Contested Spaces

“A platform intended to promote debate urgent social and political questions, across conceptual and disciplinary boundaries”

So let us focus of the definition of contested spaces, the word itself suggests that it is the competitive dispute between two or more individuals with different interventions or understanding regarding the topics.

Lets take an example, The new widely interventional breakthrough of virtual reality also known as immersive multimedia, is a computer technology that replicates an environment, real or imagined, and simulates a user’s physical presence and environment to allow for user interaction. Although this is a contemporary discovery in technology as well as art stripping oneself from the real world’s sensory as well as attentive spaces could be critical. One could say they even contest the idea of using the same natural space provided to be experience more physically and replaced by virtually a more visual and auditory assertion.

Creation of immersive worlds beyond the recognition and control of the human self and its incorporation to our daily lives was rather more entertainment based until the invention of VR technology questioned boundaries and speculated the true sense of how we operate our lives. We have always been transformed into various spaces to aid the experience of entertainment and heighten it however possible, for example a movie theatre and a 3D movie experience, entails the viewer to reimagine the space the a new dimension, now imagine the same experience being brought to life with the agenda of sole everyday experience and reality. Stripped to their simplest elements, the earliest digitization consisted of little more than contested spaces, as the technology enhances the concept of creating multiple contestant space virtually as opposed to reality seem to an endless extend. How one would eventually seem to debate if these spaces are well valid as real as the physical ones, and how to declare and define their current spaces with incorporation of these new extraordinary additions, will it hold our historic, social and phycological importance to be equivalent as the digital one.

Although it is still a space in a reality, which is highly virtual soon, the existence of many essential attributes of daily being and living would be virtual too, so are we compensating our lives and presence to be counterweighed by a technology driven intricate consistency of these virtual spaces?



The Poetics of Space by Gaston Bachelard

Gaston Bachelard’s “The Poetics of Space is a phenomenological questioning of poetry and the spaces occupied within its instance. Introducing the book the author places most emphasis on the interior domestic space and the context around it. He attempts to trace the reception of the poetic image in the subjective realisation holding openness and a focus on the present experience.

He explains his utmost focus on the poetic image for it being the estate of the cleared consciousness, something, which is, unuttered of definite consciousness and more an invention of heart and soul. This direct relation of poetry to reality exaggerates the truth of perceived objects, in this instance them being the house directed further inaugurating future discussions of inside and outside familiar to anyone dealing with the theory of space.

In the final chapter, he talks about metaphysicians who state their views objectively and could be understood contrarily however he states their image to be acknowledged as it is, As Van Gogh wrote “life is probably round.” On the contrary without any knowledge of his writing La Fontaine said

“A walnut makes me quite round.” These proclamations provide indication of the context of life and the irregularity of roundness that is emphasised by all or many writers. Although no claim has evidenced to such physiological beliefs the claim helps the readers accept that we are in the roundness of life like the walnut that becomes round in its own shell.

However the scope of such poetic discussions could be argued ostentatiously and are evidently delivered throughout the chapter, for instance the image allows the thought of the sphere to be phenomenological and analyse by crystal clarity of the entire image and its experience of being spherical and not just the observation of it.

As the passage formulates he gives instances of being, regardless of the absolute image of nature Michelet says, “a bird is almost completely spherical” he uses these metaphors of nature and its isolated existence the holistic complete relativism of life. The word ‘almost’ makes a geometrician wonder the form and concentration of the bird in constant to the dynamics of the form rather than its experience and those wings being the centralisation of life around the roundness of the bird and its protection.

Similarly, for a painter the centralised view of understanding of roundness is a tree, he believes the isolation of a living object being concentrated alone makes it round. For him the tree alone in itself is round, hence to anyone observing the receptive central images of cosmic data descried differently by different poets in multiple fragments of their poem could register the same expression.

Lakeer by Faiz Ahmed Faiz

The film enunciates the philosophy of the Indian partition, and how it affected various individuals inversely. The movie begins highlighting to a drawing of the Indian map, rather roughly than accurately with immense force observed on the charcoal pencil used to make the map. The artist simultaneously is yelling and howling as he continues to crudely map the entire Indian border along the paper. Illustrating the sufferings and agony he has stroked through his life due to the partition. Towards the finish of his drawing he also charts a dotted line across the Pakistan acquired Kashmir ground, displaying the context of his outline with the division of the state and his discomfort through the numerous cries that shell throughout the drawing.

