http://www.hhartspacesfoundation.org/residencies daily 0.75 2024-12-02 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1480064977835-X0X7V03Q2120E9AJNTF6/IMG_4919+copy.jpg Residencies https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1481187346854-TMUKHSVUZ2YT0MMDNN96/IMG_0493.jpg Residencies https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1481187537280-064P2DGPNP2RZ06BE45G/IMG_A2362+%28327%29.JPG Residencies https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1481188084850-Y652IGGG01LNMCB8B22A/001+%28145%29.JPG Residencies https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484124421538-2N78E87YEYPIP4VGVQUZ/IMG_7400.JPG Residencies https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484306283960-10Y3TNW5WNX1DGO9UIFH/BIG_3190+copy.jpg Residencies - Romain Loustau (FR) The War Started During Summer Holidays Duration: 3 hrs   https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1497865493585-BY0LD95W9D9Y7RJ9U2Q0/Copy+of+IMG_7507.JPG Residencies https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1485502979570-580VJUN9ZZZ261ZVTHQA/34.jpg Residencies - Anina Trobec (SI) 2014 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1485509857419-9WSAP578XZGCER09C4OD/94.JPG Residencies - Nikhil Chopra (IN) 2014 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1480418622821-GGFT9I7M4NMU7KS7A3L7/IMG_0187.JPG Residencies - Dheer Kaku 2016 Video installation Entities that create negative/positive spaces can become portals to another space. Interacting with light and sound, creating definitive outlines between the inside and the outside and the middle. Intending to magnify a new perspective, dramatising the repetitive and repeating the dramatic. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1480418693885-V04BRG2M3DSIJQ66WP8P/thumb_IMG_1267_1024.jpg Residencies - Brydee Rood 2016 Monsoon Prayer for Anjuna River 'We Are Weather Series' - site specific performance on the river steps by St Anthony's Church in Siolim during the Sao Joao Festival. Brydee Rood 2016 | Videographer: Romain Loustau HD Video Installation with Sound Monsoon Prayer for Anjuna River is a ritual steeped in the fluid landscape, the artist leads a silent ceremony in the depth of Goa's Monsoon, a communication with the water echoing a sensitive human footfall between earth and sky, a slow meditative prayer for our rapidly changing climate. The old steps form a passage between man and river - by occupying this space, 3 bodies wearing hand painted clay water-pots over their heads and cloaked in garments folded, draped, dyed with natural indigo and detailed with drawings which reference invented ritual, water and change gods - seek confluence within bodies of water, monsoon, patterns of climate change and the localised water festivities of Sao Jaoao. Geopolitically the action is underscored by the here and now, it is part of an ongoing movement titled 'We Are Weather' reflecting a yearning for our deeper connection with the natural world; the River, weather, to water as an essential life force, not limited as a commodity, resource, thing to be used, consumed, wasted, polluted and profited by in a flailing globalised capitalist system. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484127137711-MOPRKBLME4KZYOIMOO3G/1.JPG Residencies - Sujit Mallik 2017 The Hole Duration: Always A participatory performance on expressions of ground One man emerged from the stories, which got the idea of using uniform seed germination as a marker to return back. After a long time he returned back to his home through the so called cruel diversity of nature by the path of his own grown green road. I grow green and I roam around as well. I roam around and I roam around. No way to return back. Places disappear from the ground, and I roam around. Just roam around and can find the same place again and again without knowing why coming to same place again. Roam a bit more and will find the reason of coming back. I found one. One body, one ground, sometimes both come together. All the walks you are able to manage are on one ground, the earth, the one walk-able ground. On that ground there are many holes. They can be roads, trees, pillars, water and many others that directly connect the ground to one. One to many. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1490692597400-22NJXSVX37UD09JGXFLW/IMG_0026.JPG Residencies - Lisa Stertz (DE) 2017 Open Loss Duration 4 hours O.L. is a bringing together of the previews performances, shown during my residency at HH ART SPACES. These dealt with our relationship and responsibility to our earth, and aimed to shed light on the importance of care between humans, since it will only be a communal or relational gesture to nourish, help, and heal us as well as our planet. Tonight’s movement takes a step into the reflection that care starts with self-care and its acknowledgement. Further it seeks to distill and culminate the conversations between thoughts, materials and people that happened during my time here. Photography: Dheer Kaku https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1490782882186-XAKRVOS5UBA9655A425O/IMG_0032.JPG Residencies - Thomas Louis (IN) 2017 My work here was a continuation of what I've been doing with percussion instruments in clay but this time the attempt was to bring people together. So I've been making an instrument on which 3 or 4 people have to come together and get into a coordinated rhythm for the instrument to perform well too. That was the attempt. Collaboration with the other artists led to the making of a few other objects like the 'extra sensory reception contraption'.. something you wear around your neck to catch better sounds and smells, or even mumble into it so people can hear me better! Sam and Jahnvi gave a completely new life to my ceramics and it was a pleasure to see that and work with them. Photography: Dheer Kaku https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1500466841711-WWJ0W86JXZ8BWUU0FN62/IMG_4772+-+copie.JPG Residencies - Avian D'Souza (IN) 2017 Research for Rabies Rabbit is a research project for a book about a Rabid Rabbit. The story relies on different metaphors to illustrate itself. An investigation of forms and atmosphere through the myth of the 3 rabbits, its origins in the Sui dynasty and its spread through the silk route, and through war and conquest. The drawings serve as a point of intersection. