The Many Lives of Indian Cinema: 1913-2013 and beyond
Disciplines, Histories, Technologies, Futures
January 9th, 2014
at Sarai-CSDS, New Delhi.
With Screenings of
From Gulf to Gulf to Gulf
9th and 11th January 7:00 pm
We are surrounded by landscapes that we cannot directly sense: Coal reserves, electrical grids, climate, financial systems, art markets. The chains linking these to individual perception or sense organs are long and twisted. We can think of images as attempts to short-circuit this situation. Images light up every available surface, fighting an indirect, metaphorical battle against the disappearance of actual sites of financialisation, valorisation, urbanisation, network intensification, and so on. These images rearrange what can be seen, felt or alluded to, and thus in the language of Jacques Rancière, produce an overlap between aesthetics and politics.
In this talk we develop another side of this overlap, which motivates our own recent work, and is about the non-sensable aspects of images, or certain aspects of aesthetic process. That is, things that are not perceptible yet, but there is an experimentation that may burst into perceptibility or form at any time. This means the procedures, backends, tweaking of technological or organisational contexts, and other ways in which moving images are prepared for, thought of, and then made, cast or thrown. Starting with seven different clips of near-darkness in the online video archive Pad.ma, we describe the (also accidental, tentative) entry of cameras and intentions into different kinds of spaces, or worlds. The way or manner of entering, in relation to and transforming what is already there, is the key shift or interruption here. We give examples of our activities "behind the image" and anticipation of it, that try to catch in the plane and rhythm of image-making processes, some of what has receded from the immediate senses.
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.
A film program at Slought, with Shaina Anand /CAMP about surveillance systems, critical documentary filmmaking, subjectivity and distribution, and a screening of Al Jaar Qabla Al Daar (60 min, 2011), followed by a discussion with filmmaker Shaina and Deborah A. Thomas.
Ishara Art Foundation
Ashok gives a part-biographical talk at the MMB, Mumbai, as part of the State of Nature series. Himalayan horticultural history, sewage-infused ice skating rinks, potato science and a series of proposals for art.
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.