Mother Truth and her Unruly, Loving Children

A season of artist films at CAMP

To watch the filmmaker Sukhdev giggle theatrically through his dialogue about the "future of documentary films in India" at 20:41 in SNS Sastry's "Flashback" in 1974 is uncomfortable in a few different ways. We sense the inability of a radical to imagine the future. It is a slightly unconvincing melodramatic performance. He disses people who may sing songs in future documentaries. And yet, he is right about ad-film-like documentaries of the future, which is discomforting in its own way.

As years have gone by and some of the habits and modes of production that lay at the unspoken heart of Sukhdev's cynicism have receded, there remains a subterranean and maybe transformed set of questions about the "production of truth" at the heart of the documentary project. Contemporary artists and filmmakers working in a documentary idiom today deal in a dynamic realism that is haunted by performativity on the one hand and truth on the other. By truth here we mean the author's fidelity to an external reality not inside one's head, such as a city, or a group of people. By performance, we mean that this reality is not fixed, and its subjects are active and unpredictable.

Over the years, realisms have gained names and atmospheres: social realism, capitalist realism, speculative and magic realisms. These are all quite different concepts, but one starting lesson is that we are no longer in the old opposition between documentary and fiction. We could then replace an absolute idea of truth with a question of what kinds of reality (as opposed to idealisms) are being observed and amplified in contemporary video. The political stakes here are crucial: a) it is about learning from a world, its actual sites of resistances and possibilities, b) it has proposals for how to reorganise creative thinking, existing worlds and technologies and c) it is a way to have more time on your side: the extended time of making with others, the time that radiates out of a film you made, and a time for discussions afterwards.

This season of projections at CAMP begins on weekend evenings starting Saturday, February 29, or leap year day.

By RSVP only. Send a mail to
(Image: Oh that's Bhanu, RV Ramani)


The first few evenings of the program are below, the artists will be present for extended discussions.

29th February, Saturday A Timeline and a Film, with Priya Sen. 7:00 pm.
ASSEMBLY, A timeline from Shaheen Bagh. 30 min
followed by:

8th March Sunday
Ghode ko Jalebi Khilane Le Ja Riya Hoon with Anamika Haksar
121 min

14th March Saturday 7:00pm
Janani's Juliet with Pankaj Rishi Kumar
53 min

21st March Saturday
Double bill with RV Ramani
Oh that's Bhanu
112 min
Santhal Family to Mill Recall
112 min

More to be announced.

A Timeline and a Film, with Priya Sen

7:00 pm ASSEMBLY, 30 min.
Followed by a discussion with Priya

Ghode Ko Jalebi Khilane Ja Riya Hoon

Followed by a discussion with Anamika Haksar and many cast and crew members.

As part of Mother Courage and her Unruly, Loving Children

Kumar's Talkies and Janani's Juliet

We will update with new date shortly
Saturday March 14, 2020
7:00 pm
with Pankaj Rishi Kumar

Evenings at CAMP Rooftop

A roof-top venue that has been active since 2006, in this location since 2009.

Battle for Banaras

Battle for Banaras
Kamal Swaroop, 2014
2hrs 13mins
Friday, 18th November. 8 pm
Kamal and the crew will be present.

Through the film we cutaway to the river's edge and two men talking, about this place, and about politics older than the modern Indian city. Then we enter the city again, and its rushes of electoral spectacle, surging crowds, politically astute residents, actions designed for this time and place. When Kamal Swaroop says "I am no longer speaking, in my films" he seems to mean that he watching the crowds, listening, looking from whatever distance is possible, often with a long lens and a small crew.

Many Months in Mirya

The film evokes the practice of the diary film, at once observational and reflexive, and draws power from its twin strategies of frugal economy and long duration. Screening & discussion with Renu.

John Berger, A Seventh Time

Video and Stills with accompanying commentary
90 minutes
7:00 pm
*plus a newly-scanned copy of "A Seventh Man", Berger's photo-text book on migrant work.

A season of long films invites you to
Rivers without Banks

27th December, 2013 through 27th January, 2014

Before the start of a new year; and among big and small resolutions for the future we chose to ask ourselves what is free cinema today, what is its political and perceptual economy, and what could we summon of its powers, before embarking on new journeys of making and thinking.

Rivers without Banks is a screening program of films whose durations extend beyond conventional length. But importantly, this is not a collection put together quantitatively, even as we may argue that the epic scales present in the chosen films carry the weight of histories, and put together chronologically show us a century where individual everyday lives face the annals of terrible power; where the human condition battles with nature and technology, with love and loss, with good and evil.

A Season of Footage and Films

CAMP presents
Saturday or Sunday evening screenings through winter, exploring footage both within and outside the usual capsule of "the film". An experience that could be similar to watching films, or at other times harder to digest, or slower to release, closer to the moment of shooting, less censorious, and less fearful of finitude. Another life, another world of viewing and listening experiences is always possible.

Housing Histories Seminar

"Ghar Mein Shehar Hona: City Housing in a Cultural Matrix, 1951 to 2020". Three evenings of immersive histories on CAMP Rooftop.

From Gulf to Gulf to Gulf

Punto De Vista
International Documentary Festival of Navarra
Retrospective: Oceanic Feeling

Screening and Discussion: A Passage through Passages

Screening of a new 5-channel film by CAMP: 85 minutes

A Passage Through Passages is inspired by ethnographic and archival work in five field sites.

The screening is followed by a discussion, and a response from Susan Schuppli.


A Passage Through Passages is inspired by ethnographic and archival work in five field sites. The central feature of the exhibition is a multi-screen film work by CAMP.

CAMP: Beginnings

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.

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