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DTSTART;TZID=UTC:20250817T100000
DTEND;TZID=UTC:20250914T180000
DTSTAMP:20260916T121753
CREATED:20250813T085517Z
LAST-MODIFIED:20260807T102355Z
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SUMMARY:Rain Dogs - A Photography Exhibition by Rohit Chawla
DESCRIPTION:In 2021\, while the world shut its doors against the pandemic\, I sought refuge under Goa’s monsoon skies and a sea-facing room. I began walking the beach 20km a day\, stray dogs following me\, hoping I was the harbinger from heaven\, for on earth they’d been left with nothing—the tourists had fled\, the beaches no longer a feast of leftovers. It broke my heart to see them emaciated\, eyes large with hunger. More than turning them into a photographer’s subject\, photographing them became a way to frame my vulnerability. I couldn’t direct them\, nor the moods of the monsoon or the sea; only the light was mine to choose. Yet clouds\, rain\, and tide offered a vast\, ethereal studio. I think the dogs knew I needed saving\, too. Three years later\, I see these images tell a larger\, perhaps political story about survival\, empathy\, and companionship\, hoping it resonates with others who\, in one way or another\, may have been where I was.  \n– Rohit Chawla \nExplore the Rain Dogs exhibition catalogue \n  \n \n \n \n 
URL:https://museumofgoa.com/program/rain-dogs/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=UTC:20250401T100000
DTEND;TZID=UTC:20250518T180000
DTSTAMP:20260916T121753
CREATED:20250401T073351Z
LAST-MODIFIED:20260804T053111Z
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SUMMARY:What Women Carry
DESCRIPTION:Women carry worlds within them; they take on roles that range from having a job to changing the world to keeping a home\, often all at the same time. They carry burdens\, let go of others\, and reshape themselves along the way. These weights tell stories\, tracing the paths of those who came before and those yet to follow. \nHarshada’s women depict the daily loads women carry with them. Chaitali’s imagery moves freely\, beyond reality into surreal and dreamlike realms. One reflects on reality’s weight; the other\, the possibilities that arise when it lifts. Together\, they reveal the vastness of womanhood—its struggles\, strengths\, dreams\, and freedoms. \nHere\, we hold space for all of it—the heaviness and the lightness. And in doing so\, we make room for a new kind of strength\, not just in carrying\, but in choosing to let go. \n \n  \nParticipating Artists: \nChaitali Morajkar (Right) & Harshada Kerkar (Left) \n \nArtist Bios: \nChaitali Morajkar: Chaitali Morajkar has reimagined ideas connected to women through Goan elements. \nChaitali Morajkar is a contemporary artist and educator based in Goa\, known for her bold and unique approach to art. Her works delve into themes of gender\, identity\, nature\, and the human/hybrid body\, using a distinctive color palette. After completing her Master’s in Fine Art from the University of Hyderabad in 2001\, she has exhibited widely in India and internationally\, including in Germany\, Denmark\, and Copenhagen. \nHarshada Kerkar: Harshada Kerkar has depicted women in Goan markets that we walk past every day. \nKerkar was born in the village of Keri\, situated in the Pernem taluka of Goa. Her father\, Chandrakant\, was a distinguished artist and educator in the region. She has since been part of numerous solo and group exhibitions\, including notable events such as the National Lalit Kala Akademi Exhibition in New Delhi and the Serendipity Arts Festival. Her work often reflects the bond between nature and the people who live in tune with it. \n \n\nExhibition Highlights\n\n4\,500+ people visited the exhibition.\n700+ students experienced guided tours.\n45+ guided tours were conducted in total.\n2.3 lakh people reached on social media.\n\nThis exhibition is an independent production by the Museum of Goa. \n\n\nCLICK HERE FOR CATALOGUE
URL:https://museumofgoa.com/program/what-women-carry-featuring-chaitali-morajkar-harshada-kerkar/
LOCATION:Second Floor
CATEGORIES:Exhibitions
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DTSTART;VALUE=DATE:20250314
DTEND;VALUE=DATE:20250405
DTSTAMP:20260916T121753
CREATED:20250813T112649Z
LAST-MODIFIED:20250817T110335Z
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SUMMARY:Walking Through A Songline
DESCRIPTION:About The Exhibition\nWalking Through a Songline was a digital art installation hosted at the Museum of Goa from 14 March to 4 April 2025\, showcasing the powerful intersection of ancient Australian First Nations storytelling and contemporary digital art. \nAt its heart is the Seven Sisters Songline\, an epic narrative of seven women pursued across deserts and sky by a shape-shifting sorcerer. These journeys are remembered and passed down through Songlines\, living maps that encode law\, ceremony\, culture\, and geography into image\, movement\, and sound. \nThese Songlines are more than myth. They are a way of being in the world\, still practiced and protected by Australia’s First Nations peoples. Much like Indigenous traditions in India\, they represent memory embedded in land\, told through generations without written language. \nThrough this exhibition\, audiences were invited to walk alongside the story\, feeling\, listening\, and participating in a cultural narrative that is both ancient and deeply relevant. The exhibition also invited us to ask: how do we preserve memory in a world that forgets fast? How do we listen to voices that were never written down? Because why it matters is not just a question of heritage\, but of presence\, preservation\, and justice. \n\n\n\n\nExhibition Flow and Experience\nThe exhibition began with an exclusive evening on 13 March 2025\, where personal oral histories from the visitors were shared in dialogue with the Songlines of Australia. Guests contributed to a collaborative glow-in-the-dark visual installation\, mapping personal and ancestral stories. The evening was a gentle call to listen\, to reflect\, and to witness storytelling across time and culture. \nOver the following weeks\, the exhibition was open to the public\, supported by daily programs\, hands-on workshops\, and interactive activities designed for all ages and abilities. \nInteractive Gallery Experiences\nThroughout the exhibition\, visitors engaged with multisensory and participatory installations: \n\nMark Your Journey on the Songlines Map\nParticipants left glowing fingerprints on a large world map\, marking places of personal or ancestral significance.\nGlow Wall and Takeaways\nVisitors created glow-in-the-dark creatures\, mandalas\, and decorated natural materials to either contribute to the growing Glow Wall of Collaboration or take home as souvenirs.\nGlow in the Dark Jenga\nChildren who walked into the exhibition participated in building and playing with a co-created Jenga set inspired by nature and the glowing visual language of the exhibition.\n\n \n\nSunday Workshops\nCreative workshops were held every Sunday\, inviting children and families to explore the themes of journey\, storytelling\, nature\, and constellations: \n\nSnail Trails and Tales\nAges 5 to 8 | Inspired by the patterns of snail trails\, this workshop introduced Songlines through visual storytelling and play.\nMovable Cardboard Constellations\nParticipants crafted their own rotating constellations while discovering Indigenous interpretations of the night sky.\nTapestry of Transformation\nChildren painted symbols of land\, water\, and sky onto canvas strips\, weaving them together to represent the interconnectedness of Songlines in nature.\nInclusive Art Workshop for Persons with Disabilities\nThis sensory-friendly session used felt\, texture\, and light to invite participants to create tactile artworks and mythical creatures\, supported by assistive tools and guidance.\n\n\n\nPresented by\nThis exhibition was hosted at the Museum of Goa in collaboration with the Australian Consulate-General\, Mumbai\, along with the National Museum of Australia and Mosster Studio\, to promote cross-cultural storytelling. \nAcknowledgements\nProduced by:\nNational Museum of Australia\nMosster Studio \nPresented in Goa by:\nAustralian Consulate General\, Mumbai \nMuseum of Goa \nWith gratitude to: \nPaul Murphy\, Consul-General of the Australian Consulate-General in Mumbai\, Christian Jack\, Deputy Consul-General of the Australian Consulate-General in Mumbai\, Aliya Elariss\, Atreyee Chakravarty\, Yuri Luikham\, and all the museum educators\, storytellers\, children\, and families who brought their light\, time\, and presence to this journey.
