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FRICTION is a counter-institution arriving at Method Kala Ghoda on April 18. A record store, an art repository, a library and a cultural laboratory in the making, FRICTION is a space where everything inside it is in conversation.

Simone Weil wrote that attention is the rarest and purest form of generosity. James Baldwin said the task of art is to make people care enough to see what was always there. Walter Benjamin looked at the wreckage of progress and asked what we lost along the way.

FRICTION pushes back against ease and erasure. It asks that you slow down long enough to notice what’s been taken away. And then decide what to build back. 

Open from April 18, 2026 at Method Kala Ghoda. Experience FRICTION. Stay a while.

Join us on June 5 for a double exhibition opening as part of the Triennial of Photography. We are pleased to present Not What You Saw by Keerthana Kunnath, curated by Sahil Arora of Method, Delhi/Mumbai.

𝙆𝙚𝙚𝙧𝙩𝙝𝙖𝙣𝙖 𝙆𝙪𝙣𝙣𝙖𝙩𝙝
𝙉𝙤𝙩 𝙒𝙝𝙖𝙩 𝙔𝙤𝙪 𝙎𝙖𝙬
𝙊𝙥𝙚𝙣𝙞𝙣𝙜: 𝙅𝙪𝙣𝙚 5, 2026, 3:00–9:30 𝙥𝙢
𝘾𝙪𝙧𝙖𝙩𝙚𝙙 𝙗𝙮 𝙎𝙖𝙝𝙞𝙡 𝘼𝙧𝙤𝙧𝙖, 𝙈𝙚𝙩𝙝𝙤𝙙
Exhibition: June 5 – July 5, 2026

This ongoing project documents South Indian female bodybuilders who challenge gender roles and beauty standards by embracing strength, a quality long associated with masculinity. Navigating societal expectations, physical demands, and cultural norms, they redefine femininity on their own terms. Set against familiar Indian landscapes, the portraits invite us to reconsider how womanhood, strength, and beauty coexist in contemporary India.

Keerthana Kunnath is a London-based Indian artist whose work initiates conversations around socio-cultural issues. Through her practice, she explores themes including sexuality, queerness, womanhood, and mental health, subjects that often remain underrepresented in public discourse in South India.

The exhibition is part of Triennial Expanded within the 9th Triennial of Photography Hamburg 2026.

Supported by Goethe-Institut / Max Mueller Bhavan New Delhi.

𝙏𝙧𝙞𝙚𝙣𝙣𝙞𝙖𝙡 𝙊𝙥𝙚𝙣𝙞𝙣𝙜 𝙃𝙤𝙪𝙧𝙨
June 6–7, 2–6 pm
June 10–12, 2–6 pm

© Keerthana Kunnath

@kee_kunnath
@methodindia
@phototriennale
@synapsequence
@goetheinstitut_newdelhi
@fleetinsel_hamburg

The friction between this pair of records is between two kinds of survival: Max Roach surves by being undeniable. Sanaya Ardeshir survives by being irreducible.

Both musicians understood that the instrument in their hands wasn’t just an instrument. Both also understood that some rooms require you to fill every inch of silence while others require you to protect it.

Max on Drums Unlimited makes a case for that in the most physical way imaginable - here’s the drum, here’s the human body behind it, and here’s what rhythm can carry for this world.

Sanaya is making the same case through different means. Hand Of Thought doesn’t assert as much as it witnesses. It sits with the matrilineal memory it’s aiming to preserve and honours it through restraint rather than declaration.

We listen to both of them, back-to-back, Wednesday 6:30pm onwards. Register to attend via the link in bio. Walk-ins are welcome too..

The friction between this pair of records is between two kinds of survival: Max Roach surves by being undeniable. Sanaya Ardeshir survives by being irreducible.

Both musicians understood that the instrument in their hands wasn’t just an instrument. Both also understood that some rooms require you to fill every inch of silence while others require you to protect it.

Max on Drums Unlimited makes a case for that in the most physical way imaginable - here’s the drum, here’s the human body behind it, and here’s what rhythm can carry for this world.

Sanaya is making the same case through different means. Hand Of Thought doesn’t assert as much as it witnesses. It sits with the matrilineal memory it’s aiming to preserve and honours it through restraint rather than declaration.

