Im Juni/Juli 2016 arbeite Vijayaraghavan Srinivasan im Rahmen des Studioprogrammes an dem Mixed Media Werkkomplex NOSTALGIA … AGAIN AND AGAIN.
“The experience starts with the QR bar code D 404 at Industriebahn Berlin, in the district of Weißensee, where BERLIN ART INSTITUTE is situated. I personally felt the place situated is strong interconnectedness with today’s contemporary art context, which quality of awareness of “integrals” and intersubjectivity of producing art works in a transdisciplinary way, with compassion and responsibility.
It is my great privilege to have participated and pursued this advanced studio art program at BAI, Berlin, during the month of June and July 2016. BAI studio art program promotes careful consideration, innovative, self-directed making and a constructive critique in regardless maintain developing artist’s own thought process. BAI provides a platform stimulating, unique, and inimitable atmosphere for critical discussion in today art content/context and reflection among other talented artists with different parts of cultural background – quarrelling their cultural, social, political and religious concerns and reminding us all what our expressive impulses have in common.
It was my grandeur experiences and transformation happened in my art practice during the short period of time which helps me and re-discover my studio art practice which exploring ways to stretch and pull apart the visual vocabularies in different media and different scales, creating a hybrid images that blurs such polarities as traditional and contemporary, east and west, construction and deconstruction, representation and abstraction.
During this advanced studio art program they given an opportunity to explore my core theme: “Nostalgia… again and again” which exists my fascinating subject of human habitualization, memories of self and self-body curious element for me since many years. The avant-garde art practices and experiments with unconventional process which leads further my enduring understanding during my course work. I would also inspired the city and it’s captivated in the graffiti wall. It’s stimulates my artistic application in my all room studio art works.
The core theme of my body of art works: NOSTALGIA … AGAIN AND AGAIN
During this borderless time we have the possibility to live and experience a constant hybridization among cities, societies, cultures, new technologies and natural science, shaping and regenerating our individualities and cultural memory. Nostalgia… again and again, the inquiry which springs from our human memories and habitualization the process continues throughout life and core concerns are questions of personal identity, where we come from and where we go to and the boundary between oneself and the media world. Both social and non-social done by humans can be subject to becoming a habit. How does transformed into visual vocabularies? Does related to signs and symbols? Does it have anything to do with anybody’s imagination? How does matter and how it’s reflects cross cultural connection? Do these symbols remains affects the people mundane life? Or it’s remains hidden invisible or it’s habitualized and addicted to boredom of everyday existence? The current series of my body of art works reveal how traces of all the images that are embedded in self-body can be represented in various cultural milieus. These appearances connect with our past and present memories. The personal and emotional feelings are fused through images drawn from popular culture.
TECHNO AVATAR -1
LML Vespa body, automobile paint, art marker, acrylic and animated single channel video projection, Duration: 00:22:00 seconds, size of the Vespa body: 44 x 66 x 13.5 cm, year: 2016. Hier können Sie das Video anschauen.
Towards the end of the Second World War, Enrico Piaggio was driven to start up production again by the idea of offering the widest possible market a low-cost product. And, with this idea in mind, the factory at Biella produced a motor-scooter. I found this object strong connection with my nativity and popular image across globe. I integrated with single channel animated video fused with many hand gestures movements with signs and symbols of protagonist in the Indian idols. The movement and repeated action exploring the commodity of industrialize and how human habitual impacts mundane life for all of us is commoditised, tortured in mindless conflicts which are rendered sites of violation, political intolerance, and sexual impulse in urban modernity with pains of urban development over again and again.
WANNSEE TO PASEDAGPLATZ
Medium: QR bars and mixed media on digital art printed on Hahnemühle photo rag paper, 241 cm x 25 cm, 2016
In this interactive digital art work I incorporated with QR bars with mixed media on fine art paper, I try to deal with transitioned from more overtly mundane life imagery to an abstract narrative; the paintings nonetheless conjure passage through urban streets, railway station, signage with colors and marks that are fresh and distinctly of our time. They evoke the feeling of moving through a timeless terrain where our words or memories are embedded in matter – surfaces that are touched, adorned, and marred.
VIEW FROM THIS SIDE
Installation, dimension variable, 2016
“View from this side” – It is a text and metaphor which deals with many situation, memories and nostalgia to insists/imposes people to act inside emotions. It may separate view from the others or other side views. In terms of mandate to understand other’s views and same time to accept the fact other side in social-political and economic context. It is possible for us to rethink/requisition why we want view from this side? It is retain identity of principles and ideology to demarcate their own views according to socio-political and economic situation.
The idea of this installation which collective empty slides hanged on photo mobile device. The photo mobile is relative consciousness of human memories, whereas in this art work emptiness filling the memories of past and present. The idea contextualised not only express about Berlin Wall and it also deals with common context of human’s actions, a divider of territory, a shelter of home land and personal views about separation and gaze on other’s views. The separation or divider always been with two views, so I keep emptiness to possible transformation one interacts with other side without any image, indeed collective nostalgias …” (Vijayaraghavan Srinivasan)
Vijayaraghavan Srinivasan was born in Madurai, India, he is a painter and video artist whose work explores the conceptual metaphorical between the self and the society. He has earned a MFA degree with a major in painting from the College of Art in New Delhi. He had participated various shows and biennials across the country. In 2016 – He have done advanced studio art program at Berlin Art Institute, Berlin, Newark Arts Council presents Open Doors Citywide Arts Festival – ‘Where is Eleven O’ Clock?’ curated by Kay Reese at Gallery Aferro, NJ, USA, Samnite Museum of Campobasso – Over The Real – International Video Art Festival Viareggio – Forte dei Marmi, Curated Maurizio Marco Tozzi, Italy. “The trinity Saga” recent digital art works exhibited at le Dame Art Gallery, London. 2015 – Objective presents Inter cultural video artist residency programe in Singapore, The chill concept, Miami New Media Festival, FL, USA, 28th Nomadic Festival Les Instants Vidéo, France, and Milan. PRÉAVIS DE DÉSORDRE URBAIN 9e édition, Marseille, France. The over real – Festival Internazionale VideoArte Viareggio, Italy. 2014- November, Elected in 36th Cairo International Film Festival, Cairo, Egypt, 10th Berlin International Directors Lounge
Der Künstler lebt und arbeitet in Indien. Weitere Informationen auf der Vijayaraghavan Srinivasan Webseite.
