Skírdreymi Upplifunin af því að vera meðvitaður um að þig dreymir á meðan þú ert enn ofandi..... Vídeóverk eftir 11 li tamenn frá Indlandi 1. FISH LOVE Gayatri Kodikal 11.27 2. INTERFERENCE Tallur L N 4:00 3. CHILD LOCK Abeer Khan 2.12 4. DEEPEST DEMARCATION Hetal Chuda ma 9.52 5. FAR FROM HOME Sabya achi Bhattacharjee 2.03 6. POLITICAL REALISM Gigi Scaria 3.35 7. THE GHOST TAXONOMY Tu har Waghela 4.57 8. L FOR… Bharati Kapadia 7.01 9. ISOSCELES FOREST Sukanya Gho h 3.00 10. WATER HAS MEMORY Meera Devidayal 7.49 11. COUNTERFEIT Babu E hwar Pra ad 2.49 Sýningar tjórar: Bharati Kapadia og Anuj Daga Vídeóhorn ------- LUCID DREAMS The experience of being aware that you are dreaming while you are till a leep..... 8th february - 31 t of May 2025 Videowork by 11 arti t from India 1. FISH LOVE Gayatri Kodikal 11.27 2. INTERFERENCE Tallur L N 4:00 3. CHILD LOCK Abeer Khan 2.12 4. DEEPEST DEMARCATION Hetal Chuda ma 9.52 5. FAR FROM HOME Sabya achi Bhattacharjee 2.03 6. POLITICAL REALISM Gigi Scaria 3.35 7. THE GHOST TAXONOMY Tu har Waghela 4.57 8. L FOR… Bharati Kapadia 7.01 9. ISOSCELES FOREST Sukanya Gho h 3.00 10. WATER HAS MEMORY Meera Devidayal 7.49 11. COUNTERFEIT Babu E hwar Pra ad 2.49 Curated by Bharati Kapadia and Anuj Daga Videocorner Arti t tatemen , bio and curator´ bio: FISH LOVE Gayatri Kodikal 11.27 Fi h Love i an inter pecie love tory through inter titial time. A melancholic fi h who live in the ludge at the bottom of a wamp, de ire to be clo e to the fi herwoman who vi it everyday. A tragic turn of event leave the fi h torn, a ro e grow from the wounded mouth. Eon later in another dimen ion, a poet wander by the wamp in the day and get bitten by the tormented fi h. Infected by a pe imi tic love, he write hi fir t love poem. At night when the pink coloured full moon hine bright, the monk creature create pattern on the mud, weaving together oul and element , meditating interconnectedne . Each tory i in ide the other, opening up like matryo hka doll , omething left untouched during each tran ition. What i the gap between now and now? Free from mea ure, a nil void in ide a gaping mouth from which the melancholic love grow a a ro e in full bloom.. GAYATRI KODIKAL (b. 1984) i a contemporary re earch ba ed arti t offering ludic propo ition - both phy ical and virtual, experimental film, diagram , in tallation and performance. Her work delve into the a pect of play and narrative within a critical inve tigative practice offering exploration that traver e theme of haunting within archival document , moment of apparition and di apparition, and the nuanced interaction between the fragmented female body and prevailing ocial and technological power tructure that are creating the planetary habitability cri i . P ycho-geography, ecofemini m, hi tory and oral torytelling inform her re earch and inquiry that ha led the work often combining pecific hi torical in tance with ecologie , hauntology, “animi m” and patialized remembrance . The e inve tigative qualitie in pire peculative artwork and prompt a methodology through performance and game making. She graduated from the Dutch Art In titute and ha tudied filmmaking with a Ma ter in Film and Video Communication De ign, National In titute of De ign, Ahmedabad. Kodikal live between the Netherland and India.Selected exhibition include: The Travelling Hand, Solo how at Tent, Rotterdam, 2020/2021; Have I Become Her Storie ? Tent, Rotterdam, 2020/2021; Queering the City: A Sono Orientation, Twelve Cautionary Tale , Matadero Madrid, Madrid, 2020/2021; I am Sutradhar, The Gallery Guild, Mumbai, 2018. INTERFERENCE Tallur L N 4:00 Thi low-motion video capture the manual cleaning of a rug originally in talled at a palace in Junagadh di trict in the Indian tate of Gujarat, when being hifted to the Junagadh Mu eum. The ornate textile with it geometric floral pattern wa initially produced in the late 1800’ by inmate impri oned for their role a freedom fighter in the truggle for independence from colonial Great Britain. A urpri ing amount of du t i