URL:https://museumofgoa.com/program/museum-of-goa/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=UTC:20241004T100000
DTEND;TZID=UTC:20241117T180000
DTSTAMP:20260916T121753
CREATED:20250918T084548Z
LAST-MODIFIED:20260804T055154Z
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SUMMARY:Cycle Diaries - A Photo Exhibition
DESCRIPTION:Museum of Goa (MOG) along with The Lala Foundation made possible by the Fonds Voor Cultural Participatie through the International collaboration 2022-2024 grant\, organised an art exhibition ‘Homo Ludens: The Art of Play’ that invited art practitioners from India and The Netherlands to create art inspired by the Dutch concept of Homo Ludens. \nThe exhibition explored the significant role of play in everyday life and human civilisation\, through a cross-cultural dialogue by artists from India and The Netherlands. Featuring 3 shows\, ‘Homo Ludens: खेल – Spel’ showcasing multimedia artworks curated by Sajid Wajid Shaikh; ‘Cycle Diaries’ A photo exhibition curated by Prashant Panjiar\, along with Asmita Parelkar and Sharada Kerkar; and  collaborative artworks created by artists from India and The Netherlands\, reimagining clowns as a part of ‘Joint Jesters’ show. \nThe 3 shows explored the idea of play through various mediums\, showcasing the works of 99+ artists displaying over 100 artworks. \nCycle Diaries: A Photo Exhibition explores the essence of Play through the lens of cycles and the various ways we interact with them every day. From young boys sporting their first wheelies to old men returning home after a long day in the fields\, cycles are more than just modes of transport; they are lifelong companions that carry stories we encounter daily. \n \nCycles offer us a sense of freedom\, a way to venture beyond our immediate surroundings\, to glide through fields\, visit distant friends\, or even sneak off to a rendezvous with new loves and old bonds. \nCycles are versatile with the things they transport\, delivering balloons\, candy\, flowers\, and morning newspapers. In India\, they often carry something even more profound: the weight of countless livelihoods. Some bear entire families\, in the aftermaths of rain\, in the scorching heat\, towards safety and towards tomorrow. Some carry siblings and friends\, sharing laughter and love as they tease each other as they make their way home. \nThis exhibition captures images of daily life intertwined with cycles\, across various intersections of human experience. Through the eyes of photographers\, we glimpse fleeting yet timeless moments that celebrate this enduring relationship. \nCuratorial team\nPrashant Panjiar is a self-taught photographer\, photojournalist\, editor and curator. He has served on the jury of the World Press Photo Awards\, the China International Press Photo Competition\, Indian Express Press Photo Awards and the National Foundation of India’s annual photography fellowship. Being one of India’s leading photo-practitioners\, Panjiar is actively involved in mentoring younger photographers. \nAsmita Parelkar is a Mumbai-based freelance documentary photographer and photojournalist. Asmita attended the Documentary Photography & Photojournalism program at the International Center of Photography in New York. \nSharada Kerkar\, the Chief Operating Officer of the Museum of Goa (MOG)\, is a visionary leader dedicated to fostering artistic dialogue and cultural preservation. She plays a pivotal role in curating initiatives that celebrate Goa’s stories through contemporary art exhibitions and collaborations. \n \nThe exhibition showcases daily life intertwined with cycles\, as a lens to explore aspects of play. The cycle is a very common visual element in both India and The Netherlands\, with The Netherlands having more cycles than people.  \nThe exhibition showcases 88 photographs\, from 63 photographers consisting of both Dutch and Indian photographers. The photographs were selected through an open call\, which received more than 900 photos from both countries. The open call also featured a contest and presented awards of 50\,000 INR\, 30\,000 INR and 20\,000 INR to the First\, Second and Third prize winners respectively.  \nThe photographs explore various ways in which humans interact with cycles in a playful manner. With children sporting wheelies to old men returning from work\, the exhibition showcases how cycles are lifelong companions. It also depicts the various things that cycles carry\, candies\, flowers\, toys and most importantly livelihoods and families.  \n \n \nParticipating photographers\nAaron Cardozo | Abhay Kanvinde | Amitava Chandra | Anindya Phani | Anja Menninger | Arindam Thokder | Arjun Duvvuru | Arpan Basu Chowdhury | Arun | Arunkumar Marimuthu | Atharv Salgaonkar | Avijit Ganguly | Ayanava Sil | Ayush Krishna Tripathi | Bhagyashree Meshakar | Chenthil B Mohan | Claire Cammaert | Connie Post | Darpana Athale | Debdatta Chakraborty | Deepayan Khatua | Dheeraj Paul | Dipak Ray | Dylan Joziasse | Fahim Sayed | Goutam Podder | Jayasish Banik | Lalita vam Lamsweerde | Madhusudanan P | Masood Sarwer | Meet Kuntmal | Mehak Bakshi | Mithun Kudalkar | Mohit Manwani | Neenad Arul | Onkar Hemant Tapse | Pattabi Raman | Prasanna Govid | Prathamesh Parmekar | Pravin Shekar | Rob Bruns | Rujitha Thirumurthy | Saikat Chanda | Salonee Jain | Sami Siva | Sanjeev Kumar | Santanu Bose | Shivam Harmalkar | Shridarshan Shukla | Siddharth Behl | SK Rahaman Hossain | Somenath Mukhopadhyay | Soumyadeep Kundu | Sourav Karmakar | Stasja Krzeminski | Sudalaimani G | Sudipto Das | Sumit Sanyal | Suraj Thomas | Swaraj Kalyane | Tathagatha Ghosh | Vikram Raj | Vincent Paul \n  \n\n\nமருது + மலை (Marudhu + Malai) by Rujitha T. \n\n  \nThe exhibition is an initiative of the Museum of Goa and LaLa Foundation\, supported by the Fund for Cultural Participation. \nCLICK HERE FOR CATALOGUE \n 
URL:https://museumofgoa.com/program/cycle-diaries-a-photo-exhibition/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20241004T100000
DTEND;TZID=UTC:20241117T180000
DTSTAMP:20260916T121753
CREATED:20240630T084334Z
LAST-MODIFIED:20260318T155017Z
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SUMMARY:Homo Ludens | The Art of Play
DESCRIPTION:The Homo Ludens: The Art of Play delves into the multifaceted role of play in various facets of human life. Through a diverse range of artworks and interactive installations\, three key exhibitions explore how play transcends boundaries and permeates different aspects of existence. It examines the significance of play in culture\, society\, education\, creativity\, and personal well-being. By showcasing the works of over 99 Indian and Dutch artists\, the exhibition provides a unique perspective on the universal nature of play and its impact on lives. \nThe exhibition is an initiative of the Museum of Goa and LaLa Foundation\, supported by the Fund for Cultural Participation. \n \nBackground\n\n\n\n\n\nIndia and The Netherlands have shared historical connections for centuries\, beginning with the arrival of the Portuguese on the west coast of India in 1498. This was soon followed by the Dutch\, French\, British\, and Danish\, with the Dutch establishing control over Cochin in Kerala and attempting to conquer Goa from the Portuguese. The Dutch also had trading posts in various ports across India. \nIn the late 19th century\, Dutch scholar Johan Huizinga\, who studied Sanskrit and earned his PhD for his thesis on the role of jesters in Indian drama\, wrote the influential book “Homo Ludens: A Study of the Play Element in Culture.” In this work\, Huizinga explores the significance of play in various aspects of human life\, including art\, language\, law\, and religion. He argues that play is not merely a frivolous activity but an essential component of human culture with deep historical and social roots. \nHuizinga suggests that play is a fundamental aspect of civilization\, as it facilitates the development of social bonds\, the transmission of cultural values\, and the creation of meaning. He views play as a source of creativity\, innovation\, and social cohesion. \nThe theme of “Homo Ludens” is ideal for a program aimed at cultural practitioners\, as it stimulates engagement with art in diverse forms. It aims to bring together practitioners from various fields to explore the significance of artistic expression. This program encourages individuals to engage in creative activities\, free from rigid intellectual frameworks or predetermined outcomes\, emphasizing the joy\, spontaneity\, and freedom of artistic expression. The goal is for art to be a source of pleasure\, exploration\, and personal fulfilment. \n \n\n\nHomo Ludens: The Art of Play \n\n\nHomo Ludens: The Art of Play consists of three exhibitions showcasing the works of 99+ artists displaying over 100 works across media. \nHomo Ludens: Khel-Spel Exhibition | Curated by Sajid Wajid Shaikh\nThis exhibition draws deeply from Dutch cultural historian Johan Huizinga’s influential work ‘Homo Ludens: A Study of the Play-Element in Culture’. The text reminds us that human civilisation\, in all its grandeur\, finds its roots in something as simple\, yet profound\, as play. Homo Ludens\, meaning “playing humans\,” presents the idea that play is not just entertainment but a fundamental condition for the emergence and growth of culture. \n \nIn this exhibition\, artists from India and The Netherlands come together in a cross-cultural exchange to interpret play on their own terms. Some follow the rules\, while others create their own\, or break free entirely\, shaping a space brimming with boundless