This is the second iteration of a 2 day live immersive sonic event that focuses on creating space that is open for varied performances that explore spatiality. We create an immersive audio-visual expereince that fosters a new ethic of listening, engaging and composing in a space-time sound-field. Wetspace is an invocation to produce an intimate acoustic chamber where sounds, thoughts, ideas and instruments can float up and lie beside us.
As the name suggests, this series started as a noise event that expanded in scope to include field recording concerts, installations, DJ sets and lasers. The intention is not not just to create ‘sounds’ but to find periods of intense silence, moments of complete surrender to sound, and conditions for artistic collaboration. It is an invitation to produce together a potent moment that separates itself from the surrounding space-time.
Wetspace Noise Drips is curated by Walkin Studios. The current edition will take place in Forplay Society, Fort Kochi supported by Goethe Institut Bangalore.
costumes… We enter into Time.. Travelling back n forth in time.. There is this concept…time is our awarness which comes out of repetitive movements of things in space.. Like the needles of clock repeats circles to give us a sense of time.. Same with Earth going around Sun to give us a sense of year.. Like wise.. So time exists through space..But where does the space which gives us the sense of time exists.. Where do two points which gives us a spatial configuration exists.. It exists in Greater Time… The concept of Kaala Bhairava… Kaala means Time.. As well Kaala means black.. Black is something which we are unaware about… We study things by hermenuetically analyzing the effects on light by it… Heisenbergz uncertainity principle is related.. Is Light the absence of darkness or is Darkness the absence of light… Can light and darkness exist simultaneously.. As even light cannot escape from that one.. It is called black hole n we donnot know.. When studying in school, i came across the concept of point being zero dimension and line being multiple points.. How can a dimension comes out of dimensionlessness was is my doubt..Kaalanathaka.. The killer of Greater Time.. One said..Everything i know in this creation is known through name, form, quality, space and time.. So that which exists before creation is nameless, formless, qualityless, spaceless and timeless.. So what existed before time.. How can we conceive that.. Or is it creator itself exists as us all creation..
Kanchan Avchare’s White Rabbit, Red Rabbit is a solo performance devised by Nassim Soleimanpour , the performer will only be handed the script and props at the beginning of performance, and its a performance done without rehearsal on the spot.
Kanchan Avchare is a theatre maker and performer based in New Mahe, Kerala in her arts space called Rayaroth Theatre House.
She is trained in Kalaripayattu and works in creating work with minimalism keeping elements of fire, water, air and earth in her performances. She is a solo performer by heart but does experimental works using sites for issue of migration with ensemble casts.
Music project by Sofy Yuditskaya – The Secret Pope is an ode to Pope Joan, the mythical female pope of the 12th century. Women were and have been notoriously excluded from the Christian power and political structure and in fact have been pitted in opposition to it as witches. This performance is not only an ode to the mythical power of women, their relationship to mainstream spirituality, but also a tongue in cheek exploration of what else popes might do in the woods.
Ajmal Shifaz’s Echo of nothing is a merry-go-round. The numerous figures and creatures you will see adorning itsrevolving frame are the result of a curious, collective process of creation. Each of the figures was built by children in a neighbourhood near you. The material they worked their imaginations on, the strangely hued metallic objects you will see, were collected from neighbourhoods in northeast Delhi, affected by collective violence in early 2020, a little before we heard of the Coronavirus. These were the objects that survived. The objects survived not just the fires, but in the aftermath, they also managed to avoid being archived, for instance, as evidence in police investigations, or for insurance claims. Nor were these objects considered as a Memento Mori, something the holder might be reluctant to part with, although a melancholic attachment hovering like an aura over some objects was very much palpable. Finally, these objects were not given away as just junk, scrap, like certain other burnt objects that indeed found their way to dumpsites, some deemed not worthy even for scrap value. For reasons we don’t fully understand, these objects-an assortments of intimate household artefacts-survived, after a fire, an elaborate classificatory mechanism that would then assign to them their destiny. The collected objects were then taken to a workshop based in an area within this neighbourhood known for its electrical and electronic scrap processing operations. Work on the central frame began first. Once the frame was complete and the bare-bones merry-go-round stepped out of the workshop and into the sunlight for the first time, it was met with excitement by children playing marbles and various other games on the street outside. Without needing invitation or direction, they found a way to mount, perch, and swivel around, even when the structure lacked seats and designated handholds. The same day, we turned the welding workshop into a play-workshop, where we invited the kids inside and let them form figures using for parts, our collection of objects-utensils, tweezers, bicycle parts and many more, objects that they were familiar with.
Departuring from the idеа of creating a common space for accumulating knowledge, learning and unlearning, healing and repairing.
The patches of fabrics re-tail the history of colonization nowadays. The act of deviation and hijacking of dreams along the lives of many, a new order to fabricate a better life elsewhere.
In our work, we hear voices of labor and exploitation, telling forgotten (hi)stories. A fishnet of words and collective imaginations regaining new prospects and agency in the postcolonial context. Can the process of decolonization be subjected to our desire for common futures?
Gowwli is an experimental folk-rock storytellers based out of the Auroville and we tell our tale through music. Gowwli in literal sense means Lizards, which symbolises survival and regeneration; A Tale of a Tail – An eternal cycle of transformation through music. Gowwli is a folk multi-genre, multi-lingual experimental folk rock band that believes in transforming and recreating themselves through music. • Genre – Multi Genre ( Folk, Rock Jazz, Blues ….) • Language – Multi language( Malayalam, Tamil and English)
Band Members : • Bovas – Rhythm guitarist / Vocals • Akshai – Lead Guitarist / Vocals • Swaroop- Drummer • Jaijea – Bass Guitarist / Vocals
Awards and Recognition: Gowwli was recognised by Pondicherry Tourism as the Frontiers of Cultural Exchange Performers for the year 2022.
Alan Turing (1912-1954). Born in England to parents living in British administered lndia, a tvventy year old Alan wrote a six-page meditation titled »Nature of Spirit«. Archived as among his »non-scientific« writings, the Turing Archive also holds 72 unordered pages filed under a note:
»it will be difficult, in some places impossible to know exactly what the fragments are (exactly) about«.
These 6 and 72 pages at the fringes of his mathematical work, become a curious and critical surface upon which to (re)inscribe a(n other) story. A piece of (speculative historical) fiction for a pioneer of (theoretical computer) science. Dreams in digital palimpsests of ethnographic, archival and choreographic layers teil tall tales of Alan's first tvventy years in colonial lndia and lndonesia. In a provocative (re)shaping of his mathematical mind through premodern täntrik practices of drawing and dancing, the work offers a fragmented speculation on decolonial implications of non-dual täntrik art-science on our present condition of binary digitality. This work is the penultimate instalment in a long-term artistic research »Epistolary Ancestries«, an inquiry into a personal filiation of practice, reflected through a corpus of open letters to already dead persons.
