Threads Between Time: A Conversation With Anica Mann

Threads Between Time: A Conversation With Anica Mann

​​Threads Between Time: Anica Mann on Sacred Art, Contemporary Practices, and Delhi’s Dynamic Art Landscape

Anica Mann’s journey—from studying art history and archaeology to curating contemporary exhibitions—reveals her deep connection to the past and its intersections with the present. We spoke with her to gain insights into heritage, technology, and urban spaces, all within the evolving narrative of art.

A Curatorial Philosophy

When asked how her background in art history and archaeology has influenced her curatorial approach, Mann describes how studying the past has made her acutely aware of the present. “This academic route has trained me to observe the present through the lens of the past,” she says. As a curator, she focuses on uncovering the origin stories of art pieces and contextualising them for the viewer. “Interpreting thought is central to my practice—it’s a process of decoding.”

Bridging Heritage and Contemporary Art

Mann views the relationship between heritage and contemporary art as a deeply interconnected dialogue. She draws on the Buddhist philosophy of Dependent Origination, or Pratītyasamutpāda - If this exists, that exists; if this ceases to exist, that also ceases to exist. “The basic principle is that all things (dharmas, phenomena, principles) arise in dependence on other things,” she explains. For Mann, this principle illustrates the inextricable link between history and contemporary society.

“Interpreting thought is central to my practice—it’s a process of decoding.”

Sacred Art and Contemporary Voices

Mann’s research often focuses on the movement of sacred art and architecture across Asia. When asked how these themes find resonance in her curatorial practice, she notes, "The practice of the artist is sacred to them. Sacred art is integral to ancient society and its history." For Mann, the role of the curator is to observe and learn, acting as a conduit and storyteller. "My role is to communicate what already exists in a universal language.” she says.

Mann draws parallels between sacred art and contemporary practices, both of which, she explains, are deeply rooted in iconographies and metaphysical thought. "Art, whether sacred or contemporary, is a register of thought," she elaborates. “It takes form through the deep immersion of the artist’s mind—whether into social realities or personal introspection.” This process, she notes, aligns with the way sacred art was historically developed—as a metaphysical record and a code to the human mind’s interpretation of deeper truths. Even contemporary genres like pop art, she argues, serve as a record-keeping tool for societal thought.

“I believe in leaving behind the world of jargon and embracing conceptual decoding as a means to make difficult subject matter approachable.”

Making the Past Accessible

Presenting historically significant themes in a modern context certainly requires careful consideration. When asked how she manages this, Mann explains that she has always been an educator first. “My family has always run schools,” she explains, “and I worked there as a receptionist during my summer holidays in college, replacing teachers on maternity leave." This foundation shaped her pedagogy, and later, her curatorial methods.

Whether teaching at Jindal School of Liberal Arts or the Indira Gandhi National Centre for the Arts, Mann focused on “communicating theoretical concepts in ways that life is experienced… I believe in leaving behind the world of jargon and embracing conceptual decoding as a means to make difficult subject matter approachable," she explains. By linking theoretical concepts to lived experiences, she bridges the gap between academic rigour and everyday understanding.

“When you walk around Delhi, it feels like a new city set in a city of ruins.”

Delhi’s Artistic Legacy

Delhi’s layered history as a political, cultural, and artistic hub has significantly influenced its art scene. Mann reflects on the city’s dual identity as both a historic and post-partition refugee city. “When you walk around Delhi, it feels like a new city set in a city of ruins,” she observes. This juxtaposition provides a provocative backdrop for artists, fueling a thriving art culture.

“From the streets of old broadway of the city - Mandi House -  that produced great actors like Shahrukh Khan and hosted many other plays and playwrights in their training at National School of Drama, to first few iconic exhibitions held at the Lalit Kala Academy, Delhi has a depth in cultural patronage that for many is like white noise,” she muses. “Artist hubs like Garhi, Lado Sarai the post esplanade of Defence Colony,” she continues, “all have hosted important artists to build a subculture that eventually translated into the inception and expansion of South Asia’s largest and most commercial fair.” 

Mann also highlights the influence of post-independence modernist architecture, explored in her project Delhi Houses. “In those houses, one sees the dominant patronage of some of the earliest modernists, who have now become national treasures.”

Technology and the Future of Art

Mann’s work with the Citizen Archaeology Foundation incorporates cutting-edge technologies like satellite imaging to preserve and study cultural heritage, so we were keen on her insights on how that can help contextualize history.  “Technology is an aid to research—it adds layers of insight to existing systems,” she says. 
Whether an archaeological site or the evolution of urban spaces, “one can truly, deeply understand human history from the various vantage points one deems available for study. Remote sensing is one such vantage point.”  

Mann sees potential for AI and digital imaging - currently evolving at a dramatic speed - to allow for the inclusion of a vast variety of art into its domain, making the story of the artist and creator known to a wider audience. However, Mann cautions that technology must be guided by human intent. “As long as we understand the priorities of how tech needs to help us, we can achieve much for our societies and culture in terms of preservation, interpretation and expanded understanding.”

A Conduit Between Time and Space

Anica Mann’s curatorial approach emphasizes the delicate interplay between past and present, sacred and contemporary, technology and tradition. Through her work, she serves as a bridge between eras and ideas, making art accessible and relevant to modern audiences. In her words, “Art is a metaphysical register—a visualization of thought shaped by the artist’s practice.”

With her unique perspective and dedication to storytelling, Mann continues to use present innovation to shape dialogues that honour history.

About Anica Mann

Anica Mann wears many hats—art historian, archaeologist, curator, and storyteller—each of which informs her dynamic approach to art and heritage. As curator of Fresh Produce 2.0, Method Delhi’s inaugural exhibition and an IAF Parallel show, she selected over 50 young artists from an Open Call that received 750+ applications. She also curates India Art Fair’s Young Collectors’ Programme, fostering deeper engagement with contemporary art. Beyond the gallery, Mann runs @delhihouses, an Instagram project documenting mid-century Delhi homes before they vanish into redevelopment. Her expertise—shaped by work with the Archaeological Survey of India and the Citizen Archaeology Foundation—deepens her understanding of how past and present intersect, making her a true conduit between worlds. Fresh Produce 2.0 opens at Method Delhi on January 31st.

Interview conducted by Sohini Guha.

sohini@themethod.in