FOM Festival

ಇರುವು Iruvu (Presence)

Vishal Kumaraswamy

Vishal is a Bangalore, India based Artist, Filmmaker and Curator working across text, film, sound, performance & computational arts & my practice is rooted in my own Subaltern Caste lineage and investigates a range of critical concerns around Caste, Race & Technology.

ಇರುವು Iruvu (Presence) is a four-channel video by Vishal Kumaraswamy examining the hyperreal viability of the subaltern body, within broader themes of Caste and Race.

Using the metaphor of a never-ending voyage, the work references histories of geographic and social migration, examining the conditions of sites of physical and digital commons.

The work doubles as a search (and interrupted conclusion) for a surface of projection, upon which the aligning, orienting, assimilating impulses of caste, capital and state are lost, and an un-intercepted affect can begin to exist, where unforeseen bodies then become emergent.

Over the course of four brief acts, ಇರುವು shifts between numerous images of the subaltern male body, captured through traditional and volumetric filmmaking processes. It imagines uncontested environments where a collective assertion of presence can precipitate.

ಇರುವು Iruvu (Presence)

Vishal Kumaraswamy

Vishal is a Bangalore, India based Artist, Filmmaker and Curator working across text, film, sound, performance & computational arts & my practice is rooted in my own Subaltern Caste lineage and investigates a range of critical concerns around Caste, Race & Technology.

ಇರುವು Iruvu (Presence) is a four-channel video by Vishal Kumaraswamy examining the hyperreal viability of the subaltern body, within broader themes of Caste and Race.

Using the metaphor of a never-ending voyage, the work references histories of geographic and social migration, examining the conditions of sites of physical and digital commons.

The work doubles as a search (and interrupted conclusion) for a surface of projection, upon which the aligning, orienting, assimilating impulses of caste, capital and state are lost, and an un-intercepted affect can begin to exist, where unforeseen bodies then become emergent.

Over the course of four brief acts, ಇರುವು shifts between numerous images of the subaltern male body, captured through traditional and volumetric filmmaking processes. It imagines uncontested environments where a collective assertion of presence can precipitate.