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1521028967533-UHG75V3ENRLQ7HVAAJY6/OPEN+15.jpg Residencies - OPEN 15 2017 No documentation is available for this Open. We apologise to the artists and everybody who wanted to explore the archives of this event; the lack of light during the performance didn't allow us to take pictures that would do justice to the performers and their work. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1523615963607-GPC7QYZPMP6QILMTFMW7/IMG_3294.JPG Residencies https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1520955334719-MIUPEN2QCR67D74MLAOK/IMG_7900.jpg Residencies - Madhu Das (IN) 2017 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1555922229917-D0BD4DW7PAHE17B3W3AR/IMG_8282.JPG Residencies - Neena Percy (IN) 2017 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1555928270250-UJKJK93T49SD3CBJLPSG/IMG_0478.JPG Residencies - Durga Gawde (IN) 2018 Bit by Bit An investigation in memory, identity and self-reflection. We are born with something innate. Something that makes us, Us. How does one identify what makes us, us? How does one identify oneself? How do we know who we are? How do we present to the world the way we see ourselves? This artwork is the result of the artist’s relationship with gender dysphoria. Identifying as a genderfluid person, Gawde’s journey has pushed them to shed away societal norms and let them be who they are moment to moment. This artwork is representative of the artist’s ever-changing relationship with their dysphoria and acceptance of the self. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1574672106784-GUHY3UR36RR6BL60Q3KD/vlcsnap-2018-05-15-14h24m54s167.jpg Residencies - Kuldeep Singh 2018 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1480413782748-DKCOQK7GUUPE18QIVN0K/ALNM5785.jpg Residencies - Madhavi Gore (IN) 2015 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1721291668978-2XPYTZHF0ETEEACXSB8F/Copy+of+OPEN+25.jpg Residencies - Open 25 For Open 25, we organized a performance lecture by Olivier Richon, Head of Photography at RCA, London, followed by a performance by Lisa Stertz. Nicola Singh used her voice to exercise and question aspects of devotion through song and ritual. Rittik Wystup presented recent musical and sound works outside the gallery space. Inside the gallery were the large-format photographic works by Alicja Dobrucka. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1721291546677-L3IVC3DHKM95BDDX8DKZ/Celin+Jacob+V+Open+Studio+JPG+6.jpg Residencies - Open 24 Celin Jacob V's residency was supported by the Tata Trust. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1724746749082-4L01RLRRH2ZF0OWXD0IH/%E2%80%8EHHResidencyCatalogue%28jpegs%29.%E2%80%8E001.jpeg Residencies https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1721291399924-NDNOF239PO2D15WXN422/Copy+of+dddddddddddddddddddddddd.jpg Residencies - Open 23 For Open 23 - Malik Irtiza (Kashmir), M. Thamsangpha (Manipur) and Laskhay Brargava (Gaziabad) conclude their residency supported by the Tata Trust. Each one of these artists challenges identity and the politics that ensues from nation, state and gender. M. Thamsangpha cooked breakfast, lunch and dinner. Akshay Hegde (Bangalore/Goa) presented an 8 hours rhythmic exploration of sound scapes in moderato at Studio Citron. The studios were open and active all day. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1730097487720-K5OORQJG0CJNNCYEWYRL/OPEN+26+correct+poster.jpg Residencies - Open 26 HH Art Spaces invited artists, Mandakini Trivedi with K.N.P Nambisan, Nikhil Chopra and Madhurjya Dey to engage in an interaction and dialogue, and produce a live performance-installation work over the duration of a week; and to use the HH Art Spaces Gallery as a laboratory for their collaborative process, which included rehearsals and laying the base drawing in charcoal making the scenography to build on during the live performance. Nikhil Chopra and Madhurjya Dey use charcoal and oil paint, installation and live art, to draw our attention to the politics and poetics of the regions in the Himalayan mountains, which span the entire North of India from West to East. Tracing their roots to home land in Kashmir and Assam, they problematise historical narratives, local psyche, personal memory, and notions of authenticity through their work and practice. Mandakini Trivedi, exponent of Mohini Attam, is based in Maharashtra. She embodies the language of classical dance and movement, as she gently and sensitively stretches the boundaries of ancient and traditional scripts with a contemporary lens. Melam Melam means, coming together. Agni Melam, was performed on 13th September 2024 at HH Art Spaces, Goa. Melam was ‘a coming together’ of many kinds: A collaboration between, Live Art as presented by Nikhil Chopra; the classical dance form of Mohini Attam practiced by Mandakini Trivedi; the traditional Kerala percussion instruments of Edakya and Ellataalam performed by K.N.P.Nambisan; and contemporary painting as presented by Madhurjya Dey. Without locking each other in water-tight compartments, the practitioners and their forms drew from each other and supported each other to