consumers and unlock the full potential of our platform for advertisers across the globe.”

Truecaller continues to evolve as a trusted global communications platform, leveraging its expansive user base of over 425 million active users worldwide. With Hemant’s leadership, the company aims to expand its ad sales portfolio, deliver cutting-edge solutions, and deepen its footprint in global markets.

16th January 2025  Pune, Maharashtra, India Gold has long been a symbol of tradition, security, and wealth in India. However, many people are unaware that their gold jewellery can also serve as a quick and convenient source of funds during emergencies. Borrowing a gold loan has become one of the fastest and easiest ways to secure cash when required urgently, whether for medical expenses, business capital, or personal needs. Pledging gold offers a way to unlock funds without parting with precious assets.

As the demand for gold loan continues to rise, it is important to understand the various options available and how they work. Let us explore how individuals can leverage their gold with Bajaj Finance.

What is a Gold Loan?

A gold loan is a secured loan in which borrowers pledge gold jewellery as collateral to obtain money. The lender evaluates the purity and weight of the gold to determine its market value. Based on this assessment, a loan is provided, typically up to a certain percentage of the gold’s value, known as the Loan-to-Value (LTV) ratio. Gold loans offer lower interest rates, faster approval, and more flexible repayment options compared to personal loans, while allowing borrowers to retain ownership of their gold once the loan is repaid.

Lenders offer various gold loan options to meet different financial needs. For personal use, gold loans can be used for wedding expenses, education, home renovations, or medical emergencies. For business owners, a gold loan can help secure working capital, purchase equipment, or expand operations by using gold as collateral.

How is the loan amount calculated?

The loan amount a borrower is eligible for depends on the gold rate in different city. Lenders assess the purity and weight of the gold, and the market rate on the day determines its value.

For instance, if the gold rate in Chennai is Rs. 5,850 per gram, and the gold jewellery weighs 50 grams, the eligible loan amount can be calculated as follows, assuming a Loan-to-Value (LTV) ratio of 75%:

• Gold Weight: 50 grams
• Gold Rate in Chennai (per gram): Rs. 5,850
• LTV Ratio: 75%
• Eligible Loan Amount: Rs. 2,19,375

If the gold rate increases, the eligible loan amount also rises.

Why choose Bajaj Finserv Gold Loan?

Bajaj Finserv is known for its customer-centric approach and hassle-free process in providing gold loans. Some of the key benefits of choosing Bajaj Finance Gold Loan include:

• High loan amount: Borrow from ₹ 5,000 up to ₹2 crore based on the value of gold jewellery pledged.
• Competitive interest rates: Enjoy attractive gold loan interest rates that reduce the repayment burden.
• Quick approval and disbursal: Receive funds almost instantly with minimal documentation.
• Free insurance on gold: Bajaj Finance offers complimentary insurance on the pledged gold, ensuring it is safely stored in secure vaults until the loan is repaid.
• Multiple repayment options: Choose a repayment plan that suits borrower’s financial needs, including monthly, bi-monthly, quarterly, half-yearly or annual interest payment options.

How to apply for a Bajaj Finserv Gold Loan

Applying for a Bajaj Finance Gold Loan is simple and straightforward. Follow these steps:

1. Visit the Bajaj Finserv Gold Loan website and click on “Apply” to start the online application.
2. Enter your 10-digit mobile number and click on “Get OTP.”
3. Submit the OTP to verify your identity.
4. Complete your personal details and select the nearest gold loan branch.
5. Download the in-principle loan eligibility letter.

Once the steps are completed, a Bajaj Finance representative will contact you to guide you through the next steps. In just a few simple steps, you will have completed the entire process.

Conclusion

A Bajaj Finserv Gold Loan is an intelligent way to unlock the value of your gold without having to sell it. Whether for personal or business needs, Bajaj Finserv Gold Loan offers a reliable, secure, and flexible solution to meet your financial requirements. Unlock the potential of your gold today with Bajaj Finance!

16th January 2025  Mumbai, Maharashtra, India
The largest wealth transfer in history is underway, and women are positioned at the center of this systemic shift. By 2025, women will control over 50% of global wealth, an estimated $30 trillion—a transformative opportunity to redefine leadership, investing, and economic impact. Encubay, the Shecosystem of change, is pioneering in this movement, catalyzing conversations, actions, and opportunities for women entrepreneurs to lead the charge.

