If a work as a whole is perceived and understood through ‘recollection’, images stored in the memory, then the first reading/viewing of it is only the beginning. The process of re-reading/reviewing is essential to grasp as much as possible and to entice the viewer into creating a chain of recollections. Something that the person next to you and I think of as random recollections is not as haphazard as it seems. The very concept of a ‘collection’ (however vague the image or idea) follows the selection and elimination process – it is then about the degree of ‘randomness’.
A re-arrangement of these recollections connects it with things elsewhere bringing it into a perspective where this hero less tale of productions is not as purposeless as it seems. The bits of pottery, textile, tools or other artifacts that are excavated, highlight the artistic style of the period concerned. These artifacts and associated literature garner much debate and scholarly attention as objects of the past, ascribing authenticity to a cyclical process of progression and regression of cultural and material production. This assemblage of art objects within the college premises could be construed as an archive of illegitimate and disregarded objects that are to be glanced in situ. Unlike the archaeological remains, here the past and its authenticity is of no consequence rather it is the visual appeal along with memories of associated ideas/images. A personification of Visuality would have her fingers in every pie. It tends to proceed beyond the conventional and gathers concepts and elements from a wide range of subjects to assist in theorizing, and nothing that is ‘known’ is out of bounds of theory.
The focus is on objects that are not entirely entrenched into the mainstream excitement and fascination of the market, where the monetary value is never completely out of mind but for this project it has been temporarily kept out of sight. The collections of objects concerned are specific to the campus of the College of Fine Arts, Bangalore.
The accepted logical resting place of objects created in an art academy is an art gallery or a museum. Apart from a few trial and error works most of the artists keep in mind the gallery space, the frame and/or the pedestal – keeping the issue of Installations and new media works under wraps for the moment. However, in such concentrated profusion of creativity (as in an art institute), certain artifacts and objects are positioned into an uncertain existence where the ‘actual’ purpose becomes obscure - the ‘actual’ purpose, also being the logical one, is its display in a legitimate space and further open for appropriate negotiations. The multitude of such objects further reduces its ‘unique’ status. The combined spectacle of such sculptures and certain remnants of sculptures-that-were, are on permanent display around the year within the campus premises. The individual identity of these objects is somewhere misguided and a cognitive image of it (could also be a collective image) is retained as a flexible substitute. The physical realities of these objects are testimony to the frozen thoughts that refuse to adapt any further.
It is all in the mind.
It is the appropriation of the idea that governs the journey of the object until another path has been visualized for it. Repositioning of random images triggers momentary variations in cerebral activities and subsequently the order of the ideas and visuals within the larger assembly of the picture gets re-organized. This story of visual and narrative alteration is at the core of lowbrow entertainment. Don’t get bamboozled by randomness, the various designs of images and ideas born by ‘chance’ are guided by many forces. The ‘elemental role of chance’ adds excitement to an ongoing routine of activities. It serves as a comic relief in a seemingly stiff environment of institutional norms. After all, ‘comics’ is a big and calculated business.
These fragmented visions of a past demonstrates the idea of simulacra where random bits of related audio-visual materials are presented in a distinct order, prodding the audience to see into an organized space of re-collections of my memory. At the first glance itself, the purpose of my work has already been conveyed. There is now a random collection of images and ideas. The participation of the viewers involves the breaking up of the intended construct, wherein each fragment prompts a whole new set of experiences.
Thursday, February 28, 2008
Sunday, December 17, 2006
BIZARRE & CURIOUS BELIEFS
There is an element of uncertainty when I say "I believe". But if I stressed on the word 'Believe' and say it with conviction, there is no uncertainty on my part, yet still it refers to a point somewhere in the future - near or far. Believing is a condition of the mind that doesn't relate to the present but with the consequent events yet to occur with reference to past experiences. Understanding beliefs and belief systems is not a banal task. Quite a few psychologist and neuroscientists have tried to create a neurological model to explain and examine how beliefs are formed and how it affects and manipulates the actions of a person. Apart from the scientific experimentation and explanations, artists, poets and writers are also pooling-in to add to the mystery and ambiguity in the meaning and application of the word itself, which makes it an interesting subject even for a layperson to ponder upon.
- I -
My inspiration to write a small note on this abstruse theme arose after visiting the art exhibition (Singapore Biennale, 2006) titled "BELIEF". The idea I had was just a fragment of what the exhibition had to offer. I'll mention only few artists and their works which I found interesting and I hope it would generate a sense curiosity among the readers to check for more details on the Singapore Biennale that can be obtained from visiting their web site(www.singaporebiennale.org)
* Mariko Mori displayed "Tom Na H-iu" which was based on a prehistoric Celtic site of standing stones and also indicating towards similar rituals existing in Japan. Through the futuristic form, the artist, projects the spiritual vision of the universe based on science, spirit and nature. While observing the mysterious lights glowing (quite dim)
seeking the Truth about the meaning of his/her existence. It can be envisioned as an inner search or contemplation on the vast expanse of the outer space.
