D
Madan Copal Singh
their bodies. There are no concentrations of weights in objects and they do not seek to locate traces of a fictional discourse in themselves. Instead, the materiality is released in an excess of a choreographic play and, in this way, a reference is created on the map 'outside' whereby the image-narrative is constantly a-centred. We may also understand instances of quotations in Vivan's work in reference to this choreography—a mobility and a middle! The use of colour, for instance, is not an example of derivative quotation for it does not attempt a design of unity where an idea or an emotion keeps every element in check. It is, on the other hand, part of the 143 dissolution of contained materialities, of the choreographic excess whereby a new space—an 'outside'—is sighted. These are not contained frames (perhaps, the softness of pastels is particularly apt within the context of the Journeys) and the 'outside', therefore, is created on a critical map. In the process, a highly involved dialogue opens up across various narratives; within a short-term memory of the spectavized event; around the traces of colonialism and across the maps of dismantled perspectives. The narrative, as such, begins to live within the polemical tension that obtains between the mobility of the image and its 'outside'.
Numbers 17-18