the Hashtag#Collective has launched Kaalam, a multisensory, site-specific art installation currently on view at Gallery OED Courtyard, Mattancherry, Kochi, until 30 March 2026. The installation was unveiled earlier this month in Kochi and continues to invite audiences to engage with Time as a lived, unstable, and deeply contemporary condition.

Rooted in the Malayalam word kaalam – a term that encompasses era, destiny, decay, and cosmic rhythm, the installation reflects on Time as it is experienced today: accelerated, fragmented, and shaped by global conflict, climate anxiety, technological velocity, and shifting social realities.

At the conceptual heart of Kaalam is the poem “Kaalam: Time’s ferocious timeline” by Parvathi Nayar, adapted into Malayalam by Saira Biju under the guidance of Rev. Fr. KM George. The poem functions as a structural and spatial guide for the installation, shaping its rhythms of repetition, rupture, shadow, illusion, and distortion.

Spanning the Gallery OED Courtyard, Kaalam unfolds through a layered vocabulary of neon signage, mural and graffiti interventions by Apoorv Dutt (Franklyapoooooorv), suspended acrylic Malayalam letters, conceptual text, and a three-dimensional anamorphic rendering of the word Kaalam. Together, these elements transform the site into a temporal landscape, one that oscillates between urgency and stillness, fracture and continuity.

Kaalam treats Time not as an abstract concept but as a condition felt in the body, embedded in memory, and constantly disrupted by contemporary life. Rather than offering conclusions, the installation poses questions around acceleration, repetition, collapse, and the possibility of imagining alternate temporalities.

Kaalam is a collaborative, interdisciplinary project by the Hashtag#Collective – comprising Biju Kuriakose, Parvathi Nayar, Abin Chaudhuri, and Saira Biju, whose practice spans architecture, art, design, and public space. This edition marks a significant collaboration with Apoorv Dutt, whose fractured, geometric visual language intensifies the installation’s exploration of rupture and instability. The project team also includes urban designer and architect VS Sindhura, a long-standing collaborator with the Collective.

The installation has been made possible with the support of Systopic Laboratories, Sayonara Printers, and Local Hands, with Gallery OED Courtyard as venue partner.

Kaalam remains open to the public until 30 March 2026.

THE HASHTAG#COLLECTIVE — ARTIST & DESIGNER PROFILES

Parvathi Nayar

Parvathi Nayar is a multidisciplinary artist whose practice spans complex drawing processes, video, installations, text, and photography. Known for her signature black-and-white graphite drawings, Parvathi explores the spaces we inhabit through the lens of science, technology, and environmental consciousness.

Her works delve into urban memory, sustainability, and particularly water — a recurring theme in her artistic narrative. Her notable installations include BreatheWater at The Esplanade Art Centre, Singapore (2022); Chicken Run at the Chennai Photo Biennale (2021–22); the iconic 20-foot “drawn sculpture” A Story of Flight at Mumbai Airport’s T2 Terminal; The Fluidity of Horizons at the Kochi-Muziris Biennale (2014/15); and the 30-foot mural The Music of the Spheres at the Chennai Mathematical Institute (2016). Parvathi is also a writer, poet, and TEDx Chennai speaker, known for talks such as Seeing the World Through Different Lenses (2016).

Biju Kuriakose

Biju Kuriakose is an architect, urbanist, and educator, and the co-founder of architectureRED, a Chennai-based architecture and urban design practice. A graduate of Mumbai and a Master’s degree holder in Architecture and Urban Design from Pratt Institute, New York, Biju’s work spans diverse scales — from large urban planning projects to institutional, commercial, urban, and rural housing developments. His practice engages with critical issues of architecture, sustainability, and urbanism. Biju has lectured extensively at esteemed international platforms such as the Metropolitan Waterfront Alliance (New York), Pratt Institute, and Columbia University, and he serves as an External Studio Critic at the School of Architecture and Planning, Anna University, Chennai.

Abin Chaudhury

Abin Chaudhury, a graduate of Jadavpur University, Kolkata and an Industrial Design alumnus of Domus Academy, Milan, is the founder of Abin Design Studio (ADS). He is also a participant of the 2014 Glenn Murcutt International Master Class. Over the past decade, Abin has engaged with an array of design challenges across architecture, urban design, interiors, and public art, consistently pushing the boundaries of design thinking.

He has been featured in the prestigious South Asian list of The 50 Most Influential Names in Architecture and Design (2014 & 2015). ADS has received numerous national and international accolades, including selection by the Museum of Modern Art (MoMA), New York, for its publication and travelling exhibition Uneven Growth: Tactical Urbanisms for Expanding Megacities (2014), as well as the International Architecture Award (2015) from The Chicago Athenaeum: Museum of Architecture and Design.

Saira Biju

Saira Biju is an artist whose practice has been shaped by her long-standing engagement with art from school through college, even while pursuing non-art academic degrees at Stella Maris College, Chennai. Her time at the School of Visual Arts, New York, strengthened her foundation in formal experimentation, particularly around the interplay of subject, medium, and technique — an approach that continues to inform her work. Saira is known for her bold colour palette and intuitive engagement with paint, focusing on texture, hue, and physicality. She has contributed to the art ecosystem through roles such as assisting in the execution of Art Chennai 2013, consulting with Gallery Veda on curatorial initiatives, and conducting art classes for adults and children.

OTHER ARTIST’S PROFILE

Sindhura VS

Sindhura VS is an architect and urban designer who uses spatial and visual storytelling to craft immersive, narrative-driven experiences. Her work explores cities, environmental impact, gender theories, and historical archives through exhibition, graphic design, and transitory installations.

Apoorv Dutt

Apoorv Dutt is a multi-hyphenated visual artist known for a distinctive storytelling style that blends philosophy, humour, and bold graphic discipline. As the founder of Vividiti Designs and principal artist of “Franklyapooooorv,” her practice transforms personal and societal chaos into visually structured narratives. Her work often features a signature animated alter-ego, meticulous line work, and fractured geometric forms that create a striking, “living comic book” aesthetic.

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Despite India’s extraordinary mural heritage, most people can only name Ajanta and Ellora when asked about historic wall paintings. Yet, the country is home to many more remarkable sites adorned with stunning murals. Here are 7 additional historic destinations with captivating murals that every art and culture enthusiast should explore.

Bagh Cave 

Hidden away in the quiet hills of Madhya Pradesh, the Bagh Caves are located on the southern slopes of the Vindhya Range, near the town of Bagh in Dhar district. This collection of nine rock-cut caves dates back to the late 4th to 6th centuries CE. These masterpieces emerged during the Gupta period, often hailed as the golden age of Indian culture, and are now revered as some of the most exquisite examples of Buddhist art and architecture in central India. 

Rediscovered in 1818, the caves continue to fascinate historians, artists, and travellers alike.

