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sā Ladakh Biennale 2026 welcomes Hylozoic/Desires (Himali Singh Soin and David Soin Tappeser) as a participating artist duo, in partnership with the German Embassy New Delhi.

Himali Singh Soin and David Soin Tappeser’s collaborative practice brings together poetry and music to construct speculative cosmologies and imagined worlds. Working across text, sound, and performance, their work explores relations between human and non-human entities, drawing from environmental metaphors, historical narratives, and sonic composition to engage themes of climate, migration, myth, and philosophy.

Their work has been presented at major international exhibitions and institutions, including Tate Britain and Somerset House, London; the Dr Bhau Daji Lad Museum, Mumbai; Museo Nacional Thyssen-Bornemisza, Madrid; and the Art Institute of Chicago. They have also participated in the Bukhara Biennale, Sharjah Biennial, Islamic Arts Biennial, Desert X, and the Shanghai Biennale, and will take part in the 61st International Art Exhibition of La Biennale di Venezia.

Their installation in Ladakh will take shape as an ambulatory in situ sound installation that works with local contexts and extends their ongoing exploration into the beingness of place.

Photo Credit: Hylozoic_Desires (Himali Singh Soin & David Soin Tappeser), 2025, Photo by RMZ Foundation, Shyam Subrahmoniam.

#sabiennale #signalsfromanotherstar #ladakh #regenerativeart #germany

Last week, the 61st Venice Biennale officially opened, featuring works by seven Desert X alumni artists. including Himali Singh Soin & David Tappeser / Hylozoic/Desires.

The duo, who participated in the 2023 Coachella Valley edition of Desert X, creates work centered on the rhythms of love and the pulse of belonging. Their methodology draws on research into place and history to imagine speculative futures, bridging the musical language of jazz with the literary tradition of poetry. Their practice explores time, interdependence, and alterity, using rhythm to challenge linear perceptions and reveal intercultural entanglements, parallel histories, and more-than-human perspectives.

In this artist feature, h/d reflects on ‘Namak Nazar,’ a work that constructs an imagined cosmology through metaphors drawn from outer space and the natural world, exploring interference, distance, intimacy, and connection. Inspired by the proliferation of conspiracy cultures, from UFOlogy to cybernetic spirituality, the artists created a wooden pillar branching into loudspeakers, broadcasting a fictional narrative around Namak Nazar, a particle of salt tied to both the unraveling of climate systems and the possibility of renewal through introspection.
 
Experience the full @labiennale program from May 9 to November 22, 2026, and following along for more Desert X alumni artists who are participating in the Venice Biennale. 
—
Himali Singh Soin & David Tappeser / Hylozoic/Desires
“Namak Nazar”
Desert Hot Springs, California
Desert X 2023
 
Mixing and mastering by Tommie Introna & Brian J. Sulpizio. Production by Anton Lieberman, assisted by Brian Taylor. Cover image by @lance.gerber.

Namak Halal/ Namak Haram by Hylozoic/Desires (Himali Singh Soin @himalisinghsoin and David Soin Tappeser @davidsointappeser)

On World Art Day, RMZ Foundation reflects on a work that reconsiders history through material, memory, and ecology. This monumental textile installation draws from the 4,000-kilometre Inland Customs Line, a colonial barrier that enforced the salt tax across the subcontinent. Yet, within this imposed boundary, a living hedge sustained its own ecology, persisting quietly against systems of control.

Using plant dyes, botanical grids and chaotic termite stamps derived from this landscape, the artists reclaim a contested history through an environmental lens in which resistance is embedded in both material and process.

𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴 by Hylozoic/Desires was presented by Dr. Bhau Daji Lad Museum (@bdlmuseum), in collaboration with RMZ Foundation and India Art Fair (@indiaartfair) with curatorial advisor Tasneem Zakaria Mehta (@tzmehta), supported by Alkazi Foundation for the Arts. With special thanks to Vadehra Art Gallery (@vadehraartgallery)

#WorldArtDay #RMZFoundation #HimaliSinghSoin #DavidSoinTappeser #HylozoicDesires

Namak Halal/ Namak Haram by Hylozoic/Desires (Himali Singh Soin @himalisinghsoin and David Soin Tappeser @davidsointappeser)

On World Art Day, RMZ Foundation reflects on a work that reconsiders history through material, memory, and ecology. This monumental textile installation draws from the 4,000-kilometre Inland Customs Line, a colonial barrier that enforced the salt tax across the subcontinent. Yet, within this imposed boundary, a living hedge sustained its own ecology, persisting quietly against systems of control.

Using plant dyes, botanical grids and chaotic termite stamps derived from this landscape, the artists reclaim a contested history through an environmental lens in which resistance is embedded in both material and process.

𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴 by Hylozoic/Desires was presented by Dr. Bhau Daji Lad Museum (@bdlmuseum), in collaboration with RMZ Foundation and India Art Fair (@indiaartfair) with curatorial advisor Tasneem Zakaria Mehta (@tzmehta), supported by Alkazi Foundation for the Arts. With special thanks to Vadehra Art Gallery (@vadehraartgallery)

#WorldArtDay #RMZFoundation #HimaliSinghSoin #DavidSoinTappeser #HylozoicDesires

Namak Halal/ Namak Haram by Hylozoic/Desires (Himali Singh Soin @himalisinghsoin and David Soin Tappeser @davidsointappeser)

On World Art Day, RMZ Foundation reflects on a work that reconsiders history through material, memory, and ecology. This monumental textile installation draws from the 4,000-kilometre Inland Customs Line, a colonial barrier that enforced the salt tax across the subcontinent. Yet, within this imposed boundary, a living hedge sustained its own ecology, persisting quietly against systems of control.

Using plant dyes, botanical grids and chaotic termite stamps derived from this landscape, the artists reclaim a contested history through an environmental lens in which resistance is embedded in both material and process.

𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴 by Hylozoic/Desires was presented by Dr. Bhau Daji Lad Museum (@bdlmuseum), in collaboration with RMZ Foundation and India Art Fair (@indiaartfair) with curatorial advisor Tasneem Zakaria Mehta (@tzmehta), supported by Alkazi Foundation for the Arts. With special thanks to Vadehra Art Gallery (@vadehraartgallery)

#WorldArtDay #RMZFoundation #HimaliSinghSoin #DavidSoinTappeser #HylozoicDesires

Namak Halal/ Namak Haram by Hylozoic/Desires (Himali Singh Soin @himalisinghsoin and David Soin Tappeser @davidsointappeser)

On World Art Day, RMZ Foundation reflects on a work that reconsiders history through material, memory, and ecology. This monumental textile installation draws from the 4,000-kilometre Inland Customs Line, a colonial barrier that enforced the salt tax across the subcontinent. Yet, within this imposed boundary, a living hedge sustained its own ecology, persisting quietly against systems of control.

Using plant dyes, botanical grids and chaotic termite stamps derived from this landscape, the artists reclaim a contested history through an environmental lens in which resistance is embedded in both material and process.

𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴 by Hylozoic/Desires was presented by Dr. Bhau Daji Lad Museum (@bdlmuseum), in collaboration with RMZ Foundation and India Art Fair (@indiaartfair) with curatorial advisor Tasneem Zakaria Mehta (@tzmehta), supported by Alkazi Foundation for the Arts. With special thanks to Vadehra Art Gallery (@vadehraartgallery)

#WorldArtDay #RMZFoundation #HimaliSinghSoin #DavidSoinTappeser #HylozoicDesires

Namak Halal/ Namak Haram by Hylozoic/Desires (Himali Singh Soin @himalisinghsoin and David Soin Tappeser @davidsointappeser)

On World Art Day, RMZ Foundation reflects on a work that reconsiders history through material, memory, and ecology. This monumental textile installation draws from the 4,000-kilometre Inland Customs Line, a colonial barrier that enforced the salt tax across the subcontinent. Yet, within this imposed boundary, a living hedge sustained its own ecology, persisting quietly against systems of control.

Using plant dyes, botanical grids and chaotic termite stamps derived from this landscape, the artists reclaim a contested history through an environmental lens in which resistance is embedded in both material and process.

𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴 by Hylozoic/Desires was presented by Dr. Bhau Daji Lad Museum (@bdlmuseum), in collaboration with RMZ Foundation and India Art Fair (@indiaartfair) with curatorial advisor Tasneem Zakaria Mehta (@tzmehta), supported by Alkazi Foundation for the Arts. With special thanks to Vadehra Art Gallery (@vadehraartgallery)

#WorldArtDay #RMZFoundation #HimaliSinghSoin #DavidSoinTappeser #HylozoicDesires

Namak Halal/ Namak Haram by Hylozoic/Desires (Himali Singh Soin @himalisinghsoin and David Soin Tappeser @davidsointappeser)

On World Art Day, RMZ Foundation reflects on a work that reconsiders history through material, memory, and ecology. This monumental textile installation draws from the 4,000-kilometre Inland Customs Line, a colonial barrier that enforced the salt tax across the subcontinent. Yet, within this imposed boundary, a living hedge sustained its own ecology, persisting quietly against systems of control.

Using plant dyes, botanical grids and chaotic termite stamps derived from this landscape, the artists reclaim a contested history through an environmental lens in which resistance is embedded in both material and process.

𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴 by Hylozoic/Desires was presented by Dr. Bhau Daji Lad Museum (@bdlmuseum), in collaboration with RMZ Foundation and India Art Fair (@indiaartfair) with curatorial advisor Tasneem Zakaria Mehta (@tzmehta), supported by Alkazi Foundation for the Arts. With special thanks to Vadehra Art Gallery (@vadehraartgallery)

#WorldArtDay #RMZFoundation #HimaliSinghSoin #DavidSoinTappeser #HylozoicDesires

Namak Halal/ Namak Haram by Hylozoic/Desires (Himali Singh Soin @himalisinghsoin and David Soin Tappeser @davidsointappeser)

On World Art Day, RMZ Foundation reflects on a work that reconsiders history through material, memory, and ecology. This monumental textile installation draws from the 4,000-kilometre Inland Customs Line, a colonial barrier that enforced the salt tax across the subcontinent. Yet, within this imposed boundary, a living hedge sustained its own ecology, persisting quietly against systems of control.

Using plant dyes, botanical grids and chaotic termite stamps derived from this landscape, the artists reclaim a contested history through an environmental lens in which resistance is embedded in both material and process.

𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴 by Hylozoic/Desires was presented by Dr. Bhau Daji Lad Museum (@bdlmuseum), in collaboration with RMZ Foundation and India Art Fair (@indiaartfair) with curatorial advisor Tasneem Zakaria Mehta (@tzmehta), supported by Alkazi Foundation for the Arts. With special thanks to Vadehra Art Gallery (@vadehraartgallery)

#WorldArtDay #RMZFoundation #HimaliSinghSoin #DavidSoinTappeser #HylozoicDesires

We are pleased to announce the representation of artists Himali Singh Soin, David Soin Tappeser and their collective practice, Hylozoic/Desires.

Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser) is an artist duo whose work combines poetry and music to conjure speculative futures and multiverses. They aspire toward a flat ontological ether in which all forms of life – stone, spirit, machine or human – are equal. They use love as a force of attraction that holds otherwise distant entities together. Himali Singh Soin uses metaphors from the natural environment to construct imaginary cosmologies and David Soin Tappeser is a percussionist and composer whose practice explores socio-eco-spiritual-tempo-somatic dimensions of sound. Their work combines urgent themes of climate change, history and migration, myth and philosophy to tap into the flickering pulse of the contemporary. 

