Project By Serendipity Arts Foundation
In this three-day workshop, participants shall get a hands-on experience in building ‘floating gardens’ – the structure, mechanism and the choice of plants that make it work. Participants should come prepared to get wet and dirty and work in the sun for a fun experience. Wear waterproof footwear, light quick-drying clothes and a hat. Carry a water bottle. Adequate measures shall be taken for your safety and well-being.
Project By Vishal Rawlley
In this three-day workshop, participants shall get a hands-on experience in building ‘floating gardens’ – the structure, mechanism and the choice of plants that make it work. Participants should come prepared to get wet and dirty and work in the sun for a fun experience. Wear waterproof footwear, light quick-drying clothes and a hat. Carry a water bottle. Adequate measures shall be taken for your safety and well-being.
Project By Serendipity Arts Festival
Artists can contribute to the public realm in many ways, the outcomes of which may not always be readily defined as ‘art’. The conversation seeks to answer questions that festival and biennale platforms often grapple with – Is(n’t) all art public? What constitutes public? What is public art? The panelists including jury members for the Serendipity Arts Public Art Grant which was awarded to 6 Goa based artists this year, will refer to their own bodies of work as reference points.
Project By Daku
‘Time Repeats’ is an ongoing experimental public art project by Daku as an exploration of how history repeats itself. The project is based on the belief of repeating patterns of time in our history, sparked by the realization that the world was facing the same situation during the Covid 19 pandemic as it did with the Spanish flu 100 years ago, with similar scenes being repeated exactly a century later.
Project By Salil Chaturvedi
What happens when a wheelchair begins desiring? And what if it develops topophilia? Places My Chair Likes to Go is a photographic work that imagines such an eventuality of a desiring machine.
Embedded in a variety of natural surroundings, the wheelchair takes on the form of an experiencing entity and acquires the naturalness of its surroundings; over this series, it becomes something that is almost expected in a landscape. The work raises several questions and brings together strands from politics, ecology, desire and being, asking viewers to undertake the journey of a becoming-wheelchair.
Project By Nityan Unnikrishnan, in collaboration with Rukminee Guha Thakurta
We stand here, in what might have been one of the world’s great city centres, inundated with images, information and promises of a ‘better’ tomorrow. We may not know it but we are in fact adrift in a sea of seductive myths and casuistic mythologies, clutching at words like progress, development, wealth… Then there are those who aren’t able to swim; are struggling to keep head above water. Referencing them in particular, this work suggests a few parts of the hole – ideas that are ‘central’ to the world order, ideas that are uncaring of edges and margins. These inflated, bloated blobs of synthetic material, spread across Panjim, speak for themselves, between themselves and, we hope, to you, the viewer.
Project By Tinu Verghis
Food is a gateway for defining culture. In traditional Indian culture, food was eaten as a form of worship. A portion of the food from the plate was offered to the gods before consumption. Using the hands to eat, with the 5 fingers touching each other, is a Yogic mudra called Samana mudra, which also activates the production of digestive juices in the stomach. Much of this traditional knowledge is disappearing with the passage of time. I am interested in using the production and consumption of food as an approachable way to activate our social imagination and to redefine the way we consume food, inspiring people to inhabit the world in a better way.
Project By Diptej Vernekar
I grew up in the small village of Kumbhajua, Goa, known for various moving artforms in the style of tableaux, like moving Narkasur idols, Chitrarath (part of the Shigmotsav parade), and Chitras (paper sculptures) that are part of Ganesh Chaturthi and Sangodotsav celebrations. These mythological artifacts, visible during different festivals and made mostly by men, are then preserved for the rest of the year so they can be reused in the following festive season. Created as they are by local communities comprising artisans and technicians, I see these moving tableaux as capable of yielding a parallel art education that helps these communities nurture their craft and expertise.
Project By Amche Mollem
The Amche Mollem citizen’s movement has been driven by citizen action since 2020, positioning art and culture right alongside scientific and legal strategies. A collective dream, it has created spaces for Goans from all walks of life to express their relationship to the natural world through art. The movement focuses on protecting the integrity of the 150-million-year-old Western Ghats from three destructive mega infrastructure projects – a high tension transmission line, the doubling of a railway track, and highway expansion.
Project By Tinu Verghis
Paint a clay pot on site. Fill it with soil. Plant saplings of rice in the painted pot. Take it home. 60 days later, the rice plants will flower for 2 days. This workshop involves a competition for children to upload the photo of their flowered rice plant and a painting of the same on Instagram. The kids will then be encouraged to post on social media about the growth stage till harvest 120 days later.
SIGN IN WITH GOOGLE