Originally carved as Buddhist viharas, or monastic dwellings, the Bagh Caves served as serene sanctuaries for monks. It is believed that the revered Buddhist monk Dataka oversaw their construction. The site flourished under the Gupta Empire, a period marked by immense artistic and cultural achievement. Of the original nine caves, five have survived the ravages of time. Among these, Cave 4, aptly named Rang Mahal or “Palace of Colours,” stands out as a vibrant symbol of the era’s sophisticated craftsmanship and imagination.

The Murals of Bagh

Painted using the tempera technique, the paintings were made by layering the rock walls with a reddish-brown mud plaster, topped with lime and then painted with natural pigments. These murals breathe life into Buddhist Jataka tales, capture bustling scenes from everyday life, and portray lush landscapes filled with animals, plants, and courtly elegance. Unlike the more spiritually inclined paintings of Ajanta, Bagh’s murals radiate a worldly charm, revealing a society deeply connected with the material and the beautiful.

The finest examples are found in Cave 2 (Pandava Cave) and Cave 4 (Rang Mahal), though glimpses of artistry remain in Caves 3, 5, and 7. To protect these precious works, many mural fragments have been carefully relocated to the Gujari Mahal Archaeological Museum in Gwalior, where they are preserved for future generations.

 Getting There

Reaching the Bagh Caves is a journey worth taking. Perched above the Baghani River, the caves are nestled into the cliffs, about 97 kilometres from Dhar town.

If you’re travelling by road, start from Indore via NH 52 towards Dhar (approximately 90 km), and continue another 20 km to Naingaon, following signs that point towards the caves. There is convenient parking close to the entrance. 

For those taking the bus, frequent services connect Indore to Dhar in around 2 to 3 hours, after which you can hire a taxi or an auto-rickshaw for the final 40 km to the caves.

 By train, the nearest major railway station is Indore, from where the route continues by road. 

From Naingaon, just 8 km away, you’ll find local autos and shared taxis ready to take you up to the site. It’s always wise to confirm fares beforehand.

The caves are open to visitors daily from 10 AM to 4 PM, and the experience is best savoured in the early morning, when the sun is soft and the crowds are few. Knowledgeable local guides are available and can enrich your visit with stories, context, and deeper insight into the murals and the monks who once lived among them.

Lepakshi Temple

Lepakshi temple or the Veerabhadra Temple, built in the 16th century by brothers Virupanna and Viranna, governors under Vijayanagara ruler Achyuta Deva Raya, is a glowing tribute to divine art, mythology, and cultural grandeur. Though it serves as a sacred site dedicated to Veerabhadra, the warrior incarnation of Shiva, Lepakshi is as much an open museum to Vijayanagara era architecture and storytelling as it is a temple.

Step into the temple’s inner sanctums and you’ll be greeted not just by stone pillars and carvings, but by murals that speak, narrating epic tales, spiritual legends, and even glimpses of 16th-century court life.

The Murals of Lepakshi

Artistically, the Lepakshi murals are master classes in the use of natural pigments. Bold reds, deep yellows, leafy greens, and carbon blacks come alive over a base of locally made plaster, composed of clay, red ochre, and lime. The figures, often drawn in profile with expressive frontal eyes, angular noses, and tapering waists, follow the distinct visual grammar of the time. The panels are rich, with barely a blank patch of wall, filled with floral arabesques, curling vines, and precise geometric patterns. This unmistakable aesthetic is widely considered the precursor to the Kalamkari tradition, and echoes of these motifs can still be found in the region’s textile crafts today.

These vibrant murals span the ceilings of the mahamandapa (main hall), gateways, and smaller shrines, some stretching up to 25 metres in length: Arjuna receiving the Pashupata weapon in the Kiratarjuniya tale, the coronation of Rama, Shiva and Parvati playing dice, and the many-armed Veerabhadra flanked by devotees and the temple’s builders, frozen in time.

These paintings portray the daily rhythms of the Vijayanagara court, complete with elaborate costumes, ornaments, musical instruments, and classical dance poses, preserving an era that would otherwise be lost to the ages.

Getting There

Lepakshi is just 120 kilometres away from Bengaluru. The nearest railway station is Hindupur, a mere 14 km from the temple, offering connectivity via taxis or local buses. If you’re on the road, National Highway 44 is your best bet, with regular state buses and private vehicles making the scenic drive from either Bengaluru or Anantapur. The temple welcomes visitors throughout the year, though the cooler months between October and March are especially ideal for a relaxed and crowd-free experience.

Mattanchery Palace

Mattancherry Palace, also known as the Dutch Palace, is a historic landmark situated in Kochi, Kerala. Built by the Portuguese in 1555 as a gift to the Raja of Cochin, the palace was later renovated and expanded by the Dutch in 1663, which led to its popular name. The palace is an architectural blend of the traditional Kerala Nālukettu style with European influences, evident in its arches and proportions. For centuries, it served as the chief residence of the Cochin royal family and has since become a museum and a symbol of Kerala’s rich cultural heritage.

One of the palace’s most celebrated features is its extensive collection of murals, which are among the finest surviving examples of Kerala’s mural tradition. Beyond the murals, the palace houses portraits of the Rajas of Cochin, royal artefacts like ivory palanquins and howdahs, ceremonial dresses, coins, and stamps. The ceiling of the coronation hall is adorned with intricate floral woodcraft, adding to the palace’s artistic splendour.

Murals of Mattancherry Palace

Executed in the tempera technique using natural pigments, these paintings are characterised by vibrant, warm colours and intricate detailing. The murals primarily depict religious and mythological themes, with the most famous panels illustrating the Ramayana in the coronation hall. These murals narrate the epic story in a unique, puzzle-like pattern called ‘manimala’, covering episodes from King Dasaratha’s sacrifice to Sita’s return from Lanka. Other chambers feature murals of Krishna Lila, Vishnu, Shiva, and even rare depictions such as the birth of Rama and his brothers. Some rooms also display lighter palettes and thinner paint, reflecting stylistic evolution over time.

Getting There

Mattancherry Palace is located in the Mattancherry area of Kochi. To reach the palace, visitors can travel from Ernakulam, the city’s main hub, which is well-connected by rail and road. From Ernakulam Junction railway station, Mattancherry is about 10 km away and can be reached by taxi, auto-rickshaw, or local buses. Kochi is also accessible via Cochin International Airport, about 40 km from the palace. The site is open to visitors, and exploring its halls offers a journey through Kerala’s royal history, artistic traditions, and the enduring legacy of its multicultural past.

Shekhavati haveli

The Shekhawati region, located in northeastern Rajasthan, is famed for its spectacular havelis; grand mansions constructed primarily by Marwari merchant families between the late 18th and early 20th centuries. These havelis arose during a period when Shekhawati, situated on vital trade routes connecting Delhi, Sindh, and the ports of western India, became a hub for commerce in opium, spices, and textiles. Wealthy merchants, eager to display their prosperity and social standing, commissioned these elaborate residences, which are now celebrated as the “largest open-air art gallery in India”.