possibilities —where\, within Huizinga’s concept of the “magic circle\,” play transforms into something beyond the ordinary. \nThrough their works\, we explore how the various forms in which play presents itself in our lives. From playful puns\, unusual imagery\, and lighthearted games\, alongside deeper explorations into themes like identity\, war\, and freedom\, the exhibition reveals the many forms play adapts in culture. It is whimsical\, it is serious\, it is complex—and in this ambiguity\, lies the essence of play. \nRather than seeking a single\, definitive meaning\, the exhibition embraces the multiple interpretations that arise from abstract\, playful\, or nonsensical art. Here it emphasizes the creative process itself—a return to the primal joy of play. \nAmrit Pal | Ankit Patel | Arun Sharma | Ashima Raizada | Chaitali Morajkar | Deelip Khomane | Gautam Dutta | Harma Heikens | Harshit Agrawal | Laura Snijders | Leon Hendrickx | Luca Tichelman | Martin Sailor | Meesha Holley | Nilofar Shaikh | Omkar Dhareshwar | Oviya Manivannan | Priyanka Shah | Rahul Shakya | Rohit Khedkar | Sajid Wajid Shaikh | Sana Jankharia | Sankalp Kansar | Sanskar Sawant | Shivangi Kalra | Shruti Chawan | Subodh Kerkar | Sujat Roy | Thijs Van De Loo \nCycle Diaries: A Photo Exhibition | Curated by Prashant Panjiar with Asmita Parelkar and Sharada Kerkar \nCycle Diaries: A Photo Exhibition explores the essence of Play through the lens of cycles and the various ways we interact with them every day. From young boys sporting their first wheelies to old men returning home after a long day in the fields\, cycles are more than just modes of transport; they are lifelong companions that carry stories we encounter daily. \n \nCycles offer us a sense of freedom\, a way to venture beyond our immediate surroundings\, to glide through fields\, visit distant friends\, or even sneak off to a rendezvous with new loves and old bonds. \nCycles are versatile with the things they transport\, delivering balloons\, candy\, flowers\, and morning newspapers. In India\, they often carry something even more profound: the weight of countless livelihoods. Some bear entire families\, in the aftermaths of rain\, in the scorching heat\, towards safety and towards tomorrow. Some carry siblings and friends\, sharing laughter and love as they tease each other as they make their way home. \nThis exhibition captures images of daily life intertwined with cycles\, across various intersections of human experience. Through the eyes of photographers\, we glimpse fleeting yet timeless moments that celebrate this enduring relationship. \nRead More \n63 artists from India and The Netherlands showcased their photographs at the exhibition. \nJoint Jesters\nJoint Jesters\, is an exhibition centred on experimentation and play\, where the act of creating becomes a game. The theme draws on the figure of the Jester\, a symbol of freedom\, humour\, and creativity in culture\, as explored by a Dutch researcher\, Johan Huizinga.   \n \nHistorically\, jesters were more than just entertainers; they embodied the playful spirit essential to human culture. Their humour\, satire\, and mockery created a space where societal norms could be questioned. This ability to engage in ‘playful criticism’ demonstrates the power of play to influence thought and culture.  \nJoint Jesters followed the process of the ‘Exquisite Corpse’ game\, developed by the surrealists; the game serves as an art method that allows for collaboration between artists. The traditional game involves each player adding to a folded paper without seeing the previous person’s creation\, revealing surprising\, whimsical results when unfolded. The game celebrates chance\, imagination\, and the collective sense of creating.  \nJoint Jesters is a collaboration between digital artists from India and The Netherlands\, who reimagined the jester using elements from both cultures. \nAngie Mathot | Ivo de Boer | Julie Nakzi | Omisha Gandhi | Parvathy Subramanian | Toash Bhat \n 
URL:https://museumofgoa.com/program/homo-ludens-the-art-of-play/
LOCATION:Gallery 1\, Gallery 2
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20240825
DTEND;VALUE=DATE:20240914
DTSTAMP:20260916T121753
CREATED:20260318T161833Z
LAST-MODIFIED:20260807T110400Z
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SUMMARY:WE THE PEOPLE (TOO)
DESCRIPTION:By Siddhesh Gautam\, also known as Bakery Prasad \nAbout the Exhibition\nWhat is independence? Is it the freedom of a state from external control\, or a shared sense of freedom among its people? \nOn the midnight of 15 August 1947\, India gained independence from British rule. But did the people achieve true freedom that night\, or did the change truly begin on 26 January 1950\, when the Constitution replaced colonial law and the Manusmriti\, opening new paths for those oppressed for centuries as Untouchables? \nWe the People (too) by artist Siddhesh Gautam\, also known as Bakery Prasad\, honors those who fought for freedom before and after colonial rule\, and those who carried forward the struggle against caste oppression. It brings together the stories of leaders\, reformers\, and everyday people whose lives speak of resilience and the ongoing pursuit of equality\, liberty\, and fraternity. At its centre is a personal journey of reclaiming a history once lost\, and of connecting with the shared past of a community determined to shape its own future. \n \n \nExhibition Flow and Experience\nThe exhibition begins with portraits and works that honour figures who shaped the anti caste movement. These first works introduce the long history of resistance and the people whose actions continue to inspire. \nFrom there\, visitors encounter artworks that speak to the fight for education\, the reclaiming of cultural narratives\, and connections between struggles in India and movements across the world. \nAt the centre is a personal installation showing the life of a Dalit family after independence. Everyday objects and keepsakes are presented as fragments of history\, pieces that carry both memory and meaning. \nThe final section brings together timelines of key moments in the anti caste struggle\, poetry\, and reflections on memory. These works offer a space to think about the movement as a living\, ongoing effort and invite visitors to imagine how freedom\, equality\, and fraternity can be shaped in the present. \n \nAcknowledgements\nThe Museum of Goa thanks artist Siddhesh Gautam for bringing We the People (too) to our space. We acknowledge the leaders\, reformers\, and community members whose struggles and achievements are at the heart of this exhibition. \nWe thank the families\, historians\, and activists who shared their knowledge and personal histories. We recognise the resilience of communities that have endured generations of systemic oppression and whose vision for equality continues to guide us. \nWe also thank the team at the Museum of Goa and all those who contributed their time\, research\, and support to present this exhibition. \nExplore the We the People (Too) catalogue. \n \n \n 
URL:https://museumofgoa.com/program/we-the-people-too-2/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240719T100000
DTEND;TZID=UTC:20240804T180000
DTSTAMP:20260916T121753
CREATED:20240616T122023Z
LAST-MODIFIED:20260807T103316Z
UID:2763-1721383200-1722794400@museumofgoa.com
SUMMARY:Art Inc. | An Exhibition for Persons With Disabilities
DESCRIPTION:What is art but a journey… wandering through fields of colour and contrast\, passages of tone and texture; to make one’s way through points of interest\, discovery\, expression and reflection. \nArt Inc. is a celebration of the journeys of each of its participating artists – each embarking on a quest of their own\, travelling solo or with companions to find themselves and a community through art. All of us experience this journey in our own ways; we understand colour\, light\, and beauty through our own measures\, without scale\, without prompt. Art Inc. showcases a range of experiences\, unique and unparalleled expressions of art amongst persons with disabilities. \nAs curator\, I have had the honour to witness but a glimpse of these artists’ creative process. Along the way\, I was introduced to a new perspective of interpreting the artistic process too. For instance\, I learnt how colours could be ‘felt’ even if one cannot see them. \nImagination and vibrancy\, energy and beauty resonate across artworks that are as diverse as their makers. Figurative and abstract\, land and sea\, nature and urban scapes\, portraits and still life\, focused dot making and intuitive strokes and splotches of colour – there is plenty to enjoy and experience with our leading artists as well as our aspiring artists\, the latter discovering their creative voice and chosen mode of expression as they travel. \nSo viewers\, join us\, slow down and linger a little longer in front of this insightful array of images. Come\, enjoy the journey with us. \n– Samira Sheth\, Curator \nExplore the Art Inc. exhibition catalogue \n 
URL:https://museumofgoa.com/program/art-inc-an-exhibition-for-persons-with-disabilities/
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20240316T100000
DTEND;TZID=UTC:20240331T180000
DTSTAMP:20260916T121753
CREATED:20250822T095123Z
LAST-MODIFIED:20260804T054615Z
UID:5479-1710583200-1711908000@museumofgoa.com
SUMMARY:Unearthed
