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Shot list:

\n\n\n\n

00:05 Fire in the warren, but Viking Princess leaves harbour

\n\n

00:56 Sea Shell and struggles with a pot 

\n\n

04:03 Peter and Peter picking pots

\n\n

05:31 Fisheries Patrol!

\n\n

08 04 Genesis outside a decommissioned harbour

\n\n

08:49 A phone call

\n\n

10:48 Bombin\u00e2\u20ac\u2122 it into the harbour, past all the boats there

\n\n

12:19 That clock has been repaired

\n\n

13:05 Gandhi-jaan comes to Folkestone harbour

\n\n

15:16 E-N-O-T-S-E-K-Lovibond-Obsolete-Fishing  

\n\n

15:51 The Burstin and news on the radio

\n\n

16:22 The Mermaid

\n\n

16:37 Olympic tickets

\n\n

16:59 Paddling on Sunny Sands

\n\n

17:39 Canoeist? Kayaker?

\n\n

18:27 Wind blows the magpies, can\u00e2\u20ac\u2122t see Dover

\n\n

19:35 Dramatic but dangerous

\n\n

20:36 P &O ferry sheltering from the storm

\n\n

21:27 Stone from the Needles

\n\n

22:32 You were a P & O guy, weren\u00e2\u20ac\u2122t you?

\n\n

23:31 Saga Ruby leaves Dover for the fjords.

\n\n

28:12 Norwegian Sun

\n\n

29:00 MSC Orchestra

\n\n

29:27 The largest container ship in the world

\n\n

31:35 The Algerian Navy

\n\n

32:55 The Royal Navy

\n\n

33:54 The Belgian Navy

\n\n

34:31 Unknown

\n\n

34:56 Its there, but you can\u00e2\u20ac\u2122t see it

\n\n

35:48 Shabab Oman

\n\n

36:09 Lady Shana and MOL Magnificent

\n\n

36:35 COSCO Indian Ocean

\n\n

37:43 More boxes going south

\n\n

38:09 Nouadhibou

\n\n

39:15 A pan of the French coastline

\n\n

41:10 CMA CGM and, is it an island?

\n\n

42:18 Dungeness

\n\n

42:35 Drilling platform on the Osprey

\n\n

42:47 Is it a plane, or just the wings?

\n\n

43:07 A close call

\n\n

45:43 In contravention of Rule 10 of the collision regulations

\n\n

46:06 Gin palace

\n\n

46:36 Finally, a rainbow you can see

\n\n

47:04 UK Border Agency, formerly Customs and Excise

\n\n

47:48 Water cannon in the front

\n\n

48:21 Anglian Monarch

\n\n

49:28 Dave Watkins

\n\n

50:45 Survey vessel

\n\n

51:13 Playing survey-survey in the harbour

\n\n

51:25 Extremely close-up

\n\n

51:40 Police boat with many empty seats

\n\n

52:27 Up and Under

\n\n

54:10 An invasion of seagulls

\n\n

54:41 The \u00e2\u20ac\u0153Archbishop\u00e2\u20ac\u009d and the dig

\n\n

56:38 Gurkhas on the east cliff

\n\n

57:16 Where are you?

\n\n

57:55 (Sky)diver and a poem

\n\n

59:12 Rescue

\n\n

59:46 Watchkeeper and biscuit after a hard days work

\n


\n\n\n", "schedule": "A project by: Shaina Anand, Iyesha Geeth Abbas, Ashok Sukumaran and Guy Mannes-Abbott

\nProduced by Folkestone Triennial 2011, curated by Andrea Schlieker
\n
\nAt the NCI, thanks to \n\n\n\n
\nTrevor Hughes
\nAndrew Lovibond
\nAndy Pope
\nCiaran Casey
\nFrank Pope
\nBev Sheppard
\nRoger Goody
\nEric Harris
\nAnne Houghton
\nGraham Pay
\nTony Hutt
\nDick Liggett
\nChris Hutchinson\n
John Keeble
\nLen Price
\nMike Stranks
\n
\n
\n
\n
Mavis Taylor
Ken Humphrey
\nJohn Roberts
\n\n
\n
\n
\n
 
\n\nwith thanks to Mukul Patel (sound), Zinnia Ambapardiwala, Sanjay Bhangar, and Aarthi Parthasarathy (at CAMP)

\nand further thanks to Annett Busch, Florian Schneider, Annemie Maes, Tarek Abou El Fetouh, Trudi Mann (all for Brussels), \nJennifer Thatcher, Niamh Sullivan (at the Triennial), and people at the Ship Inn, the Mariner, the True Briton and Gillespie's (in the Folkestone harbour).

", "schedulebutton": "Credits", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "02countryoftheblind.jpg", "postedby": "undefined", "datestart": "2011-06-25", "dateend": "2011-07-15", "dateadded": "2011-06-29T19:20:51Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 143, "fields": { "type": 2, "shortname": "new_neighbour", "title": "The Neighbour Before the House Screening at New Museum ", "header": "Al Jaar Qabla Al Daar
\n
\n\nScreening and discussion with Ashok Sukumaran and Shaina Anand
New Museum Theater

\nNew York
\nSaturday 16 July 2011 2:00pm
\n
\n", "body": "http://www.newmuseum.org/events/560", "schedule": "

", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "camptheneighbourbeforethehouse.jpg", "postedby": "undefined", "datestart": "2011-07-16", "dateend": "2011-07-17", "dateadded": "2011-07-04T05:40:57Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 98 } }, { "model": "content.content", "pk": 144, "fields": { "type": 0, "shortname": "loveoftechnology", "title": "CAMP, or the love of technology", "header": "CAMP talk at the New Museum, New York
Friday 22nd July, 2011
7:00 pm - 9:00 pm
", "body": "
Lets bring some things back to the table: media/ mediation, \ntechnology, collaboration... all things between things. Since we realize that mediation is everywhere, and is not just a feature of new media or electronic forms. The sea is a medium for trade and for piracy, an organisation (such as CAMP) is a\n medium for what \"messages\" it can produce, electricity is a medium for not only energy, personal consumption and family life, but also global struggles around raw materials and \ndistribution infrastructure.

How to make art that nestles in such a world, and tries to influence it? Our own approach has been to work with the ideologies, \naffordances and breaking points of \"media\" ranging from cycle rickshaws,\n wooden ships, state records, web browsers, basic infrastructures like \nwater and electricity, to institutional environments such as CCTV control \nrooms and archives.  The capacities of these mediums are called upon to transmit, evoke or construct a larger, less \ninstrumental world, despite the medium's own tendency towards invisibility.

This talk, screening and discussion consists of \nfive proposals to go past the impoverished metaphor of \"networks\", and \nask what a more full-blooded love of technology could look like: for art, \ncollectivity and politics.

Discussant: Gunalan Nadarajan
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "piggyback.jpg", "postedby": "undefined", "datestart": "2011-07-22", "dateend": "2011-07-23", "dateadded": "2011-07-17T19:07:33Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 145, "fields": { "type": 2, "shortname": "possible", "title": "Pad.ma, and the possible", "header": "
New Museum Theater
235 Bowery, NYC
7:00 pm Thursday, 28 July, 2011
", "body": "Presented by Shaina A. and Ashok S.
Three years ago, CAMP co-initiated the online footage archive PAD.MA. \nThis was a specific proposal for how video material could exist and be \n\u00e2\u20ac\u0153thrown forth\u00e2\u20ac\u009d beyond the limits of the filmmaking economy, and differently from \nYouTube. Now containing several hundred hours of densely annotated, \ntranscribed, and open-access footage, PAD.MA poses many questions for \ndigital archiving, film, and online video. It also seeds a set of \npossibilities and practices around footage, distribution, screening, \nreferencing, and writing through video. Its implications for the contexts of\n art, documentary, and theory will be the subject of this presentation.", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "padmalogo.png", "postedby": "undefined", "datestart": "2011-07-28", "dateend": "2011-07-29", "dateadded": "2011-07-30T17:35:38Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 19 } }, { "model": "content.content", "pk": 146, "fields": { "type": 0, "shortname": "twostages", "title": "CAMP: Two Stages of Invention", "header": "Experimenter, Kolkata
September 23, 2011 - December 8, 2011

This exhibition proposes an after-form and before-form for two of \r\nart's (and our own) usual objects. The first is a film that was shot over last\r\n year on the English Channel that is now re-installed in Kolkata, making a certain claim for its universality. \r\nThe second is a \"not-yet-film\" treatment of the \r\nRadia leaks as a screenplay, with an audio guide as its \r\nsoundtrack. Both these are moments lit up by separate alignments of, broadly, government, \r\ntechnology, and opportunity...
", "body": "
\r\nTWO STAGES OF INVENTION

In a recent CAMP project in Folkestone on the English Channel, volunteer guards filmed the sea through their telescopes for over a year, in a reinvention of \"duty\", a cultivation of new interests and humour, and an untooling of tools, that could be seen as universal. That is, watchkeepers, timekeepers, guards, guard-machines, fishing and shipping elsewhere are implicated, but so is the Big Society, and other questions of what happens when the state \"withdraws\".  A film made from this footage that was installed at the location it was shot in, is now put online and simultaneously installed in the gallery in Kolkata, thus moving past its own \"horizon\", and starting to act at a distance.

Part two is a sketch in response to the question: when data leaks, how to approach this as an aesthetic problem? Which catching positions or hungry gods are invented by leaks, that did or didn't exist before? How to feel a leak, and by what means, especially at the scale at which recent digital leaks have occurred?  In the case of the Radia tapes, TV-sized sound bytes were enough to make us all engaged voyeurs.  But perhaps a more interesting kind of feeling, recognition, or effect, lies somewhere between the allure of individual conversations, and the big dump of information that the leak represents... a level that has to be invented. Suggesting such a level in the exhibition is a screenplay treatment based on the Radia tapes released so far, along with a comprehensive \"audio guide\" as its soundtrack.

If creativity is chain-like, with inspiration, calculation, handover, surrender, and revelatory events \r\nin the world all appearing regularly, then what part of this is to be \r\ndisplayed?  No, we don't have to exhibit artistic \"process\" as \r\nincompleteness, waiting, and so on. The proposal here is the opposite one: that \"process\" is best viewed as a concrete set of \r\nstages, each of which offers a certain space for invention.


", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Listening_a_smile.jpg", "postedby": "undefined", "datestart": "2011-09-23", "dateend": "2011-12-08", "dateadded": "2011-08-23T10:32:00Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 158 } }, { "model": "content.content", "pk": 147, "fields": { "type": 0, "shortname": "saveas", "title": "Save As - India", "header": "Workshop, screening and exhibition as part of India Film Week, Trondheim, Norway
October 4-9, 2011
", "body": "Screening of
Al Jaar Qabla al Daar, 2010
a Film Symposium presentation by Shaina Anand,
and
Tools, Tours and Travels with Pad.ma (including the film Disket Document, Shaina Anand 2001-2011)
an exhibition at TSSK and workshop with students of the KIT Art Academy,
as part of the Save As-India project, coordinated by Florian Schnieder.



", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "TSSK_Indisk_Utstilling_1 copy.jpg", "postedby": "undefined", "datestart": "2011-10-04", "dateend": "2011-11-08", "dateadded": "2011-09-22T20:29:34Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 148, "fields": { "type": 0, "shortname": "infra-aesthetics", "title": "The Aesthetics of Infrastructure", "header": "November 21, 2011

\nAshok Sukumaran is part of the current Cubitt exhibition \"The \nCity is a Blazing, Burning Bonfire\". He proposed this discussion as a way of \nlistening to Owen Hatherley's evocation of a \nvital and equitable modernist style, while exploring \"infrastructure\" as\n a reality and metaphor of distribution systems, technological affect, and \nstruggles to build.

\"The \nCity is a Blazing, Burning Bonfire\"
23 October 2011 - 28 December 2012
\n ", "body": "
* Among\n the peculiar ways in which modernism as style developed in the Indian \n\"subcontinent\", two big families of structures are still standing. One could be called PWD (public works department) style, the \naftermath of socialist modernism \nin the Nehru/ Corbusier era, whose \"temples of modernity\" also \ntrickled down into blocks of \nflats, electrical substations, milk booths, neighbourhood water tanks \nand \nother structures that deliberately ignored traditional aesthetics,\n practices and markets, in the attempt to build a new society. The second would be what Ravi \nSundaram\n has called \"pirate modernity\", the non-ideological and often \nnon-legal proliferations that arose to fill in \ngaps in the grid, so to speak, and by which large populations have \naccessed water, energy, films, music, resources and ideas. \nThe \ncurrent situation is of intense commercial and \"global\" pressures on \nthese \nregimes, both of which have a strong aesthetic and egalitarian \ndimension. Contemporary infrastructures (attempts to produce or evoke \nthe equitable, open, accessible, or exciting at a certain scale; similar\n to traditional public spaces, by \ndifferent actors including artists, architects, community groups, \ntechnologists, the state, etc) are looking at the victories and \nlosses \nsustained by \nthese and other standing structures, in attempts to imagine and build new ones. \nYet infrastructures are complex beasts, also capable of great divides between what they look like, and what they do. Hence, aesthetics. *


Ashok Sukumaran is an artist. He has an interest in archaeologies and materialities of technology, and in aesthetics \nbeyond art.
Owen Hatherley is a writer and architecture critic. He is the author of Militant Modernism, 2009,  A Guide to the New \nRuins of Great Britain, 2010, and Uncommon, about the pop group Pulp, 2011.
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "aesthetics.jpg", "postedby": "undefined", "datestart": "2011-10-23", "dateend": "2011-11-28", "dateadded": "2011-11-21T14:32:10Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 149, "fields": { "type": 2, "shortname": "YBCA", "title": "The Neighbour before the House at Yerba Beuna Center for the Arts", "header": "Al Jaar Qabla Al Daar (The neighbour before the house)
\n72 minutes
\nis part of
\nThe Matter Within
\nat
\nYerba Buena Center for the Arts
\nSan Francisco
October 15 2011 - January 29 2012
", "body": "
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "020jaar.jpg", "postedby": "undefined", "datestart": "2011-10-15", "dateend": "2012-01-30", "dateadded": "2011-12-05T15:27:36Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 98 } }, { "model": "content.content", "pk": 150, "fields": { "type": 2, "shortname": "Volte", "title": "The Neighbour Before the House at Volte Gallery", "header": "Al Jaar Qabla Al Daar
at Volte Gallery, Mumbai
as part of
Your Name is Different Here curated by Nancy Adajania
December 3 2011 - January 5 2012
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "006jaar.jpg", "postedby": "undefined", "datestart": "2011-12-03", "dateend": "2012-01-06", "dateadded": "2011-12-06T20:27:56Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 98 } }, { "model": "content.content", "pk": 153, "fields": { "type": 0, "shortname": "acts", "title": "2012 New Museum Triennial ", "header": "February 14, 2012 to April 22, 2012

\r\nThe Ungovernables
New Museum, New York
\r\n
Act I:  Swearing In Whispers, 2012
\r\nscreenplay, phone lines.
\r\n\r\n\r\n
\r\nAct II: Hum Logos,  2012
\r\nphone audio, projected subtitles and text.

Based on the Radia Phone Tap(e)s

The lobbyist is a rhetorician-in-private, group persuader and network \r\nplayer. When her government-tapped phone conversations leak (the Radia Tapes, 2009-) they \r\nundergo multiple \"phase shifts\", becoming TV sound-bytes, scam\r\n proofs, lengthy transcripts with short urls.
", "body": "
\r\nAct I is a screenplay in which some of these texts re-group, trying \r\nto again become images, and sounds. Threatening to appear in a certain \r\nthree-hour, melodramatic format. This screenplay is based on \r\nfour days of the Radia tap(e)s, prior to the formation of the \r\ncabinet of ministers after Indian general elections in 2009.


\r\nAct II is a film that begins where the screenplay ends. It is more \r\nmodest, perhaps imagining life as an online video. It begins when some \r\ntop journalists claim that they were just lying to Radia \"a source\" on the phone, their \r\nconversations had no basis in and impact on reality. This paradoxically \r\nopens a window into the  broader spectrum of rhetorics: including lies, \r\ncries, memes, pen drives, bad networks and family feuds, pulsing through the nervous system of Indian democracy.
", "schedule": "\r\n\r\n\r\n\r\n\r\n \r\n\r\n
\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n

How to Feel a Leak?

\r\n


\r\n\r\n\r\n\r\n\r\n\r\n\r\n

Niira Radia: Thereby he had fixed\r\nthe system to get a post facto decision done . . . for a natural resource. Coal\r\nis a natural resource, right?

\r\n\r\n

Manish: Yeah, yeah.

\r\n\r\n

Niira Radia: OK, the second thing\r\nwas spectrum . . .

\r\n\r\n\r\n\r\n

\u00e2\u20ac\u201dThe Radia Tapes, # 066, June 9,\r\n2009

\r\n\r\n

 

\r\n\r\n

The question, then, is not so much that of how to\r\nget people worked up and engaged, but rather how to perturb an operationally\r\nclosed system in such a way that the perturbation is not registered as mere\r\nnoise but rather generates information that leads to the selection of different\r\nsystem states.

\r\n\r\n\r\n\r\n

\u00e2\u20ac\u201dLevi Bryant, \u00e2\u20ac\u0153Depression and Capitalism,\u00e2\u20ac\u009d June 2,\r\n2010 [http://larvalsubjects.wordpress.com/2010/06/02/depression-and-capitalism/]

\r\n\r\n

 

\r\n\r\n

All systems, including\r\nso-called \u00e2\u20ac\u0153open systems,\u00e2\u20ac\u009d revel in a kind of tunnel vision. In systems theory,\r\nthis tunnel vision is called operational closure. [1] Which means\r\nthat a system only \u00e2\u20ac\u0153sees\u00e2\u20ac\u009d other parts of itself, and is open only to those\r\nexternal events it at least partly anticipates, or can organizationally\r\nprocess. The rest is noise, or blackness, or worse. (We could remind ourselves\r\nthat human-body systems did not \u00e2\u20ac\u0153expect\u00e2\u20ac\u009d nuclear radiation, and cannot process mains electricity or crude oil.)

\r\n\r\n
\r\n\r\n

Water flowing into Mumbai\r\nfrom distant reservoirs has no way to \u00e2\u20ac\u0153feel\u00e2\u20ac\u009d the people walking on or living\r\nnext to its pipelines. The water distribution system only sees pumping\r\nstations, bends, pressures, and consumers; it hears very faintly, and cannot\r\nrecognize, the protestations coming from neighborhoods and farms that it\r\nbypasses or even, tragically, the rain that falls down all over its \u00e2\u20ac\u0153network.\u00e2\u20ac\u009d\r\nSystems simply translate all external influences into their own internal terms.\r\nSo that dharnas (protests) create only the most insignificant of ripples\r\ninside a water pipe. Operational closure appears then as a horrifying dystopia:\r\nHow do we ever connect a water system to a people or a society? How can people\r\never care for or influence a water system? If the axiom of operational closure\r\nholds, then it is not possible to\r\ndo this directly; we need governments, councillors, plumber mafias, money, and\r\nother powerful chains of mediators in order to make any connection at all. Is\r\nthis just the price to be paid for modern life? Or can such an ontology also\r\nlead to other consequences, other tones, especially if horror and dystopia are\r\nnot one's favorite genres? Are we ultimately looking for \"systemic reforms\", or\r\nare there other possibilities entirely?

\r\n\r\n\r\n\r\n

Water leaks, all the time.\r\nA leaking pipe casts some doubt on its own systematicity. How open can an \u00e2\u20ac\u0153open system\u00e2\u20ac\u009d be?\r\n(How much material and energy can really be exchanged with the environment, while\r\nstill maintaining oneself as a system?) Leaks are the exact opposite of a\r\nsystem's ability to translate everything into its own terms. It is when\r\nsomething internal escapes such terms altogether, and can produce unforeseen\r\nrelations and operations, that it is said to leak. If an incoming flood into a\r\nbasement is unassimilable, disastrous, does this mean that the system has\r\nchanged state, or is it a new ecosystem altogether, with marine life and new\r\nelectrical dangers? Leaks, in the willful and ideological sense in which,\r\nsay, Wikileaks operates, or as the metaphorical and astructural phenomenon that\r\nRaqs Media Collective calls \u00e2\u20ac\u0153seepage,\u00e2\u20ac\u009d or as an actual battleground for\r\ninfrastructural control across the physical, chemical, wasteful, or managerial\r\naspects of the supply chains of any city, all perturb a \u00e2\u20ac\u0153systemic\u00e2\u20ac\u009d\r\nunderstanding of reality. Leaks possess timing tricks and sideways moves that\r\noften surprise and overwhelm systems.

\r\n\r\n\r\n\r\n

Leaks cannot operate in a vacuum. So their defense, on the one hand, relies on\r\na relationship with existing structures, usually an implied one of critique,\r\nwhich is only the first step in imagining what to build next. On the other\r\nhand, the promises that leaks make are necessarily vague, pointing toward an infinite,\r\nsuspended potentiality. A cloud that fills the sky but never rains . . . is a\r\nfog. More leaks, mean more fog. To say that leaks themselves are a form of\r\nfreedom is too much like saying that information is \u00e2\u20ac\u0153out there,\u00e2\u20ac\u009d or that clouds\r\nhave enough water for everyone on earth. In this situation, what we may need is\r\nwhat in the Peruvian mountains is called a \u00e2\u20ac\u0153fog catcher\u00e2\u20ac\u009d: the art and\r\nscience of luring a cloud and making it rain a bit, for you. And ideally, for\r\neveryone else in your village, too.

\r\n\r\n\r\n\r\n

Let\u00e2\u20ac\u2122s be more concrete.\r\nLeaks are somewhat inevitable, as electricity providers, ship engineers, and\r\nbook publishers have found out. In each case, there have been ways to feed\r\nleaks back into adjoining systems of management and control. Ships have bilge pumps\r\nbut also ballast tanks. Electricity providers \u00e2\u20ac\u0153farm\u00e2\u20ac\u009d leaks by bringing them\r\ninto billing regimes, even if the recipients themselves are illegal and without\r\nidentity papers. Book publishers deploy legal threats while hastily building\r\ntheir own e-book platforms, hoping that some people would rather pay a dollar\r\nthan commit a crime. The water mafia has a keen understanding of, and hunger\r\nfor, leaks. The limits of a critique of structure are clear. In such cybernetic\r\nloops, leaks and structures become indistinguishable. Another approach is\r\nneeded. Our fog-catcher image suggests that it is not only a matter of catching\r\nor releasing leaks. It is also a matter of how to tune into them, using\r\nspecially made antennas and a collective sensibility. Ultimately, to turn them\r\ninto something else\u00e2\u20ac\u201da fog into a hot soup, a TV transmission leaking from\r\nacross the border into a VHS birthday present. [3] This seemingly magical\r\nproject is also one of art: of small humans trying to seduce and transform\r\nsomething large, unformatted, and unruly.

\r\n\r\n\r\n\r\n

This cannot be done with\r\none's \u00e2\u20ac\u0153bare hands.\u00e2\u20ac\u009d Digital leaks, for example, tend to produce a volume of\r\nmaterial that cannot be understood easily. One is awash in it, and yet unable\r\nto grasp anything. The situation suggests new aesthetic categories and new\r\ncraft. It need not mean that search replaces thinking or that all data has to\r\nbe \u00e2\u20ac\u0153visualized\u00e2\u20ac\u009d but that new modes engage in new struggles. The project of\r\napprehending leaks will recognize that this feeling may not be produced in a\r\ndirect way. It may involve machines, collaborations, and durations. It will\r\nrequire experimentation.

\r\n\r\n\r\n\r\n

To embrace the leak as a\r\ncogent cultural force of our times, we need to create more levels, more senses\r\nbetween the celebration of leakiness as such, its critiques of structure, the\r\nbite-sized voyeurisms that mainstream media offers, the lengthy analyses\r\nproduced by academics and analysts, and the vast dump of information that leaks\r\nreally are. In other words, we have to figure out how to feel a leak.

\r\n\r\n\r\n\r\n\r\n\r\n

 

\r\n

1. See Humberto Maturana on operational\r\nclosure, autopoesis and self-organisation, Niklas Luhmann's subsequent and\r\nunliked-by-Maturana use of it in sociology and Levi Bryant's recent evocation\r\nof Luhmann's work in his book The Democracy of Objects (Open Humanities Press,\r\n2011).

\r\n\r\n\r\n\r\n

2. Fog catchers are meshes stretched\r\nlike volleyball nets often on high mountain ridges in arid Peru, causing the\r\ncondensation of passing clouds into a water supply.

\r\n\r\n

3. A 1980s practice\r\ninvolving Pakistani plays, a VCR, and a Punjabi family we knew.

\r\n\r\n

 

\r\n\r\n

 

\r\n\r\n\r\n\r\n\r\n\r\n\r\n

 

\r\n\r\n\r\n\r\n

 

\r\n\r\n\r\n\r\n\r\n\r\n\r\n", "schedulebutton": "Essay", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "CAMP_RADIA_2.jpg", "postedby": "undefined", "datestart": "2012-02-14", "dateend": "2012-04-23", "dateadded": "2012-02-14T23:08:20Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 158 } }, { "model": "content.content", "pk": 154, "fields": { "type": 0, "shortname": "mumbaimapping", "title": "Mumbai Mapping Party", "header": "Open call for anyone interested in building and fixing the openstreetmap data for Mumbai.", "body": "

Open call for anyone interested in building and fixing the openstreetmap data for Mumbai. Meet, learn, share and map with others willing to explore the neighbourhood of Bandra on foot, bike, cycle bus or any way you want. We will create the best open map of Bandra that will exist anywhere!

