Gigi Scaria

Videos

  • 2010
  • 2009
  • 2008
  • 2006
  • 2005
  • 2004
  • 2003
  • 2002
VideoPrisms of perception
Medium: Video
Duration: 4 mins 25 sec.
Year: 2010
VideoConscience Keeper
Medium: Video Duration: 5mins 30 sec.
Single channel with sound
Year: 2010
VideoPolitical Realism
Medium: Video, duration: 3 mins
Single channel with sound
Year: 2009
VideoAmusement park
Medium: Video, duration: 5mins
Single channel with sound
Year: 2009
VideoAll about the other side
Medium: Video, Duration: 20 mins
Single channel with sound
Year: 2008
VideoPanic City
Video duration: 3 mins
Single channel with sound
Year: 2006
VideoYeh tera ghar yeh mera ghar
video duration: 10min.
Single channel with sound
Year: 2006
VideoChitili Qubar
video duration: 6min.
single channel video (silent)
2006

Screenshot

  • Chitili Qubar
  • Chitili Qubar
  • Chitili Qubar

VideoPicture Perfect
video duration: 8min 28 sec.
editing: Himanshu Desai, Gigi Scaria | Player: Muhammad Khurshid Alam | Camera and direction: Gigi Scaria

Muhammad Kurshid Alam a thirteen years old migrant from Bihar sells posters in front of the Jama Masjid (Mosque) in Old Delhi. His collection of posters contains a lot of verities. Despite the religious connection he is totally unaware with the places in these pictures. But he makes these places familiar with his day-to-day engagement such as selection, stapling, cutting, threading, rolling, hanging and selling it on the streets. His minute details of labour try to frame each picture "perfect".

Screenshot

  • Picture Perfect
  • Picture Perfect
  • Picture Perfect
  • Picture Perfect
  • Picture Perfect

VideoSearch
video duration 5 min.
editing: Himanshu Desai, Gigi Scaria
camera and direction: Gigi Scaria

This video was made during a one month held in the walled city of Delhi in April 2006. One early morning I found a boy using a powerful magnet to unearth iron pieces from the street. His search was quite unusual because of the way it was conducted. His detachment with the objects which he finds time to time while he drags the metal detector on the road make us think about the way in which a city functions. His tool: a magnet attached to a long wooden stick; operates as a technical device in a general sense but strictly functions as a mediator between the street and his daily bread. The search he is engaged in demystify the "searches" we are familiar with as modern metaphors.

Screenshot

  • Search
  • Search
  • Search
  • Search

VideoInterview
Three channel video with sound. | Duration 8 min
voice: Sohail Hashmi | Concept& Direction: Gigi Scaria
2006

The video is an attempt to understand the way in which we categorize people and their identity which has become a prominent character of a metro culture. Which also points out that the highly sophisticated corporate tools can recreate the destiny of any urban migrant.

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  • Interview
  • Interview
  • Interview
  • Interview
  • Interview
  • Interview
  • Interview

VideoPartition: Snake and Ladder a new difficulty.
video duration: 4min.
written and directed by Gigi Scaria
2006

Look at this, what you see in front of me you may tent to call it as a sculpture. But I would like to call this a complex situation. Though I am not directly involved in it this has been getting into my nerves quite some time. All this started when these fellows decided to have their individual spaces. I don't know who started it and how this idea of individualism came into play in a game like this. Any way they decided to cut this table into four pieces in order to device their own personal territory to play without any disturbance from the other. But when we look very closely at this matter they are likely to confront two serious problems while they make it work. One is of course the physical aspect of cutting this table into four separate pieces. When they cut it the way it is shown here each one of them will be left with one leg and that is not sufficient enough to hold the table individually. In this case they have to attach three more legs to each piece; if not three minimum two are very necessary.

There is another possibility of a different way of cutting the table. For example if they cut it like this (taking the game board put it on the table and showing suggestions on the board using a marker) they probably do not need these many extra legs to support their individual pieces. But in this case making sure that each one of them gets accurately equal space irrespective of the fact that they are of different shapes will bring a complex mathematical problem into the picture.