* "M8 - Summit of Micronations" is an installation, by the YKON group, depicting a fictional summit convened by Lee Kuan Yew - the creator and the architect of modern Singapore. The summit explores Singapore as a venue "where utopias are negotiated." Here, utopia means a place with either real or imagined possibilities, which haunts the human mind that is in search of a better life. The negotiations and discussion are through laughter. Laughter needn't be always associated with happiness. It also hints at a weakness that it is desperately trying to overcome.
* Yayoi Kusama was afflicted with hallucinations at an early age. She applied characteristic motifs in her works based on her hallucinations. She covered the trees along Orchard Road with polka dots, making the entire street a stage to project her obsession and hallucinatory visions.
* The Last Supper takes on multiple meanings in the fifty-eight minute film by Mats Bigert and Lars Bergstrom titled "The Last Supper". It explores the relation between belief, religion, state politics and food. The film features the peculiar ritual of giving condemned inmates a final meal of their choice a night before the execution. Besides delving into the psychological pros and cons of this practice, the film tends to subvert the historical and or the mythological meaning and relevance of the biblical Last Supper.
* On a similar note, Aida Makoto presents a mixed media installation and performance titled "Discover The Element Of New Taste!" It is a rejection of the claims of 'New Taste' made by chefs and professional tasters as nothing more than a hotchpotch of existing elements of
culinary department and an urge to create a 'truly new' taste seems naive before the more explosive and provocative "Harakiri SchoolGirls".
* Aida Makoto ("Harakiri School Girls") manages to draw on many issues concerning Japan and its inter-personal relationships. Young schoolgirls that form an important portion of the consumer group are engaged in committing ritual suicide. The use of / reference to anime characters to depict the gory details in the picture forces the viewer into an uneasy corner to accept the effervescence of global culture and consumer habits and yet at the same time witness the putrid condition of certain social practices. There are no accusations here, just the irony that these two conditions co-exist, whereas in theory, one should eradicate the other.
This exhibition itself appears as an experiment to gauge the diversity of the changing value and belief systems, where individual artists and artist groups, hailing from different social circumstances, attempt to re-investigate the different fantasies and perceptions of faith and belief in themselves and the world around.
- II –
Belief on a day-to-day basis can make some people do the strangest of things. On the one hand, it provides clarity and stability in the choice of ideas, companions and other preferences but can also be equally devastating if it manifests itself as prejudices and firm convictions that lead to inhumane practices. After witnessing the magnitude of possibilities to express 'belief', I took a small survey of what thoughts and ideas people have about 'believing'. I got some really wacky and some admirable responses when I randomly asked some people if they had any bizarre thoughts, that they believe in and that it has real consequences.
Please note that the identity of the people I interviewed have intentionally been kept under cover, for I believe, it'll ensure my continued good health. A musician in the making proudly replied, "I'm a prominent musician whose genius will be unearthed after I die. I can hardly wait." A potential heiress ... "I will be kidnapped if I travel on a British airline over Russia within the next decade in the last six months of any year. And if I do, well then, I believe you’re talking to the future heiress of the biggest mafia gang in Russia." From a distant corner a budding science fiction author vehemently claims, "I don't have any strange beliefs. I only believe in theories (on any subject - biology, space science etc) that are strange." Try figuring this one out, it took me sometime. There were some more beliefs revolving around "world peace", environment and other such noble causes.
Certain beliefs that harden into the character of the person takes the form of idiosyncrasies. My friend's elder brother has been through two road accidents in the last one and a half years. One of his little idiosyncrasies was that he always preferred to enter the car first. Cricket tournaments always excited my neighbor. While watching a match, he firmly believes that India will win only if he wears the 'same clothes' as the last time when he saw the Indian team win. These seemingly irrational arrangements of associations, quite surprisingly appears to progress in a logical order (and assures a secured sustenance of the being). Until the mind is conditioned to think otherwise, people find comfort in their little imaginary hubs of logic.
Who would ever believe that talking to your own vehicle and washing it with soap and warm water once every week would ensure not just the satisfaction and safety of the driver but also to keep the vehicle in "good spirits" so that she leads a "healthy life"?
.
.
.
I do.
