tag:blogger.com,1999:blog-68308030855055938772024-03-13T22:36:31.761-07:00Understanding Performance: Multiple GazeA research and documentation project that engages the tendencies of historicizing the new trends of Performance Art in India. Tracing History and Evidences in Last Three Decades this project addresses some of the most inevitable research queries. This is a much larger project that claims a larger panoramic area of work. This proposed project is a part of it that engages into a location specific chapter, The Delhi Chapter. Supported by Ila Dalmia FICA Research GrantSamudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.comBlogger14125tag:blogger.com,1999:blog-6830803085505593877.post-76485579292214580082016-06-04T07:52:00.002-07:002016-07-24T12:12:14.245-07:00Conversely Conversed: Anil Dayanand on Understanding Performance<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td class="tr-caption" style="text-align: center;">Anil Dayanand, LOVE HOLD, June 6, 2013, an interactive collaborative performance <br />
with Pari Baishya at LA360 Gallery, Trivandrum<span style="text-align: left;"> </span></td></tr>
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<blockquote class="tr_bq">
<span style="color: #0b5394;"><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">Anil Dayanand is a multi-disciplinary artist presently based
in Jaipur. With a formal training in sculpting from Trivandrum Fine Arts
College and Delhi College of Art, Anil Dayanand’s works comprise a wide genre
of formal choices, including detailed figurative painting, drawing, new-media,
community-based projects, sculpting, video installations and research-based,
cross-disciplinary collaborations that breaks the boundaries between studio and
non-studio art practices. Anil has also been actively exploring the field of
performance art since its maiden days in India along with his contemporaries
Sushil Kumar, Inder Salim and Shantanu Lodh.<br /> </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;"><br /></span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%;">It was in the early 90s when nudity was not a
frequently used tool for representation in performance art; Anil took up this challenge
and performed nude for the first time for a video installation which was
showcased in Lakshminagar, Delhi. Since then Anil has been a visible name in
the genre of performance art. The unique fusion of conceptual understanding and
practical manifestation in his work makes it intriguing for the spectators. Here he speaks to Samudra Kajal Saikia about his journey and understandings around performance... [Mridupankhi]</span></span></blockquote>
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<b><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">Understanding
of Performance:<o:p></o:p></span></b></div>
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<tr><td class="tr-caption" style="text-align: center;">BYWAY, video installation 1994, Laxmi nagar, NewDelhi, pic. Imtiaz Ahamed</td></tr>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">For
me doing performance can be any situation that involves four basic elements:
time, space, the performer's body and a relationship between performer and
audience (interactive element). There for me has always been the element of the
unexpected in my works. Could I have foreseen that ladies in the street would
touch me, and interact with my being, myself, to contribute or engage with my
work? Of course not. I accept that my body, my emotional charge, or neutrality,
created a space where that invitation was conveyed, and an audience felt
complete trust, without instruction, to participate. This always highlights to
me, that the ordinary person, wants to engage, wants to participate in society,
in ways that they have not been able to previously. That gives me hope, that
the ordinary, unheard member of society, feels heard through my work, and it
empowers them to join in, and for them, be seen and heard too. In a recent
piece that was not especially political, the audience came to the floor to
touch and smell devotional flowers, they took money from a pile of coins, for
no reason, than the invitation allowed them to experience that curious moment,
and they found themselves joyously reciting poetry to each other. I could not
have scripted a show in that way, and they could not have foreseen their own
participation. I enjoy the permission that real performance art affords the
audience.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Anil Dayanand</span></td></tr>
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<b><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">On
Impossibility and possibilities of Documentation:<o:p></o:p></span></b></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">In
the early days of performance, there was little or no documentation possible.
The obvious downside of this, is that many pioneering works are lost when we
now try to collate the history of our art-form in India. On the upside, it
meant that performers created their work with no ulterior motive, not seeking
fame or glory, and leaving their ego behind, they just pressed on and used
performance to educated, surprise, and in many cases activate and stimulate
social and cultural change.<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Anil Dayanand, </span>Performance at Kochi Beach for "Artist Without Boundaries", 14th Dec. 2012</td></tr>
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<b><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">Social
Span:<o:p></o:p></span></b></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">Time
and space specific works are indeed designed to be ephemeral as you state. But,
as I mentioned above, many performances have touched upon important social
issues, and touched many of the audience in a way that is more humane than a
work of art hanging in a gallery that they would never visit, nor understand.
The performer, uses the body, and the now to express silence that cuts through
the visual and for that moment, the audience is touched deeply about a social
issue that has long been overlooked. In a recent show I held at a Kabir
festival, the audience were academics and expecting to discuss beautiful
ancient Kabir texts. My visuals juxtaposed ancient couplets with ironic but
pressing social issues that included Aids, Homeosexuality, Hunger, Injustice
and Rape. Were Kabir's couplets prophetic, that we stupid humans may not ever
learn, or were his writings the wake up call that we so callously ignore again
and again in our human pursuit of fame and fortune?<o:p></o:p></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Anil Dayanand, </span>"Those who are not corrupt may spill the muck over me"...<br />
performance at Sarai 17th Sept. 2011. Photo credits. Pari Baishya</td></tr>
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<b><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">The
ephemeral nature: <o:p></o:p></span></b></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">The
ephemeral nature of the actual site performance can be packed up in minutes,
the stage is never a theatre set with costumes and lighting or pre determined
script, and yet, the passage of work, can leave a lasting impression with or
without documentation. One thing that is becoming evident in modern works may
be a change for the worse for the essence of the performance, but create
something more spectacular for documentation purposes. <b>Students may be tempted to move away from pure communication of an
idea, and instead, because of video, and live stream facilities, may create
their works to be more camera friendly. </b>Thus, more of a spectacular show.
We see greater high tech amenities being incorporated, an immersion into
intriguing sound and lighting backdrops and with this comes the obvious need
for sponsorship and money to pay the way. It may be important for us all to
remain without the props and simply and powerful disturb the peace without so
many new shiny toys to help us tell the story.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWslMYxRH61wTKwcOP-nF250D8gDlOWNJ84YtuKZfTi3UjTFMf2oRHlvCafGHvOV__2n_LIpDnmvwaVTLkkp5M_vjH3-qaFcn0xc3Y3K4lJ2PUD9AQFAQm32ue2pF3ndARLfqvfTJC4FU/s1600/185267_10151405136119338_1304706012_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWslMYxRH61wTKwcOP-nF250D8gDlOWNJ84YtuKZfTi3UjTFMf2oRHlvCafGHvOV__2n_LIpDnmvwaVTLkkp5M_vjH3-qaFcn0xc3Y3K4lJ2PUD9AQFAQm32ue2pF3ndARLfqvfTJC4FU/s320/185267_10151405136119338_1304706012_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Anil Dayanand, </span>"Small is Big", A date with Anila Begum</td></tr>
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<b><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">The
sense of the immediate Now <o:p></o:p></span></b></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">Many
of my performances have been about personal versus private space, gaze, touch,
intimacy and voyeurism and my part is to be a catalyst to instigate the viewers
to explore these notions for themselves as they arise. In a recent performance
at the International Theatre Festival in Trichur, Kerela, this was an amusing
interplay of human instinct and protection of personal dignity. Whilst the
audience were keen to document my private space, when the cameras were turned
on them, to document their private moment, feelings arose for them that were
unexpected, playful and of course the irony was much enjoyed by all – the real
issue of performance was revealed in startling clarity, <b>Who is the performer? And who is the audience? </b>The sense of the
immediate Now, create this demarcation that confuses and delights, and this is
a complete break from the traditional model of theater, where the audience is
passively entertained. I love to interact with the audience, and each of my
pieces that have been important have had strangers, literally find themselves
fully engaged in the work without prior arrangement. That is the wonder of the
work, not having the answers, neatly prepared, and not knowing what will come
next.<o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">Great
performance art like a wonderful sculpture proposes a simple study of human
emotion. A paring away of the script, and purple velvet curtains of traditional
theatre. <b>What the audience experience is
an urgency of expression through a very sensual art form. The body contorts
itself, and displays, fear, laughter, disgust, and all the 'rasas', in a
reduced time frame.</b> It calls for the audience to be alert, and feel their
own body reactions, without the distraction of elaborate story, script,
characters and of course, glossy theatre brochure, all of which are entirely
distractions or decorative ornamentation.<o:p></o:p></span><br />
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<b><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">The relationship between
performance and documentation is one that hopefully does not focus solely on
the performer, but really captures the spirit of the audience. Capturing their
moments of awakening, recognition, is as vital to understanding the piece as
simply capturing the 'actor'.<o:p></o:p></span></b></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">I
am thankful that I have collaborated with photographers that have not focused
on 'my show' and tried to keep the body of work faithful to the setting, the
people, and the evocation of the inner space that work or idea created.<o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPY0cSU0t0mzqHqhyphenhyphenzS_pABRsfkSh4XkfPuOAcz-KsCp3GbBeRz7DCcuvaVI-6GtxxM0r-AJwoBgQN_Kqf8VFcLqkafHp-cSGavy6VAeXqXSwcLaqDnkRDcBn2fnmcFlMP1nJ_6iasXds/s1600/543228_10150901041624338_2018260985_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPY0cSU0t0mzqHqhyphenhyphenzS_pABRsfkSh4XkfPuOAcz-KsCp3GbBeRz7DCcuvaVI-6GtxxM0r-AJwoBgQN_Kqf8VFcLqkafHp-cSGavy6VAeXqXSwcLaqDnkRDcBn2fnmcFlMP1nJ_6iasXds/s320/543228_10150901041624338_2018260985_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Anil Dayanand, </span>"You Made me Communist", <br />
at 20th CPM Party Congress at Calicut, March 31, 2012</td></tr>
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<b><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">Tracking
History:<o:p></o:p></span></b></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">Perhaps
this 'new' form of performance can be considered pre-dating our modern times,
so influenced by the West. and can be better understood when looking at the
ancient traditions of story telling in Indian culture. When we glance at an
10th Century Indian sculpture, we do not compare it to a European 18th Century
Renoir and we are not interested in the price reached in an auction house. I
feel similarly that performance art cannot be critiqued or compared to a
dramatic director and cast led performance shown to an elite well dressed
ticket paying audience in the suburbs of New Delhi.<o:p></o:p></span></div>
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<span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">There
are many that do not 'get' performance, and simply state it is not Art. What is
art? If a performance can touch another in a stirring of emotion, or wonder, or
agitate the grey matter on an issue forgotten, or just indeed present a pure
form of ethereal beauty, I, together with the myriad performance artists around
the world, reiterate, our work may not always be understood, but it is indeed
Art. Some Art is ugly, some is not well constructed, some astonishing, and much
ground-breaking. So, to can be said of Performance Art and I salute you in your
endeavors to document the work that is happening in India.<o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl-giFYhzd4ZFALMnD5uLFkmpH-ZxdDNqt6X7kOgw-EL3cJrx73RPYUQC7h9bw5d8PAS7ewXTe5EYW6rLq9MrGHIXrJhfQeKc_dupzCm4vv2yQc5dvxiiHZ4YvTTFpgwDu06w2uFtsSCE/s1600/314810_10150459091394338_155400417_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgl-giFYhzd4ZFALMnD5uLFkmpH-ZxdDNqt6X7kOgw-EL3cJrx73RPYUQC7h9bw5d8PAS7ewXTe5EYW6rLq9MrGHIXrJhfQeKc_dupzCm4vv2yQc5dvxiiHZ4YvTTFpgwDu06w2uFtsSCE/s320/314810_10150459091394338_155400417_n.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: 12.8px;">Anil Dayanand, </span><span style="font-size: 12.8px;">"Those who are not corrupt may spill the muck over me"...</span><br />
<span style="font-size: 12.8px;">performance at Sari 17th Sept. 2011. </span></td></tr>
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<b><span style="font-family: "calibri" , "sans-serif"; font-size: 11.0pt; line-height: 115%;">Anil Dayanand (to Samudra Kajal Saikia) on </span></b><span style="font-family: "calibri" , sans-serif; font-size: 11pt; line-height: 115%;">2nd
March 2015</span></div>
</div>
Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com0tag:blogger.com,1999:blog-6830803085505593877.post-19647129691515885232015-06-21T07:31:00.003-07:002015-06-21T07:31:29.409-07:00AnecDOTes Gallery<div dir="ltr" style="text-align: left;" trbidi="on">
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
AnecDOTes is a
series of events as an extension of the project <o:p></o:p></div>
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<o:p></o:p></div>
<div class="separator" style="clear: both; text-align: center;">
"Understanding
Performance as Art and Beyond: Multiple Gaze" initiated by Samudra Kajal
Saikia</div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSGevE0fH10GbPDAeQqVQ20k-qIVhp125DypiNQXJoRFTPzsBcNIgg0RlRc3lJ5miLz0pLNMSmau3KpILDK11g_0xKG4PXZGhwuvsATU5LdwiYVuxazCnCIOoqaVOqljPwO9H8-D64P8Y/s1600/AnecDOTes+Print+017.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSGevE0fH10GbPDAeQqVQ20k-qIVhp125DypiNQXJoRFTPzsBcNIgg0RlRc3lJ5miLz0pLNMSmau3KpILDK11g_0xKG4PXZGhwuvsATU5LdwiYVuxazCnCIOoqaVOqljPwO9H8-D64P8Y/s400/AnecDOTes+Print+017.JPG" width="282" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY5zfxyYnQ9BjeApAJpZS6k_jxMwpfbljVARZuf022ojzAcVwgIA1XUd_JDA5JopN-0oMelFAHHU9GsMH-jU_QYkdH6ebj6wpqgdfavjqXpx5-yBjrq7wYM8vx4Br8htiVR6ZtZQCQTDg/s1600/AnecDOTes+Print+001.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgY5zfxyYnQ9BjeApAJpZS6k_jxMwpfbljVARZuf022ojzAcVwgIA1XUd_JDA5JopN-0oMelFAHHU9GsMH-jU_QYkdH6ebj6wpqgdfavjqXpx5-yBjrq7wYM8vx4Br8htiVR6ZtZQCQTDg/s320/AnecDOTes+Print+001.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">"<b><span style="text-transform: uppercase;">About the growing interest towards Performance Art</span></b>",
<br />Rikimi Madhukaillya presenting a number of young artists and students in
action; [</span><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Raj Yadav, "Piece of Peace"; Rahul Gautam,
"Character Exchange", "Erasing Self"; 4</span><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"> Aug, 2014, Monday.</span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUPMc95ZLTyrFJP-NrRETgL_dhVVWODPTX5ktOjyA1pVWdc3Y7w_D91LLA89s8j8otiuprxt5Rg5UVVfoTod7-1oeomjAzvHbWbgf70KqrtBnypO1yfKklhoOtkuZOUdjORpbIdc7Ojg/s1600/AnecDOTes+Print+002.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRUPMc95ZLTyrFJP-NrRETgL_dhVVWODPTX5ktOjyA1pVWdc3Y7w_D91LLA89s8j8otiuprxt5Rg5UVVfoTod7-1oeomjAzvHbWbgf70KqrtBnypO1yfKklhoOtkuZOUdjORpbIdc7Ojg/s320/AnecDOTes+Print+002.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Nitish Arora,
"Is everything is Numbers?" And </span><b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; text-transform: uppercase;">Performance on Gaza </span></b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">by a theatre activist group Paltan. [</span><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Abhinav
Sabyasachi, Ajit, Shivendra, and Sushanta Das], 4</span><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"> Aug, 2014, Monday.</span></td></tr>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd4aKcUNt85FJJwFvtBYcX-BBMOt1CTAbJOp22nCcVqpae35LGdr81BLUhuRpIBgZXnTRal-QhajN7Stv8l3qEMrFplo1uqme3TMSYBCMSfiH5L35wzJl_liM5vVVjPXssmdVKqLC9JSY/s1600/AnecDOTes+Print+003.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjd4aKcUNt85FJJwFvtBYcX-BBMOt1CTAbJOp22nCcVqpae35LGdr81BLUhuRpIBgZXnTRal-QhajN7Stv8l3qEMrFplo1uqme3TMSYBCMSfiH5L35wzJl_liM5vVVjPXssmdVKqLC9JSY/s320/AnecDOTes+Print+003.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption"><ol start="1" style="font-size: 12.8000001907349px; margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;"><o:p></o:p></li>
</ol>
<span style="font-size: 12.8000001907349px;">"</span><b style="font-size: 12.8000001907349px;"><span style="text-transform: uppercase;">New Media and the alternative 'Live'ness</span></b><span style="font-size: 12.8000001907349px;">",
Artist's showcase and Dialogue by Amitesh Grover, interlocutor: Aditya
Shrinivas. As part of the AnecDOTes, at Vadehra Art Gallery, 5 Aug. 2014,
Tuesday. </span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiWnjysZDzO3wH0EPlFI1LviAWqWfR8IfYz9GHkmNiK0iLAw9_2AP8oI8-0WFc1IHCI5cAEoX9knpqf7NCaMeKlp-i15GMFLY6OW_kZJJIcYQJMfequaMieyt3NjcfzlB4qxPtO-5fS6k/s1600/AnecDOTes+Print+004.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhiWnjysZDzO3wH0EPlFI1LviAWqWfR8IfYz9GHkmNiK0iLAw9_2AP8oI8-0WFc1IHCI5cAEoX9knpqf7NCaMeKlp-i15GMFLY6OW_kZJJIcYQJMfequaMieyt3NjcfzlB4qxPtO-5fS6k/s320/AnecDOTes+Print+004.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">"<b><span style="text-transform: uppercase;">Performance art is like Parasite</span></b>!", Inder Salim with
Anecdotes. 6 Aug, 2014, Wednessday.</span></td></tr>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP88CZqR4jzX9VZhtp6_0cQsRNRD5p67nis0DOFgryumXFirWqnhaM7rxNwmZ4fyqUGkN6F-7gz7ftA9tk25jMaZJZ7tz_C1ImxaWlHw79geNH6SbGEzbMqdzSVsG3_kgLAk2GaoqxLvs/s1600/AnecDOTes+Print+005.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjP88CZqR4jzX9VZhtp6_0cQsRNRD5p67nis0DOFgryumXFirWqnhaM7rxNwmZ4fyqUGkN6F-7gz7ftA9tk25jMaZJZ7tz_C1ImxaWlHw79geNH6SbGEzbMqdzSVsG3_kgLAk2GaoqxLvs/s320/AnecDOTes+Print+005.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><ol start="1" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><o:p></o:p></li>
</ol>
<span style="font-size: 12.8000001907349px; text-align: justify;">"</span><b style="font-size: 12.8000001907349px; text-align: justify;"><span style="text-transform: uppercase;">Performativity in Art and Performance Art</span></b><span style="font-size: 12.8000001907349px; text-align: justify;">",
Artist's showcase and Dialogue by Paribartana Mohanty, interlocutor: Rahul
Bhattacharya. 7 Aug, 2014, Thursday.</span><ol start="1" style="margin-top: 0in;" type="1">
</ol>
</td></tr>
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<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZOA-p5xZ8DSAK7akf6MUMtIQgrhTxb_KYeWmEHy2FJfdhmnVdJoW70b0K7Rct0JFBa4yRT7S2gpEWPHFKeP9TjDDRETqPP0cjy4p1GMq4qV4OPc12-bzCsgxXG_Gb1Ko1Q03F2l7NzSg/s1600/AnecDOTes+Print+006.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZOA-p5xZ8DSAK7akf6MUMtIQgrhTxb_KYeWmEHy2FJfdhmnVdJoW70b0K7Rct0JFBa4yRT7S2gpEWPHFKeP9TjDDRETqPP0cjy4p1GMq4qV4OPc12-bzCsgxXG_Gb1Ko1Q03F2l7NzSg/s320/AnecDOTes+Print+006.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><ol start="1" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><o:p></o:p></li>
</ol>
<span style="font-size: 12.8000001907349px; text-align: justify;">"</span><b style="font-size: 12.8000001907349px; text-align: justify;"><span style="text-transform: uppercase;">The Becoming: a woman, a performance
artist</span></b><span style="font-size: 12.8000001907349px; text-align: justify;">", Artist's showcase and Dialogue by Manmeet Devgun,
interlocutor: Shaheen Ahmed. 8 Aug, 2014, Friday.</span><ol start="1" style="margin-top: 0in;" type="1">
</ol>
</td></tr>
</tbody></table>
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtQxP0MJ_LwlYDuxQ2J_NxZnj1lbu4OAbYeBkcQ8qU9k71pVzp1bCG-cDaR8lJdYdM3FgRQGldix8gw34rhPZyRTjzCYIIo39aSYfkZk5hFmIOaM_nwmFrt-3BS_rsejTMBkh19UE-jwE/s1600/AnecDOTes+Print+007.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgtQxP0MJ_LwlYDuxQ2J_NxZnj1lbu4OAbYeBkcQ8qU9k71pVzp1bCG-cDaR8lJdYdM3FgRQGldix8gw34rhPZyRTjzCYIIo39aSYfkZk5hFmIOaM_nwmFrt-3BS_rsejTMBkh19UE-jwE/s320/AnecDOTes+Print+007.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
"<b><span style="text-transform: uppercase;">Performances
along with an Artists' Collective</span></b>", showcasing the artists'
Collective WALA, with Akansha Rastogi, Sujit Mallick, Paribartana Mohanty. 11 Aug, 2014, Monday.<o:p></o:p></div>
</td></tr>
</tbody></table>
<div style="text-align: center;">
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<table cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXkGKIKFNkgQwA8PcMiOzb0JQW6YPbk0kmW8Cqw2nAMW0gR51_o3pHMeRU2vOq-dqdYZGtSgbaPTjFDBOyCZzHG3S30kkfjs4jwgdF0GWttLRm9fDN-R_3Ooc5Gzsgo_I7SZYReQQYL_o/s1600/AnecDOTes+Print+008.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXkGKIKFNkgQwA8PcMiOzb0JQW6YPbk0kmW8Cqw2nAMW0gR51_o3pHMeRU2vOq-dqdYZGtSgbaPTjFDBOyCZzHG3S30kkfjs4jwgdF0GWttLRm9fDN-R_3Ooc5Gzsgo_I7SZYReQQYL_o/s320/AnecDOTes+Print+008.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<b><span style="mso-bidi-font-family: Vrinda; mso-bidi-language: AS; text-transform: uppercase;">the artist is (not)
present</span></b><span style="mso-bidi-font-family: Vrinda; mso-bidi-language: AS; text-transform: uppercase;">, </span>Talk and presentation around Performance Curation by
Parvez Imam. </div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
12 Aug, 2014, Tuesday.<o:p></o:p></div>
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<div style="text-align: center;">
<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyFhAe2zMLIwSFn9o7AnqeHTKnct0-qlKxp53lGTwLy4epnC906Q_7dD11e3oKTwnl6PThyhX_wQ-PJ6zQQDSzWQEzTJRqwQ8acImJxpX63G70Fe4bnB4Xy67WA46dP7EiUF0AIFMmyB0/s1600/AnecDOTes+Print+009.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyFhAe2zMLIwSFn9o7AnqeHTKnct0-qlKxp53lGTwLy4epnC906Q_7dD11e3oKTwnl6PThyhX_wQ-PJ6zQQDSzWQEzTJRqwQ8acImJxpX63G70Fe4bnB4Xy67WA46dP7EiUF0AIFMmyB0/s320/AnecDOTes+Print+009.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="margin-bottom: 0.0001pt; text-align: center;">
<b><span style="color: #00000a; mso-bidi-font-family: Calibri; text-transform: uppercase;">Amorphous Acts: Performance and Practice</span></b>, Artist's Dialogue
with Sreejata Roy. 12 Aug, 2014, Tuesday.<o:p></o:p></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8SPy8S116Jwz-l7T5HnrjrcgdSe2MLUhjNbCtHhGfXqzahV2iBRwMwfQVK0w7hRmo7sOAAPdOLPiq8OSHXKXnvXryUoPXPhcUSDAQIUmNv_NP4Z7MT1xIPpywBH7LHC2GbVfoBEvCHBU/s1600/AnecDOTes+Print+010.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8SPy8S116Jwz-l7T5HnrjrcgdSe2MLUhjNbCtHhGfXqzahV2iBRwMwfQVK0w7hRmo7sOAAPdOLPiq8OSHXKXnvXryUoPXPhcUSDAQIUmNv_NP4Z7MT1xIPpywBH7LHC2GbVfoBEvCHBU/s320/AnecDOTes+Print+010.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div align="center" class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b><span style="text-transform: uppercase;">Creating Platforms : Experiments in
Cooperation</span></b><span style="text-transform: uppercase;">, </span>Showcasing KIPAF
[Kolkata International Performance Art Festival] from the platform of
Performance Independent. Joint presentation by Rahul Bhattacharya and Anirban
Dutta. 14 Aug, 2014, Thursday.<o:p></o:p></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQXAv4SkYfedwemdGMBQ0QVJ6FKX1Y_1WNKlBmqeL23KXmfCCRkvtACNrqrqzV9FZ7C9ftvHShAOpeq23lBFAyFxaq-dCEw_Aq5wRtWSGFP_zAebRnkr9TuWSjrcigMAKYiUWuxw4y_Js/s1600/AnecDOTes+Print+011.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQXAv4SkYfedwemdGMBQ0QVJ6FKX1Y_1WNKlBmqeL23KXmfCCRkvtACNrqrqzV9FZ7C9ftvHShAOpeq23lBFAyFxaq-dCEw_Aq5wRtWSGFP_zAebRnkr9TuWSjrcigMAKYiUWuxw4y_Js/s320/AnecDOTes+Print+011.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div align="center" class="MsoNormal" style="background: white; margin-bottom: 0.0001pt;">
<b><span style="mso-bidi-font-family: Calibri; mso-bidi-language: AS; mso-fareast-font-family: "Times New Roman"; text-transform: uppercase;">Manifested - Performance and
Activism through intercultural exchange</span></b>, Presentation by Julia Villasenor Bell and Priyanka Choudhary, part of
the <b>FICA Homepage</b> series of events.
