Wharfage 2022 edition
As part of the CAMP exhibition "A Passage Through Passages" at Sharjah,
the 2009 book "Wharfage" was reprinted, with a new foreword.
You can download the book here (pdf).
As part of the CAMP exhibition "A Passage Through Passages" at Sharjah,
the 2009 book "Wharfage" was reprinted, with a new foreword.
You can download the book here (pdf).
From Gulf to Gulf to Gulf
&
Wharfage
13m 14s looped, seven channel environment with music
2022
Filmed by CCTV camera from a single-point location in South-Central Mumbai.
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
Cantonese, Mandarin
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 film 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.