Arts Collaboratory


Posted on: Friday 24 November 2017
Theertha Artists’Collective is pleased to present in partnership with South Asian Visual Art Centre (SAVAC) MONITOR 12: Figures Pointing Outside the Frame | VIDEO SCREENING 6th December 2017, 5.30 pm at Theertha Red Dot Gallery. Curated by Oliver Husain, Otty Widasari, Yuki Aditya The screening will be followed by a discussion with Indu Vashist, Executive Director, South Asian Visual Art Centre (SAVAC) Program: Auxiliary Mirrors Director: Sanaz Sohrabi The Rain After Director: Mohammed Fauzi Speculations on India Director: Harkeerat Mangat Landscape Series no. 1 Director: Nguyen Trinh-Thi Alex & I: Moving Pictures Director: Sumugan Sivanesan Scene 38 Director: Nawapol Thamrongrattanarit About the Films: Auxiliary Mirrors Iran, 12 mins, 2016, HD Color video with sound Director: Sanaz Sohrabi Sanaz Sohrabi’s video-essay Auxiliary Mirrors addresses idea of the collective camera by examining the case of Zinedine Zidane’s head-butt in the final match of the 2006 World Cup soccer. This iconic moment was constructed by the mass circulation through media, creating a plethora of images by a multitude of creators, for world-wide spectatorship. Despite being a highly documented and viewed incident, the multiplication of these factors make the “truth” about what happened between the two actors difficult to attain. Following this examination, Sohrabi turns to an archival photograph during the analog era; in which the role of the medium and its author is central. Sanaz Sohrabi uses image making practices, moving image and video, in order to analyze the status of the image as a gateway into a larger study of the photographic archives and their capacity to engender different temporal-spatial modes of spectatorship. The Rain After Indonesia, 12 mins, 2016, HD Color video with sound Director: Mohammad Fauzi Mohammad Fauzi film The Rain After explores this relationship in the midst of producing an image. For the duration of the film, a group of children in a residential area in Jakarta pose in front of the video camera in a manner that subjects typically pose for still images. . The subjects inside the frame possess a communal consciousness about the ambiguity of the work of camera (still or motion). As the actors wait for the creator and the audience waits for the actors, the absence of an event builds on everyone’s anticipation. The reciprocal provocation from the director to both subjects and audiences becomes clear. Mohammad Fauzi is a researcher and filmmaker. His work has been shown in OK. Video “FLESH” 5th Jakarta International Video Festival, Indonesia Art Festival (ARTE), Hamburg International Short Film Festival, ARKIPEL Jakarta International Documentary & Experimental Film Festival, and BFI London Film Festival (Experimenta). Speculations on India India, 29 mins, 2016, HD Color video with sound Director: Harkeerat Mangat A spectator’s subconscious expectation to be presented with the ‘truth’ is forwarded in Harkeerat Mangat’s Speculations on India. By using reenactment as a strategy, Mangat provides a space for fifteen Indian actors to reiterate common narratives about social, political, gendered, and economic issues. Shot on a train heading to Mumbai, the multiple cameras and microphones that record the actors’ performances on various train comportments are repositioned by various travellers. The repositioning of the camera affects the way viewres perceive the reality of the film, biased with the reality of location Harkeerat Mangat is an artist and musician from Vancouver, Canada. His work engages with a dichotomy between improvisational structures in music and the technical apparatus of recording and reproduction in film production. He is currently based in Düsseldorf, Germany where he studies with Christopher Williams at the Kunstakademie. Landscape Series No. 1 Vietnam, 5 mins, 2013, Found Online Press Photographs Director: Nguyen Trinh-Thi A director’s ability to repurpose narratives is mirrored in Nguyen Trinh-Thi’s video Landscape Series no. 1, which provides spectators with a series of found online press photographs in which a subject points in or beyond the frame. Trinh-Thi’s choice of sequencing these still images constructs a narration that each image did not possess individually. The viewer works to understand the repeated gesture of pointing in relationship to the act of witnessing in various landscapes. Nguyen Trinh-Thi is a Hanoi-based moving image artist whose work engages with memory and history. Her works transcend the boundaries between cinema, documentary and performance. She has exhibited her work internationally. including Jeu de Paume, Paris; the Lyon Biennale; Asian Art Biennial Taiwan; Fukuoka Asian Art Triennial; and Singapore Biennale. Alex & I: Moving Pictures Australia, 12 mins, 2015, Digital Video Director: Sumugan Sivanesan Similarly using found images to narrate a story, Sumugan Sivanesan’s Alex and I: Moving Pictures traces the movements of Alex, a refugee of the civil war in Sri Lanka. Pictures of Alex include clippings from newspapers, self portraits and news items that circulated in online media, as Alex became an internationally recognised figure. Through the voice-over of Sivanesan, we are given the filmmaker’s view of Alex intentions through an analysis of self portraits and interviews, his own reflections as a consumer of both Alex’s personal images as well as the media’s, and finally what it means for Sivanesan for making this work. As the title hints, the film can be understood as a loose collaboration between the filmmaker and subject, who both counter the narrative offered by the media. Sumugan Sivanesan is an independent researcher, writer and artist working across art, activism and academia. Often working collaboratively, he has produced videos, performances and installations for art spaces and festivals internationally. In Australia, Sumugan regularly contributes to the arts and cultural press. He also prints zines. Scene 38 Thailand, 7 mins, 2015, Digital Video Director: Nawapol Thamrongrattanarit The issue of creator’s authority, and their relationship to their subject, is further discussed in Nawapol Thamrongrattanarit’s Scene 38. In this short film, the director is self-aware of his own authority. He teases that control with playful experimentation. Nawapol Thamrongrattanarit is a new generation film director in Thailand. His first feature film ‘36’ (2012) won New Currents Award at Busan International Film Festival. His second feature ‘Mary is Happy, Mary is Happy’ (2013) screened at Venice Film Festival. Working with the film studio GTH, his film ‘Heart Attack’ (2015) won 8 awards including Best Picture from Thailand National Film Association Awards.