16 Aug, 2014, Saturday.<o:p></o:p></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW87VXmEuQ_7GCEHgKyCqlBfR8CBZzeDLl62oHZgC07WMPe19K79g9dg4kXCEnyS2Fx70puhYGmV3hczpRtAChgD7sPENujOrtSZGGL2k0irMhNT9-m1jRRaC6FWCgSpvVAaFxZIDTRbk/s1600/AnecDOTes+Print+012.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW87VXmEuQ_7GCEHgKyCqlBfR8CBZzeDLl62oHZgC07WMPe19K79g9dg4kXCEnyS2Fx70puhYGmV3hczpRtAChgD7sPENujOrtSZGGL2k0irMhNT9-m1jRRaC6FWCgSpvVAaFxZIDTRbk/s320/AnecDOTes+Print+012.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; text-transform: uppercase;">Performance, Documentation, and Collaboration: some Reflections, </span></b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Presentations and
discussion by students from AUD, Nahusha Ks, Aruna Rao, Shivangi Singh, Karthik
KG and Arya Krishnan, and Zooni Tickoo, 19 Aug, 2014, Tuesday</span></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguvG6F4EBK7KyCxs6RKWxKcG_vIQ4lIG6WrbfBhZzP7mF5dXGiEiGf8iZwsFZz3l6upGRGS2_7RGvZtCkBqWfjaLPBYKX-SM7HwkVdu_MdT_oBtvi4OzVmaaCv3Ls_r62_DAX4vQ5By88/s1600/AnecDOTes+Print+013.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEguvG6F4EBK7KyCxs6RKWxKcG_vIQ4lIG6WrbfBhZzP7mF5dXGiEiGf8iZwsFZz3l6upGRGS2_7RGvZtCkBqWfjaLPBYKX-SM7HwkVdu_MdT_oBtvi4OzVmaaCv3Ls_r62_DAX4vQ5By88/s320/AnecDOTes+Print+013.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div align="center" class="MsoNormal" style="margin-bottom: 0.0001pt;">
<b>PERFORMANCE</b> and discussion by
Zooni Tickoo, 19 Aug, 2014, Tuesday<span style="text-transform: uppercase;"><o:p></o:p></span></div>
</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC_pFi5audwyO_d28d12f5-o8A-f9HOQZ_OLvUaydPUrCxhTDe1IKPKUSTQiBBL_61JjETYdtnzyjhdOJRl58jkMHNLjlTD5k-Hgqu37yFBP50gtxfV0ffruMxoMwL7pp5LqEBkKAs9mE/s1600/AnecDOTes+Print+014.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgC_pFi5audwyO_d28d12f5-o8A-f9HOQZ_OLvUaydPUrCxhTDe1IKPKUSTQiBBL_61JjETYdtnzyjhdOJRl58jkMHNLjlTD5k-Hgqu37yFBP50gtxfV0ffruMxoMwL7pp5LqEBkKAs9mE/s320/AnecDOTes+Print+014.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; text-transform: uppercase;">HARKAT by Inder Salim, </span></b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">20 Aug, 2014, Wednesday</span></td></tr>
</tbody></table>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQnoD_teRBjmHVqNwXQ8oibSQoXnjoHXTc4AZF6nvRaTjh5cAwp5Lsj34XRmA42h7bxfS_7sfN8p4cJYqiWefld_xzB_wC96AarhDbGDrzFNr46Uk9XwukICIIk7QWl7Na6r-pQ-jQZs/s1600/AnecDOTes+Print+015.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPQnoD_teRBjmHVqNwXQ8oibSQoXnjoHXTc4AZF6nvRaTjh5cAwp5Lsj34XRmA42h7bxfS_7sfN8p4cJYqiWefld_xzB_wC96AarhDbGDrzFNr46Uk9XwukICIIk7QWl7Na6r-pQ-jQZs/s320/AnecDOTes+Print+015.JPG" width="226" /></a></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoVKfzZabAJq7CaPyHpdJLmfnToFOhER0zEtwxjnAfK4u_pdz2eKasBUzPmcODFG3VjFOt1rgaQqeRKwkvkGai4nB5jzvkkw7SDBqCvhumRBQpm0lEc_ixuaQR2eP2itOHLLpA8-VxJkw/s1600/AnecDOTes+Print+016.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhoVKfzZabAJq7CaPyHpdJLmfnToFOhER0zEtwxjnAfK4u_pdz2eKasBUzPmcODFG3VjFOt1rgaQqeRKwkvkGai4nB5jzvkkw7SDBqCvhumRBQpm0lEc_ixuaQR2eP2itOHLLpA8-VxJkw/s320/AnecDOTes+Print+016.JPG" width="226" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; text-transform: uppercase;">Pushing the boundaries: the other circumstances in
performance, </span></b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Artist's showcase and Dialogue with Zuleikha Chaudhari, 21 Aug, 2014,
Thursday</span></td></tr>
</tbody></table>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br /></div>
Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com0tag:blogger.com,1999:blog-6830803085505593877.post-49080320377578911272014-08-23T11:36:00.001-07:002014-08-23T11:36:18.868-07:00In conversation with KIPAF: Recollections and Reflections<div dir="ltr" style="text-align: left;" trbidi="on">
<blockquote class="tr_bq" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12pt; line-height: 18.399999618530273px;">Report by Zooni Tickoo</span></blockquote>
<blockquote class="tr_bq" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US; text-transform: uppercase;">Creating Platforms : Experiments in Cooperation,
</span><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-font-size: 12.5pt; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Showcasing KIPAF [Kolkata International Performance Art
Festival] from the platform of Performers Independent. Joint presentation by
Rahul Bhattacharya and Anirban Dutta. 5-to-7 PM, 14 Aug, 2014, Thursday. An
AnecDOTes event. </span><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">AnecDOTes is a series of events as an extension of the
project "<b>Understanding Performance
as Art and Beyond: Multiple Gaze" </b>initiated by Samudra Kajal Saikia.
At </span><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-font-size: 12.5pt; mso-bidi-language: AS; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Vadehra Art Gallery, Delhi.</span></blockquote>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHR4NAd7_gaOlyzqu2tBHI7Mq2NnV1s5uvKUOPNMxTnmuQR3hFZx5tWHh3nsnyg2HR55UEbuLzwvk8a9rHYtcpA-WRrm1ETBBzMO6UJfm4I5L578t7WCCEbRpectXUl46J2Ngrc1LVYVQ/s1600/D8_+000.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHR4NAd7_gaOlyzqu2tBHI7Mq2NnV1s5uvKUOPNMxTnmuQR3hFZx5tWHh3nsnyg2HR55UEbuLzwvk8a9rHYtcpA-WRrm1ETBBzMO6UJfm4I5L578t7WCCEbRpectXUl46J2Ngrc1LVYVQ/s1600/D8_+000.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: left;">Rahul Bhattacharya and Anirban Dutta at AnecDOTes </span></td></tr>
</tbody></table>
</o:p></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
The AnecDOTes session with Performers Independent or Pi had Rahul
Bhattachrya and Anirban talking about their journey for the last two years and
more. They were invited to talk about “Creating Platforms: Experiments in
Cooperation”. Performers Independent
describes themselves as “<span style="background: white; color: #333333; font-size: 12.0pt; mso-bidi-font-family: Helvetica;">independent artists' collective,
experimenting and exploring the traditional, modernist and contemporary spaces
in the cultural paradigm”. By their own definitions, they intend to create a
space, a corner for performers who want to make art and performances with bare
minimum availabilities. With this aim, Kolkata International Performance Art
Festival (KIPAF) got instated as an accessible platform for artists from all
genres, from local to international. In this session with AnecDOTes, Rahul and
Anirban began to talk about KIPAF after donning dark tinted sunglasses inside
the gallery space, in effect setting them apart as performing entities demanding
attention. But this position kept itself fluid, as throughout the session they
kept wearing them on and off, perhaps wanting to bring about a sense of
alienation within the audience. Nevertheless, both the presenters took turns to
talk and explain, completing each other whenever needed. However, gladly there
were a couple of other KIPAF participants from amongst the listeners present
who significantly contributed to the discussion.</span><span style="background-color: white; color: #333333; font-size: 12pt;"> </span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="background: white; color: #333333; font-size: 12.0pt; mso-bidi-font-family: Helvetica;"><o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwoKQFd8oKmNzZSk1VXm0FazJ59LTLPpLJVxDHjZJpc3mfP3hmSRyF2ZDsUhoOqYuHtNTzr763ce8ysdoX7naqzBiaQM9HgfUwtHL-7otdSRzhuTjN2trF2yGfMvdwN8pY7UrVzmKINw/s1600/D8_+00.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKwoKQFd8oKmNzZSk1VXm0FazJ59LTLPpLJVxDHjZJpc3mfP3hmSRyF2ZDsUhoOqYuHtNTzr763ce8ysdoX7naqzBiaQM9HgfUwtHL-7otdSRzhuTjN2trF2yGfMvdwN8pY7UrVzmKINw/s1600/D8_+00.JPG" height="180" width="320" /></a></td></tr>
</tbody></table>
</o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<o:p></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 6px; text-align: center;"><tbody>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;"><span style="text-align: left;">at AnecDOTes </span></td></tr>
</tbody></table>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="background: white; color: #333333; font-size: 12.0pt; mso-bidi-font-family: Helvetica;">They began by elaborating that the intentions behind
a project like KIPAF also revolved around allowing artists to indulge in their
very quirky yet immediate artistic voices, to execute their preliminary plans
or to shape them further. Anirban stated that with regards to Performance Art,
one can simply use words like “blah blah blah” and that can in fact be the
answer to it. But this did not serve much in realizing a festival or even as an
event. Therefore, continues Rahul, that he noticed in Kolkata itself, there
were numerous activities going on in the performance arena. It was here that Pi
felt that an attempt to give “structure” to these activities was needed. Also
then, Kolkata becomes an ideal location, as Rahul genuinely felt that circles
of Performance Art had largely become concentrated in gallery spaces of <st1:city w:st="on"><st1:place w:st="on">Delhi</st1:place></st1:city> and Mumbai. KIPAF
then also meant for them to think on the lines of “de-curating” and thus they
chose not to follow a structure of biennale but do more experimental executions
every year with local cooperation. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="background: white; color: #333333; font-size: 12.0pt; mso-bidi-font-family: Helvetica;"><br /></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg56fGJYjGiAyaRSDs3SM_Hm-MshVn8Ton2Ikez9GofZ7GjwD58ipcACIg0bRMz-WzsQnRlJUhCXCRlG_IbWCMUp-zTkoiR1AhajD2VLqe0AZG-RR9r81T5tsq1IGAqwg6bbd2x3NvRx9k/s1600/D8_+001.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg56fGJYjGiAyaRSDs3SM_Hm-MshVn8Ton2Ikez9GofZ7GjwD58ipcACIg0bRMz-WzsQnRlJUhCXCRlG_IbWCMUp-zTkoiR1AhajD2VLqe0AZG-RR9r81T5tsq1IGAqwg6bbd2x3NvRx9k/s1600/D8_+001.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><div class="MsoNormal" style="font-size: medium; margin-bottom: 0.0001pt; text-align: left;">
<o:p></o:p></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-bottom: 0.5em; margin-left: auto; margin-right: auto; padding: 6px; text-align: center;"><tbody>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;"><span style="text-align: left;">at AnecDOTes </span></td></tr>
</tbody></table>
</td></tr>
</tbody></table>
<span style="background: white; color: #333333; font-size: 12pt;">Anirban explains further</span><span style="font-size: 12pt;"> that there is no corporate funding involved in
KIPAF. They collect money from
localities, or self fund the events. It may look like anarchic, he remarks, but
it is not. Both maintain that they are doing things in art but with alternative
means. For example, Rahul adds, the organizer may ask the participating
audience to walk the whole evening to the destination space, in anticipation of
a performance event, but in fact that walk itself would be the performance work.
He believes that these interventions “contest the idea of contemporary”. PI as
an organization maybe does not totally defend the idea of “utopia” but it
explores to create other means and ways in art. This is further given shape in
their Web link with vernacular writing reports in Bengali. The purpose, Rahul
explains, was to “decentralize” the idea of performance art. Also they wanted
to explore how documentation of the art works can follow these new
trajectories, through, “sound memories” or through vernacular blogs, etc.</span><div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-size: 12.0pt;">Anirban adds that the design and the
dynamics of KIPAF is open. So, many theatrical groups come along to
participate, but they rightfully gain their space in KIPAF through practice and
then feedback. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt;">At this juncture in the session, Rahul
led the discussion open for former participants to include their views. He especially
asked performance artist Inder Salim to express what his experience was after
he participated in KIPAF 2014. Before he began , Inder thanked KIPAF or
inviting him, and he recognized that two of his important works took shape only
at KIPAF. But Inder on his part had several interjections to make to Rahul and
Anirban. He felt as an artist some of his observation soured the overall experience
for him. He pointed out that mainly during the festival there were some “obstructions”
created by organizers themselves. His frank and foremost complaint was
regarding some “un-professional” attitudes towards other participants and the
events scheduled as he pointed out such experience. The fact that artists from
far and away had come to be involved at this festival, completely on their own,
was not well respected. Furthermore he noted another fellow artist’s statement
regarding “Performance Art is Dead” and added that it was “absurd” to declare
such statements when in fact the artist community in Indian subcontinent have not
exhausted even it’s beginning. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt;">Inder went on to add that when the aim
is to give Performance Art activity a shape or a structure, thus it becomes
inevitable that some definitions and guidelines be laid out in the beginning
itself. Also, he felt it becomes pertinent
that Performance Art must shake or disturb the existing order by having genuine
questions and serious approach. At the moment, he expressed doubts on this
front regarding KIPAF but accepted that being in nascent stages the festival
has immense scope for growth. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt;">Samudra too interjected the discussion
by stating that the autonomous energy to begin with is good but there must be
some goals, explicit or not, that the festival should strive to achieve. Also he felt that the idea of the vernacular
that has been stated does not seem to be fully in execution since most of the
participant artists are from the mainstream. To this, Rahul responded in agreement. He
shared with the audience that brainstorming on similar lines has already taken
place. Therefore, in KIPAF 15 there may be a curated section where some
well-known art practitioners shall be invited. This, he confessed is a
strategic necessity as the local media needs be involved in publicizing the
events so as to disseminate the acts and motives of KIPAF to larger audiences
and readers. Then there is an open-call for young practitioners from all around
to send their proposals so as to integrate fresh works and perspectives. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt;">The monetary angle of the festival raised
several questions from Inder who lamented that KIPAF must rise above the
influences of leftist trends typical in Kolkata. He clearly pointed out that
“Left as a straight-jacketed strategy” does not work. Otherwise, he added, it
would be a great loss to witness KIPAF follow the fate of organizations which
aligns themselves towards more political rather than artistic. He suggested
some examples of Sarai and SAHMAT, that in the present situation and times, one
has to subvert the idea of funding agencies by using their funds while still
being able to continue with similar performance motives. Both Rahul and Anirban
claimed in agreement that they were in fact looking forward to local patronage
and the doors for monetary assistance are of course open. <o:p></o:p></span></div>
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<span style="font-size: 12.0pt;"> </span><span style="font-size: 12pt;">Samudra, at this point wanted to know
about the problems of performance art that PI had encountered in the previous
two years. There was also an interest in knowing how KIPAF would handle
explicitly subversive acts like stripping or nude performances. Rahul replied
that usually they don’t work by procuring top-down permissions from local
police, that is why they get local community involved. Towards the end of the
discussion, some music could still be heard within the audiences as Pervez
Imam, artist/film-maker wondered about the contradictions inherent in the
design of the festival. He noticed that the organizers somehow aim towards
guerilla performance events, and yet require funds and structure to accommodate
the art and artists. Then perhaps a lot of re-thinking about several
practicalities need to be done, at conception level itself. Most of the
discussion then focused on KIPAF’s structural debates regarding ideology, goals
and experiences. However, the works of artist participants over the past two
years were not touched upon greatly. Reflecting over all the suggestions above,
the session culminated with promise of an upcoming KIPAF 2015 along with improved
work over propositions raised in the discussion.</span></div>
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<b style="text-align: justify;">NEHA TICKOO</b></div>
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Neha (Zooni) Tickoo did Bachelor of Arts in Psychology and also in Kathak from Khairaghar University, Chattisghar. She also completed Diploma from Kathak Kendra – National Institute of Kathak Dance, autonomous body of Sangeet Natak Academy, Delhi, under the esteemed guidance of: GURU SHRI KRISHAN MOHAN MAHARAJ, of Lucknow Gharana. Presently she is pursuing Masters of Arts in Performance Studies from the Department of Culture and Creative Expression (SCCE) , Ambedkar University, Delhi.</div>
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She has a varied range of working experience from journalism to participating in international workshops to working as the editor-in chief in magazines. She presented Kathak and Experimental performances around Delhi and outside. Email : bukumol@gmail.com</div>
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Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com2tag:blogger.com,1999:blog-6830803085505593877.post-70817490732201150732014-08-13T13:07:00.002-07:002014-08-13T13:13:09.314-07:00AnecDOTes III: About perforations in the Performance Art of Inder Salim<div dir="ltr" style="text-align: left;" trbidi="on">
<blockquote class="tr_bq" style="margin-bottom: 0.0001pt;">
<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Report by Zooni Tickoo</span></blockquote>
<blockquote class="tr_bq" style="margin-bottom: 0.0001pt;">
<span style="font-family: Calibri, sans-serif; font-size: 10pt; line-height: 115%;">"Performance art is like Parasite!",
Inder Salim with Anecdotes, 6-to-7 PM, 6th Aug, 2014, Wednesday. An AnecDOTes
event. No one is invited. 5-to-7 PM, 13 Aug, 2014, Wednesday. </span><span style="font-family: Calibri, sans-serif; font-size: 10pt; line-height: 115%;">AnecDOTes
is a series of events as an extension of the project "<b>Understanding Performance as Art and Beyond: Multiple Gaze" </b>initiated
by Samudra Kajal Saikia. At </span><span style="font-family: Calibri, sans-serif; font-size: 10pt; line-height: 115%;">Vadehra Art Gallery, Delhi.</span></blockquote>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgssyw_WEwh_y57WLPgKAHCOPOX7ByHvc-eKrUNIPqQmOPZ88w2mOoi4ErgKiBjDb0iJMNNzMF1gbhiQWzpAXc0oO_5bTj0uYtQfZyzW7fUW2VT1CHddNGU-UdQLN-GtSeUj5sPOI5x8SM/s1600/d3_+005.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgssyw_WEwh_y57WLPgKAHCOPOX7ByHvc-eKrUNIPqQmOPZ88w2mOoi4ErgKiBjDb0iJMNNzMF1gbhiQWzpAXc0oO_5bTj0uYtQfZyzW7fUW2VT1CHddNGU-UdQLN-GtSeUj5sPOI5x8SM/s1600/d3_+005.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Inder Salim at AnecDOTes</td></tr>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">After
an insightful session with Amitesh Grover and his high-tech media savvy
conceptual performance works on day 2, the following day at AnecDOTes saw
rather intimately discursive evening with Performance Artist Inder Salim. As
Samudra himself pointed out that the motive of AnecDOTes is not just to locate
issues pertaining documentation of Performance Art, but also to assess how the
physicality of the performing body can become a major grounding factor. Inder
is a Kashmiri artist based in <st1:city w:st="on"><st1:place w:st="on">delhi</st1:place></st1:city>
and has been practicing art and performance for the last 20 or more years. Like
many Kashmiri Pandits, Inder had to shun the turmoil ridden Valley in the
ill-fated years of 1988-90 to seek a life outside, in <st1:city w:st="on"><st1:place w:st="on">Delhi</st1:place></st1:city>. Although, he was never trained in Fine
Arts, Inder began his career with painting exhibitions in mid 1990s but soon
realized that being medium bound will not answer his artistic quests. Thus,
Performance became an expression that not only strengthened his metaphors but
still remains the way he leaves a radical impact on issues pertaining politics
to the personal, and many things in between. Performance Art is then perhaps
how he negotiates between being Inder Tikku, a typical Kashmiri hindu name and
then choosing to be Inder Salim. <o:p></o:p></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6md3pIVIzWCt04yyv34m4HOY83veZ4gCliD3qBlWxqFZrTHFktV1FqS3olXIImp_wpXkOaJB1WGHLpCWfaqYwDeWDv73MpyTFi_GQKPO22td-b1UVc26si2Ub2b1RnzWtHI0_J3uhew/s1600/d3_+003.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT6md3pIVIzWCt04yyv34m4HOY83veZ4gCliD3qBlWxqFZrTHFktV1FqS3olXIImp_wpXkOaJB1WGHLpCWfaqYwDeWDv73MpyTFi_GQKPO22td-b1UVc26si2Ub2b1RnzWtHI0_J3uhew/s1600/d3_+003.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Inder Salim at AnecDOTes</td></tr>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt;">The
session begins with Inder showing a clip from his very recent performance that
took place at SAHMAT in solidarity with the victims of </span><st1:city style="font-family: 'Times New Roman', serif; font-size: 12pt;" w:st="on"><st1:place w:st="on">Gaza</st1:place></st1:city><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"> genocide. It involved smashing down
numerous water-melons on a busy footpath after which the onlookers could find
olives inside the fruit wrapped with lines of poetry by Mahmood Darwish.</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt;">He elaborates that the sensory understanding
of violence must penetrate in art, which gets highlighted specifically in this
performance.</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkl-WFsPT_HZ52TjiUibLQ57pKVeHuumGFZBZ-OQoahqu3Fk5UelCIy7bpfv-GUL4ytFsJTfczJb6z6KVO1SFMvFSHeo4qcdYEkld8P6Uzi7WAloA9s7xQpimh8bFhslmIse0_QzU_okg/s1600/IMG_3070.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkl-WFsPT_HZ52TjiUibLQ57pKVeHuumGFZBZ-OQoahqu3Fk5UelCIy7bpfv-GUL4ytFsJTfczJb6z6KVO1SFMvFSHeo4qcdYEkld8P6Uzi7WAloA9s7xQpimh8bFhslmIse0_QzU_okg/s1600/IMG_3070.JPG" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Inder Salim's performance with <span style="font-family: 'Times New Roman', serif; font-size: 16px; text-align: left;">Mahmood Darwish's poetry</span></td></tr>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Next,
he projected clips from Hakeekat e <st1:place w:st="on">Kashmir</st1:place>, a
performance which was in opposition of State sponsored Ehsaas-e-Kashmir that
featured Zubin Mehta and his team of classical philharmonic. He explains that his performance was about
how the highly refined, classical music is played and promoted by the state
whereas the <i>haqeekat</i>, or the truth is
through mere sound. “Sound is rhythm”, he says. In the performance, he dons a
folk performer’s (bhaand’s) perforated garment, and he recalls that was
criticized for asking the Kashmiri audience to begin thinking about the sound “aa”
first instead of “Aazaadi”. This was unsettling to many, Inder maintains,
because it is his constant struggle to question even the objectivist
understanding of Freedom, thereby, making it tricky to categorize his art and
politics. To this, he eventually observes that even while he does abstracts ,
the viewers are nevertheless able to connect to some strands of his projected
thought. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Taking
from similar experiences from political protests, there seems to have been a
deep influence of stone pelters from the kashmir unrest making news for more
that two decades now. He talks about performance he does against the capital
punishment for Afzal Guru. He prints down the SC verdict as large " to
satisfy the collective conscious ". The audience was then given a scrap of
paper that was crumpled as a small pebble and pelted towards the upheld
verdict. He talks how at Mina there is stonning of devil and how the largely
Kashmiri audience was able to relate to the act. he basically compares the
archetectural space of Mina and the auditorium space and draws it back to his
previous I PROTEST performance dating back to 2010. It was not only this
religious act that became the reference he drew this intervention on, but he
also makes mention of being influenced by Allama Iqbal's 'Shaqwa, and
Jawaab-e-Shaqwa', narrating how misfortunate the Muslim community has been in
world order and justice. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">He
returns to his methods, noting down that performance art has to draw from the
material already available in the space of performance. There he also talks of
a certain confidence that the artist must have. The I PROTEST tree poster, for
example, is a clear indiator of how an artist looks for his expression even
when not actively joining the stone pelting processions. He emphasises how it
is necessary to expand the idea of protest, with respect to his art.
Subsequently, he roughly talks of THE BLACK SNOW performance in <st1:place w:st="on">Kashmir</st1:place> where he asks a barber to give him a hair-cut
while the chopped hair fell on mountains painted with thick white acrylic on a
white board. The final image formed was that of black snow over mountains.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">On
similar lines, Inder made mention of several of his political performances that
involved directly subverting the metaphors to highlight discomfort with State
apparatuses. Some more of these works involved one about unfurling of his own
black garment on 26th January on a busy road in Mumbai, and another about the
murder case of Ishrat Jahan performed with vegetables at Art Konsult in <st1:city w:st="on"><st1:place w:st="on">Delhi</st1:place></st1:city>. The involvement of
the physical body into the political critique is a huge component of his work,
and gets highlighted in other performances like "India Blood Is On Your
Hands", also first performed in Mumbai.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">It
was only after showing several such works that Inder began to delve deeper
about the topic of the session : Performance Art is like a Parasite. He
projects an image which he called 'The seat of Heart and Brain', which shows
the brain under the bottom and the heart on the back. He narrates how the
cusions were used by another artist, Hanna in Last Minute Excercise, ( at the
Insert Exhibit) and how they have been re used in the image by Inder. In
similar context, he talks of his latest The proposal of FOUNTAIN for the Kochi
Muzhiris Binealle. How the common looking proposal, black text on white
background itself becomes the object of art, occilating between rejection and acceptance by the
larger art community and patrons. He explains then that the term parasite
corborates his work so as to peal layers of understanding in the art community.
His maintains that his work hinges on introducing discomfort along with subjective
quirkiness, thus, defying the pure or the acceptable. <o:p></o:p></span></div>
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2X1lDNCJRqOvQGhibQWwfh5vxnVbgzFRhSgKpQd2WbmJNXGMQ6vjD83nJ9FtHL5hEwC03WHfTXTS-8ncDUXV3iZPObK_Ev65X2bp71fHntc_VHtQyaiGJ7uUJF66dkvFtHTvQEV_4mn4/s1600/d3_+001.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2X1lDNCJRqOvQGhibQWwfh5vxnVbgzFRhSgKpQd2WbmJNXGMQ6vjD83nJ9FtHL5hEwC03WHfTXTS-8ncDUXV3iZPObK_Ev65X2bp71fHntc_VHtQyaiGJ7uUJF66dkvFtHTvQEV_4mn4/s1600/d3_+001.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;">Jeebesh Bagchi and Maya Kóvskaya at AnecDOTes</td></tr>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">With
the end of the presentation by Inder, it was Jeebesh Bagchi of Raqs Media
Collective who pointed out some of the most interesting and relevant questions
in terms of Inder’s growth as an artist. First of all he pointed out that
instead of the term “parasite”, a better term perhaps to use would be
‘epiphyte’, technically understood as a plant which grows by feeding itself
from the atmosphere or the debris around it in the environment, and not from
the host tree/organism. He prodded Inder to look at Performance art with
similar understanding, not as destructive or parasitic at all times. He
maintained that Inder’s art has been able to create a lot of it’s own as a
repertoire and which cannot be limited to looking at it as an art parasite. Inder,
on his part welcomed and recognized this suggestion.<o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Another
issue regarding the larger presence of <st1:place w:st="on">Kashmir</st1:place>
politics was raised. Jeebesh called it “Kashmirification” of Inder’s
performance. He observed that over the last 15 years or so, <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">there
has emerged a lot of politically charged dissent in his performance language,
stemming from his sensibilities rooted in <st1:place w:st="on">Kashmir</st1:place>
turmoil. He added that his art is now becoming easily decipherable and
predictable to some extent, whereas in his earlier performances, there was some
elements of evasive-ness that seemed hard to “chew” on. Jeebesh wondered aloud
why Inder does no longer utilize “weird” turns that unsettle the comfort of the
on-lookers. As an artist then, Jeebesh explains, becoming effortlessly
predictable can lead to being bracketed in labels and categories such as
“protest performance”, “political art” and can actually halt the growth. He
also expresses a fear that it would be a great loss if Performance Art met the
same fate as that of Street Theatre. This did not seem to find much resonance
with another audience member, Maya Kovskaya, an art critic, who took the debate
to a larger level to understand why the artist community is obsessed with
producing more weird and “unreadable” work instead of generating functional
dissent. She noted that there not only obsession but also certain extent of
“valorization” of the un-readable, which she finds problematic and limiting.
She also wanted Inder to talk a little more on what drives his work. <o:p></o:p></span></div>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt;">These
interjections brought him to confess that the choice of works to be shown for
the session has been a little faulty as it mostly consists recent political
performances only, and that could have been avoided easily. Nevertheless, Inder
willingly agreed to these questions being significant observations and a
valuable constructive input. But he added in his reply that the idea and the
politics of </span><st1:place style="font-family: 'Times New Roman', serif; font-size: 12pt;" w:st="on">Kashmir</st1:place><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"> at the hands of oppressive
state mechanism has largely been absent in the interventions by the larger art
community. The voices he incorporates in his performances are relevant, to say
the least. Here he again re-emphasized his opinion that the current need of the
hour in art making has to be cross-penetration of political voices and artistic
metaphors. Another audience member added that perhaps one need not be afraid of
the death of Performance art even if it means meeting similar fate as of Street
Theatre, as it needs to decay and re-generate from time to time. To this both
Jeebesh and Inder answered in partial agreement. They both agreed that Performance
Art needs to rise beyond such insecurities while still upholding the ingredient
of innovative and impactful critique along with resisting categorization.