At Davos, Encubay will bring together global leaders, entrepreneurs, and changemakers to address this unprecedented wealth shift through their curated dialogue:

“The Great Financial Shift: A Dialogue on Wealth, Diversity, and Leadership”

Encubay sees the 2025 wealth shift as more than a transfer of assets—it’s a reallocation of power, purpose, and potential. With women driving purpose-driven investments and reimagining financial strategies, this shift presents unparalleled opportunities to advance gender equity, innovation, and sustainable impact.

“This isn’t just about wealth—it’s about creating a legacy of empowered women reshaping industries, driving diversity, and leading the global economy forward,” said Deeksha Ahuja, Founder of Encubay. “Women controlling over 50% of global wealth by 2025, is not just about numbers; it’s about redefining leadership and economic impact.”

“Women are expected to receive $34 trillion by 2030 due to a massive wealth transfer, highlighting the growing financial power of women. They are championing financial independence, purpose-driven investing, and sustainable wealth creation. The 2025 wealth shift will be a historical moment where we will see a significant shift in investment trends,” added Avneet Kohli, Co-founder of Encubay.

“The percentage of female ultra-high-net-worth individuals worldwide rose to 11% in 2023 from just 6.5% in 2010. By recognizing and embracing this wealth shift, we can unlock new opportunities for innovation, collaboration, and growth. This is an opportunity to empower more women and shape a prosperous future for all,” said Archana Jahagirdar, Founder & Managing Partner, Rukam Capital.

Encubay at Davos: Uniting Voices, Driving Audacious Action

In line with the World Economic Forum’s theme, “Audacious Action”, Encubay will facilitate:

Online Awareness Sessions:
The “2025 Wealth Shift: Women Leading the Change” LinkedIn Live Series starting January 14, 2025. The series will feature thought leaders, entrepreneurs, and financial experts sparking dialogue and sharing inspiring stories of women shaping the future of investing.

Panel Discussions:
“The Great Financial Shift: Women, Wealth, and Impact” panel discussion will focus on how women’s growing financial power can redefine investment trends, challenge traditional business models, and foster inclusive economic growth.

Exclusive Events:
Encubay will host Women Investing Soirées across Mumbai, Delhi, and Abu Dhabi in February and March to engage women entrepreneurs, investors, and financial leaders in actionable conversations about wealth management and purpose-driven investing.

The Women’s Wealth Report:

On International Women’s Day, March 2025, Encubay will unveil the Great Financial Women’s Report, featuring insights, trends, and actionable strategies to empower women investors globally.

Global Speakers & Partners

Encubay’s session at Davos will feature an inspiring lineup of women leaders at the Women Inspiring Network Lounge at the Hotel Schatzalp in Davos, including:

• Archana Jahagirdar, Founder & Managing Partner, Rukam Capital
• Aditi Balbir, Co-founder & CEO, EcoRatings
• Sanskriti Thakur, Founder & Chairwoman, Tower Capital
• Cherie Blair, Founder, Cherie Blair Foundation
• Claire Lincoln, Global Head Institutional Investor Relationships, World Gold Council
• Deeksha Ahuja & Avneet Kohli, Founders of Encubay
• Daniella Foster, Global Head, Public Affairs, Market Access & Sustainability, Bayer Consumer Health
• Dhivya O’Connor, CEO, Cherie Blair Foundation for Women
• Isabelle Grosmaitre, Founder, Goodness & Co.
• Kanika Tekriwal, CEO, Jet Set Go

16th January 2025  Mumbai, Maharashtra, India  Progility Technologies Pvt. Ltd, a leading provider of enterprise technology solutions, today announced a major refresh of its corporate identity, including new brand colours and company logo.

With a roster of 1,500 active customers in India and a net promoter score of 100%, the new identity brings a sharper and more modern feel to the company’s visual identity and reflects the high degree of confidence and trust that Progility enjoys in its markets. The primary brand colouring will switch to blue, emphasising trust and security, and the new logo incorporates the words “Trusted Technology.”

This brings the Progility corporate identity into line with the company’s stated aim of being “the most trusted and valued technology innovation partner in its chosen markets.”

Progility Technologies provides a broad portfolio of enterprise technology solutions and services to its corporate and government customer base that include Data Networks, Voice and AV Collaboration Systems, Cybersecurity Solutions, Camera Surveillance Systems and Managed Services.

