The selection for the title proposes a familiarity of intent with a particular type of cinema and documentary format that has evolved and is popularly recognized as cinema verite. An accompanying note elaborates:
“The dependence on chance, of probable encounters, can be seen as one of the factors that unites these artists' works with cinema verite. Chance played a formative part of the Dadist movement, but these works vary in the way chance is used to consolidate a longing to record from fragments of concerns. Part of the sustaining aegis in many of them is found in their use of diverse research of their project. A second, and more commonly recognized condition of cinema verite is found in its desire to avail itself of excessive technical equipment, which could interfere or create a distance with its subject. ‘"Cinema Verite Redux’ lets bring back of some of the above mentioned evaluatory and technical strategies as inventive tropes for gaining a proximity to the world. There are Oil on wood Portraits by Attila Richard Lukacs; video installations by Marina Roy’ cutout paintings on canvas stretched on wood by Subba Ghosh; Inkjet prints by Prasad Raghavan; black & white Drawings by Parvathi Nayar, video installations by Charly Nijensohn, and Photography by artist Ravikumar Kashi.
In quest of a commitment to the ‘inspired gaze’, the seven participating artists have featured works that serve as notations of salvation, a clear ground to recover informed ideas and a staunch commitment entrenched within the aesthetic and political intimacy of their belief. The group show allows a uniquely different artistic method and, hence, arguably a different artistic outcome in its inscription as well as embedment into its vivacious visual surfaces.
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