Jeebesh further added that the readability of a performance work must not
become frivolous if that is not the intent, and should try be wide rather than
narrowing down to being branded as “trouble maker” only.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Moving
on, and finally, Bhooma Padmanabhan noticed that Performance Art, the way Inder
understands is mostly in varied unconventional spaces and with a relatively younger
audience. Then, is there a difference in Presentations of performance and the
performance actually and where does documentation become an important aspect,
if at all. Inder seemed rather contemplative of these questions and said that all
of these ideas are still being processed. But he believes in the way he
practices performance, a video, or an image is not mere documentation of the
actual performance. They tend to acquire their separate lives and entities as
works. Yet he maintains that every time a performance is repeated, it garners a
different set of meanings with different audiences, space, and materiality. <o:p></o:p></span></div>
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<b style="text-align: justify;">NEHA TICKOO</b></div>
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Neha (Zooni) Tickoo did Bachelor of Arts in Psychology and also in Kathak from Khairaghar University, Chattisghar. She also completed Diploma from Kathak Kendra – National Institute of Kathak Dance, autonomous body of Sangeet Natak Academy, Delhi, under the esteemed guidance of: GURU SHRI KRISHAN MOHAN MAHARAJ, of Lucknow Gharana. Presently she is pursuing Masters of Arts in Performance Studies from the Department of Culture and Creative Expression (SCCE) , Ambedkar University, Delhi.</div>
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She has a varied range of working experience from journalism to participating in international workshops to working as the editor-in chief in magazines. She presented Kathak and Experimental performances around Delhi and outside. Email : bukumol@gmail.com</div>
</div>
Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com0tag:blogger.com,1999:blog-6830803085505593877.post-64082576537956578772014-08-07T23:06:00.003-07:002014-08-07T23:06:51.569-07:00AnecDOTes, Day II: New Media and the alternative 'Live'ness<div dir="ltr" style="text-align: left;" trbidi="on">
<h2 style="margin-bottom: 0.0001pt; text-align: left;">
<b><span style="font-family: 'Times New Roman', serif; font-size: 12pt;">‘Encountering’ Amitesh Grover</span></b><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">. <o:p></o:p></span></h2>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> [Constructed Memory by ZOONI TICKOO]</span></div>
<blockquote class="tr_bq" style="text-align: justify;">
<span style="font-size: 10.0pt; line-height: 115%; mso-bidi-font-family: Vrinda; mso-bidi-font-size: 12.5pt; mso-bidi-language: AS;">New Media and the
alternative 'Live'ness, Artist's showcase and Dialogue by Amitesh Grover,
interlocutor: Aditya Shrinivas, 5-to-7 PM, 05 Aug, 2014, Tuesday. </span>At: Vadehra
Art Gallery, Delhi. <span style="font-size: 10.0pt; line-height: 115%;">AnecDOTes
is a series of events as an extension of the project "<b>Understanding Performance as Art and Beyond: Multiple Gaze" </b>initiated
by Samudra Kajal Saikia.</span></blockquote>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTqsvHLP0sdnsrYOxwqERu_R-dy1BDobXjjzYCBWE-WAfpaDhFYzHuONeqCfx4dPrssULkOnwZH5Ztr9lpi6XWxZx8cbfa6ST3B-8fkLR8k-kSPw0toffUSlJtDggzuMyvmIH6THdnFs/s1600/D2+004.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBTqsvHLP0sdnsrYOxwqERu_R-dy1BDobXjjzYCBWE-WAfpaDhFYzHuONeqCfx4dPrssULkOnwZH5Ztr9lpi6XWxZx8cbfa6ST3B-8fkLR8k-kSPw0toffUSlJtDggzuMyvmIH6THdnFs/s1600/D2+004.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Amitesh Grover at AnecDOTes</td></tr>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-align: left;">Day
2 at </span><st1:place style="font-family: 'Times New Roman', serif; font-size: 12pt; text-align: left;" w:st="on"><st1:placename w:st="on">Vadehra</st1:placename> <st1:placename w:st="on">Art</st1:placename> <st1:placename w:st="on">Gallery</st1:placename></st1:place><span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-align: left;">
was in conversation with the artist and performance maker Amitesh Grover.
Grover is currently a faculty member at the National School of Drama and has
been practicing performance making especially incorporating the genre of New
Media and technology. He has presented his work nationally as well as
internationally, prolifically spanning</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-align: left;">
</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-align: left;">around 125 shows across 11 countries. In the session, focused on the topic
of "new media and 'live'ness", Amitesh did not immediately begin from
detailing his past works. He descended into the discussion smoothly by setting
forth a stage of understanding performance, ritual, encounters and finally the
idea of puncturing them in ways of his interventions of performance making.</span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">Amitesh
very importantly and interestingly began from his own private experiences from
life. he chose to show images from his own marriage ceremony rituals and an
image from another event of 'hawan' meant for the dead ancestors of his family.
The motive of projecting these images was, he explains, to narrate how he had
asked the sanskrit couplets to be translated into language of common use, and
thus, "demystifying" the whole ceremony besides prolonging the same
in time. this is how he begins to explain the intention of
"puncturing" performative aspects of human behaviour and then how he
manifests them on similar principles through his art projects. <o:p></o:p></span></div>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"> </span><span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghR7DiTi_YTbg-zlrPR51zxlvEoC86DPNEfW-J4kDaig5OqsBscUpECR99b3u1Zkgg6tQW7XgjLC9oHM4BUG0Qt9evgq0Ovth6Q2LEEAzLMNL1GbUU4R7MC_qSFGU3v4-2P74Vbm-6pns/s1600/D2+005.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghR7DiTi_YTbg-zlrPR51zxlvEoC86DPNEfW-J4kDaig5OqsBscUpECR99b3u1Zkgg6tQW7XgjLC9oHM4BUG0Qt9evgq0Ovth6Q2LEEAzLMNL1GbUU4R7MC_qSFGU3v4-2P74Vbm-6pns/s1600/D2+005.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: 'Times New Roman';">Amitesh Grover at AnecDOTes</span></td></tr>
</tbody></table>
</span></div>
<span style="font-family: 'Times New Roman', serif; font-size: 12pt;">The
impact of new media and technology and how it is intertwined in the functioning
of the human societies forms a major part of Amitesh's art. He keenly observes
the behaviour on</span><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt;">television and off it
and the mannerism of performance generated by events like reality TV and also
getting oneself photographed. He makes note of few such aspects into observation
like: the public at the present moment is in a state of Hyper Performances. The
evidence of it is seen in the self generative content on social media and the
massive flux of information. This phenomenon he understands as the Post Media
Performance, where the utility of the media and communication has been
exploited to the extremes and in excess. He also seeks to grapple with the
question of Public and it's constantly increasing fluidity. This construct of
fluid public, he maintains easily sheds </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt;"> </span><span style="font-family: 'Times New Roman', serif; font-size: 12pt;">it identities and relations to communities.
Yet he makes note if how the speech or the element of the spoken sound carries
an indicator of identity. This is where he draws strings of similar
observations and plays with them by incorporating games that eventually get
translated into performance projects.</span><br />
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">In
the section detailing his conception of Media and the Body, he talks of his
collaboration with theatre person and dancer Maya Rao in 'Lady Macbeth'. This
performance which was conceived by Rao, was designed by Amitesh and it
implemented the idea of fragmented physical body and it's multiple projections
over live-feed. It also worked with juxtaposing popular TV actors of Macbeth
with the live actor doing the character of ghost in the performance, simultaneously.
Similarly another of Amitesh's work, that he makes mention of here, is 'Strange
Lines'. It was adapted from a graphic novel. This project involved technology
as a medium for interaction. On similar lines, was Amitesh's project inspired
by writer Italo Cavino's Invisible Cities. This complex work of Calvino finds
it's expression through Amitesh's interpretation as "Gnomonicity".
This work dealt heavily on creating shadow audiences created through CCTV
captures and collaborated with hackers who operated from different parts if the
world like Zurich, Switzerland, Melbourne etc. another project called
"Social Gaming" involved real time gaming in multiple cities and this
involved giving quirky instructions like 'look without judging...' and 'collect
a smile' and then send an SMS to score points. <o:p></o:p></span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvvnYWp6XGqChl7HUsykdnQdKD5C3HsOEOVEzLIf5ccf18k6xzY82ie6oOOjrj2Y9_KHJoXkRCmkHC1mRBUjRiHl6ERvcAt9cTZro2f2nDND7nen4LORF7lbaD_56Yi013WKFSDoq3G-g/s1600/D2+006.JPG" imageanchor="1" style="font-family: 'Times New Roman', serif; font-size: 16px; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvvnYWp6XGqChl7HUsykdnQdKD5C3HsOEOVEzLIf5ccf18k6xzY82ie6oOOjrj2Y9_KHJoXkRCmkHC1mRBUjRiHl6ERvcAt9cTZro2f2nDND7nen4LORF7lbaD_56Yi013WKFSDoq3G-g/s1600/D2+006.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Amitesh Grover at AnecDOTes</td></tr>
</tbody></table>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt;">Through
the works mentioned above there is an evident prominance of global
hyper-connective world where Amitesh overtly exploits the same by using
mechanisms of Skype conversations spanning continents. He invariably attempts
to question the arguemet propunded by scholar like Peggy Phelan that a
performance value is in it's "ephemeral" nature and that no two
performances can be same. Amitesh, in contrast intends to understand and
explain his performances through another scholar Philip Auslander's concept of
the "liveness" by creating excess of virtual corporeality. This takes
shape in his work called "Mahoganny is Everywhere" which was a long
durational performance of 48 hours and carried out in a building. The performance
included the participants to engage in transactions and activities involving a
fake currency 'Neuro' only valid inside the building. he details how he himself
played a palmist and how predictions he made decided the behavior of the
participants in betting or in gamble. He also talks of intervening the
proceedings with non-sense interventions thereby creating the effect of alienation.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_y2-lQ3poLyvmoM2BukuB3nWI4_j7I0BsaRjlyA1pZlMZIolYfTiUP9kPZoyElkbLNMWy3gFREDkPeeDJvO31RYC8jo_o6-wKFrHtRvbvrSj0fBpeMrycBlNhxBZ5lVP1v7_AnmF3bQ0/s1600/D2+003.JPG" imageanchor="1" style="font-family: 'Times New Roman', serif; font-size: 16px; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_y2-lQ3poLyvmoM2BukuB3nWI4_j7I0BsaRjlyA1pZlMZIolYfTiUP9kPZoyElkbLNMWy3gFREDkPeeDJvO31RYC8jo_o6-wKFrHtRvbvrSj0fBpeMrycBlNhxBZ5lVP1v7_AnmF3bQ0/s1600/D2+003.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Amitesh Grover at AnecDOTes</td></tr>
</tbody></table>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt;">Finally
he summed up the presentation with his forthcoming project, the concept of
which can in fact resonate the sum total of his thought process behind most of
his past performance ideas. “Encounter 6134” is perhaps as philosophically
urgent as the need to address the discourses surrounding New Media or the hyper
technological age. the rough idea he explains deals with the growing assertion
from a new school of thought that representation of the capitalist world must
involve greater speed, acceleration and excess so as to accelerate its
collapse. The performance involves inviting the participants to come and be a
philosopher and communicate with a stranger regarding topics like: beauty,
death, time, and crisis. Amitesh surmounts this project on the quote by Alain
Badiou, that can perhaps be paraphrased as mere random “encounters” forming
capacities for multiple “beginnings”.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAQbyUc7kC1UASenazoD2zGO-rfGEX4NbC-ZaxmyJYmBgCD5BRNtUF8sL3m51N5G-0IYqcGM0WuXjKk1jmsPpbkKUEoClvy2w5vA1UJIFu3LylapDnbXlVRi1HvXgAo1TyXZGB6D_uQNc/s1600/D2+001.JPG" imageanchor="1" style="font-family: 'Times New Roman', serif; font-size: 16px; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAQbyUc7kC1UASenazoD2zGO-rfGEX4NbC-ZaxmyJYmBgCD5BRNtUF8sL3m51N5G-0IYqcGM0WuXjKk1jmsPpbkKUEoClvy2w5vA1UJIFu3LylapDnbXlVRi1HvXgAo1TyXZGB6D_uQNc/s1600/D2+001.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Amitesh Grover at AnecDOTes</td></tr>
</tbody></table>
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<span style="font-family: 'Times New Roman', serif; font-size: 12pt;">In
the Q-A discussion round-up, initiated by Aditya Srinivas, the debate began
from pointing out how Amitesh’s work in fact easily breaks the bounding
definitions of theatre, performance art, or participatory ritual even. What
emerged from the post presentation discussion is that Amitesh’s work also, on
several levels, questions the greater unified language and the loss of the
native body reduced to hyper virtual. Important as an observation was also that
his work is less directorial and more curational in terms of wading through and
sewing together the live-ness of encounters in the age of new media.</span></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ncpc0Ij-U_oXtChsEuIn1Ug2R592oTd_uVeRuLMnchFcGMyAOjCKVuN-bU3gM991QTcJqG6OTexHAqb2DeULGfKK_c__ni2zglWb-Tf1K1afsI-Ab5jh8MnNJvcj-C_zoycE0IYN-tg/s1600/D2+002.JPG" imageanchor="1" style="font-family: 'Times New Roman', serif; font-size: 16px; margin-left: auto; margin-right: auto; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-ncpc0Ij-U_oXtChsEuIn1Ug2R592oTd_uVeRuLMnchFcGMyAOjCKVuN-bU3gM991QTcJqG6OTexHAqb2DeULGfKK_c__ni2zglWb-Tf1K1afsI-Ab5jh8MnNJvcj-C_zoycE0IYN-tg/s1600/D2+002.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Amitesh Grover at AnecDOTes<span style="font-family: 'Times New Roman', serif; font-size: 12pt; text-align: left;"> </span></td></tr>
</tbody></table>
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<span style="font-family: "Times New Roman","serif"; font-size: 12.0pt;">There
arose few questions about the frequent use of technology in his performances
too. Artist Inder Salim raised doubts about the multiplicity of technologies as
it is subject to availability. A dialogue ensued which prodded Amitesh to think
further on de-stabilizing the human centric approach of technology. This
interjection was towards perhaps the issues of, say, environment which has been
victim of human explosion and thus need to be included in conceptual frameworks
more often. The issue of documentation of his new-media performances also
brought about an interesting point as Bhooma Padmanabhan asked Amitesh how it
impacts the performance and his own repertoire. Amitesh seemed willing and
agreed that documentation of his work is necessary for the sake of drawing on
improvisations but since his interventions span from distinct cities to various
media simultaneously, the registers may vary. He also points out that therefore
in Performance Art, there is nothing right or wrong, and that such experiments
form layers of encounters. These layers facilitate post-event narration thereby
looking for newer beginnings. Interestingly, Amitesh speaks of all this as a
mechanized process instilled in Capitalist society and which needs to be
accelerated to witness multiple causalities and effects. Similarly, he notes
that his forthcoming project is about the human sleep patterns, and how the
mechanized ways of life have robbed one of their deep sleep. The project may
involve participants to engage, simply, in sleep! <o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIugP0vzBoXT2s8x9nyUDedtWP33nB1KqnMR2AKAstDWFHDHg0aoLcviBpj_13X_Xa95GAmDbVHP0_z1Zk4m6dLFHhTS3JXbbiZfM8RxoMXBG-L1Yn0R2ZEZt6IvbEJ452et6-y5g3_No/s1600/10351515_10154351107135724_8985177456535772652_n.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIugP0vzBoXT2s8x9nyUDedtWP33nB1KqnMR2AKAstDWFHDHg0aoLcviBpj_13X_Xa95GAmDbVHP0_z1Zk4m6dLFHhTS3JXbbiZfM8RxoMXBG-L1Yn0R2ZEZt6IvbEJ452et6-y5g3_No/s1600/10351515_10154351107135724_8985177456535772652_n.jpg" height="320" width="241" /></a></div>
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<b>NEHA TICKOO</b></div>
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Neha (Zooni) Tickoo did Bachelor of Arts in Psychology and also in Kathak
from Khairaghar University, Chattisghar. She also completed Diploma from Kathak
Kendra – National Institute of Kathak Dance, autonomous body of Sangeet Natak
Academy, Delhi, under the esteemed guidance of: GURU SHRI KRISHAN MOHAN
MAHARAJ, of Lucknow Gharana. Presently she is pursuing Masters of Arts in
Performance Studies from the Department of Culture and Creative Expression
(SCCE) , Ambedkar University, Delhi. </div>
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She has a varied range of working experience from journalism to
participating in international workshops to working as the editor-in chief in
magazines. She presented Kathak and Experimental performances around Delhi and
outside. Email : bukumol@gmail.com</div>
</div>
Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com0tag:blogger.com,1999:blog-6830803085505593877.post-34011416747190957232014-07-14T06:48:00.000-07:002014-07-14T08:11:59.432-07:00Persistence of Memory IV: the prefix "Re"<div dir="ltr" style="text-align: left;" trbidi="on">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5a3hGhl5Tu0JgAPigUfLsY_fSwPeQklfeDg6ojKYtcntZMDyEEKAMiez7AmKKFSxeCQ1Ok49c7ijBgGhDNn4wDjsNWBD_Yc7ZrQLOD8dFUTTy1IMBM4Jz82IW5nAQGdyRUPT0liwNs8k/s1600/copy_artist.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh5a3hGhl5Tu0JgAPigUfLsY_fSwPeQklfeDg6ojKYtcntZMDyEEKAMiez7AmKKFSxeCQ1Ok49c7ijBgGhDNn4wDjsNWBD_Yc7ZrQLOD8dFUTTy1IMBM4Jz82IW5nAQGdyRUPT0liwNs8k/s1600/copy_artist.png" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; color: #333333; font-family: Arial, Helvetica, sans-serif; font-size: 12px; font-style: italic; font-weight: bold; text-align: start;">Honore Daumier</span></td></tr>
</tbody></table>
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The prefix 're' started occurring vigorously in the post-structuralism
phase. It was a landmark event when Derrida started breaking representation as
're'-presentation. George Luis Borges's comment like everything has been said
and done already, nothing is new, what we can do now is to repeat only, - remained
essential in many ways. In last two decades, thus, all the studies became
re-visits, re-interpretations, re-examinings. Now-a-day thinkers re-think,
onlookers re-look, and thus takers re-take.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn0_GAFPQhfsIvBYEdZQvcBN7u6J3PBdgOtg0FtwLVokxe47si85gl9OFWKdFH_CnrJLwklxNiZKQw9uKlGg1pKMbv4XKEmDi7gPpN75RD9SNFMBnlmMIqJGRpkKLJ37XB9veeNud9J8o/s1600/Sower.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgn0_GAFPQhfsIvBYEdZQvcBN7u6J3PBdgOtg0FtwLVokxe47si85gl9OFWKdFH_CnrJLwklxNiZKQw9uKlGg1pKMbv4XKEmDi7gPpN75RD9SNFMBnlmMIqJGRpkKLJ37XB9veeNud9J8o/s1600/Sower.jpg" height="220" width="320" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGWjccZQCdvdfkQRDKekcljLRKsizwWCKv3qwK2vt0LT7WedEOOE5trSLJSFz5oLjkkTgSW27e0Dy8mUBl9T6JnCdiOO_1TuTNG0ivEgTRafJ0k3JqcUWEM2YW9qngXFXJwgmapLlTh8Y/s1600/First-Steps.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgGWjccZQCdvdfkQRDKekcljLRKsizwWCKv3qwK2vt0LT7WedEOOE5trSLJSFz5oLjkkTgSW27e0Dy8mUBl9T6JnCdiOO_1TuTNG0ivEgTRafJ0k3JqcUWEM2YW9qngXFXJwgmapLlTh8Y/s1600/First-Steps.jpg" height="131" width="320" /></a></div>
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Copying the great artists were a popular tradition ever in every traditions.
The new generations learnt things by copying the early generation works. Not
very consciously, but in performance art practices also it used to happen in
certain ways. Here is an anecdote.<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1uQKFVK4DpPApCt7V5HyCufLg4I6paOSFVgdqa_-hXaMdg1lzAg62ECV4oLeeKsjRo0LHYjDznUFbyPyF28SAOzAvk6x5Z-uY6CC4AeAvQKTuW1QnFo8SjDnkBRAavrFapyC6LT2fdaI/s1600/427110_3222902645400_380662277_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi1uQKFVK4DpPApCt7V5HyCufLg4I6paOSFVgdqa_-hXaMdg1lzAg62ECV4oLeeKsjRo0LHYjDznUFbyPyF28SAOzAvk6x5Z-uY6CC4AeAvQKTuW1QnFo8SjDnkBRAavrFapyC6LT2fdaI/s1600/427110_3222902645400_380662277_n.jpg" height="238" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Taufik and Rahul in 'measuring with stretched bodies'</td></tr>
</tbody></table>
<div style="text-align: center;">
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Syed Taufik Riaz, the Kolkata born
Performace art practitiobner was doing some performance where he measures
distance with his body lying on the ground. It was a practice taken from a
popular Hindu ritual known as <i>parikrama</i>.
In Mathura- Vrindavan area there are certain pathways around the holly hill of <i>Govardhana</i> where people make a
circumambulatory journey measuring the path with bodies. However in a certain
evidence where Taufik was practicing, Rahul Bhattacharya, writer and critic who
developed interest in performative works lately also joined Taufik in the act.
The act of Taufik was a silent and individualistic one. Taufik usually do not
do public events such as: he does not call people to be 'audience', he does not
go for public announcements. Then Rahul told me in a personal conversation
that, "I was trying to experience what Taufik was having during the act.
It could be seen as students of art copying great artists or established works
to learn the process or to get the experience. If in painting or sculpture we
learn from copying, then why not in performance?" </div>
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<span style="font-size: large;">But in performance the method of learning through 'copying' may not
work in the way it worked in other mediumistic practices. The philosophical
traditions may have explored it, the representational arts may have done it. In
music, singers and composers get established by copying the popular and
established traditions. But in performance art, the genre what we know by the
term, stands so isolated from any sort of obligations or boundaries that
'copying' and 'conventionalizing' or 'traditinalizing' were not welcome. At the
same time the practices claimed some novelty or uniqueness, but used some
pre-practiced act-based norms in the past. Thus paradoxically, some elements
remained obvious and predictable even after the radical and extraordinariness.
For example, appearing nude (after Marina Abramović, Vanessa Beecroft Carolee
Schneemann?); making the body of the 'self' vulnerable (after works like
"Rhythm 0" by Abramovic?); cutting cloths on a living body (after
Yoko Ono?); allowing the public to scribble on the body of the performer (after
Piero Manzoni?), stretching the body (after Dennis Oppenheim?), hurting the
body of the self and taking risk (after Chris Burden?), use of vegetables and
food; displaying of private body parts; reading a piece of writing at certain
created circumstance (after Carolee Schneemann?); having costumed visual
imagery and getting photographed in certain locations (after Rebecca Horn?),
frequent re-occurrence of blood, urine and excreta; use of menstrual blood; or
masturbating in performance (after Vito Acconci?) and so on. </span></div>
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Now why did I state that copying might not work good in 'performance
art'? For that we shall come to another blog in coming days.</div>
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In Indian History of Art, learning through copying got a new phenomena
in the Santiniketan school under the guidance of Acharya Nandalal Bose what
Parvez Kabir proposed to say as 'The Nandalal Program'<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a>.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvvoeQ7J6J3o2mlKhN-kjmRZPkpKsRpyPMySvcDlbdD6KD8PTEaFw43lCk8EscqqU52kVUUluqNDojt9PDGngh9SU6C2fGNDPs_MR0YW3YO9A022e56S2gxGB1FodyRsCeto3nNKLMMak/s1600/black+house+1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvvoeQ7J6J3o2mlKhN-kjmRZPkpKsRpyPMySvcDlbdD6KD8PTEaFw43lCk8EscqqU52kVUUluqNDojt9PDGngh9SU6C2fGNDPs_MR0YW3YO9A022e56S2gxGB1FodyRsCeto3nNKLMMak/s1600/black+house+1.JPG" height="195" width="320" /></a></div>
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In his
paper "Copies before Originals: Notes on a few Black House reliefs at
Santiniketan", Kabir examines the strategies and functions behind the
'copy' works inscribed on the surface of the 'Black House' in a nuanced way. He
comes to a conclusion, "The question of essence here, paradoxically then,
is a modernist question all the way. For Nandalal and his people, the Black
house reliefs were not schemas which they turned into appearances. They were
rather the opposite; appearances of life-forms which were abstracted and
synthesized into the universal schemas of form-making. The road of revelation
was from image to form; from object to practice, and not the other way around.
Seen in this light, the reliefs, as copies, indeed appear very modern in
character. They seem to work as facilitators between modernist form-making and
ancient objects of art, and one is even tempted to say that they don’t follow
the originals, but precede them in a way. After all, it is only through their
discursive mediation do we see the originals as formal constructions".<br />
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"Pierre Menard, Author of
the Quixote" (original Spanish title: "Pierre Menard, autor del
Quijote") is a short story written in the form of a review or literary
critical piece about Pierre Menard, a fictional 20th-century French writer by
Argentine writer Jorge Luis Borges. It begins with a brief introduction and a
listing of Menard's work. Borges' "review" describes Menard's efforts
to go beyond a mere "translation" of Don Quixote by immersing himself
so thoroughly in the work as to be able to actually "re-create" it,
line for line, in the original 17th-century Spanish. Thus, Pierre Menard is
often used to raise questions and discussion about the nature of authorship,
appropriation and interpretation.<br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaRk9yrHiP8i3gfFr2ztjun2AfMz0rksrsGoQGcWP-DB-zT7m6VkIqPW8b0IaKzFxiJbFQQ7-U_IqTEKZJsP-FVzGMTyvKIl5sNyfpzK0AQLJQffZfIZjGeEksjFGueitWxcWwJPyOiwk/s1600/jorge-luis-borges-1200837199.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaRk9yrHiP8i3gfFr2ztjun2AfMz0rksrsGoQGcWP-DB-zT7m6VkIqPW8b0IaKzFxiJbFQQ7-U_IqTEKZJsP-FVzGMTyvKIl5sNyfpzK0AQLJQffZfIZjGeEksjFGueitWxcWwJPyOiwk/s1600/jorge-luis-borges-1200837199.jpg" height="320" width="233" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">George Luis Borges</td></tr>
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"Pierre Menard, Author of
the Quixote" is a form of literary criticism but through the medium of
fantasy, irony, and humor. His narrator/reviewer considers Menard's fragmentary
Quixote (which is line-for-line identical to the original) to be much richer in
allusion than Cervantes's "original" work because Menard's must be
considered in light of world events since 1602. </div>
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What happens if a writer
re-writes a work of fiction by another writer 'as-it-is' or 'as-it-was',
without changing anything of it? Is a copy only comprehensible only in the
light of the original? How to read an original, and moreover, is it ever
possible to trace the 'originality' of the original (so called)? <br />
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgHU8srx2wEJCw4myB_dny2QijzLWf7zvG677JQyJRsjQZ3XuVZ5TZhVm6akd5a5Kvl8wpzzZ72U9Do4JPqNmymvkkToT4DF9F1FbjLk6UOnEUoxsNg84viT-CQgRlhah95YcCm9P1ZRU/s1600/05lg.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgHU8srx2wEJCw4myB_dny2QijzLWf7zvG677JQyJRsjQZ3XuVZ5TZhVm6akd5a5Kvl8wpzzZ72U9Do4JPqNmymvkkToT4DF9F1FbjLk6UOnEUoxsNg84viT-CQgRlhah95YcCm9P1ZRU/s1600/05lg.jpg" style="cursor: move;" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px; padding-top: 4px; text-align: center;">'Lady under moonlight' after Raja Ravi verma</td></tr>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGlvBZ0jDZgHc6TnJXit2QzI7sD6RrUufxaBZPX9VBdaA52Tu3VB9R7ivQasP7LXJig7yYFLyytJCLebkejTMnaeuRE7CZ6Ice66IX_lXeuyE0DncPDilla0tVZnV0PkXiKESnNEdtf28/s1600/lady+under+moonlight.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiGlvBZ0jDZgHc6TnJXit2QzI7sD6RrUufxaBZPX9VBdaA52Tu3VB9R7ivQasP7LXJig7yYFLyytJCLebkejTMnaeuRE7CZ6Ice66IX_lXeuyE0DncPDilla0tVZnV0PkXiKESnNEdtf28/s1600/lady+under+moonlight.jpg" height="123" width="320" /></a></div>
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<br />
When Pushpamala N copies Ravi
Verma or Sher-Gil or any other pre-existent 'work of art', though we see it as
a 're-interpretation', though we try to find out some 'subjective' presence of
the 'present' artist, it is true that Pushpamala tries her best to 'justify'
the original remaining 'truthful' as-much-as possible to the 'original'
regarding the composition, colors, lights/lightings, expressions, bodily resemblance
and so on. She never had any deliberate attempt to introduce or implement any
visual element, which could be subjective and contemporary intervention, from
her time. She tried to behave like the women in early twentieth Century woman,
as it were portrayed already out there with much sincerity. <br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlvdFUuhKm1J09EEC_zyXqjihrO86eBaENYvut_mk0Ftu9ZSLEYg6bY7wpAkuJnKricypU3BtnvAqI65kKi25m-3gfMS_WMtXi-KJMQlOFsoO2QHFZk649M6Z-nOn4AW_Djwvn3TIBr0/s1600/10513285_10152587157152498_7576015836417041815_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiDlvdFUuhKm1J09EEC_zyXqjihrO86eBaENYvut_mk0Ftu9ZSLEYg6bY7wpAkuJnKricypU3BtnvAqI65kKi25m-3gfMS_WMtXi-KJMQlOFsoO2QHFZk649M6Z-nOn4AW_Djwvn3TIBr0/s1600/10513285_10152587157152498_7576015836417041815_n.jpg" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: justify;"><span style="font-size: x-small;">The impressions Project (Sunday Afternoon)</span></span></td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzOfpx3KsJry5Z3vOC4AyuZi38m7_HeOelqtgw159GnPYZwQ3lUFmdPn4zU8xVoiuEoAwgwztBAzbbrkYS480s2Barx_VSOwTjGihTa3FcD8iAca7ZxA6SI3is9S0-khX_xQk66jticAY/s1600/1958068_10152325358107498_2003865956_n.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjzOfpx3KsJry5Z3vOC4AyuZi38m7_HeOelqtgw159GnPYZwQ3lUFmdPn4zU8xVoiuEoAwgwztBAzbbrkYS480s2Barx_VSOwTjGihTa3FcD8iAca7ZxA6SI3is9S0-khX_xQk66jticAY/s1600/1958068_10152325358107498_2003865956_n.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-size: small; text-align: justify;">Bringing the River to the Festival</span></td></tr>
</tbody></table>
Noteworthy that in many
contemporary pop-ish art practices it is available to see the contemporary
elements juxtaposed into a pre-given set-up. Most recently critic and writer
terned to performative practitioner Rahul Bhattacharya has been developing a
series of 'copy' or 're-take' works. His 'The impressions Project (Sunday
Afternoon)', a performative video based on Seurat's A Sunday Afternoon on the
Island of La Grande Jatte, tries to resemble the composition of Seurat, but the
elements are taken from the contemporary everyday life of Kolkata<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span></span></a> a city
in Indian state of West Bengal. Earlier
to that, a collaborative single channel video loop 'Bringing the River to the
Festival', with Chinmoyi Patel, 're enacting' 'Luncheon on the Grass' was a
site specific work<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span></span></a>.
