at LUX, Shacklewell Studios, London
17th October, 3pm
This seminar for artists and curators looking at the implications of artists’ film and video in the Archive. We will explore the various historical contexts, conceptual concerns and practical issues facing moving image artists working with archives both in terms of the care and preservation of their work, and accessing archives for research. The workshop will be chaired by LUX Director, Benjamin Cook with the following guest speakers:
Andrew Lampert, Head of Collections, Anthology Film Archives, New York William Fowler, Curator of Artists’ Moving image at the BFI National Archive, London and Shaina Anand, co-initiator of CAMP and http://Pad.ma
is an ongoing public-access media archival project, centered around video as a medium of documentation, collection, argumentation and exchange. Its objective is to consolidate, densely annotate, and make available online several scattered collections of video material, to begin with in Mumbai and Bangalore. Pad.ma is a collaboration between oil21.org, CAMP, Majlis, Point of View, the Alternative Law Forum, and other future contributors.
Artist talk @ Beginnings with CAMP
Workshop with Students of ERG/Artistic Practices and Scientific Complexity Masters/Kobe Matthys at Argos.
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.
Artist talk: Shaina A at Institute for Comparative Modernity, Cornell University.
A film program at Slought, with Shaina Anand /CAMP about surveillance systems, critical documentary filmmaking, subjectivity and distribution, and a screening of Al Jaar Qabla Al Daar (60 min, 2011), followed by a discussion with filmmaker Shaina and Deborah A. Thomas.
Ishara Art Foundation
Ashok gives a part-biographical talk at the MMB, Mumbai, as part of the State of Nature series. Himalayan horticultural history, sewage-infused ice skating rinks, potato science and a series of proposals for art.
A 100-foot long branching sequence of cutouts drawing from the photo archives of The Hindu, a 140-year old newspaper. Cutouts here are a way of reframing existing photographs as new organisms and to create a new boundary or border for the image.