Announcing the launch, Julian Wheatland, CEO of Progility Technologies said, “We are excited to unveil this new branding and corporate identity which more accurately reflects our customers’ needs and expectations. In a fast paced and ever-changing technology world, now becoming superpowered by AI, our customers need a technology innovation partner who they can trust and rely on. This new brand identity better reflects what we mean to them.”

16th January 2025  New Delhi, Delhi, India Surya Sarees, a renowned name in ethnic wear, celebrated a significant milestone with the grand opening of its new store at Omaxe Chowk on January 12, 2025. With a legacy spanning over four generations, Surya Sarees has long been a trusted destination for timeless elegance and exquisite designs. This expansion brings the brand closer to a wider audience, reinforcing its commitment to blending traditional Indian fashion with modern sensibilities.

A Grand Celebration Unfolds

The opening event was a grand affair that seamlessly combined tradition, culture, and glamour. The festivities began with a ceremonial lamp lighting, symbolizing positivity and prosperity. This ritual marked the start of a new chapter for Surya Sarees. Guests were then treated to a Director’s Talk, where the visionary leader behind the brand Mr. Raghav Mittal, Managing Director of House of Surya, shared insights into its rich history, remarkable journey, and aspirations for the future. The speech highlighted the brand’s dedication to preserving Indian craftsmanship while embracing contemporary trends.

The event’s highlight was the presence of Bollywood diva and style icon, Malaika Arora, who graced the occasion as the special guest. Malaika, a long-time fan of ethnic wear, expressed her admiration for the vibrant energy of Chandni Chowk and praised Surya Sarees for its stunning collection. She also engaged with fans during an exclusive meet-and-greet session, making the event even more memorable.

The event was further honored by the presence of distinguished guests such as Mr. Jatin Goel, Executive Director of Omaxe Limited and Mr. Neeraj Gupta, Founder of House of Surya.

The celebration didn’t end with the formalities. Guests were treated to an array of authentic Chandni Chowk street food, which recreated the area’s renowned culinary culture. The aromas of chaat, parathas, and other local delicacies filled the air, adding to the festive atmosphere. The excitement continued with live music performances, creating an electric ambience that kept the mood lively throughout the day.

Guests also participated in fun activities such as games, quizzes, and surprise giveaways. The lively interactions and sense of community made the event truly special, ensuring that everyone left with unforgettable memories.

A Legacy of Elegance and Craftsmanship

Surya Sarees, also known as the House of Surya, is more than just a fashion destination; it is a cultural institution. Specializing in bridal, couture, and prêt fashion, the brand offers a wide range of sarees, lehengas, and other ethnic garments perfect for weddings, festivals, and special occasions. With a legacy spanning over four generations, Surya Sarees has earned its reputation as a trusted name in Indian ethnic wear.

What sets Surya Sarees apart is its unwavering commitment to high-quality fashion, ensuring a sophisticated and inclusive shopping experience for all customers. The brand’s mission extends beyond offering beautiful garments; it aims to showcase the unparalleled artistry of Indian karigars (craftsmen) and weavers on a global stage. By promoting the incredible craftsmanship of these artisans, Surya Sarees helps elevate their recognition and value in the fashion world.

Why Omaxe Chowk?

The decision to expand to Omaxe Chowk was a strategic move, reflecting Surya Sarees’ desire to make its exquisite designs more accessible to a growing clientele. Omaxe Chowk, located in the heart of Delhi, is a modern retail and cultural hub that combines the old-world charm of Chandni Chowk with the convenience of contemporary shopping. This location offers the perfect blend of tradition and modernity, allowing Surya Sarees to bring the rich heritage of Chandni Chowk to a fresh, contemporary setting. The expansion is not just about opening a new store; it’s about making the legacy of Surya Sarees available to more people, in a space that reflects both the brand’s history and its forward-thinking vision.

Find your next masterpiece

The grand opening of Surya Sarees at Omaxe Chowk was more than just the unveiling of a new store. It was a celebration of tradition, culture, and style. Whether you’re a bride-to-be, a fashion enthusiast, or someone looking to explore the best of Indian ethnic wear, this event was an unmissable occasion. The day was filled with glamour, excitement, and unforgettable moments that will be cherished by everyone who attended.

Surya Sarees continues to be a key player in the Indian fashion landscape, offering timeless elegance and exceptional craftsmanship. The opening at Omaxe Chowk marked a new chapter in the brand’s illustrious journey, bringing the best of Indian ethnic wear to a whole new audience. For those who missed the grand opening, Surya Sarees promises even more exciting experiences and collections in the future.

