Oproep 3: Digitaal werken in de kunsten
The many environmental, social and political implications of adopting digital technology come most alive in the form of collage film. In a world that is constantly overworking for making/producing more content, collage film offers an inventive form which bypasses the shooting stage and makes the content all about editing, ideating, juxtaposition, interpretation and letting a structure emerge.
When we started Chikka Dodda Art Lab in Jun' 20 as a response to the pandemic, we were attempting to intersect our art and activism. Our proposal for a collage film for Gender Bender 2020 was a result of the strict lockdown production restrictions which required us to create while maintaining physical distancing. Having seen the 2012 film 'Final cut: ladies & gentlemen', we were inspired to revive this form from the surrealists to contemporary times as it offered the best format to decode, demystify and deconstruct the portrayals of non-toxic masculinities through 107 years of Hindustani cinema. Working on a form where the research can be potentially endless, the possibilities of meaning making are infinite, the costs of shooting are nil and the entire onus of creation lies in the minds and hands of the editor. The radical idea of using not just footage in the conventional sense but fully finished films, newsreels, documentaries, stills etc. - as a larger extended idea of film material pushes the boundaries of filmmaking and creation.
The form of collage film being truly independent is an 'auteur' driven form belonging to the future as the amount of original material being added to the larger bin of audio-visual content is increasing as we speak with more forms of distribution. For a country and culture strategically steeped into multiple art forms, range of languages, plethora of curatorial and cultural practices, this form can only get stronger and more robust with newer film makers experimenting with it. Some years ago, Peter Van Goethem made a collage film 'Night has come'. Working with the Royal Belgian Film Archive Cinematek, he perused no fewer than 1,268 films to assess various archival content spanning avantgarde experiments, journalistic productions, educational films, propaganda, prior documentaries, and more. With the pandemic and its aftermath, we believe that everyone (artists or otherwise) is having a renewed relationship with their living spaces and a finite quantity of time. A form like collage film can only empower self-expression in these times.
Pranav Patadiya: firstname.lastname@example.org (+91 8050981598), Satchit Puranik : email@example.com (+91 9833690690) from Chikka Dodda Art Lab, Bangalore, India.
Our project seeks to focus on the untapped potential inherent in digital curatorial practices. By defining curatorship as the practice of artistically arranging the space of an exhibition, this project aims to explore the potential of tools and platforms, such as Unity Engine, to produce radically alternative online spatialities that transcend the constraints of the physical space.
For me it comes down to the why of creating choreography and movement, and that is to move people. In a digital context, we can no longer rely on the in person performance to grab the audience's attention. My artistic ideas around this lie in working to maintain the authenticity of dance work without adhering to the capitalised and commercialized nature of the internet.