Murals of Shekhavati

The murals that adorn Shekhawati’s havelis are among the most vibrant and diverse in the country. Painted in the fresco technique on lime-plastered walls, these murals initially depicted traditional themes: Hindu deities, scenes from the epics, local legends, and motifs of flora and fauna. As the region’s merchants grew wealthier and more cosmopolitan, the murals evolved to include secular and contemporary subjects: British officials, trains, steamships, aeroplanes, telephones, and even scenes featuring Jesus and European life. The result is a unique visual record of both Rajasthan’s cultural heritage and its encounter with modernity, blending Rajput, Mughal, and European influences in both subject and style.

Shekhawati encompasses several towns, notably Mandawa, Nawalgarh, Fatehpur, Jhunjhunu, and Churu, each home to dozens of painted havelis. The architecture typically features large wooden gates, ornate arches, jharokhas (overhanging balconies), and rooms arranged around central courtyards, with the most elaborate frescoes often found on the exterior facades and gateways. Noteworthy havelis include Seth Ramgopalji Poddar ki Haveli, Jankiprasad Poddar ki Haveli, and the grand Char Chowk ki Haveli.

Getting There

To reach Shekhawati, travellers can start from Jaipur, which is about 150–200 km away by road. The nearest railway stations are Jhunjhunu and Churu, both well-connected to Jaipur and Delhi.. From these towns, local taxis, auto-rickshaws, or even guided bicycle tours are available for exploring the Havelis and their murals.

Thanjavur Maratha Palace

The Maratha Palace, nestled in the heart of Thanjavur, is not only a testament to the city’s royal legacy and a vibrant showcase of South Indian mural art. This palace, originally constructed by the Nayak rulers in the 16th century and later expanded by the Marathas, offers visitors a unique opportunity to immerse themselves in the artistic traditions that flourished under successive dynasties.

The palace complex reflects the blend of Nayak and Maratha influences, both in its architecture and in its artistic embellishments. After the Marathas took control in the late 17th century, they added their own touches, commissioning artists to decorate the interiors with colourful murals that brought the palace walls and ceilings to life. The Darbar Hall, in particular, stands out for its painted panels and elaborate stucco figures, which together create a regal and immersive atmosphere.

Murals of The Palace

The murals at Thanjavur Maratha Palace are primarily religious and courtly in nature. They depict a wide array of scenes from Hindu epics such as the Ramayana and Mahabharata, as well as stories from the Puranas. Some panels illustrate the coronation of Rama, the playful episodes of Krishna, and various mythological events involving deities like Shiva and Parvati. Alongside these, the murals also feature portraits of Maratha rulers and scenes of courtly life, offering a fascinating glimpse into the social and cultural milieu of the time.

Artistically, these murals are characterised by their vivid use of colour and bold outlines. Figures are often shown in profile, adorned with elaborate costumes and jewellery, and set against richly decorated backgrounds. The technique used combines fresco and tempera styles, with natural pigments applied over a carefully prepared plaster base. The result is a series of paintings that are both strikingly beautiful and remarkably well-preserved.

The palace houses dozens of mural panels, with the highest concentration found in the Darbar Hall and adjacent galleries. While an exact count is challenging due to restoration and overlapping layers from different periods, visitors can expect to see several large narrative panels on the ceilings and upper walls, as well as smaller decorative elements throughout the palace. The murals are complemented by stucco sculptures and ornamental arches, adding to the overall grandeur of the setting.

Getting There

The Maratha Palace is centrally located in Thanjavur, just a short distance from the famous Brihadeeswarar Temple. The palace is open to visitors daily, typically from 9 AM to 6 PM, with a midday closure for lunch. Entry fees are modest, and guided tours are available for those interested in a deeper understanding of the site’s history and art. The best time to visit is during the cooler months, from October to March, when the weather is most pleasant for exploring the palace and its artistic treasures.

Krishnapuram Palace 

Krishnapuram Palace, near Kayamkulam in Kerala’s Alappuzha district, was built in the 18th century by King Marthanda Varma of Travancore after his conquest of the Odanad kingdom. The palace follows the traditional Kerala architectural style called Pathinarukettu, featuring gabled roofs, narrow corridors, and dormer windows. Originally a royal residence, it now functions as an archaeological museum preserving artefacts from the region’s history. 

The palace is best known for its mural, Gajendra Moksham, the largest single-piece mural in Kerala, measuring about 14 by 11 feet. The palace also displays royal artefacts such as the Kayamkulam Vaal (sword), a Sanskrit Bible, coins, inscriptions, sculptures, and a Buddha statue. Its gardens and pond provide a calm setting for visitors.

Murals of Krishnapuram

The mural style uses bold outlines and expressive faces, with floral borders framing the scene. Besides Gajendra Moksham, the palace contains other mural fragments and decorative panels, though none as large or detailed. These murals reflect Kerala’s tradition of using wall space for storytelling through colour.

Ganjedramoksham is painted with natural vegetable colours on a lime-plastered wall. The mural depicts the story from the Bhagavata Purana where Lord Vishnu rescues the elephant king Gajendra from a crocodile. Positioned at the entrance of the pond, the mural allowed the royal family to offer prayers after their daily bath. The painting shows Vishnu, Garuda, gods, saints, animals, and celestial beings witnessing the event. The lower panel features Balakrishna surrounded by female devotees, reflecting influences from the post-Vijayanagara period.

Getting There

Krishnapuram Palace is accessible via Kayamkulam Junction railway station, two kilometres away, with taxis and auto-rickshaws available. The nearest airports are Thiruvananthapuram International Airport (103 km) and Cochin International Airport (132 km). The palace lies on Oachira Road along National Highway 66, with regular bus services from nearby towns. It is open from 9:30 AM to 4:30 PM, and closed on Mondays and public holidays. Entry fees are modest, with additional charges for photography. The best visiting months are November to February, when the weather is cooler. The palace offers insight into Kerala’s royal history and mural art through its collection and setting.

Alchi monastery murals

Alchi Monastery, located on the banks of the Indus River in Ladakh, is one of India’s oldest and most artistically significant Buddhist sites. Founded in the 11th century, the monastery is part of the Alchi Choskhor complex, which includes four main structures: the Dukhang (assembly hall), Sumtsek, Manjushri Lha-khang, and Lotsabha Lha-khang. Unlike most Ladakhi monasteries perched on hilltops, Alchi is uniquely situated on flat ground, likely due to its proximity to ancient trade routes. The foundation of Alchi Monastery is traditionally attributed to the renowned translator and Buddhist scholar Rinchen Zangpo (958–1055 CE), who played a key role in spreading Buddhism across the western Himalayas.