16th January 2025  Delhi, India  AuthBridge, India’s leading trust and authentication technology company, is unveiling its refreshed brand identity, reflecting a forward-looking positioning of “Trust Simplified.” This evolution signals the company’s ongoing commitment to transforming the trust-building process for businesses, making it faster, simpler, and more secure. Whether for employees, customers, or third-party partners, AuthBridge is dedicated to streamlining the complexities of building trust, enabling businesses to thrive without the hassle.

As a pioneer in identity and verification solutions, AuthBridge, with its new identity, positions itself as more than just a solutions provider. It emerges as a trusted partner, working behind the scenes to empower businesses on their growth journey with precision and care—verifying the right talent, customers, and partners. This new positioning encapsulates the essence of the company’s promise: delivering frictionless, efficient, and secure solutions that simplify the process of building trust in the digital ecosystem.

“With over two decades of expertise, AuthBridge has been at the forefront of enabling businesses to verify, onboard, and build trust with individuals or entities. Our refreshed brand identity reinforces our commitment to providing innovative, scalable solutions that simplify complex trust-building processes, ensuring businesses thrive in a rapidly evolving digital landscape,” said Ajay Trehan, Founder and CEO of AuthBridge.

“Trust Simplified” is a promise that AuthBridge fulfills with reliability and diligence. It empowers business strategies with clear, actionable insights—free from jargon and confusion—delivering exactly the information needed to act with confidence. By seamlessly integrating into workflows, AuthBridge’s solutions simplify change, ensuring smooth operations and enabling businesses to focus on growth, rather than the complexities of verification and risk management related to employee background verification, customer onboarding, and third-party due diligence.

16th January 2025  Delhi NCR, India he rising demand for luxury homes in Delhi-NCR has sparked the search for new ideal locations that offer a blend of convenience, modern amenities, and upscale living. As buyers increasingly seek well-connected and thoughtfully planned neighborhoods, the spotlight shifts toward emerging areas that promise unparalleled value and lifestyle benefits. Amidst this search, Siddharth Vihar in Ghaziabad is rapidly carving a niche as the new address for premium luxury living. With its strategic location and high-end residential developments, Siddharth Vihar is gaining recognition as a promising luxury hotspot in NCR.

Positioned along the NH-24 and seamlessly connected to the Delhi-Meerut Expressway, Siddharth Vihar offers the perfect balance of urban accessibility and tranquil surroundings. One of its most compelling features is exceptional connectivity that ensures seamless access to key NCR cities such as Delhi, Noida, and Greater Noida. Further, the proposed RRTS elevates Siddharth Vihar’s convenience quotient. Starting from Siddharth Vihar in Ghaziabad, the line will extend to Greater Noida West, Alpha One, and Noida International Airport. Once operational, the metro connectivity will drastically improve the city’s accessibility to major hubs, making the area even more attractive to homebuyers seeking efficient public transportation options.

Over the last couple of years, Ghaziabad has seen significant launches in the luxury housing segment. According to a report by PropEquity, between 2019 and September 2024, Ghaziabad witnessed a new supply jump by 14% and a capital appreciation of 139% from Rs. 3691 per sq. ft. to Rs.8823 per sq. ft. This pricing advantage allows homebuyers to access premium luxury residences without the hefty price tags often associated with traditional luxury markets, making Siddharth Vihar an attractive proposition for luxury living. Moreover, when compared to other parts of NCR, Siddharth Vihar is fast catching up with the interest of investors and end-users for luxury homes. Additionally, the upcoming Noida International Airport is set to be a massive boost for real estate demand in surrounding areas. Thus, with the area witnessing rapid appreciation over the past few years, investors can expect substantial capital gains in the future.

Besides, the residential landscape in Siddharth Vihar showcases a blend of modern architecture, sustainable designs, and premium amenities. Developers are focusing on creating world-class homes that offer spacious layouts, contemporary designs, and eco-friendly features. Among the standout developments is Prateek Grand Begonia, the latest offering from the renowned Prateek Group. Recently launched, the project is witnessing heightened interest from buyers and investors. It features thoughtfully curated theme-based design, combining colonial architecture with grand arches, elegant sculptures, and lush green landscapes. Positioned along the NH-24 corridor, this development promises an unmatched lifestyle experience for residents while offering immense potential for long-term appreciation.