Furthermore, he progresses to cutting pieces of paper resembling a barbed wire that pour prominence to the harsh raw border created between the two countries Indian and Pakistan with similar barb wires dividing the two nations from each other.

As the movie resumes further the poet is slicing the Indian map shrewdly and aggressively cutting the edges of the map, allowing the viewer to see how the unthought-of division of the two nations has affected the people to feel in the literal sense of the video. The countless ache that has surfaced though the heart of the poet and how this visual depiction has allowed us to feel similarly has truly acquired well throughout the video.

The State of Architecture

The State of Architecture exhibition is organized under the co–curation of Rahul Mehrotra, Ranjit Hoskote and Kaiwan Mehta at the NGMA intended to exhibit the simulate revelations of the current state of architecture in India and the developing phases across time.

The exhibition itself emerges the emphasis of knowledge within its audiences weather they may be architects, students of a creative agenda or a communal individual.

It inculcates a vast agenda of contemporary artwork of architecture along with various conscious questions of curiosity within the young minds of learning with a conscientious effort of relatable context such as info graphics, installations, picture walls and mappings. Various installations inculcate a balance of employment for the viewers to allow them through the guidance of the exhibition itself, for instance the various cube structures installed the to the left of the colossal hallway mimicries cells and the morphs of formation to deformation with the fluidity of character within small images attached with the same cellular guides.

Additionally, the setting of ambient as well as accent lighting instills ideas of the focal curiosity of generic designs over-modulating the genuine structures of architectures.

Mapping various thoughts and practices in a particular space The State of architecture has employed different medias of form and digitization to correspond their philosophies adeptly .

Peter Brooke’s Mahabharata

Peter Brooke was capable of staging a nine-hour production based on an ancient Hindu rhyme of war of the nobles into the universal magnificence of an Indian grandeur. Painting the illustration of the clash between two great empires in the hands of the lords, demonstrating their ethical struggle towards their dogma of their honorable divine truth against the demonized alternative sentiments. Set in the facade of the cosmic primordial forests and galvanizing palaces, inaugurating the monumental epitome known as Mahabharata.

He energies his long persistent yearning to create a universal art, encapsulating Mahabharata as a wholesome veracity by enhancing elements of mankind’s greatest dramas and cordial dilemmas into the cultural unification of Mahabharata being comprehensible to all principles.

Although it sways Indian dances, folk and music it accentuates its compilation to the myths, legends, wars, history and theology of India, It scaffolds various codes of morals, supremacy, benevolence and conspiracy relevant to many nations elevations even in the present.

The production distinguishes itself from various alternating Mahabharata plays by complementing to Brooke’s harmonizing essence of spaces and cliques to cleanse several ambiguous notions depicted through numerous former productions of the Indian folklore poem, Illuminating as well as eclipsing various elements of the play through their ideas of expression. These ideas developed slowly through the performance intensifying the seamless blend of design spaces and directive experimentation of incorporating such intricate renaissance like instances written through the Mahabharata into the slightest spaces provided as decorum.

Concluding with a wonder of the boy’s amazement to the layers and complexities of his family’s history mastered the magical apparatus theatrical cosmoses can form.




The Ayneh ( Mirror) 1997

The movie is a 1997 Iranian movie that unfolds telling a tale about a little girl who carries her journey finding her way home. The movie begins in a similar fashion as to other child-focused movies: The school gets over and the little girl finds herself waiting for her mother to come pick her up, as it seems the mother hasn’t seem be have reached to collect her at the assumed time. Therefore the girl seems to take the matter of reaching home independently, forming the entire movie’s plot focused around the little girl and her simpleminded voyage to get back home.

The filming style concentrates on long duration stationary camera shots of the girl and her conversation with various people on her expedition, the film pans through diverse attention-grabbing shots glorifying a very simplistic movie with an outstanding approach to disappear the child within the crowd. Collecting a rather rational 1960’s approach to the film crafting all the scenes and give a more “real-life” intention. To furthermore attest his thought, half way through the film the audiences that are immensely engrossed to the narrative Jafar has offered to them, suddenly the young actress pulls of her costume looks straight into the camera and announces she doesn’t want to act anymore, hence smashing and altering the entire cinematography as the audiences are exposed to various bouncy handheld shots instead of wide panned clear 360 views. The colors turn dull, the film turns grainy and the shots are not in focus anymore. Soon the film yields back to its perfectly well crafted cinematography although this time around mina is often out of view grabbing random taxi’s leaving the views with various traffic concession shots. Seeing the mirror one has to question the direction of the film and the actual credibility of the actress’s rebellious behavior being genuine.