It also imitates Édouard Manet only in the composition and the placement of
characters against the backdrop-landscape, but the elements were essentially
from the contemporary Surat (a city in Indian state of Gujarat).</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhII4vTWi2pMzvoRLsWtSj2SzRYb_CB33emZs6hSMA2lchDQjLHKGS4WeMBw2sIHDNnQaZX-NLrMdfBvIYplXzQ45VMiznFmwk6MaCGtflbSRFdVPU3wlTnEaJX2TOLxcBJefGt6KEZZUg/s1600/ba3bf00e.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhII4vTWi2pMzvoRLsWtSj2SzRYb_CB33emZs6hSMA2lchDQjLHKGS4WeMBw2sIHDNnQaZX-NLrMdfBvIYplXzQ45VMiznFmwk6MaCGtflbSRFdVPU3wlTnEaJX2TOLxcBJefGt6KEZZUg/s1600/ba3bf00e.jpg" height="320" width="257" /></a></div>
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"Reproducing
an image is of course not only a question of re-presenting it physically",
as Susie Tharu says in the 'Philosophy of Copy' section in her piece "This
is not an inventory: Norm and performance in everyday femininity". Tharu
says, " A major proposal made here is that far from being the derivative
and mindless job that it is usually made out to be, copying or reproduction
throws up unprecedented material and conceptual challenges."<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span></span></a></div>
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"... When
the artists cite/perform a film still or an ethnographic record, they are
citing the composition as well as its histories—as a whole as well as in parts.
There is no guarantee that whole and part, or different parts, will travel
together, or at the same pace, into the present day performance. In fact the
only guarantee is the opposite: that however stern and demanding the copy, like
the famous stick in the river, the image is necessarily changed in/by the
citation."<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></a></div>
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<br /></div>
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"While
the formal task that is addressed here is imitation/reproduction, the success
of'Native Women is in the attention it focuses on the terrain of difference. </div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1yUAltumhu5UKVuitmXaEmYZdI0nJJTZjuf_fRXvSBZIbVeZRl1o0C089jdfi6yLXZCzswCOHqDlVW5n-tmjXldkpq_Eu5dsAYS8rEvAU8Q6ebhvUfdoVhEPAoGv0keaQcR0b53GR9qQ/s1600/pushpamala-n-1360582364_b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1yUAltumhu5UKVuitmXaEmYZdI0nJJTZjuf_fRXvSBZIbVeZRl1o0C089jdfi6yLXZCzswCOHqDlVW5n-tmjXldkpq_Eu5dsAYS8rEvAU8Q6ebhvUfdoVhEPAoGv0keaQcR0b53GR9qQ/s1600/pushpamala-n-1360582364_b.jpg" height="320" width="257" /></a></div>
<br /></div>
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Pushpamala
herself draws our attention to this play of difference, even in the restrained
citations that comprise the Native Types, using her
larger-than-normal-Indian-woman body size as example of the </div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
impossibility
of the perfect copy and the possibilities opened up in that impossibility. Is
it her body that is ill proportioned (a quintessentially contemporary response
to the mirror image, the response perhaps that drives fashion, consumption and
capital globally)? Or does the lack of fit open out onto time itself </div>
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and change,
the tenuous materiality of the image, dependent on citation for its life. Does
it point to the everyday labor of history that is the human predicament, to the
sustaining presence of community and pull of virtue, to the logic of power that
must wrestle continuously with the possibility of revolution, and the converse,
the possibility of revolution if we are able to continuously wrestle with the
logic of power? Is the force of agency to be understood, not as a voluntarist
act, but in the possibilities offered by such citational practice? </div>
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The contrast
between the dynamic of citation, reiteration, recreation, that is being
explored here, and the questions raised by the aesthetic of
expression/creation, is evident. The idea of the copy shifts the focus of
interest from nature/ reality and creation (physical nature; the aesthetic
impulse) to culture—an inheritance of shared meanings, their histories and
politics. The questions that arise in this domain are of symbolic
intelligibility, communication, dialogue, translation, travel. Attention shifts
from reality to the image, to the virtual form of the real, to political
histories of image making, the logic of image formation, dissemination, travel;
from identity to the practices of identification and regulation, their role in
the configuration and maintenance of power/domination; from a notion of
performance as agentive, or as a never adequate representation of an ideal
script, to the sense of performance as originary, and to the constituting and
de-constituting possibilities of citation. The focus now is less on the
image-objects themselves, and more on the process of their making, their
formation and institutional location, </div>
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their
relations with other images."<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></a><br />
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span></span></span></a></div>
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The
mediumistic shift that Pushpamala explored was doubly troubled and risk taking.
Unlike other copy or re-creation works it did not undergo the troubles of one
another medium troubles. It is not that she simply turned a oil painting to an
photograph, or a moving picture into a stilled one. <span style="font-size: large;">To encapture a lady from
Raja Ravi Verma's oil or oleograph in a photographic medium, she had to enact
it first under certain spatial artifice. The drapery, the chiaroscuro, the
grounding of objects - all material elements had to be placed in real three
dimensional space before capturing and printing on a two dimensional surface.
Thus the labor of the recreation had undergone pains of realizing and exploring
material qualities at multiple levels. This labor and pain remained the most
essential aspects that the performance practitioners and actors loved to endure
ever in the history.</span><br />
<span style="font-size: large;"><br /></span>
[to be continued...]</div>
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<br /></div>
<div>
<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoFootnoteText">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a>
Parvez Kabir, "Copies before Originals: Notes on a few Black House reliefs
at Santiniketan". </div>
<div class="MsoFootnoteText">
<br /></div>
<div class="MsoFootnoteText">
<br /></div>
</div>
<div id="ftn2">
<div class="MsoNormal" style="text-align: justify;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></a> Screened
at Studio 21, Kolkata on 30th June, 2014, 'The impressions Project (Sunday
Afternoon)', a performative video based on Seurat's A Sunday Afternoon on the
Island of La Grande Jatte. </div>
<div class="MsoFootnoteText">
<br /></div>
</div>
<div id="ftn3">
<div class="MsoFootnoteText">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a>
Done for "Scapes : City / Land" , taking place as a part of Tapi
Utsav</div>
</div>
<div id="ftn4">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a> Susie
Tharu, "This is not an inventory: Norm and performance in everyday
femininity", Native women of South India : manners and customs/
Pushpamala, N; Clare Arni; Bangalore: Indian Foundation for The Arts, 2004. </div>
<div class="MsoFootnoteText">
<br /></div>
</div>
<div id="ftn5">
<div class="MsoFootnoteText">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></a>
Susie Tharu, "This is not an inventory: Norm and performance in everyday
femininity", Native women of South India : manners and customs/ Pushpamala,
N; Clare Arni; Bangalore: Indian Foundation for The Arts, 2004.</div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Persistence%20of%20memory%20IV_%20the%20prefix%20re.doc#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></a>
Susie Tharu, "This is not an inventory: Norm and performance in everyday
femininity", Native women of South India : manners and customs/
Pushpamala, N; Clare Arni; Bangalore: Indian Foundation for The Arts, 2004.</div>
<div class="MsoFootnoteText">
<br /></div>
</div>
</div>
</div>
Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com1tag:blogger.com,1999:blog-6830803085505593877.post-82553663408897652492014-07-14T04:45:00.003-07:002014-07-14T04:45:43.836-07:00Persistence of Memory III: The repertoire of Pushpamala N<div dir="ltr" style="text-align: left;" trbidi="on">
<h3 style="margin-bottom: 0.0001pt; text-align: left;">
A generic overview: Random Thoughts</h3>
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<br /></div>
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Human face
and Human body is the most expressive element for a human onlooker, where as in
other natural elements also we relate to things with regard to human anatomical
expressions. We see the face of a mother or the beloved in the moon, we see the
curves of a reclining human body on the contours of mountains.</div>
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<br /></div>
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In the
history of visual representations human face (i.e. portraits) and human figures
remained so central so long and it will remain so in the future. Though there
was a certain period marked in the history for the rise of 'humanism', the
humanistic depiction and humanistic perception was already out there across the
visual understandings. Human body remained the microcosm for all, either in
conscience or in subconscious mind. </div>
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<o:p><br /></o:p></div>
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When
photography and camera introduced to human, it again focused on portraits and
capturing the human body essentially. For the computer screen, for any sort of
image-editing platform there are two modes: portrait- that is vertical and
Landscape, meaning something horizontal. When the digital takes over the
analogs: you point a digital camera in any direction, it will search for the
human face and the display screen or monitor will identify the faces with
square boxes. The system is in Facebook and other online forums also where the
human face is quickly found out automatically to tag or to name or to identify.</div>
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<br /></div>
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All these
features have something to do with voyeurism and scopophilia: wherever the
human body and the matter of looking and gazing are concerned. </div>
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<br /></div>
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When
photography introduced into the art world, the creator photographer remained
the artist just like the painter who paints, the sculptor who sculpts. The
subject matter, particularly in photography, is always given, found material.
It happened because the art of photography was ever considered as a medium of
documentation rather than a creation. Though in the history of painting also,
we remembered the artists but never asked about the models who posed for it.</div>
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Now, we shall talk about the aspects around
photographic capturing and turning live into a framed visual, shifting the
focus from the shooter-as-artist. the history of the shooter and the history of
the objects shooted share the same historical timeline. If there were capturer
who wanted to capture a portrait, there must be a subject who wanted to be
captured.<o:p></o:p></div>
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Now the
psychology of the objects of capturing, shooting, framing has multiple
interesting facets to observe. The camera made everyone narcissist: the ones who
love to be photographed, and the ones as well who hides face as soon as notices
a camera around. Perhaps never in the history before the camera's intervene,
human felt the stage-fright and subjective conscience. The camera started
making an ordinary person: subject, actor, object, focal point. Then starts the
self-consciousness regarding the representation of the self. A small piece of
represented visual, i.e. a photograph, taken as something beyond the everyday
ordinariness, as it turned to be a magic-box for recollection of memories in
the future, and at present, a hive of possibilities in coming future. Thus it
turned to be 'larger than life'. Ambiguities and fear started here: what if I'm
represented wrongly! A sort of stage fright! Then starts some common
adaptations of posing in front of the camera. </div>
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Performance
art, across the globe, has at least one thing in common, that is making the
body of the subject central and transcending the bodily presence into something
else from what is it. So it is not difficult to understand the insisting
energies behind a "costumed" performance art. And then 'posing for
camera' entered into 'performance art'. And then posing for camera, with
costumes, with crafted mise-en-scene got a different history.</div>
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<span style="text-align: left;"><span style="font-size: large;">The repertoire of Pushpamala N</span></span></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEgIu6_C9csfLBN_8NIimERP6k5tBHbs_33s7YZePV6ICyfEeD4B-Gr-fQdlnXIRLqyctMQ3-TwRC-UtAVZjiBgqlPEiswaq2OmnbVZ37DL5eQWdGmE8emQoVxti0aeGXtTD7o8Ck0ykk/s1600/f72-l.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgEgIu6_C9csfLBN_8NIimERP6k5tBHbs_33s7YZePV6ICyfEeD4B-Gr-fQdlnXIRLqyctMQ3-TwRC-UtAVZjiBgqlPEiswaq2OmnbVZ37DL5eQWdGmE8emQoVxti0aeGXtTD7o8Ck0ykk/s1600/f72-l.jpg" height="213" width="320" /></a></div>
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<span style="font-size: large;">Pushpamala
N, with her splendid repertoire stands pioneer and limelighter in performance
photography in India. Recreation of popular cinematic sensibilities, re-taking
of mythological characters that kept overwhelming the society for ages, re-presenting
the representations of women in representational visual art tradition in India
and along with many other vigorous and vivid energy Pushpamala N stands forth. </span></div>
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She was the
first as she herself claims in the interview "Beyond the Self":
"It was a turning point I think, for my work as well for Indian Art
because nobody had done conceptual photography before..."</div>
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<span style="font-size: large;">The
achievement of Pushpamala is multifaceted. Firstly her works took the tradition
of 'copy' and 're-takes' to a completely different level which was never
imagined before. secondly, the focus on visual sensibility and mise-en-scene
kept her outstanding within the realms of visual arts and performance arts. Her
works remained highly conceptual without being abstract but figurative. I think
serious art practice is necessary to human life and expression. In her voice:
"My work is very conceptual, but I don't want it to be dry<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: Calibri, sans-serif; line-height: 115%;">[1]</span></span><!--[endif]--></span></a>". Forms,
colors and other representational elements in her works are so affluent that even if she was not the first one to do this
(if some debatable argument occurs somewhere), still she holds the ability to
stand as a milestone in the genre. Thirdly,
the balanced understanding of the mediums like film, photography, sculpture and
painting, along with the balanced appropriation of political contexts made her
works ever comprehensive. Her takes on mythology and representation of women
have feminist connotations, but they are not overtly feminist. Yet they are
much more stronger to make the viewer to think about certain issues- than many
feminist works of her contemporary times.
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<span style="text-align: justify;">The early phase of the photo performances of Pushpamala had some
concerns with 'Documentation'. Realised through a two-year India Foundation for
the Arts (IFA) grant, their unusual concept is explained thus:
"Pushpamala, South Indian artist, and Clare Arni, British photographer who
has lived most of her life in South India — one black, one white — play the
protagonists in a project exploring the history of photography as a tool of
ethnographic documentation. Playing with the notions of subject and object, the
photographer and the photographed, white and black, real and fake, the baroque
excess of the images subvert and overturn each other</span><a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftn2" name="_ftnref2" style="text-align: justify;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span></span></a><span style="text-align: justify;">."</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOtKr3uhzLCDdAfpKhYflliSmyoA-71Ah1-6fyfhyphenhyphenUPqpGdZOIMAkdRy-SfoE3GD7K0LbMFZFIsS7uc_3unANChl8O1-JRb033NNBrbrdzIWw2Aw1uiXijGWVyHBoOFnIFavcdt38K1zY/s1600/Pushpamala_The-Popular-Series-Toda_-2000-04_H-26.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOtKr3uhzLCDdAfpKhYflliSmyoA-71Ah1-6fyfhyphenhyphenUPqpGdZOIMAkdRy-SfoE3GD7K0LbMFZFIsS7uc_3unANChl8O1-JRb033NNBrbrdzIWw2Aw1uiXijGWVyHBoOFnIFavcdt38K1zY/s1600/Pushpamala_The-Popular-Series-Toda_-2000-04_H-26.jpg" height="224" width="320" /></a></div>
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Thus the representation here started with the concern of documenting. In Susie Tharu's words: "It
soon becomes evident that what has hitherto been described and celebrated as
creation/revelation/fact/truth may itself today be more usefully read as
citation, reiteration, intertextuality. Key questions would be: How and to what
effect is the "Toda" "woman" cited in colonial ethnography?
What are the processes that are formative of the "empirical" facts of
tribal life, or in another instance, the physiognomy of the criminal body? How
is the Lakshmi figure and her double, the knife-wielding dominatrix, cited in a
modern, nationalist cosmology? How does the dancing dervish of popular south
Indian Islam fit into these schemes?"<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a></div>
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Profile </h3>
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Pushpamala N. was born in 1956 in Bangalore. Her early training was in
sculpture, but as her practice progressed she brought an early enthusiasm for
narrative figuration into her photographic work. Pushpamala’s photographic
works are usually created as series, some the artist refers to as projects,
others as ‘photo-romances’. Pushpamala uses her own body to perform different
roles in these series, which draw from the imagery of popular culture,
mythology and historical references from India and elsewhere, using humour, wit
and a sharp critical gaze to look at contemporary society. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGxBWmmeuHqlV-EJ3xHzE-9HVT0ZxwB6rkTheGGL34ZyYbdsEH-lmT97vddvaupcISJda7MwtUxLLRjn8rckaIb-ELjYGNbL9w_Mvv3aMVvt7GGYGAOOrjJ06RT-bs7vZtkSrm1lVcIHs/s1600/05lg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGxBWmmeuHqlV-EJ3xHzE-9HVT0ZxwB6rkTheGGL34ZyYbdsEH-lmT97vddvaupcISJda7MwtUxLLRjn8rckaIb-ELjYGNbL9w_Mvv3aMVvt7GGYGAOOrjJ06RT-bs7vZtkSrm1lVcIHs/s1600/05lg.jpg" /></a></div>
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Pushpamala’s performative photography and videos sometimes function as
a kind of installation, where the exhibit may resemble a film or theatre museum
or even a movie theatre. She conceives, researches, scripts and designs the
mise-en-scenes, working with photographers or photo studios to produce the work
where her friends may play supporting roles, or offer their places as
locations, which also function as hidden ‘jokes’. She has also made experimental short films
that play with film genres. Pushpamala has exhibited internationally and her
work is held in many major institutional and private collections. She lives and
works in Bangalore and New Delhi, India<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a>. </div>
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"... In Pushpamala, the photographic medium creates
a similar sense of estrangement from both the self and the cultural mythology
it embodies. While the artist’s self becomes distributed and re-assembled as
myth, the camera breaks the mythic surface into an uncanny array of competing
references. At the same time, the carefully staged images insist on their
indexicality: the heft and weight of the body, the facial contortions, the
crumpled garments, the stilled mist were all present before the lens. The photograph’s
capacity to reveal what Walter Benjamin calls the ‘optical unconscious’ of the
visible world produces in the body a new effect, that of mutability<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></a>. It is
only when the indexical image of such a body looks back from that virtual
point, as Foucault has it<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></a>, that it
reinscribes a sense of self in both the artist and the viewer"<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[7]</span></span><!--[endif]--></span></a>.</div>
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In an interview with Aditi De<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[8]</span></span><!--[endif]--></span></a>
Pushpamala says, "I've been doing performance photography, instead of
sculpture, since the 1997 Phantom Lady series, which Clare saw in the United
Kingdom. As a photojournalist, she's interested in images of South Indian
women. That captured my imagination. We decided to collaborate and applied for
an IFA grant for our ambitious work, a departure from the performative
photo-romances or studio portraiture I'd earlier directed".</div>
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In the interview it was continued: "In my earlier performance
photographs, a mise en scene was set up. Other characters and I posed, while a
still photograph was taken. Both Clare and I were interested in the tableaux form.
We decided to recreate representations from different media — paintings,
newspaper photographs, historical photography, advertisements, film stills,
including goddesses, mythological characters and criminals. Clare insisted that
each shoot should differ in terms of image, set, lighting, costume, even
character. Of course, the 1960s Jayalalithaa picture (in Zorro-style action
gear) from the India Today cover connects directly with the Phantom Lady.
Choosing the painterly Ravi Varma woman with the pot suited us fine because I
was working with hoarding painters for the backdrops, and he's been so
influential in forming the image of the Indian woman."</div>
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<o:p> </o:p> </div>
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<!--[if !supportFootnotes]-->[to be continued...]<br clear="all" />
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a>
Interview with Adity De</div>
</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></a>
http://www.thehindu.com/thehindu/mag/2004/03/28/stories/2004032800400800.htm</div>
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<div id="ftn3">
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a> Susie
Tharu, "This is not an inventory: Norm and performance in everyday
femininity", Native women of South India : manners and customs/
Pushpamala, N; Clare Arni; Bangalore: Indian Foundation for The Arts, 2004. </div>
<div class="MsoFootnoteText">
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</div>
<div id="ftn4">
<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a> http://www.portrait.gov.au/site/exhibition_subsite_beyondtheself_artist.php?artistID=15</div>
</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt; line-height: 115%;"> Walter Benjamin, ‘A small history of
photography’, in One way street and other writings, translated by Edmund
Jephcott and Kingsley Shorter, London and New York: Verso, 1997, pp. 242–43.<o:p></o:p></span></div>
</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></a> Michel
Foucault and Jay Miskowiec, ‘Of other spaces’, Diacritics, vol. 16, no. 1,
Spring 1986, p. 24.</div>
</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[7]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt; line-height: 115%;"> Ajay Sinha, Professor of Art History
and Film Studies, Mount Holyoke College, United States,
http://www.portrait.gov.au/site/exhibition_subsite_beyondtheself_artist.php?artistID=15<o:p></o:p></span></div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Pushpa.doc#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[8]</span></span><!--[endif]--></span></a> see
link:
http://www.thehindu.com/thehindu/mag/2004/03/28/stories/2004032800400800.htm</div>
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Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com1tag:blogger.com,1999:blog-6830803085505593877.post-5021099114394357742014-07-12T13:55:00.001-07:002014-07-12T14:05:33.254-07:00Persistence of memory II: 'Live' and its other: the alter-live<div dir="ltr" style="text-align: left;" trbidi="on">
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[The writing is a part of "<b>Persistence of memory: Methods and Perceptions in “Documentation”- </b><b>Sustainability of the ephemeral</b>" by Samudra Kajal Saikia]</div>
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<i><span style="background: white; font-size: 10.0pt; line-height: 115%; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">From the very early stage
when I started doing performance art in the '70s, the general attitude - not
just me, but also my colleagues - was that there should not be any
documentation, that the performance itself is artwork and there should be no
documentation.<o:p></o:p></span></i></div>
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<span style="background: white; font-size: 10.0pt; line-height: 115%; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;">-Marina Abramovic<o:p></o:p></span></div>
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<i><span style="font-size: 10.0pt; line-height: 115%;">Documentation has
continued to be an issue that plagues live art and ever since Peggy Phelan
declared it a ‘betrayal’ of liveness it has been much debated academically if
documentation can ever be representational.</span></i><i><span style="background: white; font-size: 10.0pt; line-height: 115%; mso-bidi-font-family: Arial; mso-bidi-font-weight: bold;"> <o:p></o:p></span></i></div>
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<span style="font-size: 10.0pt; line-height: 115%;">Allan Taylor<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a><o:p></o:p></span></div>
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<span style="background: white; mso-bidi-font-family: Arial;">Let us
proceed with views of two contemporary practitioners living in Delhi, Inder
Salim, the artist-became-institute for contemporary performance dialogues in
the city and Amitesh Grover, Assistant Professor of National School of Drama
and a practitioner of performer along with technological interfaces. It was </span><span style="background: white; mso-bidi-font-family: Calibri;">strongly put forward by
Inder Salim that, a performance is a performance and a video is a video. Both
are two distinguished mediums. Not even in ignorance they could be replaced in
place of the other.<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="background-attachment: initial; background-clip: initial; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial; font-family: Calibri, sans-serif; font-size: 11pt; line-height: 115%;">[2]</span></span><!--[endif]--></span></a>
<o:p></o:p></span></div>
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<span style="background: white; mso-bidi-font-family: Calibri;">"</span><span style="color: #141823; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">Are we still thinking of documented images of Performance pieces
as authentic representations? I guess, video is video and performance is
performance, both are autonomous in their respective domains. We can indeed
randomly mix anything, but not at the cost of innocence." <o:p></o:p></span></div>
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<span style="color: #141823; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">Then we come to Amitesh Grover another performance
artist who argues for a parallel sense of "reality" set across by the
digital world in contemporary times, which might alter the notion of "live"
or "live-ness" that we have been perceived so far. <o:p></o:p></span></div>
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<span style="color: #141823; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">"The phenomenology of body has gone through a significant
change. Technology has come and completely displaced the sense of 'live'ness
for us. And this divorce in spatial dynamics has completely changed the way we
look at the live body. This kind of a live-ness is asking us why it is
important to be physically present and be live. Why is it still important to do
a performance where the performer is physically present."<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="color: #141823; font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-language: AR-SA; mso-fareast-font-family: "Times New Roman"; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a> <span style="background: yellow; mso-highlight: yellow;"><o:p></o:p></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqmrfb895m6ZMfORjDERUH3LqhKxtDv2QnjWVZkhYH04LHAesVBSPOaPKNnuKQdkLQVjmqp4Vqnn8LjFymIcAufYKtLJWkeMdX968hEJhlCdj8a044b3S-U0E4Mx83aqVphOJjJVCnpmA/s1600/IMG_3479-small.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiqmrfb895m6ZMfORjDERUH3LqhKxtDv2QnjWVZkhYH04LHAesVBSPOaPKNnuKQdkLQVjmqp4Vqnn8LjFymIcAufYKtLJWkeMdX968hEJhlCdj8a044b3S-U0E4Mx83aqVphOJjJVCnpmA/s1600/IMG_3479-small.JPG" height="213" width="320" /></a></div>
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<span style="color: #141823; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">With Grover's views of the new 'live'ness, we shall see
the analysis of Sarah </span>Bay-Cheng, in her "Theatre Squared: Theatre
History in the Age of Media", <span style="color: #141823; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";">where she says about the new
"geography", "With the affordability and flexibility of digital
recording devices and ease of distribution (e.g., web sites like YouTube and
MySpace), moving images are rapidly becoming the primary currency for artistic
exchange."<o:p></o:p></span></div>
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Allan Taylor
deals with the same problem, "As we move further and further in the
digital age, the issue of documentation has become a more prevalent and
practical issue. With the ability to capture work on photo and film at cheaper
and easier levels than in the 1990s and with the introduction of social media
like YouTube, Twitter and Flickr, performance artists are expected to have a
wealth of ‘proof’ that their work has existed before approaching a producer or
potential funding partners. Applications from artists who choose not to
document is often seen as low priority and occasionally discarded completely.