Murals of Achi

The murals of Alchi are celebrated for their exceptional preservation and distinctive artistic style, which blends Kashmiri, Tibetan, and Indian influences. These murals are among the oldest surviving Buddhist paintings in Ladakh, dating from the 11th to 12th centuries. The artists, believed to have come from Kashmir, used natural pigments and intricate brushwork to create detailed compositions that remain vivid even after nearly a millennium. The murals employ techniques such as bindu-varttana, where shading is achieved through minute dots, and feature a colour palette dominated by reds, whites, and blues.

The murals cover the interiors of all major temples within the complex. The Dukhang is adorned with large images of the Buddha and narrative scenes from his life, while the Sumtsek’s three floors are famed for frescoes and sculptures, including a grand statue of Maitreya flanked by other deities. The Manjushri Lha-khang and Lotsabha Lha-khang also house extensive wall paintings. In total, the monastery contains hundreds of mural panels across its halls and chapels, making it one of the most comprehensive collections of early Himalayan Buddhist art.

The iconography is rich and complex, depicting Buddhas, Bodhisattvas, wrathful and peaceful deities, and intricate scenes from Buddhist cosmology and philosophy. Some murals show rare secular elements, such as hunting scenes and depictions of daily life, which are unusual in Buddhist art and suggest wider cultural influences, possibly from Iranian or Central Asian traditions. The figures are rendered with elaborate jewellery, crowns, and expressive faces, and the backgrounds are filled with floral motifs, geometric patterns, and symbolic elements.

Getting There

Alchi Monastery is accessible from Leh, the capital of Ladakh, which is about 66 kilometres away. The drive from Leh takes around two hours and passes through scenic Himalayan landscapes. Regular taxis and tour vehicles connect Leh to Alchi, and the route is open from late spring to early autumn, as heavy snowfall can close mountain passes in winter. The monastery is open to visitors, and photography is restricted inside the temples to help preserve the fragile murals.

Each mural site stands as a cultural time capsule, safeguarding the emotions, stories, and artistic legacies that span dynasties, faiths, and regions. These artworks are expressions of how India has envisioned the world: through the lenses of beauty, devotion, and layered complexity. As contemporary India surges forward, these painted sanctuaries offer a reminder of the enduring richness found in preservation. To walk through their hallowed halls is to engage with the visions of artists long gone.

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The museum exhibition brings to life Ailey’s words: “I wanted to paint. I made watercolours. I wanted to sculpt. I wrote poetry. I wanted to write the great American novel,” and describes his dances as “movements full of images.”

This dynamic showcase combines visual art, live performance, music, a range of archival materials, and a multi-screen video installation drawn from recordings of Alvin Ailey’s American Dance Theater (AAADT) repertory to explore the full range of Ailey’s personal and creative life.

Edges of Ailey – an immersive exhibition

Presented in three parts, Edges of Ailey consists of an immersive exhibition in the Museum’s 18,000 square-foot fifth-floor galleries, an ambitious suite of performances in the Museum’s third-floor Theater, and an accompanying scholarly catalogue.

The exhibition centres on the man himself, capturing the full range of Ailey’s passions, curiosities, and creativity revealed in his archives, across his dances, and within a continuum of other artists spanning nearly two centuries. These elements form a historical account, provide a constellatory survey, and unfold as a tribute to the legendary artist’s life, career, and far-reaching impact on the histories of dance, Black creativity, and American culture. Edges of Ailey affirms the artist’s place as one of the most culturally and historically significant artistic figures in the United States and the world.

“Following six years of dreaming, planning, and researching, the extravaganza that is Edges of Ailey finally enters the world,” said Adrienne Edwards, Engell Speyer Family Senior Curator and Associate Director of Curatorial Programs. adding, ” Now audiences will have the chance to know his story. It is no small task to hold someone’s legacy of this cultural magnitude in your hands. We have made something that aims to have the same imagination, sparkle, generosity, rigour, and daring as did he.”

Edges of Ailey was developed through extensive archival research. From the sweeping holdings of performance footage, recorded interviews, notebooks, letters, choreographic notes, and drawings, to other ephemera gathered from nearly 10 sources, the archives forge a vital throughline in the gallery. A dynamic montage of Ailey’s life and dances will play on a loop across an 18-channel video installation, created by filmmakers Josh Begley and Kya Lou, with Edwards.

This film is composed of newly digitized performance documentation, dances made for the camera, animated archival images, televised broadcasts, and contextual footage of cultural, social, political, and social events of the time.

Visitors also encounter intimate displays of never-before-seen selections from Ailey’s archive, providing a foundation for understanding everything from his daily routine and artistic thinking to the demands of touring and his grappling with being gay. Ailey’s short stories and poems are shown publicly and reproduced in the catalogue for the first time. 

The ways Ailey appears in the show through archives form a surround, circling the galleries, which are presented in red: walls, an archipelago of elevated platforms, customized systems of display, and curtains. This staging of deep crimson reflects Ailey’s formative “blood memories” as well as the colour of theatre curtains and seating of the proscenium theatres in which Ailey’s dances are typically performed, and the pews and carpets of many Southern Black churches.

The exhibition is arranged thematically into sections that span an expanded Black southern imaginary that enfolds histories of the American South with those of the Caribbean, Brazil, and West Africa; the enduring practices of Black spirituality; the profound conditions and effects of Black migration; the resilience for and necessity of an intersectional Black liberation; the prominence of Black women in Ailey’s life; and the robust histories and experiments of Black music; along with the myriad representations of Blackness in dance and meditations on dance after Ailey. 

Throughout the presentation of Edges of Ailey, a robust live performance program in the Museum’s third-floor Theater will accompany the in-gallery component. The performance series is inspired, motivated, and organized to reflect Ailey’s commitment to building a platform for Black modern dancers and choreographers. The performances feature all facets of the AILEY organization in residency at the Whitney for one week each month, for a total of five weeks.

This allows visitors to experience the full scope of Ailey’s world and legacy, including performances of classic and contemporary works by the two repertory companies—Alvin Ailey American Dance Theater and Ailey II—as well as showcases by students from The Ailey School, workshops and education programs from Ailey Arts In Education, and classes from Ailey Extension. 

“Edges of Ailey is one of—if not the—most ambitious and complex exhibitions undertaken in the Whitney’s history,” said Scott Rothkopf, the Alice Pratt Brown Director of the Whitney. “Now is Ailey’s time and our time as an art museum to recognize his immense creative force not simply as one of the 20th century’s greatest American choreographers, nor as its greatest Black choreographer, but as one of the greatest artists working in any medium anywhere in the world. This exhibition situates Ailey—and those he drew on and inspired—smack in the middle of the avant-garde, right where they belong.”