Their work has been exhibited in solo exhibitions at Tate Britain and Somerset House, London; the Dr. Bhau Daji Lad Museum, Mumbai; Museo Nacional Thyssen-Bornemisza, Madrid and the Art Institute of Chicago. They have recently participated in the inaugural Bukhara Biennale; Sharjah Biennial; Islamic Arts Biennial, Jeddah; Desert X, CA; Shanghai Biennale among others. They will participate in the 61st International Art Exhibition of La Biennale di Venezia curated by Koyo Kouoh.

Image details in the comments section.

We are pleased to announce the representation of artists Himali Singh Soin, David Soin Tappeser and their collective practice, Hylozoic/Desires.

Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser) is an artist duo whose work combines poetry and music to conjure speculative futures and multiverses. They aspire toward a flat ontological ether in which all forms of life – stone, spirit, machine or human – are equal. They use love as a force of attraction that holds otherwise distant entities together. Himali Singh Soin uses metaphors from the natural environment to construct imaginary cosmologies and David Soin Tappeser is a percussionist and composer whose practice explores socio-eco-spiritual-tempo-somatic dimensions of sound. Their work combines urgent themes of climate change, history and migration, myth and philosophy to tap into the flickering pulse of the contemporary. 

Their work has been exhibited in solo exhibitions at Tate Britain and Somerset House, London; the Dr. Bhau Daji Lad Museum, Mumbai; Museo Nacional Thyssen-Bornemisza, Madrid and the Art Institute of Chicago. They have recently participated in the inaugural Bukhara Biennale; Sharjah Biennial; Islamic Arts Biennial, Jeddah; Desert X, CA; Shanghai Biennale among others. They will participate in the 61st International Art Exhibition of La Biennale di Venezia curated by Koyo Kouoh.

Image details in the comments section.

We are pleased to announce the representation of artists Himali Singh Soin, David Soin Tappeser and their collective practice, Hylozoic/Desires.

Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser) is an artist duo whose work combines poetry and music to conjure speculative futures and multiverses. They aspire toward a flat ontological ether in which all forms of life – stone, spirit, machine or human – are equal. They use love as a force of attraction that holds otherwise distant entities together. Himali Singh Soin uses metaphors from the natural environment to construct imaginary cosmologies and David Soin Tappeser is a percussionist and composer whose practice explores socio-eco-spiritual-tempo-somatic dimensions of sound. Their work combines urgent themes of climate change, history and migration, myth and philosophy to tap into the flickering pulse of the contemporary. 

Their work has been exhibited in solo exhibitions at Tate Britain and Somerset House, London; the Dr. Bhau Daji Lad Museum, Mumbai; Museo Nacional Thyssen-Bornemisza, Madrid and the Art Institute of Chicago. They have recently participated in the inaugural Bukhara Biennale; Sharjah Biennial; Islamic Arts Biennial, Jeddah; Desert X, CA; Shanghai Biennale among others. They will participate in the 61st International Art Exhibition of La Biennale di Venezia curated by Koyo Kouoh.

Image details in the comments section.

We are pleased to announce the representation of artists Himali Singh Soin, David Soin Tappeser and their collective practice, Hylozoic/Desires.

Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser) is an artist duo whose work combines poetry and music to conjure speculative futures and multiverses. They aspire toward a flat ontological ether in which all forms of life – stone, spirit, machine or human – are equal. They use love as a force of attraction that holds otherwise distant entities together. Himali Singh Soin uses metaphors from the natural environment to construct imaginary cosmologies and David Soin Tappeser is a percussionist and composer whose practice explores socio-eco-spiritual-tempo-somatic dimensions of sound. Their work combines urgent themes of climate change, history and migration, myth and philosophy to tap into the flickering pulse of the contemporary. 

Their work has been exhibited in solo exhibitions at Tate Britain and Somerset House, London; the Dr. Bhau Daji Lad Museum, Mumbai; Museo Nacional Thyssen-Bornemisza, Madrid and the Art Institute of Chicago. They have recently participated in the inaugural Bukhara Biennale; Sharjah Biennial; Islamic Arts Biennial, Jeddah; Desert X, CA; Shanghai Biennale among others. They will participate in the 61st International Art Exhibition of La Biennale di Venezia curated by Koyo Kouoh.

Image details in the comments section.

We are pleased to announce the representation of artists Himali Singh Soin, David Soin Tappeser and their collective practice, Hylozoic/Desires.

Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser) is an artist duo whose work combines poetry and music to conjure speculative futures and multiverses. They aspire toward a flat ontological ether in which all forms of life – stone, spirit, machine or human – are equal. They use love as a force of attraction that holds otherwise distant entities together. Himali Singh Soin uses metaphors from the natural environment to construct imaginary cosmologies and David Soin Tappeser is a percussionist and composer whose practice explores socio-eco-spiritual-tempo-somatic dimensions of sound. Their work combines urgent themes of climate change, history and migration, myth and philosophy to tap into the flickering pulse of the contemporary. 

Their work has been exhibited in solo exhibitions at Tate Britain and Somerset House, London; the Dr. Bhau Daji Lad Museum, Mumbai; Museo Nacional Thyssen-Bornemisza, Madrid and the Art Institute of Chicago. They have recently participated in the inaugural Bukhara Biennale; Sharjah Biennial; Islamic Arts Biennial, Jeddah; Desert X, CA; Shanghai Biennale among others. They will participate in the 61st International Art Exhibition of La Biennale di Venezia curated by Koyo Kouoh.

Image details in the comments section.

We are pleased to announce the representation of artists Himali Singh Soin, David Soin Tappeser and their collective practice, Hylozoic/Desires.

Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser) is an artist duo whose work combines poetry and music to conjure speculative futures and multiverses. They aspire toward a flat ontological ether in which all forms of life – stone, spirit, machine or human – are equal. They use love as a force of attraction that holds otherwise distant entities together. Himali Singh Soin uses metaphors from the natural environment to construct imaginary cosmologies and David Soin Tappeser is a percussionist and composer whose practice explores socio-eco-spiritual-tempo-somatic dimensions of sound. Their work combines urgent themes of climate change, history and migration, myth and philosophy to tap into the flickering pulse of the contemporary. 

Their work has been exhibited in solo exhibitions at Tate Britain and Somerset House, London; the Dr. Bhau Daji Lad Museum, Mumbai; Museo Nacional Thyssen-Bornemisza, Madrid and the Art Institute of Chicago. They have recently participated in the inaugural Bukhara Biennale; Sharjah Biennial; Islamic Arts Biennial, Jeddah; Desert X, CA; Shanghai Biennale among others. They will participate in the 61st International Art Exhibition of La Biennale di Venezia curated by Koyo Kouoh.

Image details in the comments section.

We are pleased to announce the representation of artists Himali Singh Soin, David Soin Tappeser and their collective practice, Hylozoic/Desires.

Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser) is an artist duo whose work combines poetry and music to conjure speculative futures and multiverses. They aspire toward a flat ontological ether in which all forms of life – stone, spirit, machine or human – are equal. They use love as a force of attraction that holds otherwise distant entities together. Himali Singh Soin uses metaphors from the natural environment to construct imaginary cosmologies and David Soin Tappeser is a percussionist and composer whose practice explores socio-eco-spiritual-tempo-somatic dimensions of sound. Their work combines urgent themes of climate change, history and migration, myth and philosophy to tap into the flickering pulse of the contemporary. 

Their work has been exhibited in solo exhibitions at Tate Britain and Somerset House, London; the Dr. Bhau Daji Lad Museum, Mumbai; Museo Nacional Thyssen-Bornemisza, Madrid and the Art Institute of Chicago. They have recently participated in the inaugural Bukhara Biennale; Sharjah Biennial; Islamic Arts Biennial, Jeddah; Desert X, CA; Shanghai Biennale among others. They will participate in the 61st International Art Exhibition of La Biennale di Venezia curated by Koyo Kouoh.

Image details in the comments section.

We are pleased to announce the representation of artists Himali Singh Soin, David Soin Tappeser and their collective practice, Hylozoic/Desires.

Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser) is an artist duo whose work combines poetry and music to conjure speculative futures and multiverses. They aspire toward a flat ontological ether in which all forms of life – stone, spirit, machine or human – are equal. They use love as a force of attraction that holds otherwise distant entities together. Himali Singh Soin uses metaphors from the natural environment to construct imaginary cosmologies and David Soin Tappeser is a percussionist and composer whose practice explores socio-eco-spiritual-tempo-somatic dimensions of sound. Their work combines urgent themes of climate change, history and migration, myth and philosophy to tap into the flickering pulse of the contemporary. 

Their work has been exhibited in solo exhibitions at Tate Britain and Somerset House, London; the Dr. Bhau Daji Lad Museum, Mumbai; Museo Nacional Thyssen-Bornemisza, Madrid and the Art Institute of Chicago. They have recently participated in the inaugural Bukhara Biennale; Sharjah Biennial; Islamic Arts Biennial, Jeddah; Desert X, CA; Shanghai Biennale among others. They will participate in the 61st International Art Exhibition of La Biennale di Venezia curated by Koyo Kouoh.

Image details in the comments section.

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢, a solo exhibition by the artist duo Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser), is now on view at No.9 Cork Street, London.

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢 is how Pythagoras referred to salt. This show brings together three works across different media, revealing the disappearance of water bodies and the appearance of salt–a fortuneteller, a mineral mystic–in their wake.
 
The exhibition is on view until 28 March 2026.

[Vadehra Art Gallery, Himali Singh Soin, David Soin Tappeser, Hylozoic/Desires, contemporary art, solo exhibition, on view, Frieze, Cork Street galleries]

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢, a solo exhibition by the artist duo Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser), is now on view at No.9 Cork Street, London.

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢 is how Pythagoras referred to salt. This show brings together three works across different media, revealing the disappearance of water bodies and the appearance of salt–a fortuneteller, a mineral mystic–in their wake.
 
The exhibition is on view until 28 March 2026.

[Vadehra Art Gallery, Himali Singh Soin, David Soin Tappeser, Hylozoic/Desires, contemporary art, solo exhibition, on view, Frieze, Cork Street galleries]

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢, a solo exhibition by the artist duo Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser), is now on view at No.9 Cork Street, London.

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢 is how Pythagoras referred to salt. This show brings together three works across different media, revealing the disappearance of water bodies and the appearance of salt–a fortuneteller, a mineral mystic–in their wake.
 
The exhibition is on view until 28 March 2026.

[Vadehra Art Gallery, Himali Singh Soin, David Soin Tappeser, Hylozoic/Desires, contemporary art, solo exhibition, on view, Frieze, Cork Street galleries]

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢, a solo exhibition by the artist duo Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser), is now on view at No.9 Cork Street, London.

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢 is how Pythagoras referred to salt. This show brings together three works across different media, revealing the disappearance of water bodies and the appearance of salt–a fortuneteller, a mineral mystic–in their wake.
 
The exhibition is on view until 28 March 2026.

[Vadehra Art Gallery, Himali Singh Soin, David Soin Tappeser, Hylozoic/Desires, contemporary art, solo exhibition, on view, Frieze, Cork Street galleries]

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢, a solo exhibition by the artist duo Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser), is now on view at No.9 Cork Street, London.

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢 is how Pythagoras referred to salt. This show brings together three works across different media, revealing the disappearance of water bodies and the appearance of salt–a fortuneteller, a mineral mystic–in their wake.
 
