Fluss fließen (प्रवाह )





Duration 00:50:00

Space- Deoghar (Jahrkhan) India

Photography -Mukunad anand


Pm2.5 level of 1033.76 μg/m3.

Day -1


Day -2

day -3

Pm2.5_puccs_gallery -2017 -18a.jpg

day -4

 Pm2_5_puccs_gallery -2017 -09Mm.png

This was a collaboration with the audience where I taught them a breathing technique called Pranayam from monday to friday for one and half hours. There I looked at its wider perspective and extended the idea of performance. I tried to develop a different imagery representing the idea of pollution free earth, environmental politics and climate change. Another aspect of it was also related to the study of time about how political situation is taking the neo fascist turn in India and elsewhere. I revisited this scenario when I closely looked at Hungarian Politics while I was there, there I realized that this is a collective crisis that most countries are facing. Therefore I used the metaphor ‘How We Will Breath 
Under the Dark Cloud’. So for this, I took yoga and pranayam as a subject of inquiry and then tried to develop a method to share with the public. There was certain extended action and satire involved in this.
This performance was divided in several action where I used conditional and the space of everyday life of every day life and  witnessed that how it turned out as reference of time in this collective action. Through this I tried to understand the medium keeping my own culture and geographical influences in my mind.
Day -5
Pm2.5_puccs_gallery -2017 -0013
Inspired by a Swar Yoga Practice Books ‘Shivswaryodhay’, ‘Gheranda Samhita’ and ‘Swar Yoga’ by Muktibodhanand, where I read different aspects of breathing practice and its impact on body, mind and soul and also how our emotions are linked with our breathing.
May be a common man is not well aware about performance art but when he/she participates, whole set of new acts and movements get unfolded. My reference is regarding the present time where pollution is increasing day by day and there is a great desire in people and children to breath fresh air, also with respect to current political situation when people are anyhow trying to survive. In such case, freedom of expression has gone beyond the skin and geography. Pollution is the biggest economical, social and political challenge today. I have mainly highlighted the scenario in Delhi around last October and November 2016, when pollution level was as high as Pm2,5 level of 1033.76 μg/m3.
Pm2.5_puccs_gallery -2017 -16
Nature of performance – Collaboration  and Open source
Curator – kathleen meyts coba
Photography by Kovács István , Agnes Eva Molnar , B Ajay Sharma kathleen meyts coba
Duration – 5 day , From 29 th may to 2 nd June 2017
Place -Puccs Gallery Budapest ,Hungry  

The Blindfolded Man


Title-The Blindfolded Man



This was not a Concept note or any framed idea.b_ajay_2016-001 


Here in this project, I have tried to create and decode few of my actions and references. It was the collaborative performace with seven men who were singing outside the temple in Bodhgaya. There names were Indradev, Guddu, Lakhan, Rajkumar, Mukesh and others. They were blind yet excellent singers and musicians. They belonged to a particular caste of Bihar hence considered low(as Indian society is divided on the basis of caste and according to it people of certain caste are dehumanized and marginalized by the society). There, they were begging outside the Bodhi Temple of Bodhgaya. People were neglecting them despite their great voices and singing style. When I talked with them, Guddu asked me that whether I can provide him a stage to perform as singer and that thought of Guddu appealed to me and I tried to develop a concept where I could share a space with them.

In this performance, I sat on the very same place where they used to sit everyday and sing. I asked people especially monks to put silver foil over my body (as it was ritual there to buy silver foil for offering), then I told the seven geniuses to cover their faces and walk along with me on road till stage. On the stage, I covered their faces and they started to perform music. So those artists were without any identity now. Now, they were performers and their connection with their caste was lost for a little while. They sang different folk songs and also some songs from their community(caste community). This is how I tried to transform the space where their identity was beyond the worldly chains. 

b_ajay sharma0008
I started begging from people which is an act of BHIKSHUK(not beggar exactly, it is a cultural offshoot of Buddhism). It symbolize the Budha Sakyamuni who used to live on Bhiksha(alms). There was a great man in India named Dr. B.R.Ambedkar, he worked for the upliftment of lower caste people. Ambedkar embraced Bodhidharma to improve the condition and status of marginalized castes. Looking at those singers in Bodhivihar made me realize how a religion i.e. buddhism, which was once a resistance against the inhuman systems of Hinduism, now is suffering with the same disease on practical grounds.

