BİR MANZARA PERFORMANSÇISININ PORTRESİ: NİKHİL CHOPRA
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2021
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info:eu-repo/semantics/openAccess
Özet
Bu çalışmanın amacı sanatçı NikhilChopra’nın performans içeriklerinin,yöntemlerinin, farklılıklarının incelenmesidir.Bu bağlamda resim, fotoğraf, tiyatro, bedenarasında şekillenen performanslarındaChopra’nın manzarayı ve portreyi nasıl elealdığına, karakter yaratma tercihlerine, zamankavramına, sanat tarihsel referanslara,bireysel anlatılara ve yöntemleredeğinilmiştir. Ayrıca Chopra’nın, “PamukÜzerine Kömür, Sir Raja III-Bütün BuTopraklarla Ne Yapacağım, Sir Raja III’ünÖlümü, Sir Raja II, Yog Raj Chitrakar: BellekÇizimleri IX, Yog Raj Chitrakar: Bellekçizimleri VI ve Manzara Boyunca bir çizgiÇizmek: Çadır” performansları hikâyeleri,uygulama süreçleri ve sonuçları açısından elealınmıştır.Chopra’nın performanslarında toplumsal,kültürel ve tarihi olayları, bireysel geçmişinedayanan hikâyelerde kurguladığı; buhikâyelerde geçmişinden hareketle bazıkarakterler yarattığı ve anlatısını bukarakterler aracılığıyla aktardığı görülmüştür.Performanslarında manzara gelenekselyöntemlerle çizildiği halde; sürece yayılanperformanslarında deneyimlenebilir, yaşayan,sabit olmayan bir form kazanmıştır. Portre,cinsiyet rollerine dayanan, tanınamayacakkadar değişen bedeninde yenilikçiyöntemlerle sunduğu bir biçim olmuştur.Performanslarında zamanın, mekânın,bedenin durağan olmadığı; Chopra’nınperformanslarının hem öznesi hem nesnesiolduğu sonucuna varılmıştır.Çalışma süresince Nikhil Chopra’nın websayfasından, çalışmaları vemanifestolarından, Chopra ile yapılanröportajlardan faydalanılmıştır. Sanattarihçisi, sanat eleştirmeni ve sanatçının kendidüşüncelerine yer verilmiştir. Kütüphane,arşiv ve süreli yayınlardan tarama, incelemeişlemi yapılmıştır.
This study aims to analyze the contents, methods, and differences of Nikhil Chopra's performances. In this context, Chopra's approach to scenery and portrait, his character development choices, the concept of time, references to art history, personal narratives, and methods were addressed, amongst his performances that are shaped between art, photography, theatrics, and body. Also Chopra's performance narratives: "Coal on Cotton", "Sir Raja III - What Am I To Do With All This Land", "Sir Raja III's Death", "Sir Raja II", "Yog Raj Chitrakar: Memory Drawing IX", "Yog Raj Chitrakar: Memory Drawing IV" and "Drawing a Line through Landscape: The Tent" were discussed in terms of application processes and conclusions. In his performances, Chopra fictionalizes social, cultural, and historical events in stories based on his individual past; In these stories, it was seen that he created some characters based on his past and conveyed his narrative through these characters. Although the landscape was drawn with traditional methods in his performances, his performances that belong in a continuum have acquired an experienceable, living, unstable form. The portrait has been a form presented with innovative methods by his body that changes beyond recognition based on gender roles. It is concluded that in his performances time, place, and the body is not stationary and that they are both the subject and object in Chopra's performances. During the study, Nikhil Chopra's web page, his works and manifestos, and interviews with Chopra were used. The thoughts of the art historian, art critic, and artist are included. Scans, analysis from the library, archives, and periodicals were carried out.
This study aims to analyze the contents, methods, and differences of Nikhil Chopra's performances. In this context, Chopra's approach to scenery and portrait, his character development choices, the concept of time, references to art history, personal narratives, and methods were addressed, amongst his performances that are shaped between art, photography, theatrics, and body. Also Chopra's performance narratives: "Coal on Cotton", "Sir Raja III - What Am I To Do With All This Land", "Sir Raja III's Death", "Sir Raja II", "Yog Raj Chitrakar: Memory Drawing IX", "Yog Raj Chitrakar: Memory Drawing IV" and "Drawing a Line through Landscape: The Tent" were discussed in terms of application processes and conclusions. In his performances, Chopra fictionalizes social, cultural, and historical events in stories based on his individual past; In these stories, it was seen that he created some characters based on his past and conveyed his narrative through these characters. Although the landscape was drawn with traditional methods in his performances, his performances that belong in a continuum have acquired an experienceable, living, unstable form. The portrait has been a form presented with innovative methods by his body that changes beyond recognition based on gender roles. It is concluded that in his performances time, place, and the body is not stationary and that they are both the subject and object in Chopra's performances. During the study, Nikhil Chopra's web page, his works and manifestos, and interviews with Chopra were used. The thoughts of the art historian, art critic, and artist are included. Scans, analysis from the library, archives, and periodicals were carried out.
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Kaynak
Sanat Dergisi: Atatürk Üniversitesi Güzel Sanatlar Fakültesi
WoS Q Değeri
Scopus Q Değeri
Cilt
2021
Sayı
37