DESCRIPTION:About the Exhibition\nUnearthed is an exhibition that celebrates the expressive power of ceramics as a medium for personal reflection and collective storytelling. It presents clay as a vessel for narrative\, transformation\, and emotional excavation. \nThe exhibition explores the many dimensions of being unearthed. For some artists\, this unearthing is emotional\, involving the surfacing of memory\, trauma\, or healing. For others\, it is symbolic or somatic\, a return to the body\, the earth\, and the rituals of touch. \nEach artist approaches clay as an extension of self\, drawing parallels between its responsive\, mutable nature and their own lived experiences. In doing so\, they reflect on identity\, home\, ecology\, and impermanence. These themes emerge gently but insistently through their work. The material holds memory. It responds to the hand. It bears the mark of time. Through these shared processes\, the exhibition invites viewers into a quiet and resonant dialogue between artist and earth. \nAs one of the oldest creative practices in human history\, ceramics links us to ancient ways of making while continuing to evolve in strikingly contemporary forms. Unearthed honours this legacy and extends it. It opens space for reflection on form\, feeling\, process\, and presence. \n \nArtist Statements\nAditi Kashyap | Becoming\nAditi’s work bridges the forms of trees and bodies\, evoking a forgotten rhythm of living in harmony with the natural world. Her pieces resemble archaeological artefacts\, shaped by emotion and time. Drawing from her life in Goa\, her work speaks of women becoming trees\, of returning to slowness\, and of listening to the land. \nAvani Tanya | To The Source\nAvani’s unglazed ceramic forms are inspired by fluvial terrains and the natural erosion of landscapes. The textures in her work hint at things carried forward\, including memory\, residue\, sediment\, and loss. These works become quiet carriers of time\, encouraging viewers to pause and trace the movement of what remains. \nKhushboo Madnani\nKhushboo’s series is a deep emotional excavation. Her forms follow an inward spiral\, from unformed emotion to fluid movement to eventual harmony. Each piece reflects the chaos and grace of emotional life\, akin to an unscripted dance. The repetitive gestures in her clay work echo the meditative spinning of the dervish\, centering\, grounding\, and expanding the self. \nNimmy Joshi | Ice Age x\nNimmy’s ceramics respond to the ecological and emotional landscape of Goa\, her adopted home. For her\, the land is both a muse and a mirror. Ice Age x captures the impermanence of beauty and the surreal blend of memory and reality. Her forms feel like fleeting impressions\, the mark of something already vanishing\, like sand slipping through fingers. \nRagini Deshpande | Verses of the Heart\nRagini’s mixed media works are sculpted from ceramics\, thread\, wood\, glass\, and metal. Each heart form she creates is a vessel of feeling\, containing heartbreak\, longing\, compassion\, greed\, malice\, and above all\, love. These delicate yet grounded pieces invite introspection on the fragile\, layered\, and impermanent nature of human connection. \nTanushree Singh | Memory\nTanushree’s porcelain sculptures reflect on the body’s capacity to remember. Just as clay records the touch and movement of its maker\, the human body holds trauma\, sensation\, and memory in form. Her work stands at the intersection of mental health\, anatomy\, and nature. Each piece is shaped by intuition and a deep trust in material process. \n\nExhibition Flow and Experience\nThroughout the two-week exhibition\, Unearthed extended beyond the gallery and into the community with a range of hands-on and educational events. More than 300 school students from across Goa participated in interactive sessions designed to bring clay closer to the public. \nWorkshops included \n\n Obvara Firing with Khushboo Madnani\n Raku Firing with Clayton D’Souza from Mud Skippers Studio\n The Pot and I: Self-Portrait in Clay\, facilitated by Aditi Kashyap and Shailee Mehta of Baadalghar\n\nStudents explored the tactile\, expressive\, and scientific aspects of ceramics\, engaging with the medium not only as an art form but as a bridge between memory\, culture\, and ecology. \nOn the final day of the exhibition\, the Clay Bazaar transformed the Museum of Goa into a vibrant public space celebrating ceramic practice. Featuring ten independent ceramists from across the state\, the bazaar invited visitors to experience and purchase ceramics ranging from functional ware to sculptural pieces. The event marked a celebratory close to the exhibition and further anchored the role of clay in everyday life and public imagination. \nAcknowledgements\nCurated and supported by the Museum of Goa and its extended arts community\, Unearthed was made possible through the collaboration of artists\, facilitators\, and the enthusiasm of its many visitors. \nSpecial thanks to \n\n Participating artists\n Workshop facilitators\n CAS (Children’s Art Studio)\n The Clay Bazaar contributors\n Volunteers and staff\n\nCLICK HERE FOR CATALOGUE
URL:https://museumofgoa.com/program/unearthed/
CATEGORIES:Exhibitions
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DTSTART;TZID=UTC:20231202T100000
DTEND;TZID=UTC:20240114T180000
DTSTAMP:20260916T121753
CREATED:20240728T125053Z
LAST-MODIFIED:20250627T094045Z
UID:2894-1701511200-1705255200@museumofgoa.com
SUMMARY:Indianisms
DESCRIPTION:Indianisms refers to words or phrases characteristic of Indian English\, often literal translations from the vernacular. Indianisms in a photography exhibition by Prashant Panjiar\, a photojournalist and curator who has worked extensively in areas of documentary photography across the Indian scape.  \nGoing through his archives in 2010\, Prashant Panjiar came across many images that contained a vernacular visual language that is very typical to India. At the same time\, he was also photographing in a square format observing the ironies\, idiosyncrasies and inventiveness that abound in everyday Indian life. Which resulted in his photo book\, Indianisms\, Imagery from which was showcased at MOG. \nThe exhibition was divided into three parts\, the first part is called ‘Full Timepass’ which deals with the idea of ‘Male Gaze’ that is very prevalent in India. It discusses how men look at women and objectify the environment around them. The second part is called\, ‘Don’t Mind Us\, We Are Like This Only!’ which discusses the idea of photography as a performance. From people performing when a camera is pointed at them\, to politicians constantly in an act of performance for the cameras\, all fall into this category. The third part is called\, ‘Backside Entry Only’\, this contains very mysterious and intriguing elements of architecture and landscape in India. It is an observation of the aesthetics of the subaltern life in India and how it gets redefined in certain settings.  \nPrashant Panjiar invites viewers to look for meanings in the images if they want or just consider it as ‘Full Timepass’! \n \n  \n \n 
URL:https://museumofgoa.com/program/indianisms/
CATEGORIES:Exhibitions
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DTSTART;TZID=UTC:20231125T100000
DTEND;TZID=UTC:20240115T180000
DTSTAMP:20260916T121753
CREATED:20250816T101233Z
LAST-MODIFIED:20250816T101233Z
UID:5452-1700906400-1705341600@museumofgoa.com
SUMMARY:Maresia: Portugal | Goa
DESCRIPTION:About Maresia\nArt\, like the sea breeze\, is a universal language that crosses all borders. It is an expression of shared human experiences and interactions. The relationship between Portugal and Goa has been shaped not only by colonial history but also by ongoing cultural dialogues that continue today and will carry forward into the future. These dialogues span the social\, cultural\, economic\, religious\, and political spheres\, and art becomes a way to celebrate and reflect upon them. The exhibition Maresia presents this dialogue through two parallel but interconnected narratives. \nMaresia Goa is a group show featuring fifteen Goan artists whose works capture the many layers of Portuguese influence on Goa. Cultural fusion emerges as a key theme\, showing the amalgamation of Portuguese and Goan traditions in cuisine\, lifestyle\, and daily rituals. Some works explore Goa’s religious transformation\, blending Christianity and Hinduism while preserving traces of earlier practices\, while others address the colonial legacy in architecture\, clothing\, and craft. Together\, these works form a visual diary of Goa’s evolving identity. \nMaresia Portugal is a solo show by Portuguese artist Ivo Moreira. Created during his two and a half years in Goa\, his works reflect a deeply personal journey shaped by two decades of travel to India. Influenced by Indian philosophy\, Portuguese literature\, and a wide range of artistic and spiritual sources\, Ivo’s art embodies an ongoing inner and outer exploration. His paintings\, drawings\, and watercolours carry the sensibility of a diary\, where process takes precedence over outcome. \nThe name Maresia\, translating to Sea Breeze\, perfectly encapsulates the exhibition’s essence\, combining history\, migration\, adaptation\, and mutual influence between Goa and Portugal\, carried forward on the breeze of cultural exchange. \nArtist Statements\nBhisaji Gadekar\nBhisaji Gadekar’s sculpture reflects on the religious syncretism of Goa\, particularly the unique phenomenon of crosses outside Christian houses. This is not a practice found elsewhere and prompts the question of what existed before. In pre-conversion times\, these houses featured Tulsi plants. The conversion to Christianity saw the substitution of crosses for Tulsi\, marking a layered history of transformation. The