Siddharth Vihar is enriched with social infrastructure, offering an excellent mix of educational, healthcare, and recreational facilities. The area is home to reputed schools that cater to families looking for quality education for their children. World-class healthcare facilities are within close reach, ensuring easy access to medical care.

Siddharth Vihar’s rapid transformation into a luxury living hub is driven by exceptional connectivity, well-planned infrastructure, and a surge in luxury housing projects. Due to its strategic positioning and upcoming infrastructure projects, it promises to continue its trajectory of growth, with further appreciation in property values expected. This offers a unique opportunity for investors and homebuyers to secure a foothold in one of NCR’s most sought-after regions for luxury real estate.

17th January 2025 Mumbai, Maharashtra, India  Protinex, India’s leading health nutrition brand from the house of Danone, is thrilled to announce its collaboration with India’s most beloved gameshow, Kaun Banega Crorepati (KBC), hosted by the iconic actor Amitabh Bachchan that airs every Monday to Friday at 9 PM on Sony Entertainment Television. This unique partnership celebrates the perfect synergy of knowledge and health.

As a co-powered partner of KBC 16, Protinex aims to amplify awareness about the critical role of protein in maintaining a healthy lifestyle by integrating itself into the gameshow to promote its message of holistic health. During every audience poll segment, each member of the studio audience will receive an exclusive Protinex hamper as a token of appreciation for their participation. Adding further value to the collaboration, Amitabh Bachchan himself will educate viewers on the importance of protein as a macronutrient and the necessity of choosing trusted supplements to meet daily nutritional requirements.

“At Danone India, we believe in empowering individuals to take charge of their health through informed choices. Our partnership with Kaun Banega Crorepati is a testament to our commitment to spreading awareness about protein’s vital role in everyday nutrition. By associating with a platform as influential as KBC, we aim to inspire millions of viewers to prioritize their health and well-being,” said Sriram Padmanabhan, Marketing Director, Danone India.

Sandeep Mehrotra, Head—Ad Sales, Network Channels, at Sony Pictures Networks India (SPNI) added, “Kaun Banega Crorepati is more than just a show – it’s an institution that brings families together. As an iconic property, it offers brands a unique opportunity to connect with their target audience in a trusted and engaging environment. We’re delighted to partner with Protinex for the first time and craft bespoke solutions that not only meet their business objectives but also seamlessly integrate into the content, creating a holistic and impactful brand experience.”

Further speaking about the association, Shekhar Banerjee, Chief Client Officer, and Office Head – West, North & East, Wavemaker India said, “At Wavemaker, we strive to bring brands closer to audiences in ways that truly matter. This partnership between Protinex and Kaun Banega Crorepati is all about sparking conversations that can inspire healthier choices for millions of viewers. By seamlessly integrating the message of daily protein intake into one of India’s most iconic shows, we are not just amplifying awareness but creating a lasting impact on the way people perceive health and nutrition.”

Protein is a cornerstone of good health, contributing to muscle repair, immunity, and overall energy levels. However, research indicates that India faces a significant protein gap, with many individuals unaware of their daily protein needs. Protinex’s collaboration with KBC is designed to raise awareness towards bridging this gap by combining entertainment with education, leveraging the show’s massive reach and popularity to inspire healthier dietary choices.

Protinex’s association with KBC underscores the shared values of perseverance, growth, and championing excellence. With every episode, this partnership seeks to not only entertain but also equip audiences with the knowledge to make healthier lifestyle choices.

New Delhi, 15th January 2025: Magicbricks, India’s premier property portal, revealed that in Q4 2024 (October–December), 50.9% of listed properties comprised new inventory, including builder floors, under-construction homes, and newly launched independent houses. The remaining 49.1% represented resale properties owned by individuals. This marked a slight shift from Q3 2024, where 48.1% of available properties were new and 51.9% were resale.

The trend varied across metropolitan areas. In Gurugram, new properties constituted 63.1% of listings in Q4 compared to 55.1% in Q3, indicating a notable rise in new supply. Bengaluru, Mumbai, and Chennai similarly saw new homes dominating inventory at approximately 60%.

Conversely, in Noida, where residential searches surged, 65.3% of active listings were resale homes, highlighting attractive returns for homeowners who invested years earlier. Similarly, New Delhi (70%), Thane (65%), and Navi Mumbai (60%) showed higher resale home listings.

These figures highlight the shifting dynamics of India’s housing market, with new supply expanding across key metropolitan areas, while established regions maintain robust resale activity. Satellite cities such as Thane and Navi Mumbai are also gaining traction, bridging the gap and contributing to the evolving landscape.