\n

If you like exploring your neighbourhood, trying to learn about maps and gps, or just want to understand what openstreetmap is about, you should come. If you know how to use a pen and paper, you are good to go.

\n", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "", "postedby": "undefined", "datestart": "2012-02-22", "dateend": "2012-02-22", "dateadded": "2012-02-20T14:53:01Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 157, "fields": { "type": 2, "shortname": "26feb", "title": "Pad.ma version 2 - Launch and Screenings", "header": "Sunday, February 26, 2012
6:30 PM
CAMP roof
301 Alif Apartments,
34-A Chuim Village, Khar, Bombay 400052", "body": "This Sunday, February 26, 2012 we are pleased to announce the launch of a brand new Pad.ma, with an extensive software upgrade that is now ready to roll. Do join us in exploring the many dimensions, provocations and pleasures of the new platform.

Sunday also marks ten years since the February 27, 2002 attack on a train in Godhra, and the anti-Muslim carnage in Gujarat that followed. We remember these events through the Shared Footage Group's (SFG) carefully shot, indexed and annotated video documentation, that is now being put online in stages.

The evening's progamme includes an in-depth look into the new Pad.ma, both in form and content, and the screening of a short film compiled by Faiza Khan from the SFG material - reflecting on the turn of events in one basti in Ahmedabad.

About SFG: The Shared Footage Group was a collective formed in the aftermath of the carnage in Gujarat in 2002. It consisted of  film professionals, film students and many other volunteers. The idea was to document survivors' stories on video so that the footage could later be used free of cost by anyone interested in the material. SFG collected about 250 hours of footage that is now being put online in collaboration with Pad.ma

About Pad.ma:
Pad.ma - short for Public Access Digital Media Archive - is an online archive of densely text-annotated video material, primarily footage and not finished films. We see Pad.ma as a way of opening up a set of images, intentions and effects present in video footage, that conventions of video-making, editing and spectatorship have tended to suppress. This expanded treatment then points to other, political potentials for such material, beyond the finite documentary film or the online video clip.
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Newpadma.jpg", "postedby": "undefined", "datestart": "2012-02-26", "dateend": "2012-02-27", "dateadded": "2012-02-22T07:48:55Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 19 } }, { "model": "content.content", "pk": 158, "fields": { "type": 3, "shortname": "earcleaning1", "title": "Electronic Ear Cleaning", "header": "Sunday, March 11 2012
\r\nCAMP roof
\r\n7:00 pm

An evening of listening, including with our ears, to some materials that seem to not touch us directly, but make up our \"environment\".  The question is how to \"tune into\" this environment, in ways that the mainstream media cannot do, and where the data leaks themselves are typically vast and not easy to assimilate.

", "body": "
\r\n7:00 pm
\r\nAct I :SWEARING-IN WHISPERS .  Reading from a screenplay based on 3 days of the Radia tap(e)s, prior to the formation of the \r\ncabinet of ministers after Indian general elections in 2009.

8:00pm
\r\nAct II : HUM LOGOS, a 45-minute sound+text film that begins\r\n when top journalists claim that they were just \"stringing along\" Radia,\r\n and their conversations were not based on reality. This opens up a \r\nworld of rhetorical agents: lies, pen-drives, arguments and relays that \r\nshow us (or let us  hear) what both \"speech\"  and meaning have \r\nbecome, in this mediated and interconnected environment.
\r\n
\r\nRecently, new claims have been made that the Radia tapes were faked \r\n(Vir Sanghvi),  or that \"splice has been added\" (Justice Mukhopadhyay).  \r\nIn both the presentations here, splicing, editing and stringing along are \r\nfeatures, not bugs. In other words, the point is to explore the whole spectrum: from what an edit can do, to the speaking characters, to those things one only imagines \r\ntinkling in the background.
\r\n
\r\n
\r\n
", "schedule": "", "schedulebutton": null, "optbtn2": null, "opttext2": "", "optbtn3": null, "opttext3": "", "technotes": "k", "image": "CAMP_RADIAs.jpg", "postedby": "undefined", "datestart": "2012-03-11", "dateend": "2012-03-12", "dateadded": "2012-03-08T21:14:59Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 158 } }, { "model": "content.content", "pk": 159, "fields": { "type": 0, "shortname": "documenta13", "title": "at Documenta13", "header": "Two exhibitions:

The Boat Modes in a house in the Karlsaue Park
and with Pad.ma on Afghan Films, in the ex-elisabeth hospital/ex-chinese restaurant.
", "body": "Returning to Kassel in August for this:
http://andandand.org/events/non-capitalist-web/


The Boat Modes wall text:
\r\n


\r\n\r\n

A boat has many powers: to gather a society \r\nin its making, to distribute goods, to carry people and ideas across \r\nplaces that, it seems to us, are more different than ever before. The phrase \u00e2\u20ac\u0153Boat modes\u00e2\u20ac\u009d\r\n has a practical use here, which is to express the \r\npeculiar and flexible ways in which these boats are manifest in the \r\nWestern Indian Ocean. But it also has other possibilities; such as to follow\r\n Bruno Latour in asking a question \u00e2\u20ac\u0153in a way that a specific kind of \r\nagency appears.\u00e2\u20ac\u009d A matter of tone, or key. Or to create further paths\r\n from these boats\u00e2\u20ac\u2122 continued expansion of categories such as \u00e2\u20ac\u0153sovereign\u00e2\u20ac\u009d, \r\n\u00e2\u20ac\u0153pirate\u00e2\u20ac\u009d, \u00e2\u20ac\u0153container\u00e2\u20ac\u009d, \u00e2\u20ac\u0153free trade\u00e2\u20ac\u009d, \u00e2\u20ac\u0153money\u00e2\u20ac\u009d, and \r\n\u00e2\u20ac\u0153work\u00e2\u20ac\u009d at such points where known maritime histories and economics seem to \r\nsay: \u00e2\u20ac\u0153End!\u00e2\u20ac\u009d
\r\n
Modes appear at the intersection of forces and environments, and are arranged here in the shape of the constellation Pleiades, or Thurayya\r\n in Gujarati and Arabic navigation maps. They accompany a film that \r\ntakes us on a journey from the Gulf of Kutch in India to the U.A.E. to \r\nSomali ports, and back. The songs in the film were all found, married to\r\n the cell-phone videos that you see.

\r\n


\r\n

The film is 60 minutes, and starts on the hour.

\r\n
\r\n

", "schedule": "Co-commissioned by Documenta13 and the Sharjah Art Foundation

Camera: Shaina Anand, Junas Bhagad, Mrinal Desai, Sultan Hajji, Zakir Hussain, Mohammed Rafik, Ashok Sukumaran, Siddik Umer, the crew of Safina Al Zilani, Al Madina Mangrol, Al Naved, Sabir Priya and many others.

Editing: Shaina Anand, Sreya Chatterjee

Cruciforms: Ashok Sukumaran, Sindhu Thirumalaisamy, Prerna Bishnoi

With thanks to: Sanjay Bhangar, Zinnia Ambapardiwala, Ranjana Dave at CAMP
Fahad Bishara, Jatin Dua, Kaizad Gherda, Nida Ghouse, Engseng Ho, Eungie Joo, Faiza Khan, Altaf Makhiawala, Radhamohini Prasad, Edward Simpson, Samia Rab, Julia Stoff, Kathy Zarur, and the Foundation for Arts Initiatives.
", "schedulebutton": "Credits", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "camppark.jpg", "postedby": "undefined", "datestart": "2012-06-07", "dateend": "2012-09-15", "dateadded": "2012-06-13T10:37:40Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 160, "fields": { "type": 0, "shortname": "earcleaning", "title": "Electronic Ear Cleaning 2", "header": "Swearing-in Whispers: A screenplay based on the Radia Tap(e)s

Join us for a reading at
New Museum Theater
Thursday April 19 2012
7.pm
as part of \"The Ungovernables,\"2012 New Museum Triennial
", "body": "Aarti Sethi, Murtaza Vali, Naeem Mohaiemen, Siddharth Lokanandi and Deepti Salopek join CAMP for the reading, which will be followed by a screening of HUM LOGOS.


Download Audio

This script reading and screening will present CAMP's work in the \r\nTriennial in the context of listening, rhetoric, and self-education. The\r\n Radia Tape leaks, which the work is based on, have been described as \r\n\u00e2\u20ac\u0153essential listening for anyone trying to be a journalist.\u00e2\u20ac\u009d This \r\ninvitation could be extended to anyone interested in contemporary India \r\nor in the links between communication and politics.

\r\nAct I :   Reading from Swearing-in Whispers, a screenplay based on 3 days of the Radia tap(e)s, prior to the formation of the \r\ncabinet of ministers after Indian general elections in 2009.

Act II : Screening of HUM LOGOS, a 50-minute sound+text film that begins\r\n when top journalists claim that they were just \"stringing along\" Radia,\r\n and their conversations were not based on reality. This opens up a \r\nworld of rhetorical agents: lies, pen-drives, arguments and relays that \r\nshow us (or allow us to hear) what both \"speech\"  and meaning have \r\nbecome, in this highly mediatised and interconnected environment.


", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "CAMP_RADIA_2.jpg", "postedby": "undefined", "datestart": "2012-04-19", "dateend": "2012-04-20", "dateadded": "2012-06-14T15:11:20Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 158 } }, { "model": "content.content", "pk": 161, "fields": { "type": 2, "shortname": "archivepracticum", "title": "Archive Practicum: Dont Wait for the Archive 3", "header": "A workshop at
Afghan Films, Kabul
March 25th to April 15th, 2012

with Shaina Anand, Vijay Chavan, Mariam Ghani, Faiza Khan, Ashok Sukumaran and members and staff of Afghan Films
", "body": "To \"not wait for the archive\" is to enter the river of time sideways, a bit unnanounced, much like the digital itself did, not so long ago. (1)

Afghan Films, the national film institute of Afghanistan, opened in 1968. In March/April 2012, we held a workshop there called 'Archive Practicum', working with Afghan Films' archive, the peculiar forms of history present in it, and its possible futures. The emphasis was not only on physical preservation of films, but on asking what kinds of memory lives in these images, and in the people working with them for the past decades.
\n
The negative archive\n of Afghan Films is intact, protected and persevered by a long-term \nstaff who also produced and screened these films, through vagaries of \npolitical upheaval.  To watch these reels is to see an often violently \nchanging ideological landscape against the \ncontinuous effort and precariousness of making films, under such \nconditions. These images travelling now from film to pixels showed us \nrich, surprising and joyful things, begging a broader audience. But it \nwill need both concrete work and special charms to make this move work. \nOur workshop attempted in tactical ways to build the first steps towards this: leaving behind the idea of the archive as a fortress, entering more fertile and open territories.
\n
It began with a bit of time-travel: Vijay Chavan, a Bombay film \ntechnician still adept at working with 1980's Spirit telecine machines \narrived in Kabul.  He repaired the existing \nFDL90  telecine machine and editing Steenbeck, and trained four staff \nmembers in using and trouble-shooting them. Shortly afterward a local \ndatabase was set up using an offline instance of Pad.ma. Pad.ma is a \nweb-based video platform, run by a collective including CAMP in Mumbai, \n0x2620 in Berlin and the Alternative Law Forum \nin Bangalore. Unlike YouTube, its focus is on deep annotation and \nmetadata, i.e. both written and automated analysis of video material, \noften footage and not finished films. The software platform is built with the\n idea that digitised film can be indexed and enhanced with rich \nmetadata, including time-coded transcriptions, translations and \nannotations (which can range from historical context, to interviews with\n cast and crew, to critical essays by film scholars).
\n
To introduce these dimensions into the film database, the digitising of reels was accompanied by a process of talking to people both in Afghan Film and beyond. The 90 or so films digitised during the workshop range from the 1920's to the 1990's, and cut across many genres including newsreel, documentary and fiction features. Several of the current Afghan Films staff have worked here since the\n 1970's and have worked on these films as directors, cameramen or \nactors. Our conversations with them translated into a rich set of \nannotations for the digital film material, and are an inspiration for the piece that follows.
\n
The workshop ended with an outdoor screening of excerpts from the archive in Shar-e-Nau Park, Kabul.  In June, when the growing database makes its public debut both in Kassel and Kabul, much of this material will be seen for the first time in many decades. The voices of communities around the films, and our own voices as artists, filmmakers and enthusiasts, will hopefully provide an accompaniment.\n

\n
[1] from 10 Theses on the Archive, Pad.ma 2010
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Epic of Love.jpg", "postedby": "undefined", "datestart": "2012-03-25", "dateend": "2012-04-16", "dateadded": "2012-06-14T15:53:26Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 19 } }, { "model": "content.content", "pk": 162, "fields": { "type": 0, "shortname": "pani", "title": "Ek Dozen Pani at Sion Koliwada", "header": "Saturday, 16th June, 2012
8,pm. Sion Koliwada
", "body": "
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "", "postedby": "undefined", "datestart": "2012-06-16", "dateend": "2012-06-17", "dateadded": "2012-06-15T20:56:42Z", "datemodified": null, "published": 0, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 163, "fields": { "type": 0, "shortname": "AFGHANFILM", "title": "The World of Afghan Films ", "header": "Saturday, 18th August, 2012
7:00pm
Venue: CAMP Rooftop

Program: 

1) Introduction to the Afghan Films and Pad.ma workshop in conjunction with documenta13 in Kassel and Kabul.

2) Screening: Audiences and Crowds from the Afghan Films Archive (a cut from the archive, made and screened in Kabul in April), 23 minutes

3) An annotated filmography of Engineer Latif Ahmadi, Afghanistan's most prolific filmmaker in recent times.

4) Screening: Khan-e-Tarikh (House of History) 1996. An essay film by Qader Taheri made during the civil war using archival footage from Afghan Films.  

5) Discussion with Shaina Anand, Faiza Ahmad Khan, Ashok Sukumaran, who were part of the workshop in Kabul, and invited guests.
", "body": "Afghan Films, the national film institute of Afghanistan, opened in 1968. It is responsible for commissioning and producing the vast majority of films made in Afghanistan till today. In March/April 2012, we held a workshop there that engaged with the Afghan Films archive, the peculiar forms of history present in it, and its possible futures. The emphasis was not only on physical preservation of films, but on asking what kinds of memory lives in these images, and in the people working with them for the past few decades.

The negatives archive of Afghan Films is intact, protected and preserved by a long-term staff who also produced and screened these films, through the vagaries of political upheaval. The positives archive is less intact, but more accessible. It is marked by gaps, most famously the missing reels burned by the Taliban in the 1990s. Surviving films show the signs of extensive use, the scratches and splices that come from a film print being run through one projector after another, again and again. To watch these reels is to see an often violently changing ideological landscape set against the continuous effort and precariousness of making films under such conditions. But these images traveling now from film to pixels also showed us rich, surprising and joyful things, everyday moments and festivals and feasts, all the forgotten textures of times past and places lost or since remade in some other image. Both of these aspects of the archive suggest its potential, if it is able to reach a broader audience. It will need both concrete work and special charms to bring this promise to fruition. Our workshop attempted to build the first steps: to leave behind the idea of the archive as a fortress, to enter more fertile and open territories.

It began with a bit of time-travel: Vijay Chavan, a Bombay film technician adept with older Spirit telecine machines, arrived in Kabul. He repaired the 1980's  FDL90 telecine machine and editing Steenbeck owned by Afghan Films, and trained four staff members to use and trouble-shoot them. Shortly afterward, a local offline database was set up using an instance of Pad.ma. Pad.ma is a web-based video platform, run by a group of groups, including CAMP in Mumbai, 0x2620 in Berlin and the Alternative Law Forum in Bangalore. Unlike YouTube, Pad.ma\u00e2\u20ac\u2122s focus is on deep annotation and metadata, i.e. both written and automated analysis of video material, which is often footage rather than finished films. The software platform is built around the idea that digitised film can be indexed and enhanced with rich metadata, including time- coded transcriptions, translations and annotations (which can range from historical context, to interviews with cast and crew, to critical essays by film scholars).

To introduce these dimensions into the database built during the workshop, the digitising of reels was accompanied by a process of talking to people who are part of the community around Afghan Films. The 90 or so films and reels digitised so far range from the 1920s to the early 1990s, and cut across many genres, including newsreel, documentary shorts, and fiction features. Several of the current Afghan Films staff have worked there since the 1970s and have been part of these films as directors, cameramen, actors or support staff. Our conversations with them, and with former staff and actors, became a rich set of annotations for the digital film material.

The workshop ended with an outdoor screening of excerpts from the archive in Shar-e-Naw Park, Kabul. In June, the online database made its public debut both in Kassel and Kabul, and much of this material wasl seen for the first time in decades. The voices of communities around the films, and our own voices as artists, filmmakers and enthusiasts, will hopefully provide an accompanying score.

Archive Practicum took place at Afghan Films in Kabul between March 23 and April 15, 2012 as collaboration between Afghan Films, Goethe Institut, documenta13, Mariam Ghani and Pad.ma.

Workshop team: Shaina Anand, Vijay Chavan, Faiza Ahmad Khan, Mariam Ghani and Ashok Sukumaran



", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "2_AkhtarMaskara.jpg", "postedby": "undefined", "datestart": "2012-08-18", "dateend": "2012-08-19", "dateadded": "2012-08-13T20:12:10Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 166, "fields": { "type": 0, "shortname": "process_android", "title": "Processing for Android workshop", "header": "UPDATE: Unfortunately, Daniel could not make it to India due to travel document issues :(, the workshop is cancelled.

Creative Coding for Mobile Devices: Build Sensor-Based Android Apps
\nusing Processing

Sunday, October 21, 4pm onwards.
at CAMP
\n
\nThis workshop is an introduction to Processing for Android, and
\nspecifically the creative potential of the hardware features built
\ninto Android devices shipped today, conducted by Daniel Sauter.
\n", "body": "
\nWe\u00e2\u20ac\u2122ll create a series of projects using motion and position sensors,
\nthe touch screen panel, geolocation and compass, front and back
\ncameras, WiFi networking, peer-to-peer networking using Bluetooth and
\nWiFi Direct, databases, and 3D scenes on the Android.
\n
\nThe workshop will utilize Processing 2.0b [1], Android SDK [2], and
\nthe Ketai Library for Processing [3]. A basic understanding of
\nprogramming and access to an Android device are recommended.
\n
\nDaniel Sauter is artist, organiser of Mobile Processing Conference in Chicago,
\nand the author of Rapid Android Development: Build Rich, Sensor-Based
\nApplications with Processing (Pragmatic, 2012).

The workshop is free and open to all.
Please email sanjay at s(at)pad.ma
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "722.png", "postedby": "undefined", "datestart": "2012-10-21", "dateend": "2012-10-22", "dateadded": "2012-10-18T14:21:31Z", "datemodified": null, "published": 0, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 167, "fields": { "type": 0, "shortname": "doc", "title": "Documentary / Documentation", "header": "
DOCUMENTARY/DOCUMENTATION
\n
NATIONAL SEMINAR
\n

\n
Organized by the Department of Film Studies in collaboration with The Media
\n
Lab, Jadavpur University
\n

\n
November 6,7, 2012
", "body": "", "schedule": "
DAY 1
\n

\n
10.30 AM -11.00 AM: Inauguration
\n

\n
Welcome Address: Dr. Madhuja Mukherjee, Head, Department of Film Studies
\n

\n
Inaugural Address: Prof. Souvik Bhattacharya, Vice Chancellor, Jadavpur
\n
University
\n
11.00-11.30 AM: TEA
\n

\n
11.30 AM -12.30 PM:
\n

\n
Ashish Rajadhyaksha, Centre for the Study of Culture and Society, Bangalore
\n

\n
\u00e2\u20ac\u02dcThe Death and Rebirth of Verisimilitude in the Age of the Digital\u00e2\u20ac\u2122
\n

\n
Chair: Sanjoy Mukhopadhyay, Dept. of Film Studies, Jadavpur University
\n

\n
12.30 PM -1.30 PM:
\n

\n
Paromita Vohra, Independent Filmmaker, Mumbai
\n

\n
[Untitled]
\n

\n
Chair: Manas Ghosh, Dept. of Film Studies, Jadavpur University
\n

\n
1.30 PM -2.30 PM: LUNCH
\n

\n
2
\n

\n
2.30 PM -4.00 PM:
\n

\n
Shaina Anand and Ashok Sukumaran, independent art practitioners, CAMP,
\n
Mumbai
\n

\n
[Untitled]
\n

\n
Chair: Ravi Vasudevan, Centre for the Study of Developing Societies, Delhi 
\n

\n
4.00 PM -5.30 PM:
\n

\n
Panel Discussion: Documenting the Everyday
\n

\n
Speakers:
\n

\n
Priyaa Ghosh, Research Scholar, Jawaharlal Nehru University,
\n
New Delhi
\n
Shubham Roy Choudhury, Research Scholar, Jadavpur
\n

\n
Pallavi Paul, Research Scholar, Jawaharlal Nehru University,
\n
Delhi
\n

\n
University
\n

\n
New
\n

\n
Chair: Hardikbrata Biswas, School of Women\u00e2\u20ac\u2122s Studies, Jadavpur University
\n

\n
5.30 PM -6.00 PM: Coffee
\n

\n
6.00 PM onwards: Screening of An Indian Day aka India 67 (S. Sukhdev, 1968)
\n

\n
DAY II
\n

\n
10.30 AM -11.30 AM:
\n

\n
Amlan Dasgupta, Dept. of English, Jadavpur University
\n

\n
\u00e2\u20ac\u02dcThe Digital Object of Desire\u00e2\u20ac\u2122
\n

\n
Chair: Madhuja Mukherjee, Dept. of Film Studies, Jadavpur University
\n

\n
11.30 AM-12.00 Noon: TEA
\n

\n
3
\n

\n
12.00 Noon- 1 PM:
\n

\n
Moinak Biswas, Dept. of Film Studies, Jadavpur University
\n

\n
\u00e2\u20ac\u02dcFrom Document to Work: Introduction to a Project\u00e2\u20ac\u2122
\n

\n
Chair: Anindya Sengupta, Dept. of Film Studies, Jadavpur University
\n

\n
1.00 PM -2.00 PM: LUNCH
\n
2.30 PM -3.30 PM:
\n

\n
Ravi Vasudevan, Centre for the Study of Developing Societies, Delhi 
\n

\n
\u00e2\u20ac\u02dcFilm as Infrastructure: Information, Communication, and Exhibition Practices
\n
in Colonial and Early Independent India\u00e2\u20ac\u2122
\n

\n
Chair: Ashish Rajadhyaksha, Centre for the Study of Culture and Society,
\n
Bangalore
\n

\n
3.30 PM -5.30 PM:
\n

\n
Conversations: Talking Documentaries
\n

\n
Speakers:
\n

\n
Nilotpal Majumdar, Satyajit Ray Film and Television Institute,
\n
Kolkata in conversation with Abhiijit Roy, Dept. of Film Studies,
\n
Jadavpur University
\n

\n
Shyamal Karmakar, Satyajit Ray Film and Television Institute,
\n
Kolkata in conversation with Bikramjit Gupta, Independent
\n
Filmmaker, Kolkata
\n

\n
Q, Independent Filmmaker, Kolkata, in conversation with
\n
Subhajit Chatterjee, Dept. of Film Studies, Jadavpur University
\n

\n
5.30 PM -6.00 PM: Coffee
\n

\n
6.00 PM onwards: Screening of Graveyard of Memories (Dir. Ankur Das, 2011)
", "schedulebutton": "Schedule", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Screen Shot 2012-11-10 at 11.46.44 AM.jpg", "postedby": "undefined", "datestart": "2012-11-06", "dateend": "2012-11-07", "dateadded": "2012-11-10T06:04:02Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 169, "fields": { "type": 0, "shortname": "Matrix", "title": "at the Kochi Muziris Biennale ", "header": "CAMP presents
\nDestuffing Matrix
\n2012
\n4 x 3 channel HDV, 8 minutes.
\n
2nd floor, Pepper House, Fort Kochi
\n12/12/12 to 13/03/13

Show extended till 17/03/13
", "body": "
Destuffing Matrix 
\n
\u00e2\u20ac\u00a82012
\n

\n
(Its not so much that all that is solid melts into air, but rather that there are boxes within boxes\u00e2\u20ac\u00a6 )
\n

\n
Ports and cities have been shy of each other throughout the latter half of the 20th century. Suddenly they make a joint appearance, new container terminal facing the waterfront, sharing their most visible parts. Meanwhile thousands of other pieces of the port - goods, workers, customs seals, excel sheets- are scattered across a \"hinterland\", connected by bridge and wire, and surrounded by fences.
\n

\n
What could be an image of this fractured landscape? The closest available rendering is the \"transparent port\" (or Indias first e-port, as the website of Cochin port trust proclaims). A port that, like its physical twin, makes things appear in proper columns, and counts rows of containers stuffed, bills paid, and ships expected or berthing. 
\n
Boxes resist images, but also offer an invitation to the curious. Our work here follows from such a curiosity, claims that images are still possible, and then asks if just rearranging them a certain way could change the tenor of this geography. 
\n

\n

\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "smallMatrix.jpg", "postedby": "undefined", "datestart": "2012-12-12", "dateend": "2013-03-18", "dateadded": "2012-12-12T05:20:21Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 170, "fields": { "type": 0, "shortname": "ngma", "title": "at the NGMA/ Skoda Prize exhibition", "header": "
Two Stages of Invention
CAMP's exhibition at Experimenter, Kolkata\r\n
\r\n
is now showing at the
\r\n
National Gallery of Modern Art Delhi
\r\n
upto March 5, 2013
Show Extended till March 23, 2013
", "body": "
As part of the Skoda Prize 2012 exhibition. 
\r\n

\r\n

\r\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "lochanschair.jpg", "postedby": "undefined", "datestart": "2013-01-29", "dateend": "2013-03-24", "dateadded": "2013-02-05T10:13:49Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 158 } }, { "model": "content.content", "pk": 171, "fields": { "type": 0, "shortname": "booksharing", "title": "Hackathon towards an Open Library Index ", "header": "
A few artist's organizations have come together as the Umbrella group to collaborate on spaces and projects. As part of this, we plan to index all the books in our various collections, and enable access to them. We're using http://openlibrary.org to enter data about the books and associate them with groups / people that own them.
\n

", "body": "
We're hosting a hackathon at CAMP ( http://camputer.org/directions.html ) on Saturday 9th Feb, 3pm onwards.
\n

\n
The broad agenda is to build an open platform for book-sharing in the city.
\n

\n
A few artist's organizations have come together as the Umbrella group to collaborate on spaces and projects. As part of this, we plan to index all the books in our various collections, and enable access to them. We're using http://openlibrary.org to enter data about the books and associate them with groups / people that own them.
\n

\n
The plan is, to start with, build a simple website to find books you're looking for and who to contact to get access to them, using the openlibrary.org API, but is completely open to ideas to facilitate
\n
sharing of things, both digital and analog.
\n

\n
The event also marks solidarity with Aaron Swartz.
\n

\n
If this seems interesting, bring your laptop / coding device and come :) - wifi, food etc. shall be provided.
\n

\n
Please circulate if you know anyone who maybe interested.
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Library_open.jpg", "postedby": "undefined", "datestart": "2013-02-09", "dateend": "2013-02-09", "dateadded": "2013-02-07T08:11:47Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 172, "fields": { "type": 0, "shortname": "oldisc", "title": "Umbrella Library discussion", "header": "A discussion on concepts and developments on the online library
Sunday March 3,
4- 5 pm
at
CAMP
", "body": "We have postponed our library \"launch\" event to next month.
This event is designed to bring in people who will actually work on
adding the book lists to the library via openlibrary.org.


", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "library_thumb.jpg", "postedby": "undefined", "datestart": "2013-03-03", "dateend": "2013-03-04", "dateadded": "2013-03-03T07:55:52Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 173, "fields": { "type": 2, "shortname": "gulf", "title": "From Gulf to Gulf to Gulf", "header": "
From Gulf to Gulf to Gulf
2009-2013
Sharjah Biennial 11
March 13- May 13 2013
Film screening every evening 8 30 pm
at an open-air cinema on the corner of Bank Street and Corniche Road, Sharjah
Run-time 80 mins", "body": "A boat has many powers: to gather a society in its making, to distribute goods, to
\n\ncarry people and ideas across places that, it seems to us, are more different than ever
\nbefore.
\n
\nFrom Gulf to Gulf to Gulf is a result of four years of dialogue, friendship and exchange
\nbetween CAMP and a group of sailors from Kutch, who come to Sharjah often. Their
\n\ntravels and those of co-seafarers from Sindh, Baluchistan and Southern Iran show us a
\nworld cut into many pieces, not easily bridged by nostalgics or nationalists. Instead, we
\nfollow the physical crossings made by these groups of people who make and sail boats
\n\nand who also make videos, sometimes with songs married to them.", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "freevite-01.jpg", "postedby": "undefined", "datestart": "2013-03-13", "dateend": "2013-05-14", "dateadded": "2013-05-06T08:42:56Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 174, "fields": { "type": 2, "shortname": "", "title": "Al Jaar Qabla al Daar at Experimenter", "header": "The second segment of FILAMENT starts tomorrow, Tuesday, July 9, with CAMP's film, Al Jaar Qabla Al Daar (The Neighbour Before the House), 2009-11.
\nThe work will be on view until Friday, 12 July with three shows daily at 2pm, 4pm & 6pm.
\nEXPERIMENTER
\n2/1 Hindusthan Road, Kolkata 700029\n \n", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Screen Shot JAAR2.jpg", "postedby": "undefined", "datestart": "2013-07-09", "dateend": "2013-07-13", "dateadded": "2013-07-09T06:04:37Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 98 } }, { "model": "content.content", "pk": 175, "fields": { "type": 0, "shortname": "JNU part", "title": "The Part of Yes Part", "header": "A contribution by CAMP to the day-long symposium
\n\"On scale, site and poetics of recent transcultural exhibitions\"\n
\norganised by Geeta Kapur and the Goethe Insititut, at JNU Delhi
\nApril 19, 2013", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "AFGHANFILMS.jpg", "postedby": "undefined", "datestart": "2013-04-19", "dateend": "2013-04-21", "dateadded": "2013-07-09T06:21:43Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 176, "fields": { "type": 0, "shortname": "FID", "title": "Festival International de Cinema, Marseille", "header": "From Gulf to Gulf to Gulf
is showing at FID Marseille \n
July 2-8, 2013
\n
Update: is awarded the Jury special mention
\n
(International competition)
", "body": "

Synopsis: 

\n

A boat has many powers: to gather a society in its making, to distribute goods, to carry people and ideas across places that, it seems to us, are more different than ever before.

\n

From Gulf to Gulf to Gulf is a result of four years of dialogue, friendship and exchange between CAMP and a group of sailors from the Gulf of Kutch. Their travels, and those of co-seafarers from Pakistan and Southern Iran, through the Persian and Aden Gulfs show us a world cut into many pieces, not easily bridged by nostalgics or nationalists. Instead, we follow the physical crossings made by these groups of people who make and sail boats. And who also make videos, sometimes with songs married to them.

\n
\n

Original format(s): HDV, SDV, VHS, Cellphone videos (variable)
Screening format: HDV, 16:9
Run time: 81 mins

\n
\n

\n
", "schedule": "
Camera: Siddik Umar Sanghar, Mrinal Desai, Junas Salemamad Bhagad, Ashok Sukumaran, Shaina
\n
Anand, Sulaiman Haroon Raja, Jabbar Hassan Chingda, Ismail Haroon Ghandhar, Mohammed
\n
Rafik, Sulaiman Wahab Sumbhania, Abdul Majid Chauhan, Mehboob Abbas Sanghar, 
\n
Hakimuddin Lilyawala, and the anonymous creators of music videos across many boats and
\n
many years. 
\n

\n
Direction: Shaina Anand, Ashok Sukumaran
\n

\n
Editing: Sreya Chatterjee
\n

\n

", "schedulebutton": "Credits", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "poster_04sized.jpg", "postedby": "undefined", "datestart": "2013-07-04", "dateend": "2013-07-08", "dateadded": "2013-07-09T06:38:14Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 177, "fields": { "type": 3, "shortname": "library", "title": "Umbrella library", "header": "is a work-in-progress online library, designed to expand the role of \"lending libraries\"\n
towards the future of local distribution of various kinds. 
\n
It begins with a book library project, currently residing at tiptiptip.org

\n
Umbrella is a group of non-gallery art spaces and collectives in Mumbai. 
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "tiptiptiplogo.jpg", "postedby": "undefined", "datestart": "2013-07-02", "dateend": "2013-12-12", "dateadded": "2013-07-09T10:02:02Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 178, "fields": { "type": 0, "shortname": "summer", "title": "At the Summer Academy", "header": "Rough Guide to the Media Arts\n
\n
Summer Academy, Salzburg
\n
Class Exhibition
\n
at Schmeide Hallein
\n
9th August, 2013
", "body": "
with:
\n

\n
\n
Ana Vuzdaric writes sf stories, is Croatian, and needs to get a haircut.
\n
Anna Mikkola is from Helsinki, and currently lives and works in Berlin.
\n
Dzenan Hadzihasanovic is a painter and performer who lives and works in Sarajevo.
\n
Gianluigi Scarpa is an artist and writer based in Berlin.
\n
Lea Kuhl studies art in D\u00c3\u00bcsseldorf.
\n
Min-hyung Kang is from Seoul, Korea. Currently lives and works in Hanoi, 
\n
Tokyo, and Seoul.
\n
Mira Turba lives and works in Vienna.
\n
Ryan Inouye lives and works in New York.
\n
Samuel Kenswil is a friendly Californian currently studying Fine Arts at 
\n
Goldsmiths in London.
\n
Sandra Hasen\u00c3\u00b6der studies art in Nuremberg and Vienna.
\n

\n
Instructors:
\n
Shaina Anand
\n
Ashok Sukumaran
\n
Assisted by: 
\n
Bernadette Anzengruber
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "posterfinal.jpg", "postedby": "undefined", "datestart": "2013-07-22", "dateend": "2013-08-10", "dateadded": "2013-08-26T12:46:34Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 180, "fields": { "type": 0, "shortname": "ektachrome", "title": "EKS VOTO", "header": "A Tama for Ektachrome\n
with LabA
\n
on the island of Tinos
\n
Greece
\n
11-08-2013 to 21-08-2013
\n

\n
A funeral for Ektachromes colour reversal film in the form of a gathering of kindred souls, with lots of filming, and processing. 
", "body": "Bye Bye Ektachrome. Zindabad film. \n
Thank you LabA, Athens. 
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "EX VOTO 01.jpg", "postedby": "undefined", "datestart": "2013-08-10", "dateend": "2013-08-21", "dateadded": "2013-08-26T13:11:38Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 181, "fields": { "type": 0, "shortname": "FDzone1", "title": "CAMP at FD Zone", "header": "Two films by CAMP\n

\n
CCTV Social
\n
The Neighbour before the House
\n
at 
\n
RR Theatre 
\n
10th Floor
\n
Films Division
\n
Pedder Road, Mumbai
\n
Saturday, 31st August, 2013
\n
4:00 pm
", "body": "
\n
Two works by CAMP:
CCTV Social 
\n
2008 /28 minutes
\n
http://www.camputer.org/event.php?id=24

AL Jaar Qabla Al Daar (The Neighbour before the House) 
2009-2011/ 60 minutes
\n
\n
http://www.camputer.org/event.php?id=98 
\n
 
\n
CCTV Social
\n
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 black box of the control rooms to view, observe and debate this condition, endemic in the UK, where there is one camera for every 6 people.  
\n
Manchester's Open Street Surveillance, with its Pan-Tilt-Zoom cameras and systems wired into the surrounding architecture over a decade ago were subject to demonstrations, scrutiny and inquiry by 36 participants. These hour-long sessions became somewhat like a diagnostic clinic, where symptoms, anxieties and inoculations about 'public health' under surveillance were meditated upon. The therapy sessions seemed to work both ways, for the participants as well as the security officers. The film is a documentation of some moments, from these several hours of curious encounters. 

\n
CCTV Social has been exhibited at Cornerhouse Manchester, Nottingham Contemporary, Henie Onstad Kunstsenter Oslo and Space Hamilton Seoul. It will be part of a CAMP exhibition at the Museum of Contemporary Art Tokyo in Ocobter 2013. 
\n

\n
The Neighbour Before The House (Al Jaar Qabla Al Daar) 
The material for this film was generated by eight Palestinian families living in various parts of Jerusalem/Al Quds, a place where the usual sense of \u00e2\u20ac\u0153neighbourhood\u00e2\u20ac\u009d is broken by occupation and conflict. It was filmed over a month in September October 2009, with a PTZ (pan-tilt-zoom) CCTV camera that the residents installed on their own homes (or in the case of evicted families, on nearby houses), a \"tripod made of stones\".  The commentary you can hear is of people speaking over the video live, as they watch and move the camera from inside their homes. Sometimes the voice looks for an image, at other times image provokes voices, or they separate into distant landscapes and innermost thoughts. The footage was edited into this film in 2011.
\n
 
The Neighbour Before the House has been screened at the Al Mamal Foundation Jerusalem, International Academy of Art  Ramallah, Nova Cinema Trondheim, New Museum New York, Yerba Buena Center for Art San Francisco, Volte Gallery Mumbai, Experimenter Gallery Kolkata, and the Biennials of Sharjah and Liverpool.
\n

\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "CCTV_SOCIAL.jpg", "postedby": "undefined", "datestart": "2013-08-31", "dateend": "2013-09-01", "dateadded": "2013-08-26T13:25:09Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 182, "fields": { "type": 0, "shortname": "listen", "title": "Closely Guarded Phonecalls", "header": "
Hum Logos (45 mins) 

at
FD ZONE
\r\n
RR Theatre 
\r\n
10th Floor
\r\n
Films Division
\r\n
Pedder Road, Mumbai
\r\n
Saturday, 7th September, 2013
\r\n
4:00 pm
", "body": "Curators note:
\r\n\r\n

This week's program \r\ncontinues from last week's \u00e2\u20ac\u02dcOf watching and Being Watched\u00e2\u20ac\u2122.  Network \r\ntechnologies like cellphones for example, offer a sense of equity and \r\nprivacy internally but at the same time offer unparalleled opportunity \r\nof surveillance. Governments can and do \"wiretap\" whom they wish, when \r\nthey wish, protected by barriers of secrecy. Sometimes, things leak. We \r\nare facing many questions, as increasingly such intrusions are being \r\nlegislated. Where are the new ethical lines drawn?  How aware are we \r\nthat we are being listened to?

\r\n\r\n
\r\n
\r\n
\r\n\r\n\r\n\r\n

See for example:

\r\n

http://indiatoday.intoday.in/story/the-secret-world-of-phone-tapping/1/122693.html
https://pad.ma/project==Radia_Tapes

\r\n
\r\n

Screenings:

\r\n
\r\n\r\n

CBI /19 min / 1973 / Films Division

\r\n
\r\n

The Central Bureau of \r\nInvestigation traces its origins to the Special Police Establishment \r\n(SPE)  established in 1941. The functions of the SPE were to investigate\r\n bribery and corruption in transactions with the War and Supply \r\nDepartment of India, set up during World War II.  Its motto is \r\n\"Industry, Impartiality, Integrity\". Its mission is 'To uphold the \r\nConstitution of India and law of the land through in-depth investigation\r\n and successful prosecution of offences; to provide leadership and \r\ndirection to police forces and to act as the nodal agency for enhancing \r\ninter-state and international cooperation in law enforcement '. The 19 \r\nmin. film gives an insight to its functioning and encourages citizens to\r\n help CBI by reporting any wrong doing.

\r\n\r\n
\r\n
\r\n
\r\n


\r\n

Act II: Hum Logos / 45 mins / 2012 / CAMP

\r\n
\r\n

Hum Logos\r\n is a film based on the Radia Tap(e)s. These recordings have been described \r\nas essential listening for anyone wanting to be a journalist in India.  \r\nDebates around the tapes and their authenticity have often asked whether\r\n they were edited or not, whether they were \"spliced\" or \"fake\". This \r\nwork asks instead, what further editing or rearrangement might do. What could we hear, in another composition. We are led to a different \r\nkind of experience from on the one hand, voyeuristic bytes replayed \r\nendlessly on TV and on the other the \"data\" that has thus far become \r\navailable publicly. In the film, a broad \r\nspectrum of rhetorical devices: lies, cries, memes, schemes, pen drives,\r\n bad networks and family feuds, can be heard pulsing through the nervous\r\n system of Indian democracy.

\r\n

See also:
http://camputer.org/event.php?id=158

\r\n

Hum Logos has been \r\nexhibited at the New Museum New York, the Gwangju Biennale (with Korean \r\ntranslation) and the National Gallery of Modern Art (NGMA) Delhi, among \r\nother screenings.

\r\n


\r\n


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Sunday Painter,
Pekham, London
September 19-22, 2013

as part of
Pekham Artists Moving Image
", "body": "http://www.thesundaypainter.co.uk/the-country-of-the-blind-and-other-stories/


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83\"
\n

\n
at 
\n
BFI London Film Festival
(moved to NFT 1)
\n
South Bank, London 
\n
13th October, 2013 
\n
6:30 pm 
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "GULF_CAMP_cellphone_Filmstill_2.jpg", "postedby": "undefined", "datestart": "2013-10-13", "dateend": "2013-10-14", "dateadded": "2013-09-04T13:35:29Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 185, "fields": { "type": 0, "shortname": "MOT", "title": "Museum of Contemporary Art, Tokyo", "header": "CCTV Social and Capital Circus
at
Bunny Smash
design to change the world

Museum of Contemporary Art, Tokyo
October 3, 2013 to January 19, 2014
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Act I: Swearing-in Whispers
Screenplay 95 pages and IVR

Act II: Hum Logos
text and phone audio, 45 mins

at
Citizen-Artist: Forms of Address
Curated by Geeta Kapur
Chemould Prescott Road
Queens Mansion
Fort, Mumbai
14-10-2013 to 14-11-2013
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "CAMP_HumLogos15.jpg", "postedby": "undefined", "datestart": "2013-10-14", "dateend": "2013-11-15", "dateadded": "2013-10-14T07:21:33Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 158 } }, { "model": "content.content", "pk": 187, "fields": { "type": 2, "shortname": "Underdox", "title": "Underdox 08 Munich", "header": "From Gulf to Gulf to Gulf
83\"

at
Underdox: document and experiment
Werkstattkino, Munich
20:30, 16th October, 2013
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "fg2g2g_CAMP.jpg", "postedby": "undefined", "datestart": "2013-10-16", "dateend": "2013-10-17", "dateadded": "2013-10-14T07:37:40Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 189, "fields": { "type": 0, "shortname": "gold", "title": "At the Radical Media forum, Goldsmiths London", "header": "Two works by CAMP
On Broken Networks and Neighbourhoods

October 18, 2013, RHB 137a, 6pm onwards

Al Jaar Qabla Al Daar
(The Neighbour Before the House)
60 mins.

Act II: Hum Logos
45 mins.
", "body": "Followed by a discussion with Shaina Anand

Organised by and with thanks to Mihaela Brebenel.
The Radical Media forum is a student-led initiative, supported by the Media and Communication Department ,
and the Graduate School.


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83 mins

At Athens Avant-Garde Film Festival
Greek Film Archive Screening Room B
20:30 pm, 22nd October, 2013
", "body": "
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "fg2g2g_CAMP.jpg", "postedby": "undefined", "datestart": "2013-10-22", "dateend": "2013-10-23", "dateadded": "2013-10-22T13:49:22Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 192, "fields": { "type": 2, "shortname": "doclisboa", "title": "Doc Lisboa'13", "header": "From Gulf to Gulf to Gulf
at Doc Lisboa
28th and 31st October 2013

\n
30th October Political Cinema Panel 
\n
1st November  International Debate Passages

", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "fg2g2g-asterisk_72dpi_rgb.jpg", "postedby": "undefined", "datestart": "2013-10-27", "dateend": "2013-11-01", "dateadded": "2013-11-07T10:50:29Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 193, "fields": { "type": 2, "shortname": "viennale", "title": "Viennale Vienna International Film Festival ", "header": "From Gulf to Gulf to Gulf
at Viennale
\n
2nd and 5th November, 2013
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "fg2g2g_CAMP.jpg", "postedby": "undefined", "datestart": "2013-11-02", "dateend": "2013-11-06", "dateadded": "2013-11-07T11:03:17Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 194, "fields": { "type": 2, "shortname": "cork", "title": "Cork Film Festival", "header": "Double Bill: Two films by CAMP
\n

\n
From Gulf to Gulf to Gulf (83 mins) 
\n
and 
\n
The Neighbour Before the House (60 mins)
\n

at the Cork Film Festival 
\n
November 12, 2013 
\n
Curated by Vassily Bourikas
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "THE_NEIGHBOUR_BEFORE_THE_HOUSE.jpg", "postedby": "undefined", "datestart": "2013-11-12", "dateend": "2013-11-13", "dateadded": "2013-11-07T11:27:52Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 195, "fields": { "type": 0, "shortname": "cinemaproject", "title": "We Begin by Measuring Distance", "header": "Works in Palestine by Basma Al Sharif and CAMP
at Cinema Project, Portland
November 8th, 2013
Al Jaar Qabla Al Daar (The Neighbour before the House)
60 mins
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "THE_NEIGHBOUR_BEFORE_THE_HOUSE.jpg", "postedby": "undefined", "datestart": "2013-11-08", "dateend": "2013-11-09", "dateadded": "2013-11-07T11:38:23Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 196, "fields": { "type": 2, "shortname": "pleasure", "title": "Pleasure: A Block Study", "header": "

A book by CAMP

\r\n

6.30pm Wednesday 6 November, 2013

\r\n

Serpentine Gallery, London

", "body": "
\r\n

CAMP present\r\nPleasure: A Block Study, a publication that comes out of their \r\nmulti-year residency with the Edgware Road Project. Produced entirely \r\nonline, via the print tool and website\r\nedgwareroad.org, this volume was initiated by the\r\n artists, focussing on a very small piece of the city: a few buildings \r\non the Edgware Road in London.

\r\n

The publication explores a history of 'public pleasures' that arose in the Edgware Road neighbourhood, starting from the 19th\r\n Century to the present, documenting social shifts on the street\r\n and the surrounding areas.  Arab, Iranian, Irish, Kurdish and other \r\nbusinesses and groups produced a particular history of film, video, \r\nmusic and street life that often clashed with existing legal and \r\nproprietary structures. A tumultuous few decades of these\r\n struggles form the heart of this book, offering on the one hand, images\r\n and narratives of a pleasure filled Dionysian street-life, and on the \r\nother tales of bureaucratic containment that limit and regulate various \r\nemergences of public life.

\r\n


\r\n


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at LUX, Shacklewell Studios, London
17th October, 3pm
", "body": "This seminar for artists and curators looking at the implications of\nartists\u00e2\u20ac\u2122 film and video in the Archive. We will explore the various\nhistorical contexts, conceptual concerns and practical issues facing\nmoving image artists working with archives both in terms of the care\nand preservation of their work, and accessing archives for research.\nThe workshop will be chaired by LUX Director, Benjamin Cook with the\nfollowing guest speakers:\n\nAndrew Lampert, Head of Collections, Anthology Film Archives, New York\nWilliam Fowler, Curator of Artists\u00e2\u20ac\u2122 Moving image at the BFI National\nArchive, London and Shaina Anand, co-initiator of CAMP and http://Pad.ma", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Newpadma.jpg", "postedby": "undefined", "datestart": "2013-10-17", "dateend": "2013-10-18", "dateadded": "2013-11-07T11:57:21Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 19 } }, { "model": "content.content", "pk": 199, "fields": { "type": 2, "shortname": "BAM", "title": "Migrating Forms", "header": "From Gulf to Gulf to Gulf
at
Migrating Forms
Brooklyn Academy of Music
December 12, 7pm.
BAM Rose Cinemas

", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "fg2g2g_CAMP.jpg", "postedby": "undefined", "datestart": "2013-12-12", "dateend": "2013-12-13", "dateadded": "2013-12-05T08:19:35Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 200, "fields": { "type": 0, "shortname": "filmfleuve", "title": "A season of long films", "header": "Pad.ma invites you to
Rivers without Banks
at CAMP

27th December, 2013 through 27th January, 2014

Before the start of a new year; and among big and small resolutions for the future we chose to ask ourselves what is free cinema today, what is its political and perceptual economy, and what could we summon of its powers, before embarking on new journeys of making and thinking. 

Rivers without Banks is a screening program of films whose durations extend beyond conventional length. But importantly, this is not a collection put together quantitatively, even as we may argue that the epic scales present in the chosen films carry the weight of histories, and put together chronologically show us a century where individual everyday lives face the annals of terrible power; where the human condition battles with nature and technology, with love and loss, with good and evil.
", "body": "We chose these films for their primacy, their resilience and their beauty. For the formal expansion of the cinematic into something immersive and extreme. Our agenda is also a selfish one. These are films that we want to see, and as Bombay enjoys cool winter nights, the open-air cinema on CAMP's roof invites us to view together films that don't seem to be well suited for solo sittings, confined in a room, glued to a chair, or worse, a computer screen.
 
If you come, we will keep you hydrated and fed. Please bring cushions and blankets if you like. Do RSVP so we can plan our resources. At the end of each 'mini-series' is a day for discussion. This an important day, since discussions after each film are not possible. Some of the films finish after the last of the public transport stops, please keep this in mind. You are of course  welcome to be at CAMP till morning. Please note times for each film, some start earlier than others.