create a dialogue between classical and contemporary forms and practices. Melam was a dialogue between contemporary painting and live art, Mohini Attam, the gentle dance form of Kerala, and traditional percussion from Kerala. Meelam was a collaboration of rhythm & painting, rhythm and movement, and movement and Vedic and Tantric ritual. The collaborations converged on the theme of Agni or Fire: both in its creative and destructive aspects: Fire as the life-giver, as the Sun, and, the metabolic Fire, and, Fire as destroyer reducing everything to ashes. Fire was also explored as Agni Devata. In transcendental Vedic philosophy, Agni Deveta, literally translates as Fire God. He has seven tongues, carries oblation to the Gods and connects Man to higher energies that nourish; He is the Element of Light, Space & Radiance and the inner fire of our intellect. Finally, Fire was explored as Life. Its death is Death. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484128564409-ICK5NC85GSMSKUKC3W0A/image-asset.jpeg Residencies https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484306614463-3TIAI5ZAKDY95DN7MTHF/BIG_4022.jpg Residencies http://www.hhartspacesfoundation.org/get-naked daily 0.75 2022-02-22 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1579686380007-N7BCKFQ5H5TOR36YC3ZI/IMG_1742.JPG Get Naked Lisa Stertz (DE) https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1579687342578-TDMQ0MVNSB3ZIV0CPODV/IMG_1747.JPG Get Naked https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484129556896-O95EYQJGETMMKG8JPOJY/IMG_4182+copy.jpg Get Naked http://www.hhartspacesfoundation.org/founders daily 0.75 2025-07-05 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1579685359838-78SBXZGF8EAC0ARRSPMX/Copy+of+001+%28116%29.JPG About https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1579688171177-ZOQZC5U7IO2OD7TIKHJL/Copy+of+001+%2816%29.JPG About https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1579688882050-466JEQBUAUB18JAG9F9A/Copy+of+IMG_A2362+%28327%29.JPG About https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/632c24c5-128e-4a5f-ad85-071759168542/IMG_2717.jpg About https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/18ea57a8-172d-4df7-b9f8-747f50f8a633/DSC04264.jpg About https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/35af5f24-a251-4b50-b6db-992b7df1ea0f/romain+2.jpg About https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/96cad0df-8970-437c-976f-0216d45637e0/Screenshot+2024-11-16+at+9.58.40%E2%80%AFAM.png About - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/759fa790-d054-4d72-a7a3-5bed4c17d09e/Shaira.jpg About - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/10a286cf-62e7-4edd-9fa2-fd602f3472b7/6.Mario_D%27Souza.jpg About - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/61846032-81ac-4102-9319-b952e1d4246b/Portrait_MJD1.jpg About - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/91eefd06-292e-4049-ac93-ed584f37083b/1000147123.jpg About - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/73d79ff1-60c7-486c-9e20-9174df906923/IMG_20241116_193653.jpg About - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/79cd49cc-db8b-4c87-981b-50110487722e/DSC04152.jpg About - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484121966221-WZJ1SV74RIGTV965H2IY/HH_logo.jpg About http://www.hhartspacesfoundation.org/projects daily 0.75 2025-01-23 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1486110347224-1ROV2SU2926PJ57DYZCT/4+copy.jpg Projects - HH Art Spaces with Serendipity Arts Festival Lucid Sleep Outside the Adil Shah Palace there are two statues: one of the first Chief Ministers of Goa, Dayanand Bandodkar, and the second of Abbe Faria. The figure of Abbe Faria in the understanding of Goa’s identity interests us. Abbe Faria was the first to undertake the scientific study of hypnosis in his major work “Of the Cause of Lucid Sleep or Study of the Nature of Man” (De La Cause du Sommeil Lucide Ou Étude de la Nature de l’Homme). He was born in Candolim, Bardez, Goa in 1756. He traveled with his research to Portugal and France, and was a contemporary of Mesmer (as in the state of being mesmerized). He studied magnetism, working with energy fields around the human body to heal. A monument to him in Panjim represents him as a man dressed in a suit standing imposingly on top of a woman who is lying, in a trance and under his spell. We think artists ideally place themselves somewhere in an altered state that can resemble a state of trance through deep concentration in order to access aspects of themselves that are extraordinary, pure and perhaps even divine. In contemporary history, Goa has thrived on a significant community of practitioners of the healing arts. Goa is a hub for alternative therapists and healers, yogis and shamans from all over the world engaged in layers of traditions of practices surrounding the body. Realignment of energy fields, psychosomatic processes to engage with life, the body, and the times we live in - the NOW. The concept of transformation and transcendence, to witness ones own change, metamorphosis, to play with that process, to inhabit ones imagined world, these become important. These liminal states between the conscious subconscious, the journey through dream-time and performance time, ideological position and utopic-ecstatic state, are all investigated. The liminal space that the individual undergoing a rite of passage journeys through might be equated to the inner world spun by the performer - inhabiting a space, a particular location and site, within the frame of the performance. The length of duration makes it possible to consider time stretched, time lapsed and time traveled. We are particularly interested in the discussion of duration. HH Art Spaces invited 7 artists, who presented