Neighbourhood TV repurposed as conversation systems in a mashup of cable TV and early CCTV systems, in an "urban village" in Delhi.
TV sets, CCTV cameras, microphones, video splitter, Rf modulator, XLR and COAX Cables. 7 episodes, Runtime various.
The seven “episodes” of this work were born out of seven sets of installations of security cameras and cable TV wiring in Khirkee Extension, an urban village in Delhi. Video became the ‘site’ for these interactions and conversations.
In 2006, when Khirkeeyaan took place, the predominant landscape of images was still (as had been for the past couple of decades) television. The security-camera quad produces a set of four “holes” in the surface of television. The fact that people who face the camera also face each other, while also facing their familiar TV sets, produces a tension in the TV image: a redistribution of the gaze, a grid of speaking and listening, and a sense of liveness that is also physically nearby.
Khirkee and Khirkee Extension are fractured by all sorts of lines: caste, religion, money, new and old settlers from different regions. Khirkee was once a feudal village, whose ‘Extension’ has been claimed and been settled in cycles since partition..
Khirkeeyaan's older traversals of this terrain, its conversations, its double logic of safety (in ones own home) and self-exposure, entered directly into a space produced by the non- overlap of land-based politics, and global communication networks.
Khirkeeyaan was realised with Aastha Chauhan and Gaurav Chandelya during "Public Art Intervention", a residency at Khoj, New Delhi in April 2006.
Thanks to Anita Dube, Tanmoy Sarkar, Manoj VP, Hemant Sreekumar
CAMP Beginnings , Argos Centre for Art and Media, Brussels, 2019
As If – I Rock, Paper, Scissors , Experimenter, Kolkata, 2015
As If – II Flight of the Black Boxes , 24 Jorbagh, New Delhi, 2015
The Cinema of CAMP: Tales from the Networked Neighbourhood , Filmmaker festival, Palestrina Cinema and DOCVA, Milan, 2014
Appeal for Alternatives , Kunstsammlung Nordrhein-Westfalen Schmela Haus, Dusseldorf, 2011
Reality Effects , Henie Onstad Art Centre, Oslo, 2008
‘If we can’t get it Together’ Artists rethinking the (mal)function of Communities , The Power Plant Contemporary Art Gallery, Toronto, 2008
Broadcast Yourself, Artists interventions into Self-Broadcasting from the 1970’s , Cornerhouse, Manchester, 2008
Broadcast Yourself, Artists interventions into Self-Broadcasting from the 1970’s , AV Festival, Hatton Gallery, Newcastle, 2008
Impossible India, Frankfurter Kunstverein, 2006
Sensor-Census-Censor, Sarai, New Delhi, 2006
Honorary Mention, Interactive Art , Ars Electronica, Linz, 2006
Public, Art , Intervention, Khoj, New Delhi, 2006
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.
Five films by CAMP curated by Vassily Bourikas and Filmmaker Festival
6:00 pm Khirkeeyaan (2006) 17 mins
and Hum Logos (2012) 45 mins
at Careof DOCVA, Milan
Cinema Palestrina, Milan
The Neighbour before the House (2011) 60 mins
From Gulf to Gulf to Gulf (2013), 83 mins
The Country of the Blind, and Other Stories (2011), 60 mins
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 European Research Council (No. 616393) funded, 5-year ethnographic study of road-building in South Asia in which CAMP is a partner organisation.
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.
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.