Directions: http://camputer.org/campstudio.html
RSVP: info(at)camputer.org

\n\n\n
\n\n
Weekend 1

Fri Dec 27 6 pm - Kagadanan sa Banwaan ning mga Engkanto
Death in the Land of Encantos (Lav Diaz, 2007, 9:04)
    begins at 6:30 pm and ends at 3:30 am

Sat Dec 28 3:30 pm - Tie Xi Qu: West of the Tracks (Wang Bing, 2003, 9:17)
    begins at 4:00 pm and ends at 2:00 am

Sun Dec 29 6 pm - Satantango (Bela Tarr, 1994, 7:01)
    begins at 6:30 pm and ends at 1:30 am

Mon Dec 30 6:00 pm - Discussion

Weekend 2

Fri Jan 03 6 pm - Star Spangled to Death (Ken Jacobs, 2004, 6:42)
    begins at 6:30 pm and ends at 11:30 pm

Sat Jan 04 6 pm - The Journey (Peter Watkins, 1987, 14:30)
    begins at 6:30 pm and ends at 2:00 am

Sun Jan 05 6 pm - The Journey (continued)
    begins at 6:30 pm and ends at 1:30 am


Weekend 3 (after a week's break)

Sat Jan 18 6 pm - Out 1: noli me tangere (Jacques Rivette/Suzanne Schiffman, 1971, 12:18)
    begins at 6:30 pm and ends at 1:00 am

Sun Jan 19 6 pm - Out 1: noli me tangere (continued)
    begins at 6:30 pm and ends at 0:30 am

Mon Jan 20 6:00 pm - Discussion


Weekend 4

Fri Jan 24 6 pm - La hora de los hornos
The Hour of the Furnaces (Octavio Getino/Fernando E. Solanas, 1968, 3:50)
    begins at 6:30 pm and ends at 10:30 pm

Sat Jan 25 6 pm - Shoah (Claude Lanzmann, 1985, 9:02)
    begins at 6:30 pm and ends at 3:30 am

Sun Jan 26 3:30 pm - Ningen no joken
The Human Condition (Masaki Kobayashi, 1959-1961, 9:35)
    begins at 4:00 pm and ends at 2:00 am

Mon Jan 27 5:00 pm - Discussion followed by a Bonus Screening!
     7:00 pm  Histoire(s) du Cinema (Jean-Luc Godard, 1988-1998, 4:24)


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at
Film and Television Institute of India, Pune
at CRT
December 8th, 2013 at 9:00 pm
in the presence of the filmmakers and editor Sreya Chatterjee
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at
The Many Lives of Indian Cinema: 1913-2013 and beyond
\nDisciplines, Histories, Technologies, Futures
January 9th, 2014
at Sarai-CSDS, New Delhi.

With Screenings of
From Gulf to Gulf to Gulf
9th and 11th January 7:00 pm
", "body": "
We\n are surrounded by landscapes that we cannot directly sense: Coal \nreserves, electrical grids, climate, financial systems, art markets. The\n chains linking these to individual perception or sense organs are long \nand twisted. We can think of images as attempts to short-circuit this \nsituation. Images light up every available surface, fighting an \nindirect, metaphorical battle against the disappearance of actual sites \nof financialisation, valorisation, urbanisation, network \nintensification, and so on. These images rearrange what can be seen, \nfelt or alluded to, and thus in the language of Jacques Ranci\u00c3\u00a8re, \nproduce an overlap between aesthetics and politics.

\n

In this talk we develop another side of this overlap, which motivates our own recent work, and is about the non-sensable aspects of images, or certain aspects of aesthetic process. That\n is, things that are not perceptible yet, but there is an \nexperimentation that may burst into perceptibility or form at any time. \nThis means the procedures, backends, tweaking of technological or \norganisational contexts, and other ways in which moving images are \nprepared for, thought of, and then made, cast or thrown. Starting with \nseven different clips of near-darkness in the online video archive \nPad.ma, we describe the (also accidental, tentative) entry of cameras \nand intentions into different kinds of spaces, or worlds. The way or\n manner of entering, in relation to and transforming what is already \nthere, is the key shift or interruption here. We give examples of our \nactivities \"behind the image\" and anticipation of it, that try to catch \nin the plane and rhythm of image-making processes, some of what has \nreceded from the immediate senses.  

\n


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in
Border Cultures: Part Two (work, labour)
Art Gallery Windsor
January 25 - April 13, 2014
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Mothership.jpg", "postedby": "undefined", "datestart": "2014-01-25", "dateend": "2014-04-14", "dateadded": "2014-02-03T16:17:45Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 204, "fields": { "type": 2, "shortname": "DAS", "title": "Dhaka Art Summit", "header": "From Gulf to Gulf to Gulf
at
Dhaka Art Summit
Bangladesh Shilpakala Academy
Experimental Film Programme
8th and 9th February 2014
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "fg2g2g_CAMP.jpg", "postedby": "undefined", "datestart": "2014-02-08", "dateend": "2014-02-10", "dateadded": "2014-02-03T17:55:40Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 205, "fields": { "type": 0, "shortname": "cinemathon2014", "title": "Cinemathon 2014", "header": "
15th and 16th February 2014 
\n
5pm onwards (till midnight and beyond)
\n
at CAMP Rooftop studio 
", "body": "
Cinemathon

\n5th and 16th February 2014
\n5pm onwards

\n
\n
Indiancine.ma - https://indiancine.ma - in collaboration with the Centre for Internet and Society Bangalore, is organizing a 2-day \"cinemathon\" on February 15th and 16th, 2014 in Mumbai. It is an opportunity for cinema lovers to take part in the largest open digital archive project on Indian cinema.
\nIndiancine.ma was launched a year ago to coincide with the 100 years of Indian cinema. It is a resource intended to not only recollect the heritage of Indian film, but also to reaffirm the promise of cinema as an art form as it enters its second century.

\n\nhttps://indiancine.ma seeks to provide an encyclopedic resource for film scholars and theorists, and serve as an in-depth platform for film students and enthusiasts. https://indiancine.ma already indexes and makes searchable metadata for 36,384 Indian films. This metadata has been compiled, initially, from Ashish Rajadhyaksha's and Paul Willemen's \"Encyclopedia of Indian Cinema\", and enhanced and made up-to-date with other available sources. As per Indian copyright law, films released more than 60 years ago fall into the public domain, and we have been working hard to source pre-1954 movies, archive them responsibly, and make them available for free.
\nEminent film scholars like Ashish Rajadhyaksha, Moinak Biswas, SV Srinivas and others are already working within the archive, enriching it with stills, booklets and posters, academic texts and time-based scene analysis, a unique feature of the platform. But the body of Indian cinema is vast, and the broader goal of collecting data about every Indian film ever made, and keeping this information open to the public, is going to need the help all of you film enthusiasts, cinephiles and scholars in your own right.

\nThis 2-day event as an invitation to anyone who is interested in Indian cinema, to explore and learn how to make full use of the resources available on this online platform, as well as entice some of you to contribute your knowledge about Indian cinema back into this public forum. These evenings will familiarise you with the tools and interface, and we can then begin doing some exploratory work together. On the first day, Pune-based film scholar Gayatri Chatterjee will whet our appetites with a scene-wise analysis of PC Barua's 1935 Devdas.
\nOverall we plan to keep things fairly unstructured, but whether you're a filmmaker, film student, theorist, computer programmer or film enthusiast there will be something for you. If you have a laptop, please bring it. There will be free wifi and food and drinks. The event will be partially outdoors on a terrace so keep yourselves warm.
\nWe plan to meet around 5pm on the 15th and 16th, and go on until however long people want to hang out / continue working and exploring.

\nCAMP Rooftop studio
\nDirections:
\nhttp://camputer.org/campstudio.html
\nhttp://camputer.org/directions.html
\n
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "indiancinema100.png", "postedby": "undefined", "datestart": "2014-02-15", "dateend": "2014-02-17", "dateadded": "2014-02-12T10:22:55Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 206, "fields": { "type": 0, "shortname": "CHI", "title": "at Clark House, Bombay", "header": "The Annotated 'Gujarat and the Sea' Exhibition (2011)
and
Descendant (2014)
in
And I laid traps for the troubadours who get killed before the reached Bombay
at Clark House, Bombay
February 7 to  May 30, 2014
", "body": "

Curated by Emilie Villez, Zasha Colah & Sumesh Sharma

\n
\n\n\n

An exhibition made of photos of another exhibition, titled Gujarat and the Sea
Which was itself made of prints of scans of maps, documents and photos.

\n\n

and 

\n

a work that draws from 8mm home movies of the Clark House family, in the sequence below:\n

\n

\n


\nWith special thanks to Aruna Sharma, who was the main reason
\nfor her husband, late Chaturbhuj Sharma's filming hobby.
\n\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "GATS.jpg", "postedby": "undefined", "datestart": "2014-02-07", "dateend": "2014-06-08", "dateadded": "2014-02-12T18:36:15Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 207, "fields": { "type": 2, "shortname": "ficunam", "title": "FICUNAM Mexico", "header": "From Gulf to Gulf to Gulf
Feb 28th to March 6th 2014
at FICUNAM, Mexico
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "fg2g2g_CAMP.jpg", "postedby": "undefined", "datestart": "2014-02-28", "dateend": "2014-03-07", "dateadded": "2014-02-12T19:07:44Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 209, "fields": { "type": 0, "shortname": "tiptiptip", "title": "Can Art Books Library?", "header": "tiptiptip.org\n\n
A discussion and informal launch
at CAMP Roof, 7:30 pm
", "body": "In response to specific potentials of listing and opening up collections in the city, a group of us have worked on an online library platform for books, catalogs and other informal print material. It is currently seeded with 400-odd books from CAMP. \n

\n
We invite you all to an event launching the project, and welcoming other libraries that plan to join, Sunday evening starting at 7:30pm. 
\n

\n
A discussion titled \"What Art Theory is in Books, and What is a Book in Art Theory?\" including
\n
Himanshu S, Siddhartha Lokanandi, Gitanjali Dang, Ashok Sukumaran and others will happen from 8pm till about 10pm. 
\n

\n

\n", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "tiptipscreen.jpg", "postedby": "undefined", "datestart": "2014-03-02", "dateend": "2014-03-03", "dateadded": "2014-03-02T06:00:44Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 210, "fields": { "type": 0, "shortname": "MM14", "title": "March Meeting 2014", "header": "Panel on Sustained Engagements:
A Letter to the Sharjah Art Foundation in Grey, White and Black.
13th March 2014, 10:00 am
SAF Art Spaces, Sharjah

Collective Research Session: screening and discussion
From Gulf to Gulf to Gulf
14th March 2014, 20:00
Mirage City Cinema, Sharjah
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "fg2g2g_CAMP.jpg", "postedby": "undefined", "datestart": "2014-03-13", "dateend": "2014-03-16", "dateadded": "2014-03-15T09:11:34Z", "datemodified": null, "published": 1, "view": null, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 211, "fields": { "type": 2, "shortname": "2pleasure", "title": "Pleasure: A Block Study", "header": "Book Launch
20th March, 2014, 2:00 pm
Global Art Forum
Art Dubai
", "body": "
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Book launch.jpg", "postedby": "undefined", "datestart": "2014-03-19", "dateend": "2014-03-20", "dateadded": "2014-03-15T09:26:47Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 115 } }, { "model": "content.content", "pk": 212, "fields": { "type": 2, "shortname": "AAFF", "title": "52nd Ann Arbor Film Fest", "header": "From Gulf to Gulf to Gulf
Friday, March 28th 2014
3:00 pm
Helmut Stern Auditorium
University of Michigan
Ann Arbor
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "fg2g2g_CAMP.jpg", "postedby": "undefined", "datestart": "2014-03-28", "dateend": "2014-03-29", "dateadded": "2014-03-18T15:28:03Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 214, "fields": { "type": 2, "shortname": "warsaw", "title": "Kino Museum Festival 2014", "header": "From Gulf to Gulf to Gulf
at
Museum for Modern Art in Warsaw
Sunday, March 23 2014
7:00 pm
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "fg2g2g_CAMP.jpg", "postedby": "undefined", "datestart": "2014-03-23", "dateend": "2014-03-24", "dateadded": "2014-03-18T15:39:11Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 215, "fields": { "type": 0, "shortname": "NNCC", "title": "Tales from the Networked Neighbourhood: The Cinema of CAMP", "header": "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
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "KHIRKEEYAAN_4.JPG", "postedby": "undefined", "datestart": "2014-03-21", "dateend": "2014-03-23", "dateadded": "2014-03-18T15:51:04Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 216, "fields": { "type": 2, "shortname": "images", "title": "Images Festival, Toronto", "header": "Opening Film
From Gulf to Gulf to Gulf
10th April 2014 7:00 pm
The Royal, Toronto
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Bk55T4VIYAAZR5x.jpg", "postedby": "undefined", "datestart": "2014-04-09", "dateend": "2014-04-20", "dateadded": "2014-03-24T11:28:33Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 217, "fields": { "type": 2, "shortname": "inandout", "title": "Working In and Out of the Archive", "header": "With Reena Katz Jesal Kapadia and Brian McCarthy, and Naeem Mohaiemen
in collaboration with http://pad.ma
At TPW Gallery R&D, Toronto
Images Festival
10-26 April, 2014
", "body": "\n\n\t\n\t\n\t\n\t\n\n\n


\n

\n

Working In and Out of the Archive \n

\n


\n

\n

Pad.ma is\na web-based video platform that offers a practical technical and\nlegal framework through which video footage can be shared, cited and\nreused. Pad.ma proposes that film and video \"production\"\ncan be thought of in an expanded way. For example, by a filmmaker\npublishing video that is not a film, a researcher probing documentary\nimages, a film editor organizing footage using the archive, a writer\ncommenting on one or many video pieces, an artist working online, or\nan institution offering archives for public use. Pad.ma was launched\npublicly in 2008, and is a collaboration between CAMP, Alternative\nLaw Forum and 0x2620.org. In\n2013 this group also launched http://indiancine.ma,\nwhich aims to act as an online encyclopedia for Indian cinema.

\n


\n

\n

As a means of exploration \u00e2\u20ac\u201c looking at\nits contents, structures, and possibilities \u00e2\u20ac\u201c Gallery TPW and\nImages Festival invited a group of artists to respond to Pad.ma.\nWorking In and Out of the Archive\npresents the results of these commissioned explorations, with\ncontributions by Jesal Kapadia & Brian McCarthy, Reena Katz, and\nNaeem Mohaiemen, along with Shaina Anand, Ashok Sukumaran, Zinnia\nAmbapardiwala and Jan Gerber of Pad.ma.

\n


", "schedule": "Notes for a Non-Capitalist Cinema
Jesal Kapadia and Brian McCarthy
 
In the face of capitalist responses to environmental and economic crisis, in which the notion of \u00e2\u20ac\u0153property\u00e2\u20ac\u009d is often expanded or intensified \u00e2\u20ac\u201c whether as territorial enclosure, forced extraction and privatization of natural resources, or the privatization of collective knowledge production in the university \u00e2\u20ac\u201c notions of withdrawal and autonomous escape from the destructive machine of capitalism take on a variety of forms.

Kapadia and McCarthy's participation in this project is designed to visualize the ways in which spontaneous collective actions and reconfigured notions of \u00e2\u20ac\u0153property\u00e2\u20ac\u009d can take root in a notion of life itself. A new addition to the Pad.ma archive, their work contributes and annotates footage shot by Kapadia in the northeast Indian region of Sikkim. It focuses on activists from ACT (Affected Citizens of Teesta river) and members of the Lepcha tribe, then linking this footage with other material in Pad.ma by various filmmakers, researchers and artists. The project considers a range of non-capitalist implications and manifestations of the footage and documented actions: the potentiality of land without the spectre of monetization; free knowledge production or Lok Vidya (people\u00e2\u20ac\u2122s knowledge) that exceeds the territorial enclosure of the private university; and reclamation of the right to be. The possibilities of poetically interrupting the archive and creating new forms of visualizations are endless, yet what remains to be seen is if desires are rearranged and new subjectivities with a will to social justice are born.
Keywords: Hunger Strike, Property, Territory, Duration, Non-Capitalist Life, Lok Vidya, Collective Pedagogy, Ordinary Life.


The Shobak Tapes (1993-1994)
Naeem Mohaiemen

Twenty years ago, Mohaiemen started work on an oral history of the 1971 war that split Pakistan and created Bangladesh. At that time, the local context of memorializing was deeply polarized, perhaps only superseded 20 years later by the \"Shahbag movement\" of 2013. Back then in 1993, symbolic trials at Ramna Park in Dhaka saw a crowd of thousands assemble, chanting the demand about the accused 1971 war criminals: \"hang them.\" However, the next year, the most symbolic of the alleged war criminals had obtained Bangladeshi citizenship in a Supreme Court case (Bangladesh Vs. Professor Golam Azam and others, 1994, 23 CLC (AD). In the backdrop of this heated environment, Mohaiemen began his project to document stories of 1971 as \"evidence\" for a reckoning. The people he was interviewing exhibited a surprising ennui and cynicism\u00e2\u20ac\u201c both about the contested record of 1971, and the schizophrenic post-independence present. Unable to resolve these contradictions, and continually hamstrung by his own binary ideas about the \u00e2\u20ac\u0153good war,\u00e2\u20ac\u009d Mohaiemen eventually abandoned the entire project, experiencing over the next few years a gradual alienation from the field of historiography in Bangladesh. He began moving to the visual arts as a space that allowed him more incomplete, speculative, and \"grey zone\" conversations about the 1971 war. After a gap of twenty years, he is uploading the 80 hours of interviews, recorded on hi-8, to http://pad.ma, thus beginning a process of making sense of this failed project\u00e2\u20ac\u201c especially the shifts in his own subject position.

Keywords: Bangladesh, Pakistan, India, 1947, 1952, 1971, Partition, Independence, Memory, War Crimes, Reconciliation


People Act Dance, Make and Annotate\u00e2\u20ac\u00a8
Crossing the Everyday Life of Video
Pad.ma

There is everyday life. And there is the everyday life of video. A peculiar cousin of the ordinary in general, is the video ordinary: made up of non-square pixels, proliferating handheld cameras, CCTV, citizen journalists, exacting filmmakers, pervasive television, and all the things that are at stake with and through these things.

All gestures in video should be measured, or rubbed up against, its own ordinary. Pad.ma is an archive primarily of footage and not films. It tries to catch this ordinary, and some of its qualities and evolution, in the Indian context in particular. It collects materials and works intensively through them to try and make sense of intentions, technologies, accidents and effects. It asks whether a film can be beautiful from the inside as well as the outside. It thus enquires about not only in what is visible, but also about the backend in which machines or souls that propel or cast images and sounds in a particular way. Even though the video ordinary is constantly overflowing and receding from our attention, Pad.ma tries to parse some of it, for threads that may lead us to new paths.

This hour-long assembly from Pad.ma, made and presented using the website, tells a story of the evolution of the video everyday; its practices, effects, appearances and affirmations in relation to an everyday life that itself is changing.
 

The Razia Sessions
Reena Katz aka Radiodress with: Maricruz Alarc\u00c3\u00b3n, Sharlene Bamboat, Andr\u00c3\u00a9a de Keijzer, Nasrin Himada, Laura Taler, Diana Younes and Alize Zorlutuna

In the Queering Bollywood section of the Pad.ma archive, there is a short clip from Razia Sultan (1983, dir. Kamal Amrohi, Urdu).  The film is based on the life of Razia Sultan (1205\u00e2\u20ac\u201c1240), the only female Sultan of Delhi (1236\u00e2\u20ac\u201c1240). The clip depicts a monologue by one of Razia\u00e2\u20ac\u2122s many suitors.  His plea details a long list of sacrifices for the people and the land.  It ends with a petition for Razia to recognize his body, one on which \u00e2\u20ac\u0153\u00e2\u20ac\u00a6many wounds of sacrifice can be reckoned.\u00e2\u20ac\u009d

Without responding to the suitor Razia beckons her companion to stand.  They kiss, and walk away together, holding hands.
 
For The Razia Sessions, Radiodress asked seven of her bi- and poly-linguist comrades, lovers, friends and kin to teach her the thwarted lovers\u00e2\u20ac\u2122 phrase in a language other than English over the internet.  Radiodress will do her best to learn the phrase well in the short time they have together.  Sometimes, the phrase is untranslatable, other times it is hybridized with English.  Often the teachers had to ask their own comrades, lovers, friends and kin to help them with translation.  The duets traverse the mistakes together - stumbling, laughing and sharing the gaps each lingual fumble evokes.

The Razia Sessions will be recorded live during the Images Festival at TPW\u00e2\u20ac\u2122s R&D space, and uploaded to the Pad.ma site along with their transcriptions.

Schedule:
Thursday-Saturday, April 10-12: 4pm
Tuesday-Thursday, April 15-17: 4pm
Saturday, April 19: 1:30pm", "schedulebutton": "Contributions", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "padmalogo.png", "postedby": "undefined", "datestart": "2014-04-10", "dateend": "2014-04-26", "dateadded": "2014-04-15T19:16:27Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 19 } }, { "model": "content.content", "pk": 218, "fields": { "type": 2, "shortname": "people", "title": "Crossing the Everyday life of Video", "header": "at
Asia Art Archive in America
Brooklyn, NY
3:30 pm, 13th April, 2014


", "body": "
There is everyday life. And there is the everyday life of video. A peculiar cousin of the ordinary in general, is the video ordinary: made up of non-square pixels, proliferating handheld cameras, CCTV, citizen journalists, exacting filmmakers, pervasive television, and all the things that are at stake with and through these things.
\n

All \ngestures in video should be measured, or rubbed up against, its own \nordinary. Pad.ma is an archive primarily of footage and not films. It \ntries to catch this ordinary, and some of its qualities and evolution, \nin the Indian context in particular. It collects materials and works \nintensively through them to try and make sense of intentions, \ntechnologies, accidents and effects. It asks whether a film can be \nbeautiful from the inside as well as the outside. It thus enquires about\n not only in what is visible, but also about the backend in which \nmachines or souls that propel or cast images and sounds in a particular \nway. Even though the video ordinary is constantly overflowing and \nreceding from our attention, Pad.ma tries to parse some of it, for \nthreads that may lead us to new paths.

This hour-long assembly \nfrom Pad.ma, made and presented using the website, tells a story of the \nevolution of the video everyday; its practices, effects, appearances and\n affirmations in relation to an everyday life that itself is changing.", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "padmalogo.png", "postedby": "undefined", "datestart": "2014-04-13", "dateend": "2014-04-14", "dateadded": "2014-04-16T05:09:09Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 19 } }, { "model": "content.content", "pk": 220, "fields": { "type": 2, "shortname": "radical", "title": "Radical Archives Conference", "header": "Archive and Ethics
Keynote by Shaina Anand
Cantor Film Center, NYU
12th April, 2014
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "padmalogo.png", "postedby": "undefined", "datestart": "2014-04-11", "dateend": "2014-04-13", "dateadded": "2014-04-17T06:16:04Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 19 } }, { "model": "content.content", "pk": 222, "fields": { "type": 0, "shortname": "berlindocforum", "title": "At the Berlin Documentary Forum", "header": "Unreliable Narrators:\n\n
Stings to Leaks to Citizen Vigilantes
\n

\n
Saturday May 31, 2014
\n
6pm to 8pm
\n
HKW Berlin. 
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "002rock-paper-scissors1.jpg", "postedby": "undefined", "datestart": "2014-05-31", "dateend": "2014-06-01", "dateadded": "2014-06-04T14:15:17Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 223, "fields": { "type": 2, "shortname": "gulf9", "title": " Olhar de Cinema ", "header": "
From Gulf to Gulf to Gulf
\n
at 
\n
Curutiba International Film Festival
\n
New Views, International Competition
\n
Curutiba, Brazil
\n
28th May to June 5, 2014
\n

\n
Update: awarded the New Views prize. 
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "GULF_CAMP_Filmstill_3 .jpg", "postedby": "undefined", "datestart": "2014-05-28", "dateend": "2014-06-05", "dateadded": "2014-06-05T12:22:27Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 224, "fields": { "type": 2, "shortname": "gulf8", "title": "FIDADOC", "header": "
From Gulf to Gulf to Gulf 
\n
at 
\n
Agadir International Documentary Festival
\n
Algeria
\n
28th april to 4ht May, 2014 
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "GULF_CAMP_cellphone_Filmstill_2.jpg", "postedby": "undefined", "datestart": "2014-04-28", "dateend": "2014-05-04", "dateadded": "2014-06-05T12:32:34Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 226, "fields": { "type": 0, "shortname": "xray", "title": "The X-Ray Files", "header": "

From Stings to Leaks to Citizen Vigilantes

\n

A video lecture 
at 
CAMP Roof
Tuesday June 10
7:30 - 10:30  pm

", "body": "\n

\n\n

As the story goes, villagers in Jaunpur, or women labourers in Bangalore (depending on if you want to believe Tejpal or Bahal on this) responded to early sting operations by invoking an image of tehelka dot com as an x-ray machine located in Delhi that would expose everyone\u00e2\u20ac\u2122s corruption as soon as they came in front of it. This apocryphal story became a kind of intuitive peg for conceptual connections between hidden cameras and transparency in governance and intentions. \n

\n

\n

But all metaphors have their limits. X-rays don\u00e2\u20ac\u2122t usually tell you if their subject is even alive or not. People (we will see) are being slapped and pinched even while under \u00e2\u20ac\u0153truth serum\u00e2\u20ac\u009d. Truth in other words, is extracted or built by a combination of means. The \u00e2\u20ac\u0153transparency\u00e2\u20ac\u009d produced by early hidden camera recordings relied on elaborate mise-en-scene or \u00e2\u20ac\u0153setting\u00e2\u20ac\u009d: fictional scripts, unreliable narrators, great performances and hungry network audiences. Stings and leaks in India have been largely an audio-visual medium, framing violence and encounter, far from transparently or opaquely, as a new skin of documentary experience. 

