After a while, shadows begin to rouse

An Art Performance by Anupam Saikia.
Venue: Terrace, Art Gallery Kamala Devi Complex, India International Centre (IIC), New Delhi

Date: 15th Dec 2019

PC : Christina

An Extended Program of Dis-place.  Curated by Pranamita Borgohain. 

Citizenship history of any geography is vital which describes the changing relation between an individual and the state. It has come out as the biggest irony of Assam’s political and social life during the past few decades. It had a disrupted impact on everyday life and many times triggered anxiety in the psychological space of the people. The citizens are being grappled in psychological violence.

PC : Christina

Saikia’s performance is a take towards the historical narratives that delineate “How psychology took a shape when violence and conflict endure from time to time?” His aim is to express the anxiety, metaphorical violence through the performative action in a constructive experiential space. He attempts to create an abstract narrative through the performance about identity, citizenship, and the violence that took place in the context, and which may open multiple doors for the audience to build a new narrative with their understanding.

Saikia has juxtaposed his actions with lullabies composed in different languages and some other sounds. These soundscapes enhance to create an aura of the psychological space that provokes the audience to think and connect emotionally. Through this performance, he wishes to involve, re-act, respond and reinterpret the notion with the history, space and time. 

PC : Christina

PC: Christina

PC : Christina

PC : Pranamita

PC: Christina

PC: Christina

PC: Christina

PC: Christina

PC: Christina

PC: Pranamita

Displace is a part of the larger exhibition “the earth is still going around the Sun” a culmination of the third edition of Curatorial Intensive South Asia (CISA), a flagship program by Khoj International Artists’ Association in partnership with Goethe-Institut / Max Mueller Bhaban in collaboration with India International Centre (IIC), New Delhi.

Documantation: Christina Dipa, Pranamita Borgohain. 

Unconscious Through Insane

An Art Performance by Anupam Saikia as part of Kolkata International Performance Art Festival 2019 / Kipaf19 at Kolkata, India.

Video Link: https://www.youtube.com/watch?v=iNbhaqOaW6Y&t=7s

We are at the the time where flooded of images (many kinds) and information came across through different media that violated our everyday life. This anxiety activated our psychological space but it repressed in a way that came through in our activities. We are framed, being framed in psychological violence. My aim is to express the psychological violation through the performative action, in an experiential space juxtaposed with lullabies in a different language and some experimental soundscape. Some part of the soundscape is also copied from a song by Mihâly Vig, from Bela Tarr's film "A Torinoi Lo" (The Turin Horse).

Curators: Santosh Kumar Sakhinala, Mome Bhattacharya, Yuzuru Maeda, Srinivas Mangipudi. Documantation: Anirban Dutta, B Ajay Sharma.

#Kipaf19 

Wash! Body in annihilating moment.

A Photo essay of the performance art by Anupam Saikia, part of the "As Soon As Possible", Group exhibition and performance project at Proscenium Art Centre, Kolkata, India. Organized by Pandemonium Art Collective Collaborative.

By Anupam Saikia. 

Feb 2018 | Proscenium Art Centre, Kolkata | India. 

Parking Silence | an Art Performance by Anupam Saikia | 2017

As Part of Kolkata International Performance Art Festival 2017

KIPAF 17

Holding a frame he is walking on the street. He falls, wake, silence etc and he left his body mark.
Everybody lives within a frame that’s created by us as well as by social or political structure. There is no way out of this frame.

SigH – LeNs (silence) and Vio – LeNs (violence) 

The video link: Click here for you tube link







Anupam Saikia | anupam.saikia87@gmail.com

A thirsty Fish | An Art performance by Anupam Saikia at Venkattappa Art Gallery, Banglore

as Part of “the longest performance day” | 2017 | Duration 20 minutes.

Curated by Dorothea Rust and Irene Muller.

A Peppermint Candy is trembling from his mouth with an inviting gesture. He is wearing a hat like tub and holding some leaf like offering to viewers. Audience can interact with the space, with the objects or leafs. Finally they have to bite the candy which creates a kind of erotophobic sensibilities with the visuals. He uncover the head, lots of leaf fall down from the tub.

Anupam Saikia.

#performanceart #liveperformance #eroticart

There is no flower

There is no flower

a durational Art Performance by Anupam Saikia at Howrah, India.

This performance is part of Srinagar Biennale International, Howrah and Sweden at 2017.

Brick tied on chest tightly, Flower and Flow War written on that. Wearing a yellow helmet and a flower garland covering the mouth, he was started walking. Holding a water melon he walked for long, Walk, Walk and Walk. When he crosses the railway line he cut the Water melon into two pieces. Walk again; finally reached Saraswati Pally (a slam area in Howrah) he gave the Water melon to children to have it. He finished his action after he wrote on a blackboard “Where is the flower?” 

Anupam Saikia  |  anupam.saikia87@gmail.com

Shadow of a shadow | A performative Installation at Crack

This project was Documents by Hossain Atahar Surjo and Fatema Helia

A site specific performative installation (?) titled “Shadow of a shadow” was done on the open day of Crack International art Camp. I want to create a painting in the site which we may call site specific painting where the act of painting is no exist but the element or subject of my previous painting is physically exist. I am obsesses with some element like bed, body in landscape in my painting. Therefore, in the camp I decided to select a wide horizon / landscape as background, and the middle ground there is tilted bed on the water surface and I perform in the middle ground, and the foreground there was four body marks by white line and dig on the ground. For me the whole area is like a painting in physical and existential as well as audience can move inside the painting.

Indeed, the whole work is open for the public, where the local villagers were come to attend / participated / engage / see those work in the camp. So, are they able to understand that I am exploring a painting in the form of site specific performative installation? It is obvious no, than what is my address of interest to that public? The answer should be in subjective way, where I tried to communicate through some action relation with day to day narratives. The people, mostly from farmer family who are very much conscious even they can comprehend about performance, installation etc to some extend because they have experience through the camps open days. Some of them started to come to camp for interacted with artist two/three days before the open day. Even some of them can talk about performance as medium.

(c) Anupam Saikia.

11th edition of Crack | Kushthia | Bangladesh.

December 2017

#performance Art #artperformance #liveperformance #sitespecific