sculpture takes the form of a silhouette of the crosses and Tulsis\, visible at first glance but requiring a second look for full recognition\, where the shadows of the two structures become one\, mirroring the syncretic state of Goa’s identities. \n \nDiptej Vernekar\nIn Spirituality Machine\, Diptej Vernekar draws from the Goan Catholic tradition of offering wax replicas of body parts at church altars to seek blessings\, such as wax babies for aspiring parents and wax hearts for those with heart conditions. He fuses this with the Hindu ritual of bathing deities using a brass urn called the Abhishek Patra. Here\, the Abhishek Patra is filled with wax offerings that melt and drip down\, referencing both traditions. Diptej also nods to the church’s practice of recycling these wax offerings\, using the melting process as a metaphor for spiritual and material renewal. \n \nKalidas Mhamal\nKalidas explores the cultural journey of Pao\, bread introduced by the Portuguese in the 16th century and once resisted by Hindus\, but now inseparable from Goan life. Today\, the Poder or bread man pedals through every neighbourhood\, delivering bread to households of all religions. The work captures this shared ritual and the way a once foreign food became a unifying staple in Goan culture. \n \nPradeep Naik\nPradeep’s work offers an abstract interpretation of Goa’s fields\, subtly interwoven with elements of Portuguese architecture. At its centre stands the image of a church rising amidst expansive green fields\, an iconic Goan image. Through this composition\, the painting reflects the everyday imprints of cultural exchange and the gradual transformation of the landscape. \n \nRajendra Mardolkar\nThe first printing press in India was brought to Goa by the Portuguese in 1556. Rajendra reflects on the historical accident that led to its arrival and its transformative impact on printing. His work juxtaposes woodcut blocks\, the medium preceding the press\, with prints of old Goan presses. This contrast between indigenous and colonial technologies becomes a meditation on the evolution of media. \n \nSachin Naik\nSachin’s art traverses layers of cultural mingling\, from the iconic Portuguese-era azulejo tiles to Carnival and Banderam festivals. As a farmer\, he also addresses colonialism’s impact on agriculture\, highlighting Portuguese-origin crops now part of Goa’s food culture. In his compositions\, a central figure is surrounded by motifs such as the Galo de Barcelos and the Caravel\, with the sea in the background as both a literal and symbolic reminder of Portuguese arrival. \n\nSantosh Morajkar\nSantosh’s nostalgic work revolves around the Poders\, bread makers who are woven into Goa’s daily rhythm. He recalls childhood chats with them\, noting that while many modern Poders come from outside Goa\, the bread itself has gained national popularity. His art preserves the warmth and familiarity of these everyday exchanges. \n \nShailesh Dabholkar\nShailesh’s work captures stories from his mother about diving for oysters in the Goan backwaters\, a scene of livelihood and resilience. In times when Portuguese officials inspected the waters\, divers would hide underwater\, breathing through hollow papaya stems. The work reflects of the realities of the colonial rule and how design evolved through necessity. \n \nShilpa Naik Mayenkar\nShilpa tells the story of the marigold flower\, brought to Goa by Portuguese traders and now integral to Indian rituals across communities. The marigold’s journey speaks to cultural adoption and transformation\, showing how something foreign can become deeply rooted in local traditions. \n\nShripad Gurav\nShripad examines the changes in Goan dress styles under Portuguese influence. Neo-Christian men gradually traded the dhoti and angavastram for European coats and ties. His work also reflects on lifestyle shifts and how Goan landscapes\, architecture\, and attire carry a persistent Portuguese aesthetic. \n \nSiddharth Gosavi\nSiddharth’s artwork depicts a Goan Christian bride in a long white gown adorned with the traditional Chudo bangles\, a symbol of cultural fusion and syncretism. It celebrates the continuity of older customs within new frameworks\, showing the resilience of tradition through adaptation. \n \nSiddharth Kerkar\nSiddharth pays tribute to the iconic red oxide paint of Goan houses. He collected scrapings from the Panjim Bus Stand\, bearing decades of layered history\, and transformed them into abstractions that honour this distinct visual identity. \n \nSiddhesh Chari\nSiddhesh examines the rooster motif in Goan art and architecture\, tracing it back to Portuguese influence. He also explores the hybrid “Goan architecture” style\, often mistaken for purely Portuguese\, that has emerged over centuries as a unique regional language. \n \nViraj Naik\nViraj narrates the voyages of colonial explorers\, with special attention to attire as a projection of authority. His work reflects on Goa’s role as a hub of sea routes\, now replaced by modern transport\, but still present in cultural memory. \n \nSubodh Kerkar\nSubodh presents portraits of Jesus Christ\, not as a religious icon but as a fisherman of Goa. He draws from the historical moment when Vasco da Gama’s envoy stated they came “for pepper and for Christ\,” reflecting Christianity’s deep but complex influence in Goa\, where today about a quarter of the population is Catholic. \n \nIvo Moreira (Portuguese Artist)\nIvo’s art is an introspective journey shaped by 20 years of travel to India and over two years working in Goa. His work\, which includes 30 black-and-white drawings\, 30 watercolours\, and several canvases\, merges quotes from the Bhagavad Gita\, Jiddu Krishnamurti\, Portuguese poetry\, and music lyrics. Often attaching wings to objects\, Ivo sees flight as ultimate freedom. His drawings\, naïve and spontaneous\, function like diaries\, privileging process over outcome. His art is a spiritual travelogue\, a conversation between cultures. \n \nExhibition Flow and Experience\nThe exhibition unfolds in two parts: \n\nMaresia Goa: Goan artists respond to the Portuguese presence in architecture\, cuisine\, religion\, and everyday life.\nMaresia Portugal: A Portuguese artist reflects on India’s philosophical and cultural influence.\n\nPrograms include: \n\nGuided tours with curators and artists.\nArtist talks on process and historical research.\nWorkshops on Indo-Portuguese art forms.\nPanel discussions on cultural exchange.\n\nAcknowledgements\nPublished by\nMuseum of Goa (MOG)\nIn association with the Consulate General of Portugal and\nCamões – Centro de Língua Portuguesa \nCuratorial Essay\nDr. Subodh Kerkar\, in collaboration with Pradeep Naik \nExhibition Design\nPradeep Naik\, Ivo Moreira\, Sharada Kerkar \nPhotographs\nArtworks courtesy of individual artists and the Museum of Goa (MOG) \nCatalogue Design\nManasi Mhamal \nCover Design\nManasi Mhamal
URL:https://museumofgoa.com/program/maresia-portugal-goa/
CATEGORIES:Exhibitions
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DTSTART;VALUE=DATE:20221217
DTEND;VALUE=DATE:20221225
DTSTAMP:20260916T121753
CREATED:20250808T110852Z
LAST-MODIFIED:20250813T113750Z
UID:5386-1671235200-1671926399@museumofgoa.com
SUMMARY:A World of My Own | 2022
DESCRIPTION:About The Project\nA World of My Own (AWOMO) is an annual exhibition that celebrates the creative worlds imagined by children. It is a space where young artists explore personal stories\, dreams\, and ideas through art. \nThe 2022 edition marked the third year of the exhibition and was hosted by the Museum of Goa in collaboration with the Children’s Art Studio. Held over the course of a month\, AWOMO 2022 continued its vision of placing children’s creativity at the centre of a public art space. \n\n\n\n\n\nVision and Objectives\nAWOMO was created to give children a platform to express themselves freely. The initiative values process over perfection\, inviting children to explore their imagination without boundaries. It aims to connect creative thinking\, education\, and community through art. \n\n\n\n\n\n\n\nThe Exhibition\nChildren aged 6 to 17 from schools across Goa participated in AWOMO 2022. Government\, semi-private\, and international schools were involved\, with art educators visiting classrooms to introduce the initiative and encourage participation. The response was enthusiastic\, with artworks delivered in all formats and media. \nParticipants responded to prompts such as superheroes\, imagined landscapes\, character designs\, and themes of their own choosing. The creative freedom resulted in a wide range of visual interpretation. Once collected\, artworks were curated by age group and grouped by theme. Walkthroughs were held for visiting schools\, families\, and public guests throughout the exhibition period. Graphic signboards were placed across the venue to allow participants and families to take photographs with the artworks. The Children’s Art Studio at the Museum of Goa was transformed into a colourful display of children’s imagination. \n\n\n\n\n\n\n\n\n\n\nOutcomes and Impact\nOver 200 artworks were exhibited\, with enthusiastic participation from schools across Goa. Every child who contributed received a certificate. For many\, it was their first experience showing work in a public art space\, creating a sense of pride and recognition. \n\n\n\n\n\nJoin Us\nConnect with the Museum of Goa and the Children’s Art Studio to be part of AWOMO or our other educational initiatives.\nChildren’s Art Studio \nLet’s keep making room for how children think\, see\, and create.
