CAMP

CAMP is a collaborative studio founded in Mumbai in 2007 by Shaina Anand, Sanjay Bhangar, and Ashok Sukumaran. For almost two decades, the studio space has produced iconic works in film and video, electronic media, and public art forms, all through a practice characterized by a hand-dirtying, non-alienated relation to technology. CAMP’s projects have affected a variety of social and technical areas of contemporary life: energy, communication, transport systems, surveillance systems, ports, ships, archives. CAMP sees all of these categories of technology as unstable, leaky, and contestable— in the sense that they all lack a fixed function or destiny, making them a medium and stage for possible artistic activity.

CAMP is interested in ecology-shifting interventions and experiments in technologies of our time, which are now embedded in different material forms. CAMP ties together three related areas of practice: artworks, projects, and events. From their home base in Mumbai, they co-host the online archives projects ​Pad.ma (est. 2008) and ​Indiancine.ma (est. 2013) and have run a rooftop cinema for the past 15 years.

Notable exhibitions include the MoMA (New York), M+ (Hong Kong), Tate Modern, Serpentine Galleries (London), Documenta 13 & 14, and Skulptur Projekte Münster. They’ve participated in major biennials including Sharjah, Gwangju, Kochi-Muziris, and Shanghai. Their films have screened at the BFI London Film Festival, Viennale, and FID Marseille. CAMP received the 7th Nam June Paik Centre Prize (2020), were guest professors at Goldsmiths (2023–24), and are visiting fellows at UPenn’s Center for Experimental Ethnography (2024–25). Ultimately, CAMP challenges binaries like ownership vs. property, commodity markets vs. cultural freedom, the self vs. the institution, and much more— all towards the goal of changing people and ideology towards a more hospitable, free, and equitable future. In an era in which techno-pessimism, digital surveillance, and the capitalist consolidation of internet technologies and social platforms runs rampant, CAMP’s art’s hacktivist ethos re-sparks a forgotten hope for the democratizing possibilities of digital technology.