The exhibition is on view until 28 March 2026.

[Vadehra Art Gallery, Himali Singh Soin, David Soin Tappeser, Hylozoic/Desires, contemporary art, solo exhibition, on view, Frieze, Cork Street galleries]

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢, a solo exhibition by the artist duo Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser), is now on view at No.9 Cork Street, London.

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢 is how Pythagoras referred to salt. This show brings together three works across different media, revealing the disappearance of water bodies and the appearance of salt–a fortuneteller, a mineral mystic–in their wake.
 
The exhibition is on view until 28 March 2026.

[Vadehra Art Gallery, Himali Singh Soin, David Soin Tappeser, Hylozoic/Desires, contemporary art, solo exhibition, on view, Frieze, Cork Street galleries]

We’re delighted to announce that Himali Singh Soin (@himalisinghsoin) and David Soin Tappeser (@davidsointappeser) are invited to the 61st International Art Exhibition of La Biennale di Venezia: In Minor Keys @labiennale by Koyo Kouoh, from 09th May to 22nd November 2026!

The Avtar Foundation is honoured to support this presentation, along with @rmz_foundation and Foundation Henraux

Soin and Tappeser’s collaborative practice exists at the intersection of poetry, percussion and the environment. Through film and performance, they investigate the marginalised frequencies that resonate beneath grand narratives. By weaving together the geological and the lyrical, they invite us to listen to the planet as a witness, creating immersive environments that challenge linear ideas of progress and decay.

#BiennaleArte2026 #InMinorKeys

⚫️✨TOTAL ECLIPSE✨⚫️

✨Gong bath and readings at ‘Soap of the Sages, Sun of the Sea’ by Hylozoic/Desires✨

6 March 2026, 18.00-20.00 at Frieze, No. 9 Cork Street, London

🔭To mark the launch of TOTAL ECLIPSE by Annie Dillard, we gather beneath a different kind of sky.

☁️A gong bath by @davidsointappeser, like distant weather, will open the evening by guiding us inward.

🌚From this shared interiority, we move into readings by @himalisinghsoin and @sarah_shin_ from Dillard’s luminous essay, recounting her witnessing of the 1979 total solar eclipse in Yakima, Washington. The surreal intensity of the celestial event becomes a metaphysical reckoning. As shadow overtakes the sun, the ordinary world flickers and falls away. What can we know, and what remains beyond our reach?

⚡️This will be interleaved with readings from Himali Singh Soin’s poetic foreword to Total Eclipse, which extends the eclipse into our present tense of solar flares, data storms and mineral afterlives. ‘The world is otherworldly,’ she writes. What might it mean to sense signs, to read omens, to inhabit the hyper-enlightenment of our metallic age?

🌊The event unfolds within Hylozoic/Desires’ exhibition, which traces the disappearance of water bodies and the appearance of salt – a fortuneteller, a mineral mystic – in their wake. In this landscape of residue and prophecy, Dillard’s eclipse feels both historical and immediate: a brush with the sublime, the familiar turning strange. Together, through sound and text, we will enter the shadow’s brief, blazing clarity.

Free to attend, no booking required

🖼️: I and Thou, 2024 by Hylozoic/Desires. Dye sublimation on aluminium

⚫️✨TOTAL ECLIPSE✨⚫️

✨Gong bath and readings at ‘Soap of the Sages, Sun of the Sea’ by Hylozoic/Desires✨

6 March 2026, 18.00-20.00 at Frieze, No. 9 Cork Street, London

🔭To mark the launch of TOTAL ECLIPSE by Annie Dillard, we gather beneath a different kind of sky.

☁️A gong bath by @davidsointappeser, like distant weather, will open the evening by guiding us inward.

🌚From this shared interiority, we move into readings by @himalisinghsoin and @sarah_shin_ from Dillard’s luminous essay, recounting her witnessing of the 1979 total solar eclipse in Yakima, Washington. The surreal intensity of the celestial event becomes a metaphysical reckoning. As shadow overtakes the sun, the ordinary world flickers and falls away. What can we know, and what remains beyond our reach?

⚡️This will be interleaved with readings from Himali Singh Soin’s poetic foreword to Total Eclipse, which extends the eclipse into our present tense of solar flares, data storms and mineral afterlives. ‘The world is otherworldly,’ she writes. What might it mean to sense signs, to read omens, to inhabit the hyper-enlightenment of our metallic age?

🌊The event unfolds within Hylozoic/Desires’ exhibition, which traces the disappearance of water bodies and the appearance of salt – a fortuneteller, a mineral mystic – in their wake. In this landscape of residue and prophecy, Dillard’s eclipse feels both historical and immediate: a brush with the sublime, the familiar turning strange. Together, through sound and text, we will enter the shadow’s brief, blazing clarity.

Free to attend, no booking required

🖼️: I and Thou, 2024 by Hylozoic/Desires. Dye sublimation on aluminium

We are delighted to present a solo exhibition by the artist duo Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser) in London for the first time at No. 9 Cork Street.

𝘚𝘰𝘢𝘱 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘢𝘨𝘦𝘴, 𝘚𝘶𝘯 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘦𝘢 is how Pythagoras referred to salt. The exhibition investigates the disappearance of water bodies and the appearance of salt — a fortuneteller, a mineral mystic — in their wake. 

Pursuing a speculative practice, Hylozoic/Desires combines poetry and music, embedded across moving image, performance and textile, to conjure speculative futures and multiverses. Their post-colonial research of cartographies grants the natural elements a state of ultimate witness to history and temporality. The collective’s current research focuses on the metaphysics of salt, which began at DesertX in California in 2024 and continued in 2025 with presentations at Bukhara Biennale; Sharjah Biennale 16; Tate Britain and Somerset House in London; and the Bhau Daji Lad Museum in Mumbai.

