Exploring artwork scattered around different places using a map is an exciting prospect to say the least. And when such an exploration has to be done in a unique and ancient place like Patan — a city rich in cultural heritage and ancient art forms, the backdrop adds more to the event than anywhere else in the Valley.

Micro Galleries, a global arts initiative in collaboration with Kaalo 101, a local arts collective successfully held the festival in Patan from November 23 to December 8. The first three days was a live weekend that featured musical performance, live painting, photography, art discussion and discussion on climate change, among others, while the open air galleries ran from November 23 to December 8.

With 15 local artists and more than 30 international artists, combining under the micro galleries initiative — using art as a vehicle to create positive change, the physical changes to the walls of Nagbahal, Swotha and Nakabahil of Patan are evident as one strolls around the area. And then, working under the theme Empower for the open air galleries and creating artworks about the effects of climate change through micro residency, all the pieces of artwork tie up together under these themes.

As such, the artwork Melting: Home by Ekim portrays the earth as a bomb with the wick on fire, while the lower part of the earth has started melting away. Nikesh Shrestha’s Stories of Grandmother comprises four photographs along with the stories of four elderly women, telling the stories of their generation in relation to the situation of women during those times.

The small roads, numerous alleys and courtyards of Patan served as a fitting ground for the festival to take place. And even missing out the exact alley or courtyard only added to the enthusiasm — to find the right alley, the right courtyard.

What’s unique about artwork at streets, in general, is their relation to the surrounding. While standing on their own, they tend to heighten the sense of the surrounding where they are situated — as such that the viewer is in more awareness to the surrounding of the artwork than when there are none. While mostly contemporary in their ideas and medium, these artworks nonetheless accept the common spaces of Patan, more so reignites these spaces with their vision and with a common purpose.

After all, to have an international initiative to address the contemporary issues, bring about involvement of the community and local artists in their process and at least raise concerns out at the streets will only make Patan better.