Edges of Ailey is organized by the Whitney Museum in collaboration with the Alvin Ailey Dance Foundation. The exhibition is curated by Adrienne Edwards, Engell Speyer Family Senior Curator and Associate Director of Curatorial Programs, with Joshua Lubin-Levy, Curatorial Research Associate, and CJ Salapare, Curatorial Assistant.

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Marble inlay, also known as “Pacchikari” or “Parchinkari,” is one of the most stunning and well-known types of Mughal art. It was indigenously produced in India. However, it is generally accepted that its roots are in Italy.

A marble that has been inlaid with motifs crafted out of precious or semi-precious stones is formally referred to as “pietra dura,” which is Italian for “hard stone.” Pacchikari, also known as the inlay of semi-precious stones like agate, turquoise, cornelian, jasper, bloodstone, mother-of-pearl, malachite, and lapis lazuli in marble, is an art form that can only be found in Agra.

The inlay is of such high quality that it gives the impression that the designs were carved directly into the marble. The incisions are so subtle that they are almost impossible to see. The stunning pietra dura work that was done on the Taj Mahal and the tomb of Itmud-ud-Daulah served as the source of inspiration for the trade.

The sequence of steps that eventually resulted in the realisation of a masterwork of inlay was honed by Mughal artisans in the 17th century, and it has remained relatively stable for over 400 years since then. This is because the Mughal artisans perfected the series of steps that culminated in the realisation of a masterpiece of inlay work in marble.

Even while the craft still made use of equipment and techniques from the Mughal period, the accuracy in workmanship that expert artisans attained thanks to their outstanding talents is not something that can be recreated by most machines in the contemporary day. Marble Emporium has ensured that the art is kept in its purest, most authentic form.

History of Marble Inlay

Inlay work, especially that done on marble or pietra dura, has been the subject of a great deal of discussion over its place of origin.

The origins of Pietra-Dura are somewhat mysterious—whether it was directly imported from Europe or introduced through another region remains unclear. What is certain is that it captivated Shah Jahan’s imagination profoundly, transforming his architectural endeavours into what resembled a magnificent treasure chest. Originally used to adorn palaces during the Renaissance in Italy, this exquisite art of stone inlay found a renaissance of its own upon reaching the shores of India.

Indian craftsmen successfully adapted it to their requirements, gave it an indigenous touch, and utilised the method to carve out classic Indian designs, which are now considered to be the crown jewels of Indian art.

Some people have the opinion that it grew slowly in India since we can see changes in the inlay work of the structures that were constructed throughout the reigns of Akbar, Jahangir, and then Shah Jahan. It is the first prominent structure in white marble, and its rich decoration in pietra dura gives the sense of a little valuable thing enlarged into a piece of architecture.

It is also the first building in the world to be constructed entirely of white marble. It shows the change from the time when Akbar’s buildings were made of simple red sandstone to the time when they were made of luxurious marble, with all the changes.

During the reign of Shah Jahan, the Musamman Burj, the Diwan-I-Aam, and the Diwan-I-Khas of Agra Red Fort, as well as the Taj Mahal, Agra, Red Fort, and Palaces, Delhi, were all examples of Mughal Inlay art at its most elegant and best stage. This was a phenomenon that never stopped happening in the field of Mughal Inlay art.

The procedure of working on marble inlay

White marble from Makrana, Rajasthan, or Crema Marfil from Italy is often the preferred choice for intricate inlay work due to its fine quality. If marble isn’t used, alternatives like black Kadappa stone or green marble are selected.

The inlay process starts with a design, possibly a floral or geometric motif, traced onto a brass sheet. This pattern is then transferred onto the marble surface. Following this, artisans meticulously carve the marble to prepare it for the inlay

Since the inlay process takes so much time, it takes the skills of many different professionals for each step. The method of pre-etching entails the shape of the marble, the composition of the individually designed pattern, and the covering of the marble with geru, a red mineral colour that enables the etched lines to stand out in contrast.

The next step is to cut the marble using the most basic of tools, which consists of a set of chisels and a predefined set of squares.

After that, thin slices of various coloured stones, both precious and semi-precious, are carefully arranged in the marble using an adhesive. Before setting the stone, the etched area is first filled with cement, then the marble is briefly heated, and lastly, the stone is arranged.

Coloured stone slices, both precious and semi-precious, are carefully shaped, polished, and then embedded into the carved marble using a strong adhesive. Sometimes, specific stones undergo heat treatment to enhance their colour, such as heating Jaisalmer Yellow stone to achieve a red hue.

Common stones used in this art include White Jasper, Chocolate Stone, various types of Marble and Bidasar, along with Lapis, Malachite, Ruby, and Amethyst among others.

To create the intricate components of the design, the semi-precious stones, such as malachite, cornelian, jasper, pearl, and coral, amongst others, are finely crushed and sculpted on an emery wheel that is handled by hand.

Once the inlay is securely in place and dried, the next steps are to polish the surface and edges to a gleaming finish. This polishing, done with a stone bar, ensures the shine endures for decades, leaving the piece splendid and ready for display. When an artist has a high level of talent, the decorations that they produce are more exact and intricate.

Contemporary displays of Marble Inlay

The craftsmanship of inlays and decorations has greatly advanced, significantly bolstered by modern marble decoration techniques and cutting-edge inlay machinery. Today, inlay marble crafts achieve a level of sophistication and precision that was once hard to imagine. This is largely due to the sophisticated equipment that not only speeds up the process but also ensures superior quality, allowing master craftsmen to produce exceptional work more efficiently.

Furthermore, the cost of these inlay marble works has decreased due to the use of these advanced marble inlay machines, which enhance precision and streamline production, delivering top-notch results quickly and efficiently.

Despite these technological advancements, the role of human creativity remains indispensable. It continues to drive innovation and excellence in the marble inlay process, constantly pushing the boundaries and refining the techniques used in marble craftsmanship.

Inlay stones are becoming popular for use in marble inlay products such as marble inlay flooring patterns, marble inlay boxes, marble inlay jewelry boxes, marble inlay tables, marble inlay flower vases, coffee tables and side tables with marble inlay patterns. Table tops come in many different colours and shapes, such as squares, rectangles, ovals, octagons, and so on. Along with its strikingly beautiful appearance, marble inlay flooring designs are by far the most popular option.

Inlays in marble, if chosen carefully in terms of pattern, style, and colour combination, are more than capable of lending an air of unrivalled opulence to the inside of any house. There are both black and white marble tiles available, but it is essential to choose the appropriate setting for their installation before proceeding. Even places like kitchens and hallways can benefit from the beauty of inlay work.

Inlay handicrafts endure

In Agra, close to the majestic Taj Mahal, approximately 3,000 to 4,000 marble carvers and inlay craftsmen reside, perhaps even more, nestled within the colonies of Nai ki Mandi and Gokulpura.