We listen to both of them, back-to-back, Wednesday 6:30pm onwards. Register to attend via the link in bio. Walk-ins are welcome too..

Time Out documented what we’ve been building over the past six weeks at Method. Many thanks to Tanvifor spending time here across multiple visits, getting to the heart of FRICTION with care and attention, and recognizing that we are driven by something much deeper than aesthetics and image-making.

We’re proud to be a space for both discovery and disagreement. Culture doesn’t always need to be optimized for visibility and the endless production of social media proof. It can (and should) also be discussed and challenged at every step.

Time Out documented what we’ve been building over the past six weeks at Method. Many thanks to Tanvifor spending time here across multiple visits, getting to the heart of FRICTION with care and attention, and recognizing that we are driven by something much deeper than aesthetics and image-making.

We’re proud to be a space for both discovery and disagreement. Culture doesn’t always need to be optimized for visibility and the endless production of social media proof. It can (and should) also be discussed and challenged at every step.

Time Out documented what we’ve been building over the past six weeks at Method. Many thanks to Tanvifor spending time here across multiple visits, getting to the heart of FRICTION with care and attention, and recognizing that we are driven by something much deeper than aesthetics and image-making.

We’re proud to be a space for both discovery and disagreement. Culture doesn’t always need to be optimized for visibility and the endless production of social media proof. It can (and should) also be discussed and challenged at every step.

Time Out documented what we’ve been building over the past six weeks at Method. Many thanks to Tanvifor spending time here across multiple visits, getting to the heart of FRICTION with care and attention, and recognizing that we are driven by something much deeper than aesthetics and image-making.

We’re proud to be a space for both discovery and disagreement. Culture doesn’t always need to be optimized for visibility and the endless production of social media proof. It can (and should) also be discussed and challenged at every step.

Time Out documented what we’ve been building over the past six weeks at Method. Many thanks to Tanvifor spending time here across multiple visits, getting to the heart of FRICTION with care and attention, and recognizing that we are driven by something much deeper than aesthetics and image-making.

We’re proud to be a space for both discovery and disagreement. Culture doesn’t always need to be optimized for visibility and the endless production of social media proof. It can (and should) also be discussed and challenged at every step.

Splattered Dreams 2

🔴

This painting is a break away from the physical jungle. Nayika is contemplative, she's introspective. She is creating a Pollock like canvas. Instead of the paint splatter, her pigeons are splattering the canvas with their droppings.

Somewhere in this is the depiction of the constant churn and doubt that an artist grapples with. Almost a jungle within... the sense of being trapped needs an outlet, but what is ultimately expressed is a self deprecating lens.

And....
Even though out of sight, the monkeys are omnipresent in the sense that their actions - or the co-existence has a deep impact on the Nayika.
.
.
.

#contemporaryindianminiatures

Splattered Dreams 2

🔴

This painting is a break away from the physical jungle. Nayika is contemplative, she's introspective. She is creating a Pollock like canvas. Instead of the paint splatter, her pigeons are splattering the canvas with their droppings.

Somewhere in this is the depiction of the constant churn and doubt that an artist grapples with. Almost a jungle within... the sense of being trapped needs an outlet, but what is ultimately expressed is a self deprecating lens.

And....
Even though out of sight, the monkeys are omnipresent in the sense that their actions - or the co-existence has a deep impact on the Nayika.
.
.
.

#contemporaryindianminiatures

Splattered Dreams 2

🔴

This painting is a break away from the physical jungle. Nayika is contemplative, she's introspective. She is creating a Pollock like canvas. Instead of the paint splatter, her pigeons are splattering the canvas with their droppings.

Somewhere in this is the depiction of the constant churn and doubt that an artist grapples with. Almost a jungle within... the sense of being trapped needs an outlet, but what is ultimately expressed is a self deprecating lens.

And....
Even though out of sight, the monkeys are omnipresent in the sense that their actions - or the co-existence has a deep impact on the Nayika.
.
.
.

#contemporaryindianminiatures

Splattered Dreams 2

🔴

This painting is a break away from the physical jungle. Nayika is contemplative, she's introspective. She is creating a Pollock like canvas. Instead of the paint splatter, her pigeons are splattering the canvas with their droppings.

