EXB: City as Studio II
A space for liminality, transgression, and fluid forms. A site for processual and finished work.
EXB: City as Studio II / 25.02.2012: An evening of art, thought, writing, media works, participatory performances, exploration, trespass and the sending and multiplication of different kinds of signals. Images, screenings, installations, sound, site-specific work and happenings.
Agat Sharma's explorations for the Studio have entailed a response to the particular modernity of Delhi Metro, resulting in a work titled The Willingness To Change Into Something Else.
Anirban Gupta-Nigam's explorations resulted in exhibitions in Jawaharlal Nehru University, and at the EXB, called the Paaji: Post-Anarchist Association of JNU (India). (post)anarchist hauntings against the marxological love for bodies
Asim Waqif’s work, Invisible Urbanity, a live interactive artistic encounter in an abandoned building near Civil Lines Metro, draws from his work on derelict spaces which can be interesting spaces for those who do not fit into the formal Masterplan of the City.
Dyuti Mittal has been drawing the city by looking at it as though she has never seen it before, and re-visioning this strange place with new eyes, resulting in a work titled Re-Open, an exhibition of graphic drawings.
Gowhar Yaqoob has experimented with the photographic representation of the city (space), to evolve a dialogue between the visual and the textual, and understand the ways in which the individual comes to gain urban experience in today’s urbanity. Her work, He/She/Me and Oxymoronic, are text, audio and sound installations.
Pratik Sagar has been investigating faith as a potential tool for environmental health. During this project, he has created a space with edible contents, to attract living organisms to interact with it. He wishes to see the city as composed of more than the human subject, by bringing into his practice the space of organic beings.
Rashmi Munikempanna’s work has explored and intervened in the city within the space of gender. Her installation, titled nodu baa nammuru (come, see where i come from) was a photograph series with an audio and video installation.
Sujit Mallick has been living in the outskirts of Delhi, roaming in the kachra of the city, looking for traces. This has resulted in an endless quest for dust, where hair, roses and words from a dictionary were distributed through open space, inviting a reflection on the process of disintegration.
Tanya Goel’s work for the Studio, interested in thinking through a space that can be visually identified as empty, challenging our own perception of what can or cannot be identified as empty spaces, was put together with video installations titled 27.2 seconds
Ujjwal Utkarsh made a film that sought to capture the oscillation between aloneness and belonging, home and homelessness, in certain portions of cities which are always in flux. This has resulted in a time-based photographic installation, and a video projection made from several thousand kilometres of bus journeys titled kalantara (time-lapse).
Thomas Crowley created an installation and performance piece, The Map is not the Territory, and games in the Southern Delhi Ridge titled The Black Market Goes Green.
Vishwajyoti Ghosh is currently working on a mapping project in the workers’ clusters of Gurgaon, titled Workers Wanted, which was presented as a photo and video installation.
Jyoti Dhar - Drawing from her experience of the residency as the rapporteur, Jyoti’s work was a series of fragmented interventions of key words from languages of art and urbanism.
Bhagwati Prasad’s research on water created a sculpture with pipes, a barber’s chair and flowing water; an interactive object inviting reflections on the nature of water as a form, by listening to, watching and feeling its flow. He also created a music sculpture titled Tubler, where the tool of the tubler changes into an object producing music.
Kavya Murthy created a non-narrative text intervention.
Inder Salim extended his performance practice with Gulabi Gang Part 2.
Vivek Narayanan curated a time-based intervention, Don't Look Now: a Revue, three half-an hour compilations of performance, text and visuals.