|  | 5.00 pm | G5A Foundation for Contemporary Culture, Lakshmi Mills Compound, Off Dr. E. Moses Marg, Mumbai

Lecture I: Ecological Aesthetics in the Little Ice Age, Mathura, ca. 1614 | Sugata Ray

Along with droughts and famines of unprecedented intensity that ensued with the formation of the Little Ice Age (ca. 1550–1850), the seventeenth century saw the emergence of new forms of riparian architecture in Mathura, the primary pilgrimage center in north India where the divine Krishna is believed to have spent his youth. Emerging from the interstices of material practices, theological economies, and cataclysmic environmental transformation, the hydroaesthetics of riparian architecture in Mathura, then, presents us with an exemplary site that produces an alternative ideation of an ecological art history that brings together the natural and the architectural. In such an ideation, the act of beholding flowing water becomes the crucial link that connects localized aesthetic practices with an expanded nonhuman transterritorial arena of water scarcity and droughts that emerged across the world in the geological epoch of the Little Ice Age.

Lecture II: Developmental Aesthetics: Technocracy’s Ophthalmological Conundrums (ca. 1945-1955) | Atreyee Gupta

With the formalization of the Damodar Valley Corporation in 1948, a multipurpose hydro-engineering project on the Damodar river was set in motion. This was the first of several river valley projects that would be initiated in Nehruvian India to achieve rapid industrial, technological, agricultural, and scientific progress. This talk examines the ocular processes internal to this reconfiguration of India’s waterscape and horizon line, one that transpired in the early post-colonial years. This narrative unfolds through three interlinked vignettes. We begin with models, posters, and woodcut diagrams of the Damodar project that were circulated in the early 1940s by Meghnad Saha, the Bengali atomic scientist and hydro-engineering enthusiast. We then turn to Sunil Janah, whose camera most pithily capturedthe developmental ocularity that this talk seeks to describe. The last vignette focuses on Le Corbusier, whose mandate from Nehru included the aestheticization of the Bhakra dam through architectonic interjections. At face value, it may appear that we cannot escape the centrality of the ocular in the making of the postcolonial development-scape. But, as we will see, neither can the technocratic evade the disruptive potential of the aesthetic.

Admission free and open to all

 |  | October 27, 2015 | 18.00 pm | Visitors' Center, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai

Ecological time is mysterious. How does ecology act in a dialectical Darwinian way, over many lifetimes, before it adapts, or has that changed with the advent of man? We are said to be in the age of the sixth extinction which is caused by humans. As a collective force, we have now acquired the power to change the natural order of forces. The Anthropocene says that by the power of capital and technology, we could be riding the back of the tiger, with an illusion that we are steering it. Our ideas of ecology are based on our histories, and how it makes us now. Nature has turned into a generic category and is ‘acted’ upon. It has to be seen, appreciated, exploited, explored, imagined or ignored, but not necessarily lived. Akin to what patriarchy does to the figure of a woman, Nature is often put on a pedestal and admired from afar. Possibly, we could be caught up in the web of language itself, and what is signified as Nature. It needs to be seen as a set of relationships rather than a boundary, and re-imagining the idea of Nature could be the key to future sustainability. In this discussion, Ravi Agarwal and Ranjit Hoskote will converse on ideas of art, ecology and sustainability, linking them to the Agarwal’s art practice and environmental activism. The program is organized in conjunction with the artist’s ongoing exhibition, Else all will be still, at The Guild, Alibaug. Admission free and open to all.

 |  | 4.00 pm | Main Hall, Sir J.J. School of Arts, Mumbai

Geographies of Consumption | Bombay/Mumbai, is a public art project conceived and curated by the Mohile Parikh Center. It critically investigates the impact of consumption on natural resources in the city, and on human bodies, our ecosystems and cultures. Interspersed in the project are study groups, film screenings, public lectures, an annual symposia, and publication. The public art projects will focus on urban consumption through the lens of Land, Water & Food.

In Performance Art, the medium is the artist’s body and connotes live actions that usually consist of time, space, the body, and a relationship between the performer and spectators. As a term, it is both confusing and fascinating, and falls outside the conventional forms of theatre and other performative practices. It implies a sense of the artist’s autonomy in composition, the work’s social critique, the element of endurance, and the difficulty to repeat the action. In this presentation, Mansi Bhatt will share her journey into the world of performance, which has its roots in the experimental practices she explored as a student in the Sir J.J. School of Arts, amidst her academic training.

