“This Is Not That” show

If anyone happens to be in Paris, we have a group show of ten photographers from India being hosted by the Duboys Gallery till the 19th of June.

The show is curated by Dominique Charlet and Fabien Charuau; and the photographers showing their work are Binu Bhaskar, Brijesh Patel, Dhruv Dhawan, Fabien Charuau, Pradeep Dalal, Swapan Parekh, Soham Gupta, Mahesh Shantaram, Neil Chowdhury and myself. I will be showing images from my Cinemas Project series for the first time and it's quite exciting to be part of a show with several photographers whose work I admire and respect.

A friend who visited the gallery last week was nice enough to take a partial installation shot for me...

And here are a few shots from the opening, courtesy the gallery (you can see the whole set here)...

“Nature as Image” show

Happy to be a part of Subuhi Jiwani's group show “Nature as Image” at The Loft gallery (opening this Friday). I will be showing some images from my stay in Fryslân. Do come if you get the time, it's on for two weeks (April 15-May 3). Other artists showing are Neha Choksi, Priyanka Dasgupta, Munir Kabani and Shambhavi Kaul.

Here is a peek at two of my images from the show...

More work from this series coming soon...

glamdrogynous

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Say Nothing

A poster / cd cover that I made for Mumbai's own Slow Down Clown, a wonderful band fronted by Vitek Goyel. I tried a few versions that didn't really work and then scoured my library for old political pictures and posters for inspiration. Found this one in Kajri Jain's fantastic Gods in the Bazaar, which is a book about India's mass-produced bazaar art that I had read for a class at CSCS.

The image that has been cropped and appropriated is from Indira Gandhi's notorious "Garibi Hatao" campaign, a campaign that helped her sweep into power in the 1971 election. If you look closely, and if you're one those (at times annoying) people who believes that images should always adhere to the conventions of realism, you might quickly notice that the picture falls short in terms of its verisimilitude.

Both the mic and the baby exist in a visual regime that has no intention of adhering to the codes of realism. These babies, often of ambiguous gender and race, were extremely popular in the political iconography of the time. They were projected repeatedly to symbolize the paternalistic and transcendental authority of the incipient secular state. Jain writes of the  original poster, which proclaims to us “Garibi Hatao” in both English and in Hindi, "We as viewers are invited to identify with the adoring “masses”, but at the same time, to the extent that we can read the slogan, to distance ourselves from them and identify with the infantile citizenship... made available for us within the realms of a transcendent and patriarchal yet democratic state.”

I appropriated it here, perhaps problematically, but mostly facetiously, as I felt it worked with the album's title “Say Nothing.”

P.S. The font used is Atelier Carvalho Bernau's recently released Jean-Luc typeface.

Bahahaus

I've been researching the connections between design (aesthetics), politics and culture lately in relation to some upcoming projects planned for next year. I’m particularly interested in the ways received notions of “design” are intertwined with their cultural contingencies. I'm currently in the “death by hyperlink” phase of my research, where one realizes that there is just so much stuff out there (though not all of it critical enough) that it is time to systematically organise the intake of information or drown in the flood.


If anyone has some interesting readings and links on Indian design and design culture, please send them over either here or by email.

Watch this space. Till then, this little gem found at  imprint cracked me up a good deal.

Minimal House?

From an interview in Cluster with the always fascinating Lebbeus Woods:

"Housing meant ‘mass-housing’ for masses of workers employed on factory assembly lines, originally in the form of ‘company towns.’ Later, housing ‘projects’ were designed and built for masses of lower-income urbanites, an underclass that still exists but is much too diverse to be massed together and in effect ghetto-ized.

Today’s increasingly service-based economy, one fragmented by computers and internet niches, has created a need for an entirely new typology of living quarters and their groupings, one that has yet to be invented and tested."

Flipping the Kart

To those who’ve “failed”...

Museums and Collective Memory a talk by Francesca Recchia

WordPlay

Oh how I love thee, my VisualThesaurus!

OutDesigned...

"The accepted function of the designer has become one of providing a service rather than generating ideas to be communicated; this self-definition discourages explicitly political expression." 

- Maud Levin, from her book Clean New World: Culture, Politics and Graphic Design.

Long time coming...

Updates with new work and a website overhaul coming soon!

Two Suns in the Sunset

I've pulled the above images from a New York Times story on the "atomic cameramen" who filmed and photographed the test detonations of nuclear bombs in the 40s and 50s (before the ban on atmospheric testing was put into place). Many of the image makers died of cancer later in their lives. Image #2 in the above sequence pictures the "V.I.P. observers" of the detonations at one of the viewing decks that were set up by the government. It is also pertinent to note that a lot of the cameras, film stock and lenses used were later sold commercially for use by Hollywood studios; a reminder of how military R&D often trickles down and drives technological change in the entertainment industry.

