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.
Beginnings, CAMP at ARGOS, Brussels, 2019
CCTV TV, Lima Cinema, Amsterdam
Could Have Beens, Ten Days Six Nights, Tate Modern, London, 2017
Tales from the Networked Neighbourhood, The Cinema of CAMP, Palestrina Cinema, Milan
Lines and Nodes, Anthology Film Archives 2014
Unravelling Documentarism, Helsinki, 2014
Flaherty at MoMA, NYC, 2014
Flaherty Seminar, NY, 2014
As If – II Flight of the Black Boxes, 24 Jorbagh, New Delhi, 2015
As If – I Rock Paper Scissors, Experminter Gallery Kolkata, 2015
Bunny Smash, Museum of Contemporary Art Tokyo, 2013
The Second Order, Space Hamilton, Seoul, 2013
Reality Effects, Henie Onstad Art Centre, Oslo, 2008
Asian Triennial, Cornerhouse Manchester, 2008
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
In March-April 2008, ShainaA collaborated with a number of agencies in Manchester city to open up CCTV control rooms to members of the public. The Manchester Metropolitan University and the Arndale Mall were the principal venues, and over 30 members of the public were able to attend one-hour 'clinics' in the CCTV rooms. Some results were shown as part of the exhibition 'What do you want?' at Cornerhouse, Manchester from March-April 2008.
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.
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.
Disclosures was a 2-day event organised by Gasworks, London, attempting the reevaluation of "digital" influences in the domain of art practice, including the after-effects of open source culture, media forms, and so on. Shaina and Ashok presented on Day 2, under the thematic "Blue Skies, Grey Skies".
ShainaA participated in the inaugural series of workshops at Jadavpur University's new Media Lab, in the section on "Law and the Image", coordinated by Namita Malhotra from the Alternative Law Forum, Bangalore.
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.