This shift in the applications of documentation means that we must also be
forward thinking in how we utilize it"<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a>.<span style="color: #141823; mso-bidi-font-family: Calibri; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<span style="text-align: left;">Rebecca
Schneider deals with similar anxiety in her "Cut, Click, Shudder: The
‘Document Performance’: “… recently, I have been engaged in trying to </span><i style="text-align: left;">unthink</i><span style="text-align: left;"> </span><span style="text-align: left;">some of our long-sedimented distinctions
between medial forms (such as between performance and photography) as I have
been suspect of the category of the ‘live’, to the degree that it pretends to
delimit a present moment to instantaneity. I have been also been suspect of the
habit of the category of the ‘live’ to reify a supposed antithesis: very often
posited as the object, the remains, the trace, or death"</span><a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftn5" name="_ftnref5" style="text-align: left;" title=""><span class="MsoFootnoteReference"><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span></span></a><span style="text-align: left;">.</span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9b2w63YKpgx7pMYIWS4qtFjTxNvprBZc14szSjVdPSel45k3FSXs7RkhfTz58kSD3U9zGJ_nhvt2CtwtEojTwHOZddMgxVLrSuje8NPYQ5eIc7QhUqkclYSY0CkhXZmSg7vwluI3qL4k/s1600/41231_395175492167_1375441_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh9b2w63YKpgx7pMYIWS4qtFjTxNvprBZc14szSjVdPSel45k3FSXs7RkhfTz58kSD3U9zGJ_nhvt2CtwtEojTwHOZddMgxVLrSuje8NPYQ5eIc7QhUqkclYSY0CkhXZmSg7vwluI3qL4k/s1600/41231_395175492167_1375441_n.jpg" height="240" width="320" /></a><br />
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Among the
diversified attempts within the art practices it is established that the
technological devices: camera, internet, computer, graphics-tablet and so on,
have not remained mere tools of 'capturing' for re-visionary looks. But at the
same time, by large those are tools for documentations as well.
"Supposedly, a photograph is always already a record, as it appears to
survive something that can be called the ‘live’ event- standing in as a trace
or document of something that ‘was there’ (as Barthes would have it) but ‘is’
no longer. Does this way of thinking about photography limit our access to a
photograph as event- as a performance of duration- taking place ‘live’ in an
ongoing scene of circulation, re-circulation, encounter, re-encounter, and
collaborative exchange with viewers, reviewers, reenactors, re-performers,
re-photographers?”<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></a>
Now the slippery surface occurs where a documentation tends to become an
artwork, and a work holds the sensibilities of a documentation. The threat in
front of the conventional understanding of the 'live' is much more severe
today. </div>
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"In
1964, Canadian pianist Glenn Gould quit live performance in favor of perfecting
recordings of his performances. In an essay published two years later, “The
Prospects of Recording” (1966), Gould explained his decision by predicting that
in the next century, the live concert would reach “extinction.” Citing the
example of Gould, Sarah Bay-Cheng points, "The end of the live concert may
never come, but Gould’s comments are eerily prescient of contemporary
performance and its reliance on recording technology: first film, then video,
and, more recently, digital recording. Much attention has been paid to the
impact of these technologies on live theatre production and reception, but
little criticism to date has considered the impact of recording technology on
theatre history, on the archive in the making. And yet, moving images on
screens have become a dominant, arguably the dominant, mode of viewing
throughout our increasingly mediatized culture. From portable DVD players to
video iPods to cellular phones, modern culture communicates onscreen..."<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftn7" name="_ftnref7" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[7]</span></span><!--[endif]--></span></a>. </div>
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The
crossover of work-to-document and document-to-work, and the circumstantially
increased spectatorship of the media-governed 'double' of the work becomes
problematic for the practitioners besides of the immense possibilities brought
by the same. " Amid the usual hand-wringing over aging subscribers and the
loss of young audiences to mass screen entertainment, live theatre is now
threatened by its own media double"<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftn8" name="_ftnref8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[8]</span></span><!--[endif]--></span></a>. </div>
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<o:p> </o:p><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8LIIEUv0M1lMUkQ_gQxD6auAyoP0MfoS0KkLN3tLQK8wF4g8oOGXKKze6sxdg9okh5LxSLzV6PmZD7EAbJo6Luswuty1vaGuFty5IWakg8GHLu1aYDSgHDxq7FR6eCJMLIXTkGI15j2E/s1600/vlcsnap-2014-04-15-08h35m18s62.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi8LIIEUv0M1lMUkQ_gQxD6auAyoP0MfoS0KkLN3tLQK8wF4g8oOGXKKze6sxdg9okh5LxSLzV6PmZD7EAbJo6Luswuty1vaGuFty5IWakg8GHLu1aYDSgHDxq7FR6eCJMLIXTkGI15j2E/s1600/vlcsnap-2014-04-15-08h35m18s62.png" height="180" width="320" /></a></div>
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on the documentary as documentary segment Inder Salim put forward his
articulation to this author in a personal mail<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftn9" name="_ftnref9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[9]</span></span><!--[endif]--></span></a>: "Beyond the known
purpose and meaning of term, 'documentation', if we attempt to understand it a
little deeply, we may first know what is Ontology. "In philosophy,
Ontology is study of what exists in general, and how things are related to each
other. Are physical things more real than immaterial things, are physical
objects like shoes more real than walking, and what is the relationship between
shoes and walking. Yes, Ontological Materialism tells us how material of a thing
is more real than mental perception of it, but ‘ontological idealism’ suggests
that reality is a construct of human mind and consciousness than the material
which apparently holds it ".</div>
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Inder continues, "Well, this way we may say that
documentation is something which walks all along with the action(s) that occur
in 'the present' of a performance art piece. We are free to filter out what
looks like archival material later and what we remember as pure action. Something
was indeed destined to face evaporation
of sorts and something certainly accumulates
into our bones. We are residues of our own behavior and thought
processes at every moment of time. As performance artists, we have perhaps chosen to accept the fact that documentation tool , say a camera enters the
performance site and plays its roles like another spectator, active in its own
singular way. We do meet images later the way we meet the people who happened
to be part of that moment of Harkat/performance."</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPhd4x3I-35JZgXPUfw6uBuO6NroOtkTb4qZy-4mHtjqyNSo8LC-YZ6eN1T9cc5v2DV0a1KEmOcTAg3kjBVERVt8JBOn9lB4K9wS3L6vz6jFzSZcZoWfIslP_HYOywNo44z9Yy0kIWzls/s1600/vlcsnap-2014-05-29-13h01m29s37.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPhd4x3I-35JZgXPUfw6uBuO6NroOtkTb4qZy-4mHtjqyNSo8LC-YZ6eN1T9cc5v2DV0a1KEmOcTAg3kjBVERVt8JBOn9lB4K9wS3L6vz6jFzSZcZoWfIslP_HYOywNo44z9Yy0kIWzls/s1600/vlcsnap-2014-05-29-13h01m29s37.png" height="180" width="320" /></a></div>
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"Perhaps, time has come when we nit-and-rip all these terms and
categories with some love and rebel, to discover ourselves upon some imagined
carpet for a new flight. I don’t see documentation of a performance extraneous
to what is happening elsewhere. A camera is finally a tool to think body and
myriad subjects that surround it all the time. And above all, the body too is
finally a line-work between many constructs and materials that exists
effortlessly within the spinning realms of realities and fictions around it.
Likewise, we do occupy a space at a given point of time, and that time, that
time when we begin to notice the elements that go into the making of that
particular present, we automatically cross from one category to another through
a given porosity of walls between this and that. Different thinkers around this
subject have much lucidly explained the
exiting ‘order of things’ in a very beautiful and expressive language, and we
feel connected to their thoughts because the fluidity of thoughts never ceases
to flow, therefore, this present , river like."</div>
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So it is to be realized that when someone promotes the 'live' against
the 're-takes' or post-live 'documents', it is not that the post-live life is
ignored or opposed. By practice Inder Salim tries to keep himself much closer to the liveness of performance as body-art: by
keeping the stretched body as a measure of work, by sustaining the "nudity"
a device of protocol, reinstating the vulnerability of the socially and
culturally inscribed body, and at the end of all, putting much attention into
the act and the dialogue instead of the mise-en-scene (in its regular sense). </div>
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"His name is itself intended to provoke and reconcile: he changed
it from Inder Tikku to Inder Salim<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftn10" name="_ftnref10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[10]</span></span><!--[endif]--></span></a>" and here raises a
different mode of documented "live" which seeks severe attention. </div>
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At the same
time there is a considerable amount of efforts seen in the country where
artists are engaged into the scopophilia, the media-intervened 'live', and "document-turned-into
origin" sort of practices. <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic_kpV6XbyNe7eGKf3Jvb_1z_8FT8KdjFIk6wWRj2OHhN7l_Hiwg2eUO3b9A9tOkA7d15iYgP9BX4WAqm60i49vXsut68l7pWJ_e9gaiiaMwnmTChlZdEn4bNfkGmwpQv8Q2ljoL6_abQ/s1600/05.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEic_kpV6XbyNe7eGKf3Jvb_1z_8FT8KdjFIk6wWRj2OHhN7l_Hiwg2eUO3b9A9tOkA7d15iYgP9BX4WAqm60i49vXsut68l7pWJ_e9gaiiaMwnmTChlZdEn4bNfkGmwpQv8Q2ljoL6_abQ/s1600/05.jpg" height="176" width="320" /></a></div>
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[to be continued in upcoming updates...]<br />
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a> Allan Taylor, "Documentation
of (Mis)Representation: Towards An Archival Future of the Performative
Photograph"</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt; line-height: 115%;"> following a debate on the post-event
discussions through Facebook after the event "36 Hours". "</span><span style="color: #141823; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman";">Besides my little act on Modi Mask, Suhail ( if i remember the
name correctly ) did a wonderful poetic performance. He said, “ I reveal, I
take it back, I reveal , I take it back” He revealed his body in parts. It was
precise and genuinely poetic indeed, The organizer wanted to project the video
of it and have a discussion. Now, if it was not sufficient , how will the video
of it would be? Are we still thinking of documented images of Performance
pieces as authentic representations? I guess, video is video and performance is
performance, both are autonomous in their respective domains. We can indeed
randomly mix anything, but not at the cost of innocence." Inder Salim,
36hours, June 15 at 1:08PM.</span><span style="color: #9197a3; font-family: "Helvetica","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-bidi-font-family: Helvetica; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a>
Amitesh Grover as told to the author, inserted in the teaser on
"Understanding Performance", May, 2014, NSD Campus. </div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a> Allan Taylor, "Documentation
of (Mis)Representation: Towards An Archival Future of the Performative
Photograph"</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></a>
Rebecca Schneider deals with similar anxiety in her "Cut, Click, Shudder:
The ‘Document Performance’</div>
</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></a>
Rebecca, continues: “… Why can a performance not take place as a photograph? We
are habituated, for example, to thinking of the ‘present’ as singular,
unfolding a linear temporality that is, to my mind, problematic. Given my
trouble with linear time, I have been very interested in the fact that
theatricality demands a simultaneity of temporal registers – the always at least ‘double’ aspect of the theatrical,
about which Gertrude Stein remarked that the “endless trouble” of theatre is
its syncopated time. To this end I have been looking for what Homi K. Bhabha
has termed “temporal lag”, and which Elizabeth Freeman has spun to “temporal
drag”. These tropes have lately afforded me a productive set of tools to apply
to the effort to articulate the longstanding <i>interinanimation</i> of live
media (such as performance) with media of capture, or media-resulting documents
or objects or images (such as photography).</div>
</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[7]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt; line-height: 115%;"> Bay-Cheng, Sarah, "Theatre
Squared: Theatre History in the Age of Media", Theatre Topics, Volume 17,
Number 1, March 2007, pp. 37-50 (Article)Published by The Johns Hopkins
University Press, DOI: 10.1353/tt.2007.0001<o:p></o:p></span></div>
</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftnref8" name="_ftn8" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[8]</span></span><!--[endif]--></span></a> Ibid</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[9]</span></span><!--[endif]--></span></a>
Through a dialogue in gmail: <span class="gi"><span style="color: #222222; font-family: "Arial","sans-serif"; font-size: 8.0pt; line-height: 115%;">Thurseday, April
17, 2014 at 9:36 PM</span></span></div>
</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Pillar_Documentation/Live%20and%20its%20other_%20alter-live.doc#_ftnref10" name="_ftn10" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[10]</span></span><!--[endif]--></span></a>
GEETA KAPUR ( from 'The Art Cities of the Future' , 2Ist Century Avant Gardes.
PHAIDON )</div>
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Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com0tag:blogger.com,1999:blog-6830803085505593877.post-35100891231127422722014-07-12T01:01:00.002-07:002014-07-14T04:47:21.573-07:00Persistence of Memory I: Portrait of an artist as a young man: Multiplied Vantage Points and "Bourgeois Family: Mirror Frieze, 2001"<div dir="ltr" style="text-align: left;" trbidi="on">
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[The writing is a part of "Persistence of memory: Methods and
Perceptions in “Documentation”- Sustainability of the ephemeral" by
Samudra Kajal Saikia]</div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8U93Ldi2aPkSKrzLbYir82it9KF6rOVipYwAH6S-E5eLD91p37cuLz91SZTzH3feoyc32_YexcYRHp9nNMk5PyVZ7dOPPY9paQggZG0NUqETnQgkBjz9pCc7N59ygekGe5621Byn4stM/s1600/f102-l.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8U93Ldi2aPkSKrzLbYir82it9KF6rOVipYwAH6S-E5eLD91p37cuLz91SZTzH3feoyc32_YexcYRHp9nNMk5PyVZ7dOPPY9paQggZG0NUqETnQgkBjz9pCc7N59ygekGe5621Byn4stM/s1600/f102-l.jpg" height="231" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="font-family: Calibri, sans-serif; line-height: 115%;"><span style="font-size: x-small;">Vivan Sundaram, Bourgeois Family: Mirror Frieze, 2001,
digital photomontage</span></span></td></tr>
</tbody></table>
<h3 style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="color: #0b5394;">Multiplied Vantage Points and "Bourgeois Family: Mirror Frieze, 2001" </span></h3>
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Here is an image with a riddle like arrangement of subjects and viewpoints.
The complexity and the sense of multiplicity within the composition is only comparable
to that of Velazquez's "Las Meninas". The similarly or resemblance is
felt not only due to complexity of composition, but also for the woven out maze
or labyrinth of gaze within the subjects. </div>
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<o:p> <table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1ptE12ZgLGzefD4PHNpmJq0PWkONBII4iKWihyVGFcuB5QqmEXwgaMOtyMYmzNMCwrr8UIsYrWlr1Y0V_98qieTligpdVs_zu7ZpgcVycYzcGHlllIA7__p-YQu7lo9UumYff-FOQ8o/s1600/360px-Las_Meninas_(1656),_by_Velazquez.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjW1ptE12ZgLGzefD4PHNpmJq0PWkONBII4iKWihyVGFcuB5QqmEXwgaMOtyMYmzNMCwrr8UIsYrWlr1Y0V_98qieTligpdVs_zu7ZpgcVycYzcGHlllIA7__p-YQu7lo9UumYff-FOQ8o/s1600/360px-Las_Meninas_(1656),_by_Velazquez.jpg" height="320" width="278" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="text-align: justify;"><span style="font-size: x-small;">Velazquez's "Las Meninas</span></span></td></tr>
</tbody></table>
</o:p></div>
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The composition is 'theatrical'. It is theatrical in the way we
usually mean by the term, but also the way Philip Auslander tries to identify
two major approaches in documented performance or performance photography. </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvWJ3I5pG2iwxZ24gn8ta_W36CuwaZSFzKC1vnKPFHV9BZs3d1q93s6exUvp4aLTEYECwsfvnzhtxc88LZ9R-2HsZKsckKh0MM0WGlVP2IeKMPBA-fMJ9ckvWdux2MHaY7Qq5duP6ItdA/s1600/chris-burden-shoot.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhvWJ3I5pG2iwxZ24gn8ta_W36CuwaZSFzKC1vnKPFHV9BZs3d1q93s6exUvp4aLTEYECwsfvnzhtxc88LZ9R-2HsZKsckKh0MM0WGlVP2IeKMPBA-fMJ9ckvWdux2MHaY7Qq5duP6ItdA/s1600/chris-burden-shoot.jpg" height="140" width="200" /></a></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSsu1FUj7wKFGq1UBRd5tMjwnM7TaK-eBzgEtEuIAiXt1OOI7K4hD_pZYz-2SVGDHS4CoSBGh_N-CfQmzuq1vqm6ahNuCnOktzpWdxYIkRUsbeC9UrYrR5YmzYB6QUiAB_cqal9cCttq4/s1600/documentation_01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjSsu1FUj7wKFGq1UBRd5tMjwnM7TaK-eBzgEtEuIAiXt1OOI7K4hD_pZYz-2SVGDHS4CoSBGh_N-CfQmzuq1vqm6ahNuCnOktzpWdxYIkRUsbeC9UrYrR5YmzYB6QUiAB_cqal9cCttq4/s1600/documentation_01.jpg" height="200" width="146" /></a></div>
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<span style="background: white;">"</span>From a
traditional perspective, the documentary and theatrical categories are mutually
exclusive. If one insists upon the ontological relationship by demanding that,
to qualify as a performance, an event must have an autonomous existence prior
to its documentation, then the events underlying the works in the second
category are not performances at all and the images are not documents, but
something else, another kind of art work perhaps (the phrase “performed
photography,” for instance, suggests that such works be understood as a kind of
photograph rather than as performances).</div>
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From a different perspective, however, the two categories appear to
have much in common. Although it is true that the theatrical images in the
second category either had no significant audience other than the camera or
could have had no such audience (because they never took place in real space),
it is equally true that the images in both categories were staged for the
camera"<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/multiple%20Vantage%20point_Vivan.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a>.
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We shall come down to that discussion after a while. However, saying
theatrical in its regular sense, there is a point of paradox to notice that,
unlike any other commonly appearing proscenium-theatre-visuals, the 'real'
characters in the frame are not facing the 'real' spectator, but giving back to
the audience- which is a taught as a fault in proscenium stage acting. What
frontal to the audience are the mirror reflections: the reflected selves.</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQqLgjGnCgrblmFwiPuEdILEtJ5O_Y-JfombPe581gFrVospNplVvy3jAj4uHdwyMbZK5DmFAsOat5bpGOAJ3XRdFIjBsQyaJuuv9h-YRUcZaz4U3XNWPq8NpPuY7jtjiDpuRZTj8qg4Y/s1600/horizon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQqLgjGnCgrblmFwiPuEdILEtJ5O_Y-JfombPe581gFrVospNplVvy3jAj4uHdwyMbZK5DmFAsOat5bpGOAJ3XRdFIjBsQyaJuuv9h-YRUcZaz4U3XNWPq8NpPuY7jtjiDpuRZTj8qg4Y/s1600/horizon.jpg" height="54" width="320" /></a></div>
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Other than the reflected selves being frontal in appearance, second
interesting matter in the composition is that there are about three characters
in the composition who does not have even 'real' /corporeal presence, but only
reflections: the old man (Umrao Sing Sher Gil), the child or grandchild on his
lap (Vivan Sundaram himself) in the left of the work, and on the right a woman
(Amrita Sher Gil) with a cap. Though three 'real' persona are there in front
of the mirrors, dissimilarly there are about six reflected beings that are
visible to us. Thus, by the frontality, and by numbers, the reflected self/selves
has dominance here over the 'real' physical existence. </div>
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Third point to notice is the gazes of the central three characters
that are actually lost in the reflected selves. The woman in hat at the left corner
is looking at herself. The lady (the mother) at center stage is looking at
herself. The lady in Indian <i>Saree</i> at
the right corner is also looking at herself. The woman behind the woman in <i>saree</i> is seemingly looking back at the spectator
of the artwork, but maybe she is actually looking at her own-self only, since
we have not seen her physical spatial location in regard of the mirror within
the composition. There is, however, a grandfather who is not looking at the self,
and a grandchild who also is not looking at the self. In fact, the grandchild
is the only character who is looking back or gazing back at the spectator of
the art work, being the subject of it. </div>
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The grandchild is none but the
artist of the artwork, the creator of the composition, the first onlooker of
the visual schema, Vivan Sundaram, as he says in a video at Tate, Modern, 2007, "...I
have double portrait of amrita as European and Indian, I have the mother
looking at herself and I am seated on my grandfather's lap with the camera and
so in a sense as if I'm taking this photograph"<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/multiple%20Vantage%20point_Vivan.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></a>. So as
he portrays himself "as if" himself is taking the photograph, that
establishes that the artist is portraying the self as the creator. Here one can
find another striking resemblance with that of Velazquez's and many other works
of the time where the artist presented the self as artist and the time when
"Artists' studio" remained a frequently appearing subject matter.
Thus could this work of art be named as "Artist's Studio"? </div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4lNdBw6snhH6Qqlg4DgRX9NDmIB21qjL3PNRfx9bNdmewvi5Hc1qIUpHIkgimPUwjmOZRvA8PUX9dkMMHDPoVT_5DMeWu1qCdY7UsqA_nutUomUdvTNfGDgMpTTGPzLbQYqRsjJgYX7Y/s1600/diego-velazquez-las-meninas-or-the-family-of-philip-iv-detail-of-the-artist-at-his-easel-circa-1656.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4lNdBw6snhH6Qqlg4DgRX9NDmIB21qjL3PNRfx9bNdmewvi5Hc1qIUpHIkgimPUwjmOZRvA8PUX9dkMMHDPoVT_5DMeWu1qCdY7UsqA_nutUomUdvTNfGDgMpTTGPzLbQYqRsjJgYX7Y/s1600/diego-velazquez-las-meninas-or-the-family-of-philip-iv-detail-of-the-artist-at-his-easel-circa-1656.jpg" height="320" width="239" /></a></div>
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Fourthly, almost all the
characters in this play are playing the role of a spectator instead of a mere
performer. If they are performing, they are performing the insights and gazes.
Before we see the performers, the performers themselves are looking at them. In
that way we are only the second layered audience. The staging of the
characters, despite of the plurality of bodily presence, gives a sense of
interior monologues, not outward modulation. Here are multiple monologues
co-existing simultaneously. </div>
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Fifth aspect to observe: there are multiple vantage points being
polarize. The complexity is celebrated, almost deliberately, across the gazes,
spatial positioning of corporeal and reflected ones as stated already.
Moreover, the complexities are there with regard to the presence of multiple
generations within the same frame , as well as, with the cross-cultural
identities (European and Indian) embodied by the dress-codes. As Vivan Sundaram
states, "Amrita Sher Gil is of mixed parentage- mother Hungarian, father Sikh,
born in 1913 and in fact died when she was just 28 years old and those 28 years
she spent half of bit in Europe and half of bit in India. Her training was in
Paris and so therefore there was a strong influence of school of Paris of the
30s. But she liked the modernism not of very much avant garde type but a kind
of realism that evolved between the two wars. And in a sense that informed some
perspectives on the human figure. ... there is a tendency in Indian writings on
her .. she abandoned everything from the west and suddenly came to India, but
that's not correct...". Thus the complexity has a thematic origin,
"...to be able to transform these into various levels of relationships,
... but also it's about east and west identity, about modernity...". </div>
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<o:p> <a href="http://link.brightcove.com/services/player/bcpid950566900001?bckey=AQ~~,AAAAAG6PY30~,pi5vFvB_srjYp5aiO9CarP3pmhhmv11f&bclid=0&bctid=26406459001">http://link.brightcove.com/services/player/bcpid950566900001?bckey=AQ~~,AAAAAG6PY30~,pi5vFvB_srjYp5aiO9CarP3pmhhmv11f&bclid=0&bctid=26406459001</a> </o:p></div>
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"Vivan Sundaram is the
grandchild of Umrao Singh and nephew of Amrita Sher-Gil. In 1984 he created a
large-format painting "The Sher-Gil
Archive", and in 2001/2002 the cycle of digitally processed photographs "Re-take of Amrita". Re-take means to re-shoot a scene. Vivan
Sundaram chooses particular moments and guides attention, via specific
arrangements, to the hidden expressions in the found images of the family.
Under his direction the protagonists give a second performance and go a step farther
than was initially intended. The effect that springs from the confrontation of
female and male narcissism, the father's intense visual interest in his
daughter, as well as the duplication of a figure, is increased here to a
perturbing degree. Without expanding on the idea, Amrita herself once spoke of
the "hothouse atmosphere" that dominated her family life. In
"Re-take of Amrita" it becomes obvious what she may have meant by
this".</div>
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"In addition, Vivan Sundaram
charges the spiritual atmosphere, which is characterized by oscillating between
cultures, with a kind of pathos. The artificiality of his arrangements remains,
however, constantly present for the viewer. In this way, his position enters
the works as a contemporary artist, who views this pathos at a distance since
the ideas of home and abroad and of residing and traveling have been qualified
as opposites for him"<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/multiple%20Vantage%20point_Vivan.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a>.</div>
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No where the "Re-take of
Amrita" series is named as performance photography, but it is considered
or observed as "Under his direction the protagonists give a second
performance and go a step farther than was initially intended". Vivan
gives a newer dimension to the genre of 'family photograph', and moreover to
the ways of viewing it. Certainly the series is of photography based works
where the artist is not the 'photographer'. It was not possible at any cost to
go back to the past and shoot Amrita and Grandfather. So, "a lot of them
are to do with already found and existing
material". But the re-embodiment, re-configuration and 're'-representations
made by the artist made him the creator-photographer. "Once I got into the
digital format it allowed me to actually sort of take the family photograph
which indexically has no narrative element it is just documenting moment".
Thus the narrativity in the works are of the artist. The series has certain
narratives, reciprocated dialogues, characters placed in certain spatial
arrangements, sensational establishments of momentum, and hence they abide
certain sense of performativity. It is ontological, ideological and theatrical
at the same time. "Supposedly, a photograph is always already a record, as
it appears to survive something that can be called the ‘live’ event- standing
in as a trace or document of something that ‘was there’...) but ‘is’ no longer. Does this way of thinking about photography limit our
access to a photograph as event- as a performance of duration- taking place
‘live’ in an ongoing scene of circulation, re-circulation, encounter, re-encounter,
and collaborative exchange with viewers, reviewers, reenactors, re-performers,
re-photographers?”<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/multiple%20Vantage%20point_Vivan.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a></div>
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<o:p> </o:p> </div>
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">"Bourgeois
Family: Mirror Frieze, 2001" could be a perfect example to start a series
of discussions on "documenting a performance", "Performance
Documentation", "Performance Photography and so on. </span>
<br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span>
[to be continued in upcoming updates...]<br />
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/multiple%20Vantage%20point_Vivan.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a>
Auslander</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/multiple%20Vantage%20point_Vivan.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt; line-height: 115%;">http://link.brightcove.com/services/player/bcpid950566900001?bckey=AQ~~,AAAAAG6PY30~,pi5vFvB_srjYp5aiO9CarP3pmhhmv11f&bclid=0&bctid=26406459001<o:p></o:p></span></div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/multiple%20Vantage%20point_Vivan.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a>
The exhibition catalogue is published by Schirmer / Mosel. Penguin India
published a biography of Amrita Sher-Gil in 2006 and Vivan Sundaram will edit
"The Letters and Writings by Amrita" for Tulika Press in New Delhi.
