Beginnings is an exhibition tracing some of the conceptual and artistic origins of CAMP. At ARGOS, Brussels as part of new beginnings at ARGOS itself.
Since 2008, CAMP has built a steady reputation for exploring the emancipatory possibilities of image-making, archival practices, distribution, and viewership through artistic projects and interventions. They aim to challenge our understanding of technology and infrastructure, while bringing knowledge and the reversal of power dynamics to the fore.
Beginnings, however, goes back in time. Revisiting a number of formative artworks from 2001-2008, a period of their output that predates the establishment of CAMP, the exhibition addresses some of the fundamental elements that would subsequently come to define the studio’s main artistic concerns.
Beginnings destabilizes traditional notions of image-making. It speculates on fundamental questions of the nature of film and video through site-specific spatial and technical interventions. It invites us to look behind digital images as they materialize, to position ourselves inside a video camera apparatus, to explore the lowest-bandwidth phenomenon we could call “a film”, to think about energetic distributions and subject awareness, or to simply look outside a window and think about a neighbourhood of images. Displaying these primary, precise interventions and actions, the exhibition asks which new rules, materials, and sensibilities are needed to construct images of the world, almost from scratch.
Additionally, Beginnings connects these questions to two later works by CAMP that most directly translate these initial experiments into fully realised film projects. The exhibition as a whole thus points towards fundamental shifts in image-making ground and agency: away from its producer towards its subjects and environments, while heightening our sensory awareness of this shift.
A sculptural allegory about the difference between video and film.
Gateway paper, coffee stirrers, fishing wire, wooden / steel frame, electric fan.
Al Jaar Qabla Al Daar
The Neighbour before the House
Arabic and English with English Subtitles.
Works in Palestine by Basma Al Sharif and CAMP
at Cinema Project, Portland
November 8th, 2013
Al Jaar Qabla Al Daar (The Neighbour before the House)
CCTV video, 60 mins
Neighbourhood TV repurposed as conversation systems in a mashup of cable TV and early CCTV systems, in an "urban village" in Delhi.
TV sets, CCTV cameras, microphones, video splitter, Rf modulator, XLR and COAX Cables. 7 episodes, Runtime various.
A conversation between two people, at the smallest possible bandwidth, that one could call "film", or narrative. Made of four alphanumeric characters, each having 14 segments. First made using Christmas lights in 2004. Remade in 2015.
LED structure, DMX controller, computer.
Workshop with Students of ERG/Artistic Practices and Scientific Complexity Masters/Kobe Matthys at Argos.
Filmed at the then largest mall in Europe, the Arndale Center, which had been built over the centre of Manchester town after an IRA bombing in 1992. Filmed using the 208 cameras of the mall, from the control room. Over a hundred subjects were followed after they signed a "release form" combining CCTV and documentary image release protocols.
Part of the project CCTV Social.
27 mins, CCTV video.
With Chris Clarke, Marissa Draper, Ultimate Holding Company, Livewire, Cornerhouse
Commissioned by Cornerhouse and Asian Triennial Manchester 08 curated by Kathy Rae Huffman
Post-production commissioned by Henie Onstad Kunstsenter, Norway for Reality Effects curated by Tone Hansen.
الجار قبل الدار
“The Neighbour before the House” is a series of video probes into the landscape of East Jerusalem. Shot with a CCTV security camera, these images show that before and after instrumental "surveillance", there is inquisitiveness, jest, memory, desire and doubt that pervades the project of watching. In these specific times and places, camera movements and live commentary become ways in which Palestinian residents evaluate what can be seen, and speak about the nature of their distance from others.
60 mins, SD CCTV video and sync audio.
with Albert-Lászlo Barabási, CAMP, Burak Arikan and Hans Ulrich Obrist at Hidden Patterns.
EK DOZEN PAANI
Join us for a special Flashback Friday evening, as we journey back with the films in the presence of, and in conversation with many of the filmmaker’s accompanied by bonus archival material.
PaNi SaRe DhaGa Ma (Water Is In All The Clouds) as the sargam notes and title connote was an exploration of the many lives of water - social, political, material, and spectral - as lived and experienced by young dwellers of the Mumbai suburbs of east Jogeshwari in 2008
CAMP, in Conversation with Elvira Dyangani Ose.
Ashok introduces a video on the Monsoon in Lallubhai, made at R & R, at the opening event of the inhabited sea project.
Image: CAMP studio (handmade book scanner, optical scanner, four computers, NVR recorder, joystick, microphones, salad box, water, biscuits, coffee on the folding table. Bookshelves made of paper rolls, books, routers, awards, air conditioning and fan above. Inventory of electronics + museum of Jurassic technology below the tables, flooring replaced from wear. Some persons on a break, a person taking the picture.)
Part 2 of the housing histories project, From Footpath to Flat (via FSI) is online.
Online seminar/"masterclass" with students of Srishti, Bangalore.
Part 1 of the housing histories project, Ghar Mein Shehar Hona: From Janata Colony to Janata Colony (imaginary to destroyed), is online.
Followed by a discussion with Anamika Haksar and many cast and crew members.
As part of Mother Courage and her Unruly, Loving Children
Punto De Vista
International Documentary Festival of Navarra
Retrospective: Oceanic Feeling