(After Amabedkar , Cast and Bhuddhism In post modern India  itself have very different lairs and paradox within indian social structure and how Foreigners are looking buddhism in India    )
This performance is act of understating different layer of cast system and idea and conflict of space "Bhodhgaya" where Buddhist practice taking shape . 
Title-Blindfoled man 
Place- Bodhgaya Biennial 2016
Curated by -Rahul Bose & vinay kumar
Duration - 01:00:00
Photo by - Vinod Bhardwaj , Naresh Kumar 


The Idea of Time and Death

residue of performance art-2017-02mail

Residue of the performative act is with reference to time and historical notes to decode the time and related futuristic crisis of human civilization. Here, we have used the methods to understand the correlation of action and object (keeping in mind the various acts in history and war). according to my understanding, all objects have their own time and uses. In my last two years’ work, i have explored the performance, alternative photography installation, usage of images and sculptural objects and videos as a medium to understand the notion of performative acts through which we can trace the past and future.
Through my lens based performance,Drawing,Video,Sculpture,Installation . I will represent the mythological and historical symbolic references as a fictional narration of present time (through different acts evident in history of religious icons)

This is about how extremist right political parties are using religious patriotism (Hindutva), racial and communal issues for their political benefits. Such acts and other such leftover history related to it has helped me in defining the condition and situation of present India in India as well as the world. I have taken the word ”Mara” which means death from an anecdote about the creator of  Indian epic Ramayan where it is described that when Valmiki was thief, he got a message from sky to write about the glorious life of lord Rama, after this message he started chanting ”mara” and in this process he kept chanting the word ”Mara”. After certain time when he realized his mistake,  The actual name is “RAM ” at that moment, he got enlightened. 

Another reference is from 1992 when RSS and their allied groups started asserting the concept of ”rama rajya” (and idealist state of the times of Rama) where everyone was happy and ethical. This agenda of such organizations is to make India a Hindutva Nation of one race and religion. They want to bring Ram Rajya again. In the same breathe, they demolished the Babri mosque to build a great temple for Rama (where they think there once existed a temple which Babur demolished in order to build a masjid/mosque). They claimed that it was the place where Ram was born, this demolition led to killings and riots in different regions of India. Therefore, I am using an icon of lord Ram to repereesent past and future aspects of time.
residu of performance-2017-01mail.jpg

Now I see the word ‘Rama” as death(like Valmiki once chanted) where there is death of idol, civilization. It now represents a narrow understanding of religion and patriotism.
Screen shot form Video “Motherland and Other story “
The project in collaboration with Sreeraj tr ,Swasthikk korathi,Rizwan basheer,Gokul Balachandran,,Ravi Ranjan ,Kartik kumar,Pankaj Bhardwaj ,Shiv Kumar, Arfaaz kagalwala, Anita kumari, Sachin gond, Dastaan culture lab,Ayush Gupta,Alok kumar,Umesh kumar singh ,shivangi singh, Khurshid ahmad chand ,Tara Tamang

How many times it happened there ,Before we called it Performance(weight of stone)

weight of stone

My practice of performance is direct or some time I will be correspondence of my act, Death and memory and witnessing of all in space history and fiction narration of such space. Allow me to work and deal with different method, through the image making wit body or photography, I believe i am a painter I am using photography as a painting method, here All space is from my native city Deoghar (Jharkhand) where I grown up since then I visit my city, and water problem day bay day increasing in city, and there is no any resource, there is rain river emerge in monsoon day after that in summer it get dry, so my memory the river in child hood as well now total change and it was all most death space, even the sand is big issue of land Mafia, as well stone are using for cement factory and building making all are political and lace issue which we are dealing with, lot of murder case for all mafia now in survey of environment after 15 year there is no water, water lave1 will draw so deep, so there possible to not excess water from won, every one buying water thought the performance making or before I visit space for knowing and understating the situation and history I thought is very hidden process of performance and convection between me and my body, space and fact of survey. Then I perform in the space, so for me; I am re performing in same space, and that is reference with the death happen before so many time for water, land, sand and stone. Therefore my action is repletion of all those real and fictional fact of space.


How many times it happened there ,Before we called it Performance(weight of stone)

Place -Deoghar ,Jharkhand ,India

Photography assistant – Mukund Ananad


Duration -00:30:00



Every presentation of a work of video art can be understood as a kind of live performance, an immaterial, temporal experience, characterized by uncertainty and instability. In the same way that no …

Source: Concept

visual artist

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