User talk:Deepakddaangre

artist
Artist's narration My works are a storehouse of hope, with regards to "cultural objects and artefacts" drawn from the ancestral ethnic roots of the Garhi studio, they are employed to carry out the disruptive practice that I find between modern and pre-modern, art. Helps to resolve the conflict between and craftsmanship, or pre-colonial and post-colonial. The use of cultural objects is a strategy to achieve something else, so as to finally focus on the central issues regarding installation art: carving from a new place. My works are not calling upon the art institutions to criticise them, but to call the faculties of perception, or seeing, to question it: "It is recorded in our faculties so that we may establish a connection with reason., no matter how thin and delicate it may be?" If this is the question to which it is sought, then the questions of historical or art-historical temporality can be resolved, or dispelled, so that we can go beyond the usual dichotomy and arrive at a different juncture. The turning point I am talking about reaching is not something I want to reach by mere thinking. But I am practicing it - sometimes with words, sometimes with objects, found and lost - to find another discourse that is as ancient as art. This discourse has no name, but the mystery always works. In contemporary times, as in every other time, in every community, ancient or civilised, or in every human occupation, whether literature or art, or other rituals and practices, religious or occult, they have all dealt with it: magic. , it is meaningless, a meaningful fundamental thing, without which one is unable to see what one can see. Thus, objects are stripped of not only their use value, but also their neoliberal utilitarian subjectivity from my audience. The object, or a combination of objects if you like to call it, is a must with them. If at least one audience can establish a deep connection with the work, I can feel that I have been successful in transmitting what is not permeable. Likewise, works are entirely personal, endless as flow, and they lead me into my vortex of "thing-ness", until I can free myself from it, and shut down the process. I give, rather crazy, but never satisfied. But they are always "place and time", as the title of one of my exhibitions suggests, to me, and believe me, my audience too. They are spectators to their audience. I believe there must be myths that belong to our own time, to deliver art to its damned non-art, or much-discredited state of "the end of art". So I tend to think through my actions from the very beginning. And what better material to do this today than with objects and materials? Like all other art communities in the world, there are a range of objects that I take and keep with all the other objects of my urban existence. The play begins with all kinds of objects that relate throughout history, different 'material' cultures, and different modes of production. The easels I make are all different 'seeings', different stories, and can't call any. But the journey that I take with him, and encourage my audience to continue, is another connotation of the overused concept of "democracy" that I want to consider, while this art To serve the freedom that no other contemporary means can serve without suffering. This conviction brings my work out of the intoxication of post-colonial knowledge or opposing ideologies. We must free ourselves from practices that are steeped in the gloom of old notions, and turn the table for a new media, a new myth, a new imagination, which will create a new future for all and for one. Right from the beginning of my practice, I have always been interested in the politics of representation. For the first time in a few years I have been exploring the politics of inclusion and exclusion within the overall discourse of art in India and in some art tours. I tried to bring this idea through various artefacts and objects that were related to my art journey and tried to put them in the context of the art world through exhibitions and other events, more commonly understood as art Displays moving objects. My previous critique was framed in bringing up exclusionary identities through objects that are generally considered foreign and subverting there artistic and cultural values. Deepak D Daangree Deepakddaangre (talk) 19:08, 12 June 2023 (UTC)