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  -  Propositions: Expanded Practices (2021-2022)

Propositions: Expanded Practices 

Propositions: Expanded Practices is the second set of a long-term series of educational programming by Ark and Reliable Copy where creative practitioners present their ongoing or existing enquiries in the form of intensive and experimental workshops. Functioning as an opening out of one’s practice (and along with it their research methodologies, working materials, and conceptual methods), the programmes facilitate dialogue and critique through involved and participatory models. Existing across different durations, with or without defined outcomes, and through regular collaborations, Propositions attempts to chart alternative curriculums, frameworks, and infrastructures for developing arts education and practice. Propositions is made possible and supported by the Rubamin Foundation.


#2 The Observer with Deepak ഉണ്ണികൃഷ്ണന്‍

4th, 5th, 11th, 12th, 18th, and 19th February, 2022

OPEN CALL: 1st January, 2022

Deadline for Application: 16th January, 2022

Ark and Reliable Copy are proud to announce an open call for applications from students and recent graduates, writers, artists, media and culture theorists, thinkers, designers, and anyone interested in the below topic and its related context, to participate in a workshop led by Deepak ഉണ്ണികൃഷ്ണന്‍, as part of our Propositions programme. Deepak ഉണ്ണികൃഷ്ണന്‍ is a writer from Abu Dhabi. His book ‘Temporary People’, a work of fiction about Gulf narratives steeped in Malayalee and South Asian lingo, won the inaugural Restless Books Prize for New Immigrant Writing, the Hindu Prize, and the Moore Prize.

Module Description

Dear Stranger: 

1] Secrets. Is it possible to have them in the age of street cams, search engines, and smart tech? 

2] Consequences. What happens to the creative practitioner in hyper-surveilled environments? 

3]  Invention/Convention. How does censorship and/or self-censorship affect either in monitored spaces? 

4] Finally, Fear. Throughout history, across disciplines, how have artists negotiated their fears? 

This is a module that will use these four questions as starting points to have conversations about thinking up, making, and perhaps even discarding work. We will read, listen to, watch, and speak as a collective, to practices that have grappled with variations of these questions with care, vision, and verve. And as we speak together, we will make and share work about the lives of others, and perhaps ourselves, which may hit these registers that we are concerned about.


The Observer

Eligibility and Terms

– The program is free for all selected participants to attend, and is open to students and recent graduates, writers, artists, media and culture theorists, thinkers, designers, and anyone interested in the topic and its related context. A college education is not a compulsory requirement. 

– A maximum of 10 participants will be selected for this module. The participant’s attendance for the entire duration of the module is mandatory.

– Applicants must be based in India.

– The workshop will take place online through a shared Zoom portal and other online tools.

– The workshop will be intensive, and will consist of discussions, readings, lectures, exercises, and screenings. Participants are requested to make sure that they are free from any other commitments for the duration of the workshop.

– Participants will have access to a reading list and set of resources prior to the workshop. They are expected to read and go through the resource list before each session and actively participate in discussions, use collective thinking, and generate creative reflections through their own practice. 

– Live text transcriptions will be enabled on Zoom during the workshop, to assure that anyone hard of hearing will be able to follow and participate through live subtitles and the chat box. 

Application Procedure

Please send your applications to propositions.info@gmail.com with the Subject Line as ‘Application for TheObserver_Name of Applicant’.

Please note that incomplete applications and/or applications submitted to any other Ark or Reliable Copy email ID will not be considered valid.

If you have any questions, please contact propositions.info@gmail.com.

Applications for The Observer must include:

  1. A personal bio that functions as an honest appraisal about the self, in the form of anything you would like: text, video, photograph, etc. This bio need not list a single accomplishment or academic qualification.
  2. A sample of your practice – perhaps an artwork, text, poem, website, or anything else. Something that you think would help us understand what you are hoping for. If it is a writing sample, then not more than 10 pages, if it is a research or curatorial project, then explain it briefly.
  3. A statement of intent, in text or audio form, answering: What is your definition of an observer, and do you think about the observer in the work you make/do/think about? 

If you are writing your response, then the text should not exceed 835 words. If the response is an audio, then the time limit is 5 minutes and it should be thought out and not too extemporaneous. The language for the audio can be English, Hindi, Malayalam, or Gujarati. 

All of the above must be sent as either a single PDF or a single WeTransfer link, with the title TheObserver Application_Name of Applicant.

Participants are selected through an open call. Candidates are considered on the basis of their submitted documents and statement of intent, outlining why they are interested in this module, and how it relates to their practice and research. 

The selection process will be done by Deepak ഉണ്ണികൃഷ്ണന്‍, along with representatives from the Ark and Reliable Copy teams.

#1 OnScreens with Charu Maithani

12th-18th December 2021


Applications Closed

OnScreens aims to situate screens in contemporary visual practice and culture by analysing their various functions and capacities. There are several ways in which we encounter screens in our daily lives, such as interactive screens of mobile phones, moving-image projections, and monitor displays, with any surface having the potential to become a screen if light is projected upon it. Screens are not just the means to partake in social, economic, and cultural activities – they also re-establish and blur spatial and temporal boundaries. Though the relationship of, and with, screens extends to various areas of contemporary life, it is in media art practices that we see screens doing something other than display, communicate, and interact. 

OnScreens will trace the history of screens in pre-cinema and present media devices to mainly pay close attention to the operations of screens in the contemporary human-machine arrangement that they are a part of. The workings of screens in this context will be examined in relation to other elements that accompany them including images, light, and frames. With deliberations on various diverse theoretical frameworks and creative practices, OnScreens will attempt to articulate different understandings of screens and their becomings.

Charu Maithani is a researcher who organises her inquiries in the form of writing and curated projects. Her focus lies at the intersection of technology, art, cinema, and media studies, with a specific interest in the technocultural space that screens occupy in the contemporary postmedia space. She has recently completed her PhD from UNSW, Sydney and runs the online platform PROPRIOCEPTION.