\n

This evening we present a long-format (2 hour 30 minutes) artists\u00e2\u20ac\u2122 rendering of a history of images and sounds produced by stings, leaks and more recent citizen vigilante media, with TV overlays and edit styles removed or undone. We follow an evolution or descent of these forms from energetic origins in new media journalism, via proliferating leaks, into an ordinary in which \u00e2\u20ac\u0153every citizen now becomes an anti-corruption inspector\u00e2\u20ac\u009d, in the words of Aam Aadmi Party\u00e2\u20ac\u2122s new Chief Minister of Delhi, at the start of this year. 

\n

There is a difference between ideology and the way things actually look. (It can look worse too). Direction, framing, timing, empathy or lack of it, and again mise-en-scene, count in the difference. Video in this form is a crafted relation between selves and others, a test of ethics far beyond the law, and a precedent for what distributed technologies can do. Video's own protocols are far from settled, and it cruises the edges of \"the networks\". There are a lot of questions here about what a democracy or community of images might look like. For while the selfie says radically, \u00e2\u20ac\u0153I represent myself\u00e2\u20ac\u009d, the easier wrist position, or higher Mp camera, still points outward. 

\n

\n\n\n\n\n\n\n\n

\n

(Part of this material was presented recently as a two-hour video lecture at the 3rd Berlin Documentary Forum, HKW, Berlin.) 

\n

Acknowledgements

\n

In Delhi: 
Tehelka, Cobrapost, Gulail, AAP
Aniruddha Bahal, Satyashree Gandham, Shaunak Sen, Aastha Chauhan, Ankit Lal, Vinay Shukla 

\n

At CAMP and Bombay:
Zinnia Ambapardiwala, Prerna Bishnoi, Omkar Khandekar, Ashwin Nag, Geeta Sheshu

\n

At Pad.ma:
Lawrence Liang, Jan Gerber 

\n


\n


\n


\n


", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "xray.jpg", "postedby": "undefined", "datestart": "2014-06-10", "dateend": "2014-06-13", "dateadded": "2014-06-07T12:01:51Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 228, "fields": { "type": 0, "shortname": "moma", "title": "At MoMA, New York", "header": "Screenings of three CAMP films\n\n
June 21 to 29
\n
MoMA, New York
\n
Flaherty Seminar Program
\n

\n
and
\n
Modern Monday
June 23, at 7:00 pm
\n

", "body": "
\n
A talk with Shaina Anand, Duncan Campbell and Shuddhabrata Sengupta is on 
\n
Monday, June 23, at 7:00 pm
\n
http://www.moma.org/visit/calendar/film_screenings/21140
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Capital_Circus_2.jpg", "postedby": "undefined", "datestart": "2014-06-22", "dateend": "2014-06-29", "dateadded": "2014-06-10T09:57:39Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 229, "fields": { "type": 0, "shortname": "flaherty", "title": "At the Flaherty...", "header": "Turning The Inside Out
The 60th Robert Flaherty Seminar

\n
June 14 to June 20, 2014
\n
Colgate University, Hamilton, New York
\n

\n
Camp was one of the featured artists this June. Films screened include Hum Logos, CCTV Social - Capital Circus, The Neighbour before the House, and From Gulf to Gulf to Gulf. 
\n

", "body": "
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "60th-Flaherty-image-website-FX-low-res-1024x682.jpg", "postedby": "undefined", "datestart": "2014-06-14", "dateend": "2014-06-21", "dateadded": "2014-09-25T17:57:07Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 230, "fields": { "type": 0, "shortname": "lines", "title": "Lines and Nodes", "header": "
Media Infrastructure, and Aesthetics
\n
Symposium and Screening series 
\n

CCTV Social: Capital Circus
Anthology Film Archives, NY \n
19th September, 2014 
\n

", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Capital_Circus.jpg", "postedby": "undefined", "datestart": "2014-09-19", "dateend": "2014-09-20", "dateadded": "2014-09-25T18:58:14Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 231, "fields": { "type": 0, "shortname": "Descendants, 2014", "title": "Descendants, 2014", "header": "A three-channel installation from 8mm film\r\n
at Project 88
\r\n
curated by Clark House Initiative
\r\n
June 12 to July 5, 2014
\r\n

", "body": "", "schedule": "", "schedulebutton": null, "optbtn2": null, "opttext2": "", "optbtn3": null, "opttext3": "", "technotes": "a", "image": "descendents.jpg", "postedby": "undefined", "datestart": "2014-06-12", "dateend": "2014-06-12", "dateadded": "2014-09-25T19:14:48Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 232, "fields": { "type": 2, "shortname": "TAGATS", "title": "The Annotated Gujarat and the Sea and Wharfage", "header": "
Mapping Asia
Asia Art Archive, Hongkong\n
May 12 to October 18, 2014

", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Screen Shot 2014-09-26 at 12.56.50 am.jpg", "postedby": "undefined", "datestart": "2014-05-12", "dateend": "2014-10-18", "dateadded": "2014-09-25T19:21:38Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 234, "fields": { "type": 3, "shortname": "indiancinema", "title": "Indiancine.ma", "header": "Pad.ma has a sister now. 

\r\n
indiancine.ma  was launched at Jaaga, Bangalore by Sebastian L\u00c3\u00bctgert and Jan Gerber in February 2013.
Indiancine.ma is an annotated online archive of Indian film. It is intended to serve as a shared resource for film scholars and enthusiasts in India and beyond.
\r\n

\r\n
indiancine.ma  has been initiated by Pad.ma, and will be operated by a network of film studies institutions in India. The initial set of films and metadata is based on Ashish Rajadhyaksha's and Paul Willemen's Encyclopedia of Indian Cinema, and the Indiancine.ma Wiki.

", "body": "", "schedule": "", "schedulebutton": null, "optbtn2": null, "opttext2": "", "optbtn3": null, "opttext3": "", "technotes": "", "image": "100x100/indiancinema100.png", "postedby": "undefined", "datestart": "2013-02-15", "dateend": "2017-02-15", "dateadded": "2014-09-26T07:30:34Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": null } }, { "model": "content.content", "pk": 236, "fields": { "type": 0, "shortname": "bday", "title": "CAMP's 6\u00e2\u2026\u017e anniversary party", "header": "
CAMP, \u00ef\u00bc\u2013\u00e2\u2026\u017e years
\n
Monday, October 6th (Eid) 
\n
6:30 pm. onwards
\n
CAMP Roof
", "body": "

A recent \"reboot\" of our studio has resulted in new spaces and functions: an editing studio, a books and catalogues library, an offline film and video archive, and a workshop space, in addition to our old open-air screening venue.  Divide and multiply.

So, \"don't wait for the anniversary\" we said, and wanted to invite you all to a seven year (ek soot kum) celebration of CAMP, the place.  Which now rests among other unlikely things, on cardboard tubes, compressed plastic waste and cooling fans - the recent physical efforts and creativity of several people who you will meet there. 

\n

Since late 2007 (and before that by other names) we have worked as a group in a range of \u00e2\u20ac\u0153infrastructural\u00e2\u20ac\u009d contexts: electricity, CCTV, ships, archives to name a few. Through and with them, rather than for and of them. In other words, it has been our belief that these are locations from which a new sensorium can be produced, and solidarities remade. Here is where artistic assemblies should nest, and provoke. The studio is a kind of \"internal extension\" of such ideas. Ideas and objects that travel backwards from journeys, collaborations and various leaps of faith, and sometimes stick to the insides of a holding chamber, the studio. Where something else happens to them. They become part of a social space. They gather as selections, bodies, cuts, scripts, new raw materials from the incredible range of what could be thought of as \u00e2\u20ac\u0153culture\u00e2\u20ac\u009d today. 

\n

Over the years our studio has been a semi-public space that hosts events, projects and people beyond ourselves. Our desire is very much to refresh this invitation; to use these particular/ peculiar resources and spaces in the city. 

\n

The evening will begin at 6:30 pm on Monday, October 6th, and will include: 
A short survey of conceptual, technical, sensual and political orientations of what has been happening at CAMP. A studio tour. Ongoing work on archive projects pad.ma and indiancine.ma. Near future plans, including new CAMP websites, and exhibitions upcoming in winter and spring. Acknowledgements. Food and drink as always. 

\n

Cheers, and we hope to see you, comrades, friends, neighbours, spies, 

\n

Shaina Anand
Sanjay Bhangar
Ashok Sukumaran
Zinnia Ambapardiwala

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "DSCF10678.jpg", "postedby": "undefined", "datestart": "2014-10-06", "dateend": "2014-10-08", "dateadded": "2014-10-03T06:20:13Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 237, "fields": { "type": 0, "shortname": "eros", "title": "Proto CAMP at Eros", "header": "Copyright This! and Suroor TV\n
in
\n
EROS
\n
University Museum and Art Gallery
The University of Hong Kong
\n
October 18\u00e2\u20ac\u201cNovember 23, 2014
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "WIC016a.jpg", "postedby": "undefined", "datestart": "2014-10-18", "dateend": "2014-11-24", "dateadded": "2014-10-19T20:14:18Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 240, "fields": { "type": 2, "shortname": "history2", "title": " Writing Histories for Indian Cinema, Chapter Two", "header": "Organized by
Department of Film Studies, Jadavpur University
in collaboration with 
Pad.ma
October 30-31, 2014
Anita Banerjee Memorial Hall, Jadavpur University main campus\n

", "body": "
The 2014 annual seminar organized by Department of Film Studies, Jadavpur University, wishes to revisit the theme of our 2009 seminar on Writing Histories for Indian Cinema. Apart from continuing the debates on Indian film history and historiography, this year\u00e2\u20ac\u2122s seminar will focus on the ongoing archival initiative hosted at http://indiancine.ma, an initiative of the http://Pad.ma  project with which the Department and The Media Lab, JU, has become closely associated. While that platform promises to be a valuable research and teaching aid it has also generated debates about methodologies as well as the intellectual content of the discipline of film studies. 
\n

\n
The first of this two-day event shall focus on historical questions pertaining to periods, genres, regions, institutions and inter- media relationships.  The second day will begin with reflections on contemporary practice and then shift to the idea and practice of digital archiving, bringing on board questions such as conceptualizing regional cinemas or reconstructing filmographies against the new digital horizon. Practitioners and researchers who have worked on the http://indiancine.ma  platform shall critically reflect on their experience, followed by Cinemathon, a hands-on workshop to acquaint scholars and students with the processes of digital annotation.
\n

\n

\n
Subhajit Chatterjee
\n
Moinak Biswas
\n

\n
Seminar Coordinators
", "schedule": "
Day 1: Oct 30, 2014, Thursday
\n

\n
Welcome address: Head, Department of Film Studies
\n
10-00 am-10.15 am
\n
 
\n
Tea break: 10.15- 10.30 am
\n

\n
Session I: 10.30 am-11.15 am
\n

\n
Chair: Moinak Biswas (Department of Film Studies, Jadavpur University)
\n

\n
Paper 1: Myths, Markets and Panics: Speculating about the Proto-Cinematic Historical Significance of the Popularity of Two Parsi Theatre Plays at the Turn of the Twentieth Century
\n

\n
Kaushik Bhaumik (Jawaharlal Nehru University, Delhi)
\n

\n
Session II: 11.15 am -12.00 pm
\n

\n
Chair: Sanjoy Mukhopadhyay (Department of Film Studies, Jadavpur University)
\n

\n
Paper 2: Theatre and Cinema: Aspects of a Cultural History
\n

\n
M. Madhava Prasad (English and Foreign Languages University, Hyderabad)
\n

\n

\n
Session III: 12.00- 12.45 pm
\n

\n
Chair: Subhajit Chatterjee (Dept. of Film Studies, Jadavpur University) 
\n

\n
Paper 3: Risk, Precarity and Desire: \u00e2\u20ac\u02dcAccidental\u00e2\u20ac\u2122 Histories of Film Work in Bombay's Early Talkie Industry (1930s-1940s)
\n

\n
Debashree Mukherjee (New York University)
\n

\n

\n
Lunch: 12-45 pm- 1.30 pm
\n

\n

\n
Session IV: 1.30 pm \u00e2\u20ac\u201c 2.15 pm
\n

\n
Chair: Ashish Rajadhyaksha (Centre for the Study of Culture & Society, Bangalore)
\n

\n
Paper 4: Transitional Genres: Reflections on the Bengali \u00e2\u20ac\u02dcMystery-Thriller\u00e2\u20ac\u2122 Film in Post-Independence Era
\n

\n
Subhajit Chatterjee (Dept. of Film Studies, Jadavpur University)
\n

\n

\n
Session V: 2.15 pm \u00e2\u20ac\u201c 3.00 pm
\n

\n
Chair: Manas Ghosh (Dept. of Film Studies, Jadavpur University)
\n

\n
Paper 5: Resurgence of the Regional: Towards the 'New-Turn' in Marathi Cinema
\n

\n
Hrishikesh Ingle (English Foreign Languages University, Hyderabad)
\n

\n

\n
Tea Break : 3.00-3.15  pm
\n

\n
Session VI: 3.15 \u00e2\u20ac\u201c 4.00 pm
\n

\n

\n
Chair : M. Madhava Prasad (English & Foreign Languages University, Hyderabad)
\n

\n
Paper 6: Watching Without Seeing: Contemporary Bengali Popular Films and Unpopulated Cinemas
\n

\n
Madhuja Mukherjee (Dept. of Film Studies, Jadavpur University)
\n

\n

\n
Session VII: 4.00 pm \u00e2\u20ac\u201c 4.45 pm
\n

\n
Chair: Anindya Sengupta (Dept. of Film Studies, Jadavpur University)
\n

\n
Paper 7: Cinema Halls: The Lost Neighbourhood
\n

\n
Dhriti Sundar Roy Chowdhury (Dept. of Film Studies, Jadavpur University)
\n

\n

\n

\n
Day 2: Oct 31, 2014, Friday
\n

\n
Session I: 10.30 am-11.15 am
\n

\n
Chair : Madhuja Mukherjee (Dept. of Film Studies, Jadavpur University) 
\n

\n
Paper 8: Bombay Noir
\n

\n
Lalitha Gopalan (The University of Texas at Austin, USA)
\n

\n
Tea Break: 11.15 am-11.30 am 
\n

\n
Session II: 11.30 am-12.15 pm
\n

\n
Chair: Abhijit Roy (Dept. of Film Studies, Jadavpur University)
\n

\n
Paper 9: Reconstructing the Filmography - Part II
\n

\n
Ashish Rajadhyaksha (Centre for the Study of Culture & Society, Bangalore)
\n

\n

\n
Session III: 12. 15 \u00e2\u20ac\u201c 12.45 pm 
\n

\n
Chair: Shradhanjali Tamang (Dept. of Film Studies, Jadavpur University)
\n

\n
Presentation on History/Historicity in Malayalam Cinema of the 1960s and 1970s
\n

\n
Satish Poduval (English & Foreign Languages University, Hyderabad)
\n

\n
Lunch: 12.45 \u00e2\u20ac\u201c 1.30 pm 
\n

\n
Session IV 1.30 \u00e2\u20ac\u201c 3.15 pm
\n

\n
Chair: Ashish Rajadhyaksha 
\n

\n
Indiancine.ma panel presentations by research scholars associated with Pad.ma, CAMP, Mumbai and the Media Lab, Jadavpur University:
\n

\n
Ananya Parikh 
\n
Debashree Mukherjee 
\n
Maharghya Chakrabarty 
\n
Utsab Sen
\n

\n

\n
Coffee Break: 3.15-3.30 pm
\n

\n
Session V: 3.30- 5.00
\n

\n
Cinemathon: Indiancine.ma workshop 
\n

\n
To be conducted by Zinnia Ambapardiwala, Ananya Parikh  and Ashish Rajadhyaksha 
\n

\n
Valedictory Address: 5.00 pm
\n

", "schedulebutton": "Programme", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "indiancinema100.png", "postedby": "undefined", "datestart": "2014-10-30", "dateend": "2014-11-01", "dateadded": "2014-10-22T10:12:17Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 19 } }, { "model": "content.content", "pk": 241, "fields": { "type": 2, "shortname": "SB", "title": "Shanghai Biennale ", "header": "From Gulf to Gulf to Gulf \n
\n
Social Factory: The 10th Shanghai Biennale
\n
November 23, 2014\u00e2\u20ac\u201cMarch 31, 2015
\n
Power Station of Art
\n
200 Huayuangang Rd
\n
Shanghai
\n
China
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "FromGulf2Gulf2Gulf_posteroct2014_web.jpg", "postedby": "undefined", "datestart": "2015-03-30", "dateend": "2015-03-31", "dateadded": "2014-11-11T18:21:13Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 242, "fields": { "type": 2, "shortname": "Verzio", "title": "Verzio Budapest", "header": "From Gulf to Gulf to Gulf 
at
Verzio International Human Rights Documentary Film Festival\n
Budapest, 11 to 16 November, 2014
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "FromGulf2Gulf2Gulf_posteroct2014_web.jpg", "postedby": "undefined", "datestart": "2014-11-11", "dateend": "2014-11-17", "dateadded": "2014-11-11T18:33:33Z", "datemodified": null, "published": 1, "view": 4, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 243, "fields": { "type": 2, "shortname": "chasse", "title": "Museum of Hunting and Nature ", "header": "From Gulf to Gulf to Gulf\n
at 
\n
Mus\u00c3\u00a9e de la Chasse et de la Nature
\n
Paris
\n
November 19, 2014 7:30 pm
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "FromGulf2Gulf2Gulf_posteroct2014_web.jpg", "postedby": "undefined", "datestart": "2014-11-19", "dateend": "2014-11-20", "dateadded": "2014-11-11T18:38:46Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 245, "fields": { "type": 0, "shortname": "fearless", "title": "Nirankusha: Fearless, Speak", "header": "The Radia Tap(e)s: 
\r\n
Act I Swearing-in Whispers
\r\n
Act II Hum Logos 
\r\n
at 
\r\n
Museum of Interruptions
\r\n
Rangoli Metro Art Center,  Bangalore 
\r\n
25th to 30th November
\r\n

Closing event: 
\r\n
Pal Pal Pal Pal (featuring Niira Radia and friends) 
\r\n
A Screenplay reading of Act I followed by the screening of Act II
\r\n
1Shanthi Road, Bangalore
\r\n
November 30th, 6pm
\r\n

", "body": "
Niira Radias: Miriam Joseph and Nishka Crishna 
\r\n
A Raja and Tarun Das: Gowthaman Ranganathan
\r\n
Barkha Dutt: Ishana Tripathi
\r\n
Kanimozhi: Kavya Murthy
\r\n
Shankkar Aiyar: Sanjeev Narrain 
\r\n
Vir Sanghvi and Sunil Arora: Ashok Sukumaran
\r\n
RK Chandolia: Akhil Kang
\r\n
Narrator: Danish Sheikh 
\r\n
Voice of God: Lawrence Liang 
\r\n

Thanks: Prerna Bishnoi, Suresh Jayaram, Marjorie Rodrigues. 
\r\n

\r\n
Thank you all for a wonderful reading. 
\r\n

\r\n
The Radia Tape leaks have been described as \u00e2\u20ac\u0153essential listening for anyone trying to be a journalist.\u00e2\u20ac\u009d This invitation could be extended to anyone interested in contemporary rhetoric, and the links between speech, communication and politics. 
\r\n
Act I (Swearing-in Whispers) is a screenplay in Courier 12pt melodramatic format, spanning four days in the wake of the general elections of 2009. Act II (Hum Logos) is a 45-minute audio film following from where the screenplay ends, taking us across the next two months. 
\r\n

\r\n
With the new cabinet in power, a lobbyist goes about her business - from cellphones to cooking gas to news media. Later, several top journalists would claim that they were just \"stringing her along\", and their conversations were not based on and had no impact on reality. A broad spectrum of rhetorical agents:  lies, cries,  pen drives,  family feuds and bad networks can thus be heard pulsing through the nervous systems of Indian democracy. The original recordings were made by the government. The screenplay slows them down and asks: what kinds of environments and scenes may lie behind them? The film asks: if debate around these tapes is about whether they are edited or not, or as Justice Mukhopadhay put it if \"splice has been added\", then what could further editing do?
\r\n

", "schedule": "", "schedulebutton": null, "optbtn2": null, "opttext2": "", "optbtn3": null, "opttext3": "", "technotes": "u", "image": "Radia_Rehearsing.jpg", "postedby": "undefined", "datestart": "2014-11-23", "dateend": "2014-11-28", "dateadded": "2014-11-28T19:15:37Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 158 } }, { "model": "content.content", "pk": 246, "fields": { "type": 2, "shortname": "porto", "title": "Porto/Post/Doc", "header": "From Gulf to Gulf to Gulf\n
at
\n
Carte Blanche/FID Marseille 
\n
Porto/Post/Doc
\n
December 13, 7:00 pm
\n
Rivoli, Grand Auditorium
\n
Porto 
\n

", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "degolfoagolfov.jpg", "postedby": "undefined", "datestart": "2014-12-03", "dateend": "2014-12-14", "dateadded": "2014-12-03T10:14:46Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 247, "fields": { "type": 2, "shortname": "sun", "title": "Film Program: Sun", "header": "From Gulf to Gulf to Gulf \n
at 
\n
Rupert, Vilnius
\n
December 5, 7:00 pm
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "final poster.jpg", "postedby": "undefined", "datestart": "2014-12-03", "dateend": "2014-12-06", "dateadded": "2014-12-03T10:21:22Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 248, "fields": { "type": 0, "shortname": "unravelling", "title": "Unravelling Documentarism ", "header": "
Selected Works from the 60th Flaherty Film Seminar 
The Neighbour Before the House (60 mins)\n
and
Capital Circus (27 min)
\n
WHS Teatreri Film Union
\n
Helsinki
\n
December 4, 6:00pm 
\n

", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "postcard-front.jpg", "postedby": "undefined", "datestart": "2014-12-02", "dateend": "2014-12-06", "dateadded": "2014-12-03T10:49:55Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 250, "fields": { "type": 3, "shortname": "asif", "title": "As If (I-V)", "header": "Save the Dates! \n
As If (I-V) 
\n

\n
\n
As If \u00e2\u20ac\u201c I  Rock, Paper, Scissors
\n
EXPERIMENTER, Kolkata
\n
January 7 - February 20  2015
\n

\n
As If \u00e2\u20ac\u201c II  Flight of the Black Boxes
\n
24 JORBAGH, New Delhi
\n
January 27 - February 24  2015
\n

\n
As If \u00e2\u20ac\u201c III  Country of the Sea
\n
BHAU DHAJI LAD MUSEUM, Mumbai
\n
February 21 - April 7  2015
\n

\n
As If \u00e2\u20ac\u201c IV  Night For Day
\n
CHEMOULD PRESCOTT ROAD, Mumbai
\n
March 9 - April 30  2015
\n

\n
As If \u00e2\u20ac\u201c tV  
\n
\n
Clark House Initiative, Mumbai
\n
March 29 - May 20  2015
\n

\n
AS IF is a series of exhibitions by CAMP across the winter /summer of 2014-15.
\n

", "body": "
Retrospective in spirit, these shows gather for the first time in solo exhibition form many of the artworks and ideas crafted by CAMP as a group since 2007, and by its constituent individuals since 2002. 
\n

\n
\u00e2\u20ac\u0153In expressions like Kelucharan as Radha, TV as a Fireplace or Seeing it as a Rabbit, we see the key role of the small word as. As carries mimesis, metaphor, selection, or adaptation \u00e2\u20ac\u201c so many of the classic powers of art.  As If is riskier, more tensile. It reaches for things that have receded from the senses, or that are 'so close, yet so far'. Or that can be thought of and said, but not easily done. As If suggests semblance, structures and desires stretched in both directions: more unlikely, more utopian, but also more concrete, more realised. As If is a two-way bridge between imagination and intimacy.\u00e2\u20ac\u009d \u00e2\u20ac\u201c CAMP
\n

\n
CAMP is a collaborative studio founded in Bombay in 2007. It has been producing fundamental new work in video and film, electronic media, and public art forms, in a practice characterised by a hand-dirtying, non-alienated relation to technology. CAMP's projects have entered many modern social and technical assemblies: energy, communication and surveillance systems, neighbourhoods, ships, archives \u00e2\u20ac\u201c things much larger than itself. These are shown as not having a fixed function or destiny, making them both a medium and stage for artistic activity.
\n

\n
CAMP\u00e2\u20ac\u2122s work has been shown in venues such as Khoj, Sarai, Lalit Kala Akademi and NGMA New Delhi, MoMA and New Museum New York, Serpentine Galleries and Gasworks London, Ars Electronica Linz, HKW Berlin, MoMA Warsaw, Askhal Alwan Beirut, Experimenter Kolkata and Documenta 13 Kassel; in the streets and markets of Bangalore, San Jose, Dakar, Mexico City, East Jerusalem, Delhi and Bombay; in the biennials of Shanghai, Sharjah, Gwangju, Taipei, Singapore, Liverpool and Kochi-Muziris; at film venues such as the AV Festival, BFI London Film Festival, Viennale, Flaherty Seminar, Anthology Film Archives, and CAMP\u00e2\u20ac\u2122s own rooftop cinema. From their home base in Chuim village, they co-host the online archive Pad.ma and Indiancine.ma, among other long-duree activities. 
\n