Is it a room or a chamber? Is it contained or does it reach out to infinity? Is it suspended in time or is it aging as we speak? Who are these dead men and women whose frames hang within the image? Do they converse with each other when the light has gone; when the living are asleep, or when they’ve retired to elsewhere worlds across the seas, abandoning their precious interiors to be playthings of the elements?

Sebastian Cortés’ photographs are saturated with such ever-questioning detail. Clues abound. But what is the great mystery they serve to address? Within this astute body of work, objects are testaments and the sitters, when framed, are firmly in attendance. Both categories of inhabitants allude to that which is present and that which has past, transforming Cortés’ photographs into documents that will determine the future of the multiple mis-en-scenes.

Cortés reinvents remains. His contemporary lens preys on remaindered detail, fragments, traces of what were once prized acquisitions, aesthetic luxuries. In doing so, he references their metonymic relation to Time Past. Their resilience against erosion, decay, and their survival in the face of neglect and abandonment constitutes the poetry of the present. Cortés alludes to the momentary present; that which was in existence, however prolonged or accidental that existence may have been.

About SEBASTIAN CORTÉS

Sebastian Cortés, born in New York. took up photography while at New York University film school where he studied and collaborated with many of the best names in the industry, shooting several short films. In 1985 moved to Milan, Italy and started shooting fashion, travel and lifestyle photography assignments for many international magazines and commercial clients, including: American Express, Condè Nast, Ermenegildo Zegna, Publicis Group and many others.

From the beginning, Sebastian’s career included a commitment to fine art photography, developing a very personal analysis of the use of the camera as an instrument for recording – the layering of time and the sense of place – influenced by the American school: Walker Evans, Stephen Shore, William Eggleston and contemporaries like Robert Polidori and Alec Soth. His fascination with history and passion for heritage was set in motion at a young age, during his many stays in Venice, Italy at the palazzo of his grandfather.

In 1996 Sebastian produced, “Luoghi Poetici”, published by Loggia de Lanzi, intimate, atmospheric portraits of the major Italian poets in their homes, the key to discovering each poet is the place in both a literary and metaphorical sense – that space in which the poet recognises himself. The book and the exhibition drew great critical acclaim and travelled to major Italian cities.

In 2004 Sebastian moved together with his family to India, where his award-winning fine art, travel, and lifestyle photography is greatly admired. Garnering recognition from noted artists, intellectuals and press, Cortés developed several book projects, “Pondicherry”, published by Roli Books, “Sidhpur”, published by Tasveer, further extending his very personal discourse with photography, initiating a productive period of fieldwork within a new cultural context. His most recent project “Symmetria”, developed over a four-year period in collaboration with UNESCO World Heritage, in the Chettiar region of Tamil Nadu, India, explores the fine line between the utopian and the resoundingly real, as well as between architectural and fine-art photography. Cortés lectures, offers workshops and mentoring in photo biennales around the world. His images are exhibited and reviewed widely in Europe and in India. Sebastian currently lives in Venice, Italy and India.

SELECTED SOLO EXHIBITIONS AND AWARDS

2022

Sidhpur, Time Present Time Past, Indian Art Fair, New Delhi

Pondicherry, Palazzo Polignac Art Gallery, Venice

2016

Sidhpur, Time Present Time Past, Folly Arts Centre at Amethyst, Chennai

Sidhpur, Time Present Time Past, London Photo Festival

2015

Sidhpur: Time Present Time Past, Harrington Street Arts Centre, Kolkata

Sidhpur: Time Present Time Past, Exhibit 320, New Delhi

Sidhpur: Time Present Time Past, Dr. Bhau Daji Lad Mumbai City Museum, Mumbai

Sidhpur: Time Present Time Past, Goa Photo Biennale, Gitanjali Gallery, Goa

2014

Sidhpur: Time Present Time Past, Tasveer Gallery, Bangalore

Sidhpur: Time Present Time Past, National Institute of Design, Ahmedabad

2014

Pondicherry, Citadines Art Gallery, Auroville

Pondicherry, Photo Shanghai, Shanghai

2013

Pondicherry Tasveer, Amethyst Gallery, Chennai

2012

Pondicherry, Tasveer Gallery, Bangalore

Pondicherry, Tasveer, Alliance Francais, Delhi

Pondicherry, Aurodhan Gallery, Pondicherry

2007

Infinite, Kala Kendra Gallery, Auroville

1996

Luoghi Poetici, Circolo della Stampa, Milano

Luoghi Poetici, Protomoteca, Roma

Luoghi Poetici, Galassia Gutemberg, Napoli

Pondicherry, (architecture), IPA Photography Awards

Sidphur, (culture), IPA Photography Awards

Notturno Veneziano, (architecture) IPA Photography Awards

Javier Marias, (editorial portrait) IPA Photography Awards

SEBASTIAN CORTÉS in conversation with ROSALYN D’MELLO

Rosalyn: Inspirations, influences, and reasons for making these series?