- I -
My inspiration to write a small note on this abstruse theme arose after visiting the art exhibition (Singapore Biennale, 2006) titled "BELIEF". The idea I had was just a fragment of what the exhibition had to offer. I'll mention only few artists and their works which I found interesting and I hope it would generate a sense curiosity among the readers to check for more details on the Singapore Biennale that can be obtained from visiting their web site(www.singaporebiennale.org)
* Mariko Mori displayed "Tom Na H-iu" which was based on a prehistoric Celtic site of standing stones and also indicating towards similar rituals existing in Japan. Through the futuristic form, the artist, projects the spiritual vision of the universe based on science, spirit and nature. While observing the mysterious lights glowing (quite dim)
seeking the Truth about the meaning of his/her existence. It can be envisioned as an inner search or contemplation on the vast expanse of the outer space.
* "M8 - Summit of Micronations" is an installation, by the YKON group, depicting a fictional summit convened by Lee Kuan Yew - the creator and the architect of modern Singapore. The summit explores Singapore as a venue "where utopias are negotiated." Here, utopia means a place with either real or imagined possibilities, which haunts the human mind that is in search of a better life. The negotiations and discussion are through laughter. Laughter needn't be always associated with happiness. It also hints at a weakness that it is desperately trying to overcome.
* Yayoi Kusama was afflicted with hallucinations at an early age. She applied characteristic motifs in her works based on her hallucinations. She covered the trees along Orchard Road with polka dots, making the entire street a stage to project her obsession and hallucinatory visions.
* The Last Supper takes on multiple meanings in the fifty-eight minute film by Mats Bigert and Lars Bergstrom titled "The Last Supper". It explores the relation between belief, religion, state politics and food. The film features the peculiar ritual of giving condemned inmates a final meal of their choice a night before the execution. Besides delving into the psychological pros and cons of this practice, the film tends to subvert the historical and or the mythological meaning and relevance of the biblical Last Supper.
* On a similar note, Aida Makoto presents a mixed media installation and performance titled "Discover The Element Of New Taste!" It is a rejection of the claims of 'New Taste' made by chefs and professional tasters as nothing more than a hotchpotch of existing elements of
culinary department and an urge to create a 'truly new' taste seems naive before the more explosive and provocative "Harakiri SchoolGirls".
* Aida Makoto ("Harakiri School Girls") manages to draw on many issues concerning Japan and its inter-personal relationships. Young schoolgirls that form an important portion of the consumer group are engaged in committing ritual suicide. The use of / reference to anime characters to depict the gory details in the picture forces the viewer into an uneasy corner to accept the effervescence of global culture and consumer habits and yet at the same time witness the putrid condition of certain social practices. There are no accusations here, just the irony that these two conditions co-exist, whereas in theory, one should eradicate the other.
This exhibition itself appears as an experiment to gauge the diversity of the changing value and belief systems, where individual artists and artist groups, hailing from different social circumstances, attempt to re-investigate the different fantasies and perceptions of faith and belief in themselves and the world around.
- II –
Belief on a day-to-day basis can make some people do the strangest of things. On the one hand, it provides clarity and stability in the choice of ideas, companions and other preferences but can also be equally devastating if it manifests itself as prejudices and firm convictions that lead to inhumane practices. After witnessing the magnitude of possibilities to express 'belief', I took a small survey of what thoughts and ideas people have about 'believing'. I got some really wacky and some admirable responses when I randomly asked some people if they had any bizarre thoughts, that they believe in and that it has real consequences.
Please note that the identity of the people I interviewed have intentionally been kept under cover, for I believe, it'll ensure my continued good health. A musician in the making proudly replied, "I'm a prominent musician whose genius will be unearthed after I die. I can hardly wait." A potential heiress ... "I will be kidnapped if I travel on a British airline over Russia within the next decade in the last six months of any year. And if I do, well then, I believe you’re talking to the future heiress of the biggest mafia gang in Russia." From a distant corner a budding science fiction author vehemently claims, "I don't have any strange beliefs. I only believe in theories (on any subject - biology, space science etc) that are strange." Try figuring this one out, it took me sometime. There were some more beliefs revolving around "world peace", environment and other such noble causes.
Certain beliefs that harden into the character of the person takes the form of idiosyncrasies. My friend's elder brother has been through two road accidents in the last one and a half years. One of his little idiosyncrasies was that he always preferred to enter the car first. Cricket tournaments always excited my neighbor. While watching a match, he firmly believes that India will win only if he wears the 'same clothes' as the last time when he saw the Indian team win. These seemingly irrational arrangements of associations, quite surprisingly appears to progress in a logical order (and assures a secured sustenance of the being). Until the mind is conditioned to think otherwise, people find comfort in their little imaginary hubs of logic.
Who would ever believe that talking to your own vehicle and washing it with soap and warm water once every week would ensure not just the satisfaction and safety of the driver but also to keep the vehicle in "good spirits" so that she leads a "healthy life"?
.
.
.
I do.
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