Ruchi Anadkat will perform at the B#Side Gallery -Vicolo Isola di Mezzo 3/5, Treviso, 31100, Italy-. Saturday the 1st of September 2018, @ 19.00 h, in the context of the “Post-colonial frames” Exhibition (reservation required: https://www.eventbrite.it/e/biglietti-12×2-actions-performance-by-ruchi-anadkat-46846375771)
Ruchi Anadkat is one of the most interesting contemporary performer of the actual “Eurasian scene”, developing her poetry between the iconography ad plasticity of the visual and performing arts of her country of origin (India), and the European visual art’s system.
Her research as artist, develops around the relationship between image and dance, translating a visual artist’s perspective on dance. She graduated with a Master’s degree in Fine Arts M.S.U from Vadodara in 2007, and a DNSEP in 2009 from ESBA-Le Mans. She has trained in Indian classical dance since the age of five.
Since 2009, she has been part of the ROTBG collective, a free laboratory for experimental music research and sound performances.
“Being between.
The in-between is part of my artistic and cultural identities.
I practice dance and visual art by questioning: how to produce a visual experience, through a performance, in an inhabited and imaginary architecture? And, for what cultural exchanges and common places?
Performance means, for me, the encounter of the consciousness of the body with the consciousness of space; And with this awareness the possibility of creating volumes, plans, lines, extensions of movements.
We constantly measure space through the memory of our kinesthetic experiences. The time we take, the energy we spend while crossing distances between parts of our body and our body itself to the external environment. At all times, we measure our ability to meet our needs or escape danger.
Art can enable us to read and perceive these automatic and unconscious mechanisms. In my performances, drawn lines are an absurd and humorous attempt to make us read these mechanisms. In this sense, I use the size of my body and that of my hair braids as graphic elements and units of measurement of space.
This preoccupation with measuring the body to its environment is a permanent concern of humanity. It marks our whole history. It can be seen as much in the history of mathematics as it is in art or dance.
But what matters most to me in my performances is their size, with their dimensions located and open. I act in relation to a space and an environment. I build according to the architecture and the objects that make up the place in which I intervene.
I do not maintain a stage relationship but an open and interactive relationship with the visitor. Sometimes I speak to him and act silently according to what he says or does.
Finally, what remains of the performance once it is completed? A drawing stand, an object, a sculpture, a photograph, a video, a sound, an entire installation? What remains of the body in the traces left? These questions are at the heart of my current concerns and have found their manifestations in many of my productions”
The artists’ web site: http://www.ruchianadkat.com/en
POST-COLONIAL FRAMES / EX ORIENTE – EXHIBITION AND CYCLE OF PERFORMANCES: In the months of September and October 2018, B#S Gallery will guests the exhibition, and, in addition, part of the space will be transformed into a performative “project room”, hosting an evocative cycle of contemporary performances.
The participant artists and performers will rewrite the space with their gestures and their actions, transforming it, from time to time, in prison, in an archive of memories, in the colonial tea room.
Photographs, paintings and installations by Lang Ea, Kimvi Nguyen, Kashif Shahabaz, Christian Tablazon, Estabrak Al-Ansari, Clare Charnley will be showned.
Performances by Ruchi Anadkat, Dan Allon and Neja Tomšič will take place in different dates.
The theme is among the most controversial.
“Ex Oriente Luxus, Luxus, Luxuria”: from the time of classical Greek civilization, the oriental world suggests an imagery of light, luxury and luxurious sensoriality, corresponding, for the man of the West, to the domain of the exotic, to the place in which -in a more or less oniric way- every desire can find form and fulfillment.
Without encyclopedic pretensions, the performance cycle captures “oriental visions” of the complex phenomenon of colonialism, interpreted in its multiform nature by the sensitive eye of the contemporary artist (giving voice to a different narrative).
Thus, behind the silks, spices and perfumes, the colonization of people, the economic exploitation of the naval routes, the cancellation of the local identity and the appropriation of the woman’s body will be displayed, in a revision of the archetypal images of the Orient, and staging out the “B-sides” of this process of geographic and cultural appropriation.
The new vision, made up of fragmented memories, erased faces, faded landscapes and invisible prisons, strikes the viewer with its powerful elegance, outlining links between artists from the Far East (Cambodia, Vietnam, India, Pakistan, Philippines), from the Middle East (Oman, Israel), and of the Near East (Slovenia, Balkans).