These artisans, about 4,000 strong, are the living pulse of a venerable tradition, crafting miracles from stone in these neighbourhoods. Artisans are broadly categorized into two groups: sadakars, who handle the basic shaping, and pachikars, who specialize in detailed inlay work.

While the preliminary cutting and carving are enhanced by machinery and performed by skilled sadakars, the more intricate inlay work is carried out by experienced pachikars. This specialized task demands a level of expertise akin to that required in the cutting and polishing of jewellery stones, utilizing chisels and grinding stones.

Tourists are welcomed into the workshops, usually located behind the storefronts, where they can witness firsthand the finesse of the karigars during inlay demonstrations. Here, they observe the artisans as they intricately cut and carve marble.

The resulting artwork is a blend of techniques—carving, inlaying, engraving, sculpting, and undercutting—a method where multi-layered decorative items are masterfully created from a single piece of stone.

Since the Taj Mahal is one of the most popular tourist destinations, the business of producing Pietra Dura relics in Agra, Uttar Pradesh is thriving. These artefacts include tabletops, medallions, elephants and other animal shapes, jewellery boxes, and other ornamental objects. Even though the patterns are more Persian than Roman or Medici, this form of art is very much alive and thriving in the Indian city of Agra.

Where to buy:

The primary destinations for purchasing marble artefacts in Agra include the areas surrounding the Taj Mahal complex, Sadar Bazaar, Kinari Bazaar, and Munro Road. At the Taj Mahal Complex, the Uttar Pradesh State Emporium, known as Gangotri, provides a variety of marble handicrafts at reasonable prices.

Marble inlay items are widely available across Agra’s bazaars, villages, stores, and emporiums, and can also be found in other regions like Rajasthan and the city of Varanasi. Additionally, numerous websites offer inlay products, with platforms like artefactindia.com and marble crafts being among the popular choices for these exquisite items.

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Minakari, also known as Meenakari, is an enamelling technique that was developed in Safavid-era Iran for the purpose of painting and colouring the surfaces of ceramic tiles and metal objects. The countries of Iran, Afghanistan, Pakistan, and India are the primary producers of this art form, which is also practised as an art form.

The fine patterns that are typical of minakari art are often used to decorate a wide range of things, such as jewellery, plates, containers, vases, frames, and other display items.

History of Meenakari

The history of the Meenakari craft may be traced back to Persia. Since “Mina” is the feminine form of the Persian word “Minoo,” which means “Heaven,” Mina is preoccupied with the cyan hue that represents heaven.

Craftsmen in Iran are credited with this technique’s invention, which was brought to people in other nations (including India) by the Mongolians. The Mughals, who were known for their love of elaborate Mughal jewellery, eventually became acquainted with this Shahi craft.

The Journey of Meenakari from Persia to India

Originating in Safavid Iran during the Sasanian era, Meenakari is a craft of enamelling that found its way to India through historical exchanges. It was introduced to Rajasthan at some point during the 16th century by Raja Man Singh (Amber), who requested the services of Meenakars from the court of the Mughals, which was situated in Lahore.

Due to him, these Meenakars were able to establish themselves in Jaipur, and as a result, the art was able to remain. These days, Jaipur is considered the Meenakari art capital of India. This marked the beginning of Meenakari’s evolution within the rich cultural tapestry of India, blending Persian influences with indigenous artistic traditions.

Legendary Meenakari Gems

Meenakari flourished as a royal splendour and cultural synthesis hallmark during the Mughal period. It adorned thrones, crowns, and architectural marvels commissioned by Mughal emperors, showcasing intricate designs and vibrant enamelling techniques.

These majestic artefacts, once symbols of imperial power and artistic finesse, now find their esteemed places in renowned museums such as the British Museum and the Metropolitan Museum of Art. Displayed to awe-inspiring effect, these pieces not only reflect the cultural richness of their era but also stand as a testament to the enduring allure of Meenakari artistry across centuries.

The Mughal queens, or begums, cherished Meenakari jewellery, incorporating these exquisite pieces into their collections as symbols of status and refinement. The art form extended beyond decorative purposes to encompass religious artefacts used in Hindu rituals, reflecting its adaptation and integration into diverse cultural practices across the Indian subcontinent.

The Mughals played a pivotal role in refining Meenakari, infusing it with a rich palette of colours and elaborate motifs that symbolized power, prestige, and cultural exchange.

Process of making meenakari

The production of meenakari is an extremely time-consuming, intricate, and challenging procedure. It calls for a significant amount of expertise as well as commitment. The process includes fusing coloured powder glass to a base made of a material such as metal, glass, or ceramics.

This is accomplished by subjecting the material to very high temperatures, often in the range of 750 to 850 degrees Celsius (1,380 to 1,560 degrees Fahrenheit) during the firing process. This results in the material being known as vitreous enamel or ceramic enamel, depending on which term you want.

On the metal, the glass, or the ceramics, the powder will melt and flow, and then it will cure into a vitreous coating that is smooth, long-lasting, and resilient. Any steel, stone, substance, or anything that can endure and maintain the fusing temperatures may have enamel applied to it. Enamel can be used in a variety of applications.

The chunk of steel that will be used for Meenakari is affixed to a lac stick before the process begins. On it are sculpted or engraved patterns of flora and fauna, such as flowers, birds, fish, and other animals, that are beautiful, intricate, and exquisite.

The enamel dust of the desired colour is then dispensed and hurried into the grooves after the walls and grooves necessary to retain and grab the colour have been generated as a result of this process.

The colour is melted by the temperature of the kiln, and the melted colour is distributed uniformly throughout the groove. The art of Meenakari is characterised by complex and ornate patterns that are created via the use of geometric lines and forms, along with other gorgeous motifs. Dishes for serving, vases, frames, displays, containers, and jewellery are all common places where you’ll find Meenakari art applied as a decorative element.

Metal oxides are combined with a little bit of powdered glass to create the colours that are used in enamelling. According to the scientific explanation, the shade of colour that is produced is determined by the oxide concentration of the material alone. These colours are ordered according to how difficult they get, starting with the one that is the most difficult of them all.

When the combinations are still in their unprocessed state, the colours do not appear immediately; rather, they appear only after the product has been heated in the furnace. Amritsar, Punjab, Germany, and France are the most common countries from which enamel colours are purchased and transported.

The Meenakari art style, which is featured on a wide range of objects, is well-known for having characteristics that are both distinctive and immediately noticeable. This includes things like anklets, earrings, jewellery boxes, picture frames, key chains, stools, seats for tiny temples, and even anklets and earrings.

The states of Rajasthan and Gujarat are the most well-known for the Meenakari products and jewellery that they produce, with Jaipur serving as the industry’s primary hub. In the enamelling done in Jaipur, traditional Mughal hues like red, green, and white are employed. It is common knowledge that Nathdwara, Bikaner, and Udaipur are famous for their silver. Glass enamelling is a speciality that may be seen at Meenakari and Pratapgarh.