Somewhere in this is the depiction of the constant churn and doubt that an artist grapples with. Almost a jungle within... the sense of being trapped needs an outlet, but what is ultimately expressed is a self deprecating lens.

And....
Even though out of sight, the monkeys are omnipresent in the sense that their actions - or the co-existence has a deep impact on the Nayika.
.
.
.

#contemporaryindianminiatures

Splattered Dreams 2

🔴

This painting is a break away from the physical jungle. Nayika is contemplative, she's introspective. She is creating a Pollock like canvas. Instead of the paint splatter, her pigeons are splattering the canvas with their droppings.

Somewhere in this is the depiction of the constant churn and doubt that an artist grapples with. Almost a jungle within... the sense of being trapped needs an outlet, but what is ultimately expressed is a self deprecating lens.

And....
Even though out of sight, the monkeys are omnipresent in the sense that their actions - or the co-existence has a deep impact on the Nayika.
.
.
.

#contemporaryindianminiatures

Splattered Dreams 2

🔴

This painting is a break away from the physical jungle. Nayika is contemplative, she's introspective. She is creating a Pollock like canvas. Instead of the paint splatter, her pigeons are splattering the canvas with their droppings.

Somewhere in this is the depiction of the constant churn and doubt that an artist grapples with. Almost a jungle within... the sense of being trapped needs an outlet, but what is ultimately expressed is a self deprecating lens.

And....
Even though out of sight, the monkeys are omnipresent in the sense that their actions - or the co-existence has a deep impact on the Nayika.
.
.
.

#contemporaryindianminiatures

Splattered Dreams 2

🔴

This painting is a break away from the physical jungle. Nayika is contemplative, she's introspective. She is creating a Pollock like canvas. Instead of the paint splatter, her pigeons are splattering the canvas with their droppings.

Somewhere in this is the depiction of the constant churn and doubt that an artist grapples with. Almost a jungle within... the sense of being trapped needs an outlet, but what is ultimately expressed is a self deprecating lens.

And....
Even though out of sight, the monkeys are omnipresent in the sense that their actions - or the co-existence has a deep impact on the Nayika.
.
.
.

#contemporaryindianminiatures

Boards of Canada have always believed there was a past worth recovering. But Inferno doesn’t seem to suggest the archaeology of some lost municipal innocence. Rather, it may be the archaeology of how we got here and ultimately, suggestive of a gap between what’s said and what’s meant.

Measured now in decades of consequence, this won’t sound like nostalgia. But we’re about to play it loud and find out together.

The live, immersive listening session for Boards Of Canada’s new album Inferno takes place in quadrophonic sound at 6:30pm this Friday, May 29. Register to attend over at the website. Walk-ins are welcome too (limited capacity, first-come-first-served).

Boards of Canada have always believed there was a past worth recovering. But Inferno doesn’t seem to suggest the archaeology of some lost municipal innocence. Rather, it may be the archaeology of how we got here and ultimately, suggestive of a gap between what’s said and what’s meant.

Measured now in decades of consequence, this won’t sound like nostalgia. But we’re about to play it loud and find out together.

The live, immersive listening session for Boards Of Canada’s new album Inferno takes place in quadrophonic sound at 6:30pm this Friday, May 29. Register to attend over at the website. Walk-ins are welcome too (limited capacity, first-come-first-served).

Mumbai’s latest art space, FRICTION (@frictionbombay), is unpretentious and wholehearted in its dedication to art and music. Substance over style. Art for art’s sake. Here’s why you should catch it while it’s still on at Method art gallery

[Time Out India, Time Out Mumbai, Art Gallery, Vinyl, Art, Listening Session, Culture, Art Galleries in Mumbai]

Mumbai’s latest art space, FRICTION (@frictionbombay), is unpretentious and wholehearted in its dedication to art and music. Substance over style. Art for art’s sake. Here’s why you should catch it while it’s still on at Method art gallery

[Time Out India, Time Out Mumbai, Art Gallery, Vinyl, Art, Listening Session, Culture, Art Galleries in Mumbai]

Mumbai’s latest art space, FRICTION (@frictionbombay), is unpretentious and wholehearted in its dedication to art and music. Substance over style. Art for art’s sake. Here’s why you should catch it while it’s still on at Method art gallery

[Time Out India, Time Out Mumbai, Art Gallery, Vinyl, Art, Listening Session, Culture, Art Galleries in Mumbai]

Nothing’s Shocking and For The Sake Of The Song are about self-destruction as a creative methodology i.e. the idea that you have to burn something down to find out what’s underneath it.

