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Artists' Association MUU » 12.3.-28.3.2010 Anisotropics
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12.3.-28.3.2010 Anisotropics

MUU gallery

Anisotropics presents a series of works by Shaina Anand and Ashok Sukumaran (India). These projects are based on temporary public works, media interventions and other artistic probes into technologies, communities and spaces in Asia, Africa and the Middle-East.

The exhibition title refers to anisotropy, the property in materials or mediums of being direction-dependent. Crystals, wood and tendons for example are anisotropic, they show varying strengths when pulled in different directions. These projects suggest paths for technology that are drawn in other directions than their capitalist capture or obsolescence. When radio or electricity or CCTV is “pulled” in this way, it reveals a different set of properties, a vivid materiality that is not just perceived or potential, but real.

The exhibition includes:

RustleTV (2004)

was a cable TV channel produced and broadcast within a large indoor market in Bangalore.

Khirkeeyaan (2006)

combined CCTV and household TV equipment to create a series of neighbourhood encounters in an “urban village” in Delhi. In a series of seven episodes, neighbourhood migrants, workers, landladies, doctors, hairdressers and more speak to each other in 4-way conversations enabled by a security camera system.

Sept soirées (2008)

In this project the artists set up temporary micro-radio and local cinema events in the Marche N’ Gellaw, a suburban market in Dakar, Senegal. To overcome the problem of constant power cuts, micro electricity was produced via a simple system composed of a car battery and an uninterruptible power supply. These events create a new daily routine, a space and time of collectively watching/ listening/ broadcasting.

The Neighbour before the House (2009)

is a series of video probes into the landscape of East Jerusalem, shot with a fixed security camera. Camera pans, zooms and live commentary become ways in which Palestinian residents reach out to what can be seen from their homes, and speak about the nature of their distance from others. (a project by CAMP).

Glow Positioning System (2005)

In this work a 400m ring of both existing and new lights enters homes, restaurants, offices, empty apartments, and the old Post Office building, in downtown Mumbai. This panorama is animated via a hand-crank mechanism located on the pavement, giving to anyone the chance of turning this cityscape into a “filmic” experience.

Recurrencies (2007-)

This series explores urban electrical infrastructures, nights in the city, and the desire and possibility of people to act within these. The pieces shown include: Two Poles, One agreement, House, El Nuevo Signo.

Changes of State (2005)

shows an electrically “leaky” old cinema in Bangalore. It also proposes that if every electric system has two basic states: on and off, both of them are significant.

Shaina Anand is a filmmaker and media artist. Ashok Sukumaran is an architect and artist. Both are based in India and their work has been exhibited widely internationally. They are co-founders of CAMP (http://camputer.org),a space for artistic research and practice located in Bombay, and co-initators of the Pad.ma (http://pad.ma) online footage archive. Their work has received several awards, including the first prize for the UNESCO Digital Arts Award, 2006 (Sukumaran), a Golden Nica and three honorary mentions at the Prix Ars Electronica (2007, 2005 Sukumaran, 2007 Anand, 2009 pad.ma), and the first Jury Prize at the 2009 Sharjah Biennial (as CAMP).

The Exhibition is organised by Pixelache Festival in collaboration with the Artists’ Association MUU and is supported by Ministry for foreign affairs of Finland. In co-operation with Pro AV Saarikko Oy and Genelec Oy