Following the preview on 5 March, please join us on 6 March for the launch of Annie Dillard’s essay with a reading by Himali Singh Soin and friends, and on 7 March for a walkthrough led by the artists.

[Vadehra Art Gallery, Himali Singh Soin, David Soin Tappeser, Hylozoic/Desires, contemporary art, exhibition preview, London exhibition]

On View | 𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴

Tracing salt as memory, myth, and a witness to the climate crisis, the ongoing exhibition 𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴 by Hylozoic/Desires (@himalisinghsoin & @davidsointappese) on view at Dr. Bhau Daji Lad Museum, unfolds layered histories across the subcontinent.

In this video, Himali Singh Soin speaks about the 4000 km colonial customs barrier, 2500 km of which became ‘the Great Hedge of India,’ built by the East India Company to curb salt smuggling.

Moving between immersive visuals and rare photographs from the K. L. Nursey album (1930-1931),part of the Alkazi Collection of Photography, 𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴 also revisits scenes from the Salt Satyagraha as experienced by local communities in Bombay, including women and children, foregrounding stories often left at the margins.

This exhibition is presented by Dr. Bhau Daji Lad Museum, in collaboration with RMZ Foundation, and India Art Fair, with curatorial advisor @tzmehta, and supported by the Alkazi Foundation for the Arts.

𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴 remains on view until 15 February 2026 at the Special Project Space, Museum Plaza, Dr. Bhau Daji Lad Museum, Mumbai.

Special thanks to @vadehraartgallery for additional support.

@bdlmuseum @rmz_foundation @indiaartfair

[saltlines, visual artists, indiaartfair, exhibitions, sourthasianart, mumbai, delhi, India, museum, history, women, resistance, erasure, archives, ecology]

#SaltLines #HylozoicDesires #HimaliSinghSoin #DavidSoinTappeser #ContemporaryArt #ArtExhibition #MuseumExhibition #IndianArt #SouthAsianArt #ColonialHistory #DandiMarch #ClimateAndArt #ArtAndEcology #MumbaiArt #BDLMuseum #IndiaArtFair #RMZFoundation #ArtInMumbai #ExhibitionOnView #VisualArt #Photographs #PhotographyExhibit #CulturalExpressions #ArtistsInIndia #ArtAppreciation #IndiaArtScene #VisualStorytelling #ArtInMumbai #MuseumExhibition

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

This salty year began when we premiered ‘The Hedge of Halomancy’ in Sharjah @sharjahart, once part of the Indian Empire, where salt became a symbol of liberation. We then brought an extended series of these works - exploring the British empire’s ‘Great Salt Hedge’ across India - to Somerset House’s courtyard and Tate Britain’s Art Now in London - two institutions deeply entwined with Britain’s colonial past.

The year comes to a close with the entire series returning to India, to Bombay’s Bhau Daji Lad Museum (@bdlmuseum )- another institution with deep colonial roots. Foundedin 1857 as the ‘Victoria and Albert Museum’ in order to promote trade within the Empire, its ghosts resonate deeply with the ‘old customs hedge’…

It took a lot of patrons, curators, technicians, cinematographers, editors, artisans and friends to build this massive infrastructure, and to tour it ecologically and still allow it to be porous in whatever new context it sat.

First the mystery of the hedge, and then everyone’s generosity, curiosity and rebellion in telling its story, has humbled us and heartened us.

Salt Lines came to Bombay after Tasneem (@tzmehta ) saw it at Tate Britain and together with the team at BDL, made it manifest! Umah (@umahjacob) at IAF (@indiaartfair ) and Kamna (@kamnakamna ) at RMZ (@rmz_foundation ) rewrote borders to bring it over! Thank you @anumenda 🌱Raahab (@rahaaballana) at Alkazi Foundation meanwhile opened Disobedient Subjects at CSMVS, and its focus on Salt and Satyagraha seemed like an uncanny link. Sukanya (@suk.anya.gho.sh ) designed the posters and the exhibition and we laughed and laughed. And— @raw_mango, for hosting the salt-rimmed after-party, and reminding us of the new old things that will always resist, persist.

Photos courtesy of RMZ Foundation

𝘚𝘢𝘭𝘵 𝘢𝘴 𝘸𝘪𝘵𝘯𝘦𝘴𝘴 𝘵𝘰 𝘦𝘮𝘱𝘪𝘳𝘦.

In this trailer for Salt Lines, Hylozoic/Desires (@himalisinghsoin & @davidsointappeser) turns to salt into measure and ledger — a material that remembers the violences of extraction, taxation and labour that shaped our colonial past while tracing the shifting choreography of the coastline, where erosion, tidal pull and environmental precarity shape a landscape in perpetual flux, just as we have snow lines and tree lines, salt lines may be markers of a new climate era of saline waters.

Dr. Bhau Daji Lad Museum (@bdlmuseum) presents 𝘚𝘢𝘭𝘵 𝘓𝘪𝘯𝘦𝘴 by Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser), in collaboration with RMZ Foundation (@rmz_foundation) and India Art Fair, with curatorial advisor Tasneem Zakaria Mehta (@tzmehta ), supported by Alkazi Foundation for the Arts (@alkazifoundation)

🗓️ 06 Dec 2025 – 08 Feb 2026
📍 Dr. Bhau Daji Lad Museum, Mumbai

With special thanks to Vadehra Art Gallery (@vadehraartgallery)

LAST DAY OF MICROFICTIONS.

This is your last day to see and experience Microfictions. After 10 four hour performances, the performers today extend the invitation for you to participate in the shifting of continents.

OPEN 11- 3 PM
Today marks the final performance of Hylozoic/Desires’ Microfictions at the Naval Store. For almost three weeks, four performers have been charting the transformation of the ancient supercontinent Pangea into the speculative future of Pangea Ultima, tracing the outlines of the evolving continents with materials native and invasive — white sand, crushed limestone, salt, camel hair, cuttlefish and even flecks of gold.