\n
As If  I-V is a survey of CAMP\u00e2\u20ac\u2122s unique work and working methods, in a series of exhibitions across Kolkata, Delhi and Mumbai. More, coming soon. 
\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "01emailer.jpg", "postedby": "undefined", "datestart": "2015-01-07", "dateend": "2015-05-30", "dateadded": "2014-12-08T19:59:11Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 251, "fields": { "type": 2, "shortname": "rockpaperscissors", "title": "As If - I Rock, Paper, Scissors", "header": "
EXPERIMENTER, Kolkata
\n
January 7 - February 10  2015
\n
\n

\n
An old game of hand-commanded powers: 
\n

\n
Jan, Ken, Pon
\n
Mushti, Pataka, Kartarimukha
\n

\n
An interplay of forces in which the roles of Subject, Medium and Author can be exchanged, and also changed.
\n

\n
Three Early Works 
", "body": "
\n
In three early works, the roles of subject, medium and author are already rearranged. They struggle with each other on an equal plane. In a sculptural work, video is seen as a physical force disturbing and seducing subjects. Next to this, a collaboration unfolds in a large mall, in which security people, members of the public and 208 cameras are participants. A third work jujitsus television sets, CCTV and neighbours to reconfigure space, speech and hierarchy in a Delhi neighbourhood.
\n

\n
These are formative works by members of CAMP. Windscreen is from 2002, and has never been recreated. It renders video as a physical force, as well as lure and trap. Capital Circus consists of actions followed by 208 CCTV cameras inside the largest mall in Europe, in the city centre of Manchester in 2008. This reworking of the roles of camera operators, publics and CCTV itself yields recordings which are here edited into a film, exhibited recently at the MoMA, Anthology Film Archives and Flaherty Seminar New York, and the Museum of Contemporary Art Tokyo. Khirkeeyaan took place in the Khirkee neighbourhood of Delhi in 2006, during a residency at Khoj. It involved near and far neighbours talking to each other over household, shop and factory-basement television sets. Khirkeeyaan was part of a historical survey of artists interventions into broadcasting at the AV Festival in 2008 and has been shown at the Power Plant Toronto, Frankfurt Kunstverein, Kunstsammlung Nordrhein-Westfalen Dusseldorf, Henie Onstad Kunstsenter Oslo, Cornerhouse Manchester, Hatton Gallery Newcastle, Sarai Delhi etc, and was recently part of Tales from the Networked Neighbourhood: The Cinema of CAMP with Filmmaker Festival, Milan.
\n
\n

", "schedule": "
CAMP
\n
As If  (I - IV)
\n

\n
As If  is the title of a series of exhibitions by CAMP in early 2015. Retrospective in spirit, these shows gather for the first time in solo exhibition form, many of the artworks and ideas crafted by CAMP as a group since 2007, and by its constituent individuals since 2002.
\n

\n
\u00e2\u20ac\u0153In expressions like Kelucharan as Radha, TV as a Fireplace or Seeing it as a Rabbit, we see the key role of the small word as. As carries mimesis, metaphor, selection, or adaptation \u00e2\u20ac\u201c so many of the classic powers of art.  As If is riskier, more tensile. It reaches for things that have receded from the senses, or that are 'so close, yet so far'. Or that can be thought of and said, but not easily done. As If suggests semblance, structures and desires stretched in both directions: more unlikely, more utopian, but also more concrete, more realised. As If is a two-way bridge between imagination and intimacy.\u00e2\u20ac\u009d \u00e2\u20ac\u201c CAMP
\n

\n
CAMP is a collaborative studio founded in Bombay in 2007. It has been producing fundamental new work in video and film, electronic media, and public art forms, in a practice characterised by a hand-dirtying, non-alienated relation to technology. CAMP's projects have entered many modern social and technical assemblies: energy, communication and surveillance systems, neighbourhoods, ships, archives \u00e2\u20ac\u201c things much larger than itself. These are shown as not having a fixed function or destiny, making them both a medium and stage for artistic activity.
\n

\n
CAMP\u00e2\u20ac\u2122s work has been shown in venues such as Khoj, Sarai, Lalit Kala Akademi and NGMA New Delhi, MoMA and New Museum New York, Serpentine Galleries and Gasworks London, Ars Electronica Linz, HKW Berlin, MoMA Warsaw, Askhal Alwan Beirut, Experimenter Kolkata and Documenta 13 Kassel; in the streets and markets of Bangalore, San Jose, Dakar, Mexico City, East Jerusalem, Delhi and Bombay; in the biennials of Shanghai, Sharjah, Gwangju, Taipei, Singapore, Liverpool and Kochi-Muziris; at film venues such as the AV Festival, BFI London Film Festival, Viennale, Flaherty Seminar, Anthology Film Archives, and CAMP\u00e2\u20ac\u2122s own rooftop cinema. From their home base in Chuim village, they co-host the online archives Pad.ma and Indiancine.ma, among other long-duree activities.
\n

\n
As If I-IV is a survey of CAMP\u00e2\u20ac\u2122s unique work and working methods, in a series of exhibitions across Kolkata, Delhi and Mumbai
", "schedulebutton": "As If (I - IV)", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "01emailer.jpg", "postedby": "undefined", "datestart": "2015-01-07", "dateend": "2015-01-15", "dateadded": "2014-12-20T10:01:55Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 250 } }, { "model": "content.content", "pk": 252, "fields": { "type": 0, "shortname": "asif3", "title": "Country of the Sea", "header": "
\n
As If \u00e2\u20ac\u201c III  Country of the Sea
\n
DR. BHAU DHAJI LAD MUSEUM, Mumbai
\n
February 21 - April 2  2015
\n

A journey with CAMP\u00e2\u20ac\u2122s five-year Wharfage project and related maritime explorations.", "body": " The city premiere of the widely-travelled film From Gulf to Gulf to Gulf. In other antagonisms: labour deep inside containers, voyeurs in the busiest shipping channel, lists arguing with lists, photographs of other photographs, and a wall-map titled The Country of the Sea. A counterpoint to both the imperial 'view from the boat', and to contemporary metaphors of the 'liquidity' and 'flow' of oceanic and global relations.", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "", "postedby": "undefined", "datestart": "2015-02-21", "dateend": "2015-03-03", "dateadded": "2015-01-09T17:44:58Z", "datemodified": null, "published": 0, "view": 3, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 253, "fields": { "type": 2, "shortname": "asif2", "title": "As If - II Flight of the Black Boxes", "header": "
24 JORBAGH, New Delhi
\n
January 27 - February 24  2015
\n
\n

\n
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.
\n

\n
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. 
", "body": "
Members of the public enter security rooms to dialogue with operators. Elsewhere, a single CCTV camera films from the parapets of Palestinian homes, looking over neighbourhoods that are being broken up into countries. Forces gather into shapes in Bombay, Delhi, Rostock or Lubljana. A room camera obscura interrupts the black box of video art with live bodies and trees. The house itself, in a constant state of exhibition and erasure, extrudes changing alphabets in a new work called \"Four-Letter Film\".
\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "1D2.jpg", "postedby": "undefined", "datestart": "2015-01-27", "dateend": "2015-02-25", "dateadded": "2015-01-09T18:10:17Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 250 } }, { "model": "content.content", "pk": 254, "fields": { "type": 2, "shortname": "asif_3", "title": "As If - III Country of the Sea", "header": "
\n
DR. BHAU DHAJI LAD MUSEUM, Mumbai
\n
February 21 - April 7  2015
\n

A journey with CAMP\u00e2\u20ac\u2122s five-year Wharfage project and related maritime explorations.\n

\n
The city premiere of the widely-travelled film From Gulf to Gulf to Gulf. In other antagonisms: labour deep inside containers, voyeurs in the busiest shipping channel, lists arguing with lists, photographs of other photographs, and a wall-map titled The Country of the Sea. A counterpoint to both the imperial 'view from the boat', and to contemporary metaphors of the 'liquidity' and 'flow' of oceanic and global relations.
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "COS_BDL.jpg", "postedby": "undefined", "datestart": "2015-02-21", "dateend": "2015-04-09", "dateadded": "2015-01-09T18:19:02Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 250 } }, { "model": "content.content", "pk": 255, "fields": { "type": 2, "shortname": "asif4", "title": "As If - IV Night for Day", "header": "
CHEMOULD PRESCOTT ROAD, Mumbai
\n
\n
March 9 - April 30  2015
\n

\n
Choreographed together, electric, sonic, filmic and other uncategorisable works from 2002 to 2014 that took place in the nighttime worlds of Bombay, Delhi, Bangalore, Sharjah, Dakar, Kabul, Mexico and other cities. 
", "body": "
'Day for Night' in film is when scenes shown as night are actually shot in the day. The reverse idea promotes night as the imaginative, cinematic and subterranean aspect that undergrids daytime. And troubles the \u00e2\u20ac\u02dceveryday\u00e2\u20ac\u2122 by distributing its energies differently.
\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "ID9dark.jpg", "postedby": "undefined", "datestart": "2015-03-09", "dateend": "2015-04-30", "dateadded": "2015-01-09T18:28:55Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 250 } }, { "model": "content.content", "pk": 258, "fields": { "type": 0, "shortname": "", "title": "After Midnight: Indian Modernism To Contemporary India 1947/1997", "header": "
Queens Museum, NY
\n
Mar 8 2015m - Jun 28 2015
\n

\n
From Gulf to Gulf to Gulf  (83 mins) 
\n
and Stuffing and Destuffing (4 channel looped video 9 mins)
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "HINDI (1).jpg", "postedby": "undefined", "datestart": "2015-03-08", "dateend": "2015-06-30", "dateadded": "2015-03-19T16:57:08Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 260, "fields": { "type": 2, "shortname": "M+", "title": "Mobile M+ Moving Images ", "header": "From Gulf to Gulf to Gulf \n
M+ 
\n
Hongkong 
\n
13 March to 26 April 2015 
\n

", "body": "
Mobile M+: Moving Images is curated by Yung Ma and includes works by CAMP, Paul Chan, Chen Chieh-jen, David Diao, Estudio Teddy Cruz, Simryn Gill, Dominique Gonzalez-Foerster, Isaac Julien, Kan Xuan, William Kentridge, Hassan Khan, Firenze Lai, Li Ran, Charles Lim, Anson Mak, Ellen Pau, Koki Tanaka, Wang Gongxin, Apichatpong Weerasethakul and Chai Siris,Wong Ping, Young-Hae Chang Heavy Industries, Yuan Goang-Ming, Zhang Peili and Zhu Jia.
\n

\n

\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "HINDI.jpg", "postedby": "undefined", "datestart": "2015-04-25", "dateend": "2015-04-26", "dateadded": "2015-03-19T17:34:30Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 261, "fields": { "type": 0, "shortname": "Adachi", "title": "An evening with Masao Adachi ", "header": "
7:00 pm
\n
A.K.A. Serial Killer
\n
Masao Adachi, 1969, 86 min
\n
https://0xdb.org/0239925
\n

\n
9:00 pm
\n
The Anabasis of May and Fusako Shigenobu,
\n
Masao Adachi and 27 Years Without Images
\n
Eric Baudelaire, 2011, 66 min
\n
https://0xdb.org/2006160
\n

\n
10:00 pm
\n
It May Be That Beauty Has Strengthened Our Resolve: Masao Adachi
\n
Philippe Grandrieux, 2011, 73 min
\n
https://0xdb.org/2007401
\n

\n
CAMP rooftop: http://studio.camp/campstudio.html
", "body": "
CAMP and Pirate Cinema Berlin invites you to a rooftop screening of three films directed, populated and inspired by Masao Adachi. An evening without Adachi, for certain: the 75-year old filmmaker cannot leave Japan, since he has spent years in jail for passport violations in connection with a series of airplane hijackings in the 1970s. Also an evening without most of his images: they were destroyed in Beirut in 1982. Adachi knows that he could have made more films, but as a heavy drinker, he also knows that it might have cost him his life. In 1971, Nagisa Oshima, Koji Wakamatsu, Yoshida Kiju and Masao Adachi, on their way back from the Cannes Film Festival, decide to make a stopover in Palestine. They get to Beirut, and Adachi will stay there for 27 years, as part of the Japanese Red Army faction of the PLFP, in hiding, in jail - the one-man film-making wing of the armed struggle, and the one man who meant it literally when he said: Guerrilla Cinema.
\n

\n
Cinema without Adachi, mostly, until in 2011 Eric Baudelaire and Philippe Grandrieux make two astonishing and entirely unexpected films, not about, but rather with and through Adachi. Baudelaire strikes a pact: Adachi cannot return to Beirut, so he will lend him his eyes, trace the skyline and coast, account for images lost, shots never taken and stories left untold. What Adachi says about \"AKA Serial Killer\" -- in order to make a political documentary, no script is needed, just a camera to film the urban landscape, its transformation, the concrete shape of political power -- applies to Baudelaire's film as well. Beirut won't let him down: decades of struggle peel off the shelled-out buildings, entire continents of unseen cinema glisten in the sun by the Corniche, and Adachi's letters provide the distance in time and space across which the images do what images do best: set forth a motion, travel.
\n

\n
Grandrieux -- infamous for his features \"Sombre\" (1998) and \"La vie nouvelle\" (2002), a cinema of dark intensity often mistaken for just another color within the 1990s French New Wave of extreme sex and violence -- in 2011 announces that he is going to make a series of political documentaries. His first one is a journey to Tokyo where he meets Adachi. Grandrieux won't stray far from his style: keep the camera on somebody's neck until your heart beats faster, point it at a tree in a light that will make your breath stop. Where Baudelaire's film stays half-wide, Grandrieux gets close, a series of bodies in the city, nightly highway rides and voices from the back seat. Adachi keeps narrating as he keeps walking and drinking, and when the film reaches its end, what opens up is an entire alternative future of political documentary: one in which the image is no longer an easily transportable form of truth, but a force that returns to and re-emerges from the material world of sensations.
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Clark House Initiative, Mumbai
\n
March 29 to May 30 2015 
\n

\n
CAMP and Pad.ma present a series of works on, with and through the medium of TV. 
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "itclearlysaystv.jpg", "postedby": "undefined", "datestart": "2015-03-29", "dateend": "2015-05-31", "dateadded": "2015-03-31T18:19:26Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 250 } }, { "model": "content.content", "pk": 266, "fields": { "type": 2, "shortname": "ANT", "title": "As If III & IV : Art Night Thursday ", "header": "
As If - III Country of the Sea
\n
and 
\n
As If - IV Night for day 
\n

\n
\n
Join us for a walkthrough, conversation and discussion around the two exhibitions with CAMP and Lawrence Liang. 
\n
From 5.30 pm to 7 pm at Dr. Bhau Daji Lad Museum, 
\n
and from 7.30 onwards at Chemould Prescott Road. 
\n

", "body": "
The conversations will continue in the journey between the two spaces. 
\n
Transport will be available with limited seating.  
\n
RSVP: education@bdlmuseum.org 
\n

\n
\n
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "CAMP As If - IV walkthrough invite- (1).jpg", "postedby": "undefined", "datestart": "2015-03-12", "dateend": "2015-03-13", "dateadded": "2015-04-01T06:31:28Z", "datemodified": null, "published": 1, "view": 4, "place": null, "parentid": 250 } }, { "model": "content.content", "pk": 267, "fields": { "type": 2, "shortname": "BDL", "title": "As If - III : After-hours walkthrough and screening ", "header": "As If - III Country of the Sea \n
Dr. Bhau Daji Lad Museum
\n
6:00 pm to 8:30 pm 
\n
Tuesday, March 17 2014 
\n

\n
Join us for a walk through, followed by screening of From Gulf to Gulf to Gulf and Q and A. 
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "COS_BDL.jpg", "postedby": "undefined", "datestart": "2015-03-17", "dateend": "2015-03-18", "dateadded": "2015-04-01T06:42:27Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 250 } }, { "model": "content.content", "pk": 268, "fields": { "type": 2, "shortname": "MPC", "title": "As If All The Parts Were Slowly Changing", "header": "
Presented by Mohile Parkih Center and Chemould Prescott Road 
March 20, 2015 \n
6:30 pm, Chemould Prescott Road
\n

\n
\n
CAMP talks about the mutual development of ideas, collaborations and \"encounter strategies\" in As If (I- V), their series of ongoing exhibitions across Kolkata, Delhi and Mumbai. The talk is followed by a walk through of As If - IV  Night for Day at Chemould Prescott Road. As If is expanded upon as the title and framing device of these series of shows. 
", "body": "

\n
\u00e2\u20ac\u0153In expressions like Kelucharan as Radha, TV as a Fireplace or Seeing it as a Rabbit, we see the key role of the small word as. This as carries mimesis, metaphor, selection, or adaptation \u00e2\u20ac\u201c so many of the classic powers of art.  As If is riskier, more tensile. It reaches for things that have receded from the senses, or that are 'so close, yet so far'. Or that can be thought of and said, but not easily done. As If suggests semblance, structures and desires stretched in both directions: more unlikely, more utopian, but also more concrete, more realised. As If builds a two-way bridge between imagination and intimacy.\u00e2\u20ac\u009d \u00e2\u20ac\u201c CAMP
\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "CAMP_As-IF_IV.jpg", "postedby": "undefined", "datestart": "2015-03-20", "dateend": "2015-03-21", "dateadded": "2015-04-01T06:50:21Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 250 } }, { "model": "content.content", "pk": 269, "fields": { "type": 2, "shortname": "seminar", "title": "As If - III: View from the Boat (seminar)", "header": "
27 and 28 March 2015
\n

\n
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.
\n
 
\n
\n
The seminar will be preceded by an artists\u00e2\u20ac\u2122 introduction to the exhibition, starting at  6:00 pm on the 27th evening. 
\n
It will commence again on the 28th at 10:30 am and continue till 5:30 pm.
\n
Everyone is welcome to join an after-hours walk through of the exhibition on the 27th of March, starting at 6:00 pm. 
", "body": "
The Dr. Bhau Daji Lad Museum is delighted to invite you to an academic seminar \"View From The Boat\" inspired by the artist group CAMP's extensive maritime-world exhibition, titled As If III - Country of the Sea, ongoing at the Museum until April 7, 2015. Their six-year project on the Western Indian Ocean and around the Arabian/Persian Gulf includes the national premiere of their much-traveled film, 'From Gulf to Gulf to Gulf', in which Kutchi sailors and others take us from Kutch in western India to the ports of the Gulf and on to parts of Somalia and the Gulf of Aden, in a series of journeys at sea. The show suggests a range of counterpoints to the colonial \"view from the boat\u00e2\u20ac\u009d and also to the contemporary metaphors of \u00e2\u20ac\u0153liquidity\u00e2\u20ac\u009d and \"flow\" of smooth oceanic capital.
\n

\n
Exhibition-making and cultural activity could be thought of as a form of relay or jujitsu, in which values and ideas can be transmitted, interrupted or used towards other ends. This seminar is similarly an invitation to participate in an exploration and transmission exercise. A contemporary reminder, especially for Mumbai, in which our proximities, debts to and fears of the seas can be thought of anew.
\n

\n
The seminar will be preceded by an artists\u00e2\u20ac\u2122 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.
\n

", "schedule": "
Welcome address: Tasneem Zakaria Mehta
\n

\n
Artists encounter Seafarers, Anthropologists and 30,000 bags of Charcoal 
\n

\n
11:00  Ashok Sukumaran and Shaina Anand (CAMP)
\n

\n
11:30 Edward Simpson (SOAS)
\n

\n

\n
The Sea of Historians 
\n

\n
12:00  Lakshmi Subramanium (CSSS Kolkata) 
\n

\n
12:30 Renu Modi (Centre for African Studies, University of Mumbai) 
\n

\n

\n
\n
Being Dharamsey Bhai in Kutch
\n

\n
1:00  Virchand Dharamsey 
\n

\n
Lunch Break 
\n

\n
2:00 
\n

\n
\n
A response to the Exhibition from Bombay
\n

\n
02:00 pm Nancy Adajania (independent curator, art critic)
\n

\n
A response to the Exhibition in terms of its Making
\n

\n
02:30 Jesal Kapadia (MIT) 
\n
\n

\n

\n
03:15
\n
Discussion One: Artistic Research and its Horizons
\n

\n
Nancy Adajania
\n
Jesal Kapadia
\n
CAMP
\n

\n
04: 15 
\n
Discussion Two: What Country are we in Anyway?
\n

\n
Lakshmi Subramanium
\n
Edward Simpson
\n
Virchand Dharamsey
\n
CAMP
\n

\n

\n

", "schedulebutton": "Seminar Schedule ", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "SEMINAR (3).jpg", "postedby": "undefined", "datestart": "2015-03-27", "dateend": "2015-03-28", "dateadded": "2015-04-01T07:10:20Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 250 } }, { "model": "content.content", "pk": 270, "fields": { "type": 2, "shortname": "close", "title": "As If - II : A Closing Opening", "header": "
Closing event 
\n
As If - II Flight of the Black Boxes
\n

\n
Talk will be from 6:00 pm to 7:30pm
\n
On Tuesday 24th February 
\n
at 24, Jorbagh
The exhibition will remain open till 8:30 pm
\n
\n

\n
Do join us for a closing day talk with Ashok Sukumaran of CAMP, and Aastha Chauhan, Shaunak Sen and Srinivas Aditya Mopidevi who will offer responses and questions to parts of the exhibition. 
", "body": "
Ashok will also describe and show images from CAMP's ongoing As If exhibition series, a diverse landscape and topography of artistic moves. The third part of As If, titled \"Country of the Sea\" opened at the Dr. Bhau Daji Lad Museum in Mumbai two days ago. This talk gives a moment to reflect upon, recognise, squeeze or test some of the things that are at stake in these exhibitions. 
\n

\n
\n
About Flight of the Black Boxes:
\n
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 unstable interior worlds of cameras, memory devices, surveillance systems, electricity and more, developing feelings and strategies alongside them. 
\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "ID.jpg", "postedby": "undefined", "datestart": "2015-02-24", "dateend": "2015-02-25", "dateadded": "2015-04-01T07:44:17Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 250 } }, { "model": "content.content", "pk": 273, "fields": { "type": 2, "shortname": "ANT", "title": "As If - IV & As If - tV : Landscape Virtual", "header": "
Art Night Thursday
9th April, 2015 \n

\n
\n
\n

\n
Chemould Prescott Road and Clark House Initiative invite you to a discussion of two CAMP shows in the company of the artists. 
\n

\n
7:30 - 8:30 pm  Chemould Prescott Road 
\n
As If - IV Night for Day 
\n

\n
8:30 - 10:00 pm  Clark House Initiative
\n
As If - tV
\n

\n
\n
A two-part discussion, framed by concepts of the \"virtual\" and that of the \"landscape\". 
\n
Virtual: that which is not currently existing, an unrecognised plane or facet; out of time, an unseen capacity. But one that is clearly evoked and asked to function in these exhibitions.  Landscape:  that whose old walls and hierarchies must be cut across, but also which offers material resistance, and layers, which have to be navigated. 
\n

", "body": "
The prefix As If  in the exhibition titles carries the freedom of association of \"as\" and the \"what if\" of concrete and often utopian imaginations. But how to map the responses of artists against the massive mediafication, televisation, networking, and infrastructuring of our social landscape? How has the virtual itself evolved, and is it still useful as a concept? Taking the past century as a frame, this discussion walks us through camera obscuras, street decorations, television, CCTV, and proliferations of networked media from electricity onwards. All of which create their own gaps of sensing and participation, or what Lefebvre called \"blind fields\". In yet other words, these are the more \"virtual\" aspects of the past century of cinema. 
\n

\n
The first CAMP exhibition in this series was called Rock, Paper, Scissors. It suggested that subjects, technology and authors could be thought of as equally powerful, equally fragile, and could also exchange places. Once we adopt this contemporary play of forces, how do they modify the landscape? Discursively, psychologically, symbolically, physically or otherwise? The discussion tries to address this question. 
\n

\n

\n
CAMP 
\n
As If - IV Night for Day 
\n
Chemould Prescott Road 
\n
Ongoing till April 30 2015 
\n

\n
Choreographed together, electric, sonic, filmic and other uncategorisable works from 2002 to 2014 that took place in the nighttime worlds of Bombay, Delhi, Bangalore, Sharjah, Dakar, Kabul, Mexico and other cities. 
\n

\n
'Day for Night' in film is when scenes shown as night are actually shot in the day. The reverse idea promotes night as the imaginative, cinematic and subterranean aspect that undergrids daytime. And that troubles the \u00e2\u20ac\u02dceveryday\u00e2\u20ac\u2122 by distributing its energies differently.
\n

\n

\n
CAMP and Pad.ma 
\n
As If - tV
\n
Clark House Initiative 
\n
Ongoing till May 20 2015 
\n
A collection of early projects with and through the medium of television.  Also includes a special channel of Pad.ma TV, 24 hours of streamed programming from the online Pad.ma archive. 
\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "ID_NY.jpg", "postedby": "undefined", "datestart": "2015-04-09", "dateend": "2015-04-10", "dateadded": "2015-04-04T08:13:57Z", "datemodified": null, "published": 1, "view": 1, "place": null, "parentid": 250 } }, { "model": "content.content", "pk": 276, "fields": { "type": 0, "shortname": "ICMAMI", "title": "INDIANCINE.MA at MAMI ", "header": "November 2, 2015
11:00 am PVR Cinemas 3, Juhu


In 2013, as a gift to our cinema centenary indiancine.ma, an online platform and community initiative dedicated to Indian cinema history was born. The websites unique features include time-based annotations and unprecedented ways of searching across the moving image through texts, cuts, colour, camera movements, documents and maps.

