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🔭🔮 Himali ⚗️🔬(@himalisinghsoin)'s profile avatar HD Profile

🔭🔮 Himali ⚗️🔬

@himalisinghsoin

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moon & mountains + matter & spirit
1/2 of #hylozoicdesires w/ @davidsointappeser
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We’d like to thank everyone for an incredible opening weekend of Microfictions by Hylozoic/Desires - commissioned in collaboration with Fremantle Biennale. 

We feel humbled by the care and the way that audiences have leaned in and made this a space for reflection and meditation on what anchors us – what defies gravity and how we drift. We are amazed by the way the performers have taken this piece to be their own and cannot wait for the development of the piece over the next 10 days. 

Microfictions is open Thurs-Saturday 3-7 pm and Sundays 11-3 pm for two more weeks! 

Thank you to Fremantle Biennale for sharing your skills and enabling us to commission a piece of art of this scale, and for filling our very own Walyalup with an amazing calibre of contemporary art. We’d like to thank Himali and David, and Izzy, Tyrone, Chandler and Estelle for their generosity and hard work! 

Fantastic images by our very own studio tennant photographer James Nilson. taken in The Naval Store by @himalisinghsoin
6
a year ago
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This old poem, from maybe 15 years ago, in @prairie_schooner (when form was a thing) by @himalisinghsoin
0
4 months ago
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Anyone who knows me well has been messaging me these last days about the journey to the moon— what poet doesn’t love outer space? It’s dark and light, it’s floating and anchored, it forms and explodes. Looking at the two images of Earthrise and Earthset, the first was taken when we still marvelled at technology, the second when we needed something more or less from it. Whatever lens took that photo, it’s clear that our world is duller now. Like a marbled eye on an old man who remembers what it was like to be young and knows also that he will die soon. The first image of Earthrise was taken during the US war on Vietnam, Earthset during the US-Israel war on Iran, Lebanon and Palestine. In some ways it’s too ironic, a big phallus flying in the sky with a tail of fire and smoke, hoping to prove what exactly? Or as my friend @sarah_shin_ put it, “america needs to accept that the origins of the nation are too abhorrent to repair and abolish themselves”. But in other ways, there is this insistence, that even despite the strife here, and the cost to go there, the moon matters. Not for minerals or mining but because its pockmarked face protects us from being pummelled by rocks. Its cold silvery sheen counters the gold directness of the sun, because without it we’d spin out of orbit and the tides wouldn’t turn. A new world order is coming, one that will make peace from pain, and it will not be an inversion only but an uncoiling and a re-emergence. See how in the second image, the earth and the moon look like an eye? They will be our witness. Some @nasa image porn because my inner 12 year old boy cannot be curbed, and some excerpts from a foreword I had the honour to write for @spiralhouseeditions reprint of Annie Dillard’s marvellous essay, Total Eclipse. taken in Moon by @himalisinghsoin
14
6 months ago
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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] taken in No.9 Cork Street by @himalisinghsoin
11
7 months ago
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⚫️✨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 by @himalisinghsoin
3
8 months ago
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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 by @himalisinghsoin
1
9 months ago
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At Dar @ytobarrada @themothership_tangier for the next 3 months for @gettymuseum Global Art and Sustainability Fellowship. The light here changes by the second, and the birds lift off, if that’s an augury taken in Tangier, Morocco by @himalisinghsoin
7
9 months ago
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Here’s the Yamuna river frothing with toxins. Beautiful, no? Even in these worst of times, life continues to amaze me, how we adapt to the synthetic, how we experience kindness daily in the violence. The world is so heavy and so light. I’m just happy to be feasting with friends, to be mourning together and not alone for all that we lose everyday, and to be in love. To be in love is the ultimate antidote to boring old linear time, it keeps refreshing the page, it makes history blush. Our map is marked and full of holes, scrawled over with signs, erased, and the only resistance has been love in practice— to make art across continents (sometimes the birds land to watch), to make choices, to embed the unsayable, to be so in it that everything matters. At this time of year, I’m always just overcome by the improbable fact that we exist. What a thing we get to do. Still, Yamuna, we used to sail down your blue crest, now coagulated, as children. Forgive us. taken in Yamuna River by @himalisinghsoin
4
10 months ago
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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. Founded in 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 by @himalisinghsoin
7
10 months ago
