CAMP Study Day, made possible in partnership with the Kiran Nadar Museum of Art (KNMA), New Delhi, brings together leading scholars of media, law, cinema, and visual art on the occasion of the exhibition Video After Video: The Critical Media of CAMP. Erika Balsom, Lawrence Liang, Debashree Mukherjee, and Ashish Rajadhyaksha will present critical readings of CAMP’s groundbreaking transdisciplinary practice, followed by a discussion with the exhibition co-curators, Stuart Comer and Rattanamol Singh Johal. Laura U. Marks will deliver a keynote lecture drawing on her extensive work on small-footprint media and video as a haptic medium.
This program offers an opportunity to support, disseminate, and archive new research on CAMP’s work. Note also that CAMP’s 2013 video From Gulf to Gulf to Gulf (2013) is currently available to stream on Magazine.
CAMP Study Day will also be live-streamed via Zoom. If the online event is more accessible for you, please register for the livestream.
Registration
Register for the in-person event.
Register for the live stream.
Schedule
2:00 p.m.
Check-in and coffee reception
2:30
Welcome and opening remarks from MoMA and KNMA
2:45
Panel discussion
Lawrence Liang
Erika Balsom
Debashree Mukherjee
Ashish Rajadhyaksha
moderated by
Stuart Comer, The Lonti Ebers Chief Curator of Media and Performance, MoMA
Rattanamol Singh Johal, art historian and curator and former Assistant Director, International Program, MoMA
4:30
Reception
5:30
Keynote lecture
Laura U. Marks
7:00
Video performance
Reading Listening Seeing Bombay Tilts Down
(A separate ticket is required for this performance.)
Erika Balsom is a reader in film and media studies at King’s College London who specializes in the study of artists’ moving-image practices. She is the author of four books, including TEN SKIES (2021) and After Uniqueness: A History of Film and Video in Circulation (2017). Her writing has appeared in publications such as e-flux journal, Grey Room, and New Left Review, as well as many exhibition catalogues. With Hila Peleg, she was the co-curator of No Master Territories: Feminist Worldmaking and the Moving Image, which began at Haus der Kulturen der Welt (Berlin) in 2022 and will travel to Kunstnernes Hus, Oslo, next year.
Lawrence Liang is a professor of law and the dean of the School of Legal and Socio-Political Studies at Ambedkar University Delhi. His work lies at the intersection of law, culture, and technology. A winner of the Infosys award for the social sciences (2017), Liang has been a visiting scholar at Yale, Columbia, and the University of Michigan, among other universities. He has written extensively on the politics of intellectual property, free speech, and media cultures. He has also been a collaborator and interlocutor of CAMP since 2005, and is one of the cofounders of pad.ma and indiancine.ma. His forthcoming book looks at the relationship between law and justice in popular Indian cinema.
Laura U. Marks works on media art and philosophy with an intercultural focus and an emphasis on appropriate technologies. Her fifth book, The Fold: From Your Body to the Cosmos (2024) proposes a practical philosophy of living in a folded cosmos. With Azadeh Emadi, Marks cofounded the Substantial Motion Research Network of artists and scholars interested in non-Western approaches to media. She programs experimental media art for venues around the world. In 2020 she founded the Small File Media Festival, which celebrates movies that stream at extremely low bitrate. A Fellow of the Royal Society of Canada, Marks teaches in the School for the Contemporary Arts at Simon Fraser University in Vancouver.
Debashree Mukherjee is associate professor in the Department of Middle Eastern, South Asian, and African Studies (MESAAS) at Columbia University, and co-director of the Center for Comparative Media. She is the author of Bombay Hustle: Making Movies in a Colonial City (2020) and editor of Bombay Talkies: An Unseen History of Indian Cinema (2024). Her current book project, Tropical Machines, develops a media history of South Asian indentured migration and plantation modernity from the 1830s onward, and has been awarded an ACLS fellowship for the year 2025–26. Debashree edits the peer-reviewed journals BioScope: South Asian Screen Studies and Screen, and has published in journals such as Film History, Film Quarterly*, Feminist Media Histories, Representations, MUBI’s Notebook, and Modern Asian Studies.
Ashish Rajadhyaksha is a film historian and occasional art curator. He is the author of Ritwik Ghatak: A Return the Epic (1982), Indian Cinema in the Time of Celluloid: From Bollywood to the Emergency (2009), and The Last Cultural Mile: An Inquiry into Technology and Governance in India (2011). He is the editor of Encyclopaedia of Indian Cinema (with Paul Willemen) (1994/1999), In the Wake of Aadhaar: The Digital Ecosystem of Governance in India (2013), and a book of Kumar Shahani’s writings, The Shock of Desire and Other Essays (2015). Among his curated projects is the “Bombay/Mumbai 1992–2001” section (with Geeta Kapur) of Century City: Art and Culture in the Modern Metropolis at Tate Modern, London (2002); You Don’t Belong festival of film and video, Beijing, Shanghai, Guanghzhou, and Kunming (2011); Memories of Cinema at the IVth Guangzhou Triennial (2011); Make-Belong: Films in Kochi from China and Hong Kong, Kochi-Muziris Biennale (2015); and the exhibition Tah-Satah: A Very Deep Surface: Mani Kaul & Ranbir Singh Kaleka: Between Film and Video at the Jawahar Kala Kendra, Jaipur (2017).
Accessibility
This theater is equipped with an induction loop that transmits directly to hearing aids with T-coils.
American Sign Language (ASL) interpretation is available for public programs upon request with two weeks’ advance notice. MoMA will make every effort to provide accommodation for requests made with less than two weeks’ notice. Please contact [email protected] to make a request for these accommodations.
The nearest all-gender restroom is located in the Cullman Mezzanine.
Wheelchair-accessible seating is available on a first-come, first-served basis.
For more information on accessibility at MoMA, please visit moma.org/visit/accessibility.
CAMP Study Day is made possible in partnership with the Kiran Nadar Museum of Art (KNMA), New Delhi.
Major funding is provided by the Agnes Gund Education Endowment Fund for Public Programs, the Jeanne Thayer Young Scholars Fund, and the Annual Education Fund.