ADITYA MANDAYAM - Sukuranburu Kousaten by Indigenous Genitalman
06 Sep - 15 Oct 2014
in Galerie van Gelder & AP:
Sukuranburu Kousaten by Indigenous Genitalman
6 September t/m 15 October 2014
OPENING: Saturday 6 September 17:00 - 19:00 hours
+ 17:30 hours: performance 'In the Beginning was the Safe Word, and the Safe Word was Forgotten'
Sukuranburu Kousaten by Indigenous Genitalman.
In the installations of Aditya Mandayam images are abundant. These refer indirectly to scientific phenomena, historic events, to the ambiguity of nature, to strange or indigenous food and unconventional techniques. In short, he makes use of a broad spectrum of media brought together in a poetic field of both search and technical devices as well as voodoo-like assemblages composed of found materials, film and slide projections.
Aditya Mandayam is fascinated by the wholeness of composed image complexes constructed of materials, text and its reading. Such a clear-unclear wholeness is perhaps comparable to the agglomeration of scramble crossings that are called "Sukuranburu Kousaten" in Japanese metropoles. The outer world is a junction point of inconsistencies, he knows. This is palpable when he does performances in which other powers are released out of him. That doesn't differ much from what he observes when he looks around watching people's behaviour. It is no wonder he says: 'I am the messiah, I am the terror of the white cube; I direct people within a space of art.' He engages himself in a Gordian knot, but he realizes that he is part of this.
The critical view of Aditya Mandayam on the world around him does know a counterpart when he portrays himself by drawing or taking a photograph. Here he seems to prefer to refuge behind a mask of a continuously changing personage made up by him, such as "Self portrait as a mystery shopper" (2013) or "Indigenous Genitalman" (2014).
Aditya Mandayam studied from 2011-2013 at the Rijksakademie van beeldende kunsten, Amsterdam. In 2014 he finished an artist's in residence in Wiels, Brussels and had a solo exhibition in Kim?, Riga, Latvia.
Sukuranburu Kousaten by Indigenous Genitalman
6 September t/m 15 October 2014
OPENING: Saturday 6 September 17:00 - 19:00 hours
+ 17:30 hours: performance 'In the Beginning was the Safe Word, and the Safe Word was Forgotten'
Sukuranburu Kousaten by Indigenous Genitalman.
In the installations of Aditya Mandayam images are abundant. These refer indirectly to scientific phenomena, historic events, to the ambiguity of nature, to strange or indigenous food and unconventional techniques. In short, he makes use of a broad spectrum of media brought together in a poetic field of both search and technical devices as well as voodoo-like assemblages composed of found materials, film and slide projections.
Aditya Mandayam is fascinated by the wholeness of composed image complexes constructed of materials, text and its reading. Such a clear-unclear wholeness is perhaps comparable to the agglomeration of scramble crossings that are called "Sukuranburu Kousaten" in Japanese metropoles. The outer world is a junction point of inconsistencies, he knows. This is palpable when he does performances in which other powers are released out of him. That doesn't differ much from what he observes when he looks around watching people's behaviour. It is no wonder he says: 'I am the messiah, I am the terror of the white cube; I direct people within a space of art.' He engages himself in a Gordian knot, but he realizes that he is part of this.
The critical view of Aditya Mandayam on the world around him does know a counterpart when he portrays himself by drawing or taking a photograph. Here he seems to prefer to refuge behind a mask of a continuously changing personage made up by him, such as "Self portrait as a mystery shopper" (2013) or "Indigenous Genitalman" (2014).
Aditya Mandayam studied from 2011-2013 at the Rijksakademie van beeldende kunsten, Amsterdam. In 2014 he finished an artist's in residence in Wiels, Brussels and had a solo exhibition in Kim?, Riga, Latvia.