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).
Penn Anthropology Colloquium
12pm, Rainey Auditorium, Penn Museum
"A story of decisions, forms, cause and effect in a multi-year sequence of encounters, artworks and friendships of CAMP, across parts of the Indian Ocean, starting with a fleet of ships passing everyday through what was termed “Somali piracy”.
A non-imperial view from the 'Other Boat', counter to images of the 'distressed seas'. With a presentation and screening of From Gulf to Gulf to Gulf at Transmediale 2018.
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27 and 28 March 2015
Dr. Bhau Daji Lad Museum and CAMP invite you to a day-long seminar, View from the Boat: a diverse set of responses and discussions provoked by the geography and "approach" of CAMP's ongoing exhibition at the museum, As If - III Country of the Sea.
The seminar will be preceded by an artists’ introduction to the exhibition, starting at 6:00 pm on the 27th evening.
It will commence again on the 28th at 10:30 am and continue till 5:30 pm.
Everyone is welcome to join an after-hours walk through of the exhibition on the 27th of March, starting at 6:00 pm.
A journey with CAMP’s five-year Wharfage project and related maritime explorations.
Outlook Magazine: A group of artists, filmmakers and technologists from Mumbai works together with a group of sailors to produce a feature-length experimental film.
At first, a project on the creek in Sharjah in 2008-2009, from where a large number of ships leave for Somali ports.
From Gulf to Gulf to Gulf
&
Wharfage
Screening and conversation in collaboration with University of Pennsylvania’s Cinema & Media Studies department and CARG. At old Slought/ new Public Trust.
CAMP at Transmediale 2018, Berlin with reprinted Wharfage, The Annotated "Gujarat and the Sea" Exhibition and The Country of the Sea cyanotype.
13m 14s looped, seven channel environment with alternating soundtracks
2022
Filmed by CCTV camera from a single-point location in South-Central Mumbai.
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 100-foot long sequence of photo-cutouts, first shown at the Chennai Photo Biennale, March 2019
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.
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-C, Cellphone videos (variable formats). 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.