Manyness of a modernist
Publisher: Mumbai ; ; 2015Edition: XIX; IV; October.Description: 68-71.Subject(s):
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Summary: Vivan Sundaram is an artist who deftly combines avant-garde practice with activist engagement. A part of his social commitment is expressed through archival and curatorial engagement with historical events and figures, including artists. Some of it, like his most recent work, 409 Ramkinkars, consists of ambitious projects conceptualised and realized with the help of collaborators – in this case with a collective consisting of Anuradha Kapur, Santanu Bose, Rimli Bhattacharya, Aditee Biswas, Belinder Dhanoa and a host of technical assistants and actors working under the aegis of the Vivadi Theatre Group. It is sculpture, installation and promenade theatre melded into a deeply experiential and discursive performance piece. Of its three components, the first urges us to see art as an independent object, the second presents objects and sites as a collective body in space, and the third calls for an immersion in action that transforms objects and sites into a fluid space of experience. Sculptures and installations exist in space and interact differently with the place in which they are located, but they do not have duration. The time spent before them is determined by the curiosity, involvement and acuteness of the viewer. Theatre and performance have duration, it is determined by the artist/director and performers, it is prechoreographed to various degrees, and in art after modernism duration is often an instrument for overcoming the limits set upon art by the modernist concept of objecthood. And Vivan’s / Vivadi’s presentation lasts a good two and a half hours.
| Item type | Current location | Call number | Status | Date due | Barcode | Item holds |
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Articles Abstract Database
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School of Architecture Archieval Section | Not for loan | 2020-2021064 |
Vivan Sundaram is an artist who deftly combines avant-garde practice with activist engagement. A part of his social commitment is expressed through archival and curatorial engagement with historical events and figures, including artists. Some of it, like his most recent work, 409 Ramkinkars, consists of ambitious projects conceptualised and realized with the help of collaborators – in this case with a collective consisting of Anuradha Kapur, Santanu Bose, Rimli Bhattacharya, Aditee Biswas, Belinder Dhanoa and a host of technical assistants and actors working under the aegis of the Vivadi Theatre Group. It is sculpture, installation and promenade theatre melded into a deeply experiential and discursive performance piece. Of its three components, the first urges us to see art as an independent object, the second presents objects and sites as a collective body in space, and the third calls for an immersion in action that transforms objects and sites into a fluid space of experience. Sculptures and installations exist in space and interact differently with the place in which they are located, but they do not have duration. The time spent before them is determined by the curiosity, involvement and acuteness of the viewer. Theatre and performance have duration, it is determined by the artist/director and performers, it is prechoreographed to various degrees, and in art after modernism duration is often an instrument for overcoming the limits set upon art by the modernist concept of objecthood. And Vivan’s / Vivadi’s presentation lasts a good two and a half hours.
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