Even in modern times, people in many parts of India continue to perform this art form. The hue known as gulaabi Meena, which is closer to rose pink, is the one most often seen in Banaras. Meenakari in Lucknow prefer to work with blue and green Meenakari rather than silver. Enamel work over gold is often done in Delhi, Banaras, and Jaipur.

Paintings created in the time-honoured and conventional style of Meenakari may be seen in collections all over the globe. It is grand, and it maintains its crown-worthy status by providing a sensation and experience befitting a monarchy. The artistic form is important to a large number of individuals in a variety of distinct ways. It can be found in all parts of the nation, and each region has developed its unique style and approach to implementing the art form.

Where to buy

Since the 16th century, Jaipur has served as the most important place for Meenakari jewellery. Other regions of the state are also known for making and selling Meenakari jewellery worldwide. Most Meenakari jewellery made of gold is made in Jaipur, Delhi, and Benaras.

Most Meenakari jewellery made of silver is made in the cities of Bikaner, Udaipur, and Nathdwara. The glass enamelling that is used in Meenakari jewellery that originates from the Pratapgarh area is in great demand due to the region’s more affordable price tags.

These hubs not only offer a wide range of traditional Meenakari items like jewellery, home decor, and religious artefacts but also provide insights into the intricate techniques and cultural significance behind each piece.

For those outside India, online platforms specializing in traditional crafts and artisanal goods often feature a selection of Meenakari art. Websites dedicated to promoting Indian handicrafts and international marketplaces showcase a diverse array of Meenakari paintings, sculptures, and jewellery, providing global accessibility to this cherished art form.

Additionally, art galleries and exhibitions worldwide occasionally feature Meenakari artworks, offering opportunities to acquire unique and curated pieces that blend historical craftsmanship with contemporary interpretations.

Celebrating the artistry and legacy of Meenakari

As admirers of Meenakari art, we are drawn not only to its rich historical roots and intricate craftsmanship but also to its enduring allure in contemporary times. Each piece, whether a delicately enamelled pendant or a vividly adorned vase, carries within it centuries of tradition and the skilled hands of artisans who have mastered this ancient craft. By owning a piece of Meenakari, we not only cherish its beauty but also become custodians of its cultural narrative, connecting us to a heritage that spans continents and epochs.

As we bring these treasures into our homes and lives, we celebrate the artistry and legacy of Meenakari, ensuring its timeless elegance continues to inspire and enchant for generations to come.

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Dubbed the ‘Relaytionship’, the artwork has been launched by the Business and Tourism Programme and is a fluid and dynamic piece of digital art, evolving and growing alongside the Birmingham 2022 Queen’s Baton Relay as it traverses 72 nations and territories of the Commonwealth in 294 days.

Having launched in October in the West Midlands – home to Coventry UK City of Culture 2021 and the Birmingham 2022 Commonwealth Games – this is the first reveal of the Relaytionship which has gathered pace and been fuelled by contributions from people across the globe.

To coincide with the Queen’s Baton arriving in the country, the first evolution of the poem and artwork has been revealed at a virtual showcase event, hosted by the British High Commissioner to India, Alex Ellis.

The Relaytionship artwork was revealed by Apache Indians, who grew up in Handsworth in Birmingham, during the virtual showcase event. 

It was originally designed by West Midlands-based audio-visual artist Tommy Xiao Ji in collaboration with spoken word artist Amerah Saleh.

The Relaytionship was created by the Business and Tourism Programme to embody the artistic and diverse heritage of the West Midlands whilst reflecting the power of art to connect cultures, countries, and continents.

The artistic collaboration will absorb words and images from people in India, a country with a rich poetic legacy and influence, and continue its journey alongside the Queen’s Baton.

Having connected voices from every corner of the Commonwealth, a final version of the hybrid piece of artwork will be revealed when the Queen’s Baton returns to the West Midlands.

Amerah Saleh said: “In October we asked communities around the Commonwealth ‘What does Home mean to you? What does Incredible mean to you?’ and it is inspiring to see the first wave of responses unveiled.”

He added, “As we hoped to demonstrate when we launched the Relaytionship, we are all more connected than you would think. I look forward to developing the artwork as the poem develops and encourage everyone to express what Home and Incredible means to them.”

Becky Frall, Head of Tourism at the West Midlands Growth Company, which aims to attract more visitors to the region said: “The West Midlands’ destinations have a rich arts and culture offer, and it is exhilarating to see how well the concept of the Relaytionship is resonating in India.

She continued, “What the artwork has also revealed is the affinity between the West Midlands region and India, how connected we are despite the thousands of miles that separate us, and how our bond continues to evolve.”

She added, “We look forward to welcoming Indian visitors once again, as travel recommences and restrictions ease. We hope that this sentiment will continue to engage and build audiences as the artwork grows.”

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Street art, an ever-evolving dialogue between creativity and public space, has found a vibrant home within the nation‘s urban landscapes.

Venture into the world of street art in Czechia,  where walls become canvases, and passersby become part of the art. 

The streets of Czechia serve as an open-air gallery, inviting both locals and visitors to experience art in an unconventional setting.

From the cobbled alleys of Prague‘s Old Town to the industrial backstreets of  Brno, street art punctuates the urban scenery with bursts of colour and thought-provoking messages.

Street art in Czechia is rooted in a history of resistance and self-expression.

Themes of freedom, democracy, and unity are often woven into the art, serving as a reminder of the nation’s journey.  

In today’s Prague, the street art scene thrives, and this creative optimism permeates the narrow lanes and paths.

Look out for sculptures, installations, and murals that infuse the city.

Among the treasures is one of  Prague‘s few legal graffiti walls, Tesnov.

Just a 15-minute stroll from the city centre, Tesnov offers a  fitting conclusion to your street art exploration, allowing you to craft cherished memories along the way. 

Drawing inspiration from Michelangelo‘s iconic Sistine Chapel fresco, Pasta Oner crafted his interpretation of the “divine touch” on Vitězné náměsti. This pop-art mural portrays the “hand of God,”  directing attention to the words “Choose to Be Happy.” This uplifting artwork emerged through Prague’s  Stuck in the City initiative! 

Last of all don’t forget the renowned John Lennon Wall.

Despite its frequent cleanings, the Lennon-inspired graffiti has graced this wall since the 1980s, never disappearing for more than a few hours.  Nestled in the heart of Old Town, this vibrant wall is adorned with uplifting quotes, Beatles‘ lyrics, and personal expressions through notes, musings, and artwork.  

Czechia‘s street art scene embraces a diverse range of styles and techniques. Stencils, graffiti, murals, and installations intermingle to create a visually striking and multi-dimensional tapestry.  