Perry Farrell of Jane’s Addiction burns the ‘thing’ down theatrically with an art-metal band and the whole spectacle of Hollyweird behind him. Townes Van Zandt burns it down alone, in a room where the only witness is the song itself.

The friction here is that Perry survived this and Townes didn’t, and when you know that, both records sound completely different than they did before you became aware of it.

We listen to them back-to-back this Wednesday, 6:30pm onwards. Register over at the website. Walk-ins are welcome too.

Nothing’s Shocking and For The Sake Of The Song are about self-destruction as a creative methodology i.e. the idea that you have to burn something down to find out what’s underneath it.

Perry Farrell of Jane’s Addiction burns the ‘thing’ down theatrically with an art-metal band and the whole spectacle of Hollyweird behind him. Townes Van Zandt burns it down alone, in a room where the only witness is the song itself.

The friction here is that Perry survived this and Townes didn’t, and when you know that, both records sound completely different than they did before you became aware of it.

We listen to them back-to-back this Wednesday, 6:30pm onwards. Register over at the website. Walk-ins are welcome too.

Join us this Saturday evening as we screen The Last Music Store, the documentary that captured the last days of Mumbai’s most venerated record store - Rhythm House.

Register to attend via the link in our bio.

Join us this Saturday evening as we screen The Last Music Store, the documentary that captured the last days of Mumbai’s most venerated record store - Rhythm House.

Register to attend via the link in our bio.

This Thursday at FRICTION, we discuss Mood Machine by @lizpelly and there probably isn’t a better place to do it than in a physical record store among a caring community of listeners. We expect it to get contentious and loud and that may just be the point.

Sign up to attend through the link in bio!

This Thursday at FRICTION, we discuss Mood Machine by @lizpelly and there probably isn’t a better place to do it than in a physical record store among a caring community of listeners. We expect it to get contentious and loud and that may just be the point.

Sign up to attend through the link in bio!

Bitches Brew and Menjadi are both records that required new instruments.

In Miles’ case, it was the electric guitar and the wah pedal and as much recording ingenuity as that period in time could afford. In Suryadi’s case, it was building the instruments by hand because nothing that existed could make the sounds Senyawa’s music demanded. So, in a way, both records create friction from being pushed past what you’re “supposed” to be able to do.

Miles Davis made the unknown from inside the most documented tradition in American music. Senyawa made it from Yogyakarta, a tradition the critical apparatus hadn’t yet decided how to process.

We listen to them back-to-back this Wedesday, 7pm onwards. Register to attend over at the link in our bio.

Bitches Brew and Menjadi are both records that required new instruments.

In Miles’ case, it was the electric guitar and the wah pedal and as much recording ingenuity as that period in time could afford. In Suryadi’s case, it was building the instruments by hand because nothing that existed could make the sounds Senyawa’s music demanded. So, in a way, both records create friction from being pushed past what you’re “supposed” to be able to do.

Miles Davis made the unknown from inside the most documented tradition in American music. Senyawa made it from Yogyakarta, a tradition the critical apparatus hadn’t yet decided how to process.

We listen to them back-to-back this Wedesday, 7pm onwards. Register to attend over at the link in our bio.

FRICTION’s event calendar for the month of May 2026:

Mutual Interference - Weekly listening sessions pairing up albums that are sometimes disparate, sometimes spiritually connected or often in argument with each other. Why? More friction of course.

Spotify didn’t destroy music. Rather it completed what the culture industry began by replacing the uncanny remainder of human longing with a frictionless interface for its simulation. And on that note, we’ll spend an evening discussing Mood Machine by Liz Pelly as well as how easy it is to emancipate yourself from extractive content platforms like Spotify.

Right so you’ve said his name and maybe even passed the book around. And maybe you nodded at ‘hauntology’ and tried wearing its familiarity like a badge. Stop! That’s exactly what the late Mark Fisher was warning us about i.e. the system metabolising its own critique, turning dissent into content and making mourning “comfortable”. This is a friction-heavy dive into Postcapitalist Desire: The Final Lectures by Mark Fisher.

