INTERDISCIPLINARY ART PRACTICES IN INDIA

Today in this fastest changing world of science, technology, inventions and information technology, every field is connected to one another in some way. Science technology and innovations are affecting almost all the facets of life and disciplines of knowledge hence art is not the exception. Today art is not limited to the paint and canvases instead it has different aspects. This study was conducted, referring to the changes in the art practices and examines some recent developments in contemporary Indian Arts. Interdisciplinary means combining, connecting or involving two or more academic, scientific, or artistic disciplines. It represents the fusion of two or more professions, technologies, departments, or the like.


INTRODUCTION
It is evident through the discoveries that art has always remained with the existence of human being. In ancient period it was in the form of wall paintings such as in Ajanta and Ellora caves later on in Pala, Rajasthani, Mughal, & Pahari Period it was in the shape of Miniature and manuscripts, initially painted on Palm leaf, and clothes afterward on papers. In 19th century (Tanjore Art) paintings has been decorated with gold, precious stones, and glass pieces were studded to it. Bengal School of early 20th Century is world famous for the wash technique of painting on paper. Henceforth the most preferred surface for the painting which was canvas came into vogue with the work of progressive Artists groups.
Evidently, art has no definite language, and no individual mediums instead it changes with the passage of time, availability of mediums and the interest or knowledge of the artist. It depends upon creator that how he wants to convey his message and which medium he prefers. In this era of technology and novelties, artists are seeking their recognition and values their personal expression. They have freed themselves from the bindings of 'criteria', other 'constraints' and use of conventional mediums while adopting the new ways of expression that are enhancing the vocabulary of art. The traditional style of painting with brush and carving/moulding stone/metal into sculpture has transformed into a vast interdisciplinary conjunction of practices. So entire scenario of contemporary art, which is ostensibly inviting a careful analysis of existing and ongoing art practices, has become a motivation for this study. The words of P. N. Mago that he has stated in his book about contemporary Indian Art: "What happened in the art scene of Europe yesterday, seems to be happening in India today" (Mago, 2001, p. 195) appears wholly accurate.

INCEPTION OF INTERDISCIPLINARY ART PRACTICES IN INDIA
Last twenty-five years witnessed many exciting, significant development in the medium, depiction, and the whole process of art making that changed the face of contemporary Indian art scene. Factors such as the growing discourses on art and contemporary artist's reflective turn upon art and its past recorded history influenced the work of artists in different ways. Now, art is evolving from previously laid out barriers and has become a cluster of media such as installation art, video art, performance art, conceptual art and the new buzz of media art. Seemingly acting upon the wise words of the French author Marcel Proust: "The real voyage of discovery consists not in seeking new landscapes but in having new eyes", contemporary artists are employing a myriad of media into their works to express themselves. (Lochan, 2010, p. 6) This is because they want to convey their message in a language that is prevalent nowadays and to create novelty in their stylistic manner. Through this myriad of media, they register their prominence into a media driven, techno-world which has become a global village. The art practices and its development does not happen in a vacuum, rather contemporary artists live in the society and respond to the events and issues of their time. They select their symbols, technique, medium, and style for a work of art from the wide variety of paraphernalia that is available today. The combination of newer materials and images with inclusion at international biennales and galleries since the late 1990s has proved to be heady. Paintings and mixed media sculptural installations made since the new millennium reflect the changing face of Indian art world: of older galleries refurbished into larger more expensive premises, in turn showing large masculinist formats in painting and installation. (Sinha, 2010, pp. 11-14) Interdisciplinary art began to appear in India since the inception of the 21st century, but the conditions for the growth of this art approach existed in the works of Vivan Sundaram, Nalini Malani, Ved Nayar, and Romana Hussain in 1990s. The glimpse of Interdisciplinary art in India is apparent in the work of artist tactician M.   (Mago, 2001, p. 126) The work of these artists cannot be defined as painting, drawing, sculpture or Installation but has carved a niche for itself somewhere in between all these mediums. There work is an ephemeral confluence of violence, nationalism, religion and feminity and questions each of their positions in contemporary India. (Lochan, 2010, p. 9) The decade of the 1990s become the catalyst for a paradigm shift in the context of Contemporary Indian Art. There seems a lot of development, change and a kind of upheaval in art practices. At that time the country was facing a particular contradiction of technology and its effect across the nation. One phase of India was presenting the incomplete process of modernization and the complicated role of technology, its various possibilities, and applications. The mobilization of technology for political gain has acquired a colossal dimension. Robert Rauschenberg remarks about art in America during the 1960s, and the 1970s seem curiously to be true for the present day art scene in India:

"Today's art is not merely shown; it puts on a show and solicits audience participation. Action paintings invites the spectator's engagement in the artist's creative act. Along with the active art appears the artist-actor. In happenings, painters and sculptors build
props, compose scenes and perform." (Mago, 2001, p. 195) With the dawn of interdisciplinary art in India, the young generation of artist is producing their work by experimenting, combining, connecting, and involving different academic/scientific/artistic disciplines. In this way, they are parting from conventional mediums into modern mediums of art such as mixed media installations, site-specific installations, performance, Kinetic Sculptures, video art, interactive art, digital prints and mechanical art, found objects and photography. Rather limiting themselves to the traditional mediums of art, they are frequently using metals, wood, glass, steel, plastic, light bulbs, fibreglass, concrete, stone, video and digital art, etc. These artists are undisputedly creating a hegemony in contemporary art. Following lines contains a separate and brief account of the works of some interdisciplinary Indian artists.

THE VANGUARDS OF INTERDISCIPLINARY ART PRACTICES IN INDIA
Among young generation Subodh Gupta (b. 1964) popularly known as 'Damien Hirst of India.' He is better known for incorporating everyday objects that are ubiquitous throughout the country such as steel tiffin boxes used by millions to carry their lunch, as well as thali pans, (Contemporary sculptures in metal by Subodh Gupta, 2016) bicycle, milk pails, cow dung and found objects. Sudarshan Shetty (b. 1961), is another multidisciplinary contemporary artist best known for his enigmatic large-scale sculptural, kinetic installations and multimedia works. He was amongst the first artists to make this innovative shift of producing new, hybrid visual forms that crossed sculpture, painting and user interaction, which later became a generational shift in art practices.

INTERDISCIPLINARY COLLECTIVE ARTIST-RUN GROUPS IN INDIA
There are also other avant-gardist art practices going on from other artist-run groups: The Raqs Media Collective, a trio (Jeebesh Bagchi, Monica Narula, and Shuddhabrata Sengupta) located in the city of Delhi, have been working since 1992, as artists, media practitioners, curators, researchers, editors and catalysts of cultural processes. Their work, which has been exhibited widely in major international spaces, locates them in the intersections of contemporary art, historical inquiry, philosophical speculation, research and theory often taking the form of installations, online and offline media objects, performances and encounters. (Bio | Raqs Media Collective, 2016) They have developed a theory and practice of documentary, video, new media art to generate extended allegories of subversion and site them punctually in cyber-mohallas (neighborhoods) and international expositions alike. Given their preferred tropes of migration, displacement, and marginality, surveillance, they function across the trans-cultural zone of global art and bring a unique conceptual-discursive politics into the Indian art scene.
Open Circle, a Mumbai-based artist's initiative, is engaged in the activist genre of public art on the streets of Mumbai protesting/ 'performing' along with people's resistance movements or at sites such as the World Social Forum in Mumbai and other cities of the world. They addressed social and political issues in their local manifestations as well as in their global ramifications. They organize transnational workshops to bring visual artists and theorists together to exchange ideas through discussions and praxis. They make interventions in public spaces in response to the current social and political happenings in India. They had concentrated on local and more immediate concerns.
Youthful, nonpolitical organizations such as Khoj (Delhi), break ground with workshops and residencies hosting eccentric and transgressive artists from all over the world. New initiatives are also now being encouraged in the private sector where all art, even radical art, is subject to rapid commodification. (Kapur, 2007, p

CONCLUSION
This research demonstrates that interdisciplinarity is a defining characteristic of contemporary art practice, and it is a necessity for those artists who will shape the future of the creative practice. In addressing social, political, and related concerns by blurring the boundaries between different disciplines 'interdisciplinary art practices' has become a tool for the artist as well as for the viewer. Though Continuously increasing multidisciplinary practices in the art have begotten certain issues and challenges related to the exhibition and preservation of artwork. Presenters often do not have suitable technical facilities to exhibit innovative work involving advanced digital technologies. Nevertheless, galleries and museums are expanding their proficiency to represent these multidisciplinary artworks but still at this juncture; contemporary Indian art needs to be reviewed in the context of interdisciplinarity and plurality and against continuities and discontinuities with traditions. Thus, a systematic, defined and fruitful development could be facilitated by the demarcation on the rampant interdisciplinary art practices.