Wednesday, February 20, 2019


Environment Art Project, performance & Installation, 4th KIAR International Art Symposium Pune India.

Thursday, December 22, 2016

khejri, for trees (Khejarli Chipko movement's founder fiction)

khejri, for trees (Khejarli Chipko movement's founder fiction) | Site Specific sculpture / Performance with Vincent Barre (France), Cave Sapchat, Saint-Nectaire France , Massif du Sancy,  #Horizons Arts nature in Sancy 2016.


Sunday, August 30, 2015

Peepal Pooja

Peepal Pooja | Site Specific Performance, Installation and Video | Healing Hills Artist Residency 2015 | Morni Hills Panjab India. Materials: Peepal Tree trunk, Red and white cloth, pots, local pigment powder *Junior Fellowship Ministry of Culture, Indian Govt. Program.

From Market to Dumping Ground - Matheran Waste Cart Procession

From Market to Dumping Ground - Matheran Waste Cart Procession | Site Specific Performance Collaboration by Chiman Dangi and Brydee Rood 2015 |  Matheran Green Festival
Spurred from the context of life in Matheran Hills, a performance action, which involved high-jacking a working rubbish collection cart, and honouring its workers and the process of waste collection by unfolding a series of a sacred rituals throughout the procession from the main market place to the Matheran Dumping Ground. We created garments from silver plates, leaf plates and recycled fabrics; we decorated Jharoo with gold and silver foils and ribbons, and used them like warrior’s arms or ceremonial staffs. Our heads were adorned with a crowning 3rd eye for nature something befitting the forest on the forehead and empowering the inner eco warrior and garbage goddess queen.

From Market to Dumping Ground - Matheran Waste Cart Procession was created as a direct response to the environs of Matheran - meaning "forest on the forehead" an eco sensitive Bombay hill station “discovered by Hugh Poyntz Malet, the then district collector of Thane district in May 1850. Today
Matheran is a very curious place, without modes of popular transport cars, bikes, busses… the tradition of riding by horseback, hand pulled cart or walking prevails and impacts positively on daily life an inviting lush holiday destination popular with tourists. On the other hand - the impact and residues of human waste are evident throughout the delicate habitat. Plummeting breath taking views into Matheran’s green valleys are belied by accumulated carpets of thrown plastic bottles, food packets, snack plates… The evidence of a contemporary human presence carelessly left in the wake of their collective daily life. 

Abu Road to Achalgarh Fort

Abu Road to Achalgarh Fort | Photography Series Along the Road  | Chiman Dangi at NIV Art Center Mount Abu, Sirohi, INDIA

Saturday, August 29, 2015


Animism |  Chiman Dangi 2014 | Site Specific Installation with the NIV Art Center Mount Abu, Sirohi, 2014 INDIA Materials: Natural rock formation, Indian pigment powder and foil paper


Existence | Site Specific Installation with NIV Art Center Mount Abu 2014 | Sirohi, India | Materials: Rock, Indian pigment powder, foil paper.

Survival Yoga

Survival Yoga | Brydee Rood and Chiman Dangi 2014 | Site specific performance and video installation at NiV Art Centre Mt Abu Artist in Residence Program. 

We began thinking a lot about clean environments - wild and domestic, relating to topics of health and survival and the tasks of daily life. Survival Yoga involves the revival of an old, rusty, and broken Jhula (love seat, swing) which we found discarded on the rooftop of the NiV residency. We were drawn to its sculptural qualities and its functionality, finding value and promise in this object, we also noted that there were quite a few Jhula in the homes and gardens of Mt Abu residents.
Inspired by our many visits to Mt Abu's numerous and diverse temples, we wished to combine ritual with creative play using a variety of material ephemera to communicate something of our experience. The playful action of swinging to and fro and the delicate wrapping of Mali (foil papers) over the rusted iron limbs come together with dangling recycled drip bottles collected from the local hospital, sweeper brooms bought in the market, fallen flowers and survival blankets. The performance swings into life as each artist takes a turn to sit in the meditative rocking seat.

Jaan Temple

Jaan Temple - A collaborative social installation by Chiman Dangi and Brydee Rood situated the fresh water lagoon and ocean at SPLORE Festival Tapapakanga Regonal Park New Zealand 2014. Jaan Temple was created site-specifically involving live performance where the artists tended the temple with daily public rituals. | Materials: Stones, Local pigment, (malipanna) Foil Papers, Wood Leaf, Rajasthani Dress, solar lights and miscellaneous reused waste material. Jaan Temple is a creative meditation on love and community, exploration of human connectivity and confrontation to our sensual perception.