Join film historians Sidharth Bhatia, Ranjani Mazumdar, Gayatri Chatterjee and Ashish Rajadhyaksha, archivist P.K. Nair, and filmmakers Anand Gandhi, Kiran Rao and CAMP as they offer a glimpse into how they use this digital film archive.

", "body": "Together they will take us through a sometimes dizzying panoramic arc from the era of black-and-white to the independent cinemas of the present: from the romances of the Bombay Talkies and smoky nightclubs of noir movies of the 1950s to the realism of the independents of this century.

Ashish Rajadhyaksha introduces the structure of the archive and excavates material of Bombay Talkies films to show how new digital research can happen.

Sidharth Bhatia produces an online edit along with his annotations of classic nightclub songs in 1950s Hindi melodrama.

Gayatri Chatterjee looks deep into Jogan (1950) by Kidar Sharma and Pakeezah (1972) by Kamal Amrohi to find special narrative and visual strategies present in the works of few Indian filmmakers.

Ranjani Mazumdar, on the occasion of the release of her annotated version of Anuraag Kashyaps unreleased debut film Paanch (2001), speaks of the expanded archives of the cinema.

Anand Gandhi and Recyclewala Labs exploit the many features of http://indiancine.ma with an exhaustive Ship of Theseus (2013) reader including much more than the directors commentary.

Collaborative studio CAMP present the ethos behind Indiancine.ma sister archive Pad.ma (Public Access Digital Media Archive) and provoke ways of using archives as sites for production.

Kiran Rao and P.K. Nair respond.

Followed by a discussion with the speakers and audience Q and A. 

__

Sidharth Bhatia, journalist (The Wire), is also author of India Psychedelic, The Story of a Rocking Generation (2013) and Cinema Modern: The Navketan Story (2012).

Gayatri Chatterjee, author of book-length works on Awara (1992/2003) and Mother India (2002), is a Pune based film scholar who has taught at the Film Appreciation Course, NFAI/FTII since 1987 and been faculty at FTII (2006-2010) and Symbiosis School of Liberal Arts (2010-present).

Ranjani Mazumdar, author of Bombay Cinema: An Archive of the City (2007) is Professor, Cinema Studies, at the School of Arts & Aesthetics, Jawaharlal Nehru University, New Delhi.

Ashish Rajadhyaksha is co-editor of the Encyclopaedia of Indian Cinema (2001) and author of Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency (2009).

Anand Gandhi is a filmmaker and writer deeply interested in philosophy, evolutionary psychology, innovation and transhumanism. Director of the multi-award winning Ship of Theseus (2013) and co-founder of Recyclewala Labs, and now Memesys Lab.

CAMP is a collaborative studio based in Bombay set up by artists Ashok Sukumaran and Shaina Anand in 2007 that combines film, video, installation, software, open-access archives and public programming with broad interests in technology, film and theory. Home to Pad.ma and Indiancine.ma.

P.K. Nair is the founder and former Director of the National Film Archive of India, Pune, and Indias best known film archivist.

Kiran Rao is a screenwriter and director of Dhobhi Ghaat (2011), and a film producer deeply committed to promoting independent cinema and living screen cultures.

Know more about Indiancine.ma


", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Pakeezah_indiancine.ma_CAMP.jpg", "postedby": "undefined", "datestart": "2015-11-02", "dateend": "2015-11-03", "dateadded": "2015-10-27T14:18:29Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 277, "fields": { "type": 0, "shortname": "MAMICAMP", "title": "Cinema At the time of More cameras than People ", "header": "at MAMI
31st October, 2015
2 pm PVR Phoenix Cinema - Screen 1,
Lower Parel, Mumbai

A talk and screening of video works by CAMP. We have systematically rebuilt relationships between subjects, authors and technology in video; between the eye, the lens and the audience; between footage, edits and finished work and pushed film form in ways that do not take these many component parts of film for granted. Our interests lie in both the production and distribution of images, and how these two things may be connected. In discussion with Nancy Adajania.
", "body": "The session is part of a two-day programme of screenings, presentations \nand discussions on the ideas surrounding experimentation with film \nlanguage and form, at the MAMI Mumbai Film Festival put together by \nAvijit Mukul Kishore and Rohan Shivkumar.

SCHEDULE:

DAY 1
OCTOBER 30

Session 1: 10:00 am
FILM AS ART: AN INTRODUCTION
Lecture and screening session presented by Shai Heredia

The first level of connection with the film medium is immediate and sensory. Through a process of viewing and discussion this session will explore the aesthetics of avant-garde/ experimental films, both Indian and international. By forging intricate connections with other art forms, particularly painting, poetry, photography and music, the medium will be deconstructed to recognize layers of form and content.

This session will be presented by Shai Heredia, film maker and the founding director of the \u00e2\u20ac\u02dcExperimenta\u00e2\u20ac\u2122 \u00e2\u20ac\u201c an artist-run platform that encourages experimentation with the moving-image in India.

Session 2: 2:00 pm
IMAGE AS MUSIC
\u00e2\u20ac\u02dcDhrupad\u00e2\u20ac\u2122 by Mani Kaul, Films Division India
Hindi with EST, Colour, 1983, 70 min

Dhrupad is the oldest surviving form of Hindustani Classical music and the Dagars, who have been singing for twenty generations, are responsible more than any one else for keeping it alive. Times have changed but the Dagars have tenaciously strived to maintain the pristine art form. This film is a slow meditative journey that fuses the depth and quiet of the traditional with the hurly-burly of the modern. The conflict between the soulfulness of the gurukul as envisaged and practiced by the Dagars and the philistinism of city life is more left to the imagination than spelt out here. The film's mood ranges from the occasionally playful to the largely pure and profound.

Session 3: 4:00 pm
PROPAGANDA / ANTI-PROPAGANDA
The documentary films of S.N.S. Sastry, Films Division India

Films Division, Government of India, is the second largest state-run documentary-producing organisation in the world, the largest ones being its equivalent in the former Soviet Union. It was formed in 1948, with the mandate of recording the visual history of the newly formed nation, using the medium of documentary film. The language and form of these films makes an interesting study, as do the distinct departures from the established norms of documentary film making within them. These departures are almost always expressed through formal innovation; irony and humour, creating films that could be disturbing and delightful at the same time.

This session features and analyses the landmark short films of SNS Sastry, one of Films Division\u00e2\u20ac\u2122s most illustrious film makers. The films are \u00e2\u20ac\u02dcAnd I Make Short Films\u00e2\u20ac\u2122 (1968), \u00e2\u20ac\u02dcKeep Going / Lage Raho\u00e2\u20ac\u2122 (1971), \u00e2\u20ac\u02dcThis Bit of That India\u00e2\u20ac\u2122 (1972), \u00e2\u20ac\u02dcOur Indira\u00e2\u20ac\u2122 (1974) and 'Amir Khan' (1970).

Session 4: 7:30 pm
NARRATIVE GAMES
\u00e2\u20ac\u02dcUrf Professor\u00e2\u20ac\u2122 by Pankaj Advani
Hindi with EST, Colour, 2001, 120 min

Chaos follows after a hit-man's car and winning lottery ticket go missing. Hudda is a Mumbai-based gangster who undertakes to kill people with the help of a man simply known as the Professor, who is in the habit of buying lottery tickets. Both the Professor and Hudda will find their lives changing when the nephew of a gangster gets killed, and they must find an undertaker who is able to put his mutilated face together. This is a dark comedy that keeps playing with the viewers\u00e2\u20ac\u2122 expectations of the plot and it\u00e2\u20ac\u2122s characters\u00e2\u20ac\u2122 behaviour.

The film will be presented by film maker Kamal Swaroop.


DAY 2
OCTOBER 31

Session 1: 10:00 am
THE INDIAN NEW WAVE AND IT\u00e2\u20ac\u2122S LEGACY
Lecture and screening session presented by Ashish Rajadhyaksha

It is often said that what distinguishes the independent sector of the New Cinemas from the better known middle-cinema is its experimentation with the celluloid form. The experiments were with lensing, with lighting, with sound, with film stock and lab processing, as much as they were with acting and scripting. While the best known of the celluloid experiments were those of Mani Kaul, they also included films by Kumar Shahani, Avtar Kaul, Satyadev Dubey, Mrinal Sen and Girish Kasaravalli.

This presentation is a walkthrough of the formal experiments of the new cinemas of the 1970s. Presented by film scholar Ashish Rajadhyaksha, author of 'Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency' (2009) and co-editor of the 'Encyclopaedia of Indian Cinema' (1999-2001). Ashish has recently edited and introduced the writings of Kumar Shahani, titled 'The Shock of Desire and Other Essays' (2015).

SCREENING: 11:45 am
\u00e2\u20ac\u02dcAadmi Ki Aurat aur Anya Kahaniyan\u00e2\u20ac\u2122 by Amit Dutta
Hindi with EST, Colour, 78 min, 2009

Amit Dutta\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Aadmi ki Aurat aur Anya Kahaniyan\u00e2\u20ac\u009d is a film based on stories by Vinod Kumar Shukla and Sadat Hasan Manto. The film attempts to explore the relationship between forms of storytelling in literature and in cinema.

There are three stories presented in the film- \u00e2\u20ac\u02dcPed Par Kamra (Room on a tree), \u00e2\u20ac\u02dcAadmi Ki Aurat\u00e2\u20ac\u2122 (Man\u00e2\u20ac\u2122s Woman) and Sau Kendal ka Bulb (100 watt Bulb) each a tale concerning paranoia, displacement and alienation, a probing into the complex nature of relationship between a man and a woman, and of the internal world of lonely men in relation to their environment.

Amit Dutta, a graduate of FTII specialized in direction is known for his distinctive style of filmmaking rooted in Indian aesthetic theories and personal symbolism resulting in images that are visually rich and acoustically stimulating.

Session 2: 2:00 pm
THE EXPANDED FIELD OF CINEMA
Cinema At the time of More cameras than People

Culture theorist Nancy Adajania will be in discussion with with Shaina Anand and Ashok Sukumaran of CAMP, an art collective that has many full forms for the acronym including 'Cinema At the time of More cameras than People'. This session looks at the unique ways in which film and moving image practice move beyond the boundaries of the cinema theatre into the art gallery, the internet and other public spaces; how people work with found footage and videos that may comprise sting material. For over a decade, CAMP's work has rebuilt relationships between subjects, authors and technology in video; between the eye, the lens and the audience; between footage, edits and finished works.

Session 3: 4:00 pm
OF MEMORY: COPIES WITHOUT AN ORIGINAL
\u00e2\u20ac\u02dcThe Forbidden Room\u00e2\u20ac\u2122 by Guy Maddin
English, Colour, 130 min, 2015

A submarine crew, a feared pack of forest bandits, a famous surgeon, and a battalion of child soldiers all get more than they bargained for as they wind their way toward progressive ideas on life and love.

Guy Maddin is an installation artist, screenwriter, cinematographer and filmmaker who has made ten feature-length movies and innumerable shorts. He has also mounted across the USA, UK, France, Germany, Australia, Peru, Mexico and Argentina numerous live performance versions of his films featuring live music, sound effects, singing and narration.

Session 4: 6:30 pm
THE IDEA OF A QUEER AESTHETIC
Panel discussion

While this is a subject of tremendous discourse internationally, discussions on the idea of a queer aesthetic are fairly nacsent in the Indian context. We are yet to start a serious study of queer art from the perspective of form, aesthetics and the politics inherent to the subject. Is queer art inherently related and limited to sexual orientation? And is there a difference between queer and camp? This panel discussion brings together a visual artist, a theatre-person and an ethno-musicologist - all of whom work on film, to discuss what queer art means to them.

Panelists: Natasha Mendonsa (visual artist), Vikram Phukan (theatre-person an writer) and Jeff Roy (ethno-musicologist). Moderator: Avijit Mukul Kishore

Screening: 7:30 pm
\u00e2\u20ac\u02dcBlue\u00e2\u20ac\u2122 by Derek Jarman
English, Colour, 80 min, 1993

Against a plain, unchanging blue screen, a densely interwoven soundtrack of voices, sound effects and music attempt to convey a portrait of Derek Jarman's experiences with AIDS, both literally and allegorically, together with an exploration of the meanings associated with the colour blue. 'Blue' is the twelfth and final feature film by director Derek Jarman, released four months before his death from AIDS-related complications. Such complications had already rendered him partially blind at the time of the film's release. The film was his last testament as a film-maker, and consists of a single shot of saturated blue colour filling the screen, as background to a soundtrack where Jarman's and some of his favourite actors' narration describes his life and vision.

This is the first screening of 'Blue' in India.

This programme is curated by Avijit Mukul Kishore and Rohan Shivkumar. Avijit is a film maker and cinematographer whose work includes documentary and feature films, visual art, teaching and curating. Rohan Shivkumar is an architect and urban studies scholar, Deputy Director of Kamla Raheja Vidyanidhi Institute of Architecture, who has worked on film-based research projects, curation and is the co-editor of the book 'Project Cinema City'.

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With a reading of the screenplay
Act I: Swearing-in Whispers followed by a screening of
Act-II: Hum Logos

Corruption: Everybody Knows curated by Natasha Ginwala, continues through December 19, 2015  at E-flux, NY
", "body": "CAMP: The Radia Tap(e)s
in Two Acts

Act I (Swearing-in Whispers) is 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?

Act II (Hum Logos) is a 45-minute audio film following on from where the screenplay ends, taking us into the next two months, 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?

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July 2nd and 3rd, 2016. 
\n
A workshop on practical scanning and managing collections, with a group of local and international experts and enthusiasts on the subject. \n
", "body": "
\nJuly 2nd, 11am\nScanning workshop. Practical scanning of books, photos and documents. \n
Including scanning workflow, and building a new scanner after the prototype at CAMP made with the support of Tomislav Medak and Marcell Mars (https://monoskop.org/) and https://www.memoryoftheworld.org/blog/cat/tools/
\n

\n
Evening discussion on what we need locally, on the scanning front.\n
\n

\n\nJuly 3rd, 11am\nManaging collections. With Jan Gerber and Sebastian Lutgert from Open Media Library, Sean Dockray from Aaaaarg, Memory of the World, and other platforms. 
\n

\n
Closing discussion on what we need on the collections front. 
\n

\nPlease let us know if you are interested, lunch will be served both days. The host group is about 15 people, we are inviting about 10 guests. \n\n
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\n
13 December 2015 \u00e2\u20ac\u201c 31 January 2016
\n
Times Museum, Guangzhou
\n

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

", "body": "
Also showing: 
\n
Destuffing Matrix, 2012
\n
8 mins HD
\n
(single channel composite of 12 channel installation)
\n

\n
Workshop on January 15, 2016 with footage in Pad.ma 
\n
10pm to 6pm 
\n
Times Museum 
\n
https://pad.ma/grid/title/source==CAMP&project==Men_at_Work_with_Boxes
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From Gulf to Gulf to Gulf 
with an introduction by Edward Simpson, curated by Nada Raza\n
\n

\n
at Mosaic Rooms, London
\n
14th April, 2016 7:00 pm
", "body": "

\n
http://mosaicrooms.org/event/film-screening-from-gulf-to-gulf-to-gulf/
", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "406__GULF_CAMPfreevite-01.jpg", "postedby": "undefined", "datestart": "2016-04-13", "dateend": "2016-04-15", "dateadded": "2016-06-29T10:39:05Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 284, "fields": { "type": 2, "shortname": "Oceanafter", "title": "Yerba Buena Center for the Arts", "header": "
From Gulf to Gulf to Gulf 
at \n
The Ocean After Nature 
\n
YBCA, San Francisco 
\n
curated by Alaina Claire Feldman
\n

\n
Screening dates: 
\n
July 5, August 20 2016  
", "body": "https://www.ybca.org/whats-on/film-program", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "406__GULF_CAMPfreevite-01.jpg", "postedby": "undefined", "datestart": "2016-06-02", "dateend": "2016-06-20", "dateadded": "2016-06-29T10:53:22Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 285, "fields": { "type": 2, "shortname": "transactions", "title": "Wharfage", "header": "
Transactions 
\n
Manifesta Parallel exhibition
\n
June 10 to July 13 2016
\n
University of Zurich
\n

\n
Country of the Sea  (2015)
\n
CAMP in collaboration with Shunya Collective
\n
single exposure cyanotype
\n
17 feet x 5 feet 
\n

\n
Hold (2016)
\n
Plimsoll line, Printer, Paper, Manifests 
\n

\n
From Gulf to Gulf to Gulf (2013)
\n
HD, HDV, SDV, VHS, Cell-phone (variable) 83 mins 
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "MAP.jpg", "postedby": "undefined", "datestart": "2015-06-10", "dateend": "2016-07-03", "dateadded": "2016-06-29T11:04:15Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 288, "fields": { "type": 2, "shortname": "Madrid", "title": "Pad.ma at the Reina Sofia", "header": "
The Archives of the Commons
\n
Seminar
\n
Reina Sofia, Madrid 
\n
December 11, 12 2015 
", "body": "
http://www.museoreinasofia.es/en/activities/common-archives
\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Screen Shot 2016-07-01 at 13.08.30.jpg", "postedby": "undefined", "datestart": "2015-12-11", "dateend": "2015-12-13", "dateadded": "2016-07-01T07:36:12Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 19 } }, { "model": "content.content", "pk": 289, "fields": { "type": 3, "shortname": "randr", "title": "R & R", "header": "Opens 20th March 2016 \n

\n
Blue Door
\n
Behind 21-B, Sindhu Housing Society
Lallubhai Compound
\n
Mankhurd 
\n
\n

\n
R and R is a new centre for artistic and intellectual activity located amid the \"Resettlement and Rehabilitation\" colonies of Lallubhai Compound.
\n

\n
For events and updates, aarandaar.net
\n

\n
\n
A project by CAMP, Khanabadosh, Rupali Gupte and Prasad Shetty. 
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "03colour.jpg", "postedby": "undefined", "datestart": "2016-01-01", "dateend": "2018-01-01", "dateadded": "2016-07-01T07:44:58Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 0 } }, { "model": "content.content", "pk": 290, "fields": { "type": 2, "shortname": "extension", "title": "Limits Extension Anniversary ", "header": "Saturday, April 16, 2016\n
5:00pm onwards
\n

\n
R & R 
\n
Lallubhai Compound 
\n

\n
With contributions by: Simpreet Singh, Nisha Kundar, Ashok Sukumaran, Hussain Indorewala, Vidyadhar Date, and others. 
", "body": "

On 15th April 1950 the Bombay Municipal (Extension of Limits) Act was brought in force which extended the boundary of Bombay Island city to include areas upto Jogeshwari and Bhandup. These areas earlier constituted Bombay Suburbs and were governed by Borough Municipalities, Notified Area Committees and Village Panchayats which were dissolved and brought under the Municipal Corporation of Bombay. In a dissenting opinion against this Act, Chunilal Barfivala wrote that it was a \"wholesale annexation of vast area, abolition of suburban civic units and ruthless sacrifice of the corporate life of the annexed communities\" and was designed to \"remove all undesirable things to the outskirts of the city\", among which is mentioned: manufacturing candles, casting metals, making cow dung cakes, soap making, tar melting, cattle stables, slaughter houses, blood boiling, bone crushing...

\n

These debates, and the reasons given for the limit extension: de-congestion of Bombay, better administration, extending of civic services to Suburbs in exchange for city taxes, and control of crime -- still resonate in present times.

\n

For this occasion, an open discussion and mini-exhibition of maps and documents is being held at R and R, to revisit: the city from the perspective of the suburbs of various kinds; Tadipaar-  discourse of crime in spatial expansion; maps pre and post limit extension; the splitting into two of Majas Village, the contemporary example of villages of Vasai-Virar which recently resisted a similar extension; and other shared observations with an aim of exploring limits of extension and extension of limits.

\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "limitext.jpg", "postedby": "undefined", "datestart": "2016-04-12", "dateend": "2016-04-15", "dateadded": "2016-07-01T08:06:38Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 289 } }, { "model": "content.content", "pk": 292, "fields": { "type": 2, "shortname": "building", "title": "Archive Building", "header": "
Floods, Fungus, Friendship and Fibre
\r\n

\r\n
Tuesday July 5th, 6:00 pm to 7:30 pm
\r\n
at R and R
\r\n
Lallubhai Compound
\r\n
Mankhurd, Mumbai
\r\n

\r\n
With Aaaaarg, Memory of the World, Open Media Library, Custodians Online solidarity, and others.
", "body": "
We are delighted to announce a public event with the creators, supporters and librarians of numerous international text archive platforms who are visiting our city. These include Aaaaarg, Memory of the World and Open Media Library and several individuals who are part of Custodians Online solidarity, among others. 
\r\n

\r\n
Bod\u00c3\u00b3 Bal\u00c3\u00a1zs and Lawrence Liang will open the event with a comparative account of the infrastructures and motivations of such 21st century archival initiatives. This is also in the context of a collective effort that would be needed to scan, share and build online repositories so much needed in our own city.
\r\n

\r\n
Do join us!
\r\n

\r\n
This is the concluding event of Architectures of Knowledge, a meeting organised in collaboration by Columbias Group for Experimental Methods in the Humanities; a two-day workshop on book scanning and managing collections that took place at CAMP and a two-day meeting at TISS.  
\r\n

", "schedule": "
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\n
At the 18th MAMI Film Festival
\n
20th October to 27th October 2016 
\n
Mumbai
\n

\n
When the moving image came into being it was seen as the seventh art, an alchemical medium with the potential to transform the spatial arts: architecture, sculpture and painting, and the temporal arts: music, poetry and dance. 
", "body": "
The philosopher Alain Badiou in his recent volume on cinema calls it the most impure art form; the place where impossible movements within and across the arts can happen. And in whose short life, no more than a century and quarter old, we have felt as an audience the double effects of anonymous escapes into the dark room, as well as unforgettable shared experiences.
\n

\n
The New Medium will scour cinema\u00e2\u20ac\u2122s living history and take us through space and time to experience first-hand some of its more inventive moments, as a medium of expression and exchange. Where better to begin, than the audacious Man with the Movie Camera, (1929). \"This experimental work aims at creating a truly international language of cinema based on its actual separation from the language of theatre and literature\", says the opening title of Dziga Vertovs Kino Eye classic. We bring it to you fresh as ever, newly restored and accompanied with live music from Ukraine by the Vitaliy Tkachuk Quartet.
\n

\n
There is a meta-narrative in the fantastical Kalpana (Imagination, 1948), made for a newly formed post-colonial nation anticipating a cultural renaissance. Adapting classical dance for the cinema, Uday Shankar creates a parable in the form of a proposal - to make a film about his vision for patronage, pedagogy and creative experimentation in the arts. Now legally out of copyright and belonging in the public domain, Kalpana\u00e2\u20ac\u2122s quest for freedom and generous patronage continue to date, and we do our bit by presenting it in fully restored splendour.
\n

\n
Preceding the music video genre by twenty years, and formally influencing the Third Cinema Movement, Santiago Alvarez\u00e2\u20ac\u2122s Now! (1965), made mostly with still photographs, is a visceral and haunting document of racism and police brutality in the United States, its call to action more relevant now! than ever before. Third Cinema was also an influence on French cineastes; and when Chris Marker formed SLON (Society for the Launching of New Oeuvres) and brought together cinema greats Joris Ivens, William Klein, Claude Lelouch, Agn\u00c3\u00a8s Varda, Alain Resnais and Jean-Luc Godard to collectively author Far from Vietnam (1967), they affirmed \"by the exercise of their craft, their solidarity with the Vietnamese people in struggle against aggression\". We present the restored version of this important political film.
\n

\n
In 1969 the Catalan filmmaker Pere Portabela becomes himself a parasite on the shooting of the Technicolour Count Dracula starring Christopher Lee, and films a silent, behind-the-scenes film in contrasty black and white. Vampir Cuadecuc (1970), a relatively unknown cult work is now restored, and presents at once a psychological immersion on the making of films, and an allegorical spin on the dictatorship of Franco. Space is the Place (1974) starring the jazz legend Sun Ra and his Intergalactic Arkestra is an Afro-Futurist Blaxploitation Science Fiction containing interplanetary travels, biting social commentary, and literally out of this world concert performances. Circulating for years on VHS bootlegs, it was digitally re-released to commemorate the film\u00e2\u20ac\u2122s 40th anniversary in 2014.
\n

\n
Lis Rhodes set up the feminist distribution and filmmaking collective Circles around the same time she made Light Music (1975), a work of expanded cinema where the images she draws on the optical soundtrack become the visuals of the film. She was intervening with her film form into the world of male-dominated music composers. Viewers become performers in this classic 16 mm dual projection of light, sound and fog.
\n

