Archana Hande, Bombay: www dot arrange your own marriage Visual art project.
Documentation and art intervention project on the arranged marriage industry, both old and new age ones, culminating into a new website. Structured as a spoof of the marriage alliance industry in India, the site is simultaneously an art work and an archive; a rights discourse and popular culture production and a case study and an abstraction.
Art Work/Website: www.arrangeurownmarriage.com
Show: 3rd Guangzhou Triennial, 2008, china
Ranjit Kandalgaonkar, Aditya Potluri, Saurabh Vaidya, Bombay: New Maps of Mumbai. Urban study project
It is a composite project covering urban planning, public culture and visual art. The project has developed some multi-disciplinary maps of localities in Mumbai which represent the multiple narratives of the sites. The cartographic maps are layered with social and cultural observations and visual footnotes, making the works an interface of history and geography.
Report: Urban Geographies: Mapping Personal Histories; Mumbai Reader 2007; UDRI
Show: Urban Similes Transforming Cities, Project 88, 2007
Merajur Rahman Baruha, Guwahati: Pageant in Painted Scenes. Theatre documentation project.
A documentary on the last commercial public theatre of India – the Mobile theater of Assam. The theatre, once an immensely popular cultural form, still thrives in the pockets of Assam. The range of ingredients runs from melodrama inspired monologue to video projection; from folklores o contemporary international events such as WTC attack and from traditional song and ance to urban pop culture – making it a unique hybrid form.
Production: PAGEANT IN PAINTED SCENES, 59 minutes, 2008, documentary film.
Sushma Veerappa, Bangalore: Look Sir, this is how we live. Documentary film project.
Research project for a documentary film on the public transport of Auto rickshaw in Bangalore and the public image of the deceased superstar Shanker Nag who had iconised the character of the rickshaw driver in his film ‘Auto Raja’ in 1982. Even 17 years after the actor met with a tragic end, he lives on – his picture carefully painted on windshields of rickshaws. Their journeys are too intertwined to be lived separately. There is something indefatigable in the manner in which both prod on.
Production: WHEN SHANKAR NAG COMES ASKING, 67 minutes, 2013, documentary film
Sabeena Gadihoke, Delhi: Uncovering Histories: Stories from Official and Unofficial: Photographic Archive. Cultural study project.
A research study to map out cultural histories of photography of India in the first three decades of independence. A ubiquitous visual form, photographs are found everywhere but often make no sense unless they are a part of other narratives. This project sought to investigate the tensions, overlaps and connections between three different kinds of photographic collections that included an official archive and two archives of the ‘every-day’, a personal family album and the collection of a well known studio in Delhi.It continues to be a work in progress towards a dissertation and an eventual book.