Amphibian’s Transit | Live Performance by Mansi Bhatt | October 7, 8, 9, 2015 | 10.00 am – 5.00 pm | Sir J.J. School of Art, Mumbai | Project - Geographies of Consumption: Bombay/Mumbai

Admission free and open to all.

 |  | 6.30pm | Visitors' Center, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai

This paper examines the role of artistic intervention in contemporary museums in the UK. It revisits and undertakes a critical review of an interactive exhibition, 'From Shrine to Plinth', held at the Croydon Clocktower in Croydon, London in 2008. Designed and curated by Megha Rajguru, a series of artworks displayed in the museum space interrupted the museum’s institutional curatorial methods and explored the dichotomies of the worshipped and collected object.

This paper addresses the classification of religious artefacts as art and curatorial mechanisms in the museum that generate the secular act of close viewing and observation. It compares this with the temple ritual of viewing the deity. Emerging from two separate viewing traditions, the post-enlightenment inquisitive gaze in the former, and the transcendental viewing or darshan in the latter, this paper addresses the role of art in exploring intangible meanings of objects. It reflects upon visitors’ ritualistic behaviours in exhibition From Shrine to Plinth and argues that meanings of artefacts are revealed through human interactions with them. This is where the function of artistic intervention in the museum becomes most poignant, as it offers the opportunity to address untold stories and histories.This paper makes a contribution to the study of curating objects of worship, which is an ongoing debate in museum studies, and offers alternative modes of curatorial thinking that are closely aligned to art practice.

Admission free and open to all.

 |  | 6.30pm | Auditorium, National Gallery of Modern Art, Mumbai

The painter Mahadev Vishwanath Dhurandhar (1867–1944) was associated with the J. J. School of Art Bombay for over forty years; first as a student and then as an art educator and colonial functionary. A prolific painter who expanded his activities to writing on his contemporaries and also penned his autobiography in Marathi, Dhurandhar was a part of an intricate web of interactions that shaped the early 20th century art-world in India.Viewed often as a member of the comprador bourgeoisie, his legacy is however much more complex. The presentation will throw light on the strategies adopted by him to breach structures of colonial authority, through subtle contestations and participation in parallel publics that developed on the fringes of officially mandated art societies and institutions.

This presentation is organized in conjunction with the exhibition, Rethinking the Regional, currently showing at the NGMA, Mumbai. Curated by Manisha Patil, the exhibition is conceived by the Shlok Foundation and the NGMA, Mumbai.

In collaboration with Shlok Foundation and the NGMA, Mumbai | Admission free and open to all.

 |  | 4.00pm | Main Hall, Sir J.J. School of Arts, Mumbai

Geographies of Consumption | Bombay Mumbai, is a public art project conceived and curated by the Mohile Parikh Center. It critically investigates the impact of consumption on natural resources in the city, and on human bodies, our ecosystems and cultures. Interspersed in the project are study groups, film screenings, public lectures, an annual symposia, and publication. The public art projects will focus on urban consumption through the lens of Land, Water and Food.

What criteria should we use to evaluate art in public spaces that are dialogic, participatory, interventionist, collaborative and communitarian in nature? Since the 1960s, there has been much discussion among artists about ‘the public’, and varied experiments in the public domain sought to circumvent traditional art venues through direct interactions with the intended public. In this presentation, Navjot Altaf will engage with the students of the art school about such practices and its place in contemporary aesthetic discourse. Her methodology ascertains the interactive aspects of collaboration, whereby the work emerges out of extended dialogues, simultaneously altering the conventional relationship between viewers and works of art.

Admission free and open to all.

 |  | 6.30pm | Visitors's Center, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya (CSMVS), Mumbai

The lecture investigates central aspects of the globalization of the art world: the circulation of the biennale cultural form, its appropriation in many geographical locations, and the contents and questions generated through these processes. It examines the 9th Shanghai Biennale entitled ‘Reactivation’ (2012), and within this large exhibition, focuses on the Mumbai pavilion as one of latest chapters in the brief history of the contemporary art traffic between India and China.‘Reactivation’ was held at the Power Station of Art, formerly the Pavilion of Future at the Shanghai World Expo 2010.