long/short durational live works over the course of 8 days. The performers inhabited 3-5 rooms and halls within the Adil Shah Palace, currently a wasteland, with performances over a maximum of 5 days each artist. Each performer has a unique practice and visual conceptual imagination. Each room was a world the artist created with their presence. The performances weaved through the hallways and rooms interspersed in-between rooms with other art works. These were un-choreographed, unique pieces composed live, in-situ by each artist. Photography: Dheer Kaku https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1523355098880-BRST42QS549G4TA73UYZ/_MG_1922+copie.JPG Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1579690645423-FOK06X0SQ9WY0JHGWN8O/copyright_+Shivani+Gupta%2C+HH+Art+Spaces%2C+2019+%281%29.JPG Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1628588989773-INMBM7P8GWZEL62K7M2N/image-asset.jpeg Projects - Olivier de Sagazan (FR) Transfiguration As a part of Concrete Skies: Live Art at Serendipity Arts Festival, 2019, Ribandar, Goa On the highway leading in and out of Panjim, National Highway no.17 or ironically renamed route 66, with its many branches of flyovers and exit roads, has created the impression that we might as well be getting ready for war. It is not an easy relationship to concrete that the world has inherited since World War II when the need of the time was low cost, quick-fix, prefabricated housing. Goa is quickly running out of dredged sand to sustain the supply of concrete, causing environmental havoc; in sharp contrast to the romance of coastal lyrical drives and country roads with the old charm of traditional dwellings and rural simplicity and the carpet of green and blue that the eyes can rest on. Did we not anticipate the heat and carbon particles created by more commuter cars and vehicles for construction, dust flying about with all the trucks plying over the unfinished highway, piles of concrete building blocks, heavy weight scaffolding strewn about, and the unhygienic working and living conditions for the migrant road workers? The new-bridge to Panjim is finally complete. During the 2016 edition of the Festival, we saw it half-built and we witnessed the process in wonder and a faint anxiety at how it would impact our daily lives and common vista. The life and history of Goa is forever changed. No longer is it a paradise; this is a cause of intense anxiety and before us is being laid the foundations of a completely dystopian future. That people have always related to Goa as a place of relaxation, tranquility, and letting-loose will have to be re-negotiated. Relationships, social hierarchies, Corporate India, advertising billboards, coal dust and IT companies, will have to be negotiated. The question is, are there any new designs and constructions for a critical-pedagogy that empowers? And, how might we bring a little humor to the heavyweight grey, since, We, the people, were not asked, we were assumed. This brings us back to questions quite simply around - survival, and the dichotomy between time lapsed and time moving forward. And so, the historical site of the old Goa Medical College, across from the Salim Ali Bird Sanctuary, on the Mandovi river-front in Ribandar, forms the impetus of this proposal for the performance section of the Festival. The site has been through multiple iterations through time. With its origins as the maternity wing of the GMC, in circa 1600, where generations of Goans were born, to being annexed by the Indian Union, after Goa’s liberation in 1961, when the building was further transformed into a space for education; bringing us to its current iteration - a jot in history as a station for artistic and cultural exchange. Positioning this concrete ‘archive’, if you will, this post-colonial structure, in the larger more dystopian architectural landscape of Goa, is our entry point into Concrete Skies, HH Art Spaces’ intervention for Serendipity Arts Festival, 2019. The more complex transitions that have burgeoned around this heritage building, from the temporal strain of the tourism industry, to the unabashed plough of real estate and iron ore mining, allow a didactic discourse to emerge, through these performances. This site as a cultural pressure point could be activated and converted by artists and cultural practitioners into a node and focal point of negotiation, renovation, and creative invention allowing for a vibrant living cosmos during the days of the festival, and perhaps beyond. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1688731351248-OE9DAAU6IYVRKUZYMLC2/Tate_Modern_Fugitive_Forms-407+copy+copy.jpg Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1688731452270-HSGFKP80RB0G8O8M0PCW/DSC02871.JPG Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1686824883497-XM92PG570UTLXXTKCD52/image-asset.jpeg Projects The Tetley, Leeds and HH Art Spaces, Goa present ‘Antibodies’, a collaborative Live Art programme that celebrates performance art and migration. Antibodies conceptually emerges across three conditions of our times. 1) The vulnerability of our bodies to disease and contagion and our susceptibility to what lies beyond human knowledge and deep in the recesses of the natural world. 