still image 1: at the
digital video, 17 min 55 sec., 1/3+AP
still image 2: at the
still image 3: at the
About the Artworks
My 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.
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.
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.
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 flares and magnetic waves emitting from the sun
for a period of a month, which has been compressed to a minute.
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.
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, 'A Voyage of Seemingly Propulsive Speed and an Apparent
Absolute Stillness', Gallery Ark, Vadodara (2020); View India,
Landskrona Foto Festival, Landskrona, Sweden (2019); ‘Critical
Constellations’, Foundation for Indian Contemporary Art, New Delhi
(2019); ‘As We become’ curated by Meenakshi Thirukode, New Delhi
(2018); Open Studios at Ashkal Alwan, Beirut (2018); and ‘Watermelon,
Fish and Half Ghost’ Swiss Cottage Gallery, London (2017). He has been a
resident at #1 Shanti Road, Bangalore and in 2017 he 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 in 2019. Hakim
lives and works in Bengaluru