URL:https://museumofgoa.com/program/a-world-of-my-own-2022/
CATEGORIES:Exhibitions
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DTSTART;TZID=UTC:20221112T100000
DTEND;TZID=UTC:20221231T180000
DTSTAMP:20260916T121753
CREATED:20260813T115233Z
LAST-MODIFIED:20260813T115233Z
UID:7161-1668247200-1672509600@museumofgoa.com
SUMMARY:0832
DESCRIPTION:An incontestable fact of world culture\, the Goan diaspora lives and thrives amongst several cultures across the globe. Migrating for longer than the last six centuries to the Anglosphere\, Lusosphere and the Persian Gulf owing to socio-religious and economic concerns\, Goan emigration and circular migration has been a documented phenomenon since the Portuguese arrival in 1505. This movement was fortified during the Napoleonic wars\, 1797 – 1813\, when British ships were stationed at Mormugao Harbour\,1 and later\, with the Anglo-Portuguese Treaty of 1878\, which authorised the railway construction\, connecting Goa to British India.2 \nBombay\, followed by Poona and Calcutta\, attracted the first wave of Goan migration\, which then spread to Karachi\, East Africa\, Burma\, the Gulf nations\, Canada\, and in the last thirty years or so\, England\, because of the Portuguese passport eligibility. Goan assimilation into other societies has been seamless. Post-Indian Independence\, given the comprehensive national situation\, cultural\, economic\, and socio-political changes amongst others\, the movement of the Goans into the diaspora stayed consistent. Undoubtedly\, the history of the Goan diaspora has been embodied in the narratives of globalisation and transnational movements of our time. \nDiasporic chronologies are invariably tainted by the ‘myth of return’\, embedded in the immigrant’s minds from the time they depart from their homeland. The myth of return serves to solidify ethnic consciousness and solidarity when religion can no longer do so\, when local community cohesion is weakening\, and when family unity is in peril. Over time\, the homeland\, or the idea of it may shapeshift\, making it difficult to resonate politically\, ideologically\, or even socially. Returning permanently could also be inconvenient and disruptive\, apart from being traumatic. Furthermore\, several second and third-generation Goans are unable to identify with Goa; many of whom are biracial. The only connection\, here\, is the parent/s and/or grandparent/s who are ancestrally Goan\, and are visited because of familial obligations\, not excluding family events\, funerals\, property matters\, etc. \nConsidering this scenario\, diaspora identities are constantly reproducing themselves anew\, through transformation\, dissolution\, and rediscovery. According to Marx\, ‘Those who cannot represent themselves are condemned to be represented by others and they are equally condemned to live someone else’s conception of their own lives.’ Finding an authentic voice for one’s identity\, thus\, becomes poignant. \nCultural and technological representations available to Goan diaspora members have also become more complex and diverse because of the significant growth of the community. Consequently\, we see innumerable instances of interfaces\, online and offline\, enabling the diaspora\, worldwide\, to be exclusive agents of Goan culture and heritage\, thus also perpetuating interconnectedness with the homeland. \nThe correlation between migration movements and identity formation is undoubtedly integral to 0832. The holy grail of this exhibition\, therefore\, is to comprehend the functions of connectivity\, through facets of recollections and representation as well as the celerity and intensity of a medium. The diaspora and its implications play a crucial role in the embodiment of these artworks\, allowing us to understand the significance of ‘connecting with the homeland in a diasporic setting’\, closely. Additionally\, we’re investigating the consideration of calling Goa\, ‘home’\, and the mere means to hold on to the legacy\, culture\, and tradition. \nBridging the gap between yearning for home and the pacificity of knowing home is just a memory away\, this exhibition opens a portal for self and collective exploration. The artists\, of Goan origin\, have been a part of the diaspora at a point in time and understand\, deeply\, the essence and larger conversation that needed its due conveyance. The artworks are a manifestation of resuscitating this connection; visual memoirs that have witnessed personal transformation on the backs of unknown territories and borders\, unveiling a profound grasp and appreciation for home. \nThe exhibition offers the viewer an opportunity to deep-dive into an array of parallel records\, personal and collaborative\, that amplifies a sense of identity. Inherently linked with the boon and bane of the diasporic existence\, these works invoke a sense of belonging and nostalgia – a bittersweet symphony. \nRanging from language to religion\, cultural icons to personal reflections\, clothes to folklore\, food to local archives\, stories to beliefs\, heart to home\, the exhibition is the coming together of what ‘Goa/home’ means to us who inhabit it\, emotionally and/or physically. In the aftermath\, following this encounter\, it becomes imperative to gauge\, through this temporal connection\, what we can retain\, alter\, and pass on; both\, tangible and intangible. \n0832 is the area code for Goa\, enabling prompt communication between two parties; from the rest of the world to Goa. The functionality of this code\, through this exhibition\, is transferred to other mediums\, tangible and intangible\, that help establish instantaneous connections\, allowing those in the diasporic setting to teleport themselves\, for a beat\, to Goa; their home. 0832 explores the affinity towards one’s homeland and its transfiguration into the diaspora\, hoping to answer multi-layered non-linear quests for connection and rootedness. \n– Wendy Amanda Coutiho\, Curator \n \nParticipating Artists\nSonia Rodrigues Sabharwal \nMeditative yet highly intuitive\, through this body of works\, the artist honours and celebrates integral nuances of Goa through her personal and shared experiences\, with memories and histories. The art\, here\, is deeply rooted in the figurative and carries an intense emotional charge.The figures and their employed characteristics depict a sincere vulnerability\, particularly achieved through the transparency of the attire. The soulful gaze coupled with the graceful posture enriches the depicted simplicity of Goan folk and life. \nSubodh Kerkar \nEach sense is a powerful tool in its own way\, which enables the viewer to comprehensively partake in an immersive experience. Drawing on innate human senses of sight\, taste\, and smell\, the artist has charged the sculptures\, installations\, and watercolour works with invigorating narratives of the Goan ethos. Employing visual representations that are augmented by the viewer’s kinaesthetic ability to orientate oneself\, these artworks are intricately based on one’s mood\, character\, and emotion\, especially those of Goa. Be it the aroma of freshly baked bread\, feni\, dhoomp (incense)\, flowers\, or even a marketplace\, the works are guaranteed to teleport a Goan\, on the wheels of their sensory archives\, back home.  \nShripad Gurav \nWith an incredible ability to amalgamate several simultaneous anecdotes in a single visual\, the artist tactfully and tastefully embodies the everyday stories of the quintessential Goa. \nThese graphite-laden artworks have a powerful potential to draw the viewer within\, enabling a deep sense of familiarity with the illustrated spaces and faces. Rendering in black and white also helps shift the focus to the subject\, primarily\, followed by composition\, value\, lighting\, textures\, shapes\, and patterns. Catching fleeting nuances and amplifying them in his artworks\, the artist eloquently unifies parallel accounts ensuring the viewer is able to grasp not just the grandeur of Goa\, but the glorious mundane. \nSagar Naik Mule \nDeeply entrenched within the heritage\, culture\, and narratives of Adpai\, Goa\, the artist’s practice manifests his roots\, his village and his people. Passionately involved in the ever-evolving local demonstration and conversation of Goan culture and all that it encompasses\, the artworks exemplify his artistic philosophy. \nAlong with a formal inquiry\, stories and legends\, of old and new\, find their way into the visuals he creates. In an honest endeavour to archive traditions\, the artworks rely on excavating personal memory and local history; informed by the sentiment ‘of his people\, by his people\, for his people’. Additionally\, the choice of medium is also a reflection of this belief. \nViraj Naik \nWith robust figures\, unapologetic gait\, confident countenances and a master penchant for colour schemes and visual rhythm\, the artist renders the innermost psyche/s of the self. The artworks administer the revelation of the inebriated; nonchalant\, self-absorbed\, colourful\, and bordering on animalistic. \nForgoing human intuition\, and capitalising on the feral\, the viewer is cajoled into an aura of astonishment\, bordering on bewilderment. The Goan denizens are no strangers to this synonymity whether in the streets or in the tiatr (Goan theatre). The artist has also brought his studio into the exhibition space allowing viewers an up-close and subjective experience of rendering distinct Goan forms and filling their visual persona with brazen colours. \nSiddharth Kerkar \nBlending textures and patterns\, morphing the traditional into the contemporary\, these artworks exemplify worldliness. Inspired by the diasporic conversation and observing concurrent shifts in clothes and textile preferences among Goan folk\, the artist operates from the inner community loci. These gathered inspirations are translated into abstract lyrics of geometric patterns\, textures and shapes\, integrating the humble Kunbi cloth. \nOriginally the Kunbi saree was dyed in red and black and woven in small and large checks; the dye was obtained from a recipe of iron ore\, rice kanji (starch) and vinegar. The artwork\, in its totality\, is sacrosanct with the simplicity of this Goan attire. \n\nCurator\nWendy Amanda Coutiho  \nAn independent curator and art writer\, Wendy Amanda Coutinho has worked with renowned galleries and organisations in India and the UAE. As a former advertising professional\, she merges marketing expertise with a passion for making art accessible and approachable. An alumna of St. Xavier’s College\, Sir J. J. College of Art\, and Sir Bhau Daji Lad Museum in Mumbai\, India.
URL:https://museumofgoa.com/program/0832/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20200303
DTEND;VALUE=DATE:20200309
DTSTAMP:20260916T121753
CREATED:20250808T103412Z
LAST-MODIFIED:20250813T113327Z
UID:5380-1583193600-1583711999@museumofgoa.com
SUMMARY:A World of My Own | 2020
DESCRIPTION:  \nAbout The Project\nOrganised by the Museum of Goa and the Children’s Art Studio\, A World of My Own was held from 3rd to 8th March 2020 at the MOG. Like its 2019 edition\, the second edition invited children to explore\, create\, and express through art. The week-long initiative transformed the museum into a space for imagination and reflection through hands-on workshops\, an interactive exhibition\, and a state-wide competition. \n\n\n\n\n\n\nExhibition: I Wish\nCurated by Chaitali Morajkar\, the exhibition featured over 300 artworks by 40 young artists presenting a visual narrative of the children’s desires\, hopes\, and dreams. The children’s desires were as varied as they were imaginative\, ranging from whimsical dreams of a world full of birds\, rainbows\, and magical kingdoms to deeper concerns like saving endangered species and addressing climate change. Through their artwork\, created using materials like acrylic\, clay\, and paper\, the children explored themes of identity\, belonging\, and the world they envision. Each piece was a reflection of their unique perspective and creativity\, bringing their wishes to life in vibrant and thought-provoking ways. \n\n\n\n\n\n\nWorkshops & Guided Tours\nOn 3rd and 4th March 2020\, guided tours encouraged children to observe closely\, ask questions\, and engage with the artworks. Each session ended with participants co-creating a group artwork inspired by the exhibition. \n\n\n\n\nAll Goa Drawing Competition\nThe program concluded on 8th March 2020 with a state-wide drawing competition. Students from across Goa participated\, categorised into groups based on their ages. The topic was revealed on the spot to encourage spontaneity and creative thinking. The competition hosted over 100 children and culminated in an award ceremony to felicitate the winners. \n\n\n\n\n\n\n\n\nKeep Creating with Us\nA World of My Own (2020) was part of a growing effort by the Museum of Goa to connect children with art in thoughtful\, hands-on ways. Through exhibitions\, workshops\, and collaborations\, MOG continues to build spaces where creativity leads the conversation. \nArt is a shared space. Let’s keep expanding it—together.
