The Boat Modes in a house in the Karlsaue Park
and with Pad.ma on Afghan Films, in the ex-elisabeth hospital/ex-chinese restaurant.
Returning to Kassel in August for this:
The Boat Modes wall text:
A boat has many powers: to gather a society
in its making, to distribute goods, to carry people and ideas across
places that, it seems to us, are more different than ever before. The phrase “Boat modes”
has a practical use here, which is to express the
peculiar and flexible ways in which these boats are manifest in the
Western Indian Ocean. But it also has other possibilities; such as to follow
Bruno Latour in asking a question “in a way that a specific kind of
agency appears.” A matter of tone, or key. Or to create further paths
from these boats’ continued expansion of categories such as “sovereign”,
“pirate”, “container”, “free trade”, “money”, and
“work” at such points where known maritime histories and economics seem to
Modes appear at the intersection of forces and environments, and are arranged here in the shape of the constellation Pleiades, or Thurayya in Gujarati and Arabic navigation maps. They accompany a film that takes us on a journey from the Gulf of Kutch in India to the U.A.E. to Somali ports, and back. The songs in the film were all found, married to the cell-phone videos that you see.
The film is 60 minutes, and starts on the hour.
Co-commissioned by Documenta13 and the Sharjah Art Foundation
Camera: Shaina Anand, Junas Bhagad, Mrinal Desai, Sultan Hajji, Zakir Hussain, Mohammed Rafik, Ashok Sukumaran, Siddik Umer, the crew of Safina Al Zilani, Al Madina Mangrol, Al Naved, Sabir Priya and many others.
Editing: Shaina Anand, Sreya Chatterjee
Cruciforms: Ashok Sukumaran, Sindhu Thirumalaisamy, Prerna Bishnoi
With thanks to: Sanjay Bhangar, Zinnia Ambapardiwala, Ranjana Dave at CAMP
Fahad Bishara, Jatin Dua, Kaizad Gherda, Nida Ghouse, Engseng Ho, Eungie Joo, Faiza Khan, Altaf Makhiawala, Radhamohini Prasad, Edward Simpson, Samia Rab, Julia Stoff, Kathy Zarur, and the Foundation for Arts Initiatives.
On Display at Tate Modern, Media Networks, till November 2021
A workshop at
Afghan Films, Kabul
March 25th to April 15th, 2012
with Shaina Anand, Vijay Chavan, Mariam Ghani, Faiza Khan, Ashok Sukumaran and members and staff of Afghan Films
Our Documenta(13) installation "The Boat Modes" at Freedom, Kunstpalais, Erlangen
A screenplay in Courier 12pt melodramatic format, spanning the first three days of lobbying for cabinet spots, in the wake of the Indian general elections of 2009. The dialogue is entirely from phone taps made by the government. The screenplay slows them down and asks: what kinds of environments and scenes may lie behind them, and how are they connected?
Printed screenplay and IVR-based phone line, audience can type in scene numbers to hear dialogue in the original voices. Also performed as a reading.
At first, a project on the creek in Sharjah, from where a large number of ships leave for Somali ports.
CAMP at Sheher o Funn, the inaugural biennale of the city of Lahore with From Gulf to Gulf to Gulf.
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.