13m 14s looped, seven channel environment with music
Filmed by CCTV camera from a single-point location in South-Central Mumbai.
Six camera moves that begin in unstable skies and at sea, and descend “into the ordinary” via a vertical landscape filled with unfinished city landmarks, persistent settlements, details without end. A landscape movie in facets, filmed by remotely controlled CCTV camera from atop a 35-floor building in South-Central Mumbai.
Each tilt downwards is composed of dozens of repeated shots that show and hide themselves. They become a fluid movement across categories, structures and lines made on land, an interest of CAMP for many years. The stacked and layered city in Parel and Worli (old Bombay tidal islands, and later forming the working-class heart of the city) is suggestive of new subject and object formations.
When people appear in the images, many seem to be aware of this eye in the sky. Everyone is or can be an actor, in diagonal pacts between people and camera. The potential of such new relations drives this work, part of long-term investigations at CAMP that include histories and futures of documentary and moving images, housing, infrastructure, and pleasure.
The work has music, haunted by sirens and poets, by BamBoy (Tushar Adhav) who grew up in Lalbaug, Parel.
Bombay Tilts Down at the Kochi Biennale, Aspinwall House. 13mins loop, 6+1 screen environment from single-point CCTV video 2022. Music by Tushar Adhav/ BamBoy.
With residents of Achanak Nagar, Maya Nagar, Siddharth Nagar, Jijamata Nagar, Mariamma Nagar, Ambedkar Wadi, Shreeram Mills, Lotus Colony, Madraswadi, Markandeshwar Nagar and BDD Chawls, Worli.
And Babita Shettigar, DJ Mith, Farooq Shaikh, Haneefabi, Ibarat Shaikh, Kerabai Patil, Manisha Jadhav, Mohamadali Chaudhary, Mumtaz Ali, Nirupa Bhangar, Prabhakar Parab, Praveen Yerunkar, Shahida Shaikh, Rajendar Padave, Rajesh Singh, Salman Shaikh, Sangeeta Shetye, Savita Bansude, Sunaina Mane, Sunil Bhosale, Sunny Nair, Tarabai Chalke, Tejesh Sharma, Tukaram Sawant.
Soundtrack by Tushar Adhav
With K.A Abbas, Amar Shaikh Kala Pathak, Anna Bhau Sathe, Avahan Natya Manch, Begum Akhtar, Dhondutai Kulkarni, Narayan Surve, Neela Bhagwat, Sambhaji Bhagat, Vilas Ghogre
Full music credits here.
Mastered by Venkatesh Iyer.
With thanks to
Shireen Gandhy, Adarsh Jatia
Neela Bhagwat, Sambhaji Bhagat
Anand Patwardhan, Monteiro-Jayasankar
Shiva Thorat, Pravin Nerunkar
Vasudev Harekar, Swapnil Kamble
Natasha Ginwala, Rattanamol Johal
Foundation for Arts Initiatives
The Nam June Paik Art Center and Kochi Muziris Biennale
This artist talk accompanies Modern
Mondays and Signals: How
Video Transformed the World.
Organised by Stuart Comer, Michelle Kuo and Rattanamol SIngh Johal.
A performance by our collaborators on cctv.camp, Seoul Express. More details: https://njpart.ggcf.kr/when-the-cold-blows/. Part of CAMP After Media Promises, The Nam June Paik Center Prize Exhibition.
On three screens, a city-symphony filmed by automated CCTV cameras in Amsterdam. The optical and motor capacities of these cameras are pushed to an extreme. Certain human subjects reappear near or far in the images, suggesting a form of reciprocal knowledge or intent, a secret pact between cameras and people.
In advance of CAMP's solo at De Appel and in collaboration with LIMA - a screening of two of the studio’s earlier acclaimed projects that examine surveillance, society, and cinematic apparatus.
A single camera mounted on the roof of Gem Cinema brings us multifarious textures, factoids and fabulations
الجار قبل الدار
“The Neighbour before the House” is a series of video probes into the landscape of East Jerusalem. Shot with a CCTV 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.
60 mins, SD CCTV video and sync audio.
Filmed at the then largest mall in Europe, the Arndale Center, which had been built over the centre of Manchester town after an IRA bombing in 1992. Filmed using the 208 cameras of the mall, from the control room. Over a hundred subjects were followed after they signed a "release form" combining CCTV and documentary image release protocols.
Part of the project CCTV Social.
27 mins, CCTV video.
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
Video project that takes us on new and recently rebuilt roads in Pakistan, Sri Lanka, the Maldives, and India. Endoscopic views from the interior of the road system, and of the interfaces through which pride, money, data, climate, and vulnerability are connected to it, heighten our sense of developmental possibility, failure, and the deep ambiguity of road achievements.
‘A Passage Through Passages’ is a collaboration with anthropologists, and draws upon ethnographic and archival work in five field sites. This film is part of Roads and the Politics of Thought, a 5-year ethnographic study of road-building in South Asia.
A 100-foot long sequence of photo-cutouts, first shown at the Chennai Photo Biennale, March 2019
20 mins, HD. 2 - channel installation
Filmed in Guangzhou at the Zhuhai International Container Terminal
Single exposure solar cyanotype print on cotton fabric
CAMP with Shunya collective and Clark House Initiative 22 x 5 feet
An image of the sea as its own “country”, with frontier towns at its edges disorients an easy reading of this territory
A three-channel installation from 8mm film From the Clark House family archives, sequenced in a timeline as above. Each screen is a different part of the same 8mm frame, usually a face.
Feature-length travelogue by sea between western India, eastern Africa and the Persian gulf. First shown at a purpose built outdoor cinema on the creekside in Sharjah in 2013, where many of the sailors gather. Shown in Documenta 13 in an abridged form, as part of the installation The Boat Modes.
83 mins. Original format(s): HDV, SDV, VHS, Cellphone videos (variable). Stereo audio and in-cameraphone music.
4 channel HDV, 8 minutes
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.
Act II (Hum Logos) is a 45-minute audio film spliced from the Pad.ma collection of the Radia Tapes. It covers two months after the Indian general elections of 2009, with the new cabinet in power. The film asks: if debate around these tapes was about whether they are edited or not, or as Justice Mukhopadhay put it, "splice has been added", then what can further editing do?