2) The bodies in protest that have consistently upheld the human spirit and its claim to freedom and life. These resilient bodies have resisted the excesses of totalitarian regimes, fascist governments and climate catastrophes across the globe even as the pandemic raged around them. 3) The body as a decolonial device that embodies histories told, shared and lived, carried as wounds, stories, songs, recipes and rituals. How can this warm body be a device of reclamation instead of cold ‘archival’ processes of ‘decolonization’. How can declonization be triggered from regions it intends to decolonize, in its languages, forms and ways of life. Spread over a year, the project brought together a diverse range of cultural practitioners to rethink the body and the border, in its immediate ecology and the extended realms of myth, magic and healing. It will also attempt to nourish each other, develop antibodies and be an ANTI body that tests the limits and possibilities of languages, histories and ‘life as we know it’ - beyond the verbal. - Mario D’souza Set in the historic 17th Century Portuguese prison annex to the Aguada Fort, the building, the sea and its ghosts evoke a history that brings to the fore our relationship to body and freedom. Our list of artists include; Amol K. Patil, Afrah Shafiq, Bandu Manamperi, Hetain Patel, Jana Prepeluh, Joydeb Roaza, Lisa Stertz, Muhammad Shahab Sahel, Nicola Singh, Raisa Kabir, Violeta Lisboa. India/UK Together, a Season of Culture (June 2022 to March 2023), celebrates the friendship between the UK and India. Marking the 75th anniversary of India, this cultural exchange will showcase a vibrant programme of events across music, theatre, cinema, literature, fashion and visual arts. Antibodies is one of the projects within its Science, arts and heritage in times of change programme. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1701344944591-PAK1TTGJ5LMI7U0Z7CIK/image-asset.jpeg Projects - From Zero to Hundred (Live Art 2023) The title of the exhibition alludes to water in its three states; solid at zero degree centigrade, fluid at temperatures between zero to a hundred degrees centigrade, and rapidly vaporizing as it comes to boiling point. While this is scientific and empirical, it also suggests water and its states on our planet are indicators of its ecological fragility. As global temperatures rise, as polar ice caps and mountain permafrost melt; weather patterns become unpredictable and floods and drought become frequent. Our effect as humans on nature has never felt more palpable and water as clouds, rivers, lakes, seas and oceans, is memorizing our legacy and pitfalls. As inhabitants of one of the most water rich places in the world, at the edge of the Arabian Sea, the change is here. From Zero to Hundred in contrast also wants to draw attention to our obsession with high speed technology. It is a measure for the performance of sports cars, e.g. the 2023 Porsche 919 goes from 0 to 100 Km/hour in 1.9 seconds making it one of the fastest acceleration in a car. As artists, our poetics are our means of mirroring and archiving. As live artists, with our bodies as containers of water, we invite you to use movement, stillness, presence and absence to draw attention to water, the elixir of life. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1712218709776-CAGAPAG0Q42ZP5B0217T/Ho+to+live+together.jpg Projects - How to Live Together - Online & Offline Performance How to Live Together? seeks to develop productive and tender forms of living together. How can we build spaces and frameworks in which one recognizes and respects the individual rhythms of the other? We feel an urgency to rethink institutional structures and artist-led collaborations in these times of unrest and contagion, where resources are scarce. We were struck by the ambition and pressure to create anew, instead of learning from our peers and sourcing from the immense labour and fertile material of each other’s work - building from where we left, instead of building from scratch. How do we build institutional knowledge? How can we share resources, models and frameworks? How can sustainability be ideas and not tangible resources only? – are key questions of this project. Primarily independent, artist-led and alternate initiatives in South Asia and Switzerland, we are invested in curatorial and cultural endeavours that are open source, adaptable and free for everyone to access, adopt and use. Conceptually, our research dwells on the radical possibility of bodies and its languages. There is no single way of extracting meaning and this was the cue for us to imagine a speculative project that brings together our knowledge to build an ecology of ideas, and frameworks. Keeping in mind the modes of operation, and limitations emerging not only from the pandemic, but also in the many strategies citizen protests around the world have had to devise towards resistance movements. Our collaborators will approach performance through conditions like temperature, climate, “pull of the mother tongue”, missing/surrogate sounds (etc.) and processes such as creolization, migration, assimilation, and erasure. Absence Participating institutions nominate artists that will engage in a slow process of sharing, learning, unlearning and building consciously. To sense through the other: Keeping in mind the limitations with the pandemic and the ways in which it has altered our time and lives, artists will develop mechanisms of sensing site and place through each other. For example, an artist in Zurich will experience Dhaka virtually and through letters and drawings from a Bangladeshi artist and vice versa. This material will form both research and provocations for the respective artists to devise works. To write a recipe: The engagements of the artists will also form the material for a knowledge-sharing platform, where their conversations, ideas, resources and bibliographies will be shared and freely available. Audiences across the globe will be able to access/add/edit this material to create a free/democratic platform for constructive debate and feedback. To time travel: Taking advantage of the four time zones, year one will crescendo in performances across time on a dedicated, online platform. Artists will invite us into their lives (homes, studios, vicinities) for solo and collaborative performances, readings and lecture performances. To nourish each other: The proposal intends to build a forum that favours sustainability of ideas and actions, over infrastructures. We are thus prefacing the proposal with long term engagement between artist led institutions and artists, to build a concentrated curriculum and frameworks that we can share, adopt and edit. A ‘publication’, for lack of a better word. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1722932229139-3LFFAHNVCIV4075FDFJ6/6.JPG Projects - Madhavi Gore Total Recall Duration: 15 mins HH Art Spaces, Aldona, Goa, 2024 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484130873554-ZFSC123D00AHPMUESWIR/image-asset.jpeg Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484302894839-1QSKHVKPG1TL9J1H6UW9/Yasmin+Jahan+Nupur_Invitation+Letter.png Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484302708248-U42PICPYDWBH3XYS0X55/Inlaks+Fndtn+logo1.png Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484302690897-LUKLM860NXFU46YSSTS9/organization-image-840-220x220.png Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484303697660-XJ7F1E2XPFVYDBS7558E/ABOUT_GivLOWE_090514-1.png Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484302701882-7AYJI2MYF1VYCZENC65O/sunaparanta_logo+copy.png Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484303126093-UJ9AOS2NG1UXAIVNHHU3/sensorium2015.png Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484302707456-KOW0ZF4CO5PC7LPO3749/Goa-Photo-Logo+copy.png Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484303760534-IG47FWUBO8ECHYDSAJJL/cllogo2+copy.png Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484302709575-1BROO65TF3Z9ZW25699U/Logomark_B_v9_landscape_colour.png Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484302714518-WTRODI5P0K35RXPU1P17/14647291_10206409684394691_1083414854_o.png Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1484302712805-408C4RJ8A1C7NV2DDXG4/CCFA_BW_black_96_f.png Projects https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/528c6b54-8cb3-4913-aac8-031239d229ba/Tate_Modern_Fugitive_Forms-407+copy+copy.jpg Projects - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1687424996510-UQEFBGWTY6T7D91S0N17/Tate_Modern_Fugitive_Forms-36.jpg Projects Mario D'souza https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1687424998999-DWNK2FCL9ES2SZ73X6VK/Tate_Modern_Fugitive_Forms-53.jpg Projects Mario D’souza https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1687424952491-LQ9JVTUHTKNLTWCILRIS/Tate_Modern_Fugitive_Forms-60.jpg Projects Salima Hashmi https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1687424958647-LAZGYWGPS8IW9E1W1A0A/Tate_Modern_Fugitive_Forms-345.jpg Projects Left to Right - Nikhil Chopra, Godwin Constantine, Romain Loustau and Shivani Gupta https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1687425036815-MADAQPWR5IKVBKWQTQM9/Tate_Modern_Fugitive_Forms-259.jpg Projects Left to Right - Romain Loustau, Madhavi Gore, Nikhil Chopra, and Shivani Gupta https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1687425041459-L80KI1SF6LZURAU4ER64/Tate_Modern_Fugitive_Forms-312.jpg Projects Yasmin Jahan Nupur https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1687425111807-Y8TSLFGYIUD9CR9RLN1F/Tate_Modern_Fugitive_Forms-320+copy.jpg Projects Left to Right - Nikhil Chopra, Godwin Constantine, Romain Loustau, Shivani Gupta, Madhavi Gore, Yasmin Jahan Nupur, and Alessio Antoniolli On Screen - Jagath Weerasinghe https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1687425097207-KSJT64CO61ZUZX4H8M9L/Tate_Modern_Fugitive_Forms-403+copy.jpg Projects Live performance by Amol K Patil https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1687425131841-AC26464ZD68APVXEBVOK/Tate_Modern_Fugitive_Forms-407+copy+copy.jpg Projects Live performance by Amol K Patil http://www.hhartspacesfoundation.org/exhibtions daily 0.75 2026-02-03 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1668426052750-TIMB0TWJ1PPRW3V5WLYI/6AAD5570-58D8-46E7-8655-869DD54A948F.jpg Exhibitions - Surface Encounters & Strange Beings Migration, evolution and science begin as an image – a figment of the mind emerging from courage, fear and fascination. It has led to the greatest quests and failures in history. What lies behind the mountain, across the stream, in the depths of the earth and towards the sun? Between dreams and a distant reality, the living have wandered, charting the earth in steps and following maps embedded in stars. These encounters with landscapes and forms have intrinsically forged the world we know. It has also stoked curiosities for those that are hidden, perhaps frozen in ice; and the ones that are emerging as possible futures. Starting as signs, drawings and eventually stories and songs – these knowledges of ritual, remembrance and remedy – have been transmitted and translated across time and region. They have consistently challenged the divisions of culture, propagated by nations and borders, to percolate and spill. Through gaps, cracks and fissures – ideas of audacity and promise have seeped and survived. To believe, and to mutate, are part of our shared existence - medical advancement developed with conflict and war, vaccines to train immunities and the future with genome editing – reframe rituals and processes of survival. The landscape is the dominion of natural forms, set into rhythms of subsistence and conviviality. The ambition of architecture to be natural or “be one” with nature, is impossible. To lay concrete, reclaim, land-fill and terraform will always remain an intervention, and an intrusion – synthetic and forms against nature – that will eventually slip off the soil, sink or collapsing into the ground that holds it. The only thing that will and will not remain