We invite you to participate in the last enactment of this eternal drama of impermanence. Assist Tyrone Earl Lraé Robinson, Izzy Leclezio, Chandler Abrahams and Estelle Brown in their incredible feat of endurance, shaping and reshaping borders.

Microfictions is an exercise in letting go. Continents drift, materials mix, borders dissolve. The performers’ patient labour becomes a kind of devotion, not to preserve but to process: to understand that change is the only constant.

Open from 11am to 3pm, you are invited to come down and - upon invitation - join. Become tectonic shifters and embed yourself into the narrative of tracing deep time and speculative futures.

Photography: Rebecca Mansell and James Nilson

LAST DAY OF MICROFICTIONS.

This is your last day to see and experience Microfictions. After 10 four hour performances, the performers today extend the invitation for you to participate in the shifting of continents.

OPEN 11- 3 PM
Today marks the final performance of Hylozoic/Desires’ Microfictions at the Naval Store. For almost three weeks, four performers have been charting the transformation of the ancient supercontinent Pangea into the speculative future of Pangea Ultima, tracing the outlines of the evolving continents with materials native and invasive — white sand, crushed limestone, salt, camel hair, cuttlefish and even flecks of gold.

We invite you to participate in the last enactment of this eternal drama of impermanence. Assist Tyrone Earl Lraé Robinson, Izzy Leclezio, Chandler Abrahams and Estelle Brown in their incredible feat of endurance, shaping and reshaping borders.

Microfictions is an exercise in letting go. Continents drift, materials mix, borders dissolve. The performers’ patient labour becomes a kind of devotion, not to preserve but to process: to understand that change is the only constant.

Open from 11am to 3pm, you are invited to come down and - upon invitation - join. Become tectonic shifters and embed yourself into the narrative of tracing deep time and speculative futures.

Photography: Rebecca Mansell and James Nilson

LAST DAY OF MICROFICTIONS.

This is your last day to see and experience Microfictions. After 10 four hour performances, the performers today extend the invitation for you to participate in the shifting of continents.

OPEN 11- 3 PM
Today marks the final performance of Hylozoic/Desires’ Microfictions at the Naval Store. For almost three weeks, four performers have been charting the transformation of the ancient supercontinent Pangea into the speculative future of Pangea Ultima, tracing the outlines of the evolving continents with materials native and invasive — white sand, crushed limestone, salt, camel hair, cuttlefish and even flecks of gold.

We invite you to participate in the last enactment of this eternal drama of impermanence. Assist Tyrone Earl Lraé Robinson, Izzy Leclezio, Chandler Abrahams and Estelle Brown in their incredible feat of endurance, shaping and reshaping borders.

Microfictions is an exercise in letting go. Continents drift, materials mix, borders dissolve. The performers’ patient labour becomes a kind of devotion, not to preserve but to process: to understand that change is the only constant.

Open from 11am to 3pm, you are invited to come down and - upon invitation - join. Become tectonic shifters and embed yourself into the narrative of tracing deep time and speculative futures.

Photography: Rebecca Mansell and James Nilson

LAST DAY OF MICROFICTIONS.

This is your last day to see and experience Microfictions. After 10 four hour performances, the performers today extend the invitation for you to participate in the shifting of continents.

OPEN 11- 3 PM
Today marks the final performance of Hylozoic/Desires’ Microfictions at the Naval Store. For almost three weeks, four performers have been charting the transformation of the ancient supercontinent Pangea into the speculative future of Pangea Ultima, tracing the outlines of the evolving continents with materials native and invasive — white sand, crushed limestone, salt, camel hair, cuttlefish and even flecks of gold.

We invite you to participate in the last enactment of this eternal drama of impermanence. Assist Tyrone Earl Lraé Robinson, Izzy Leclezio, Chandler Abrahams and Estelle Brown in their incredible feat of endurance, shaping and reshaping borders.

Microfictions is an exercise in letting go. Continents drift, materials mix, borders dissolve. The performers’ patient labour becomes a kind of devotion, not to preserve but to process: to understand that change is the only constant.

Open from 11am to 3pm, you are invited to come down and - upon invitation - join. Become tectonic shifters and embed yourself into the narrative of tracing deep time and speculative futures.

Photography: Rebecca Mansell and James Nilson

LAST DAY OF MICROFICTIONS.

This is your last day to see and experience Microfictions. After 10 four hour performances, the performers today extend the invitation for you to participate in the shifting of continents.

OPEN 11- 3 PM
Today marks the final performance of Hylozoic/Desires’ Microfictions at the Naval Store. For almost three weeks, four performers have been charting the transformation of the ancient supercontinent Pangea into the speculative future of Pangea Ultima, tracing the outlines of the evolving continents with materials native and invasive — white sand, crushed limestone, salt, camel hair, cuttlefish and even flecks of gold.

We invite you to participate in the last enactment of this eternal drama of impermanence. Assist Tyrone Earl Lraé Robinson, Izzy Leclezio, Chandler Abrahams and Estelle Brown in their incredible feat of endurance, shaping and reshaping borders.

Microfictions is an exercise in letting go. Continents drift, materials mix, borders dissolve. The performers’ patient labour becomes a kind of devotion, not to preserve but to process: to understand that change is the only constant.

Open from 11am to 3pm, you are invited to come down and - upon invitation - join. Become tectonic shifters and embed yourself into the narrative of tracing deep time and speculative futures.

Photography: Rebecca Mansell and James Nilson

LAST DAY OF MICROFICTIONS.

This is your last day to see and experience Microfictions. After 10 four hour performances, the performers today extend the invitation for you to participate in the shifting of continents.

