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About

Collaborating since 2004 as Desire Machine Collective, Sonal Jain and Mriganka Madhukaillya work through image, moving image, sound, time and space. Assuming their name and theoretical disposition from Anti-Oedipus, a seminal text from 1972 by French philosopher Gilles Deleuze and psychoanalyst Félix Guattari, Desire Machine seeks to disrupt the neurotic symptoms that arise from constricting capitalist structures with healthier, schizophrenic cultural flows of desire and information. As the French philosopher Michel Foucault put it, Anti-Oedipus is an introduction to a non-fascist life. In similar fashion, through their practice Jain and Madhukaillya confront the many forms of fascism that lead to violence and injustice, both regionally in Guwahati, Assam and around the world.

Along with Desire Machine Collective, they have initiated Periferry, a artist-led space situated on the M. V. Chandardinga, a ferry docked on the Brahmaputra River in Guwahati. Periferry serves as a laboratory in flux for generating hybrid practices. The space and its activities also provide a connective platform for dialogue across artistic, scientific, technological, and ecological modes of production and knowledge.

Past Shows

2012
Being Singular Plural, at the Solomon Guggenheim Museum New York in 2012
Intense Proximity at the 3rd edition of the La Triennale at the Palais de Tokyo in Paris, curated by OkwuiEnwezor.
2011
Everyone Agrees: It's About to Explode at the 54th International Art Exhibition of the Venice Biennale, India Pavilion, Venice
Indian Highway IV, MAC Muséed'ArtContemporain de Lyon
Indian Highway V, MAXXI MuseoNazionaledelleArti del XXI Secolo, Rome
Between Utopia and Dystopia, Universitario Arte Contemporáneo (MUAC), Mexico
Machines, OiFuturo media center, in Belo Horizonte, Brazil
Biennial of Curitiba, Brazil

2010
Being Singular Plural: Moving Images from India, June 26–October 10, 2010
Curated by Sandhini Poddar, Deutsche Guggenheim museum, Berlin.

2009
"Unreal Asia", as a part of the International Short Film Festival Oberhausen, Germany, Curated by Gridthiya Gaweewong & David Teh

"The Landscape of Where", 23 April - 27 May 2009, at the Galerie Mirchandani & Steinruecke, Mumbai, India, a group show curated by Nancy Adajania....link

"Video Wednesday", at Gallery Espace, New Delhi, India Curated by Johny ML.

2008
48C. Public. Art. Ecology, India Delhi's first Public Art Festival, Artistic Director and Curator Pooja Sood ...link

"Place", a group show at Anant Art Gallery, New Delhi

Festival du Nouveau Cinéma et le Vidéographe, Montreal, curated by Marc Mercier

Courts Metrages, les 21 instants Vidéo (MArsEILLE), presented by Charles­ Guilbert
The travelling multimedia exhibition Instants Vidéo (Video Moments) shown in France, Canada (Quebec), Lebanon, Palestine, Venezuela and Argentina.

Amsterdam-India Festival, Amsterdam curated by Shai Heredia

Workshops / Talks

Bite Size lecture at Fo.am ...link

Activities

Being Singular Plural
EXHIBITION
2012, March 2–June 6
At the Solomon R. Guggenheim Museum, New York. Curated by Sandhini Poddar.
The collective had installed, on the exterior of the museum, an interactive, round-the-clock public artwork Trespassers Will (Not) Be Prosecuted (2012), inspired by sounds collected in a sacred forest in northeastern India. The exhibition also includes two moving-image works: Residue (2011), a 35 mm film shot in an abandoned power plant in the outskirts of Guwahati, Assam, and Nishan (2007–2012 ), a four-channel video installation akin to a miniature painting in its microcosmic rumination of time and space, as experienced in a derelict apartment in Srinagar, Kashmir.... link

Trespassers will (not) be prosecuted 2012 @ Solomon Guggenheim Museum, New York

PROJECT

Digital NE

Digital Northeast is an alternative space for an imaginative reconstitution of culture, new / old media practice and research and critical creative cultural intervention in Northeast India. Digital Northeast reservoir information about forms of social practices that lack systematic accounts. An archive of lived realities.

Acknowledging the important philosophy, the best practices identified by the study are presented in the framework of the information life cycle — creation, acquisition, cataloging/identification, storage, preservation and access Digital northeast propose creation of a Public domain and public access to the cultural forms.

The public domain as the future public space in a digital media environment, not driven by the commercial interests nor monopolized by the state.

In documenting, protecting and disseminating the expressive culture of indigenous communities we believe that we contribute to the reaffirmation of local cultures in a globalizing world.The incresing fluidity of boundaries between different cultural forms, especially those that are visual in nature, has created a situation which calls for an investigation of the idea of visual culture, both as a concept that would account for the culture of visuality in contemporary societies, and as an aegis that would enable a dialogue between the disciplines of the visible.

In the digital age, that's increasingly a transparent question. But saving the' future for the Image, asking the question of Images For Whom? and Images for What? is a political question. But it's a question which speaks of the life-and-death cultural struggle that will take place over democratic accessibility versus private intellectual property rights to the Images of the electronic future.

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