Ok, let us think that they manage to solve these difficulties and finally get separated. Then comes the second trouble; how will they play the game? After the partition each table will have approximately 25 columns. There are ladders and snakes which cross over from one side to another which will be naturally cut into pieces. For example one fellow reached column number 17 where he has a ladder to go up. But because of the partition his ladder has been cut along the edges of the board. So, where will he reach? Till where this ascent can take him? Similarly if one lands up at column number 59 where there is a snake waiting to swallow him , where will his fall ends since the snake is half cut along the edges of his game board? It of course creates metaphorically no win, no loose situation but ultimately they claim that they all won the game in their own territory. In that case tell me according to you are they all consider as real winners?

(Work presented as a sculptural installation along with the video projection on the wall.)

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  • Partition: Snake and Ladder a new difficulty.
  • Partition: Snake and Ladder a new difficulty.
  • Partition: Snake and Ladder a new difficulty.

VideoBhai ka (jha)gada
video duration: 18min.
single channel video with sound
2005

Screenshot

  • Bhai ka (jha)gada
  • Bhai ka (jha)gada
  • Bhai ka (jha)gada
  • Bhai ka (jha)gada
  • Bhai ka (jha)gada
  • Bhai ka (jha)gada
  • Bhai ka (jha)gada

VideoHome: in/out
Video Duration 52 minutes
Gigi Scaria

Trinidad's ethnic mix and cultural diversity is a unique experience for me. Largely people had been brought here by their "colonial masters" from four continents. What fascinated me is the way people understand this land as their motherland even though not long ago they were separated from their motherlands in Asia, Africa, Mideast and Europe.

It seems like they have always ignored the 'past' and started living in the 'present'. They somehow abandoned the 'burden of history" which their ancestors carried from their motherlands and became actively involved in shaping a nation which creates its own history. This reminds me of the village "Macondo" described by Gabriel Garcia Marcase in his famous novel 'One Hundred Years of Solitude". Everything is new, fresh and in the process of creating something unique.

My intervention in this society is an attempt to understand many issues layered under the nation building project. The past, present and the complexity of "living together" somehow helped me to observe this nation as a "microcosm" of the world. The sense of identity and the understanding of 'belonging" have been constructed in human minds through ' active subconscious' impulses. Through a series of interviews with people from different racial and religious background my attempt here is to get a glimpse of these impulses.

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  • Home: in/out
  • Home: in/out
  • Home: in/out
  • Home: in/out
  • Home: in/out
  • Home: in/out
  • Home: in/out
  • Home: in/out
  • Home: in/out
  • Home: in/out
  • Home: in/out
  • Home: in/out
  • Home: in/out

VideoThe Lost City
video Duration: 14 Min.
actors: Praveen Thampi, Ashwani Kumar
voice: Sohail Hashmi
written and directed by: Gigi Scaria

"The Lost City" deals with the existence of an individual in his vast urban surroundings. Loosing memory on the other hand reminds us the layers of information one has to carry out in a single day's business. City tries to betray its own people by its ever-changing physical appearance. It appears to us as a constantly loosing unattainable space, city wages war against our collective consciousness.

Screenshot

  • The Lost City
  • The Lost City
  • The Lost City
  • The Lost City
  • The Lost City
  • The Lost City

VideoBetween you and me
video duration: 5min.
single channel video with sound
2005

Screenshot

  • Between you and me
  • Between you and me
  • Between you and me
  • Between you and me
  • Between you and me

VideoA day with Sohail and Mariyan
video duration: 17min.
single channel video with sound
This project has been realized during the Khoj Residency 2004

I met Sohail aged 17 and Mariyan aged 14 at the NDMC Community centre in Sarojini Nagar during their afternoon class organized by CHINTAN (an environmental research and action group, working with waste pickers in the city). I spent some time in the classroom talking to them and asking about their daily routine. They said they go every night to collect waste from near by places and work through the night till daybreak. They said that they preferred working at night because there isn't too much traffic on the roads and because there are fewer policemen about and there is less harassment.

I told them that I would like to make a film on their work, their reactions were mixed, there was excitement at the possibility of being filmed but they were not very sure they wanted people to recognize them through the film. Sohail said so clearly, if this is going to be shown on TV I will have nothing to do with it. A sense of awareness of privacy and perhaps reluctance in being seen as a rag picker were evident in their reaction to my proposal. For them it is their work and they make a living out of it but they certainly didn't want anybody prying in their life.