\n
Two films set in Brahmin-dominated villages and filmed around the same time, approach the medium in startlingly unique ways and become urgent cogitations on caste. In Chhatrabhang (The Divine Plan -1975), Nina Shivdasani Rovshen reenacts the scenario leading up to a real-life incident in rural Maharashtra over the use of a village well by neo-buddhists, but films it with people of Jogia in Eastern Uttar Pradesh, mixing in documentary, voice-over and the poetry of a mill worker. John Abraham\u00e2\u20ac\u2122s second feature Agraharathil Kazuthai (Donkey in a Brahmin Village- 1976) takes on caste and bigotry by turning an anthropological gaze onto Brahmin rituals into a surrealistic and tragic-comic fable that features the donkey as the lead character.
\n

\n
The Russian novel has influenced greatly, two of the most avant-garde auteurs from our side of the world. Mani Kaul adapts Dostoevskys Idiot into a mini-series and an experiment for television starring Shahrukh Khan and over 50 other actors. We bring you the four-part Ahamaq (1992) as a single four-hour feature. The now prolific Lav Diaz, master of long takes and protracted cinema and winner of the Golden Leopard, Silver Bear and Golden Lion for the three features he has made in the past two years, took ten years to make his first feature, Evolution of a Filipino Family (2004), which begins on 16mm and ends in miniDV, runs for close to eleven hours and is set in a rural village that is living out Marcos ten year-long imposition of martial law. Watch it in one go if you can, it will leave you changed.
\n

\n
Three works from 2014 cap the contemporary shore of The New Medium programme. Phillip Warnell\u00e2\u20ac\u2122s Ming of Harlem: Twenty One Storeys in the Air turns wildlife photography on its head as we experience the life of a tiger and an alligator living in a NY apartment. Jean-Luc Godard brings us a 3-D subterfuge with his Goodbye to Language, pulling our eyes in different directions, experimenting with DIY 3-D rigs, Go-Pro home videos and 3-d graphics. And finally Harun Farocki, who passed away soon after making Parallel I-IV, leaves us with a new history of the computer-generated image in gaming; coming full circle from the celebration of Vertovs all-seeing machine eye.
\n

\n
We dedicate this edition of The New Medium to Harun Farocki. 
\n

\n
- Shaina Anand. 
\n

\n

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\n
Battle for Banaras
\n
Kamal Swaroop, 2014
\n2hrs 13mins
\n
Friday, 18th November. 8 pm
\n
Kamal and the crew will be present. 
\n

\n
Through the film we cutaway to the river's edge and two men talking, about this place, and about politics older than the modern Indian city. Then we enter the city again, and its rushes of electoral spectacle, surging crowds, politically astute residents, actions designed for this time and place. When Kamal Swaroop says \"I am no longer speaking, in my films\" he seems to mean that he watching the crowds, listening, looking from whatever distance is possible, often with a long lens and a small crew. 
", "body": "
Thus we are treated to a film set deep in the documentary genre. When we cutaway again, the man in the white shirt says about Banaras in 1781: \"...the one being attacked and the one being defended both ran away, and the crowds were left, fighting ghosts\".
\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "Screen Shot 2016-11-16 at 6.56.35 PM.jpg", "postedby": "undefined", "datestart": "2016-11-17", "dateend": "2016-11-19", "dateadded": "2016-11-27T10:25:11Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 294 } }, { "model": "content.content", "pk": 296, "fields": { "type": 2, "shortname": "ghar", "title": "From Janta Colony to Janta Colony", "header": "
(imaginary to destroyed)
\n
A Journey through Housing in Bombay 
\n
Part-I: 1950 to 1982
\n
\n
Tuesday, 29th November, 2016
\n
6:30 pm to 9 pm
\n

\n
From \"Shehar aur Sapna\" to the Olga Tellis case. Via print and film, music, love, bulldozers, state propaganda and people's archives.
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "janatagharforever1.jpg", "postedby": "undefined", "datestart": "2016-11-26", "dateend": "2016-11-30", "dateadded": "2016-11-27T10:45:32Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 294 } }, { "model": "content.content", "pk": 297, "fields": { "type": 2, "shortname": "cyano", "title": "The Country of the Sea", "header": "
Single-exposure solar cyanotype print on cotton fabric
\n
2015
\n
16 X 5 feet
\n
at Experimenter, Kolkata 
\n
Raster-Emerging from the grid 
\n
November 18 to December 31, 2016 
\n

\n
CAMP with Shunya Collective present a large solar cyanotype map of the sea, part of the long-term maritime project Wharfage. 
", "body": "
More than 100 cities and small ports from Khor al Zubair/ Basra to the Mozambique corridor from North-South, and from Bharuch to Berbera East to West, are marked as frontier towns. The sea in between is proposed as its own \u00e2\u20ac\u0153country\u00e2\u20ac\u009d, a new geographical and cultural entity. 
\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "COSBDL1.jpg", "postedby": "undefined", "datestart": "2016-12-20", "dateend": "2017-01-01", "dateadded": "2016-11-27T11:35:44Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 298, "fields": { "type": 2, "shortname": "YUKT", "title": "Ghashiram Kotwal - the film by YUKT", "header": "
Ghashiram Kotwal (1976)
103 mins. 
\n

\n
Kavita Gherao (1998)
\n
20 mins. 
\n

\n
Saturday 17th December, 2016
\n
6:30 pm
\n
CAMP rooftop
\n

\n
Ghashiram Kotwal is the only collectively authored production of YUKT (some members say it stood for: Union of Kinematographers and Technicians) which included people whose names are today far more familiar than when the film was made in 1976, such as Om Puri or Kamal Swaroop. 
", "body": "
From the credits we will not know who did what in the film - 16 cinematographers, editors, actors, sound engineers and directors were officially part of YUKT. One can instead, imagine an atmosphere at FTII Pune, where a radical Vijay Tendulkar play and the air of Emergency could arouse a plot, a debate, group efforts, workshops with actors some of whom had performed the play, an attempt to create a non-authorial but rigorous and located theory of filmmaking, scripting and film music, arguments about its success, and eventual dissolution of the collective. 
\n
See also https://indiancine.ma/RME/info
\n

\n
But we will open the evening with Kavita Gherao, a 20-minute film made on the FTII campus by a visiting film student during the strikes of 1996, about 20 years later, and now 20 years ago.  
\n
See also https://pad.ma/YH/player/
\n

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Opening Film
\n
From Gulf to Gulf to Gulf
\n
\n
Goethe Institut, Kolkata 
\n
3 December, 2016
6:00 pm 
\n

\n
Masterclass with Shaina Anand
\n
TENT
(Theatre for Experiments with New Technologies) 
\n
4 Bipin Pal Road
\n
4:00 pm to 8:00 pm
", "body": "", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "409_GULF_1-images-fromgulf_720_480_90.jpg", "postedby": "undefined", "datestart": "2016-12-03", "dateend": "2016-12-05", "dateadded": "2016-12-15T07:24:27Z", "datemodified": null, "published": 1, "view": 2, "place": null, "parentid": 77 } }, { "model": "content.content", "pk": 300, "fields": { "type": 2, "shortname": "gulf10", "title": "Keimena - documenta 14 ", "header": "From Gulf to Gulf to Gulf \n
The first in a series of curated films to be aired at midnight on Hellenic Broadcasting Corporation's public TV channel as part documenta 14 programming. 
\n

\n
11:59 pm
\n
December 19, 2016
", "body": "http://www.documenta14.de/en/calendar/5556/01-from-gulf-to-gulf-to-gulf\n

\n
http://www.documenta14.de/en/calendar/?c=5552
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\n
Wednesday, January 11, 2017
\n
7:00 pm 
\n
CAMP Rooftop
\n

\n
This evening we bring to you some of the, lets call them migratory and joyous truths of the  artist, poet, critic, marxist, screenplay writer, novelist and actor John Berger, as edited from sound, image and text archives of his work. Migratory in the sense of having something undogmatic, worldly and yet quite continuous to say, do, and make, in every recent decade. This small collection of materials suggests that we can think of the 20th century in artistic, irreducible as well as political and connected terms, without being crushed in their contradictions. And maybe even the 21st.  
", "body": "
If you set out in this world, 
\n
Let these seven be your companions. 
\n
One, who talks over Chandigarh
\n
One, who donates his Booker 
\n
One, who shows us Ways of Seeing 
\n
One, who reads Garlic and eats Saffron
\n
One, who draws a Dancer and unsettles Time
\n
One, who is a Storyteller
\n
If all they spark is not a fire
\n
you yourself must be the Seventh
\n

\n
(via the The Seventh, by Attila Jozsef)
\n

\n
Video and Stills with accompanying commentary
\n
100  minutes
\n

\n
Bonus: A City at Chandigarh and The Seventh Man, Berger's photo-text book on migrant work. 
\n
RSVP
\n

", "schedule": "", "schedulebutton": "", "optbtn2": "", "opttext2": "", "optbtn3": "", "opttext3": "", "technotes": "", "image": "precision.jpg", "postedby": "undefined", "datestart": "2017-01-11", "dateend": "2017-01-13", "dateadded": "2017-01-08T09:36:48Z", "datemodified": null, "published": 1, "view": 3, "place": null, "parentid": 294 } }, { "model": "content.content", "pk": 303, "fields": { "type": 2, "shortname": "ocean", "title": "From Gulf to Gulf to Gulf", "header": "
The Ocean After Nature
\n
Grossman Gallery 
\n
\n
School of the Museum of Fine Arts at Tufts University
\n
January 26, 2017 \u00e2\u20ac\u201c March 18, 2017
", "body": "
In conjunction with the exhibition The Ocean After Nature, the School of the Museum of Fine Arts at Tufts presents a film program featuring works by the Mumbai-based collective CAMP, the artist Ren\u00c3\u00a9e Green and the London-based collective The Otolith Group, as well as a rare presentation of Allan Sekula and No\u00c3\u00abl Burch\u00e2\u20ac\u2122s highly acclaimed The Forgotten Space. The films are presented serially, and the audience is free to come and go.
\n
\n

\n
Anderson Auditorium
\n
School of the Museum of Fine Arts at Tufts University
\n
Free
\n

\n
Program 1: Thursday, February 2
\n
12:15 pm \u00e2\u20ac\u201d CAMP, From Gulf to Gulf to Gulf, 2013, 83 min.
\n
5:15 pm \u00e2\u20ac\u201d Ren\u00c3\u00a9e Green, Endless Dreams and Water Between, 2009, 70 min.
\n

\n
Program 2: Thursday, February 16
\n
12:15 pm \u00e2\u20ac\u201d Ren\u00c3\u00a9e Green, Endless Dreams and Water Between, 2009, 70 min.
\n
5:15 pm \u00e2\u20ac\u201d Allan Sekula and Noel Burch, The Forgotten Space, 2010, 112 min.
\n

\n
Program 3: Thursday, March 2
\n
12:15 pm \u00e2\u20ac\u201d Allan Sekula and Noel Burch, The Forgotten Space, 2010, 112 min.
\n
5:15 pm \u00e2\u20ac\u201d The Otolith Group, Hydra Decapita, 2010 31:41 min.
\n

\n
Program 4: Thursday, March 16
\n
12:15 pm \u00e2\u20ac\u201d The Otolith Group, Hydra Decapita, 2010, 31:41 min.
\n
5:15 pm \u00e2\u20ac\u201d CAMP, From Gulf to Gulf to Gulf, 2013, 83 min.MP, From Gulf to Gulf to Gulf, 2013, 83 min.
\n
Lineup:
\n

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Al-Jar Qabl al-Dar  The Neighbour before the House 
\n
MUCEM, Marseille
\n
SATURDAY 11 MARCH 2017
", "body": "
Palestine: Territory, Memory and Projections is a program of film screenings, discussions with writers and intellectuals, and artist talks and discussions that wants to revisit the legacy of militant, poetic and subjective representations of Palestine.
\n

\n
\n
SATURDAY 11 MARCH
\n

\n
11:30 Presentation / Conference: On Participation / by Sandi Hilal
\n

\n
14:30 Screening / Projection: The Shooter (Al-Takheekh)
\n
Palestine, 2007, Color, 8 minutes. In Arabic with subtitles in French.
\n
Written and Directed by Ihab Jadallah. 
\n

\n
Nazareth 2000
\n
Palestine/The Netherlands, 2001, 55 minutes.
\n
Written and Directed by: Hany Abu-Assad. 
\n

\n
16:00 Artist Talk : Emily Jacir
\n

\n
17:30 Presentation: Inverted Vistas by Yazid Anani
\n

\n
19:00 Screening: The Neighbour before the House (Al-Jar Qabl al-Dar), 2011, 60 minutes. 
\n
by CAMP
\n

\n
21:00 Screenings: A Post-Oslo History
\n
Annemarie Jacir, 2001, 8 minutes
\n

\n
Infiltrators
\n
Palestine/Emirats Arabes Unis/Lebanon, 2012, HD, Color, 70 minutes. 
\n
Directed by: Khaled Jarrar. 
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Tagore Centre for Global Thought
\n
Kings College, London
\n
January 31, 2017
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From Janta Colony to Janta Colony
\n
(imaginary to destroyed)
\n
\n
Via print and film, music, love, bulldozers, state propaganda and peoples archives.
\n
Part-I: 1950 to 1982
\n

\n
10th February, Friday 4pm to 6pm 
\n
\n
The Centre for Urban and Policy Governance and  The School of Habitat Studies
\n
Room A2, Ground Floor, Academic Building II, New Campus, TISS, Mumbai
\n

\n
11th February, Saturday 8p, to 10 pm 
\n
Kala Ghoda Arts Festival, Urban Design and Architecture 
\n
Max Mueller Bhavan, Library. 
", "body": "
This evening presentation uses a range of archival materials: local press, mini-institutional archives such as that of BUILD (Bombay Industrial League of Development), and city-based documentary and fiction film, to tell story about housing in the city. We are taken from the imaginary Janta Colony that is the cornerstone of Raj Kapoors Shree 420, to the actual Janata Colony demolitions in the late 1970s in the BARC area from which people were moved into Cheeta Camp among many \"inner migrations\" of city dwellers to places like Mankhurd and Jogeshwari in this period. We are reminded of various aspects of the \"housing question\" that are are not only to do with power struggles over land and FSI, but a different landscape of solidarity and creativity among people living in the city, and those who moved here. 
\n

\n
100 minutes, edited video and photo sequences with live commentary- Shaina Anand, Simpreet Singh, Ashok Sukumaran 
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(1982 to 2004)
\n

\n
Through Transit Camps, the Slum Rehabilitation Authority, Transferable Development Rights, Rocks, Marshes, Courts, and four institutional histories: Nivara Hakk, Nagari Nivara Parishad, SPARC and YUVA.\n 
\n

\n
110 minutes of film and video with live commentary. 
\n
7:00 pm to 9:00 pm\nSaturday, 
\n
11th March, 2017
\n
CAMP rooftop
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From Gulf to Gulf to Gulf
\n
Samstag Museum of Art
\n
Adelaide
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From Gulf to Gulf to Gulf 
\n
Film Program 
\n
Allan Sekula - Okeanos
\n
Thyssen-Bornemisza Art Contemporary 
\n
TBA21, Vienna 
\n
31st March, 2017 
\n

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

\n
CAMP presents a series of rarely-seen works including Windscreen, Capital Circus, One-agreement and Four-letter Film. 
\n

\n
We also host Camera Obscura, an evening with video and talk on the 29th of March. 
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Saturday May 6th
\n
7:00 pm
\n
CAMP Rooftop
\n

\n
\n
90 minutes 
\n
Live and recorded video from location, with commentary. 
\n
\n

\n
Lets say a change of guard in the control room brings in new cinematographers and analysts, for whom the sun setting over Juhu beach is just the beginning of the evening's story.
", "body": "
What follows is in the tradition of landscape cinema, but is extreme in neighbourhood detail and scope. It is out of body in the sense of being far from the vantage points of the human body and its sense organs, but also close to new standard locations that resemble, but we can call only in quotes , \"the eyes and ears\" of society. When the brain receives signals from this pole, database, stream, something or someone else's memory, art has to do more with a hand to hand combat with this reality rather than something as quaint as \"imagination\". 
\n

\n
In 2016-17, Mumbai installed 5000 official HD cameras on public streets as part of Mumbai CITY surveillance project. Which are in addition to hundreds of thousands of private cameras existing, and being enthusiastically added left, right and centre. For this evening we use a single dome camera. From a standard height, it produces an angle of view somewhere between God and say, Facebook VR. 
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\n
Kiran Nadar Museum of Art
\n
Noida 
\n
April 18 to October 31, 2017 
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29th March, 2017, 7:00 pm
\n
South Tank
\n

\n
(Preceded by viewing of Four-letter-Film in the East Tank)
\n

Using a live presentational format honed through years of public presentations in their rooftop cinema in Mumbai, CAMP takes us into the dark rooms and black boxes of our times. 
", "body": "
Camera Obscura is an assemblage drawn from the history of proto-photographic and photographic surveillance \u00e2\u20ac\u201c from the eponymous darkened room which people entered to see an image of the outside world, to CCTV control rooms and hidden cameras the size of a spectacle screw \u00e2\u20ac\u201c as well as from their own cinematic works and those of fellow artists. Together, they unsettle the neutrality of the documentary image and provoke us with ways of seeing, being seen and being heard.
\n

\n
Presented in parallel with CAMP\u00e2\u20ac\u2122s Could Have Beens installation in the Transformer Galleries and East Tank, this live presentation provides fascinating insight into the group\u00e2\u20ac\u2122s politically-engaged working methods. Could Have Beens will be on view throughout the evening alongside the work of Fred Moten & Wu Tsang, Isabel Lewis and Fujiko Nakaya, Ryuichi Sakamoto and Shiro Takatani.  
\n

\n

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"alexandra.koehring@uni-hamburg.de", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 582, "fields": { "name": "Lisa Batacchi", "email": "info@lisabatacchi.com", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 583, "fields": { "name": "Jill Godmilow", "email": "jgodmilo@nd.edu", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 584, "fields": { "name": "Mark Sequeira", "email": " marksequ@gmail.com", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 585, "fields": { "name": "Alexandra Koehring", "email": "alexandra.koehring@uni-hamburg.de", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 586, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 587, "fields": { "name": "", "email": "", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 588, "fields": { "name": "e", "email": "response.write(9682406*9577082)", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 589, "fields": { "name": "e", "email": "'+response.write(9682406*9577082)+'", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 590, "fields": { "name": "e", "email": "sample%40email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 591, "fields": { "name": "e", "email": "\"+response.write(9682406*9577082)+\"", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 592, "fields": { "name": "e", "email": "set|set&set", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 593, "fields": { "name": "e", "email": "\r\n SomeCustomInjectedHeader:injected_by_wvs", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 594, "fields": { "name": "e", "email": "sample%40email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 595, "fields": { "name": "e", "email": "../../../../../../../../../../etc/passwd", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 596, "fields": { "name": "response.write(9081288*9462377)", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 597, "fields": { "name": "e", "email": "'set|set&set'", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 598, "fields": { "name": "e", "email": "-1 OR 2+285-285-1=0+0+0+1 -- ", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 599, "fields": { "name": "e", "email": "\n SomeCustomInjectedHeader:injected_by_wvs", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 600, "fields": { "name": "e", "email": "..%2F..%2F..%2F..%2F..%2F..%2F..%2F..%2F..%2F..%2Fetc%2Fpasswd%00.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 601, "fields": { "name": "'+response.write(9081288*9462377)+'", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 602, "fields": { "name": "e", "email": "\"set|set&set\"", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 603, "fields": { "name": "e", "email": "\r SomeCustomInjectedHeader:injected_by_wvs", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 604, "fields": { "name": "e", "email": "-1 OR 2+144-144-1=0+0+0+1", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 605, "fields": { "name": "e", "email": "", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 606, "fields": { "name": "\"+response.write(9081288*9462377)+\"", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 607, "fields": { "name": "e", "email": "\nset|set&set\n", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 608, "fields": { "name": "\r\n SomeCustomInjectedHeader:injected_by_wvs", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 609, "fields": { "name": "e", "email": "Li4vLi4vLi4vLi4vLi4vLi4vLi4vLi4vLi4vLi4vZXRjL3Bhc3N3ZAAucG5n", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 610, "fields": { "name": "e", "email": "-1' OR 2+122-122-1=0+0+0+1 -- ", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 611, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 612, "fields": { "name": "e", "email": "`set|set&set`", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 613, "fields": { "name": "e", "email": "", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 614, "fields": { "name": "\n SomeCustomInjectedHeader:injected_by_wvs", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 615, "fields": { "name": "e", "email": "-1\" OR 2+72-72-1=0+0+0+1 -- ", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 616, "fields": { "name": "e", "email": "..%2F..%2F..%2F..%2F..%2F..%2F..%2F..%2F..%2F..%2Fetc%2Fpasswd%00.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 617, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 618, "fields": { "name": "e", "email": ";set|set&set;", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 619, "fields": { "name": "e", "email": "", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 620, "fields": { "name": "\r SomeCustomInjectedHeader:injected_by_wvs", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 621, "fields": { "name": "e", "email": "if(now()=sysdate(),sleep(3),0)/*'XOR(if(now()=sysdate(),sleep(3),0))OR'\"XOR(if(now()=sysdate(),sleep(3),0))OR\"*/", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 622, "fields": { "name": "e", "email": "", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 623, "fields": { "name": "e", "email": "Array", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 624, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 625, "fields": { "name": "set|set&set", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 626, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 627, "fields": { "name": "e", "email": "(select(0)from(select(sleep(3)))v)/*'+(select(0)from(select(sleep(3)))v)+'\"+(select(0)from(select(sleep(3)))v)+\"*/", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 628, "fields": { "name": "e", "email": "${10000052+9999803}", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 629, "fields": { "name": "e", "email": ".\\\\./.\\\\./.\\\\./.\\\\./.\\\\./.\\\\./etc/passwd", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 630, "fields": { "name": "'set|set&set'", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 631, "fields": { "name": "", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 632, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 633, "fields": { "name": "e", "email": "1 waitfor delay '0:0:6' -- ", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 634, "fields": { "name": "e", "email": "/etc/passwd", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 635, "fields": { "name": "${9999389+9999687}", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 636, "fields": { "name": "\"set|set&set\"", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 637, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 638, "fields": { "name": "", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 639, "fields": { "name": "e", "email": "b28kmYPy'; waitfor delay '0:0:6' -- ", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 640, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 641, "fields": { "name": "e", "email": "../..//../..//../..//../..//../..//../..//../..//../..//etc/passwd", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 642, "fields": { "name": "e", "email": "http://some-inexistent-website.acu/some_inexistent_file_with_long_name?.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 643, "fields": { "name": "\nset|set&set\n", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 644, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 645, "fields": { "name": "Array", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 646, "fields": { "name": "e", "email": "vUY57bin'); waitfor delay '0:0:6' -- ", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 647, "fields": { "name": "e", "email": "../.../.././../.../.././../.../.././../.../.././../.../.././../.../.././etc/passwd", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 648, "fields": { "name": "e", "email": "sample@email.tst&n966821=v957148", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 649, "fields": { "name": "`set|set&set`", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 650, "fields": { "name": "e", "email": "", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 651, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 652, "fields": { "name": "e", "email": ")", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 653, "fields": { "name": "e", "email": "xqq8Epax')); waitfor delay '0:0:6' -- ", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 654, "fields": { "name": "e", "email": "..\u00c0\u00af..\u00c0\u00af..\u00c0\u00af..\u00c0\u00af..\u00c0\u00af..\u00c0\u00af..\u00c0\u00af..\u00c0\u00afetc/passwd", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 655, "fields": { "name": "e&n984976=v909348", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 656, "fields": { "name": ";set|set&set;", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 657, "fields": { "name": "e", "email": "Http://testasp.vulnweb.com/t/fit.txt", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 658, "fields": { "name": "e", "email": "!(()&&!|*|*|", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 659, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 660, "fields": { "name": "e", "email": "PhKWgjSv';select pg_sleep(6); -- ", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 661, "fields": { "name": "e", "email": "invalid../../../../../../../../../../etc/passwd/./././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././././.", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 662, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 663, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 664, "fields": { "name": "e", "email": "http://testasp.vulnweb.com/t/fit.txt?.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 665, "fields": { "name": "e", "email": "^(#$!@#$)(()))******", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 666, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 667, "fields": { "name": "e", "email": "sOZD4VXG');select pg_sleep(6); -- ", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 668, "fields": { "name": "e", "email": "Array", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 669, "fields": { "name": "e", "email": "file:///etc/passwd", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 670, "fields": { "name": "e", "email": "testasp.vulnweb.com", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 671, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 672, "fields": { "name": ")", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 673, "fields": { "name": "e", "email": ";print(md5(acunetix_wvs_security_test));", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 674, "fields": { "name": "e", "email": "DGxIbjw1'));select pg_sleep(9); -- ", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 675, "fields": { "name": "e", "email": "/\\../\\../\\../\\../\\../\\../\\../etc/passwd", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 676, "fields": { "name": "e", "email": "'\"()", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 677, "fields": { "name": "e", "email": "sample@email.tst", "location": null, "login": null, "password": null, "href": null, "bio": null, "type": 1 } }, { "model": "content.people", "pk": 678, "fields": { "name": "http://some-inexistent-website.acu/some_inexistent_file_with_long_name?.jpg", "email": "sample@email.tst", "location": null, "login": null, "password": null, 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