Capital Circus, 2008

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.


With Chris Clarke, Marissa Draper, Ultimate Holding Company, Livewire, Cornerhouse
Commissioned by Cornerhouse and Asian Triennial Manchester 08 curated by Kathy Rae Huffman
Post-production commissioned by Henie Onstad Kunstsenter, Norway for Reality Effects curated by Tone Hansen.

Exhibition History

2022
Passages through Passages, CAMP, Sharjah Art Foundation

2019
Beginnings, CAMP at ARGOS, Brussels
CCTV TV, Lima Cinema, Amsterdam

2017
Could Have Beens, Ten Days Six Nights, Tate Modern, London
Tales from the Networked Neighbourhood, The Cinema of CAMP, Palestrina Cinema, Milan

2014
Lines and Nodes, Anthology Film Archives
Unravelling Documentarism, Helsinki
Flaherty at MoMA, NYC
Flaherty Seminar, NY

2015
As If – II Flight of the Black Boxes, 24 Jorbagh, New Delhi
As If – I Rock Paper Scissors, Experminter Gallery Kolkata

2013
Bunny Smash, Museum of Contemporary Art Tokyo
The Second Order, Space Hamilton, Seoul

2008
Reality Effects, Henie Onstad Art Centre, Oslo
Asian Triennial, Cornerhouse Manchester

Gallery: Capital Circus
Capital Circus, 2008

as part of
The Unfaithful Octopus
Nanyang Technological University

Camera Obscura

Tate Modern

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

Bombay Tilts Down, 2022

13m 14s looped, seven channel environment with music
2022
Filmed by CCTV camera from a single-point location in South-Central Mumbai.

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.

Could Have Beens

Tate Modern
Transformer Galleries and Tanks
Ten Days Six Nights
March 24 to April 2, 2017

CAMP presents a series of works including Windscreen, Capital Circus, One Agreement and Four-letter Film.

We also host Camera Obscura, an evening with video and talking, on the 29th of March.

CCTV Social at Space Hamilton

Shaina Anand and Ashok Sukumaran's project CCTV Social is being shown as a 30-minute video at Space Hamilton, Seoul as part of the exhibition
"The Second Order", curated by Ji Yoon Yang.
Opening December 7th, 2010.

Artists talk by Ashok Sukumaran: "Postscript on the Order of Networks"
December 18th, 4pm

CCTV TV: An evening with CAMP

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.

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.

As If - II Flight of the Black Boxes

24 JORBAGH, New Delhi
January 27 - February 24 2015

Born in experimentation and uncertainty, black boxes of machines and institutions surround us with seemingly smooth and impenetrable functions. But reintroduce the uncertainty, reopen the conflicts, and the box appears stable in neither form nor function.

Twelve works by CAMP look out through the interior worlds of cameras, memory devices, surveillance systems and more, developing feelings and strategies along with them.

Tales from the Networked Neighbourhood: The Cinema of CAMP

Five films by CAMP curated by Vassily Bourikas and Filmmaker Festival

21st march
6:00 pm Khirkeeyaan (2006) 17 mins
and Hum Logos (2012) 45 mins
at Careof DOCVA, Milan

22nd March
Cinema Palestrina, Milan
5:30 pm
The Neighbour before the House (2011) 60 mins
7:30 pm
From Gulf to Gulf to Gulf (2013), 83 mins
22:00 pm
The Country of the Blind, and Other Stories (2011), 60 mins



In Cameras Res, 2019

De Appel, Amsterdam

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 Photogenetic Line, 2019

A 100-foot long sequence of photo-cutouts, first shown at the Chennai Photo Biennale, March 2019

Matrix : Skulptur Projekt Münster, 2017

MATRIX
Of mother, womb, array, environment in which more specialised structures can grow.

Theater Münster
Neubrückenstraße 63
10 Jun - 1 Oct, 2017
Site-specific installation with Electric cable, switches, speakers, monitors, custom electronics.

Men-At-Work with Boxes in Stereo

20 mins, HD. 2 - channel installation
Cantonese, Mandarin
Filmed in Guangzhou at the Zhuhai International Container Terminal

The Country of the Sea

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

Descendants, 2014

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.

From Gulf to Gulf to Gulf, 2013

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.

Destuffing Matrix

4 channel HDV, 8 minutes

Swearing-In-Whispers, 2011

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.

All Works