URL:https://museumofgoa.com/program/awomo-2020-museum-of-goa/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20190404
DTEND;VALUE=DATE:20190408
DTSTAMP:20260916T121753
CREATED:20250808T101653Z
LAST-MODIFIED:20250813T113939Z
UID:5377-1554336000-1554681599@museumofgoa.com
SUMMARY:A World of my Own | 2019
DESCRIPTION:About the Project\nThe world of children is often beyond adult imagination. A World of My Own offered a platform for this imagination to flourish across various mediums. This creative learning initiative was hosted by the Museum of Goa and the Children’s Art Studio\, in collaboration with Paint Club Goa\, from 4th to 7th April 2019. \nOver four exciting days\, MOG became a space where young voices and creativity thrived. Children thought freely\, explored boldly\, and expressed themselves without limits. They became artists\, storytellers\, and co-creators of the worlds they imagined. \nVision and Goals\nLike many of MOG’s initiatives\, A World of My Own placed creativity and dialogue at the centre of learning. The programme aimed to provide children with the space\, materials\, and freedom to shape their own narratives. Every idea mattered—no idea was too small or too unusual. \nThe initiative focused on: \n\nEncouraging individuality and self-expression\nExploring creativity with accessible materials\nPromoting collaboration and storytelling\nIntroducing environmental awareness through creative reuse\n\n\n\n\nTransforming the Museum Space\nThe Museum of Goa transformed into a child-friendly space that celebrated children and their ideas. Structured workshops\, drop-in stations\, and guided tours ran throughout the event. Every corner welcomed exploration\, and every wall invited imagination. \nChildren didn’t just observe art—they created it\, curated it\, and proudly displayed it. \nThe Art Exhibition\nAt the heart of the programme was a vibrant exhibition featuring over 200 original artworks by children aged 9 to 14. Under the mentorship of Chaitali Morajkar\, founder of Paint Club Goa\, the children curated and installed the displays themselves. \nThe exhibition included: \n\nDrawings and paintings that showcased the children’s unique worlds\nCo-curated displays designed by the young artists\nHandmade storybooks created by Russian and Ukrainian students mentored by author Victoria Fillina\n\nA highlight was the Godhadi Patchwork Installation\, a collective artwork made by over 2\,500 children as part of the No Time to Wasteenvironmental awareness programme. This traditional quilt form served as a canvas for self-portraits and shared stories. \n\n\n\nHighlights and Workshops\nMini Godhadi-Making by Bookworm Goa\nChildren explored the tradition of Godhadi quilting through a paper-based collage activity. The workshop began with a yarn-circle to build connection. \nGiant Dolls’ House by Louise Ten Bosch\nParticipants built miniature rooms using shoeboxes and found materials. They explored the idea of ‘home’ with warmth and care. These rooms later became part of a larger installation displayed at MOG. \nStorybook Creation by Victoria Fillina\nEven children as young as five created their own illustrated storybooks. Those who couldn’t write used collage\, drawing\, and cut-outs to tell imaginative stories. \nGalaxy Printing by Chaitali Morajkar\nChildren experimented with sponge printing inspired by galaxies. They explored colour\, texture\, and abstraction with joyful spontaneity. \nMetamorphic Drawing Workshop\nUsing folded paper\, children collaboratively drew hybrid characters. Each child illustrated a section without seeing the others\, resulting in whimsical\, unexpected creations. \nTheatre and Movement with Arundhati Chattopadhyaya\nThis workshop invited children to explore storytelling through movement\, role-play\, and improvisation. It concluded with a calming visualisation exercise called “Melt Down.” \nRecycled Crafts Station led by Blandina Noronha\nChildren used natural and recycled materials to create bottle art\, painted stones\, and simple collages. This drop-in station encouraged creativity through sustainability. \nInteractive Museum Engagements\nBeyond workshops\, the museum buzzed with activity. MOG storytellers led guided tours. Interactive spaces invited children and families to play\, reflect\, and participate. \nMemorable installations included: \n\nA doodle wall inside the museum elevator where children answered\, “If you could be an animal\, what would you look like?”\nA giant chilli canvas and trampoline outline for self-portraits\nA life-sized Jenga game for unstructured\, creative interaction\n\nCultural Exchange and Participation\nThe programme encouraged global exchange. Storybooks submitted by Ukrainian and Russian children added a rich\, cross-cultural layer. Young visitors from Goa and abroad shared creative dialogue and ideas. \nParticipation Highlights:\n\nOver 115 children from Paint Club Goa contributed artworks to the core exhibition\nMore than 1\,500 students from across Goa joined the Godhadi installation\nHundreds of children\, parents\, and teachers attended open sessions and drop-in activities\n\nCelebration and Closing\nOn 7th April 2019\, A World of My Own concluded with a joyful closing ceremony. Guests included Subodh Kerkar\, Dilip Borkar\, MJF Lion Vasudev Valawalkar\, and Chaitali Morajkar. Children received certificates and took centre stage as proud artists. \nLasting Impact\nThe success of A World of My Own extended beyond participation numbers—it left a lasting emotional and creative impact. \nKey outcomes:\n\nIncreased confidence in visual and verbal expression\nAwareness about sustainability through creative recycling\nParticipation in the complete artistic process—from creation to exhibition\nA sense of joy\, ownership\, and community\n\nPartners and Collaborators\nThis programme was made possible by dedicated artists\, educators\, and community leaders\, all of whom brought creativity\, care\, and passion to the experience. \nSpecial thanks to:\n\nPaint Club Goa and Chaitali Morajkar\nBookworm Goa\nVictoria Fillina\nLouise Ten Bosch\nArundhati Chattopadhyaya\nBlandina Noronha and the MOG Creative Team\nNo Time to Waste Environmental Programme\nLocal schools\, teachers\, and parent volunteers\n\nConclusion\nA World of My Own showcased the incredible creativity of children. The Museum of Goa became not just a place for children to view art\, but a space to create it. \nThrough collaborative installations and expressive workshops\, children explored\, imagined\, and expressed themselves freely. The programme proved that when young voices lead\, creativity thrives. \nJoin the Movement\nA World of My Own is just one of the many initiatives that the Museum of Goa organises to make art inclusive and accessible. We continue to build experiences that bring together children\, artists\, and educators to shape new narratives. \n\nLearn more about other MOG initiatives\nStay in the loop with MOG’s daily buzz — follow us on Instagram.\nWant to collaborate? MOG and the Children’s Art Studio would love to hear from you.\n\nLet’s keep building worlds of our own \, together.
URL:https://museumofgoa.com/program/a-world-of-my-own-2019/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20181101
DTEND;VALUE=DATE:20181201
DTSTAMP:20260916T121753
CREATED:20260410T092502Z
LAST-MODIFIED:20260411T071308Z
UID:6349-1541030400-1543622399@museumofgoa.com
SUMMARY:Freedom Is In The Air
DESCRIPTION:“Freedom is in the Air (FIITA)” was an initiative by the MOG Foundation that celebrated the LGBTQ community through art\, dialogue\, and public engagement. Inspired by the historic reading down of Section 377 of the Indian Penal Code\, the initiative sought to promote inclusivity\, pluralism\, and social acceptance while addressing long-standing cultural barriers. Held at the Museum of Goa in November 2018\, the event brought together artists\, activists\, scholars\, and the public for a day-long programme that blended creative expression with critical discourse. The initiative also extended into a month-long exhibition and installation. \nOpening Session \nThe event commenced with  formal inauguration marked by a lamp-lighting ceremony. The ceremony was led by prominent figures including Ashok Row Kavi (Chairperson\, The Humsafar Trust)\, Wendell Rodricks\, and Subodh Kerkar (Founder\, Museum of Goa). A guided tour of the museum\, led by Subodh Kerkar\, introduced participants to the thematic framework of the initiative and its emphasis on art as a medium for social change. \nTalks and Discussions \nThe morning session featured a detailed presentation on the Supreme Court verdict on Section 377 by Amritananda Chakraborty\, followed by an interactive Q&A. This session provided attendees with a legal and social understanding of the implications of the judgment. In the afternoon\, the programme continued with the release of India’s first White Paper on LGBTQ Livelihoods\, followed by a session addressing issues of livelihood within the LGBTQ community. A panel discussion titled “Taking Forward the SC Judgement” brought together voices from across disciplines\, including Ashok Row Kavi and Subodh Kerkar\, and was moderated by Vivek Raj Anand. The discussion emphasized the need for sustained advocacy\, awareness\, and structural change. \n \nArt Installation and Exhibition\nA key highlight of the initiative was the large-scale installation titled “Freedom is in the Air”\, conceived by Subodh Kerkar. The installation featured a 100-meter-long net adorned with rainbow-colored strips\, symbolizing the collective sense of liberation experienced by the LGBTQ community following the decriminalization of Section 377. Designed to move with the wind\, the installation served as both a visual and metaphorical representation of freedom. Alongside the installation\, a curated exhibition showcased artworks by emerging and established artists from across India. These works explored diverse narratives within the LGBTQ experience\, encouraging dialogue and challenging societal prejudices. \nFilm Screenings and Interactive Spaces \nThe afternoon programme included film screenings produced by The Humsafar Trust\, followed by discussions moderated by community facilitators. These sessions provided further insight into lived experiences and advocacy efforts within the LGBTQ movement. Interactive spaces were set up throughout the venue\, offering creative stalls\, games\, and engagement activities. These spaces fostered informal interactions and created an inclusive environment for visitors to connect and reflect. \nA dedicated “Safe Zone” session\, facilitated by Rick Otjes\, provided a supportive space for open conversations\, allowing participants to share personal perspectives and ask questions in a non-judgmental setting. The event concluded with an evening celebration held in the museum’s sculpture garden. The segment featured music by LIVE AGENT (Smita Singh)\, accompanied by food\, drinks\, and social interaction. This celebratory atmosphere reinforced the spirit of the initiative\, bringing people together in solidarity and joy. \n \nReflections \n“Freedom is in the Air” was an important moment in the Museum of Goa’s journey of bringing people together through art. By blending creative expression with open conversations\, the initiative created a space where visitors could engage with ideas around identity\, inclusion\, and acceptance in a thoughtful yet approachable way. Inspired by Justice Indu Malhotra’s powerful words\, the event encouraged reflection while also inviting people to connect\, question\, and learn from one another. Above all\, the initiative showed how art can open doors helping people see differently\, feel more deeply\, and come together across differences in a shared space of curiosity and dialogue.
URL:https://museumofgoa.com/program/6349/
CATEGORIES:Exhibitions
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