At Against All Odds:
Contemporary Responses to the Historiography of Archives and Museums in India
curated by Arshiya Lokhandwala
In October 2010, a major conference and exhibition was organised in the port town of Mandvi in Kutch. The exhibition 'Gujarat and the Sea' was, as its curator puts it, "opportunistic". It made use of opportunities to access UK-based archives, to bring about 80 maps, photographs, and objects, mostly printed as high-quality digital reproductions, to Jainpuri in Mandvi. These materials were sourced mainly from the British Library collection, the UK National Maritime Museum, and private collections both in Gujarat and abroad. There is a specific poignancy to the material as it is exhibited: the reproductions are carefully printed on archival paper, but only have licensed permission to be shown over one three month period.
A three-day international conference on 'Gujarat and the Sea' also opened at the same time in the same Mandvi venue. Unlike the conference however, the exhibition has since travelled to other parts of Gujarat: to the National Institute of Design in Ahmedabad in November, and to the Science Centre in Surat in December. For us, this exhibition already constitutes a noteworthy contemporary response to the "historiography of the Museum and the Archive" of this history, in Gujarat.
One question it raises directly is, what does it take to be "opportunistic", in this way? Who can be opportunistic? This question has implications for exhibition practices, and the idea of what exhibitions can be. And the question for art perhaps is, how can such opportunity, access to faraway image archives in this case, be further translated or traded, and in which spirit, style, or medium?
GATS is organised by a well-known Gujarati cultural group, with a British curator, Kutch-based NGO partner, and financial support from local government and multinational interests. These assets were leveraged, not without internal frictions and differing interests, to bring some images "back" to within a stone's throw of contemporary boatbuilding and seafaring activity on Mandvi's Bandar road. Exhibitions are not typically about knowledge, and so it is not a "knowledge gap" that separates this exhibition from the ships and seafarers around the corner. It is perhaps a more primal question, of what can be seen, heard, felt, or alluded to and in which kind of marriage between form and context. In what practical manner can the violence, smuggling, buggery, foreignness, local pride, predominantly Muslim seafaring class, and many other known aspects of Gujarat's maritime history be "exhibited", and be received by audiences?
Some hints are there in the materials themselves. Many maps and images in the GATS exhibition are layered with past annotations, claims, borrowings, translations: notes in Gujarati on english pilot's maps, english scrawls on Gujarati lists, photos taken with or without "permission", and often an in-built indifference to or obscuring of sources. The exhibition freezes such running threads into one "appearance", lighting up some routes, paths by which this material may be felt or appreciated, while remaining shy of others.
CAMP is proposing here to continue this route-finding effort, by annotating, cropping, layering, and extending "Gujarat and the Sea". At a certain distance from Gujarat, with the help of historians and amateurs working in the field, and through our own work on contemporary Gujarati seafaring activity as far-flung as Somalia and Iraq, we believe that many more layers of this story can unfold. This is then the exhibition as "relay", which in the best case leads to more responses from other "parties", so that exhibitions like these mark a "shubh-aarambh", a providential beginning, and not an end, of debates around their subjects.
The Delhi exhibition is open upto January 27, 2011.
Design and Production by Samir Parker
with thanks to Edward Simpson, Aparna Kapadia and Iyesha Geeth Abbas.
An exhibition that builds upon photos of another exhibition that was made of photos of....
At first, a project on the creek in Sharjah, from where a large number of ships leave for Somali ports.
General Rehearsal A show in three acts from the collections of V-A-C, MMOMA and KADIST
The Annotated 'Gujarat and the Sea' Exhibition (2011)
And I laid traps for the troubadours who get killed before the reached Bombay
at Clark House, Bombay
February 7 to May 30, 2014
(An exhibition building upon photos of another exhibition, and more)
CAMP at Transmediale 2018, Berlin with reprinted Wharfage, The Annotated "Gujarat and the Sea" Exhibition and The Country of the Sea cyanotype.
A journey with CAMP’s five-year Wharfage project and related maritime explorations.
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
SUSPENDED :( Hope to be back in the near future
This season of projections at CAMP begins on weekend evenings starting Saturday, February 29, or leap year day.
ASSEMBLY, 30 min.
YEH FREEDOM LIFE, 70 min
Followed by a discussion with Priya
Shaina Anand in conversation with Shaunak Sen Talk: India Art Fair 02 Feb, 5:00-5:45 PM
Drawing from a recent body of post-cinema assemblages and experiences from the Mumbai based collaborative studio CAMP, artists, filmmakers and researchers Shaina Anand and Shaunak Sen will discuss the before and after of Cinema and the Present.
CAMP did an afternoon seminar with the Goldsmiths curatorial knowledge PhD program and its "advanced practices" group. With Irit Rogoff, Adnan Madani, Ramon Amaro, Bridget Crone and students.