Czechia streets have become an ever-evolving canvas where art and the urban landscape merge to create a dynamic and captivating narrative. From political statements to cultural celebrations, the vibrant street art scene is a reflection of the nation’s identity, history, and boundless creative spirit. As you navigate the streets of Czechia, take a moment to appreciate the stories told by the walls around you – for they are not just art; they are windows into the soul of the nation.

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Curated by Joasia Krysa with five curatorial collaborators, the second edition engages with some of the pressing issues of our time, addressing environmental damage, political conflict and the impact of technology. On view until 17 September 2023, the biennial comprises around 50% new commissions and site-specific works that span installation, sculpture, film and performance.

Helsinki Biennial expands across Vallisaari Island, HAM and the wider city

This year, Helsinki Biennial returns to Vallisaari, a former military island that is the most diverse natural and recreational destination in the Helsinki archipelago. 15 artworks will be situated on the island, both outdoors and within its historical gunpowder cellars, each operating in a subtle dialogue with the surrounding environment and its unique ecosystem.

“The biennial takes its point of departure from Vallisaari Island, the regenerative energy of multispecies landscapes, and data which is manipulated by algorithms. It gathers ideas from an eclectic mix of influences – from natural science and cosmology, the supernatural and artificial intelligence, data science and science fiction, the sense-making practices of humans and nonhumans, and the actions of sentient and other – worldly beings – to identify some of the conditions through which new directions may emerge,” elaborates Joasia Krysa, curator of Helsinki Biennial. 

Installed in a wooden cabin on Vallisaari Island, Technoshamanic Systems by Suzanne Treister presents microcosmic non-colonialist plans for alternative visions of survival on earth and inhabitation of the cosmos. Treister’s watercolour paintings are accompanied by a new AR component which makes the Interplanetary Meditation and Biospheres Islands element of the artwork appear to float up in the sky.

Jenna Sutela’s Pond Brain, a water-filled bronze bowl expanding upon the shape of the artist’s head, is also located on Vallisaari. The instrument invites the viewer to rub it in order to make it ‘sing’. When played, it interacts with sound produced using machine learning technology to create an ever-emerging soundscape based on signals from the wider environment, including sounds from outer space and under the sea.  

Works by Diana Policarpo, Bita Razavi, Tabita Rezaire, Tuula Närhinen and INTERPRT will take over the large arched halls and gallery space at HAM Helsinki Art Museum. Following her representation of Estonia at the 59^th Venice Biennale, Bita Razavi’s participatory sculptural work considers the political and colonial structures of different countries.

Diana Policarpo’s installation consists of massive, rock-shaped sculptures with embedded video and sound which investigate how humans treat the world as their property. Tuula Närhinen’s Deep Time Deposits: Tidal Impressions of the River Thames depicts the river as a cyclical time machine and an archive of human life that is shaped by nature.

Tabita Rezaire’s Deep Down Tidal highlights water’s complex narratives by examining how the submarine fibre optic cables that transfer digital data are layered upon old colonial shipping routes. INTERPRT’s new work, Colonial Present: Counter-mapping the Truth and Reconciliation Commissions in Sápmi, is a case study that explores the histories of assimilation, land dispossession and state violence that continue to impact Sámi people through green colonialism.

Located in the city’s Market Square, Dineo Seshee Bopape’s work evokes connections to land and family through a new departure: a sculptural form of a billboard made of rammed earth that is textured with organic material and rocks of various sizes. The new work seeks to find a path to remembering and re-membering through fragmented parts of personal and collective family histories.

Helsinki Biennial’s public programme

The main exhibitions will be complemented by events, performances, workshops and discussions throughout the summer.

Lotta Petronella, Lau Nau and Sami Tallberg have created a transdisciplinary artwork interacting with the diverse inhabitants of Vallisaari Island through live events and performances. The work contains an apothecary, a lamenting choir, nightly recordings of moths, and a commemorative tribute to Ilma Lindgren – the person who secured the freedom to roam and forage in Finland. The work further invokes an oracle or cosmology of the island, with Lotta Petronella conducting personal oracle readings from hand-made cards created specifically for the artwork.

Danielle Brathwaite-Shirley invites visitors to take part in a role-playing performance event and installation exploring a new mythology for Vallisaari Island. Extending Brathwaite-Shirley’s practice, which intertwines lived experience with fiction to imaginatively retell the stories of Black Trans people, visitors journey through various scenarios with characters guiding their collaborative decision-making.

The characters take the form of physical sculptures on the island, with an online counterpart allowing visitors to listen to their background stories. While live events will take place over several days in June, August and September, the sculptures and online content can be experienced throughout the duration of the biennial.

Sonya Lindfors’ common moves is a new collaborative artwork that can be described as a ‘social choreography’ or ‘choreography of the community’. By occupying public space with simple scores and choreographies, the piece questions our conception of what we have ‘in common’: whether social norms and habits, or something shared, public, or regularly occurring. Rooted in local conversations and urgencies, common moves take place across several sites around central Helsinki and is in collaboration with BIPOC artists and volunteers.

Created as a collaboration between anthropologists Yen-Ling Tsai and Anna Lowenhaupt Tsing, filmmaker Isabelle Carbonell, and farmer and translator Joelle Chevrier, the Golden Snail Opera is a multispecies enactment of experimental natural history. The golden treasure snail, first imported to Taiwan from Argentina in 1979 to start an escargot industry, is now a major pest for rice agriculture. While pesticides are often used in their extermination, a new generation of friendly farmers in Taiwan’s Yilan County hand-pick the snails and integrate them within the ecology of the rice paddy. Golden Snail Opera incorporates percussion from Yilan opera, combining it with the noises of snails, water, birds, and other beings.

Rather than just forming an accompaniment, the sounds engage in a dialogue with a script comprising material from interviews, participant observation, and imagination. Through video and text, various beings of the rice fields offer an enactment of harmonious coexistence. For Helsinki Biennial 2023, screenings with live performance readings of the Golden Snail Opera will be staged at Central Library Oodi in June and August.

The public programme also incorporates initiatives from many of Helsinki Biennial’s curatorial collaborators. For example, Critical Environmental Data will create The Environmental Audiotour which comprises six audiostories that listeners can follow across various in-person locations in Helsinki or online. Museum of Impossible Forms will develop the Biennial’s discursive program of lectures, screenings, performances, and gatherings titled Polyphonic Entanglements, as well as an Agonistic Intelligence/s Summer School in partnership with HAM.

As part of the Helsinki Biennial Art Mediation Forum, ViCCA @ Aalto Arts will also organise and lead three collective experiences from the Curatorial School of “May”, activating specific themes of the biennial through and beyond the artworks. Lastly, the AI entity launches a website that combines HAM’s collection with machine learning technology to create an online map of the city, inviting users to explore new groupings from the collection based on geolocations and machine-made metrics.

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