The speaker analyzes the representation of Mumbai in Shanghai by deploying a multi-scalar framework encompassing the Shanghai Biennale’s ‘macro-biography’, and the circuits of people, objects, and imaginations inaugurated by the making of the pavilion. To understand the connections between the art works and the Biennale, the speaker draws on encounters with the pavilion artists that occurred in Mumbai, New Delhi, and virtually. The lecture aims to rethink questions of knowledge, intimacy, and place vis-à-vis accounts of the circulation of the biennale form within Asia and beyond.

Manuela Ciotti received her Ph.D. in anthropology from the London School of Economics (LSE). She is currently Associate Professor of Global Studies at Aarhus University, and ‘Framing the Global’ Fellow at Indiana University, Bloomington. She has an extensive fieldwork experience and has written on the topics of modernity, subaltern communities, gender and politics, and more recently, on art and society.

Admission free and open to all.

 |  | 6.30 pm | Visitor's Center, CSMVS, Mumbai

Yashwant Deshmukh, now in his early fifties, looks back at and beyond the evolution of his practice that spans over 25 years. Deshmukh’s canvases reverberate what his innumerable drawings silently observe. A brief interaction with his work exhibited so far might lead to traces of 'style' - muted colours that subdue layers of texture and almost geometric shapes marked with bold outlines. These impressions do last, as Deshmukh maintains a steady pace. During the two and half decades, a gradual process of arriving at an accomplishment in form and style, sensing a comfort zone and then a departure, can be sensed in his oeuvre.

The first departure the artist made was from the Sir J.J. School of Art, Mumbai, where he was trained. He took to drawing with a resolve to unlearn. The solitude ended after many months, and so did the artist's search for subject. His drawings and the imminent paintings had revealed to him that the subject is within. He became a narrator of his own visual experiences. His technique facilitated aggregation of the personal. The artist took geometry to a literally impossible task- to evoke feelings. The presentation and conversation is aimed at mapping the points of departure in Deshmukh’s work. It is a journey to the expanses of Vidarbha region, to a distant village in Vasai, to Mumbai where he lives and works and to the cities and countries he visited while his work grew beyond cultural codes.

Admission free and open to all | The program will be in Marathi and English.

 |  | 6.30 pm | Studio X, Mumbai

Parvathi Nayar’s uniquely hybrid work examines the narratives of spatial relationships: both the internal spaces within our bodies, and the external in which we live, and often through the prism of science and technology. By treating her artworks as sites of dialogue where different elements – the scientific and the intuitive, the historical and the contemporary – meet and converse, she encourages viewers to re-experience once-familiar perspectives.

Prajakta Potnis’s work dwells between the intimate world of an individual and the world outside, which is separated sometimes only by a wall. She refers to the wall as a witness to history that has traces of inhabitance embedded within. She tries to contextualize the wall as a membrane through which imperceptible elements pass and affect the psyche of individuals, addressing private and social anxieties.

In Fluid Conversations, the artists will present selected works to introduce their practice, and specifically focus on their exciting site-specific installations at the Kochi Biennale 2014-15. Exploring the linkages between inner and outer spaces, the conversation will trace multiple trajectories in their practice that find a resonance in their projects at the Biennale.

Admission free and open to all.

 |  | 6.30pm – 7.30pm | The Hive, Khar, Mumbai


The artists, Swapnaa Tamhane and Aman Sandhu, have been interested in the idea of display, particularly some of the strategies of display in relation to the consumer. Taking particular reference from shop windows in small towns of Germany, which have a certain emptiness, the series of photographs that have formed their research, are linked to the concept of phantasmagoria. The site-specific work, SETS (2015), produced for FOCUS Festival at The Hive discusses this concept.

The artists are based in Germany, and have been working in collaboration since 2011. Their concerns are connected back to a dialogue around landscape, space, or culture. Past works include drawings, sculptures, performances, that are responsive to new landscapes in which they have found themselves. They use the term landscape in a broad sense, linking them to ideas of displacement, diasporic sensibility, inner and outer responses, and environmental influences.