In cooperation with the National Gallery of Modern Art, New Delhi, Ministry of
Culture, Government of India, New Delhi, and the Goethe-Institute, New Delhi.</div>
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http://www.museo-on.com/go/museoon/en/home/db/exhibitions/_page_id_169/_page_id_659.xhtml</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/multiple%20Vantage%20point_Vivan.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: "Times New Roman"; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a>
Rebecca, continues: “… Why can a performance not take place as a photograph? We
are habituated, for example, to thinking of the ‘present’ as singular,
unfolding a linear temporality that is, to my mind, problematic. Given my
trouble with linear time, I have been very interested in the fact that
theatricality demands a simultaneity of temporal registers – the always at least ‘double’ aspect of the theatrical,
about which Gertrude Stein remarked that the “endless trouble” of theatre is
its syncopated time. To this end I have been looking for what Homi K. Bhabha
has termed “temporal lag”, and which Elizabeth Freeman has spun to “temporal
drag”. These tropes have lately afforded me a productive set of tools to apply
to the effort to articulate the longstanding <i>interinanimation</i> of live
media (such as performance) with media of capture, or media-resulting documents
or objects or images (such as photography).</div>
</div>
</div>
</div>
Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com0tag:blogger.com,1999:blog-6830803085505593877.post-17467395631852630922014-06-05T00:04:00.000-07:002014-06-05T00:04:03.032-07:00TEASER_ Understanding Performance as Art and Beyond<div dir="ltr" style="text-align: left;" trbidi="on">
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During the course we have been meeting and talking to people
associated to performance art and trying to develop a dialogue among them. Here
I come up with a teaser video to
showcase the proposal and its relevance. The teaser is more promotional in
approach. We have also proposed for a "Creative Documentary video making"
project on "Understanding Performance". It comprises a few dialogues,
taken much casually from performance artists, scholars, emerging artists and
art enthusiasts. Here is the first teaser for it. <br />
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<iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.youtube.com/embed/ZyKCO0F02QA?feature=player_embedded' frameborder='0'></iframe></div>
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TEASER_ Understanding Performance as Art and Beyond: Multiple Gaze<br />
<br /></div>
</div>
Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com0tag:blogger.com,1999:blog-6830803085505593877.post-34489631609423569702014-04-09T10:40:00.000-07:002014-04-30T10:02:17.387-07:00Naming the Rose as Rose: On defining Performance as art<div dir="ltr" style="text-align: left;" trbidi="on">
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<br />
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<b><span style="font-size: 24.0pt; line-height: 115%;">Naming
the Rose as Rose: </span></b></div>
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<span style="font-size: 20.0pt; line-height: 115%;">On defining
Performance as art</span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHCF8y9eJYkDc3Q-SgsLhadO3Dplmmy1nwfNemOXDWkJkcGIa76GFNtp5eNphB2gqUR5iyE9OHWlTsLOqoKovJ7RJ6MaDuMvpmyhK9hzS_AjxHcejLWcYxTPF31KWyTt2r4y5SCwXhynU/s1600/Ila+Dalmia+research_FICA_Proposal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHCF8y9eJYkDc3Q-SgsLhadO3Dplmmy1nwfNemOXDWkJkcGIa76GFNtp5eNphB2gqUR5iyE9OHWlTsLOqoKovJ7RJ6MaDuMvpmyhK9hzS_AjxHcejLWcYxTPF31KWyTt2r4y5SCwXhynU/s1600/Ila+Dalmia+research_FICA_Proposal.jpg" height="180" width="320" /></a></div>
</div>
<div style="mso-element: footnote-list;">
<div align="center" class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: center;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div style="border-bottom: solid windowtext 1.0pt; border: none; mso-border-bottom-alt: solid windowtext .5pt; mso-element: para-border-div; padding: 0in 0in 1.0pt 0in;">
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<span style="color: #0b5394;"><b>Kankhowa’s Make Easy Guide Book: Learn
Performance Art in Just two Days </b></span></div>
</div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<span style="font-family: Times, Times New Roman, serif;">Majority of the high school and college students take help of some
cheap guide books to appear the examinations. They are cheap in all terms: in
market price, in availability at the second hand book stores, near Photostat
shops and also in the approach on what they are prepared. One can find similar
guide books for household recipes, to learn a new language in just ten days,
herbal medicinal treatments to become a family doctor at most ease and even to
have sex. Thousands of types are there like, 10 techniques to have sex, make
your sexual life healthy and enjoyable, physical benefits of having sex, lessen
your stress by having sex and so on. Make easy learner’s guidebooks are
available in all segments, for gardening, for cookery, for childcare, for
music, for yoga, for car driving, for pets, and yes, for a change of the
society also. In the days of our bachelors in literature, we consulted notes
from a much commercially popular writer named Ramji Lal, which were almost <i>prohibited</i>
in the classrooms. Most of the students took his notes but never uttered the
writer’s name. In Art History or History of Art, a book played similar role, by
Edith Tomory, what we called “laal book” as the cover was in ‘laal’ i.e.-red. A
similar book, which is cheap, which is guidebook for students and learners,
which is more direct and explained in the most easiest manner was in my mind
for the new comers in Performance Art. </span></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<span style="font-size: 11pt; line-height: 115%;"><span style="font-family: Times, Times New Roman, serif;">The thought might
sound funny but interesting to realize how such a subversive idea sprouted in
my mind. Most importantly when I sit here to write for the justification of the
idea, many serious issues spring up as the anticipating factors, and they might
address broader areas like: art and pedagogy, emerging interest in live art or
performance art, the changing paradigms in contemporary art practice, the lack
of a comprehensive methodical attempt towards art writing, the absence of a
standard model of contemporary art history and so on.</span></span><br />
</div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT4ySMMotv2fOaNXpTd6Bsjv2kGVFr-F5fqgC0vDJ4mxKRXYWiM7KqyucZnXKGeSvbnkkxIdrYSPIiejZATY47ipsfvFX4meojzOBm9dtFqjKdQqb3N8lJjV7qsdCR5hyBhjPRcYHKX2U/s1600/11.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiT4ySMMotv2fOaNXpTd6Bsjv2kGVFr-F5fqgC0vDJ4mxKRXYWiM7KqyucZnXKGeSvbnkkxIdrYSPIiejZATY47ipsfvFX4meojzOBm9dtFqjKdQqb3N8lJjV7qsdCR5hyBhjPRcYHKX2U/s1600/11.jpeg" height="266" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Daumiere's Spectators</td></tr>
</tbody></table>
<br /></div>
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<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
The need can be realized easily as we all face almost similar
situations whenever we attend a performance art festival, workshop or public
art event where many young artists and practitioners as well as a large number
of diverged spectators assimilate. For many ‘it is boring’. Many speak out, ‘we
understood nothing’. ‘We got no clue what was it all about’, this is also a
common claim that we hear most frequently. </div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Despite of Performance, as a whole, being the oldest evidential
form(s), despite of many practical sprouting in last several decades, <i>performance
as art</i> or precisely <i>Performance Art</i> so to coin is still a newer
form. Perhaps among all the practices Performance Art is the only form of art
that is obligated to define itself every time in a new way.</div>
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Speaking again,
performance art is an area where the definition alters itself according to the
circumstance: the time and space demands a new definition. Among all other
disciplines performance as art is a unique one since it has to define itself at
every step, and each time the confrontation is novel and fresh. Somehow it
pretends with a symptom of forgetfulness towards history. Standing in front of
a painting hung upon a gallery wall a spectator keeps in mind that it has a
long history behind. But in case of a performance by an artist the same
spectator forgets the same might have a history, even much longer than that of
a painting. He or she forgets that an action under certain circumstance
signifies something. Exactly here tracing back of events in history becomes
important.</span><br />
<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;"><br /></span></div>
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMbvo7wQX1yOmN-TfZtDlX4aM7ekjZXaDgK7nrXMPPznrAYHviJwtJxNYmjmbIy6o9ccndPFj_YsiX8iRh2iTZWW0_BBQlatQA59h-E0TXnVupmkZIJ-8lbDeoqrDFImBZo45LHmCVXQI/s1600/spin_the_bottle_pic_1523.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhMbvo7wQX1yOmN-TfZtDlX4aM7ekjZXaDgK7nrXMPPznrAYHviJwtJxNYmjmbIy6o9ccndPFj_YsiX8iRh2iTZWW0_BBQlatQA59h-E0TXnVupmkZIJ-8lbDeoqrDFImBZo45LHmCVXQI/s1600/spin_the_bottle_pic_1523.jpg" height="228" width="320" /></a></div>
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<o:p><br /></o:p></div>
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<span style="color: #0b5394;"><b>Where the Bottle Stops Spinning</b></span></div>
</div>
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<br /></div>
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On this very ground we are forced to re-assume that the primitive cave
paintings from which the visual history of artistic journey tends to begin were
not mere paintings as we know today by that term, but some remains of
performative events; may be some rituals. Richard Schechner also had to mention
the Paleolithic ‘art’ at the outset of his series on Performance Theory<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a>. </div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Tracing back is an essential task of a historian. It is same for a
research scholar, archivist or even for a sincere onlooker. Holding the
strongest history in all senses, ‘Performance Art’ still feels like an orphan:
as if it is very difficult to trace back in memory. In parts if it has some
certain definitions in formal aspects or in conceptual propositions but further
difficulties lie in conceptualizing it
as an independent <i>discipline</i>. In every phase of the performance art it
is looked as a new intervention in the history, where as it might not. It is
interesting when Lauri Anderson states her feelings in this regard: "As a
young artist in the '70s New York downtown scene, I was pretty sure that we
were doing everything for the first time, that we were inventing a new art
form. It even had a clumsy new-sounding name "Performance Art", and
critics and audiences struggled to define this "new" hybrid that
combined so many media and broke so many rules about what art was supposed to
be. So when RoseLee Goldberg's book <i>Performance:
Live Art 1909 to the Present</i> was first published in 1979, I was completely
amazed to find that what we were doing had a rich and complex history."<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></a> </div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Many people tried to trace back the history of performance art
differently. Joseph Jarman<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></a> says,"We were doing
performance art as far back as 1965, just not calling it that.” Likewise Jerry
Saltz<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a> emphasizes the early 90s:
“… 'Untitled' is a time machine that can transport you to 1992, an edgy moment
when the art world was crumbling, money was scarce, and artists like Tiravanija
were in the nascent stages of combining Happenings, performance art, John Cage,
Joseph Beuys, and the do-it-yourself ethos of punk. Meanwhile, a new art world
was coming into being.”</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Jerry Saltz</div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
So when Performance Art was started in India? There might not be any
definitive answer. There could be a satisfaction if we find out exactly when
and who used the term 'Performance Art’ for the first time, but being a term
borrowed from western world it also remained obscure. Thus this becomes a spin
the bottle game, spin the bottle and point out the evidence where the bottle
stops spinning. </div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
Then there comes another inevitable term that is
"Performativity" which would make the situation even blurred. There
might me many situations and circumstances that were performative, if not
performance. Sometimes a performance is a Performance Art because it is named
so, and it is named so because it involves the <i>subject</i> of an individual
artist or for it is situated in certain 'art-space'. In that way the
performance of a roadside juggler differs from that of a performance artist. </div>
<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
Now tracing
the term 'performativity', again a rather subjective coining, one can find it
anywhere and everywhere. If saying about performance art we go back to the
action painting of Jackson Pollock then in Indian context we could go to
Ramkinkar Baij. Coming out of the studios and placing the larger than life
forms in environment and creating them in a process of throwing the concrete
creating a rough tactile surface was nothing but a performance. If Goldberg
recalls photographer Richard Avedon saying about performativity of Rambrandt's
portraiture<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></a>
then it might give us liberty to go back to Raja Ravi Verma in India, in the
same context and looking at the <i>Actorly</i> presence of all the figures
under a dramatic set up. </div>
<br />
<div>
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<!--[endif]-->
<div id="ftn1">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt; line-height: 115%;"> … I looked into pre-written history,
drawn to Paleolithic “cave art” of southwestern France and northern Spain. I
studies similar phenomena from Africa, the Americas, and Asia. I soon saw that
this was not illustrative art; that the caves were not galleries for the
exhibition of visual arts but theaters, sites of ritual enactments. I assumed
that these rituals were not only efficacious, but that they also gave pleasure
to the performers (and, if there were any, the spectators). Of course, I could
not listen to the music or witness the dances or storytelling enactments that
may have taken place in the Paleolithic sites. These were silenced centuries
ago. But I believed that these sites could only be understood performatively.
[Richard Schechner, “Preface to the Routledge Classic Edition”, Performance
Theory, p. X]<o:p></o:p></span></div>
</div>
<div id="ftn2">
<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></a> Roselee Goldberg,
‘forewords’, <i>Performance: Live art since the 60s</i>, Thames & Hudson,
p. 6</div>
</div>
<div id="ftn3">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt; line-height: 115%;"> Joseph Jarman, see John Bloner,
Jr."Art Ensemble of Chicago",
http://www.2ndfirstlook.com/2013/01/art-ensemble-of-chicago.html<o:p></o:p></span></div>
</div>
<div id="ftn4">
<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a> Jerry Saltz, "Ask an
Art Critic", New York magazine, also available in:
http://www.artnet.com/magazineus/features/saltz/ask-an-art-critic3-15-11.asp </div>
</div>
<div id="ftn5">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt; line-height: 115%;"> "According to photographer
Richard Avedon who insisted that “all portraiture is performance," even
Rembrandt, "must have been acting when he made his own self-portraits.... Not
just making faces, but always, throughout his life, working in the full
tradition of performance."<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<span style="font-size: 10.0pt; line-height: 115%;">Roselee Goldberg, Performance: Live
art since the 60s, Thames & Hudson, p. 10<o:p></o:p></span></div>
<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
</div>
</div>
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<br /></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXnYCsNqtRQyIfgt-QcYTrZLRpGIHkRiJSzGlZY6TT4OD0RyF2R87bwwDqx-MN8phJuhyphenhyphenPRl_rlKyq_FPbhWhEz4XsdUpOvdn9J6Z-9nTfw53RnlDzSegmUtwE2oAqPj5L-c-I9j3oRhs/s1600/santhal-family1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXnYCsNqtRQyIfgt-QcYTrZLRpGIHkRiJSzGlZY6TT4OD0RyF2R87bwwDqx-MN8phJuhyphenhyphenPRl_rlKyq_FPbhWhEz4XsdUpOvdn9J6Z-9nTfw53RnlDzSegmUtwE2oAqPj5L-c-I9j3oRhs/s1600/santhal-family1.jpg" height="235" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Santhal Family, Ramkinkar</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigNkfN9bOT4Sw4qkbTZSU0447nlcttR6mhm8X9iulKu3Y96T1RWGI-9ObhnX-9f_Lc7TwHn_RSxuaPWvp-WiGCl64Bt1Cfeqc2qJPUGge2Ogh51xUua6ee41Ry6_FNtOT-kd5uw8tZoTc/s1600/husain_653755f.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigNkfN9bOT4Sw4qkbTZSU0447nlcttR6mhm8X9iulKu3Y96T1RWGI-9ObhnX-9f_Lc7TwHn_RSxuaPWvp-WiGCl64Bt1Cfeqc2qJPUGge2Ogh51xUua6ee41Ry6_FNtOT-kd5uw8tZoTc/s1600/husain_653755f.jpg" height="240" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">M F Hussain</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCUtaL4mY2YXgNWzOocJALxQhSMu_SNrH5FZabEPAXCxK2uGDJFktlAI3SnoidVOCBPYZwN2jvh5uyImF_hOAnT7fqXsaSF3JtWObI_FD0QSPOy4LGpMo9LvamitQ3eNTUhyphenhyphenKaKy1WFAw/s1600/engrav2.gif" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCUtaL4mY2YXgNWzOocJALxQhSMu_SNrH5FZabEPAXCxK2uGDJFktlAI3SnoidVOCBPYZwN2jvh5uyImF_hOAnT7fqXsaSF3JtWObI_FD0QSPOy4LGpMo9LvamitQ3eNTUhyphenhyphenKaKy1WFAw/s1600/engrav2.gif" height="234" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Somnath Hore, Engraving, Tebhaga Series</td></tr>
</tbody></table>
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It is apparent to imagine Rambrandt enacting himself while making his
self portraits: an actorly Rambrandt at action. Other than the action painting
events and the ‘action’s of the Dadaists, coming down to the modernist period
of Indian art, it was definitely a performative gesture when Ramkinkar Baij
brought out the larger than life forms to the outdoor environments from the
studios. Additional to this bringing out, the throwing of <i>kangkar</i>, small
stone pieces and concrete to an armature in the making of the classic
sculptures like “Call of the Mill” or “Santhal Family”, the action of throwing,
the aspect of making the red-earth-stone a part of the sculptural body,
exaggerating of the bodily movements and forms, certainly indicates some
performance. More than the sketches by Somenath Hore in his “Tebhaga’s Diary”,
the act of sketching while the peasant’s movement in Tebhaga was going on,
could be understood as performances. A man walking barefoot, holding a long
brush like a walking stick with long beard, M F Hussain, was constantly into an
action: into nothing but a performance. </div>
<br /></div>
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg_YyjrfO_MlDqQq9g6UhC6V9U20FRHSSdZH6CGlY6oxtknrQC9xv3Wo3sS4Y7_ySXbLlb0__pW7-I6Kok9ac8JraWNfFJLgbtibnC5duWP7nuvwlvo1n6PkXTwtTVSGS4KQBGnyxHJ80/s1600/Jul15women_protesting_nude2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhg_YyjrfO_MlDqQq9g6UhC6V9U20FRHSSdZH6CGlY6oxtknrQC9xv3Wo3sS4Y7_ySXbLlb0__pW7-I6Kok9ac8JraWNfFJLgbtibnC5duWP7nuvwlvo1n6PkXTwtTVSGS4KQBGnyxHJ80/s1600/Jul15women_protesting_nude2.jpg" height="240" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtjsZcFa61cvFYYRT0xe0_tB-wyctO5LXCl2ZWpjffyUN_mPZFIAsVFQMHaNS-9GUEVUJa5Z138rFOSCzyDscti56K7F7rxra3MmrPd0v7vZ6w0TQdUG2m6ikizLfbVuLOKTYa-PqBoFU/s1600/manipur_women_protest_040719.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtjsZcFa61cvFYYRT0xe0_tB-wyctO5LXCl2ZWpjffyUN_mPZFIAsVFQMHaNS-9GUEVUJa5Z138rFOSCzyDscti56K7F7rxra3MmrPd0v7vZ6w0TQdUG2m6ikizLfbVuLOKTYa-PqBoFU/s1600/manipur_women_protest_040719.jpg" height="216" width="320" /></a></div>
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<div class="MsoNormal" style="margin-bottom: 0.0001pt;">
These are evidences in and around the ‘art world’ known to us. Other
than that, the women protesting Nude against the Indian Army in Manipur might
be the strongest striking performance in the century. Ashutosh Poddar quite
rightly said, ‘one can call Mahatma Gandhi’s Salt March a performance art’<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a>. But as today’s common
understanding those are not Performance Art as such. Why they are not, we shall
come up with two sets of mode, primary and secondary, to answer this question. Here
is the first set of Primary Modes:</div>
<br />
<div>
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<div id="ftn1">
<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a> Ashutosh Potdar,
"Performance Art and Body: Inder Salim & the politics of his
performance", <a href="http://indersalim.livejournal.com/"><span style="color: windowtext;">http://indersalim.livejournal.com/</span></a>, <a href="http://artkaravan.wordpress.com/category/inder-salim/"><span style="color: windowtext;">http://artkaravan.wordpress.com/category/inder-salim/</span></a> </div>
</div>
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<br /></div>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHr5Cf-6vcAhA2NQ3KdnVT0o6bejHdSL3iAG0QdpgXGGb7MBr07t16uUXwkE4plkwrPySPVmS0QzlKCdBB2Q0jUwkyG9iw3wRId1C05OO4lu-bqlkSDqSOmQwnbfXToNuD16GDV7uNTNk/s1600/IMG_3586.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhHr5Cf-6vcAhA2NQ3KdnVT0o6bejHdSL3iAG0QdpgXGGb7MBr07t16uUXwkE4plkwrPySPVmS0QzlKCdBB2Q0jUwkyG9iw3wRId1C05OO4lu-bqlkSDqSOmQwnbfXToNuD16GDV7uNTNk/s1600/IMG_3586.JPG" height="213" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dharitri Boro giving a hair-cut at public</td></tr>
</tbody></table>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFjCCo4XM7HrwBSW5tDnKBdAsvzilE3X-PlWOrkFPy_SpfqouyA1FfUhAeYQYsZP1omfWaethoiylADS37vlzmJNtV6kwMsK_wYGM2HPuwT9gy5ntvUZ_5IoPtj3-Ty8q54S_kyIShghw/s1600/002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFjCCo4XM7HrwBSW5tDnKBdAsvzilE3X-PlWOrkFPy_SpfqouyA1FfUhAeYQYsZP1omfWaethoiylADS37vlzmJNtV6kwMsK_wYGM2HPuwT9gy5ntvUZ_5IoPtj3-Ty8q54S_kyIShghw/s1600/002.jpg" height="214" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Dharitri Boro giving a hair-cut at public</td></tr>
</tbody></table>
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<b style="color: #0b5394;">Intervention as an indispensable mode</b></div>
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<br /></div>
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Performance art always comes up with a sense of intervention or interference.
To understand this let us compare a roadside juggler juggling and a performance
artist doing the same. We study and analyze all the aspects of a traditional
juggler juggling roadside, let us assume the roadside is a <i>traditional space</i>
for him, and among the aspects actually we speak of everything related to a
performance: the form, the sensibility, the management of time and space, the
artistic skill, and of course about spectatorship. But at the end of the day it
is not <i>performance art</i>. It might sound vague or ridiculous but somehow
true that it is performance but not performance art because it is not done by
an ‘Artist’: an artist by self proclamation, or by some institutional
recognition system. It is performance but not considered under that specific
category what we frequently call as ‘performance art’ today because it is still
a part of certain convention or tradition. But when the same thing is done by
an ‘artist’, who is not a part of that tradition by nature the gesture is read
as an intervention. So the matter of intervention is an essential element in
performance art. Thus a vegetable vendor shouting in an artificially produced
vocal sound and roaming around the corners of the colony might bear some of the
performative characteristics, but they are not performance art. Further on, if
someone, being in a traditional space doing his regular job, tries to extend
the practice in a certain direction and pushes a beyond-the-boundary sense or
meaning to the action it proclaims the potential of being a performance art.
But unfortunately it remains non-art in most of the cases and here lies some
debates what we shall raise later on. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpe01qmCqRC9_oXSNaZW9mCzs3hTPRUPv8UYv3DJ_a6sJwxM2_PFpWHz8rv77TrSeY9h86ZUHLALUspKjWJTqFukyiVhCQc8TsGICfn-XK1g0TSDpouSudGoatMvK-sqLsjUG5c4SlZN0/s1600/in+the+zoo+4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjpe01qmCqRC9_oXSNaZW9mCzs3hTPRUPv8UYv3DJ_a6sJwxM2_PFpWHz8rv77TrSeY9h86ZUHLALUspKjWJTqFukyiVhCQc8TsGICfn-XK1g0TSDpouSudGoatMvK-sqLsjUG5c4SlZN0/s1600/in+the+zoo+4.jpg" height="320" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Pratul Dash at R. A. P. E. 2012, Zoo, Guwahat</td></tr>
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<b><span style="color: #0b5394;">Artist be(com)ing the subject <o:p></o:p></span></b></div>
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The intervention happens when the artist stands within the time-space
as a ‘subject’. The artist is not a role-player of some ‘other’ but of the
‘self’. In fact ‘speaking of own’, the tendency of it is the prime insist
behind performance art practices. The persistence of resounding own voice
remained the core element in performance art. Exactly here lies the reason why
performance art never occurs as a mere formalistic practice. We tried to
explain the formal aspects of the art but the explanation stops at the
questions of the artist’s subjectivity. </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUQabkgSbBINMl1CNfEYYhZ1qtq27V-TkL8R6cf3Oh8Ey6d6fNeJPtaIFJ45I2Bn0IjPceRbzWMJ8VRa6mHM5kUZ3bl0LDpD28K3astNnfR-uPsb-JpEfWTBtmuUla1OYbPlHraf32iwQ/s1600/01+%25281%2529.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUQabkgSbBINMl1CNfEYYhZ1qtq27V-TkL8R6cf3Oh8Ey6d6fNeJPtaIFJ45I2Bn0IjPceRbzWMJ8VRa6mHM5kUZ3bl0LDpD28K3astNnfR-uPsb-JpEfWTBtmuUla1OYbPlHraf32iwQ/s1600/01+%25281%2529.jpg" height="162" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">the Disposable Theatre troupe of Kankhowa, mapping site at Kathmandu</td></tr>
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<b><span style="color: #0b5394;">Space as discipline</span></b></div>
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This segment is a combined notion of the above mentioned two
characteristics. Firstly a piece of performance art intervenes by negating the
traditional or conventional receptivity, by destroying the customary
predictability; secondly the performance artist intervenes with his subjective
assertions. Thus here is a collapse of space and re-construction of an
atmosphere. It tends to become a part of a certain discipline defined by none
but itself. By its very existence within certain disciplinary thought process,
being reflective in certain transactions it claims itself as a performance
art. </div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">And here is the set
of Secondary Modes:</span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkYxbti5lggduoVc0NpBPZFxxiWbb6nRi1lRtoYAI4Y1bO9XSP-pOC6zOgx8gDRuCwxtXmla4xlANsYChxjAKDnUGa0NBXdLKJlrNzpXFdzuA_kN8nztHsQ9C3zz0-fjPlbehDgWdRGDA/s1600/vlcsnap-2014-04-15-08h35m18s62.png" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkYxbti5lggduoVc0NpBPZFxxiWbb6nRi1lRtoYAI4Y1bO9XSP-pOC6zOgx8gDRuCwxtXmla4xlANsYChxjAKDnUGa0NBXdLKJlrNzpXFdzuA_kN8nztHsQ9C3zz0-fjPlbehDgWdRGDA/s1600/vlcsnap-2014-04-15-08h35m18s62.png" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Inder Salim at Harkat, at MATI, Lado Sarai</td></tr>
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<b><span style="color: #0b5394;">Negation</span></b></div>
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Negation is a common tendency amongst the performance artists. This
negation or denial is seen in multiple things. A performance artist works in
unconformity: mostly s/he denies entering the gallery space, denies making a
ticketed show, refuses to role-play or to create a make-belief game and very precisely,
refuses to perform. Here onwards the performance artist has a problem with the
performing art traditions and claims it to be <i>fake<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></b></span><!--[endif]--></span></a></i>. A performance artist clearly states that it
is not theatre or like any other performance with showmanship. Here onwards the
performance artist has problem with all sort of object-making, thus the object
hood of a concept is negated. On the same extension, the product-quality that
the commercial consideration defines is questioned and rejected. </div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Thus it is frequently
seen that performance art starts when the artist stops performing: when a
painter stops painting, when a singer stops singing and an actor acting. </span>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt;"> </span><span style="font-size: 10.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">In this
stretch we can remember what Marina Abramović, the self-proclaimed
"grandmother of performance art", says about her hatred towards
theatre. While promoting a retrospective of her work that was going to take
place in New York's Museum of Modern Art she says, "To be a performance
artist, you have to hate theatre. Theatre is fake: there is a black box, you
pay for a ticket, and you sit in the dark and see somebody playing somebody
else's life. The knife is not real, the blood is not real, and the emotions are
not real. Performance is just the opposite: the knife is real, the blood is
real, and the emotions are real. It's a very different concept. It's about true
reality."<o:p></o:p></span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;"><a href="http://www.theguardian.com/stage/theatreblog/2010/jul/20/noises-off-performance-art-theatre"><span style="color: windowtext;">http://www.theguardian.com/stage/theatreblog/2010/jul/20/noises-off-performance-art-theatre</span></a>
<o:p></o:p></span></div>
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<b><span style="color: #0b5394;">Body as a primary tool <o:p></o:p></span></b></div>
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The body of the performer is another key area where the definition of
performance art is dependent upon. They use the body as a primary tool<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a>. Though many props or
elements may occur in the act but the body remains central. Perhaps it happened
in the 70s in western world and remained the most sustainable aspect in the
tradition(s). </div>
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<b><span style="color: #0b5394;">Naming the Rose as Rose<o:p></o:p></span></b></div>
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<span style="font-family: "Calibri","sans-serif"; font-size: 11.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">Noteworthy that, all the aforementioned modes or characteristics could
be found, either in whole or in bits and pieces, in conformist practices. But
they are not recognized as performance art in contemporary terms. It is an
invisible custom that to receive the recognition there is a declaration either
by the artist(s) or by the organizing or patronizing agency or even by a
bystander spectator. In this way we can say a rose is a rose only when you name
it. Marina Abramovic<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-size: 11pt; line-height: 115%;">[1]</span></span><!--[endif]--></span></a> states it right when she
says, “If you're a baker, making bread, you're a baker. If you make the best
bread in the world, you're not an artist, but if you bake the bread in the
gallery, you're an artist. So the context makes the difference”. Perhaps that
is why the Long March by Gandhi or the women’s protest in Manipur remained
non-art as performance. </span>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></a> Conversation: Marina
Abramovic, BY JEFFREY BROWN April 8,
2011 at 2:06 PM EDT.
http://www.pbs.org/newshour/art/conversation-marina-abramovi/ also see: http://www.interviewmagazine.com/film/marina-abramovic-the-artist-is-present-sundance/#_ </div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWQ1e-0E3WUbZSNOSGgVTEJoX3aKkAnpVAuPxqHDBjsVKMWxYFYWPqr1o0DqpOjRqph2C1l6gQ2W84DvISDzbEfcyRwO23x6KY0Zn6iGTfAYHrMKkNOg2PPJiIo26jI8aIGHXRKy5LyfE/s1600/1930-march-all_BG.jpeg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWQ1e-0E3WUbZSNOSGgVTEJoX3aKkAnpVAuPxqHDBjsVKMWxYFYWPqr1o0DqpOjRqph2C1l6gQ2W84DvISDzbEfcyRwO23x6KY0Zn6iGTfAYHrMKkNOg2PPJiIo26jI8aIGHXRKy5LyfE/s1600/1930-march-all_BG.jpeg" height="223" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gandhi at Long March</td></tr>
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This way, several aspects can be explored in judging a performance art
and thus some ways of articulation what performance art is can be put forward.