constant is the landscape – changing, but always the surface. Surface Encounters and Strange Beings bring together ideas that re-frame land, process and rituals of survival; and evolution – thinking through ideas of revolution, resistance and considered optimisms. Mario D’Souza https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1678451162027-JBH974BQY0DR0MI6J9NE/AB_Poster1.jpg Exhibitions https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1687429322041-A5OBWGRTHKW1ZTX26TMQ/1.jpg Exhibitions - NIKHIL CHOPRA & ROMAIN LOUSTAU (Performance at Haze, 2022) THE ROCK NEEDS NO WATER AND THE ISLAND NEVER CRIES, after a song by Paul Simon & Art Garfunkel, Performance residue The Rock Needs No Water And The Island Never Cries, After A Song By Paul Simon & Art Garfunkel saw Nikhil Chopra and Romain Loustau make a familiar landscape strange. Through a fracturing of a pristine landscape, new forms erupt. Sharp monolith-like rocks after Romain’s sculpture, pierce out of the ocean as fires burn and smokes fill Chopra’s charcoal on canvas. To the sounds of Loustau, Chopra draws his contemplation on fire – as a process of conversion like wood to ash – and on air. The destruction of the pristine is presented as a vision of the future. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1673956617364-MQ7JJLQUIXQNFO2EK197/Haze%2B4.jpg Exhibitions - Haze - 2022-2023 A haze envelops the region. In its make and density, it presents both, a reality that we must come to terms with and a reminder of our collective pasts and possible futures. Truth in itself, has become a void within which fabricated narratives thrive - a return to mythological pasts and fake news; misinformation – that evolves into spaces of devotional, nationalistic, unreasonable passions. I. Were stars the first language? How did we navigate on a clouded night? In the beginning language was infinite, an un-ending possibility of stars, stitched together as inscriptions by invisible lines. In the replication of nature’s forms, scratched onto rocks and soil; and an unending cartography by feet – earth was seamless, malleable. Central to this human pursuit was the courage of the “changed heart”. This is how we perhaps discovered freedom. This walk was once pilgrimage, exodus, discovery and a measure. Today, this walk is forbidden by fences and boundaries, borders. But it survives as a protest, a march, a form of dissent. The distance from home measured in – the arrival, the wait and the (sometimes endless) hope/possibility of return – and is spread across geological time, emotional time. II. To spray, like vermin! Image: A group of migrant labourers were intercepted and sprayed with disinfectants by men in hazmat suits. They were amongst the thousands that set out on foot to towards their homes. Trains and buses were suspended. A day long curfew during the onset of the pandemic was now stretched to weeks. Dehydrated, fatigued bodies were intercepted at various points and moved from the visibility of highways to longer, more out-of-sight paths. They were now labelled carriers of the virus, mass-spreaders. - There are many forms of violence to be read in these forms of humiliation and abandonment. This dispossession is of the most vulnerable segments of our ‘society’ and extractive economic systems is not new, but is more frequent than ever. The non-contractual labouring body is not protected by law or policy, and remains without much agency, and thereby redressal and justice. The system must still control the movement of those it has abandoned. These rogue images and the narratives they create must be controlled as well. III. Toxicities A dense fog covers the distance. It sometimes smells like a flower. With each breath, a dizzying, soft pain fills the head – an intoxication almost. The thing about smog is that it is as much inside you as it is outside. Like breath it fills your lungs but you can taste, smell it. Intoxication is a condition of both power and those that submit to it. The ingestion of the toxic also triggers a form of adaptation, mutation perhaps. The body and its immunities must come to terms or compromise with the alien. - There is another kind of toxicity that inhabits the mind and is a symptom of power or the assertion or imagination of it. There is a glow to this toxicity – like shiny material – or density as dark as contaminated, foamy waters. IV. Alchemy and Magic. In the distance and through the haze, enchanting flickers of light emerge. It calls out to the fisherman they say, luring them into deep waters until they are lost. Swirling above the swamp, they never touch its waters. The mist does not know what it is to be wet, to be drenched. It was perhaps born of the same water but could never rise to be a cloud. It remains in between. This in-between-ness is the condition of our present; a suspension across the region. The failure to acknowledge the damage of the self and community that this suspension brings, comes from the enchantment of this flickering light in the distance. A theatre by the forces in power, that know distraction is the means to avoid accountability. Here ideas of development, religious and ethnic superiority and a claim to the land, shine through and beyond the haze. We are made to feel like we are moving towards something, but in truth, we remain suspended. The unknown or the not-so-visible-yet, is also magic, alchemy perhaps, of people held to the land and spirits that couldn’t rise to clouds. V. In the Sea, even those who do not believe, float. To draw the sea, is to draw restlessness - a constant performance of forms and force. In the distance, a ship emerges. It is hard to tell if it is returning home or if we are to lose her to the horizon. Water has memory. It remembers everything that passes through