Admission free and open to all

 |  | 6.30 pm | Chemould Prescott Road, Fort, Mumbai

CAMP talks about the mutual development of ideas, collaborations and "encounter strategies" in As If (I- IV), their series of ongoing exhibitions across Kolkata, Delhi and Mumbai. As If is expanded upon as the title and framing device of these series of shows. In conjunction with their exhibition, As If - IV Night for Day, the Mohile Parikh Center presents a talk, followed by a walkthrough by CAMP, at Chemould Prescott Road.

In early film craft, Day for Night was when night scenes were shot in the day - a trick of necessity. Night for Day propagates this idea in the reverse direction. Screens fill the space with electric, sonic, filmic and other uncategorisable works from 2003 to 2015 that took place in the nighttime worlds of Bombay, Delhi, Kabul, Dakar, London, and other non-places exploring time, energy and imagination on the other side of the 'everyday'. CAMP brings into the gallery their version of what was once called the 'virtual', which not so long ago broke the horizon of what is (or what could have been) possible to see, hear or sense.

In collaboration with Chemould Prescott Road.

 |  | 4.30pm – 5.30pm | Bombay Electric, Colaba, Mumbai


Swiss artist, Mirjam Spoolder was inspired by the nine districts of Delhi to create this exhibition, Nine Times Nine, a project which questions what one’s place is in this overpopulated and multicultural world. While discussing these works, the artist will develop nine wearable objects out of these photograph patterns, with the aim to crossover four different mediums into one form of art: photography, design, sculpture and performance art. The project is supported by a grant from Pro Helvetia - Swiss Arts Council and IAAB / Ateliermondial in Basel, Switzerland for a residency in Delhi.

Born in the Netherlands, Mirjam has lived and worked in Basel, Switzerland since 2007. She studied sculpting at the art Academy in Enschede and Theatre in Rotterdam. Finally, after moving to Switzerland, she finished her education in Master of Fine Arts in Basel in 2010. She reflects art into fashion design by producing individual art pieces and transforms them into performance art. Through photography, she tries to capture these three mediums together into one image.

 |  | 6.30pm | Visitors' Center, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai

The way modern Indian art and Indian culture are viewed in globally important art institutions has changed. This is evident from recent displays at the Centre Pompidou in Paris, the Venice Biennale, London’s Tate Modern, the New York Guggenheim and Rotterdam’s Witte de With. No longer are indebtedness and belatedness the only prisms through which Indian and other non-Western forms of modernism are viewed. The examples of Nasreen Mohamedi, V.S. Gaitonde and Tyeb Mehta illustrate the shift in understanding. Will the new openness result in a more widespread revaluation of culturally inflected modernism? This talk will refer to the sentimentalism of twentieth century Indian art, an emotiveness that departs from established norms of modernism. The artists cited are Ravi Varma, Abanindranath Tagore, Chittaprosad, S.L. Parasher, Nasreen Mohamedi, Amar Kanwar, and A. Balasubramaniam. Further, the biennial as the primary mode of the dissemination of contemporary art will be investigated with questions of how well-equipped it is to accommodate cultural difference.

Admission free and open to all.

 |  | 6.30pm | Auditorium, National Gallery of Modern Art, Mumbai

Karin Zitzewitz’s 'The Art of Secularism: The Cultural Politics of Modernist Art in Contemporary India' addresses the entanglement of visual art with political secularism. The crisis in secularism in India is commonly associated with the rise of Hindu nationalism in the 1980s. A variety of commentators have noted how the Hindu nationalist movement made innovative political use of iconic images associated with Hindu mythology, challenging the relationships between modernism, national culture, secularism and modernity that had been built since India’s independence in 1947.The Art of Secularism describes how that political shift radically transformed the terrain of modernist art, which had often drawn upon religious iconography as a largely secular form of national culture.

In this talk, Zitzewitz examines how three renowned modernists, M. F. Husain, K. G. Subramanyan, and Bhupen Khakhar, grappled imaginatively and very differently with the re-enchantment of signs. Her research attests to the depth and range of modernist experimentation with secularity in India, but also the unequal freedom that artists have to use religious iconography in their work.

