Sā Ladakh Biennale 2026: What The Curators And Artists Are Feeling On The Ground

sā (colloquially meaning “soil”) Ladakh, a contemporary art initiative, took its formative steps in 2023 and 2024 as an annual regenerative land art exhibition and experience, but as they found their grounds in deeper and long-term engagement, a biennale format was born. What truly sets this Biennale apart is that its artistic collaboration isn't confined to an idea or a room. The curatorial theme Signals from Another Star is striking and deeply engaging, with a character of its own.

As the first sā Ladakh Biennale spreads its wings from Leh to Kargil via Likir, Basgo, Nurla, Lamayuru, Henasku, Mulbekh, it not only uses imagination and creativity along the eight sites of the 230 km Leh–Kargil corridor, it firmly positions Ladakh’s histories, languages, memories, trade routes, as well as contemporary realities on the international map.

The biennale is running (August 1-10). Robb Report India speaks to the founders, curators, and some artists (local and international) on the ground.

In The Words Of The Founders

The three co-founders of sā Ladakh give us insight into the vision and the journey from the Biennale's conception to its realisation.

“This isn't a conventional biennale. It's a pilgrimage across Ladakh. You have to slow down, acclimatise, understand the landscape and let it change the way you see. Every artist, every village, every site, and every encounter along the way becomes part of that journey. Realising these projects alongside international and Ladakhi artists, craftspeople and local communities has been deeply rewarding,” says co-founder of Sā Ladak, Sagardeep Singh.

“More than anything, this journey has been a constant learning experience, showing me how much can emerge when different people, ideas, and disciplines come together,” shares Tenzin Jamyang, one of the co-founders of Sā Ladak.

Furthermore, habitat designer and another co-founder of the biennale, Raki Nikahetiya, shares, “The biennale is, of course, an established model, but for us the value of moving towards a biennale was that it gave us more time to think about the “why” - why we were doing it, what it could mean for place and people, and how it could evolve responsibly."

Curatorial Considerations And The Selection Of The Artists

The biennale brings together 19 participating artists from Ladakh and around the world. What brought them together and why them? Vishal K Dar, as the curator, and Tsering Motup Siddho, as Associate Curator, tell us about the specific criteria, curatorial considerations, or shared artistic practices that guided the selection.

“The selection process was guided by far more than the conceptual strength of an artist's practice, some of which evolved over two years. For us, integrity, kindness and openness were essential," they share.

"Working in Ladakh can be both physically demanding and psychologically challenging, so we sought artists who could adapt, listen, collaborate and embrace the unexpected. Equally important was their ability to engage respectfully with local communities and understand that they were entering a place with its own rhythms, knowledge and sensitivities. So the selection was as much about the people as the artists. Of course, the strength and relevance of their artistic practices mattered very much, but so did their generosity, curiosity and ability to create meaningful relationships with the communities and landscapes they were working within,” note the curators.

Voices From The Ground

Here, local and international artists share their reflections on its impact and significance.

“The advantage of the biennale is that it also brings economic activity to both larger towns like Leh and more remote villages such as Henasku and Hunderman. Equally important, it demonstrates that contemporary art can exist in dialogue with the landscape and local communities rather than imposing itself upon them. From what I have experienced, the artists, organisers, and visitors have approached Ladakh with genuine respect, making the biennale a model for thoughtful cultural engagement rather than simply cultural tourism”, says Avantika Bawa, whose installation is located in the hidden village of Henasku.

Stanzin Tsepel from Rangdum village, Zangskar, Ladakh tells us, “I see the Biennale as a platform that expands the narrative of Ladakh beyond tourism and breathtaking landscapes. It brings attention to the region's people, culture, history, and environmental realities. Through the collaboration of art and media, these stories can reach wider audiences, encouraging meaningful dialogue, cultural understanding, and positive social change.”

Urgain Zawa from Igoo village, Leh Ladakh, whose site is in Nurla valley, shares, “For me, Signals from Another Star represents bringing art that is deeply rooted in the Himalayan region to the wider world. Ladakh, and the Himalayan region as a whole, has a unique way of life, culture, traditions, and landscape that is very different from many other parts of India and the world. Through my work, I hope to share these stories and perspectives while creating a dialogue between local knowledge and a global audience."

Stanzin Wangail (stanyarts) from Stok village tells us that “The Biennale has the potential to redefine Ladakh by highlighting its people, culture, and contemporary creativity alongside its landscapes. Art and media together have come together to preserve heritage, amplify local voices, and foster dialogue that leads to meaningful cultural and social change. This is the perfect opportunity to present Ladakh as a vibrant centre of ideas, not just a tourist destination.” He also adds, “The artwork featured at old town was the most I liked, because it tells the old folk tales of Ladakh”.

Denizay and Jonas from Studio Eidola, Zürich, share, “What feels different about a regenerative art biennale is that it asks art to become part of an ongoing relationship with a place. What we value in this occasion is the possibility to develop a project slowly, in response to the site, its material conditions, and the conversations that emerge there. Regeneration can also mean creating new forms of attention, making overlooked relationships visible, and reconsidering how we work with land and materials."