They invited me to the place where they live. An open piece of land, in the Diplomatic enclave, next to the American School but ironically held by the Iraqi Embassy, at least that is what I was told. 10 to 15 families live here under shelters/homes fashioned out of rags plastic sheets, pieces of plywood and packing materials. The shelters have a few household possessions and the area all around is filled with heaps of polythene, cans and drums of various sizes, rusted wire and what have you.

Sohail and Mariyan brought out worn-out chairs and we sat down, other kids gathered around us many even younger than my two friends. We discussed many things. They talked of daily harassment at the hands of the police, the indifferent even down right insulting behavior of the people. How tired to the bones they are when they get back home after tramping through the streets the whole night. 

How much they earn depends entirely on the time spent in going from one rubbish dump to the other, the more useful trash they are able to collect and carry the more they earn. The daily pickings generally vary between Rs. 100/- to Rs. 200/-There are times they earn more, when a new movie is released, or a festival is organized or a big gathering takes place. Ultimately they live on the waste generated by this city. Can this be a defense of our wasteful ways? Are we saying that the more we consume the better they earn? 

I spent almost a month visiting them regularly. We began with a general discussion, a chat really, on the idea of making the film, it gradually began to take shape and our discussions started becoming more concrete. Sohail was hesitant and unsure when I first broached the issue of acting out certain sequences or using specific dialogues. He said he is not capable of doing these things as he has had no formal schooling and won’t be able to deliver the dialogues because he cannot read or write. I insisted that he should make the effort because I was sure that he has to be the protagonist. Later on when he watched the movie he told me “I’ll do a much better job next time.” 

Here was an interesting situation, a situation that could be interpreted in many different ways; there were two raw characters, street smart and game to try out new things. There was a great temptation to slip into fictionalizing the whole thing or to putting my own spin on the entire experiment. Had I fallen into this trap I could have ended up creating an exclusively “modern practice” where the artist dictates her/his terms to recreate the other’s life, the life which s/he is only familiar with as a spectator. Community projects often fall into the pit falls of artistic arrogance when the artist as an invader takes decisions on behalf of the community s/he works with. My involvement with the kids was very different from the beginning. The only thing that separated them and me was that highly professional equipment, the digital camera. Technology can create distance at times. Sohail asked me how much the camera costs, I said around 50 thousand. They were amazed. 

Sohail and Mariyan quite liked the idea of me accompanying them one night and documenting their work on streets. Their relationship with the city and its public space is of a very different nature. They commute by cycle. A huge polythene bag, in the middle of the carrier placed in such a manner that it remains balanced on the carrier due to equal weight on both sides of the carrier. They start around midnight to collect the waste. They often follow a single route in which more than ten municipal waste bins are located. They collect almost anything that can be sold by weight. Some of the 5 Star hotels, on their beat, leave them with huge amount of leftovers in piles of polythene bags. They open the bags then segregate the material with a surgeon’s efficiency and unaffected mind. The plastic and paper goes into one pile and the food is gathered for their pet ducks. I opened the lens cover and switched on the camera. A gap is now created between them and I, but they felt comfortable, as they were completely involved in their work. 

My concerns rotate around many aspects of the human conditions. This video has been made as a fictional documentary but not exactly following the documentary mode. While portraying a late night tour with Sohail and Mariyan my video tries to establish a relationship with a world that we are not normally familiar with. This tour also signifies a search of the back door of an established social order representing the world of consumption.

The route followed by Sohail and Mariyan from dustbin to dust bin draws a map of the city that essentially has no relationship with the updated cartographic calculations of the city. They try to locate themselves within the city map boundaries but fail to establish the link. The Video has also tried to portray a state of an ‘unknown migrant’ whose social functions are not yet decided. The space/location knowingly or unknowingly chosen for the movie largely represents the elite class and the political as well as the social hierarchy in the middle. A’ periphery’ within the’ centre’ is an interesting paradox to observe. The location, in the heart of the diplomatic enclave, adds another subtext. 

An immediate reality we all live in has its divergent parallels. It is entirely up to each individual how one confronts these parallels. Parallels are forever in confrontation, whether in geometry, in art or in life. Ignorance of the every day life some how diminishes the parallel existence. Social boundaries never deal with parallels they rather categorizes them to leave no space for confrontation. My attempt is to confront the parallels and create a dialogue with their every day practice. Sohail and Mariyan’s Practice of Everyday life may leave empty space in our thought process; it also challenges our comfort at many levels.

