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| VISION REPOSITORIES AND HOLES LAKEEREN ART GALLERY, MUMBAI, 2002 |
Vision repositories and holes The year is 2040 - humans are cyborgs with every access to image and information built into their bodies and faculties; information and statistics have replaced intelligence (emotion and reason) and chance; it isn't important to be born with anything - rather, one has become an extension of their imagination - playing out the role they want - mere actors with parts they choose… and all this made possible in the age where history is no more than a record of events and to carry it into the present is a burden of memory… 'Vision Repositories and Holes' are a suite of works conceived as art of the future. Empty receptacles holding space to look into andvisualize - for, art in the future would have to be a personal image and experience. A repository would be a place that enabled envisioning and by repeated visits would be imbued with a sense of safe keeping - one would not be able to access another's visions with a password… these are storehouses for the energies of thought and vision… The 'Holes' are shape shifters - condensed dark matter moving and changing with differing points of view - redefining their shape and allowing one to look into the deep shadows of becoming... The suite of works in the exhibition 'Vision Repositories and Holes' were conceived to address numerous areas within art as it is received by us today. Their form was also carefully constructed as a case for 'non- representative' art and its position in contemporary art practice. The works were located in the future (2040 AD) for various reasons. On one hand, the nature and function of art 40 years hence is only comprehensible by one's world-view and imagination. On the other, it is used as a ploy to distance 'non- representation' from its current (and constant) referencing with its past precedents (abstract expressionism, abstraction, non-representation etc….) to allow a fresh encounter with forms and shapes without the burden of 'likeness', if one were to assume that the time frame was 2040. The final facet to the works is their nature - 'vision repositories' being empty volumes of space viewed through yellow Perspex and 'holes' - black expanses of curved shapes akin to 'dark matter' in that they divert attention to their periphery and shape-shift as one moves along them. Much of the art today is received through media-print or film, we know of its value and meaning through art critics and historian's interpretations. The exhibition attempts to address this area by providing a definite framework within which the works are set, leaving the viewer with little to measure their success with (as the objects have a 'use in' date of 2040, and are hence not comprehendible in 2002!) The exhibition hopes to raise more questions than it seeks to answer - the works are addressed to makers of art and its interpreters. |
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