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*Everywhere, the earth rises into itself—mountains leaning into mountains, valleys folding shut like prayer books. You have this epic feeling, like when you stand on a great precipice and you feel the wind and the world’s big hands wrapping around your body, and you feel what you cannot know. Belief belongs to you then. You hear it in the music, in the meaning of the music you make, that you are better than you. You walk into the distance together, you look like a murmuration to the starlings in the sky, and they recognize you.* MICROFICTIONS, our grand new performance installation in our 7th continent, Australia! Commissioned by @fremantlebiennale and @vessel.contemporary. A biennale full of joy, self-sufficiency and communality, by and for its peoples. Feeling blessed and nourished from this energetic encounter on the Indian Ocean. We acknowledge the Whadjuk Nyoongar people and Elders, past, present and future, on whose land and with whose blessing this piece has come to be. Upright bass by Caius Williams Electric harp by Rhodri Davies Percussion and arrangement by David Soin Tappeser Poetry by Himali Singh Soin Mastered by Brian Sulpizio Animation by Ken Meyer Cosmic engineering performed by the totally awe inspiring Tyrone Earl Lraé Robinson Izzy Leclezio Chandler Abrahams Estelle Brown Who bring rare attention, stamina, will, sincerity, humour and patience as they move continents over this 50 hour long performance!!! With special thanks to insanely generous, genius artists and producers @tom___muller, @laninajuni and @ekuvelius, and Katherine Wilkinson + insane wee hour tattoo inscribing this place into us 4eva by @_sambloor taken in Fremantle, Western Australia by @himalisinghsoin
8
a year ago
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𝘞𝘩𝘦𝘳𝘦 𝘳𝘪𝘷𝘦𝘳 𝘮𝘦𝘦𝘵𝘴 𝘴𝘦𝘢, 𝘴𝘢𝘭𝘵 𝘮𝘢𝘳𝘬𝘴 𝘣𝘰𝘵𝘩 𝘰𝘳𝘪𝘨𝘪𝘯 𝘢𝘯𝘥 𝘦𝘯𝘥𝘪𝘯𝘨 — 𝘢 𝘚𝘢𝘭𝘪𝘯𝘦 𝘪𝘯𝘧𝘭𝘶𝘹 - 𝘢𝘥𝘷𝘢𝘯𝘤𝘪𝘯𝘨 𝘢𝘯𝘥 𝘳𝘦𝘤𝘦𝘥𝘪𝘯𝘨 🌊 Dr. Bhau Daji Lad Museum, RMZ Foundation, and India Art Fair present 'Salt Lines' by Hylozoic/Desires (Himali Singh Soin & David Soin Tappeser) from the 6th December until the 8th February 2025. The exhibition traces the many stories of salt: as memory, as myth, and as the very marker of the climate crisis. Excavating the ghostly traces of the “Great Hedge of India” — a 4,000km colonial barrier of thorns that once split the subcontinent to control the movement of salt — the duo summons Mayalee, a courtesan paid in salt, into a world of sound, performance, and fabulation. Through salt trails, spectral music, and a ball gown glinting with recycled plastics, Mayalee maps coded cartographies of survival, joy, and defiance, haunting the colonial legacies that continue to shape our present. Supported by Alkazi Foundation for the Arts, the exhibition moves between immersive installations, aural sculptures, and photographs of the Great Salt Lake, connecting local and global ecologies in a shared story of fragility, resilience, and future survival. 🗓️ 6 December 2025 – 8 February 2026 📍 Special Project Space, Museum Plaza, Dr. Bhau Daji Lad Museum, Mumbai. @himalisinghsoin @davidsointappeser @bdlmuseum @indiaartfair @rmz_foundation @alkazifoundation Salt Lines Hylozoic/Desires (Himali Singh Soin and David Soin Tappeser) 6th Dec - 8th Feb Special Project Space, Museum Plaza, Dr. Bhau Daji Lad Museum, Mumbai taken in Dr Bhau Daji Lad Mumbai City Museum by @himalisinghsoin
1
a year ago
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Hanging our piece, Longing, over 350 meters of Bukhara’s canal, from Toqi Sarrafon to Rashid Madrasa, was a family effort. I always loved how the Aral Sea looked like a heart. David basically lived in the canal with all its human and nonhuman lives, devising, rolling, stitching, stretching, “torting”. Azim, my incredible translator and honestly mentor. We sang, we danced, we cried and we talked about love to give us energy at the end of the long hot days of install. Anastasia made 3000 phone calls and performed minor miracles. Lola’s calm presence from the artisan association made sure we were all not slacking off. Feruza, Kabutar and Shahnoza by complete coincidence noticed the ikat, asked me what it was and upon hearing the story, wept. Feruza wanted to stitch my dress for me as her contribution to the biennale. These amazing women now also take care of the piece as if it is the sea itself 🤍 Amira, Shakhzoda, Dildora and Farzona helped me manage thousands of meters of fabric and poured water into the hands of women during the performance. Kirill and Jasmine produced the performance and made us realize it was a ritual, a sincere use of magic to interrupt a violent environmental history. Ariel and Arthur supported us with their stability and vision when we couldn’t see past the sun and the wind. Diana my longtime fellow poetess reminded me till the last day that Ikat was made when we saw the light of the Sun in water refract, and the lover wove it to try and create something as beautiful as the beloved. And Guyane and ACDF commissioned this very special piece, possibly the longest ever produced in Uzbekistan! “Everything fades, everything disappears eventually, only the stars remain forever” said the Karakalpak poet Ulmambet Khojanazarov. (The piece itself is fading quickly). Maybe things disappear and then, like the perfect magic trick, or the real power of art and love, appear again. taken in Bukhara, Uzbekistan by @himalisinghsoin
28
a year ago
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