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Open forum Grand Finale Video Wednesdays @ Espace

The grand finale of the ‘Video Wednesdays@Espace,’ curated by Johny ML with five other guest curators Nancy Adajania, Gayatri Sinha, Arshiya Lokhandwala, Suresh Jayaram and Bose Krishnamachari, concluded with an Open Forum. This Open Forum attempted to raise questions about the project of ‘Video Wednesdays@ Espace,’ and also Video Art in general in the Indian context. 

While Introducing the project and the panel members of the forum,  curator Johny ML spoke about the premises from which this curation has taken shape and how it developed into a huge project. Thanking the Director of Gallery Espace Ms. Renu Modi for her support in this project, Johny shared his experiences that surfaced in the process of the project and explained how actually everything came together as a grand finale. This brief introduction followed the insights of all the Guest Curators and the panelists regarding this specific project and about Video Art Practice in general. 

Nancy Adajania initiated the discussion referring to her own writings on New Media art and New Media culture in the Indian context. She explained the importance of situating the New Media practice as a continuation to visualities of forms such as Television. These forms, according to her, are the initial bearers of the New Media practice. In reference to the aspects such as politics of locality and democratisation of New Media Art practice, she referred to the practices/projects such as Cybermohalla of SARAI in the context of which locality becomes a crucial site of exploration.  

Gayatri Sinha spoke about the 90’s art scene and mentioned how illusionism has concretely tried to re- establish itself and with the emergence of the video a certain kind of anti –illusionist qualities have surfaced in the sense of medium. She suggested that the introduction of video in a popular level happened through ‘Shaadi’ video. This can be understood as an initial example for the use of video in India at a popular context and later the new technologies such as surveillance came forth. She also pointed out that it is also interesting how woman artists used this medium, as it is a kind of technological Gaze of/on the ‘female bodies’ in/with reference to Sexuality, Class and Gender. She also stated that, there is a significant role for irony in Video Art practice which in one way missed out the aspect of humour. By giving examples such as FLICKR she had mentioned how information today is an easily exchangeable entity even within micro-time frames thus creating newer avenues of the cultural practice. 

Johan Pijnappel, one of the foremost curators of Indian Video Art, spoke about his engagements with Indian Video Art for a consistent period of time. He referred to his travels to various cities and how he tried to find artists those are working with video. He said it is also important for us to throw light on the centers/cities like Bangalore, Hyderabad, Kolkata which are also understanding and functioning with the flavor of Video. While referring about the exhibition spaces, he pointed out that he would like to put Video Art in a place where there is a scope for much more general viewership rather a limited few. Sharing the experiences of his curation at   Lalit Kala Akademi in 2004, Johan explained his keen stubbornness to have the exhibition only at LKA as it invites people from many sections of the society. But when everything came together, his expectations were met. Many people from different sections visited and interacted with this exhibition. 

Arshiya Lokhandwala tried to bring in some indigenous concepts like ‘darshana’ and situate it within the discussion about the reflexive aspect of video medium. She said that when you perform ‘darshana’ you gaze at god with an intention that the gaze of god falls back on you so video also, in one sense, have this contemplating sensitivity. In one sense she was trying to relate some conventional practices like ‘darshana’ and also ‘pranayama’ that situate themselves in the operation of body to the discourse of New Media practice. By doing thus she attempted trace the conceptual overlaps between the two discourses.

In his short speech, Suresh Jayram was referring to some of the alternative art spaces they have established in Bangalore that regularly deal with interactive practices/ programs. Later, while speaking about his role in the show, Jayram said that video allows a play between spaces, there is a possibility of placement/ displacement at the same time. For instance, in the video of Umesh Madanahalli, the protagonist suddenly displaces from a cave temple in India to a western city space with the same attire and candle in hand. He noted that he was very keen in having this video because as it exemplifies the newer methodologies of engaging with the space that the video as a medium has brought to fore.

Swapan Seth, one of the famous collectors of Video Art in India, said that for him it is encouragement that operates as a key driving force to collect Video Art. He also mentioned about the necessity of the ethics between buyer and seller. Talking about the duplication and piracy of video works, he stated that there should be certain kind of systematic rules that can  govern editions of Video Art, otherwise it is always in a state of confusion whether the work which he has, posses any kind of significant value or not. He also suggested that galleries should take initiative as to how the videos are going to be circulated. In a reaction to this, Johan tried to explain to Swapan that duplicating the video doesn’t mean that the value of it has been decreased, unless and until you have the certificate from the concerned authority as an authorised collector.

One of the audience had pointed out very interesting point that, “ if you see the films of last decades there is a great evolution and extraordinary experiments, be it be small films or documentaries but there only few film makers who have really showed their work in spaces like this. So it is important for us to take into account all those otherwise it is too undemocratic in one sense.”

Almost at the conclusive part of the forum there was a discussion in detail about the market value of video art. Where in market does a Video Art work is situated other than conceiving them in various workshops and residencies, basically throwing light on the consumption aspect of Video Art works in the context of India. Thus with all instances, the forum came to an end and threw open many questions that need critical explorations.

 - From A Correspondent.