We invite you in the cities of Batticaloa, Bombay, Chittagong, Delhi, Dhaka, Karachi, Khulna, Kolkata and Lahore, to change the course of a film's history, sip from its waters, taste its oddness of...
"Ghar Mein Shehar Hona: City Housing in a Cultural Matrix, 1951 to 2020". Three evenings of immersive histories on CAMP Rooftop.
via RTI, TDR, Cyprus, Speculative Housing, Capital Flight, GBGB Andolan, Multicam Stings, Drone Leaks, Abu, Adarsh, Alyque, Naezy, Nayak, Rajjo, Tiger, .pdf and .xlsx.
Part 3 of our video-lectures on housing histories of Bombay-Mumbai 6:30 pm
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.
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.
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.
A never-ending project housed at CAMP around peoples histories of Bombay-Mumbai.
A space we built and run with others, located in the R and R colony of Lallubhai Compound, Mumbai.
Save the Dates!
A project of listening, including with our ears, to some materials that seem to not touch us directly, but make up our "environment".
60 minute film produced with the National Coastwatch Institution, Folkestone, Kent, UK.
showing at the NCI cabin at Copt Point (10:30 am - 5:00 pm) and in pubs in Folkestone harbour,
as part of the Folkestone Triennial upto September 25, 2011.
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.
CAMP is involved in a 2-year "print-from-web" project, linked to its own investigations of the infrastructures of commerce and pleasure in this part of London. As part of the first "block study", we looked at several buildings and their ownership and use histories, and produced a series of tablemats.
The web-based part of the project resides at http://edgwareroad.org. This website collects materials from various such "studies", conducted by us and others, which then are collaboratively edited and published in a number of physical forms: volumes, pamphlets and placemats. This is an ongoing project, as part of the Serpentine Gallery's Public Program.
Ashok and Azeer spent some time thinking about and building the CAMP terrace roof structure, built in late 2009. Some of the designs that were sketched out are further below: a big requirement was some retractability, i.e. the ability to have a shading roof in the day but to have it open/ partially open at night, for things like screenings under the stars.
الجار قبل الدار
“The Neighbour before the House” is a series of video probes into the landscape of East Jerusalem. Shot with a security camera, these images show that before and after instrumental "surveillance", there is inquisitiveness, jest, memory, desire and doubt that pervades the project of watching. In these specific times and places, camera movements and live commentary become ways in which Palestinian residents evaluate what can be seen, and speak about the nature of their distance from others.