Screening # 4
Wednesday 17 December 2008
Room no. V in TISS
Screening # 5
Friday 19 December 2008
A.K. Nayak Marg, Fort
For map, click here
Screening # 6
Saturday 20th December 2008
at Swami Vivekanand School,
opposite IT Colony,
Shaina A presents Khirkeeyaan at The Power Plant. Contemporary Art Gallery. Toronto.If We Can't Get it Together' Artists Rethinking the (mal)function of Communities, Dec 14
AshokS and ShainaA present Lossfulness, a set of four videos and an environment, at the Serpentine Gallery, London as part ofthe Indian Highway exhibition.
ShainaA and AshokS present Motornama Roshanara, cycle-rickshaw tours of a "post-industrial" landscape, in Roshanara Road, Delhi during the 48degrees public art festival.
A Parallax View of 40 Years of German Video Art.
Over two days, ten artists, critics and enthusiasts present a "recuration" of the 40 Years of German Video Art, a collection being circulated by the Goethe Institut. These respondents bring to the archive their own urgencies and preoccupations, and suggest that this "package" is not a sealed entity, and can be re-read as a history of encounter and entanglement between disciplines, geographies, schools of thought, agents and artforms.
The 2-day screening program will be held 14th-15th November, 2008.
at Jnanapravaha, and (on the same floor, opposite door) Gallery Chemould.
AshokS and ShainaA participated in the Taipei Biennale edition of Dictionary of War. The concepts they presented were: Insulation and Zoom.
Ek Dozen Paani is a screening of 12 short films made during our project in Jogeshwari, a north Mumbai suburb.
This is the first screening of the material, and was specially held for the video group itself, and other community members and friends.
3-5 pm , Ketnav Preview Theatre, Bandra.
Sunday, 28th September 2008.
AshokS and ShainaA screened some of their work at the National Centre for Performing Arts, Mumbai as part Four of the Cinema of Prayog series curated by Amrit Gangar.
ShainaA participated in the inaugural series of workshops at Jadavpur University's new Media Lab, in the section on "Law and the Image", coordinated by Namita Malhotra from the Alternative Law Forum, Bangalore.
On the excess of images, and of access to images.
In this screening and discussion we look at several artist's works (including our own) based on security imaging or CCTV. This gives us a few new ways to think about contemporary images, and the "democracy" of image-making, in particular. It also suggests that the term "found footage" may not be sufficient, may even be misleading, for describing such work.
Saturday, July 26, 2008
AshokS's unrealised project: "the Last Message from Toblino" features in the Manifesta7 companion book, The Rest of Now, edited by Rana Dasgupta.
AshokS was a plenary speaker at the 2nd Metropolis Biennial in Copenhagen, Denmark. His talk, titled "the Neighbour", was about the neighbour that persists beyond the categories of friend and enemy, and thus escapes the fantasy of infinite connectivity, as well as its other, total privacy.
CCTV works return to Manchester. ShainaA's Khirkeeyaan (2006) as part of Broadcast Yourself currently on tour at The Cornerhouse.
A long interview with ShainaA features in this compilation of essays and interviews edited by Megan Boler. Tactics in Hard Times: Digital Media and Democracy. The MIT Press, May 2008.
Disclosures was a 2-day event organised by Gasworks, London, attempting the reevaluation of "digital" influences in the domain of art practice, including the after-effects of open source culture, media forms, and so on. Shaina and Ashok presented on Day 2, under the thematic "Blue Skies, Grey Skies".
The ACAF (Alexandria Contemporary Arts Forum) in Alexandria/ Iskandariya, Egypt hosted a 4-day workshop conducted by Ashok and Shaina. Participants in "Shelter, Visibility, Love" produced a variety of material that was placed in two temporary exhibitions.read more
Sept Soirees was a series of battery-powered "evenings" in the Marche N' Gellaw, a suburban market in Dakar, Senegal. These evenings were conceived in a situation where there is scarce time, space or other resources for communal activity at a certain scale. Also because of the peculiar condition of cinemas in Dakar: there are only two still functioning.
These "micro-cinema" and "micro-radio" events are performed by showing up at a street corner with some equipment, and negotiating the rest.
CCTV social premiered on April 3rd at Cornerhouse Manchester, as part of Asian Trienale Manchester 08, organised by Shisha. The show, titled what do you want, feautred five artists from India and was curated by Kathy Rae Huffman.
Through both days, Max, Jon, Georgina, Marisa, Chris and I walked through the mall, aware that we were being followed. Playing around with UK's Data Protection act and the documentary filmmakers mandatory 'image release'(with a side-ways wink at 'participatory' art practice), we carried with us "Image Release Forms' and encouraged people to sign on. The net result was that we had about a 100 release forms and were able to make a 'public' request for the Surveillance Videos.read more
Around 4 in the evening, the sun came out for a bit. Stuart, (who we had earlier visited at 2am on Friday night to witness the night shift) takes me for a walk around the MMU area. He maps all 36 'open street' cameras. Steve in the control keeps close track on us, cameras overhead rotate and tilt down. I film them instinctively, like animals stalking prey they watch, dark-eyed. Keeping Steve company in the control room are Chris and Anna and Elizabeth, the 4 o'clock visitors. As Stuart and me end our camera count, they spy 2 of their friends cutting across the park.
Day Two was a colder day. Joe and Steve were blurry-eyed when we got to the 'clinic'; Steve had had been on the eleven-hour night shift and was continuing through the day as they were short-staffed. Friday, the day of our first session had been the last day of Uni. Today was Sunday and the streets were quiet.
The 'warmth' of the Control room provided a space for diagnosis and self-examination. From Kate Taylor, a film curator from Liverpool interested in how artists and operators view CCTV to Phil, an employee of BAE systems and Julie who worked at Granada TV came a range of questions and reflections. Steve, feeling vulnerable and less on the defense offered us some clear insights about life 'on the beat' and about the processes of gentrification and regeneration he had witnessed in the city.
View short excepts from Day Two below.
The doors of the clinic opened at 11 am. "Have a nice day" by the Stereophonics was playing on the radio and in came Jodie Sadler, a young filmmaker who had traveled from London for the session."So how does all this work, talk me through it."
The day progressed with two-person on-the-hour sessons.
View short excerpts from Day One.
In March-April 2008, ShainaA collaborated with a number of agencies in Manchester city to open up CCTV control rooms to members of the public. The Manchester Metropolitan University and the Arndale Mall were the principal venues, and over 30 members of the public were able to attend one-hour 'clinics' in the CCTV rooms. Some results were shown as part of the exhibition 'What do you want?' at Cornerhouse, Manchester from March-April 2008.
Thursday, February 28, 2008.
PAD.MA is an online archive of video material, primarily footage and not finished films, that has been densely text-annotated. The entire collection is searchable and viewable online, and is free to download for non-commercial use.
We see PADMA as a way of opening up a set of images, intentions and effects present in video footage -- resources that conventions of video-making, editing and viewing have over time tended to suppress, or make unavailable.
ShainaA's Khirkeeyaan (2006) in Broadcast Yourself. An exhibition co-curated by Kathy Rae Huffman and Sarah Cook that looks at artists interventions into television and strategies for self-broadcasting from the 1960s to today.
Sunday, February 10, 2008.
CAMP brings you a selection of works on video that are well-known and "published" in some form, but are generally hard to find. In part I, these are mostly videos from the US and Europe, which also reflects conditions in the online networks, i.e. where we found them- which we would like to discuss.