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DTSTART;TZID=UTC:20241004T100000
DTEND;TZID=UTC:20241117T180000
DTSTAMP:20260529T172116
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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DTSTART;VALUE=DATE:20240825
DTEND;VALUE=DATE:20240914
DTSTAMP:20260529T172116
CREATED:20260318T161833Z
LAST-MODIFIED:20260318T161833Z
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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 \nArtworks and Excerpts\nSavitrimai\, Jotiba\, Ramai\, Periyar\, and Ambedkar (2024)\nPortraits honouring key figures who challenged caste oppression and fought for education\, social reform\, and the dismantling of hierarchy. \nEducate\, Agitate and Organise: A self portrait (2021)\nA reflection on the artist’s own role in continuing Ambedkar’s call for education\, agitation\, and organisation as tools for justice. \nHow bloody is the doorbell of Gods (2020)\nA visual challenge to the violence and exclusion hidden within religious spaces and traditions. \nAspirations of the oppressed (2023)\nExplores the hope and determination of communities historically denied equality\, and their vision for a more just society. \nCome get education (2023)\nTells the story of Savitribai Phule and Fatima Sheikh\, pioneers who opened India’s first school for girls in 1848\, defying caste and gender barriers. \nFuture Blues feat. Dr Ambedkar (2022)\nCalls for Dalit\, Bahujan\, and Adivasi communities to reclaim and redefine Indian aesthetics\, breaking the stereotypes that have shaped cultural narratives for too long. \nWhat is violence\, Angela (2021)\nDraws on Angela Davis’s 1972 prison interview\, connecting her words on systemic violence with struggles against oppression in India. \nFreedom we dreamed of (2023)\nReflects on Ambedkar’s vision of independence — the end of colonial rule and the removal of caste\, untouchability\, and discrimination. \nWe are sorry\, Rohith (2020)\nBased on Rohith Vemula’s final letter\, this work mourns his loss and confronts the devaluation of human dignity through caste prejudice. \nPhoolan: A symbol of resistance (2020)\nThe story of Phoolan Devi’s transformation from a victim of abuse to a symbol of vengeance and justice for oppressed communities\, and later a member of Parliament. \nThe League of Extraordinary Gentlepersons: Dr Ambedkar and Shahuji Maharaj (2022)\nPays tribute to Shahuji Maharaj’s early reservation policies and Ambedkar’s constitutional safeguards\, while confronting ongoing resistance to affirmative action. \nDalit lives matter\, till when (2020)\nA direct question about the fleeting public attention given to caste-based violence and discrimination. \nBabasaheb’s Navayana (2021)\nExplores Ambedkar’s founding of Navayana Buddhism as a path for collective emancipation from caste oppression. \nBecoming One with the Buddha (2021)\nShows how Ambedkar reinterpreted Buddhist principles to focus on social suffering and equality rather than personal salvation. \nIf Ramai Lived Today (2024)\nA poetic imagining of how Ramabai Ambedkar might continue the struggle for justice in contemporary times. \nMahad Satyagraha: a fight for water\, a fight for justice\nRevisits the 1927 protest led by Ambedkar for Dalits’ right to access public water\, a milestone in the anti-caste movement. \nArchitect of the social democracy of India (2021)\nHighlights Ambedkar’s warnings against authoritarianism and his call for social democracy alongside political democracy. \nEveryday is workers day (2021)\nAcknowledges Ambedkar’s often-overlooked role as a labour leader who fought for fair hours\, workers’ rights\, and social protections. \nA concise history of the anti-caste movement (2023)\nA calendar mapping key dates\, people\, and events in the centuries-long fight against caste oppression. \nEchoes of Touch: Preserving Memories Beyond Objects\nA personal reflection on memory\, inheritance\, and the ways history can be preserved through both objects and acts of creation. \n \n  \n \n  \n \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. \n \n 
URL:https://museumofgoa.com/program/we-the-people-too-2/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=UTC:20240719T100000
DTEND;TZID=UTC:20240804T180000
DTSTAMP:20260529T172116
CREATED:20240616T122023Z
LAST-MODIFIED:20240628T081552Z
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SUMMARY:Art Inc. | An Exhibition for Persons With Disabilities
DESCRIPTION:Art Inc. is a first-of-its-kind art exhibition at the Museum of Goa (MOG) that will showcase the artworks of artists belonging to the Persons With Disabilities (PWD) community. The exhibition will serve as a space that fosters artistic aspirations and allows for discussions around art and disability. It will also serve as a means to understand the various talents of people belonging to the community and allow for a new lens to understand their lived experiences in a dignified manner.  \nIndividuals belonging to the PWD community have access to only limited spaces and opportunities\, to not just exist but most importantly to express themselves. The project aims to create a space that is inclusive of all and is representative. We recognise that talent exists everywhere and there is a certain responsibility with us to bring it to light for our audiences to witness. In organising an art exhibition for this particular community\, we would not only create awareness but also help bridge the gap in understanding the lived experiences of persons with disability. \nArt Inc. is an initiative by the Museum of Goa in collaboration with the Office of the State Commissioner for Persons with Disabilities\, Goa. It is supported by EnAble India and International Purple Fest Goa.  \n  \n 
URL:https://museumofgoa.com/program/art-inc-an-exhibition-for-persons-with-disabilities/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=UTC:20240316T100000
DTEND;TZID=UTC:20240331T180000
DTSTAMP:20260529T172116
CREATED:20250822T095123Z
LAST-MODIFIED:20260323T051615Z
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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
URL:https://museumofgoa.com/program/unearthed/
CATEGORIES:Exhibitions
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BEGIN:VEVENT
DTSTART;TZID=UTC:20231202T100000
DTEND;TZID=UTC:20240114T180000
DTSTAMP:20260529T172116
CREATED:20240728T125053Z
LAST-MODIFIED:20250627T094045Z
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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:20260529T172116
CREATED:20250816T101233Z
LAST-MODIFIED:20250816T101233Z
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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:20260529T172116
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;VALUE=DATE:20200303
DTEND;VALUE=DATE:20200309
DTSTAMP:20260529T172116
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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DTSTART;VALUE=DATE:20190404
DTEND;VALUE=DATE:20190408
DTSTAMP:20260529T172116
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:20260529T172116
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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