Admission free and open to all.

 |  | 6.30pm | Auditorium, National Gallery of Modern Art, Mumbai

The talk compares Western theories of artistic creativity with those of the Hindu tradition. The focus of Western theories has been the creative person. Psychoanalysis continued this tradition by emphasizing the biographical roots of creativity, tracing its source to the creative person’s emotional conflicts and highlighting the therapeutic function of creativity. There is recently a shift from the psychological to the biological in that the special nature of the creative person’s cognitive and perceptual processes are receiving greater attention. Indian foundational texts on creativity, on the other hand, do not concentrate on the personality of the creative artist that needs to be transcended for the creativity to flower. Creativity arises from his or her participation in a transcendent-spiritual unconscious. Kakar then looks at an anthropological study of traditional painters and the views of Rabindranath Tagore, perhaps the greatest creative genius produced by India in the last two hundred years, to discuss the contemporary relevance of the traditional Indian view of creativity.

Admission free and open to all.

 | 6.30pm | Space 118, Mumbai

Geographies of Consumption | Bombay/Mumbai, is a public art project conceived and curated by the Mohile Parikh Center. It critically investigates the impact of consumption on natural resources in the city, and on human bodies, our ecosystems and cultures. Interspersed in the project are study groups, screenings, public lectures, an annual symposia, and publication.

It is a platform for diverse actors to discuss our ‘rights to the city’, igniting socially innovative ideas to enable a more farsighted approach to the environment in Bombay. Artists, geographers, urban researchers, architects, social scientists, environment management experts, students, and grass-root civil society organizations are encouraged to collaborate on creative projects for the city. Through the lens of urban consumption, fifteen public art projects will focus on the themes of Land, Water, and Food.

Production and consumption are deeply connected to processes of urbanization, their conditions and consequences. Across the 20th and 21st centuries, there has been a proliferation of urban areas across the globe. But has this urban turn, concentrated to cities, contributed to human well-being? The panel discussion will explore these questions through an interdisciplinary format, as a launch to the project.

Panelists: Shantanu Roy, Navjot Altaf, Rahul Srivastava and Matias Echanove | Discussant: Amrita Gupta Singh

Limited Seats. Admission free and open to all.

 |  | 6.30 pm | Visitors' Center, CSMVS Museum, Mumbai

Baptist Coelho incorporates installation, video, sound, photography, found objects, site-specific works and public art projects in his art practice. His projects frequently merge personal research with collaboration from people of various cultures, geographies and histories. Throughout his practice, he employs the use of atmospheric stimuli and residual work, such as found objects, to engage the viewer into the story and allow them an interactive space to reflect on their own surroundings and predicaments. As immersive experiences, his projects take on the mode of being ‘works in progress’, which become the foundation for long-term projects. His work takes the form of various media which often contend with history, conflict, gender and emotions. Exploring the multiple possibilities of new media and conjuring meaning out of raw experiences, Coelho articulates unspoken stories that have local contexts, but describe global perspectives. The artist will be in conversation with author and journalist, Deepanjana Pal, who has written extensively on his work.

Admission free and open to all.

 |  | 6.30 pm | Visitors Centre, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai

The large-scale painting ‘Mumbai Proverbs’ marks a culmination of Sudhir Patwardhan’s forty-year engagement with Mumbai. Patwardhan’s relationship with Mumbai has changed through these four decades, as the metropolis itself has undergone drastic transformation. In the past, writes the artist, “I have mainly employed three strategies to paint the city: the street-level view of a participant; the panoramic view of a observer; and, lately, the guarded view of a city fragment, viewed while looking out of a window. When I began sketching and thinking about the current project, I realised I wanted to bring into play all these earlier strategies. Given the scale, the panorama would predominate, but it would be inter-spread with breaks and close-ups. Interiors of homes, factories, offices would merge with the streets and aerial views. Inside and outside, near and far, private and public, would be brought together. Mumbai is transforming daily, giving us glimpses of the future; and Mumbai has a past that, too, is everywhere.” Patwardhan chose a seven-panel structure, reminiscent of a Japanese screen: “Binodbehari Mukherjee’s Hindi Bhavan mural at Santiniketan was a point of reference, as were Diego Rivera’s Detroit Industry Mural and Leger’s ‘City’.” Read from left to right, the panels narrate the city from its colonial beginnings to the Information Technology age. The other narrative linking the fragments is the flaneur’s roaming, which discovers what makes this one city, indeed, one’s city. Patwardhan will be in conversation with poet and cultural theorist Ranjit Hoskote, who has written extensively on his work.

