By: BWW News Desk
Source: http://broadwayworld.com
Category: Film School Online
The Deutsche Bank Series at the Guggenheim: Being Singular Plural, the first exhibition of the Solomon R. Guggenheim Museum to focus exclusively on artistic production in South Asia, presents new film, video, and sound-based works by seven of the most innovative and visionary contemporary artists, filmmakers, and media practitioners living and working in India today.
This exhibition marks the first time that these artists will be showing work in a North American museum and is assembled as part of the Guggenheim’s global Asian Art Program. Being Singular Plural is organized by Sandhini Poddar, Associate Curator, Asian Art, at the Solomon R. Guggenheim Museum, and will be on view March 2 through June 6, 2012.
This exhibition is made possible by Deutsche Bank.
Expanding on its original 2010 Deutsche Guggenheim presentation, the exhibition presents eight projects dispersed among the museum’s Annex galleries, New Media Theater, and outdoors along the exterior ramp leading from Fifth Avenue down to the Sackler Center for Arts Education. The New York installation continues to focus on researching and co-producing new work with its community of practitioners: Desire Machine Collective (Sonal Jain and Mriganka Madhukaillya), Shumona Goel and Shai Heredia, Amar Kanwar, and Kabir Mohanty and Vikram Joglekar.
According to Ms. Poddar, “This group of artists and filmmakers all draw inspiration from their experiences in South Asia, but a closer reading of their work reveals a transnational context that highlights some of the most significant political events, aesthetic forms, and critical theories defining contemporary culture today. While recent exhibitions of contemporary art from India have celebrated finished works as end products and often contextualized them in light of the country’s economic boom and strong art market, the works in Being Singular Plural assert the quieter principles of practice, process, and perception.”
Philosopher Jean-Luc Nancy’s notion of “being singular plural” provides the exhibition’s structural framework and intellectual scaffolding. Created with a profound recognition of the interconnectedness of all beings, the selected films, videos, and sound installations invite visitors to reassess conventional boundaries between such categories as fact and fiction, art and cinema, the still and moving image, and objectivity and subjectivity. By manipulating sound, image, and text in experimental ways, the artists in Being Singular Plural explore the social possibilities within the technology of these mediums. The works posit new modes of phenomenological and physiological address for the viewer, shifting these positions from passive spectatorship to active participation.
Desire Machine Collective (Sonal Jain and Mriganka Madhukaillya), whose name derives from the philosophical writing of Gilles Deleuze and Félix Guattari, seeks to redirect attention toward careful looking, watching, and listening. Jain and Madhukaillya have been working collaboratively since 2004 to examine the roles that moving images play in recording social histories and investigating the limits of these roles. In 2007 they established Periferry 1.0, an ongoing migratory artists’ project using a government-leased ferry docked on the Brahmaputra River in the heart of Guwahati, the duo’s hometown, in northeast India. At the Guggenheim, the collective will install a site-specific interactive sound piece, Trespassers Will (Not) Be Prosecuted (2012), as a round-the-clock public artwork outside the museum inspired by sounds collected in a sacred forest. The exhibition will also include two new moving-image projects by Desire Machine Collective in the Annex galleries: Residue (2011), a 35 mm work filmed in an abandoned power plant on the outskirts of Guwahati, and Nishan (2007– ), a meditative four-channel video installation shot in the city of Srinagar in Kashmir, the contested state that lies on the political fault line between India and Pakistan.
Shumona Goel’s films investigate the stories of people who often go unheard or events that go unwitnessed. For Being Singular Plural, she and co-director Shai Heredia present I am micro (2011), a 35 mm black-and-white film that celebrates small-scale independent filmmaking and collaboration while conveying their fragility. The images in the film are culled from two different sources—a film shoot around National Instruments Limited (NIL), a now defunct Kolkata-based company that was once involved in the design, manufacture, and development of opto-mechanical and opto-electronic instruments, and behind-the-scenes footage from the set of filmmaker Ashim Ahluwalia’s latest fiction film, Miss Lovely (2012). The film includes a voiceover by director and screenwriter Kamal Swaroop, whose debut film Om Dar-B-Dar (1988) initially reached wide acclaim but quickly fell into obscurity.