exhumed in thi beating proce creating billowing moke-like plume that envelop the cene, the laborer and thi cultural artifact. The work allude to the ediment of time and a relea e of that which i embedded underneath the urface of our dominant narrative. The ound i lightly off regi ter with the action creating an echoing effect not unlike that of mortar di charging in the di tance while the image of the du t cloud call to mind a city under aerial bombardment (carpet bombing). Thi act of cleaning or clean ing create an a ociation to the violent and de tructive conflict in place uch a Iraq, Afghani tan and Syria. TALLUR u e culpture, wall piece , interactive work, and ite- pecific in tallation to expo e the ab urditie of everyday life and the anxietie that characterize contemporary ociety. Hi work incorporate handmade craft man hip, found object , organic and indu trial material; ymbol of developing India, oftentime creating a correlation between traditional and contemporary cu tom . Tallur’ culpture and in tallation have been exhibited internationally, including at olo exhibition in Germany, South Korea, India, China, and the United State . Selected group exhibition include The 7th A ia Pacific Triennial of Contemporary Art (APT7), Queen land Art Gallery, Gallery of Modern Art, Bri bane, Au tralia (2012); Critical Ma : Contemporary Art from India, Tel Aviv Mu eum of Art, I rael (2011); Meditation: A ian Art Biennial, National Taiwan Mu eum, Taiwan (2011); The Empire Strike Back: Indian Art Today, Saatchi Gallery, UK (2010) and La Route de la Soir, Tri Po tal, France (2010). CHILD LOCK Abeer Khan 2.12 Produced in COVID19 - Lockdown, the video urf the freedom of mind. According to the arti t, a child-lock i an expre ion that implie a lock or bodily afety, et by a child’ guardian . However the mind cannot be locked and opening one’ mental child-lock allow one to time travel, from the pre ent to the pa t and into the future. The afternoon of the lockdown reminded her of childhood ummer of daydreaming on fanta y cenario and projecting the e onto the wall during hot humid afternoon . ABEER KHAN i an independent filmmaker and photographer, with work panning documentary, narrative, brand film , and video art. Born and rai ed in Mumbai, he i a elf-taught photographer and filmmaker. Over the year he ha acquired film making kill uch a production, cinematography, editing, motion graphic and ound mixing. Mo t of her film have emerged from her work a a one woman crew. She ay that pace i very crucial to her project . She find it immen ely intere ting to ob erve how character function in their own pace and how they create world of their own in the proce . Abeer’ project have been howca ed on pre tigiou international platform , with world premiere at Berlin’ Kün tlerinnenhau Mou onturm, the Kochi Biennale, and major film fe tival acro the UK, Canada, and India. Her work ha al o been featured in notable publication , including The Hindu, Midday, Bloomberg, Platform, Homegrown, Better Photography and The Wire. DEEPEST DEMARCATION Hetal Chuda ma 9.52 Deepe t Demarcation i a performance by Hetal Chuda ama reflecting on the death, lo and trauma following the lockdown. The context i the plight of migrant worker in Indian citie , who trekked to their village without upport or facilitation from the y tem. The work i a reflection on the bleak reality of a world where uch neglect i tolerated and accommodated by wide ection of the people, the media and the tate. The arti t ay : “A prayer i performed. A prayer born out of cacophony of hriek in the air. A way to come to term with unbearable lo . The lo of dignity, faith, and the right to life it elf. HETAL CHUDASAMA i a vi ual arti t working in a range of media. Spanning live-action, in tallation, text and object making, Hetal ee writing a a critical tool and performance a a conjunction point. In order to offer alternative view on realitie and fiction,her arti tic proce e explore theatrical mechani m of repre entation, performativity of language, magic and