The program is organised by the Mohile Parikh Center in collaboration with the Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai

 | 6.30 pm | Visitors Centre, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai

Atul Dodiya and Ranjit Hoskote have enjoyed a friendship and collaboration that extends across 25 years. They have interacted in various modes: Dodiya as artist, reader of literature, viewer of cinema and raconteur; Hoskote as poet, art critic, cultural theorist and curator. Over the years, Hoskote has contributed essays to the catalogues of Dodiya’s exhibitions, and curated two monographic exhibitions of his work, Bombay: Labyrinth/ Laboratory (Japan Foundation Asia Center, Tokyo, 2001) and Experiments with Truth: Atul Dodiya, Works 1981-2013 (National Gallery of Modern Art, New Delhi, 2013). Dodiya and Hoskote have also collaborated on an artist book, featuring a series of watercolours by the former and a sequence of texts by the latter, Pale Ancestors (Bodhi Art, 2008). In 2014, Prestel Verlag, in collaboration with the Vadehra Art Gallery, published the 468-page monograph, Atul Dodiya, edited by Hoskote and including essays by the editor, Enrique Juncosa and Thomas McEvilley, as well as a conversation between the artist and Nancy Adajania, along with an exhaustive record of the artist’s work over more than three decades. To celebrate the publication of this monograph, Dodiya and Hoskote will engage in a public conversation ranging across a variety of subjects that have fascinated them both: the emergence of the literary avant-gardes in India in the 1960s and 1970s, the challenges facing artists during the 1990s, the negotiation of the globalized present, the presence of language within Dodiya’s images, and the role of the artist as collector and researcher.

Admission free and open to all.

 |  | 6.30 pm | Visitors' Center, Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai

This lecture is based on Adajania’s ongoing research into the lost histories of transcultural initiatives launched during the Cold War era. She argues that the first few editions of Triennale India (inaugurated in New Delhi in 1968) were the manifestation of a confident globalism from the South and even a globalism before globalisation. Initiated by the visionary novelist, editor and art critic Mulk Raj Anand, Triennale India consciously articulated the Nehruvian internationalist vision of non-alignment that sought solidarity among Asian, African and Latin American countries, marking a ‘third position’ in Cold War politics. However, as she will demonstrate in her lecture, the triennale was from the very beginning mired in misunderstandings. First, it became trapped in a fruitless contention between rival narratives of the concept of internationalism. Second, it fell victim to a struggle over the scarce resources of State patronage, as represented by the Lalit Kala Akademi, the organizing body of the triennale, which was to become increasingly intransigent and bureaucratic during the 1970s and 1980s. Even as Adajania has produced a context-specific regional history of this initiative, she found it necessary to critically evaluate its connections with other transformative histories within global biennale culture, such as those of the 1968 Venice Biennale (also called the ‘police biennale’) and the 1st Sao Paulo Biennale (1951), credited with having broken the Euro-American hegemony, but in fact arguably acting as an extension of it. Triennale India rarely finds mention in the thriving biennale discourse, and her attempt is to refocus attention on it as a pioneering, visionary project that came much before its time.

Admission free and open to all.

 |  | 6.30pm  | Somaiya Centre for Lifelong Learning, Somaiya Bhavan (Above Kitab Khana), Mumbai

Incorporating concepts from visual arts, architecture, vernacular crafts and cultural studies, Cultural Re-imaginations has attempted to challenge the traditional boundaries between art/architecture, artist/artisan, crafts/arts, public/private and inside/outside. The project has attempted to ‘create circumstances for unanticipated convergence of disciplines, ideas and people’ by becoming a platform for collaborative work between bamboo artisans, artists and boat-builders.

Indrani Baruah will share her ongoing cultural experiments in the public realm and the intuitive practice that has evolved over the years out of her interdisciplinary background. She will discuss the constantly evolving process, methodology and forms as manifested in her current experiments on the River Brahmaputra in Guwahati, Assam. Engaging with the ideas of ‘genius loci’ and placemaking in the context of the city, the river and the ‘collective cultural journey’, the three stages of the project Cultural Re-imaginations will be expanded upon.