Sebastian: I have always been attracted to cities or towns that have, for some historic, social, or economic reason, fallen off the map. Sidphur and Chettinad exude the same kind of atmosphere that you find in abandoned mining towns in the American west, or cities in southern Italy that once had great commercial importance, then history moved on and left them drifting in the indifference of time. But these two locations have an added element that fascinates me even more and that is the layering of visual, architectural, and symbolic elements that seem to linger in the homes like so many ghosts. The psychological and metaphorical importance of rooms and what they silently describe, holds my attention and I want to draw the viewer into the pathos of discovery. The vibration of the empty rooms and all the surface information speaks to us about a people and their need to express themselves, the exteriorization of the soul life or personal values- the emblematic image of an age, a brief but rich moment of creativity and domesticated poetic fantasy. Sidphur and Chettinad for me stand as a metaphor for many of the questions I ask myself about the process of time and the effects of modernity.

Having been influenced consciously and subconsciously by an Italian mother, who can trace her family history to the early stones of Venice and a father whose last name alludes to a time of great upheaval and historic change, my formal and visual education interwoven a curious pattern, which also rests on some very persistent American experiences and ways of being. It’s inevitable that vagabonds and culturally variegated individuals like me become more sensitive to that notion of impermanence, which I seek to arrest in my photographs. My process of observation, when freed of the ridged and shallow obligations of editorial or commercial discipline, tends towards a “vision of loss”. At the very outset of photography, William H. Fox Talbot noted the camera’s special aptitude for recording “the injuries of time”.

My continuous point of reference and influencing force is the American school of photography, as expressed by Walker Evans, Stephan Shore, William Egglestone and my contemporaries Robert Polidori and Alec Soth- I share and admire their disciplined approach to recording reality. I also like to include a slightly more European and softer chromatic gaze, which finds its best expression in the Italian photographer Luigi Ghirri.

Rosalyn : How ds these series differ from your previous projects in India?

Sebastian: The process I follow is always the same in my projects and I try to remain similarly disciplined. At the same time, what I have learned about India from each project and the deeper fascination, understanding and feeling of kinship, which has developed, helps me to be more susceptible to nuances and subtle details. In the end, every project interjects a different matrix of elements, which seem to arise as I go through the process of recording and searching. Every project is different in content but similar in the questions it posses.

Rosalyn: In previous projects you have been influenced by literature, what were some of the non-photographic influences here?

Sebastian: I think that the influences of literature are always playing a role in any of my projects. Writers as different as Max Sebald, Orhan Pamuk, William Dalrymple, Susan Sontag, T.S Eliot and Pankaj Mishra, to mention just a few, are constantly setting a tone to my process of observation. I spend allot of time reading and finding men and women of my generation and from the past, who share my state of mind and help me to objectively entertain a vision of the world. But I’m also easily moved by simple curiosity and the fatalistic sense of opportunity, which is often just a working through of my personal process and path.

Rosalyn: You seem intrigued by aspects of life that are often overlooked, the mundane, ordinary …domestic routines – why are these recurring themes in your work and please explain what you attempt to convey through your imagery?

Sebastian: The obvious, the domestic, the routine are elements that I like to explore in the context of exceptional conditions. More clearly, the psychological and metaphorical importance of rooms and what they silently describe, holds my attention and I want to draw the viewer in to the pathos of discovery. The vibration of the empty rooms and all the surface information speaks to us about a people and their need to express themselves, the exteriorization of the soul life or personal values- the emblematic image of an age, a brief but rich moment of creativity- of domesticated poetic fantasy. A house that has been lived is not an inert box, it’s filled with a humanness that I want to capture and evoke. Furthermore, I feel that the house represents a group of organic habits, which serve as metaphors of imagination, waiting to be observed.

Rosalyn: What do these images reveal about you as a photographer if anything?