In all the cases a sense of breakthrough is felt and that is why a fixed
definition is difficult. The form denies itself for a fixation of definition.
It remains ‘new’ and ‘fresh’ every time. Under this consideration it is really
difficult to define a pedagogical method to teach or train performance art
under some disciplinary space. Instead of making and definition and then seeing
a piece of work, that is why, it is always, available as a method, and also
reasonable to see the piece first and then appreciate it. In the methods of
appreciation some facets might occur that are feasible enough to construct a
definition within the work of art. A model for pedagogy could be developed in
the notion that only a space should be provided to the practitioners to
explore: to speak aloud, to come up with some action with subjectivity. A
granted space for anarchy is sought within the discipline(s). </div>
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Samudra Kajal Saikia</div>
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New Delhi </div>
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Email: <a href="mailto:Kankhowa@gmail.com">Kankhowa@gmail.com</a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
Mobile: +91-9811375594</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt; line-height: 115%;"> … I looked into pre-written history,
drawn to Paleolithic “cave art” of southwestern France and northern Spain. I
studies similar phenomena from Africa, the Americas, and Asia. I soon saw that
this was not illustrative art; that the caves were not galleries for the
exhibition of visual arts but theaters, sites of ritual enactments. I assumed
that these rituals were not only efficacious, but that they also gave pleasure
to the performers (and, if there were any, the spectators). Of course, I could
not listen to the music or witness the dances or storytelling enactments that
may have taken place in the Paleolithic sites. These were silenced centuries
ago. But I believed that these sites could only be understood performatively.
[Richard Schechner, “Preface to the Routledge Classic Edition”, Performance
Theory, p. X]<o:p></o:p></span></div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></a> Roselee Goldberg,
‘forewords’, <i>Performance: Live art since the 60s</i>, Thames & Hudson,
p. 6</div>
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt; line-height: 115%;"> Joseph Jarman, see John Bloner,
Jr."Art Ensemble of Chicago", http://www.2ndfirstlook.com/2013/01/art-ensemble-of-chicago.html<o:p></o:p></span></div>
</div>
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<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></a> Jerry Saltz, "Ask an
Art Critic", New York magazine, also available in: http://www.artnet.com/magazineus/features/saltz/ask-an-art-critic3-15-11.asp
</div>
</div>
<div id="ftn5">
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt; line-height: 115%;"> "According to photographer
Richard Avedon who insisted that “all portraiture is performance," even
Rembrandt, "must have been acting when he made his own self-portraits....
Not just making faces, but always, throughout his life, working in the full
tradition of performance."<o:p></o:p></span></div>
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<span style="font-size: 10.0pt; line-height: 115%;">Roselee Goldberg, Performance: Live
art since the 60s, Thames & Hudson, p. 10<o:p></o:p></span></div>
<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
</div>
<div id="ftn6">
<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></a> Ashutosh Potdar,
"Performance Art and Body: Inder Salim & the politics of his
performance", <a href="http://indersalim.livejournal.com/">http://indersalim.livejournal.com/</a>,
<a href="http://artkaravan.wordpress.com/category/inder-salim/">http://artkaravan.wordpress.com/category/inder-salim/</a> </div>
</div>
<div id="ftn7">
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<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref7" name="_ftn7" title=""><span class="MsoFootnoteReference"><span style="font-size: 10.0pt;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[7]</span></span><!--[endif]--></span></span></a><span style="font-size: 10.0pt;"> </span><span style="font-size: 10.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;">In this
stretch we can remember what Marina Abramović, the self-proclaimed
"grandmother of performance art", says about her hatred towards
theatre. While promoting a retrospective of her work that was going to take
place in New York's Museum of Modern Art she says, "To be a performance
artist, you have to hate theatre. Theatre is fake: there is a black box, you
pay for a ticket, and you sit in the dark and see somebody playing somebody
else's life. The knife is not real, the blood is not real, and the emotions are
not real. Performance is just the opposite: the knife is real, the blood is
real, and the emotions are real. It's a very different concept. It's about true
reality."<o:p></o:p></span></div>
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<span style="font-size: 10.0pt; mso-bidi-font-family: Arial; mso-fareast-font-family: "Times New Roman"; mso-font-kerning: 18.0pt;"><a href="http://www.theguardian.com/stage/theatreblog/2010/jul/20/noises-off-performance-art-theatre">http://www.theguardian.com/stage/theatreblog/2010/jul/20/noises-off-performance-art-theatre</a>
<o:p></o:p></span></div>
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<br /></div>
</div>
<div id="ftn8">
<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
</div>
<div id="ftn9">
<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<a href="file:///F:/Ila%20Dalmia%20research_FICA_Proposal/my%20notes/Naming%20the%20Rose%20as%20Rose%20002.doc#_ftnref9" name="_ftn9" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[9]</span></span><!--[endif]--></span></a> Conversation: Marina
Abramovic, BY JEFFREY BROWN April 8,
2011 at 2:06 PM EDT.
http://www.pbs.org/newshour/art/conversation-marina-abramovi/ also see: http://www.interviewmagazine.com/film/marina-abramovic-the-artist-is-present-sundance/#_ </div>
</div>
</div>
</div>
</div>
Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com0tag:blogger.com,1999:blog-6830803085505593877.post-12827803786328525522014-04-03T08:51:00.003-07:002014-04-03T08:51:52.055-07:00The Five Pillars of the Archival Strategy<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="text-align: justify;">In the initial phase of my research work under the Ila Dalmia FICA
Research program I received a couple of levelheaded feedbacks from Bhooma
Padmanabhan and Vidya Shivadas, both of them belong to FICA team. Bhooma,
curator and art writer, wrote to me: “</span><span style="color: #222222; text-align: justify;">I felt that a
small framework explanation by you on how you are approaching the task of
‘archiving’ performance art would be useful. It need not be conclusive but at
least pointing to how you have begun the task.”</span><span style="text-align: justify;"> Considering Bhooma’s
Suggestion, here I am trying to put forward few of the thematic concerns behind
the archival tasks that I have taken forward.</span></div>
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<br /></div>
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It is understood that, the tactile part of the process (“archiving”)
is time consuming, cost indulging and wide ranging enough. Here, instead of
going to the details of personal investments in meeting the practitioners,
photo documentations, exploring other archival resources it would be better to
focus on the conceptual grounding at the onset.
<span style="color: #222222; font-family: "Arial","sans-serif"; mso-fareast-font-family: "Times New Roman";"><o:p></o:p></span></div>
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<br /></div>
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<span style="background: white; mso-bidi-font-family: Arial;">As the
current area of work is a part of a larger project that tries to look at the
contemporary performance art in India and to examine the methods of
historiography critically, it is obliged to be multifaceted and conjunctional
with cross-disciplinary methods. The archival methods and processes are very
much dependent on the prime concerns of the proposed research initiative that I
am justifying elsewhere. To make the concerns precise, as much as possible, in
the time of collecting materials [study, enquiry, personal interview and so on]
during the research period, I come up with a set of five Pillars. <o:p></o:p></span></div>
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<br /></div>
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<span style="background: white; mso-bidi-font-family: Arial;">The
previously uploaded interview “Conversely Conversed” with Manmeet Davgun was
unedited and broad ranging, that address the entire region of the subject and
it’s work. But the pivotal methods taken by me ahead are essentially based on
the proposed five Pillars. <o:p></o:p></span></div>
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<span style="background: white; mso-bidi-font-family: Arial;">*<o:p></o:p></span><br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-5kngFInrRiW_AAMl2N9PcrDSzN0s8oq7uMqoH0f-rlMVMN62q-4J6EQUCvdK_ZJrK5a762wbfHgPgqH3ZhWLq6JPiQY6efVbFPg5xjNWiMkVmFf30so_7BUfz26HHJCiY5NQwxx_wBo/s1600/10ndfr-Paribartana_1172134g.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh-5kngFInrRiW_AAMl2N9PcrDSzN0s8oq7uMqoH0f-rlMVMN62q-4J6EQUCvdK_ZJrK5a762wbfHgPgqH3ZhWLq6JPiQY6efVbFPg5xjNWiMkVmFf30so_7BUfz26HHJCiY5NQwxx_wBo/s1600/10ndfr-Paribartana_1172134g.jpg" height="206" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Paribartana Mohanty, <i><b>Kino is the Name of a Forest</b></i></td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6WxDqcnkzaWWSPB9JdTimPCqsrHRT4LUhvdzBm1EeiLae3S-t3kIBlPeAc-ZXk_UI4AmMO3rV0zlaiHMY4jvcVRAggbk531vex_XYqS3YDLoMWNTRETj3zfUjcrSMQzfLXFLhhThU-W0/s1600/Picture2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6WxDqcnkzaWWSPB9JdTimPCqsrHRT4LUhvdzBm1EeiLae3S-t3kIBlPeAc-ZXk_UI4AmMO3rV0zlaiHMY4jvcVRAggbk531vex_XYqS3YDLoMWNTRETj3zfUjcrSMQzfLXFLhhThU-W0/s1600/Picture2.jpg" height="226" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Samudra Kajal Saikia, Camera at City as Studio (with Deepankar Gohain), SARAI</td></tr>
</tbody></table>
<b><span style="background: white; mso-bidi-font-family: Arial;"><br /></span></b>
<b><span style="background: white; mso-bidi-font-family: Arial;">Pillar 1</span></b></div>
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<b><span style="background: white; mso-bidi-font-family: Arial;">Persistence
of “Memory”: Methods and Perceptions in “Documentation”<o:p></o:p></span></b></div>
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<br /></div>
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<i><span style="font-size: 10.0pt; line-height: 115%;">[E]very performance ultimately meets
the video screen, where the demystified subject is frozen and dies. There,
performance once again encounters representation, from which it wanted to
escape at all costs and which marks both its fulfillment and its end.<a href="file:///H:/Archival%20Strategy.doc#_ftn1" name="_ftnref1" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></b></span><!--[endif]--></span></a>
<o:p></o:p></span></i></div>
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<br /></div>
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<i><span style="font-size: 10.0pt; line-height: 115%;">“Fe’ral notes the irony in the fact
that conceptual performance constructed its own history by means that are
antithetical to its integrity as performance: “with the help of the video
camera with which every performance ends, it has provided itself with a past”
(1982:175)<a href="file:///H:/Archival%20Strategy.doc#_ftn2" name="_ftnref2" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></b></span><!--[endif]--></span></a>.<o:p></o:p></span></i></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="background: white; mso-bidi-font-family: Arial;">When Sonia
Khurana does a video work like "Bird" and when she puts a
photography-based work "Re-take of Bird" there is a formal
mediumistic shift. Now how to see this? A visual documentation either in stills
or in moving images may be read as a work in itself. The 're'-presentation is
also a work in itself. <o:p></o:p></span></div>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="background: white; mso-bidi-font-family: Arial;">To extend
the matter, when a performance artist goes for a performance how much the
concerns around documentation matter in his/her mind? What a role played by the
post production concerns? Other than the time-and-space specific ephemeral
experience do the visual appeal of the later documentation make the artist
conscious? <o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifJeiJYFVb1afQsLGa3c___TlMn1ZmsdbhGFcwQoFBcDcM7ZM9ddEBfp3pDlbrRC5yEh0Sh_62mL94UWxtnOnfAFawvZFpJ8qbScHJAFJ1FjVw9XcOFBpmdhr8vfI34pPyCHQ4LCSstD0/s1600/Dance-Theatre-journal-5.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifJeiJYFVb1afQsLGa3c___TlMn1ZmsdbhGFcwQoFBcDcM7ZM9ddEBfp3pDlbrRC5yEh0Sh_62mL94UWxtnOnfAFawvZFpJ8qbScHJAFJ1FjVw9XcOFBpmdhr8vfI34pPyCHQ4LCSstD0/s1600/Dance-Theatre-journal-5.jpg" height="320" width="258" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ernest Fischer</td></tr>
</tbody></table>
<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnLjeZCvpxnf9g9-8prNoj1r3TGzO6CNUsqACEtoLoKpmTDtGHWl6UPU_kUQKXphYhPkOY4zkzaWw91Nt9BH7s2tABQQT4atjY09CWbFzTtvPoFTvzJ5__aoVN57-1BXAW4seZ8wRDHMo/s1600/Picture3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjnLjeZCvpxnf9g9-8prNoj1r3TGzO6CNUsqACEtoLoKpmTDtGHWl6UPU_kUQKXphYhPkOY4zkzaWw91Nt9BH7s2tABQQT4atjY09CWbFzTtvPoFTvzJ5__aoVN57-1BXAW4seZ8wRDHMo/s1600/Picture3.jpg" height="256" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Syed Taufik Riaz, MELT at R. A. P. E. 2012, Guwahati</td></tr>
</tbody></table>
<br /></div>
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<b><span style="background: white; mso-bidi-font-family: Arial;">Pillar 2<o:p></o:p></span></b></div>
</div>
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<b><span style="background: white; mso-bidi-font-family: Arial;">Historical
Track point: Key Events in History behind the Immergence of the Form<o:p></o:p></span></b></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<i><span style="font-size: 10.0pt; line-height: 115%;">"As a young artist in the '70s
New York downtown scene, I was pretty sure that we were doing everything for
the first time, that we were inventing a new art form. it even had a clumsy
new-sounding name "Performance Art", and critics and audiences
struggled to define this "new" hybrid that combined so many media and
broke so many rules about what art was supposed to be. So when RoseLee
Goldberg's book Performance: Live Art 1909 to the Present was first published
in 1979, I was completely amazed to find that what we were doing had a rich and
complex history."(p6, Foreword).<a href="file:///H:/Archival%20Strategy.doc#_ftn3" name="_ftnref3" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="font-family: "Calibri","sans-serif"; font-size: 10.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></b></span><!--[endif]--></span></a> </span></i><span style="background: white; mso-bidi-font-family: Arial;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="background: white; mso-bidi-font-family: Arial;">There are
many propositions or arguments on the factors behind the emergence of
performance art, video and other media-arts in India. Some may read this as <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="background: white; mso-bidi-font-family: Arial;">(1) an attempt against
comodification, <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="background: white; mso-bidi-font-family: Arial;">(2) under some certain
political context, <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="background: white; mso-bidi-font-family: Arial;">(3) referring emerging
subjectivity under certain caste/ class/ gender based identity politics, <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="background: white; mso-bidi-font-family: Arial;">(4) a formalistic
experiment that tries to push further the margins of art-practice towards a
larger/different spectatorship. <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="background: white; mso-bidi-font-family: Arial;">In Indian
context, it is still ambiguous to trace a historical account on the emergence
of performance and media art. Here are my queries in front of “Indian” “contemporary”
performance art practitioners: How does one look at the ‘self’ in this regard:
how one has chosen the medium(s). Secondly how does one see the Indian art
scenario in this regard? <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="background: white; mso-bidi-font-family: Arial;">Where the
Performance Art is highly subjective, can a critique on it be ‘objective’? is
it possible to write a non-subjective history of it? <o:p></o:p></span></div>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgEc-UYJqQJIL8FnDyASZJjn0NzgUCTHMF45S-_kUusEoeqjs6fu7jRfJp9sSzJ1kuH4mWIhcwgm7fhpDq3DUj7OCjteWUfDJIBxxBp8Ys6hP1pULV2fMGUG5dkxN6saRINZUg6ZlcSHs/s1600/Picture4.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhgEc-UYJqQJIL8FnDyASZJjn0NzgUCTHMF45S-_kUusEoeqjs6fu7jRfJp9sSzJ1kuH4mWIhcwgm7fhpDq3DUj7OCjteWUfDJIBxxBp8Ys6hP1pULV2fMGUG5dkxN6saRINZUg6ZlcSHs/s1600/Picture4.jpg" height="226" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ophelia, Disposable Theatre, Kankhowa</td></tr>
</tbody></table>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfWR5SC0-ih55wB08x-zxe1BiGxeeBGHK9A65N0xNHLwVmZ9mPZ8oE8D5DN6JwI9PQUYOUedMUPWt84lQzOR0FlAZdFz-VSuxNAM9yNi-Pn8B5Ty4PJN8yWTHWCew6JBRKkfpr2CeAI9c/s1600/IMG_9219.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfWR5SC0-ih55wB08x-zxe1BiGxeeBGHK9A65N0xNHLwVmZ9mPZ8oE8D5DN6JwI9PQUYOUedMUPWt84lQzOR0FlAZdFz-VSuxNAM9yNi-Pn8B5Ty4PJN8yWTHWCew6JBRKkfpr2CeAI9c/s1600/IMG_9219.JPG" height="180" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><span style="background-color: white; border: 0pt none; color: #999999; font-family: 'Droid Sans'; font-size: 14px; font-weight: inherit; line-height: 15px; margin: 0pt; padding: 0pt; text-align: justify;">Delhi Institute of Heritage and Research Management (DIHRM) invited to participate in the first inaugural session of Experiments in Pedagogy, KNMA, Delhi</span></td></tr>
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<b><span style="background: white; mso-bidi-font-family: Arial;">Pillar 3<o:p></o:p></span></b></div>
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<b><span style="background: white; mso-bidi-font-family: Arial;">The
practice as Discipline: Pedagogy and Praxis<o:p></o:p></span></b></div>
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<i><span style="background: white; font-size: 10.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Historically, performance art has been a medium that challenges and
violates borders between disciplines and genders, between private and public,
and between everyday life and art, and that follows no rules.<a href="file:///H:/Archival%20Strategy.doc#_ftn4" name="_ftnref4" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="background-position: initial initial; background-repeat: initial initial; font-family: Calibri, sans-serif; font-size: 10pt; line-height: 115%;">[4]</span></b></span><!--[endif]--></span></a>
<o:p></o:p></span></i></div>
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<span style="background: white; mso-bidi-font-family: Arial;">We have been
witnessing emerging eagerness in the practice in Performance as art in current
times. Moreover a number of practitioner artists are frequently taking
initiatives in ‘training’. The much celebrated names like Inder Salim and Sonia
Khurana are mention worthy in this regard. By the time the establishment of a
department on Performance Art in the School of Culture and Creative
Expressions, Ambedkar University of Delhi in another important point. <o:p></o:p></span></div>
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<span style="background: white; mso-bidi-font-family: Arial;">Here raises
multiple takes on the "Training" and "Teaching" of
performance as art. The core problem lies in the ambiguities around the
definition itself as we know that a concrete definition of 'what exactly is
performance art' is still missing. In that case what are the methods to be
implied in the pedagogy? <b>Most of the times Performance Art, the term, itself
denies to be considered as a ‘discipline’, and if this assumption is true, how
could a school or a methodical training applicable to it?</b> <o:p></o:p></span></div>
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<b><span style="background: white; mso-bidi-font-family: Arial;">Pillar 4 <o:p></o:p></span></b></div>
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<b><span style="background: white; mso-bidi-font-family: Arial;">Discipline
and Cross: an Adulterated Birth <o:p></o:p></span></b></div>
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<i><span style="background: white; font-size: 10.0pt; line-height: 115%; mso-bidi-font-family: Arial;">"To be a performance artist, you have to hate theatre. Theatre is
fake: there is a black box, you pay for a ticket, and you sit in the dark and
see somebody playing somebody else's life. The knife is not real, the blood is
not real, and the emotions are not real. Performance is just the opposite: the
knife is real, the blood is real, and the emotions are real. It's a very
different concept. It's about true reality."<a href="file:///H:/Archival%20Strategy.doc#_ftn5" name="_ftnref5" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="background-position: initial initial; background-repeat: initial initial; font-family: Calibri, sans-serif; font-size: 10pt; line-height: 115%;">[5]</span></b></span><!--[endif]--></span></a>
<o:p></o:p></span></i></div>
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<span style="background: white; mso-bidi-font-family: Arial;">Sometimes
while saying about something 'what it is', we tend to speak of 'what it is
not'. In case of performance as art, there is a tendency of distinguishing Performance
from Theatre, Dance or other 'Performing art' forms. Here emerges a broad
discourse on the relationship vis-à-vis contradictions between the performing
and the performance, entertaining and the subjective and so on. The issues
around spectatorship also spring up here. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI47gIY60kWKkIi2Cq2TgBhsA0-JO3rte9XFkp7xNMNa3j_4Z_JW3Ox-9t0749sc5nYW_qTWDtYRB17eEywWqtC73p7GOF-obLyYa1QTw3aolkXW8DSUD0bo6l5N5MmJBGsWyJNvvw5yA/s1600/288028_10151220765427664_1659719391_o.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI47gIY60kWKkIi2Cq2TgBhsA0-JO3rte9XFkp7xNMNa3j_4Z_JW3Ox-9t0749sc5nYW_qTWDtYRB17eEywWqtC73p7GOF-obLyYa1QTw3aolkXW8DSUD0bo6l5N5MmJBGsWyJNvvw5yA/s1600/288028_10151220765427664_1659719391_o.jpg" height="180" width="320" /></a></div>
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<b>Pillar 5 <o:p></o:p></b></div>
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<b>The Body as Body and beyond<o:p></o:p></b></div>
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<i><span style="background: white; font-size: 10.0pt; line-height: 115%; mso-bidi-font-family: Arial;">For feminist artists in particular, using their body in live performance
proved effective in challenging historical representations of women, made
mostly by male artists for male patrons.<a href="file:///H:/Archival%20Strategy.doc#_ftn6" name="_ftnref6" title=""><span class="MsoFootnoteReference"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><b><span style="background-position: initial initial; background-repeat: initial initial; font-family: Calibri, sans-serif; font-size: 10pt; line-height: 115%;">[6]</span></b></span><!--[endif]--></span></a>
<o:p></o:p></span></i></div>
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<span style="background: white; mso-bidi-font-family: Arial;">The Body-
"as a measure of space, of identity and of narrative" remained so
central in performance art practices. In Indian case also, performance art has
been emerging with a note where the body remains a prime "tool of art
making". The inclination towards the “bodily presence” is the fifth
Pillar.<o:p></o:p></span></div>
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<span style="background: white; mso-bidi-font-family: Arial;">Elaborated
writings on these five pillars are to be updated in near future. <o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="background-color: white;">Samudra
Kajal Saikia</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<span style="background: white; mso-bidi-font-family: Arial;">Biswanath
Chariali, Assam, April 01, 2014 </span></div>
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<hr align="left" size="1" width="33%" />
<!--[endif]-->
<br />
<div id="ftn1">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<a href="file:///H:/Archival%20Strategy.doc#_ftnref1" name="_ftn1" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[1]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; line-height: 115%;"> - Josette Fe’ral <o:p></o:p></span></div>
</div>
<div id="ftn2">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<a href="file:///H:/Archival%20Strategy.doc#_ftnref2" name="_ftn2" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[2]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; line-height: 115%;"> Philip Auslander, Going with the
Flow: Performance Art and Mass Culture, TDR The Drama Review, publish by MIT
Press, N.Y. University, Tisch School of Arts, Summer 1989, Edited by Rechard
Schechner. P. 119. <o:p></o:p></span></div>
<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
</div>
<div id="ftn3">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<a href="file:///H:/Archival%20Strategy.doc#_ftnref3" name="_ftn3" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[3]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; line-height: 115%;"> Roselee Goldberg, Performance: Live
art since the 60s, Thames & Hudson<o:p></o:p></span></div>
<div class="MsoFootnoteText" style="margin-bottom: .0001pt; margin-bottom: 0in;">
<br /></div>
</div>
<div id="ftn4">
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<a href="file:///H:/Archival%20Strategy.doc#_ftnref4" name="_ftn4" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[4]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; line-height: 115%;"> </span><span style="background: white; font-size: 8.0pt; line-height: 115%; mso-bidi-font-family: Arial;">RoseLee Goldberg.
Performance: Live art since the 60s, New York: Thames & Hudson, 1998, page
20.</span><span style="font-size: 8.0pt; line-height: 115%;"><o:p></o:p></span></div>
</div>
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<a href="file:///H:/Archival%20Strategy.doc#_ftnref5" name="_ftn5" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[5]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; line-height: 115%;"> </span><span style="background: white; font-size: 8.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Marina Abramovic</span><span style="font-size: 8.0pt; line-height: 115%;"><o:p></o:p></span></div>
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<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<a href="file:///H:/Archival%20Strategy.doc#_ftnref6" name="_ftn6" title=""><span class="MsoFootnoteReference"><span style="font-size: 8.0pt; line-height: 115%;"><!--[if !supportFootnotes]--><span class="MsoFootnoteReference"><span style="font-family: "Calibri","sans-serif"; font-size: 8.0pt; line-height: 115%; mso-ansi-language: EN-US; mso-bidi-font-family: Vrinda; mso-bidi-language: AR-SA; mso-fareast-font-family: Calibri; mso-fareast-language: EN-US;">[6]</span></span><!--[endif]--></span></span></a><span style="font-size: 8.0pt; line-height: 115%;"> </span><span style="background: white; font-size: 8.0pt; line-height: 115%; mso-bidi-font-family: Arial;">Dr. Virginia B.