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  • A day with Sohail and Mariyan
  • A day with Sohail and Mariyan
  • A day with Sohail and Mariyan
  • A day with Sohail and Mariyan
  • A day with Sohail and Mariyan
  • A day with Sohail and Mariyan
  • A day with Sohail and Mariyan
  • A day with Sohail and Mariyan

VideoDialogue on bilateral issues
video duration: 7min.
single channel video with sound 2003

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  • Dialogue on bilateral issues
  • Dialogue on bilateral issues
  • Dialogue on bilateral issues
  • Dialogue on bilateral issues
  • Dialogue on bilateral issues

VideoWounded
video duration: 9min. 30sec.
single channel video with sound
2003

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  • Wounded
  • Wounded
  • Wounded
  • Wounded
  • Wounded

VideoExcavation: a site on wheels
video duration: 7 Min.
single channel video with sound
2003

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  • Excavation: a site on wheels
  • Excavation: a site on wheels
  • Excavation: a site on wheels
  • Excavation: a site on wheels
  • Excavation: a site on wheels

VideoExcavation
video duration: 5min.
single channel video with sound
2003

Screenshot

  • Excavation
    excavation number 1
    Site: Talpiot Jerusalem
    Date: 10.06.03
  • Excavation
    excavation number 1
    Site: Talpiot Jerusalem
    Date: 10.06.03
  • Excavation
    excavation number 1
    Site: Talpiot Jerusalem
    Date: 10.06.03
  • Excavation
    excavation number 2
    Site: Jaffa Gate, Jerusalem
    Date: 11.06.03
  • Excavation
    excavation number 2
    Site: Jaffa Gate, Jerusalem
    Date: 11.06.03
  • Excavation
    excavation number 2
    Site: Jaffa Gate, Jerusalem
    Date: 11.06.03
  • Excavation
    excavation number 3
    Site: Musrara, Jerusalem
    Date: 13.06.03
  • Excavation
    excavation number 3
    Site: Musrara, Jerusalem
    Date: 13.06.03
  • Excavation
    excavation number 3
    Site: Musrara, Jerusalem
    Date: 13.06.03
  • Excavation
    excavation number 4
    Site: Cross Valley, Jerusalem
    Date: 15.06.04
  • Excavation
    excavation number 4
    Site: Cross Valley, Jerusalem
    Date: 15.06.04
  • Excavation
    excavation number 4
    Site: Cross Valley, Jerusalem
    Date: 15.06.04

Videosite under construction
video duration: 5min.
single channel video with sound
2003

Screenshot

  • site under construction

VideoStampa
Video Duration: 3 Min.
Concept & Direction: Gigi Scaria
single channel video with sound
2002


The methods of Tattooing ( a short note on video stampa )

The reasons and definitions of a tattoo need to be looked more seriously. Over the last few decades tattooing has become a major trend or fashion among the young / radicals and revolutionaries. The basic idea / concept of a tattoo have been connected to a deep belief and emotion of the one who does it on his /her body. The physical act of letting oneself goes through the sharp pain of delicate needle reinvents the religious rituals in modern era. The hierarchic structure of the religious idealism and political ideologies are very much linked together with the same common thread “belief “. When we look at a tattoo, the body comes along with it as a surface where the icon is being marked. When a thought or idea is transferred to an icon/ image and imposed on a body (here “the body” means the physical entity or surface) that process could be identified as an “authoritative” one. Tattooing can also be seen as an imposed act on the body like an official seal on a written text. Once you put a tattoo you authorize or brand yourself with that particular icon or mark. That will become an identity for others to find you. Tattoo also remains on a body forever as a permanent reminder /defender and reveller. 

The video “Stampa” deals with one method of tattooing. Instead of drawing, here the image is being forcefully sealed on the body. After the act of execution the icon remains on the body as a tattoo. The applying method was different but the result became a tattoo. Even if forcefully done the icon shows the belief of him and which remained forever whenever he is seen. The identity of an individual in a “Global market” deals with the dilemma of “imposed consumer belief” which is imposed from outside (even with lots of physiological violence) but seems to be a part of once own belief. Charged violence / imposed icon have become a part of the tattoo body. The skin internalized the deep scars on the body. Resistance has become a pain provoked by the tattoo needle, delicate, minute but not long lasting.

Screenshot

  • Stampa
  • Stampa
  • Stampa
  • Stampa
  • Stampa
  • Stampa
  • Stampa