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 contactATstudio.camp
(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.
ASSEMBLY, A timeline from Shaheen Bagh. 30 min
YEH FREEDOM LIFE, 70 min.
8th March Sunday
Ghode ko Jalebi Khilane Le Ja Riya Hoon with Anamika Haksar
14th March Saturday
Janani's Juliet with Pankaj Rishi Kumar
21st March Saturday
Double bill with RV Ramani
Oh that's Bhanu
Santhal Family to Mill Recall
More to be announced.
ASSEMBLY, 30 min.
YEH FREEDOM LIFE, 70 min
Followed by a discussion with Priya
Followed by a discussion with Anamika Haksar and many cast and crew members.
As part of Mother Courage and her Unruly, Loving Children
We will update with new date shortly
Saturday March 14, 2020
with Pankaj Rishi Kumar
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.
Video and Stills with accompanying commentary
*plus a newly-scanned copy of "A Seventh Man", Berger's photo-text book on migrant work.
Pad.ma 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.
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.
"Ghar Mein Shehar Hona: City Housing in a Cultural Matrix, 1951 to 2020". Three evenings of immersive histories on CAMP Rooftop.
From the rooftop of this artists' studio in Chuim Village, you are taken on a virtual tour of the neighbourhood. 90 minutes: Live video, audio and archival print material, with live commentary.
Punto De Vista
International Documentary Festival of Navarra
Retrospective: Oceanic Feeling
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.
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.
Shaina presents the infrastructures of CAMP and her cinema programming at ECH, Kolkata.
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.