Spivey http://smarthistory.khanacademy.org/performance-art-an-introduction.html
<o:p></o:p></span></div>
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Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com0tag:blogger.com,1999:blog-6830803085505593877.post-42780160994482010472014-03-20T10:28:00.000-07:002014-07-08T11:16:01.073-07:00Conversely Conversed: Manmeet Devgun in conversation<div dir="ltr" style="text-align: left;" trbidi="on">
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<tr><td><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_TMD8i_IDOFJX45nVwr__ArgroCnzkjm5OnfFR-CsS1ikoP_X1o9_XYwm2rxd2g1d59ZgnENRqcn-pSQHfHX53g_HFHsYUJEkD2UgFzFKF1ftMwDcpbHH4YYWcRG04mk5h6ej-AZLTsw/s1600/img-120503175058-001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj_TMD8i_IDOFJX45nVwr__ArgroCnzkjm5OnfFR-CsS1ikoP_X1o9_XYwm2rxd2g1d59ZgnENRqcn-pSQHfHX53g_HFHsYUJEkD2UgFzFKF1ftMwDcpbHH4YYWcRG04mk5h6ej-AZLTsw/s1600/img-120503175058-001.jpg" height="320" width="188" /></a></td></tr>
<tr><td class="tr-caption" style="font-size: 13px;">Drawing by Anuradah Upadhyay after the performance "I Love You"</td></tr>
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<span style="font-size: 12.0pt; line-height: 115%;"><a href="http://vimeo.com/22603988">I Don't Need your Help (Click to see video)</a> </span></div>
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<span style="font-size: 12.0pt; line-height: 115%;"><a href="http://vimeo.com/22553516">Female Gaze (click to see video)</a></span></div>
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<a href="https://www.youtube.com/watch?v=PhFkNUAe2Go">I Love You (Click to see Video)</a></div>
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<a href="http://interpunctrape2012.blogspot.in/2012/05/i-love-you-i-love-you-i-love.html">Samudra Kajal Saikia on Manmeet Devgun's performance "I Love You" (Click to see blog)</a></div>
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<a href="https://soundcloud.com/kankhowa/manmeet-devgun-kankhowa-dj">The Cocks Have Survived (Click here to here the sound-work)</a></div>
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<span style="line-height: 115%; mso-bidi-font-family: Vrinda; mso-bidi-font-size: 14.0pt; mso-bidi-language: AS;"><br /></span></div>
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<span style="line-height: 115%; mso-bidi-font-family: Vrinda; mso-bidi-font-size: 14.0pt; mso-bidi-language: AS;">"Hailing from a Chandigrah, Manmeet came to Delhi in
late 1990s to study fine arts and she graduated in painting from the Jamia
Millia Islamia. Though she was a trained in painting, perhaps, Manmeet is one
of those women artists who abandoned the trained completely with no regret
almost a decade back. She moved around in Delhi with friends and helped them in
documenting their works and independently did photography as she had the access
to a camera... </span><span style="line-height: 115%;">Manmeet partnered with
Shantanu Lodh, initially in art and later in life and they together did a few
wonderful project..." [Johny M L], </span></div>
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<span style="line-height: 115%; mso-bidi-font-family: Vrinda; mso-bidi-font-size: 14.0pt; mso-bidi-language: AS;">See more: http://johnyml.blogspot.in/2011/11/i-dont-need-your-help-manmeet-devgun.html<o:p></o:p></span></div>
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<br />
<blockquote class="tr_bq">
<span style="color: #0b5394; line-height: 115%;">In last couple of years I have been closely observing Manmeet's work, her process of work and also being a collaborator in some works. We made a small video film "Mama-Baby" on 'the every day life of Manmeet Devgun', we initiated a collaborative artists' intervention named as 'HouseMORPHING' and so on. Based on Manmeets piece of writing and her performance on it I designed a digital soundscape as a post performance work. She also collaborated in some of my works like a performance "Let's See What Happens" at Vadhera Art Gallery. Other then editing her performance art R. A. P. E. 2012, I have written some blogs about her performances. We keep conversing frequently and here is a documented conversation.</span><br />
<blockquote>
<span style="color: #0b5394; line-height: 115%;">[Samudra Kajal Saikia, February and March, 2014] </span></blockquote>
</blockquote>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4yZ1cdDzpIP0Cyd9XrmaE-xXwSGcJDrkdXJ7YQ1K2EjnwNN5-oMlJHmRo_5LVtNRKfBQLbU2aOn2TQasH4q4_hM93rJDiduemC4vDKj8wC8DvfMjYCXVhhBo3VkL7Cbx9w82NNHUXcKk/s1600/IMG_0779.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4yZ1cdDzpIP0Cyd9XrmaE-xXwSGcJDrkdXJ7YQ1K2EjnwNN5-oMlJHmRo_5LVtNRKfBQLbU2aOn2TQasH4q4_hM93rJDiduemC4vDKj8wC8DvfMjYCXVhhBo3VkL7Cbx9w82NNHUXcKk/s1600/IMG_0779.JPG" height="320" width="213" /></a></div>
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<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Exactly when and how you became interested in "Performance
Art"? Was it your interest in the form or some circumstance that eventually
made you a part of the practice? <o:p></o:p></span></li>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">It was between the time
period 1999-2002 through the magazine Art Forum at Lalit Kala library I became
familiar with this term-Performance Art and saw the works of Santiago Sierra,
Adrian Piper, Marina Abramovich.</span><span lang="AS" style="color: #31849b; font-family: Vrinda; font-size: 15.0pt; line-height: 115%; mso-ansi-font-size: 12.0pt; mso-ascii-font-family: Calibri; mso-bidi-language: AS; mso-hansi-font-family: Calibri;"><o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">It was quite intriguing
to come across this new medium-where there was no need for a gallery to display
your work or to ask a curator to see your work.<o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Personally I see a lot
of freedom in performance art and that is what interested me.<o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">What eventually made me
a part of it was my close association with Shantanu Lodh and his friendship
with Inder Salim. Both of them were exploring this medium that time/performing
that time.</span><span style="font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></div>
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<br /></div>
<ol start="2" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">This is quite obvious that you do not think much about the future
when you enter into a practice. But there might be some particular
incident or moment where you realize something which convey a different
meaning to you. or there might be a palpably smaller event or evidence
which might carry a greater significance to you? Is there any what you
would like to share?<o:p></o:p></span></li>
</ol>
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<br /></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">A small incident I
would like to share with you here. In 2012, I did a performance- "I love
you" in Guwhati (it was part of Regional Art and Performnace Events) I was
endlessly saying- ‘I love you ‘ in different tones. At the end of the
performance when I came down stage, a girl held my hand and said-I wish I was
your girlfriend…<o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">It was a very moving
experience for me. What touched her emotions? It was just repetition of three
words, a monotonous effort…what did she feel hearing/listening to those words…<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzofTYN5mF9qHAkNXYCTMDo7vIJtavFaTavC9Mq2f99bVEUjUG9PapA8DDQHGUnzx3MpoeeEywijIWpQOS4-iompapiX_cdLmbBBwMGIh9CdpuN5KqbLng9BjFRFEhBz3WVI3O_3hznNw/s1600/01.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzofTYN5mF9qHAkNXYCTMDo7vIJtavFaTavC9Mq2f99bVEUjUG9PapA8DDQHGUnzx3MpoeeEywijIWpQOS4-iompapiX_cdLmbBBwMGIh9CdpuN5KqbLng9BjFRFEhBz3WVI3O_3hznNw/s1600/01.JPG" height="205" width="320" /></a></div>
</div>
<ol start="3" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Now, on inspiration part, who are the people and what are the events
that inspired you in your early phase? Inspiration may be taken in
practice and also in conceptual part.</span></li>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Marina Abramovich, really
inspired me, her use of her body as a tool was very inspiring.<o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Ana mendieta,Cindy
Sherman.<o:p></o:p></span></div>
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<br /></div>
<ol start="4" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">At present would you like to name any whom you appreciate most in
the practice?</span></li>
</ol>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">I can’t pinpoint to
just one artist. Amongst the Indian artists, Nikhil Chopra and Neha Choksi –are
the two artists whose works I would love to see live.<o:p></o:p></span></div>
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<br /></div>
<ol start="5" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">What are you working on at present?</span></li>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Presently I am taking a
sabbatical as I need to concentrate on my daughter. But I’m continuing to write
poetry.<o:p></o:p></span><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizq4H0VU40wIDfjshkmhX4WfWFBJzVHd4p0TakwMajiUQnY8WlW6Cg8-tZ0hOd_49XkKlsLioSXDkt5FUbQGrmxAUmsQIw1PwzfBzWX_W1DMiSN74vtcGLOu-KnSifwTL4asaeQiboDX0/s1600/Full18958_2011117163436999.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizq4H0VU40wIDfjshkmhX4WfWFBJzVHd4p0TakwMajiUQnY8WlW6Cg8-tZ0hOd_49XkKlsLioSXDkt5FUbQGrmxAUmsQIw1PwzfBzWX_W1DMiSN74vtcGLOu-KnSifwTL4asaeQiboDX0/s1600/Full18958_2011117163436999.jpg" /></a></div>
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<br /></div>
<ol start="6" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">We have seen you producing material art also, like embroidery,
photography and so on. You have a tendency of getting recognized as a
'total' artist. More particularly what would you prefer to be, a painter,
a performance artist or a multimedia artist?<o:p></o:p></span></li>
</ol>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">I don’t know what is a
‘total’ artist, but yes I like to explore different mediums, though photography
and performance art give me immense pleasure. <o:p></o:p></span></div>
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<br /></div>
<ol start="7" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">You also write. How writing plays a role in your performances?</span></li>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Writing plays an important role in my art
practice-not just for my performances. Poetry accompanies my images at times,
at times I embroider what I write , at times I use it in my performances . </span><span style="font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></div>
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<br /></div>
<ol start="8" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Performance Art as art mostly understood as conceptual art. What are
the issues or matters that are significant elements for conceptual
grounding in your works?<o:p></o:p></span></li>
</ol>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">It’s a very difficult
question to answer as I have not thought about my performative works in that
sense. The main issue or matter is to be able to just convey what
thoughts/emotions one wants to say.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxG3B9_mfuFsISEtXmgR34kM9YGXpVs6HrhhMUMRhbDCfoNuLjoFN9lCQGJgiTcKSnFnge0SkeH1SzDPzXDRhPeSga8NpcC1ZlLIbLBQJ7pNCuHNhiY5DKWVosUK-ujwWyL2hFmnfwuK4/s1600/manmeet,+Absences+II,+24+x+16,+print+on+archival+paper,-+1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgxG3B9_mfuFsISEtXmgR34kM9YGXpVs6HrhhMUMRhbDCfoNuLjoFN9lCQGJgiTcKSnFnge0SkeH1SzDPzXDRhPeSga8NpcC1ZlLIbLBQJ7pNCuHNhiY5DKWVosUK-ujwWyL2hFmnfwuK4/s1600/manmeet,+Absences+II,+24+x+16,+print+on+archival+paper,-+1.jpg" height="213" width="320" /></a></div>
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<br /></div>
<ol start="9" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Tell us your most favorite work of your own. And share the
experience in terms of what made it special for you?</span></li>
</ol>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">My favorite performance
is –The Honour Cloud.(it was performed after the ‘Nirbhaya’ rape case)<o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">It talks about the onus
of ‘family honour’ being carried by the female-daughter,wife,mother.<o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">There was a 40 mtr long
turban cloth on which I wrote-you are the honour of your family-in
English,hindi and Punjabi. I then tied it and was became a Big turban. I then
asked the audience if they would like to carry this weight, but no one wanted
to do it, and one woman said-we know about carrying this weight, I don’t want
to wear it. <o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">What made it special
for me was ,that for long this crisis was underlying within. There were (as
there still are) many incidents of molestation, rape in Delhi which bring out these
responses from the safe guardians of our culture and society, where the female
is always blamed for her appearance, being out late at night, etc. and the
‘Nirbhaya’ case crossed all limits. So this performance was done after that
incident(Jan’2013, ‘Nirbhaya’ case happened in Dec’12). It made me feel light, took
some weight off my chest. It was something I was feeling oppressed with and
just wanted to say it.</span><span style="font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></div>
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<br /></div>
<ol start="10" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">How the body matters for you? And when a body is there 'physically
present', there is definitely a political affiliation. Do you prefer to go
for a distinct political positioning across your body of work? <o:p></o:p></span></li>
</ol>
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<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">I am not a theorist, so
I don’t know how to put a distinct political position across my work. But many
refer to it as a feminist body of work. For me ‘personal is political’ and most
of my works spring from my experiences of being a woman- daughter, wife, mother.
And that is where my politics lies. <o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">I see ‘body’ as a
medium, tool, which can be used in one’s work –as a subject or not/as an object
or not.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="11" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Is there any sort of disturbance felt when you shift the mode of working?
<o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">I think the shift of
mode of working is due to disturbance! When one medium dissatisfies me, I shift
to another. And writing calms me down and I go back to what I was doing
initially.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1NfgK7Ri2HuKFocF7savV3ofRGkOwT4H9JrWp_sBVq8QVNjgW7BIW5HxYgzlehfjEwD44twmth6k7xWFugwTp1NHu1ADsPnSRingKoIIIogPZ9M3y-JKnRu8k_qllct8gVloYqig_IOU/s1600/long_thumb_8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1NfgK7Ri2HuKFocF7savV3ofRGkOwT4H9JrWp_sBVq8QVNjgW7BIW5HxYgzlehfjEwD44twmth6k7xWFugwTp1NHu1ADsPnSRingKoIIIogPZ9M3y-JKnRu8k_qllct8gVloYqig_IOU/s1600/long_thumb_8.jpg" /></a></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="12" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">How the space and time important for you? How they determine your
working pattern? <o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12pt; line-height: 115%;">Are we talking about my
daily working pattern or how space and time help to determine about a
performative work? Please specify.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<br /></div>
<ol start="13" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Your most of the works are based in Delhi. Your life style is based
in Delhi. So it can be assumed that Delhi as a site and Delhi as an
environment might be a part of your becoming. How do you comment on that? <o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Undoubtedly. Had it not
been for Delhi, I would have be married to some rich/wealthy sardarji-maybe in
Canada !!! and would be having teenager kids by now!! Jamia gave me the
opportunity to do my masters and to be exposed to the art scene here. And of
course it has shaped my art practice. It was in Delhi for the first time I came
across installation art. That time Khoj was in its initial stages, there used
to be the Modinagar residencies. The Box Walla project was happening in
Gurgaon,there were artists from UK,Italy being invited for work presentation in
Jamia. It was quite energizing to see all these. Shantnau Lodh and Inder Salim
were making posters. It was very very influential/impressive for a girl from
Chandigarh Art college.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="14" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Comment on the performance practices in Delhi.<o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12pt; line-height: 115%;">Performance art in now
(like) a new medium which many are exploring. Even Mithu Sen has started
performing now. It is being promoted by artist collectives like Raqs Media
Collective. Workshps are being held, sponsored by agencies such as Pro
Helvetia-Gati. Ambedkar university is providing an MA in Performance Studies.
Recently KNMA, Saket did a one year long project, inviting performance artists
to perform in the museum premesis. It is definitely emerging as a new art form.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="15" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">What do you think, when the trends of performance art started in
Delhi and how?<o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12pt; line-height: 115%;">Trends of performance
art in Delhi started around late 1990s,I believe. Anil Dayanad had performed
sometime around 1998 or earlier-please check the date with him.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">During that time itself
Shantanu Lodh performed in the gallery space of his school(where he was
teaching). He and Inder Salim did a collaborative performance at a gallery in
CP-sorry I am forgetting the name. these are the people who I think started
doing performances,where ever they found an opportunity.<o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">There was a
girl-Kriti-don’t remember her second name,she would invite artists to perform
at her terrace in a small flat in Lajpat Nagar-Anil dayanad,Inder Salim –all
performed over there. Shanatanu Lodh and I did a collaborative performance
there.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Khoj was providing
artists space to perform in their studios(as it still does). <o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">This was the kind of
energy that time.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="16" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Was there any significant historical moment that can be traced as an
important role-player for the emergence of performance art in Delhi?</span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Maybe an art historian
can answer that better. Yet, I will try my best.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">I think besides the
personal efforts of artists,performing at their own level,it is when
it(performance) happens in a platform-like a gallery or an alternative space
like Khoj, or a performance event,it gains visibility. And when there were art
talks post the performances,happening at Khoj,that a particular
performance/performance art, gets talked about,documented,it gains some weight.
I maight be wrong. But I think that Khoj was the only place where such art
practices were happening. That I would say is a major role player for the
emergence of performance art in Delhi-and the will of artists to do it when it
was not a regonised/accepted art form.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="17" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Are you affiliated in any other performing genres like music,
theatre, dance etc.? <o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">I wish I was affiliated with other performances genres,but
I am not.<o:p></o:p></span></div>
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<div class="separator" style="clear: both; text-align: center;">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhERH2HTOTZep-40wTLR-h9guwnJUk8jeNvjOrvavkb2oYgY1llv8jxw-HlGdjB5ptPnrHYE6vEu6I5XFB4nnWCuNF2yvWArquNmAfOlmFhIYoQj-26AtA3BcbJ9MR5qRSW4zpX6A6nqpQ/s1600/1472072_10152061016229054_818214253_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhERH2HTOTZep-40wTLR-h9guwnJUk8jeNvjOrvavkb2oYgY1llv8jxw-HlGdjB5ptPnrHYE6vEu6I5XFB4nnWCuNF2yvWArquNmAfOlmFhIYoQj-26AtA3BcbJ9MR5qRSW4zpX6A6nqpQ/s1600/1472072_10152061016229054_818214253_n.jpg" height="213" width="320" /></a></div>
<br /></div>
<ol start="18" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Performances have a tendency of incorporating elements other than
the 'performer's body' into the 'act'- like video, photography,
projections, music, soundscape and so on. in that way a performance is not
a singular mediumistic entity but a multimedia work. How do you use other
elements in your work?<o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">I am just six/seven
performances old(if it can be stated like that!) (as I am not sure if I count
my collaborative performances with Shantanu Lodh as my works-due to personal
reasons and not) I use other elements if I find any relevance of it in my work.
So far I have used photographs, one sound piece. For two of my performaces I
have used my poems-if that can be counted as an element.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="19" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">You also make videos as well as photography is you another interest.
How do you see them? Are they extension of your performance or you want to
see them as distinctly different practice? <o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Well, my photographs
are very much performative in nature. My performances can be said an extension
of my photographic works. But I do see them as different practices, because a
photograph is a still image. It is a captured moment/emotion and it is frozen.
While a performance is a live act,it exists only for the time it is
performed,there are residues left behind and each time it gives a different
experience. Though I do not repeat my performances, it would be interesting to
actually perform the same performance again,in a different space and experience
the repetition.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="20" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Though I mentioned Performance Art as a conceptual one, materiality
matters a lot here. The body is the first material. Then it is cited under
a certain time and space. Then comes other physical elements like costume
and other props. Have you thought about the materiality of the work? What
sort of props do you use frequently and why?<o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12pt; line-height: 115%;">I try and use as
minimal props as possible as I work alone and being a single parent my child
becomes my priority,so I try and use things/material which I can handle just by
myself. So the maximum I try and explore in terms of material is my costume and
whatever technical support I get at the performing space-like projector or a
microphone. Maybe as my daughter grows up and is able to handle herself,I will
incorporate other materials. Also ,I have never received any production cost
for my performances(What passes through is the air-performed at KMNA,has been
one performance where I got paid a substantial amount; Situaion 01-performed at
JNU,I got a small amount where I got a minimal amount,which covered my
production cost). So cost also becomes a determining factor in terms of
acquiring paraphanelia.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="21" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Stitched cloths or embroidery can be seen in your works. Say about
that. <o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Though the camera is my
constant companion/witness/lover, I am fond of knitting, stitching and
embroidery. I have done a one year diploma in Fashion Design,which refined my
stitching skills.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">My mother is wonderful
in stitching, embroidering and knitting. Since childhood I have admired and
helped her in some of her projects-embroidering bedcovers, making curtains, knitting
sweaters and blankets. In fact we had embroidery and knitting as a subject in
school, which were one of my favourites.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Embroidery was actually
explored by my poetry. When I had my solo in 2011,I wanted to display my poems
but I wasn’t sure what would be the right medium for it, so I ended up
embroidering my poems(though only one was displayed). And that led to
embroidering images.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="22" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">While saying materiality of the work, it is different from other
mediums of work. You cannot preserve a performance or sale it out. What
you can do is create some memory. Now what is your take about that? How
much of a performance could be captured through photography or video
documentation? <o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Yes, a performance
cannot be preserved in its entirety ,it is only experienced for the time it is
performed.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">The experience of a
performance cannot be captured but it needs to be documented-that is the only
way it will survive and that becomes the only evidence other than witness
account.<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<br /></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">And believe me ,the
photographic documentation may still do justice to it but a video documentation
can even kill it-as I experienced it in Khoj-post ‘Hamam main him sab nangey
hain, per yeh hama hai kahan?(2006)<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">And interestingly I
mostly have photographic documentation!<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="23" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">In reverse to the earlier question, can a photographic documentation
of a performance be considered a performance in itself? <o:p></o:p></span></li>
</ol>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12pt; line-height: 115%;">No I don’t think a
photographic documentation can be considered a performance in itself.</span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; margin-left: .5in; margin-right: 0in; margin-top: 0in; text-align: justify;">
<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">I see Cindy Sherman’s
photographic works as performative works but they are not a documentation of a
performance-they are the final act.<o:p></o:p></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8l_G982fEnH7D83T9py2ZV74IyaQ6PGOPHWS89Sgc8Q7R5wi_h2G4Y_kU1XAbyxJP5HPIG08WnSZjZpfkxmNGzP4X90kQgOxgmjht4hRpR_HlZLtjS7KfFKVjodzDTRvANbsygJZgcFY/s1600/MANMEET+Boredom,+DIGITAL+PRINT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8l_G982fEnH7D83T9py2ZV74IyaQ6PGOPHWS89Sgc8Q7R5wi_h2G4Y_kU1XAbyxJP5HPIG08WnSZjZpfkxmNGzP4X90kQgOxgmjht4hRpR_HlZLtjS7KfFKVjodzDTRvANbsygJZgcFY/s1600/MANMEET+Boredom,+DIGITAL+PRINT.jpg" height="213" width="320" /></a></div>
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<li class="MsoNormal" style="color: #31849b; margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="color: windowtext; font-size: 12.0pt; line-height: 115%;">While preparing for a performance how
do you develop it? What comes first to your mind? Is it a concept or idea
that clicks in your mind or is it the situation that you imagine in a
formalistic way? Or do you think of the spectators first?</span><span style="font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></li>
</ol>
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<span style="color: #31849b; font-size: 12pt; line-height: 115%;">While preparing for a
performance what comes first in the mind is the concept/idea definitely. The
idea/concept is then worked upon,discussed with friends. I also do photo
sketches which are very helpful. Spectators are never a consideration. ‘What we
cannot see’ performed at Abadi Art Space, had only six spectators.</span></div>
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<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Do the conceptual spectator matters for you in the formation of the
work? Do you ever think "for who am I doing this?" To be very
precise is there any incident where you have changed the mode of
performance for the present audience? <o:p></o:p></span></li>
</ol>
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<span style="color: #31849b; font-size: 12pt; line-height: 115%;">Spectator is there to
see my performance,absorb/negate, experience or carry a memory. How or what
they feel is not in my control or my intention. They are free to view it or
not. I have never changed the mode of performance for the present audience.</span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Also for me,the space,
the feel of the space is more relevant , if I change the mode of performance,it
could be after how I relate to the given space.</span><span style="font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></div>
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<br /></div>
<ol start="26" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Who are the patrons for your works?<o:p></o:p></span></li>
</ol>
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<span style="color: #31849b; font-size: 12pt; line-height: 115%;">Patronage as Wikipedia
says-is the support, encouragement, privilege or financial aid that an
organization or individual bestows to another. In the history of art, art
patronage refers to the support that kings, popes and the wealthy have provided
to artists such as musicians, painters, and sculptors.</span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Let us hope that 2014
becomes the year of patrons for my work!</span><span style="font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></div>
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<br /></div>
<ol start="27" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;"> Survival is a big question
being a performance artist in India. How do you see the future?<o:p></o:p></span></li>
</ol>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">In the present times
being a performance artist or otherwise is hard for survival. Though I am
hopeful of the future. </span><span style="font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></div>
<div class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; text-align: justify;">
<br /></div>
<ol start="28" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">There can be a question on How Indian is Indian performance art? Is
there any requirement of searching a certain Indian-ness within the
practice? At large comment on the Indian Performance Art Scenario.</span></li>
</ol>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Why does Indian
performance art have to be Indian? Or rather how can it be Indian? A
performance can have a regional/national context or relevance for that matter, concerning
an issue or incident.<o:p></o:p></span></div>
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<br /></div>
<ol start="29" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Do you interested in Collaborative performances? All the major
artists' groups had collapsed in India much ago. In today's practice most
efforts are emerged in singularities. What is your take on this? <o:p></o:p></span></li>
</ol>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Collaborations have
never deterred me. I have done collaborative performances in the past, been
part of performances of friends. <o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">I think one of the
reasons for today's practices
emerging as singularities could be a
lack of agreement over an issue or concern. Maybe ego also plays a major role.
If the personalities of two individuals are in conflict, it does become
problematic. <o:p></o:p></span></div>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Also artists are
habituated to making individual art works (T & T are one exception in the
Indian art scene who produce collaborative works) so probably collaboration
becomes an uncomfortable situation.</span><span style="font-size: 12.0pt; line-height: 115%;"><o:p></o:p></span></div>
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<br /></div>
<ol start="30" style="margin-top: 0in;" type="1">
<li class="MsoNormal" style="margin-bottom: .0001pt; margin-bottom: 0in; mso-list: l0 level1 lfo1; text-align: justify;"><span style="font-size: 12.0pt; line-height: 115%;">Whenever we talk about "Performance Art", most of the
problems occur because of the lack of a singular definition. The practices
are so individualistic and conceptual that there is no 'canon', 'method'
or 'rules and regulations' in it. In that case how to explain it to a
young student artist? How to train a young artist who is interested in
Doing "Performance Art"? <o:p></o:p></span></li>
</ol>
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<span style="color: #31849b; font-size: 12.0pt; line-height: 115%;">Hard for me to say. For
a young student artist it is essential to see performances, to study about its
history-how performances started, the need for performance, question
performance artists. They should explore the medium on their own, make mistakes
and learn.<o:p></o:p></span></div>
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Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com0tag:blogger.com,1999:blog-6830803085505593877.post-32373418042528713472014-02-25T23:33:00.000-08:002014-02-25T23:33:02.568-08:00ILA DALMIA FICA RESEARCH GRANT 2013 | SAMUDRA KAJAL SAIKIA<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-family: Arial, sans-serif; font-size: 9.5pt; line-height: 13.3pt;"><b>The
Foundation for Indian Contemporary Art (FICA)</b> is pleased to announce Samudra
Kajal Saikia as the recipient of the Ila Dalmia FICA Research Grant 2013 for
his research project titled The Delhi Chapter, Understanding Performance as Art
and Beyond: Multiplied Gaze.</span></div>
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<span style="font-family: Arial, sans-serif; font-size: 9.5pt;">The
members of the jury were Yashodhara Dalmia, Shukla Sawant, Roobina Korade and
Vidya Shivadas.<o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 9.5pt;">Saikia's
proposal is for a research and documentation project that engages in
historicizing new trends in Performance Art in India. Tracing history and
evidences in the last three decades this project addresses some of the most
important research queries pertaining to performance art in India, and its new
roles in the recent past. The Ila Dalmia FICA Research Grant 2013 will
specifically support the first step in his larger research journey, titled The
Delhi Chapter. The research will be undertaken in three stages - The first will
focus on key concepts such as body, space and spectatorship. The second
developmental stage concerns with the artists' selection, selection of groups
or agencies and spatial experiences. The third critical stage will be based on
captured audio visual documentation and collected archival material.<o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 9.5pt;">The
jury appreciated Saikia's well rounded approach to his subject, focusing both
on documenting contemporary art practices and simultaneously studying these
trends in ahistorical context through
the prisms of methods, concepts and writings. The jury found the research
questions that the proposal brought up extremely relevant to today's context
where boundaries between various creative practices are being slowly blurred.
They also felt that Saikia's own work in the field of performance art gave him
an added advantage to engage with his subject more thoroughly and develop
methods which draws from outside mainstream art history and documentation.<o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 9.5pt;"><b>Samudra
Kajal Saikia</b> is a practitioner of interdisciplinary art including performance,
public and video art. He is also a poet, researcher and writer. He has a
Masters in Visual Art (specialization in Art History) from Faculty of Fine
Arts, MS University of Baroda. He is the creative director of Kathputlee Arts
and Films, New Delhi. Saikia is also engaged with a self-driven theatrical
practice called 'Disposable Theatre'. He is the recipient of the FICA Public
Art Grant 2010.<o:p></o:p></span></div>
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<span style="font-family: Arial, sans-serif; font-size: 9.5pt;"><a href="http://www.ficart.org/idfrg-2013-samudra-kajal-saikia">Announcement from FICA</a></span></div>
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Samudra Kajal Saikiahttp://www.blogger.com/profile/17311603159801405779noreply@blogger.com0