Searching for my mother: room

“Live and ephemeral are part of performance art . Hence it is difficult to relate with the secondary body that is produced with them”.

The tangible , called as original ;residues traces back to the performances cannot be directly negotiated as the original performance but considered residues, documentation acts. They are temporal in the point of vanishing , ghostly bodies of time. Yet they are considered as “art object”.

Therefor they can be pushed into archives . Then they act as “artifacts ” much as residues. Archiving moves into tracking ourselves to accumulate tracks , marks , materials , traces of the remaining vanishing point. Theater denies the “originality” whilst performance en-compose this “originality” pointing towards and exists of this vanishing point . Performance cannot trace back to the originality as it disappears.

Letter from 2010 and reply Repertoire from searching from my mother letter performance

Performance challenge the “ocular hegemony” (memory stored by vision);memory stored by with in our body that becomes part of our flesh, skin which generates the value to the “I” intact ed in the tangible residues. Memory embedded in the residuals intact to the performers body.

Clothes, scripts, objects , photographic albums from each performance and their documentation left as repertoires

Hence when the residues are laid in an archive one must able to revisit , traceable towards the ephemeral. The archive then navigates towards a collective form of re-encounter, future re-enactments . The residues tends to act as form of repertoires for re-enactments.

” repertoires embodies the being there, being part of the transmission”

“real environments” move away from the “true” memory into history. But if we can allow repertoires exists that transmit live embodiment , that behaves as traceable outlined sketches , appearances: then an existence of a performance archive possible.

“real environments where material can be worked on “


“Room ” was such containment of ” real Environments”. One walks into an intimate atmosphere engaging with every intricacy that traces towards performances. Each piece embodies performative traceability. They are repertoires, which are continuously visited , re-visited.

The room is created like an archive, yet intimate. The “remains” of each performance is been placed as sediments that can be reenacted. Scripts, clothes act as repertoires. The letter that of past carries a new outlook as a repertoire
script books of each performance and space related material about performances Diary and direct reference left of the time period

The albums are made from Sri Lanka that carries the old 80’s popular version album structures. The photo documentation placed as a piece of household album. The slips carry the instructions of the game as hidden notes under each photographs. They were closely made according to my mother’s personal photograph albums.