PUBLIC 40: Screens

Was invited to make a contribution to the 40th issue of PUBLIC (a journal of 'Art, Culture & Idea's published by the Goldfarb Centre for Fine Arts in York University, Toronto) which went by the title: Screens. They featured the auditorium image from Maratha Mandir below. Do check out the journal if you get a chance to, there are some interesting texts and images/artworks that interrogate and investigate the shifting nature of screens themselves as well as their influence in changing—and often conflating—the "public" and "private" spheres.

From the editorial note:

"PUBLIC 40: Screens features twenty artists, curators and researchers who investigate and respond to new spaces of viewing and changing patterns of consumption —from Quebec to Palestine, from streets to galleries— with a variety of aesthetic, technological and distribution tactics. From Kelly Mark’s The Kiss to Elaine Ho and Sean Smith’s project responding to the Beijing Olympics, from Bruno Lessard’s essay about Robert Lepage’s Le Moulin à images to Holly Lewis’s "Wars of Air and Electricity," Screens is dedicated to the ways screens are used, viewed, imagined, placed, and made worldwide."

I was particularly taken by an image from Canadian artist Kelly Mark's installation The Kiss, which I have taken the liberty to copy and paste below.

Kelly Mark, The Kiss (2007)

On her website Kelly writes: "The light source for this work was created by simply recording the cast light of a gang bang scene in a hard core porn film as it bathed my apartment wall while viewing. No image or sound was captured only the reflected light. The porn genre tends to be fairly routine and pragmatic in terms of editing, therefore the resulting glow is steady and rhythmic with few camera changes but with quickening pulses of colour...mainly pinks, oranges and red hues."

I really love it.

It's one of those images where I'm sure that you don't really need the text at all, the caption itself, being so evocative, does a lot of the work. And yet, some people would like to know this. The artist herself clearly believes that it is important to know this. It is always interesting to think about just how 'context', such as the kind Kelly has provided, changes the way you read and experience an image. Personally, I constantly battle with myself as to whether it is necessary to put contextual information beside a particular image, because sometimes context can override the subjective reaction a viewer has with the image; and yet, often it is so important to know why/where/whom/what/how.

It's also perhaps worth thinking about titles/captions that reference other titles/cations and how artists can use that to not merely reference but 'update' images to their cultural time and place. With regards to Kelly Mark's work, Gustav Klimt's The Kiss comes to mind:

Gustav Klimt, The Kiss (1908)

Ah, convergences.

Hanif

Dematerializing Walter...

“Underneath the large noisy events lie the small events of silence.” - Gilles Deleuze

What I Believe - J.G. Ballard

I believe in my own obsessions, in the beauty of the car crash, in the peace of the submerged forest, in the excitements of the deserted holiday beach, in the elegance of automobile graveyards, in the mystery of multi-storey car parks, in the poetry of abandoned hotels.

I believe in the forgotten runways of Wake Island, pointing towards the Pacifics of our imaginations.

I believe in the genital organs of great men and women, in the body postures of Ronald Reagan, Margaret Thatcher and Princess Di, in the sweet odors emanating from their lips as they regard the cameras of the entire world.

I believe in madness, in the truth of the inexplicable, in the common sense of stones, in the lunacy of flowers, in the disease stored up for the human race by the Apollo astronauts.

I believe in nothing.

I believe in the impossibility of existence, in the humour of mountains, in the absurdity of electromagnetism, in the farce of geometry, in the cruelty of arithmetic, in the murderous intent of logic.

I believe in the gentleness of the surgeon's knife, in the limitless geometry of the cinema screen, in the hidden universe within supermarkets, in the loneliness of the sun, in the garrulousness of planets, in the repetitiveness or ourselves, in the inexistence of the universe and the boredom of the atom.

I believe in the light cast by video-recorders in department store windows, in the messianic insights of the radiator grilles of showroom automobiles, in the elegance of the oil stains on the engine nacelles of 747s parked on airport tarmacs.

I believe in the non-existence of the past, in the death of the future, and the infinite possibilities of the present.

I believe in the derangement of the senses: in Rimbaud, William Burroughs, Huysmans, Genet, Celine, Swift, Defoe, Carroll, Coleridge, Kafka.

I believe in the designers of the Pyramids, the Empire State Building, the Berlin Fuehrerbunker, the Wake Island runways.

I believe in the next five minutes.

I believe in the history of my feet.

I believe in migraines, the boredom of afternoons, the fear of calendars, the treachery of clocks.

I believe in anxiety, psychosis and despair.

I believe in the perversions, in the infatuations with trees, princesses, prime ministers, derelict filling stations (more beautiful than the Taj Mahal), clouds and birds.

I believe in the death of the emotions and the triumph of the imagination.

I believe in alcoholism, venereal disease, fever and exhaustion.

I believe in all children.

I believe in maps, diagrams, codes, chess-games, puzzles, airline timetables, airport indicator signs.

I believe all excuses.

I believe all reasons.

I believe all hallucinations.

I believe all anger.

I believe all mythologies, memories, lies, fantasies, evasions.

I believe in the mystery and melancholy of a hand, in the kindness of trees, in the wisdom of light.



Excerpts from J.G. Ballard's prose-poem prayer 'What I Believe'. Read the entire thing here.