Performance Art

Performance art is essentially a performance presented to an audience with a fine are context but can also be interdisciplinary. A performance can be scripted or orchestrated or even spontaneous.

Performance art has had a role in avant-garde art throughout the 20th century, having essential roles in dadism and futurism. The main purpose of performance art is to challenge the traditional conventions of “art”. Most performance artists use their body to a great extent in performances.

Performance art is not bound by time but has to have an audience to which it is directed, without the presence of an audience it simply becomes a piece of art or a performance. For instance Nikhil Chopra, a Performance artist, documented himself creating art on the street, what made it a performance art was the audience that looked at him and had an interaction with his space while he created his sketch.

Nikhil Chopra is an artist that completely immerses himself in his act. Its almost always pre planned but not all of his performances are scripted. His character in the performance is extremely important and is not afraid to express his creativity in anyways going to the extent of being extremely comfortable stripping down in front of a camera or even an audience who has come to view during a performance.

Museums and Accessibility

Today’s class was a guest lecture by museum professional, Poulomi Das. Poulomi was recently a fellow at the Victoria and Albert Museum, researching accessibility in museums. Through the morning, she unpacked the term accessibility, and discussed the various ways in which it is approached and implemented. She also looked at the term inclusive and explored the various levels of inclusivity.

Sharing insights from her work in the UK, and in India, chiefly with the Dr Bhau Daji Lad Museum, in Bombay and the Bihar Museum in Patna, Poulomi led the discussion on museum spaces, their role in society and the intervention of designers.

The class, in groups of four must by next week submit a small research proposal, to look at access for a particular disability and ways in which the spaces can be made inclusive socially and culturally.

Sri Sri Lanka



Looking at this piece of art holistically, its honestly so beautifully intriguing. It’s such a simple idea, something so basic as a Map, turned into something with so much history and meaning. The artist has taken maps of Sri Lanka and used that whole space in the artwork to beautify this basic map and make it tell a story of so much more. The colors are so simplistic and complimenting like the turquoise blue and orange along with touches of grey. They all make the white space so comfortable. What’s most interesting to me is the addition of Hanuman, so confident, so behemoth and so bold. He’s striding along painted in colors of green, red, blue and gold looking powerful as ever carrying the mountain on his single palm. His relevance is our immediate remembrance to the mythological tale of the Ramayana and the triumph of good over evil as they call it. The shapes used to convey the map are also extremely interesting to me and the graphics to portray the artwork. The map of the fort lies in the center with the graphics and maps of the surroundings residing over the borders of the painting.



Performance is a genre in which art is presented “live,” usually by the artist but sometimes with collaborators.

Performance art is highly reliant on on the three foundations, time, space and audience. The absenteeism of any one of the three makes thereby make the performance a failure. The ‘performer’ is the one responsible for this trio. The performance is his, the audience is whom HE invites and the base and time is what he chooses at his convenience.

The performance might be completely prearranged or impulsive. We gather that from the reaction of the audience and the space where it is performed. However the beauty of performance art is that according to me when it is truly successful is when there is an element of spontaneity in the performers act.

Shoot (1971)

Artist: Chris Burden

In many of his early 1970s performance pieces, Burden put himself in danger during a particular performance. This would then put the viewer in a challenging position.

The audience would be caught between a humanitarian instinct to intrude versus the offense of touching and interacting with artworks.

To perform Shoot, Burden stood in front of a wall while one friend shot him in the arm with a .22 long rifle, and another friend documented the event with a camera.

It was performed in front of a small, private audience. One of Burden’s most infamous and powerful performances, it hints upon the idea of martyrdom, and the notion that the artist may play a role in society as a kind of victim.

It might also speak to issues of gun control and this is extremely relevant to the period of time it took place in which is that of the Vietnam War.


Sri Sri Lanka

IMG_7063Sri Sri LankaPala Pothupitiya

Pala Pothupitiya

The most interesting aspect of the artwork is the marrying of the Sri Lanka map into a human form. The representation of wave like hair with a headgear placed at the crest perhaps has some significance to royalty, or a certain class of people. The robe like structure, with a darker underlying layer too in some way reflects a ceremonial robe usually worn on top of existing garments. The slight implication of a dagger or sword hidden underneath may have reference to the violence encountered by the country. Interestingly the print on the dagger is of paper clips. Since paper clips were used as a symbol of resistance in WWII, here too they might be symbolic of the same. Just below the ‘neck’ there are a number of tiny parrots symbolic of the hanging parrots of Sri Lanka, which are also found on their currency.

Performance Art

performance art


an art form that combines visual art with dramatic performance.

Performance art dates back to the 20th century around 1960s, when artists wanted to move away from the traditional mediums of paintings and sculptures. Performance art served as a medium to explore and experiment with their bodies, objects and people around them.

Performance art stands on three bases, time, space and audience. If either of the three fail to be available or taken into account for, it no longer remains a performance art. The ‘performer’ is the apex of this pyramid, in whatever way he chooses to perform.

The performance might be completely planned or spontaneous, depending upon the random reactions of its audiences and spaces which add a completely new layer of audience’s contribution to the performance.

Taking the example of Nikhil  Chopra going onto the streets and simply starting to sketch on the ground. Although physically his body and work is limited to a certain area, the audience he attracts, the policemen with whom he has interactions with, and the curiosity and suspicion he generates all together become the performance. Again if the entire performance was not recorded, and only the final residual drawing on the street is said to be the proof of the occurrence of such a performance, it wouldn’t exist, and wouldn’t be called a performance art. That work would simply be a piece of art. Such is the importance of presence of people along with the responses around; it thrives on participation.

