Camera Obscura

Tate Modern

29th March, 2017, 7:00 pm
South Tank

Using a live presentational format honed through years of public presentations in their rooftop cinema in Mumbai, CAMP takes us into the dark rooms and black boxes of our times.


Camera Obscura is an assemblage drawn from the history of proto-photographic and photographic surveillance – from the eponymous darkened room which people entered to see an image of the outside world, to CCTV control rooms and hidden cameras the size of a spectacle screw – as well as from their own cinematic works and those of fellow artists. Together, they unsettle the neutrality of the documentary image and provoke us with ways of seeing, being seen and being heard.

Presented in parallel with CAMP’s Could Have Beens installation in the Transformer Galleries and East Tank, this live presentation provides fascinating insight into the group’s politically-engaged working methods. Could Have Beens will be on view throughout the evening alongside the work of Fred Moten & Wu Tsang, Isabel Lewis and Fujiko Nakaya, Ryuichi Sakamoto and Shiro Takatani.  


Gallery: Camera Obscura
CCTV Social

In March 2008 Shaina Anand collaborated with Manchester Metropolitan University and Arndale Shopping Centre to open working CCTV environments to a general audience. People normally 'enclosed' by these networks came into the control rooms to view, observe and monitor this condition, endemic in the UK.

CCTV Landscape from Moulali-Entally

A single camera mounted on the roof of Gem Cinema brings us multifarious textures, factoids and fabulations



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.

City Housing in a Cultural Matrix

Ghar Mein Shehar Hona is now online . See more at At Ghar.with.CAMP

From Gulf to Gulf to Gulf

At Body Building
Ishara Art Foundation

A Photogenetic Line: Experimenter 2019

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.

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