it; even those that resigned to its depths. - The rise of nationalism and its majoritarian politics in India; an economic crisis and ensuing political instabilities in Pakistan and Sri Lanka; authoritarian crackdowns on free speech with arrests of critics, and media personnel are more common and unchecked than ever. The walls that separate us as people are higher to scale. Hatred and fear are tools used to disempower minorities. The haze then is mist, smog, smoke, fog, toxicity and magic – it engulfs the distance to remind us of the fragility of the present, the immediate. To work with the unknown is also an opportunity to conjure new visions – that may present itself in time and it commands consistent work and care. Through 21 South Asian practices, the exhibition attempts to make 'region' through the porosity and possibility of stories and legends, residues and memorials (graves perhaps); and a summoning of spirits and energies in a time marked by polarizing, violent politics and majoritarianism. The haze does not take away the future from us, it in fact presents us with possibility and an acute awareness of the present – of where we stand now and how the act of living in itself has become a form of resistance. -Mario D’souza https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1712229032753-KVH46F8TS6MAXG5J3W69/KEI09443.JPG Exhibitions https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1724311692223-4YE4LO0ONS03IF4TSJ3P/_MG_0358.JPG Exhibitions https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1737610544719-K1UDUEAAKF84WRHZKV34/For+WEBSITE_Front+page.jpg Exhibitions https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1738048090262-RWXO8QJY8KXE8IVCC0A8/FE_Invite2024-25.jpg Exhibitions - Feral Ecologies Curated by Mario D’Souza with HH Art Spaces. Text with inputs by Madhurjya Dey Exhibition Inputs: Divyesh Undaviya, Madhurjya Dey, Shruthi Pawels and Shaira Sequiera Shetty. Ferality generates in the aftermath of human intervention - a setting free of the once captive into the wild. Non-human (and more-than-human) entities have survived since the birth of the planet. They have over time, formed ecological worlds where they multiplied, formed codes and conducts of living together, and even evolved or mutated to survive. With the development of humans, came war and technologies and thus extraction - from the wheel to the reactor. These endeavours and their waste has spilled into these sacred, ancient worlds, contaminating and in some cases annihilating them. To move from interdependence to dominance is man’s biggest pride and folly. The targeted erasure of ancestral, indigenous and natural histories tied to landscapes by these extractive mechanisms have accelerated extinctions and the climate crisis. In a world where - colonial, settler-colonial, industrial and xenophobic structures continue to afflict people, natural animal ecologies, how can rewilding teach us resilience? How can we learn from those that persevered and survived? How can flora, fauna and landscapes teach us ecologies interdependence and climates of care? Through an invitation to over 45 artists, Feral Ecologies as a framework is an extended approach to ferality and ecology in its examination of forests and fables, bone and bird, landscapes and infrastructure, cultivation and contamination, time and churning. It examines the friction and alliances between the domesticated and wild. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1769694235932-JCD663O3EX7S7VDXPVRN/DSC06111.jpg Exhibitions https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1770113904755-DB18X76407FH4K91QOG3/SSolo+exhibition+avril+unger-01-01-01-01.jpg Exhibitions - Other Delicates In time passing and present, Avril stages fragments and visions from her decade long art and performance practice. Mother is Mary, Mary; Chutney and The Father’s shoes are too big. The child is to be set straight in his path. The trousseau is unpacked. Artefacts and lived experiences from her childhood are underpinnings of a layered human experience accessorized with status, positions, standards and the pursuit of perfection. In the stillness of domesticity, the mundane and the mirror, is violence lurking in a silk-laced camisole. Nothing about this is delicate. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/4db206e2-fec7-44c2-bdb8-caffeedbc887/DSC03836.JPG Exhibitions https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/6e8f456a-8518-474f-a3d0-d18d92cd1d43/AB_Poster.jpg Exhibitions - Make it stand out Whatever it is, the way you tell your story online can make all the difference. https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/66053c6a-a1de-4db7-879f-f7257114e5fe/India+UK+Season+of+Culture+-+Third+Party+Badge_RGB+%281%29.png Exhibitions Supported by British Council’s India/UK Together Season of Culture https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/113826f7-b4ea-4991-909e-259a55862120/For+WEBSITE_Front+page.jpg Exhibitions Nikhil Chopra with HH Art Spaces announced curators for the sixth edition of Kochi Muziris Biennale 2025-26. http://www.hhartspacesfoundation.org/new-page daily 1.0 2025-01-23 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/1737619098439-09A3DJWWU7F2RYXBEHHI/For+WEBSITE_Front+page.jpg Kochi Muziris Biennale 2025-26 https://images.squarespace-cdn.com/content/v1/581434f703596e7961bee53d/80f434a6-4cba-49c7-a566-f814cffc2b86/For+WEBSITE_Front+page.jpg Kochi Muziris Biennale 2025-26 - Make it stand out Nikhil Chopra with HH Art Spaces announced curators for the sixth edition of Kochi Muziris Biennale 2025-26. Left to Right - Nikhil Chopra, Romain Loustau, Madhavi Gore, Shaira Sequeira Shetty, Shivani Gupta, Mario D’souza, Madhurjya Dey, Shruthi Pawels, Divyesh Undaviya, Alex Xela Alphonso. Scroll down ↓