The Moving Image: A Course exploring Light, Movement and Narrative

 THE MOVING IMAGE: A COURSE EXPLORING LIGHT, MOVEMENT AND NARRATIVE, 2017 | A COMPREHENSIVE BOOKLET | PDF

THE MOVING IMAGE: A COURSE EXPLORING LIGHT, MOVEMENT AND NARRATIVE, 2017 | A COMPREHENSIVE BOOKLET | PDF

The Foundation for Indian Contemporary Art (FICA) and Serendipity Arts Trust (SAT) conducted The Moving Image: A Course exploring Light, Movement and Narrative which ran from  September 11- October 13, 2017. The course was held at the Serendipity Arts Trust, C 340, New Delhi.

The display will continue until October 27 and will be a chance to share some of the processes and outcomes of this programme. The group comprising 14 young artists- Samrridhi Kukreja, Debasis Beura, Tehmeena Firdos, Utsuk Sharma, Vinati Sehgal, Sagar Gupta, Bhanu Gola, Ritika Mittal, Ritika Sharma, Ajit Kumar, Ponraj Kumar, Akup Buchem, Priyank Gothwal andPallavi Arora- has been immersed in a month-long rigorous process experimenting with kinetic art, photography and video. 

The Moving Image course kick-started with Susanta Mandals' module on ‘Movement and Pause’, which spanned from September 11 to 15, 2017. The participants were familiarized with the science behind cam and linkage mechanism during the course of the module and were also taken on a field trip to Kotla bazaar for a tour around the local shops where they collected cheap and/or discarded machine parts that potentially suited their individual projects. They subsequently applied these materials as well as their understanding of the notions of repetition, slowness and speed for application in the resulting kinetic artworks. The module also included evening lectures by artist Ranbir Kaleka and choreographer Mandeep Raikhy, where the concepts of movement and pause were discussed by the artists through their respective practices. 

Chandan Gomes' module on ‘Working From Memory’ follwed, and it ran from September 18 to 22, 2017. Looking at the book as a form of sharing visual stories, the module used the medium of photography as a conduit to understanding the contingent nature of memory and the associated acts of forgetting and remembering in this age of information-saturated environments. Through the five days of the module, Chandan familiarized the participants with the role of archives and subsequently encouraged them to build personal archives of 'rejected photographs' or found images to devise their own, unique photo-albums that spoke of their raw, most personal narratives. The module also included a field trip with research scholar Sarover Zaidi at Connaught Place, Delhi where the participants were required to immerse themselves in the field and scout the area for people, stories and object histories.

The course saw its third week come to a close on September 29, 2017 with Babu Eshwar Prasad's module on 'Seeing Sounds and Hearing Images'. Focusing on the confluence of the two mediums of sound and image, the module looked at how one could draw from and inform the other through its formal properties to create an engaging amalgam. Beginning with the history of photography and its quick evolution into motion pictures, Babu went on to familiarize the participants individually with editing softwares to aid them in creating their own video works. As part of the module, we had lens-based-media and performance artist, Sonia Khurana as well as sound artist Ish S conduct presentations of their respective body of works for the students to reflect on and draw from. 

The course culminated in a two-week display period starting with an Open Day on October 14 where the participants shared their formative proposals and experiments directed towards bringing diverse elements like sound, light, movement and image. It gave us a glimpse of the inquiries each of them would engage with in the coming years.
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For SAT and FICA, the course has been an invaluable experience in terms of building a curriculum from the inputs of practicing artists and to provide the group of young practitioners a chance to explore ideas, techniques and mediums that they would have not had access to within the formal art college programmes. It has been a very rich set of inputs the group has received and we really look forward to seeing how these young practitioners take these forward in their own bodies of practice. Serendipity Arts Trust (SAT) is an arts and cultural development trust created to encourage and support the arts as a significant contributor to civil society. SAT aims to promote new creative strategies, artistic interventions, and cultural partnerships which are responsive and seek to address the social, cultural and environmental milieu. Committed to innovation, SAT intends to support, promote and create platforms for innovation and creativity providing the wider public with a unique cultural and historical source of modern contemporary art and culture. SAT programs are designed and initiated through innovative collaborations with partners across a multitude of fields, each intervention created using the arts to impact education, social initiatives, community development programmes, explore interdisciplinarity between the arts, and to better understand the shared histories of the sub-continent.

For further insight into the course, please visit The Moving Image blog or take a look at the PDF above.