Sebastian: My process of observation, when freed of the ridged and shallow obligations of editorial or commercial discipline, tends towards a “vision of loss”. At the very outset of photography, William H. Fox Talbot noted the camera’s special aptitude for recording “the injuries of time”. I feel that my images portray my constant need to balance between past and present; to persistently look in both directions as I’m slightly worried about the future and feel more at ease in certain atmospheres and surroundings of the past, that I try to evoke, record, and examine.

Rosalyn: Some of the interesting moments—including challenges, if any—that you would like to share?

Sebastian: My process with my project-fine-art photography always implies a challenge of access and verification. Sidphur, Pondicherry and Chettinad involved a pilgrimage from house to house which was very much akin to the path followed by an investigator who looks for clues, but I was not wanting to verify anything. My search is not to uncover but to record, my clues lay hidden in the two-dimensional result of my efforts, which become objects of a bigger puzzle, that are more universal, more transcendent and speak to each viewer in a different way, as photographs must.

Rosalyn: You describe your photographic process as ‘recording not judging’, where you follow principles of Pure or Straight photography – depicting a scene as realistically and objectively as possible with a conscious attempt to distance yourself from your subject, yet there is a sense that your perception has translated into your work and the images themselves seem quite intimate, did you feel that your presence in this society was an intrusion?

Sebastian: I attempt to remain as disciplined as possible to avoid any nostalgic indulgence or an excessively dry interpretation, but the possibility always remains that my subconscious attachment to certain iconic images surfaces. I had a very formal, Euro[1]pean education and spent my early years roaming around churches and frescoed villas in northern Italy. The early renaissance painter Vittore Carpaccio, his painting “St. Augustine in His Study” is constantly alive in my mind’s eye and particularly influences me; the balance achieved in this painting is a solid reference point for me. I never feel that I’m intruding once a member of that same place has let me into a community or a house.

Rosalyn: Western artists making work about the east and India are often accused of being Orientalist, making things exotic / appropriating the culture, how do you respond to this view?

Sebastian: The concept of Orientalism has many different interpretations and can easily and constantly is associated with most attempts by westerners to observe and artistically depict the eastern part of the world. But I personally feel that Orientalism is a dated label, which was suited for the colonial and post-colonial period when travel and communication was at a slower pace and cultures where more easily identified in their static qualities and exploited. Edward Said’s political, social, and cultural depiction of Orientalism certainly still holds a specific explanation for many of today’s social upheavals and miss-directed attempts of western intervention in eastern affairs. But from a purely artistic point of view, Orientalism in the work that I do would be a miss-applied label. I think contemporary photography has a universal language, which goes beyond such limited cultural stigmas. One thing is certain, but this pertains to all cultures, a foreign eye often sees and interprets the local reality with a totally different vision, which may at times be less encumbered.

Rosalyn: How does India differ from other countries that you have lived / worked in – has the environment influenced your work/ subject / process and how?

Sebastian: India offers an enormous variety of visual and cultural realities. Especially in this transition phase, which sees the forces of modernity encumber on older traditions. India is a vivid tableau of contrasts. I find myself currently in a totally different phase in my photographic career then when I was working in Europe. India has helped me to develop a renewed vision and deeper commitment to my artistic and cultural concerns. My documenting process has also changed; I have grown more attentive to nuances. India has forced me to reflect attentively on each project and the subtle influences that motivate me to undertake a project.

Rosalyn: What should viewers look for when they see these images?

Sebastian: I never really ask anything of the viewer, he or she can only see and understand what they are able and prepared to see. A photograph, like any other object or artistic expression, requires that the viewer be nurtured by their own cultural and emotional background- all explanations or captions are useless. It’s my hope that the viewer connects emotionally and on an unconscious level, which suggests that I would like my images to raise questions.

Rosalyn: What is the relationship between your personal and commercial work, do you see them as separate or are there similarities?

Sebastian: Obviously my mastery of the trade is one and the same, but my process and vision is vastly different when I engage in a personal project. Commercial photography is, by definition, an act guided by some commercial rules and needs, which you must accept and agree to. Personal projects are the direct opposite, your end point is different, the process is different, and the result is different.

Rosalyn: Tell us about your plans for future projects. What are you currently working on?

Sebastian: I have two different projects, which will both challenge me to expand my process. They are both in the conceptual stage and will involve different styles of photography. I want to do an “on the road” project, which will analyze the visual grid of life around a highway in India. My second project will involve the similar process used in the projects already presented.