Latest news with #Shrey
Time of India
2 days ago
- Time of India
3 on scooter snatch man's mobile
Bhopal: Three unidentified men riding a scooter allegedly snatched a 30-year-old man's mobile late Sunday night in the Koh-e-Fiza area as he was walking down the road talking on his mobile. The stolen mobile phone is valued at approximately Rs 15,000 and contains two SIM cards. He mentioned that several bystanders witnessed the incident. Shrey added that he was searching for his mobile phone box, which caused a delay in filing the report.A search is on, said cops.
The Hindu
27-05-2025
- Entertainment
- The Hindu
An exhibition of textile labels at MAP-Bengaluru reveals the history of branding and advertising in India
During the Indo-British textile trade, between the late 19th and mid-20th centuries, a few unique textile labels emerged. They were were known as tikats, tikas or chaaps. They were not simple tags attached to fabric, they carried imaginative and colourful visuals. Today, these textile labels are being seen as cultural and historical markers. Four hundred such labels are on display at 'Ticket Tika Chaap, The Art of the Trademark in Indo-British Textile Trade', an ongoing (till November) exhibition at Museum of Art And Photography (MAP) in Bengaluru. Curated by Shrey Maurya, research director-MAP Academy and Nathaniel Gaskell, author, editor and co-founder-MAP, the exhibition features labels, correspondences between merchants and trademarking officers in England, stamp markings that were applied on bales of clothes and a few photographs. MAP has a collection of 7,000 textile labels and Shrey and Gaskell took up the subject as an yearly curatorial project. 'Popular art is something we wanted to look at this year. It took us close to two years to put the exhibition together. A year-and-a-half was largely spent on researching and looking at images,' shares Shrey. The labels carry diverse visuals — dancing elephants, portraits of maharajas, deities, women in traditional attires, symbols of industrialisation such as fans, telephones and buses, British imperialistic symbols, religious iconography and photographs of Indian merchants. All tickets have a well-defined margin with names of the business printed on them in English and regional languages. The curators went through 7,000 images and categorised them into subject-based groups. 'It was exhausting but it opened up a whole new world. The visuals on the labels had a meaning and seemed to hold within them several untold stories from the past. The creativity that had gone into making them led us to the history of branding and advertisement,' says Shrey. She adds not much has been written about textile labels in the art-historical context except for a few by the likes of Jyotindra Jain, Kajri Jain and the Tasveer Ghar Project. While putting together the exhibition, the curators constantly thought about the people and processes behind the creation of these labels. 'It was truly intriguing. Not just the trademarking process and printing, we wondered how they came up with the idea of images on labels and who would have drawn them. There is no record of the artists.' Shrey shares that the images are representative of their times. 'Tickets are reflective of society, culture, rituals, lifestyle and choices of people then. Also, the print revolution brought about an explosion in imagery as seen on these labels.' The tickets were designed and printed in England and attached to fabrics sold directly by major British cotton mills such as Graham Co., Manchester or a few Indian merchants, who bought clothes from them and sold them under their name. The exhibition also has on display the correspondence between a Gujarat-based trader and the printing establishment in Britain. The trader's letter says: 'This is the design I want; please make it and send it to me'. 'Most merchants based in India were writing to printers in Manchester to create labels for them,' says Shrey. The registering and trademarking process was a time-consuming one and happened through letters and telegraphs. 'There was a risk of rejection. The trademark office's role was to make sure that the designs were different to avoid fight among merchants claiming that someone was trying to sell goods under their name.' Shedding more light on the process, Shrey points out the fine network among people involved in the creation of tickets. She cites the example of the correspondence between a Gujarati merchant and a trademarking officer. 'Since the trader had mentioned the design specifications in Gujarati, the printer sends the letter to an expert in Oriental languages for translation.' Maurya also highlights a ticket that is an exact copy of an artwork done by the American artist, Maxwell Parrish in 1909 called 'The Lantern Bearers'. 'Somehow that image makes its way to England, where an artist takes the drawing and replaces the figures in them with saree-clad women for Indian customers. Despite lack of technology, it's interesting to note that these people were not working in a vacuum, there was enough interaction and exchange happening,' says Shrey. (The exhibition is on at MAP, 22, Kasturba Road, Bengaluru, till November 2025.)
Arabian Post
22-05-2025
- Business
- Arabian Post
Alt Carbon Secures $12M to Advance CO₂ Removal in South Asia
Greenlogue/AP Alt Carbon, a climate-tech startup based in Bengaluru, has raised $12 million in seed funding to expand its carbon dioxide removal operations across South Asia. The funding round was led by Lachy Groom, co-founder of robotics AI firm Physical Intelligence, with participation from existing investors including Shastra VC and ACT Capital Foundation. Founded by siblings Shrey and Sparsh Agarwal, Alt Carbon employs enhanced rock weathering to sequester atmospheric CO₂. This process involves spreading finely ground basalt rock dust over agricultural fields, where it reacts with rainwater to form stable bicarbonate ions, effectively locking away carbon for millennia. The method also enriches soil fertility and boosts crop yields, offering a dual benefit to farmers. ADVERTISEMENT The company's journey began in May 2020 when the Agarwal siblings returned to their family's tea estate in Darjeeling, which was facing bankruptcy. This visit inspired the inception of Alt Carbon, officially launched in late 2023. The startup initiated its pilot project on 500 acres of the family estate, later expanding to rice and bamboo farms in North Bengal. Alt Carbon now aims to scale its operations to 500,000 hectares, with a target of removing 5 million metric tons of CO₂ by 2030. Alt Carbon's approach has garnered international attention. The company secured a strategic partnership with Mitsubishi Corporation to scale ERW, marking a significant collaboration between Japanese and Indian entities in climate action. Additionally, Alt Carbon signed an offtake agreement with MOL Group to supply 10,000 tonnes of carbon removal credits, the first such deal between a Japanese and Indian company in the ERW sector. The startup's credibility was further bolstered when it became the first India-headquartered company selected by Frontier, a $1 billion advance market commitment backed by Stripe, Alphabet, Meta, Shopify, and McKinsey, to scale permanent carbon removal. Alt Carbon also received an offtake agreement from the South Pole and Mitsubishi-led NextGen buyer's coalition, underscoring its position in the global CDR landscape. To support its ambitious goals, Alt Carbon has strengthened its leadership team. Yashovardhan Bhagat, former co-founder of ed-tech platform Seekho, has been appointed Chief Operating Officer to oversee the scaling of operations across India. Adithya Venkatesan, with experience at Gojek, Meesho, and Last9, will lead the in-house Climate Studio, while Dr. Sourav Ganguly, a PhD from the Indian Institute of Science, Bangalore, will head the science and modelling team.