People talk about community, consume it, wear it and attend it. But they rarely build it, pay for it or think of carrying its weight. This workshop + seminar will employ Adler’s psychology of belonging, indigenous music history and Dr. Ambedkar’s political philosophy to help sharpen the question we’re eventually looking to answer: What does it actually cost to be a villager?

Rhythm House in Kala Ghoda was Mumbai’s most iconic record store. For decades it was the place where much of the city’s relationship with recorded sound was negotiated. This short documentary, The Last Music Store, filmed its closing in 2016. What it captured is not just the end of a record store but the end of a particular idea of what music is for.

Collaborating With Machines is an open electronic music jam session with five decades of Roland synthesizers, drum machines, groove boxes and samplers. You don’t need to be a musician to come have fun and create. It’s Free/Play and it’s open to all ages.

FRICTION’s event calendar for the month of May 2026:

Mutual Interference - Weekly listening sessions pairing up albums that are sometimes disparate, sometimes spiritually connected or often in argument with each other. Why? More friction of course.

Spotify didn’t destroy music. Rather it completed what the culture industry began by replacing the uncanny remainder of human longing with a frictionless interface for its simulation. And on that note, we’ll spend an evening discussing Mood Machine by Liz Pelly as well as how easy it is to emancipate yourself from extractive content platforms like Spotify.

Right so you’ve said his name and maybe even passed the book around. And maybe you nodded at ‘hauntology’ and tried wearing its familiarity like a badge. Stop! That’s exactly what the late Mark Fisher was warning us about i.e. the system metabolising its own critique, turning dissent into content and making mourning “comfortable”. This is a friction-heavy dive into Postcapitalist Desire: The Final Lectures by Mark Fisher.

People talk about community, consume it, wear it and attend it. But they rarely build it, pay for it or think of carrying its weight. This workshop + seminar will employ Adler’s psychology of belonging, indigenous music history and Dr. Ambedkar’s political philosophy to help sharpen the question we’re eventually looking to answer: What does it actually cost to be a villager?

Rhythm House in Kala Ghoda was Mumbai’s most iconic record store. For decades it was the place where much of the city’s relationship with recorded sound was negotiated. This short documentary, The Last Music Store, filmed its closing in 2016. What it captured is not just the end of a record store but the end of a particular idea of what music is for.

Collaborating With Machines is an open electronic music jam session with five decades of Roland synthesizers, drum machines, groove boxes and samplers. You don’t need to be a musician to come have fun and create. It’s Free/Play and it’s open to all ages.

FRICTION’s event calendar for the month of May 2026:

Mutual Interference - Weekly listening sessions pairing up albums that are sometimes disparate, sometimes spiritually connected or often in argument with each other. Why? More friction of course.

Spotify didn’t destroy music. Rather it completed what the culture industry began by replacing the uncanny remainder of human longing with a frictionless interface for its simulation. And on that note, we’ll spend an evening discussing Mood Machine by Liz Pelly as well as how easy it is to emancipate yourself from extractive content platforms like Spotify.

Right so you’ve said his name and maybe even passed the book around. And maybe you nodded at ‘hauntology’ and tried wearing its familiarity like a badge. Stop! That’s exactly what the late Mark Fisher was warning us about i.e. the system metabolising its own critique, turning dissent into content and making mourning “comfortable”. This is a friction-heavy dive into Postcapitalist Desire: The Final Lectures by Mark Fisher.

People talk about community, consume it, wear it and attend it. But they rarely build it, pay for it or think of carrying its weight. This workshop + seminar will employ Adler’s psychology of belonging, indigenous music history and Dr. Ambedkar’s political philosophy to help sharpen the question we’re eventually looking to answer: What does it actually cost to be a villager?

Rhythm House in Kala Ghoda was Mumbai’s most iconic record store. For decades it was the place where much of the city’s relationship with recorded sound was negotiated. This short documentary, The Last Music Store, filmed its closing in 2016. What it captured is not just the end of a record store but the end of a particular idea of what music is for.

Collaborating With Machines is an open electronic music jam session with five decades of Roland synthesizers, drum machines, groove boxes and samplers. You don’t need to be a musician to come have fun and create. It’s Free/Play and it’s open to all ages.