20 mins, HD. 2 - channel installation
Filmed in Guangzhou at the Zhuhai International Container Terminal
The crane operator and longshoreman seem to have disappeared.
In this "forgotten space" of the ocean (that channels 90% of global trade), their absence, along with the grime and buzz of the port city has been mourned, there have been requiems. But they exist, countless of them, their hand-eye and body workings, rendered tiny and near-invisible against the backdrop of the lego-land image of the container port. CAMP's work here, filmed on location at the Zhuhai International Container Terminal, Gaolan on the Pearl River Delta offers "a day in the life of" look at what can be seen; of both the systems-view and workers-view of that seemingly automated movement of boxes.
With the participation of Jingbin Liu, Zhiyu Fang, Jiefeng Zhao, Wuyi Lin, Zedong Wang, Guoming Liang and others. Many thanks to Xiaofei Mo and Jianmin Chen.
A film that compiles observations made by volunteer guards watching the English Channel, over one year. Filmed by small cameras connected to the eyepiece of telescopes. Produced with the National Coastwatch Institution, Folkestone, Kent, UK.
60 minutes, 5.1 surround sound.
4 x 3 channel HDV, 8 minutes.
2nd floor, Pepper House, Fort Kochi
12/12/12 to 13/03/13
Show extended till 17/03/13
At first, a project on the creek in Sharjah, from where a large number of ships leave for Somali ports.
A journey with CAMP’s five-year Wharfage project and related maritime explorations.
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.
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
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.
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?
An exhibition that builds upon photos of another exhibition that was made of photos of....