Households and Holy family
The family is an interior, in crisis like all other interiors-school, office, prison, hospital...
In this project, I am trying to investigate the particular crisis of family in relation with the other environments of enclosure, especially in the semi feudal- semi colonial context of contemporary India.
The family is an interior, in crisis like all other interiors-school, office, prison, hospital...
In this project, I am trying to investigate the particular crisis of family in relation with the other environments of enclosure, especially in the semi feudal- semi colonial context of contemporary India.
Stopmotion and Digital Photography are the techniques used for this projects.
I've ensured an active participation of my own family members in this project to get it directly involved in the inner dynamics of the family.
I've ensured an active participation of my own family members in this project to get it directly involved in the inner dynamics of the family.
Households1- MOTHER
Multimedia Installation
Single Channel video, Households
Single Channel video, Households
Dimensions Variable
Households 2: Sister
Multimedia Installation | Dimensions Variable
Multimedia Installation | Dimensions Variable
'Absolute love/ impossible love have to deal with possible love as predilection. This is because possible love is not only the possible, it is necessary. It is necessary that there are certain links, certain proximities between groups of people, communities, etc. And then comes the auspicious moment for love to be possible. Sister, here is in constant pursuit of the auspicious moment."
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“In this work Midhun mohan presents the video-portrait of his sister, holding in her hands a marriage garland and rotating infinitely. Behind the TV are
collected objects from home such as pictures of different Hindu deities, family photographs, images of political personalities and a lot of other household objects. All are part of the reality of the family revealing their interests, their myths, their esteem, and their devotion. Midhun films the scene and reconstructs it integrally on the exhibition creating a multiplication of the image: from reality to the camera, the camera to the TV, the TV to the camera, the camera to the video, and then from video to reality. The game could be repeated endlessly creating a mise en abime that invites the viewer to inquire about the relationship between reality, medium, image and perception. “
– Valentina Gioia Levy
“In this work Midhun mohan presents the video-portrait of his sister, holding in her hands a marriage garland and rotating infinitely. Behind the TV are
collected objects from home such as pictures of different Hindu deities, family photographs, images of political personalities and a lot of other household objects. All are part of the reality of the family revealing their interests, their myths, their esteem, and their devotion. Midhun films the scene and reconstructs it integrally on the exhibition creating a multiplication of the image: from reality to the camera, the camera to the TV, the TV to the camera, the camera to the video, and then from video to reality. The game could be repeated endlessly creating a mise en abime that invites the viewer to inquire about the relationship between reality, medium, image and perception. “
– Valentina Gioia Levy