Wednesday, June 26, 2013

Scenes of Invisible

Scenes of Invisible | Environmental Installation and Social Art Project | Andor Village Rajasthan India | Chiman Dangi 2010

The village of Andore was filled with cries of laughter and happiness as the children participated in my installation,indicating a new activity and garnering the attention of the public. The previous night I had sprinkled colourful pigment powder on the ground around piles of rubbish and written hand made signs of the village name 'Andore' pointing into the garbage. The next day the public gathered, looking inquisitively at me as I continued going around the village casually circling garbage areas with the local pigment powder and placing 'Andore' signs. Initially there were some raised eyebrows, awkward and confused reactions to this action. The villagers were curious to know why a pile of garbage was being associated with their village name. As the onsite installation replicated around the village, they soon got involved. After some introspection the underlying social message dawned on the villagers. The local authorities and community worked together collecting all the rubbish lying around, signifying the success of my project. Not only the villagers realised how lovely it is to live in a clean environment, but the village was now ready to welcome all the guests participating in the “Sowing Seeds” international art residency.         

Friday, March 29, 2013

Search for Energy (Environment art project)

Search for Energy | Site-specific sculpture Environment Art | Chiman Dangi 2009

Around the globe a major cause of discontent among people is the scarce availability of energy resources. Every country tries to sustain itself and meet the challenges of the developing world. In the 21st century there is more and more likelihood that nations will go to war over energy resources.

The search is on for non-conventional, abundant, inexhaustible, non-polluting, cheap, and efficient sources of energy that can sustain the human race in the long run.

My sculptural creation is inspired by simple village folk. With a little help from technology, Biogas as a fuel can be a locally made alternative source of energy. It is cheap, not much polluting, sustainable and affordable.

This sculpture is created from dried cow dung cakes. It asks us to look for simple, uncomplicated, practical and innovative ways of using the world’s resources. If we think and work together, we can leave a better world for our children.

Picnic at Brahmpol

Picnic at Brahmpol 2013 | Installation Performance Video | Chiman Dangi and Brydee Rood

The painful condition of Udaipur’s streets and lakes is easily ignored by city’s denizens. Our conscience is dead. We do not care anymore or, may be, we are so busy with our personal and professional life that we are not able to contribute in the cleanliness of our surroundings; but that’s a lame excuse to make.

Hurt by the ignorance of the Udaipurites towards the nature, a freelance artist from New Zealand, Brydee Rood, along with a local artist Chiman Dangi, tried a unique way of arousing the emotions of the people towards the cleanliness of Udaipur’s lakes today at Brahmpol.

They named today’s program as ‘Brahmpol Picnic’. Both the activists wore orange plastic cloths and a huge orange plastic balloon over their heads which attracted attention of the passersby. In utter smell of the openly dumped garbage, they started their work by highlighting the garbage with colorful powder.

They also made a sequence of 100 silver colored paper plates to attract the attention towards the garbage. Thereafter, they did a videography of the dumped garbage to showcase it at various public platforms.

Chiman Dangi said, “We are strange people. When we do not receive rainfall, we conduct Yagya to attract the rain god. But after we get the rainfall, we do not even care to clean the lakes for the purity of water”. Brydee said that Udaipur is a beautiful city but people are ruining it by hiding from their responsibilities. They know about the harmful effects of plastic but still they do not stop using it.

It is high time when Udaipurites should stop behaving like an ostrich that hides its head in the ground when it feels danger. Dangerous effects of dirty lakes are a lot more intense than how we perceive them.

Collaborative Art Project 
Chiman Dangi INDIA | Brydee Rood NZ

Text by Gaurav Bhandari

Friday, March 22, 2013

Searching My Heritage

Searching My Heritage | Focus about miniature art mix media | Chiman Dangi 2011| International Miniature Art and Contemporary Art Scenario Workshop | Shilpgram Village - MLS University Udaipur, IN

Power of Insight

Power of Insight | Public Awareness Art - about water pollution in Udaipur's Pichola Lake | Takhman Art Centre Udaipur India | Chiman Dangi 2012

Thursday, March 21, 2013

Falling Between Time

Falling Between Time | Chiman Dangi INDIA - Brydee Rood NZ 2012-2013 | An ephemeral collaboration sited in a popular meeting spot in front of the Baba Ramdev Temple, beside the shared water access point and at the entrance of the Sowing Seeds International Artist Residency

Falling Between Time intermingles material reflection, the elements (light, air, water, earth) and the traditional processes of spinning yarns. It is a village custom to collect recycled fibres (old saree cloth, animal hairs…) and typically older men would gather, telling tales and spinning yarns to pass time socially. Amongst other uses, these yarns would commonly be reused to construct the stretched surfaces of wooden bed frames, a bed made from this process would last around 30 years compared to a bed stretched with new, cheaply available plastics and synthetics, lasting only for 2 to 3 years. 

The site became an intersection for social gatherings and dialogues within the created habitat. The collected recycled yarns were dangled and strewn high, falling low to the earth from the ample limbs of a Baniyad Tree, highlighted in the reflective puddles, echoed with the colours of local pigments pooling in the silver foil plates placed around the base of trunk. The ritual combination of elements, looping nature, circular patterning, spinning and rounding of the delicate installation suggests life cycles and support structures within a shifting environment.