Director: Jafar Panhai
Starring: Mina Mohommad Khani
Cinematography: Farzad Jadat
Country: Iran
Language: Persian



Sri Lanka at TARQ



Maps and Paintings are both distinctive interpretations to communicate information or perception more accurately by using visual traits that they both hold.

However would you consider maps to be art? Sri Lankan artist Pala Pothupitiye’s first solo Indian art exhibition in Mumbai would let its audiences consider that they are both facets of the a similar plateau, using art and geographical visuals to dwell the nation’s rich history and heritage the artist acknowledges the audience to question various political and geographical interpretations of the country’s conflicts.

This painting particularly indicates the map of the Mannar fort protracting various details such as longitude and latitude features of the location along with several occurrences that might have taken place across history within that place.

Sentiments such as power, religion, and exploration have all been exhausted within the painting, describing the nation’s vast involvement on various ordinations through time whether it is religious providing its context to the Ramayana or it is political with the country’s Sinhalese monarchs

Performance Art

Einstein on the beach – Philip Glass 

The enemy of art is the absence of limitationsOrson Welles

Performance art is the expression of political and tropical notions visible to a live audience. Although a species of postmodernist art the definition of performance art is complex to define, the importance of such an art form is the association of the artist himself. For instance, rather than creating an installation of art piece to be viewed by an audience subsequent to his creation, the artist would focus on the assembly of an installation live in front of the audience itself to convey his philosophies and hypotheses of the performance.

In question to this circumstance, performance artist can incorporate any disciplines of art whether it is Dance, Music, Recitation, Mime, Fashion, Theatrical Design, Film, Contortionist, Escapology, Installation as well as more traditional genres like painting, drawing and sculpture.

One of many such rarely performed art of its time, Phillip glass “Einstein on the beach” was designed in a magnificent one shot inventing its context, form an language and further exhausting them to a limit that its further development would be redundant, but also embossing its identity to give permission for much has happened in music theatre since its premiere.

It broke all the rules of opera with staging four interconnected acts holding duration of five long hours with no intermissions; Glass broke all the rules of traditional orchestral arrangements by composing work of the synthesizers, woodwinds and voices by expressing its story in a non narrative form using a series of scenic views and images.

Composer Phillip glass and director Robert Wilson have carefully recounted a collaborative process of these four acts divided by a series of short scenes known as “knee plays” allowing the audience to wander in and out as they delight.

Although named, Einstein on the beach the play only had a violinist Einstein doppelgänger and a mention of a beach to suffice its name; the play served a series of abstractive musical numbers, numerical voices and scenic pauses.

Known for it’s revolutionary change in opera history, the play somewhat ridiculed all American values closing its final monologue with a sentimental paean to love

Art in Spaces

Sculpting spaces with Light and Triangulations

 In trigonometry, triangulation is the process of determining the location of a point by measuring angles to it from known points rather than measuring distances to the point directly.

New York based artist Anthony McCall has envisioned prominent structural ordinations that exploit the concept of concrete light overhauling heightened dark spaces ascending triangular hazes that conclusively manifest luminescent kinetic shapes on the ground.

His recent installation “Five minutes of pure sculpture” in Hamburg voyages the audiences to experience the thorough distress as well as harmony of light and its path of guidance through the space.

It emphases one’s attention towards the conductors of the convincing light piercing through the miniature holes very much like lasers expanding into great triangular postures with conclusive dynamic shapes guiding the eyes to track within the dark capacity and effortlessly help them stroll around the space using these luminescent kinetic lines as their path.

The ideology allows one to expand their imagination to construct various ambiances within the mind where such ecstatic light and the dark distresses together allow us to contemplate our thinking and present a composition of tranquility, making us consider the joy light offers to us in the darkest of times.

The statement such installations offer to spaces making one deem that “We should follow where the light is” and to take the path of light to discharge the darkness.

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