ritual . Mo t of her work are exploration of the language of prote t – be it an individual body or political and cultural rupture faced by vulnerable member of ociety. A a migrant from India in the UK, he inhabit many place , torie and many different truth that play into her work . FAR FROM HOME Sabya achi Bhattacharjee 2.03 Sabya achi build vivid imaginary world . Far From Home take u to an ob ervation deck, looking out on what look like an amu ement park, but a world of nightmare unfold . Thi eem to be a y tem of production, not entertainment. The y tem appear to be u ing human being to produce re ource for it elf. At one end, heap of exhau ted bodie are being di carded, probablty to be reproce ed, an expendable part of the whole y tem, we reali e. SABYASACHI BHATTACHARJEE i a Vi ual Arti t and Filmmaker from Dharmanagar, Tripura, now ba ed in Vadodara, Gujarat. He completed hi BVA in Painting at Govt. College of Art and Craft , Agartala, and hi MVA from Maharaja Sayajirao Univer ity, Vadodara. Hi practice revolve around documenting chao and con tructing patial and temporal narrative through drawing , audio-vi ual , and image manipulation. Sabya achi often incorporate hi own body in hi work, either a him elf or a a medium for fictional character and u e cientific theorie to formulate ocio-political or philo ophical argument , uch a the idea of cacophony and the law of thermodynamic in a ocial context. He ha participated in prominent re idencie like Khoj Peer Re idency (2019) and Pepper Hou e Re idency, KBF, Kochi (2020). He al o work a a freelance Cinematographer and Film Editor, frequently collaborating with the Gujarati theatre and film group ‘Geet Theatre’ contributing to independent feature film like Kundaalu and Katlaa Curry. POLITICAL REALISM Gigi Scaria 3.35 Political Reali m deal with the regime hift and the change of time. Within the la t thirty year a dra tic change ha taken place in the realm of politic , economic and culture. U ing the leitmotif of a pair of neighbouring door that open and clo e to reveal new vi ta , Gigi Scaria point to the futility of reliance on the power tructure of the pa t and po ibly, the need to build new formation in the pre ent. ‘Political Reali m’ bring thi confu ion to every ingle home and recollect the memory of the pa t to analyze the impermanence of all great power tructure of the pre ent a well a many more yet to come. GIGI SCARIA wa born in outhern Kerala. After completing a BFA degree at the College of Fine Art , Thiruvananthapuram, Scaria moved to New Delhi where he undertook a MFA at Jamia Millia Univer ity. Since then, he ha developed a cro -media practice. Scaria work acro painting, photography, in tallation, culpture, and video. Hi work explore i ue of urban development, particularly in relation to migration, economic development and urban architecture. He i intere ted in the quality of ocial pace in a dra tically changing urban environment, with it a ociated implication for p ychological experience. Since 2000, Scaria ha exhibited widely in India, and ha participated in major exhibition and re idency program internationally including in Au tralia, Brazil, China, Finland, Germany, Hungary, Korea, Italy, Norway, Sweden and the USA. THE GHOST TAXONOMY Tu har Waghela 4.57 Indian ociety weave a complex matrix of inequality. While the u ual divi ion of ca te, religion and language gradually till, income differentiation ha tratified citizen into ever-expanding vertical layer . Identity and worth of an individual i marked by hi income. A per on move a tep above, by money power, only to find everal other on top. Thi vortex ha in titutionalized income di parity a tho e on the lowe t tep have little pace or opportunity to tran cend their tatu . Leftover of a umptuou dinner may feed a family and the expenditure incurred over the meal may u tain ome family for a year. The amount needed to buy one liter milk beat the official requirement to cro the poverty line. Wor e, we have accepted thi cruel cla ification a a natural con equence