Video still 1
from at the
digital video, 17minu 55 sec
Video still 2
Video still 3
About the Artworks
work takes form in film, video, photographs and texts. My concern lies in
describing effects of narratives that are based on overturns, through
descriptions and instructions that allow myself, and in-turn the viewer to
locate themselves within these dislodging narratives. Points through which
these descriptions and instructions formulate themselves and are references
of, range from sci-films, mythological narratives and political incidents,
which become fulcrums. They become sources from which narratives are
extracted and reconfigured to form connections, pointing towards how
subjectivities function and are constantly renegotiated, in order to produce
a condition of alterity in my own viewpoint and in turn the viewers.
In At the overturn,
the quotidian images are structured with sections, hesitation, combustion,
nihilism, parasitism, relationship of the parasite to its host-where each
image functions within its corresponding sections, generating unfamiliar-ness
to very quotidian images. The voice-over oscillates between an interior
monologue, a dialogue and as declaration through which one navigates various
sensations produced by the images.
Through describing effects of dislodgement, for me, it provides a more
nuanced understanding of the conditions within which the narrative is
located, of the overturn within the narrative and the conditions surrounding
them. By analysing them and speculating on them, I produce varying degrees
of sensations that point to how these come forth and possible navigation
through them. As a result, my work becomes triggers though which I transmit
these sensorial effects to myself and in turn the viewer, with the intention
of generating a new mode for sensing what is around us. As a method for my
work, I start with fragments that I gravitate too, unearthing propositions
and provocations within them. When a provocation emerges, it becomes a play
in figuring out the connections with other sources, when to amplify it and
when to subsume it.
initial impulse of making It was high noon and I slept with the Sun was
to take off from Blade Runner1982 by Ridley Scott, which is an adaptation of
Do Androids Dream of Electronic Sheep by Philip.K.Dick. There is a sequence
within the movie where Roy (replicant) confronts Dr. Tyrell (Head of the
company who manufactures these replicants), where Roy asks the doctor to
extend his life (according to the plot the replicants are very human-like.
Their life is cut short to 4 years in order to prevent any revolt from
them). The scene is a classic example of an existentialist/ Sci-film noir
– where the replicant asks for more life, eventually killing the doctor by
kissing him. An artificial being asking for more life and consequently what
does it mean to ask for more life? Why does the existential question keep
popping up various times and how does it address the time that we live in
now? These were some of the things I had been thinking about, especially
living during a hyper-media time. Do we constantly live in-between pastiche
and schizophrenia? The second video is a found footage taken from the NASA
archives. Its captures solar fIares and magnetic waves emitting from the sun
for a period of a month, which has been compressed to a minute.
gravitate towards film and particularly essayist films, as it allows for
contradictions to be put forth, puts my own subjective positions to the fore
while allowing room for analytic responses. As a formal concern, it allows
for varying degrees synthesis of image, sound and the written/spoken word.
The essay as a form also lends itself to work with fragmented thoughts and
sensations, to bend time and narrative to suit fragmentation, that functions
independently and sometimes in relation to other fragments.
Arshad Hakim (b.
1992) attained his BFA from Faculty of Fine Arts, M. S. University of
Baroda (2014) and MFA from the Shiv Nadar University (2016). He has
participated in several camps and residencies. Hakim was a fellow
at Ashkal Alwan - The Lebanese Association of Plastic Arts (2017-18).
His recent exhibitions include, ‘Critical Constellations’ held by the
Foundation of Indian Contemporary Art, New Delhi, ‘As We become’ curated
by Meenakshi Thirukode, New Delhi, Open Studios at Ashkal Alwan, Beirut,
‘Watermelon, Fish and Half Ghost’ Swiss Cottage Gallery, London. He has
been a resident at #1 Shanti Road, Bangalore and was invited to a summer
school at ZHdK in Zurich, co-organized by Manifesta 11. He has been
published by the Arts of the Working Class, Berlin. Hakim lives and
works in Bangalore.