The remnants of performance arts are visual pieces, tangible objects.The performance is just a visual which becomes an intangible, non tradable work; art in it’s purest, most non commercial form, solely orchestrated for the love of art and expression.

Merged space

Merging -Clash of clans game into real cities


Genesis-How did the civilization came into being?

Every civilization needs resources to survive and thrive. This particular civilization requires elixirs for its citizens to thrive. The elixirs are the most abundant {for now} natural resource in this world, and run through the underground canals so that it can be accessed by its citizens. The source of these elixirs are fossilized bodies of its the previous generation of the citizens  itself. It’s a never ending cycle of bodies getting converted to elixir and back.Every scientist in this world knows about this  process , nut they still don’t know what causes these processes .

How does the civilization look like?

In the central part of the sub continent lies its  capital .It contains an elixir storage, which is heavily guarded , and metalworkers  and  engineers have installed high tech armors and have made them completely bullet proof, should intruders from enemy territories try and steal the eixir, as in this civilization, elixir is the power, to money and global dominance.. The citizens of every country  have constructed their cities around the elixir storage, which behaves like a dam for all their energy needs. The army thus is concentrated around the storage , and there are guards around the city borders to warn of incoming attack.

The future?


Above:Weapons run by elixir

This cycle of bodies-elixir-bodies has given rise to something unprecedented, over time and civilizations, the citizens have evolved and have become increasingly efficient at surviving in minimum amount of elixir, due to which the leftover elixirs are now used as ammunition for their weapons. Also, the citizens have over time developed capacities to manipulate the land ,and its resources, which they are using to construct their cities. As civilizations grow over time , their manipulating power increases more and more , and that’s when it can lead catastrophic consequences . As the citizens need less and less elixir, and their efficiency increases , lesser number of citizens will die , due to which there will be lesser amount of fossilized bodies to get converted into elixir, which will inturn cause the shortage of elixir  and energy itself. This leave all their technology and lifestyle obsolete, as they depend on elixir for energy.The only way out of this catastrophy-WAR.


Short notes on Artworks



The simplicity as well as the clutter between various hues of the painting illustrate the identity of the painting along with the comprehension of various ideologies zen buddhism. The aspect-ion asymmetry and inscription of creases allowed on the canvas appropriate the painting to be depicted as old and modernised within its own front. The painting effects the space by inducing oneself to the cluttered canvas and the depth it creates with the artist.


The contrast of the two colours, skin opposed to black portray a feeling of ecstasy. the work speaks to me about the journey from one end of the canvas as uniform and clear, erupting into confusion and smudginess, finishing with the similar cleanliness it began with. The confusion and energy it portrays talks about Gaitonde’s expression and ideas of completion.

Painting No. 4 

The colours depict a invasion of space with modern grey roads aligning parallel to the raw soil and cleanliness of the rural areas. The painting speaks about the urban involvement with the rural front, the development of the city and crowd viewed from the very height of the skyscrapers, seeing tiny yellow traffic lights and uneven roads of rurality. The clarity of the white spaces inscribing the new paint on the roads countered with beige puddles created in alignment.

Zarina Hashmi 

चित्र मैं हमे यह दिक्ता है की यह चित्रकार एक नक्शे की यात्रा का अभियान को बताना चाह रहा है वो बोलना चाह रहा है की वो एक जघा से दोसरि जघा जा रहा है, और वो इफ़ सफ़र को इस लकीर का ज़रिए जताना चाह रहा है


Understanding Space in an Artwork

The entire collection is based on a depiction of historic places of Sri Lanka, and what they were used for though maps. The artist has moved away form generic ways of map making and has moved towards a more aesthetic approach moving towards a kind of an illustration. Using the example of the Illustration of the Galle Fort, one can easily tell the space in which it was located because of the illustrations around the map. It was clearly a busy port used for trade because of the depiction of a multiple ships on the sandy shore, with the sea close by. The ships or boats also have different flags, showing that the port was used to trade with number of different countries. There is a compass on the top left corner, which is a nautical symbols, re enforcing the concept of sea travel.undersranding space

Spaces in ‘Indian’ Art



A play of textures, Gaitonde’s take on blue and black at first appeared to be a merging of two spaces, the darker and the lighter. The upper side of the painting portrays a darker, more violent series of strokes that tend to merge into the calmer blue, with flat, peaceful textures. As you go lower, one starts seeing the depth the painting has created and puts into ‘perspective’ a waterfront with activity and busyness at the other end. The sense of the buffer space of complete calmness, with no black strokes in the middle forms a transition space, a metaphorical threshold between the darker and the lighter side.



Gaitonde plays with scale in this painting, along with textures on a monochrome white background. The central, closest textures, put into ‘perspective’ the other two sides. Resembling figures, the painting portrays the vast space and the focus on the smaller, negligible figures in this space that somehow form the focus of the painting whilst indicating the larger space that they become a mere part of.


Painting No.4

Appearing to be a series of bonfires with logs for seating, the one on the right appears  to be smaller than the left creating that sense of depth. The colours and textures in the painting seem to be repetitive. The central black area, serves as a tunnel through the space that has these areas of being. The white space that ends up being the focus of the image due to the stark contrast with the colours that surround it, could possibly be the light at the end of the darker space. The other elements in the painting are mere guides that lead you to the end of the tunnel.


Zarina Hashmi

एक रेखा इस चित्र को दो हिस्सो मए बाट देती है। इस चित्र को देख्कर ऐसे लगता  है कि इसे आस्मन से ज़मीन के तरफ़ देख्कर बनया गया है। आडा तेडा लकीर एक नदी के तरह ज़मीन को दो िह्स्सो मे बाट देता है। नद्ीके आस पास छोटे काले निशान घरे और लोगो को दर्शाता है जो आस्मान के उस उछाई से चीटियो के समान है।