In collaboration with the India Foundation for the Arts and the Somaiya Centre for Lifelong Learning.

 |  | 6.30 pm | Auditorium, National Gallery of Modern Art, Mumbai

This presentation will introduce the field of social sculpture and connective aesthetics, and what this has to do with shaping an ecologically viable and humane future. It will reference the theory, practice, and pedagogy Shelley Sacks has developed over several decades, including its roots in Joseph Beuys, Rudolf Steiner, Goethe, Schiller, and Jung. It will also highlight other key sources from Ivan Illich, Paulo Friere and E.F. Schumacher, to Vedic and Buddhist teachings, including Gandhi, Coomaraswamy and Tagore.

These ideas will be brought to life by her work to create new language in phrases like ‘Sustainability without the I-sense in Non-sense’ as well as images and descriptions of her social sculpture projects like Earth Forum, University of the Trees and Exchange Values - her acclaimed social sculpture with small farmers and global consumers, which since 1996, has been in many venues around the world, including the Johannesburg National Gallery for the World Summit for Sustainable Development in 2002. The ‘connective practices’ and ‘creative strategies’ in these projects – concerned with the relationship between imagination and transformation, freedom and responsibility, and inner and outer work - explore different forms of ‘capacity building’ and of ways to be ‘agents of change’.

Her talk will also outline the work of the Social Sculpture Research Unit in Oxford Brookes University, how this sits in an institution, and its interdisciplinary graduate programs that enable practice-based research. Shelley Sacks, like Beuys, regards teaching as an artwork, and institutions like universities, as one of the places where ‘enchanters need to appear’.

Admission free and open to all

 |  | 6.00 pm | Auditorium, National Gallery of Modern Art, Mumbai

Roobina Karode will discuss the ongoing exhibition at the Kiran Nadar Museum of Art showcasing Nasreen Mohamedi’s retrospective, ‘A View to Infinity’. She will be expounding on the curatorial choices she made in the shaping of the exhibition, the challenges she encountered and share her ongoing formulations on Nasreen’s distinctive art pedagogy and practice, her oeuvre and the trajectory of subliminal abstraction that she steered at a time when figural narration was predominant in India. As her student at the Faculty of Fine Arts, M.S. University of Baroda, and as her neighbour, Karode came to know the artist very closely through many interactions with the artist from 1977 to 1990. Having spent long hours at her studio-cum-home, she will be sharing the artist’s persona with the audience through personal anecdotes and rare insights registered by her into the self-evolving discipline of Nasreen, with regard to both, her art and life.

 |  | 6.30 pm | Auditorium, National Gallery of Modern Art, Mumbai

As an artist linguistically poised on the threshold between tradition and modernity, Ganesh Pyne was symptomatic of the 1970s modernist developments in Indian painting; however, his personal expression was also marked by the difference of individual distinction. Through their stylistic and thematic concerns, his paintings become an index to the characteristic features of the art of the period. They reflect a keen consciousness of time, culture, ambience, socio-political conditions and individual identity, while situating the individual within immediate locale of one’s existence.

 |  | 6.30 pm | Auditorium, National Gallery of Modern Art, Mumbai

The Himmat Workshops were a response to external as well as internal conflict, and therefore situated as much without the studio as within. To situate art within a zone of devastation is to test its capacity for survival in extreme conditions, but for the same reason, also gives rise to some rare insights. It provides a framework that enables investigation, and answers questions regarding responsibility, function, and appropriate action within a given context – predicaments that are common to most disciplines and professions. The Himmat Workshops is a research project (2002 - 2012) initiated by Vasudha Thozhur and supported by the India Foundation for the Arts and KHOJ International Artists’ Association. It involved collaborating with Himmat, an activist organization based in Vatva, Ahmedabad. The presentation is in conjunction with a comprehensive exhibition - Beyond Pain: An Afterlife - at Sakshi Gallery and Project 88.

 | 6.30pm | Goethe Hall, Max Mueller Bhavan, Mumbai

Rummana Hussain's (1952 – 1999) politically aware, philosophically provocative, yet poetic and self-referential art presents to us a complex perspective of a lived experience. Since 1992, Hussain pioneered performance as a visual art form and worked progressively within a more feminist and conceptual vocabulary, creating some of the most important works in the field. Hussain has gained recognition for her category-defying work that incorporates performance, installation, sculpture, film and photography, challenging perceptions of what art can be. This presentation documents this history, representing the range of Hussain’s art that created a reflexive turn for the larger questions of identity and representation.