of growth, an unpardonable in en itivity that may create irreparable fi ure in ocial fabric. TUSHAR WAGHELA i a filmmaker and vi ual arti t with a Ma ter’ degree in Indian Philo ophy. He ha been working in the field of contemporary art and experimental cinema for 25 year . Hi video art , in tallation , hort film and experimental cinema have been hown in mu eum , gallerie , univer itie and in over 150 international film fe tival . The e include the Canne Film Fe tival, London A ian Film Fe tival, Briti h Film In titute, the Collectif Jeune Cinema Pari , Mumbai Film Fe tival, and many more.Tu har live and work from hi tudio in Chhatti garh. He i currently working on a Pop Art erie called 'Without Ticket' u ing treet art, pray painting and mixed media technique . L FOR… Bharati Kapadia 7.01 L FOR... explore the nuance of the word LOVE by taking u on an expedition acro the letter L, O, V, E. Through text animation the different word repre ented by each of the four letter re onate with variegated meaning-attribute that have come to be a ociated with the word love within the contemporary ocial milieu. L FOR... i the arti t’ way of countering the pre ent day de pondency pervading our ocial environment and creating pace for joy and playfulne to reclaim their exi tence in our daily live . A multi-di ciplinary arti t, BHARATI KAPADIA ha exhibited widely in India and abroad. Her olo performance piece titled ‘Untold Storie ’ ha been performed in India, I tanbul, Munich and Liverpool, Nova Scotia, Canada. Her 2 video work , ‘L For… ’ and ‘Playing with Danger’, have been creened internationally. She wa awarded the BASE cholar hip for Arti tic Re earch//Art ba ed Philo ophy for 2017. She ha pre ented at the conference Ae thetic and the Political in Contemporary India: Deleuzian Exploration , Mumbai, 2017. In 2019 and 2021, he co-curated VAICA fe tival of Video Art by Indian Contemporary Arti t . In November 2021 he wa invited a arti t participant for the international, interdi ciplinary project ‘Bodie Unprotected’ curated by Dr. Sandra Noeth and ho ted by Kun tlerhau Mou onturm, Frankfurt. Her collaborative film with Abeer Khan “How do I how the ocean pace you carried in ide you?” made for the finale of the fe tival, wa creened at Mou onturm, Frankfurt in 2022. ISOSCELES FOREST Sukanya Gho h 3.00 Sukanya Gho h create an optical collage in thi work, a loop of image di olving into each other in a combination of animated ge ture . The name echoe mathematician Richard Bellman’ 1955 Fore t Problem (“What i the be t path to follow in order to e cape a fore t of known dimen ion ?”) She ay that “the overlapping and intermingling of image fading in and out of each other, eem to look for new propo ition , following egmented route a if eeking out the be t po ible path to freedom. ” The image are taken from family photograph , of unknown people and place – where the arti t eek timele ne and a en e of an ‘unbound place’, to create new narrative . SUKANYA GHOSH work acro painting, photography, animation and the moving image. After a degree in painting at the Maharaja Sayajirao Univer ity, Vadodara, Sukanya tudied animation at the National In titute of De ign, Ahmedabad. She ha hown her work at venue including the Lianzhou Mu eum of Photography, Qingyuan, China; Jimei x Arle Fe tival, Xiamen, China; Serendipity Art Fe tival, Goa and the Bhau Daji Lad Mu eum, Mumbai. She received the Charle Wallace India Tru t Award; the Sarai Independent Fellow hip and everal other award . Sukanya ha managed the art programme at the Seagull Art and Media Re ource Centre, Kolkata and ha exten ive graphic de ign experience. She live and work between Delhi and Kolkata. WATER HAS MEMORY Meera Devidayal 7.49 Water Ha Memory i about man’ greed to gouge out more and more land from the ea in the name of ‘development’, regardle of environmental imbalance thu created. Fancy office building tand where the ea once wa . But the planet get it revenge in the form of t unami , typhoon , drought , and earthquake . Reflection of the ea in