OPEN 11- 3 PM
Today marks the final performance of Hylozoic/Desires’ Microfictions at the Naval Store. For almost three weeks, four performers have been charting the transformation of the ancient supercontinent Pangea into the speculative future of Pangea Ultima, tracing the outlines of the evolving continents with materials native and invasive — white sand, crushed limestone, salt, camel hair, cuttlefish and even flecks of gold.

We invite you to participate in the last enactment of this eternal drama of impermanence. Assist Tyrone Earl Lraé Robinson, Izzy Leclezio, Chandler Abrahams and Estelle Brown in their incredible feat of endurance, shaping and reshaping borders.

Microfictions is an exercise in letting go. Continents drift, materials mix, borders dissolve. The performers’ patient labour becomes a kind of devotion, not to preserve but to process: to understand that change is the only constant.

Open from 11am to 3pm, you are invited to come down and - upon invitation - join. Become tectonic shifters and embed yourself into the narrative of tracing deep time and speculative futures.

Photography: Rebecca Mansell and James Nilson

LAST DAY OF MICROFICTIONS.

This is your last day to see and experience Microfictions. After 10 four hour performances, the performers today extend the invitation for you to participate in the shifting of continents.

OPEN 11- 3 PM
Today marks the final performance of Hylozoic/Desires’ Microfictions at the Naval Store. For almost three weeks, four performers have been charting the transformation of the ancient supercontinent Pangea into the speculative future of Pangea Ultima, tracing the outlines of the evolving continents with materials native and invasive — white sand, crushed limestone, salt, camel hair, cuttlefish and even flecks of gold.

We invite you to participate in the last enactment of this eternal drama of impermanence. Assist Tyrone Earl Lraé Robinson, Izzy Leclezio, Chandler Abrahams and Estelle Brown in their incredible feat of endurance, shaping and reshaping borders.

Microfictions is an exercise in letting go. Continents drift, materials mix, borders dissolve. The performers’ patient labour becomes a kind of devotion, not to preserve but to process: to understand that change is the only constant.

Open from 11am to 3pm, you are invited to come down and - upon invitation - join. Become tectonic shifters and embed yourself into the narrative of tracing deep time and speculative futures.

Photography: Rebecca Mansell and James Nilson

LAST DAY OF MICROFICTIONS.

This is your last day to see and experience Microfictions. After 10 four hour performances, the performers today extend the invitation for you to participate in the shifting of continents.

OPEN 11- 3 PM
Today marks the final performance of Hylozoic/Desires’ Microfictions at the Naval Store. For almost three weeks, four performers have been charting the transformation of the ancient supercontinent Pangea into the speculative future of Pangea Ultima, tracing the outlines of the evolving continents with materials native and invasive — white sand, crushed limestone, salt, camel hair, cuttlefish and even flecks of gold.

We invite you to participate in the last enactment of this eternal drama of impermanence. Assist Tyrone Earl Lraé Robinson, Izzy Leclezio, Chandler Abrahams and Estelle Brown in their incredible feat of endurance, shaping and reshaping borders.

Microfictions is an exercise in letting go. Continents drift, materials mix, borders dissolve. The performers’ patient labour becomes a kind of devotion, not to preserve but to process: to understand that change is the only constant.

Open from 11am to 3pm, you are invited to come down and - upon invitation - join. Become tectonic shifters and embed yourself into the narrative of tracing deep time and speculative futures.

Photography: Rebecca Mansell and James Nilson

LAST DAY OF MICROFICTIONS.

This is your last day to see and experience Microfictions. After 10 four hour performances, the performers today extend the invitation for you to participate in the shifting of continents.

OPEN 11- 3 PM
Today marks the final performance of Hylozoic/Desires’ Microfictions at the Naval Store. For almost three weeks, four performers have been charting the transformation of the ancient supercontinent Pangea into the speculative future of Pangea Ultima, tracing the outlines of the evolving continents with materials native and invasive — white sand, crushed limestone, salt, camel hair, cuttlefish and even flecks of gold.

We invite you to participate in the last enactment of this eternal drama of impermanence. Assist Tyrone Earl Lraé Robinson, Izzy Leclezio, Chandler Abrahams and Estelle Brown in their incredible feat of endurance, shaping and reshaping borders.

Microfictions is an exercise in letting go. Continents drift, materials mix, borders dissolve. The performers’ patient labour becomes a kind of devotion, not to preserve but to process: to understand that change is the only constant.

Open from 11am to 3pm, you are invited to come down and - upon invitation - join. Become tectonic shifters and embed yourself into the narrative of tracing deep time and speculative futures.

Photography: Rebecca Mansell and James Nilson

LAST DAY OF MICROFICTIONS.

This is your last day to see and experience Microfictions. After 10 four hour performances, the performers today extend the invitation for you to participate in the shifting of continents.

OPEN 11- 3 PM
Today marks the final performance of Hylozoic/Desires’ Microfictions at the Naval Store. For almost three weeks, four performers have been charting the transformation of the ancient supercontinent Pangea into the speculative future of Pangea Ultima, tracing the outlines of the evolving continents with materials native and invasive — white sand, crushed limestone, salt, camel hair, cuttlefish and even flecks of gold.

We invite you to participate in the last enactment of this eternal drama of impermanence. Assist Tyrone Earl Lraé Robinson, Izzy Leclezio, Chandler Abrahams and Estelle Brown in their incredible feat of endurance, shaping and reshaping borders.

Microfictions is an exercise in letting go. Continents drift, materials mix, borders dissolve. The performers’ patient labour becomes a kind of devotion, not to preserve but to process: to understand that change is the only constant.

Open from 11am to 3pm, you are invited to come down and - upon invitation - join. Become tectonic shifters and embed yourself into the narrative of tracing deep time and speculative futures.

Photography: Rebecca Mansell and James Nilson