Source: http://broadwayworld.com/article/Guggenheim-Presents-New-Works-in-Film-Video-Sound-by-South-Asian-Artists-20120123#
Source: http://broadwayworld.com
Category: Film School Online
The Deutsche Bank Series at the Guggenheim: Being Singular Plural, the first exhibition of the Solomon R. Guggenheim Museum to focus exclusively on artistic production in South Asia, presents new film, video, and sound-based works by seven of the most innovative and visionary contemporary artists, filmmakers, and media practitioners living and working in India today.
This exhibition marks the first time that these artists will be showing work in a North American museum and is assembled as part of the Guggenheim’s global Asian Art Program. Being Singular Plural is organized by Sandhini Poddar, Associate Curator, Asian Art, at the Solomon R. Guggenheim Museum, and will be on view March 2 through June 6, 2012.
This exhibition is made possible by Deutsche Bank.
Expanding on its original 2010 Deutsche Guggenheim presentation, the exhibition presents eight projects dispersed among the museum’s Annex galleries, New Media Theater, and outdoors along the exterior ramp leading from Fifth Avenue down to the Sackler Center for Arts Education. The New York installation continues to focus on researching and co-producing new work with its community of practitioners: Desire Machine Collective (Sonal Jain and Mriganka Madhukaillya), Shumona Goel and Shai Heredia, Amar Kanwar, and Kabir Mohanty and Vikram Joglekar.
According to Ms. Poddar, “This group of artists and filmmakers all draw inspiration from their experiences in South Asia, but a closer reading of their work reveals a transnational context that highlights some of the most significant political events, aesthetic forms, and critical theories defining contemporary culture today. While recent exhibitions of contemporary art from India have celebrated finished works as end products and often contextualized them in light of the country’s economic boom and strong art market, the works in Being Singular Plural assert the quieter principles of practice, process, and perception.”
Philosopher Jean-Luc Nancy’s notion of “being singular plural” provides the exhibition’s structural framework and intellectual scaffolding. Created with a profound recognition of the interconnectedness of all beings, the selected films, videos, and sound installations invite visitors to reassess conventional boundaries between such categories as fact and fiction, art and cinema, the still and moving image, and objectivity and subjectivity. By manipulating sound, image, and text in experimental ways, the artists in Being Singular Plural explore the social possibilities within the technology of these mediums. The works posit new modes of phenomenological and physiological address for the viewer, shifting these positions from passive spectatorship to active participation.
Desire Machine Collective (Sonal Jain and Mriganka Madhukaillya), whose name derives from the philosophical writing of Gilles Deleuze and Félix Guattari, seeks to redirect attention toward careful looking, watching, and listening. Jain and Madhukaillya have been working collaboratively since 2004 to examine the roles that moving images play in recording social histories and investigating the limits of these roles. In 2007 they established Periferry 1.0, an ongoing migratory artists’ project using a government-leased ferry docked on the Brahmaputra River in the heart of Guwahati, the duo’s hometown, in northeast India. At the Guggenheim, the collective will install a site-specific interactive sound piece, Trespassers Will (Not) Be Prosecuted (2012), as a round-the-clock public artwork outside the museum inspired by sounds collected in a sacred forest. The exhibition will also include two new moving-image projects by Desire Machine Collective in the Annex galleries: Residue (2011), a 35 mm work filmed in an abandoned power plant on the outskirts of Guwahati, and Nishan (2007– ), a meditative four-channel video installation shot in the city of Srinagar in Kashmir, the contested state that lies on the political fault line between India and Pakistan.
Shumona Goel’s films investigate the stories of people who often go unheard or events that go unwitnessed. For Being Singular Plural, she and co-director Shai Heredia present I am micro (2011), a 35 mm black-and-white film that celebrates small-scale independent filmmaking and collaboration while conveying their fragility. The images in the film are culled from two different sources—a film shoot around National Instruments Limited (NIL), a now defunct Kolkata-based company that was once involved in the design, manufacture, and development of opto-mechanical and opto-electronic instruments, and behind-the-scenes footage from the set of filmmaker Ashim Ahluwalia’s latest fiction film, Miss Lovely (2012). The film includes a voiceover by director and screenwriter Kamal Swaroop, whose debut film Om Dar-B-Dar (1988) initially reached wide acclaim but quickly fell into obscurity.
Source: http://broadwayworld.com/article/Guggenheim-Presents-New-Works-in-Film-Video-Sound-by-South-Asian-Artists-20120123#