the window remind u that it i ever-pre ent, even if not vi ible, and can trike any time. MEERA DEVIDAYAL graduated in Engli h Literature from Kolkata, but took up art after coming to Mumbai in 1967. Her fir t exhibition wa in 1975. Being e entially an urban per on, her work i grounded in the plethora of image that the city throw up. For almo t two decade , the idea of the city a a dream world ha been central to her work. She ha , for example, worked on ‘development’, ‘migration’, ‘home’, ‘commercial city tructure ’ Recently he ha reflected on the con equence of land reclamation in the age of global warming. Her attempt ha alway been to turn ‘found image’ into a vi ual metaphor to charge it with new meaning. COUNTERFEIT Babu E hwar Pra ad 2.49 Counterfeit explore the phenomena of indu trialization and the kind of impre ion it make on the land cape. The digital collage and video piece together variou element of indu trial and mining land cape . Bit by bit the accumulated form conden e together to form an ironic monument of our time : a den e arch towering over a barren land cape. BABU ESHWAR PRASAD trained at the Faculty of Fine Art , MSU, Vadodara. Pra ad' practice pan acro painting, culpture, ound, photography and film. Hi hort film have creened at variou venue and film fe tival worldwide. Pra ad' feature film Gaalibeeja (Wind Seed) and Hariva Nadige Maiyella Kaalu (A running river i all leg ) have creened at MAMI, Bangalore International Film Fe tival, 3rd South A ian Film Fe tival, Kochi Biennale, K21 Mu eum Du eldorf, the Smith onian National Mu eum of A ian Art and the International Documentary and Short Film Fe tival, Kerala Curator Bio BHARATI KAPADIA A multi-di ciplinary arti t, BHARATI KAPADIA ha exhibited widely in India and abroad. Her olo performance piece titled ‘Untold Storie ’ ha been performed in India, I tanbul, Munich and Liverpool, Nova Scotia, Canada. Her 2 video work , ‘L For… ’ and ‘Playing with Danger’, have been creened internationally. She wa awarded the BASE cholar hip for Arti tic Re earch//Art ba ed Philo ophy for 2017. She ha pre ented at the conference. Ae thetic and the Political in Contemporary India: Deleuzian Exploration , Mumbai, 2017. In 2019 and 2021, he co-curated VAICA fe tival of Video Art by Indian Contemporary Arti t . In November 2021 he wa invited a arti t participant for the international, interdi ciplinary project ‘Bodie Unprotected’ curated by Dr. Sandra Noeth and ho ted by Kun tlerhau Mou onturm, Frankfurt. Her collaborative film with Abeer Khan “How do I how the ocean pace you carried in ide you?” made for the finale of the fe tival, wa creened at Mou onturm, Frankfurt in 2022. bharatikapadia@gmail.com / www.bharatikapadia.com

ANUJ DAGA ANUJ i an architect, writer and curator ba ed in Mumbai. Trained a an architect from Mumbai (2008), he went on to pur ue hi intere t in Hi tory & Theory of Architecture at Yale .School of Architecture, Yale Univer ity (2014). Hi practice i informed by diver e engagement in field of de ign, re earch and academia that have re ulted into numerou role a writer, critic, commentator, theori t or interlocutor in the cultural field. He ha been the Curatorial A i tant for the vi ual art project "Young Subcontinent" ince fir t organized by Serendipity Art Foundation in Goa in 2016 until 2018 a well a 'When i Space? Conver ation in Contemporary Architecture' commi ioned by the Jawahar Kala Kendra (2018). He wa the co-curator of the online fe tival of Video Art by Indian Contemporary Arti t (VAICA) during 2021. More recently, he curated the exhibition 'The Waiting Room' for the ICAS13 Conference in Surabaya, Indone ia a a part of the re earch initiative 'Youth on the Move' that look at knowledge production acro the A ia-Africa axi .He ha keen intere t in tudying the proce e of vi ual culture and meaning-making in the contemporary built environment in South A ia. Currently, he i an A i tant Profe or at the School of Environment & Architecture, Mumbai. anujdaga02@gmail.com / http://cargocollective.com/anu...