Anjalika Sagar / The Otolith Group

Founded by Anjalika Sagar and Kodwo Eshun in 2002, The Otolith Group has grown as a collaborative platform that seeks to rethink the dynamics of cultural production under conditions of accelerated, unstable and precarious global conditions. Films, art works, exhibitions, curated programmes, and publications are collectively conceived by the two artists, and research forms the basis of the practice. The Otolith Collective coexists by curating, programming, publishing and supporting the presentation of artists work, contributing to a critical field of exploration between visual culture and exhibiting in contemporary art. They have curated and co-curated programmes and exhibitions including, A Cinema of Songs and People: The Films of Anand Patwardhan at the Tate Modern, The Inner Time of Television ( a collaboration with Chris Marker ), The Journey, by Peter Watkins at the Tate Modern, On Vanishing Land by Mark Fisher and Justin Barton, The Militant Image (ongoing) , the touring exhibition The Ghosts of Songs: A Retrospective of The Black Audio Film Collective 1982-1998, Harun Farocki. 22 Films: 1968-2009 at Tate Modern and the touring programme Protest conceived as part of the Essentials: The Secret Masterpieces of Cinema commissioned by the Independent Cinema Office. In 2010 The Otolith Group were nominated for the Turner Prize.

http://otolithgroup.org/

 

The Otolith Group@ DAI:

We have been teaming up, off and on, since 2002. In 2004 Kodwo Eshun and Anjalika Sagar participated in the DAI-NAI project which brought all DAI-students, staff and tutors to Nanjing in the P.R. of China for an extensive, 6-week long collaboration with the Nanjing Art Institute. In the following years The Otolith Group returned to DAI at numerous occasions, as respondents to Kitchen presentations, guest-lecturers or project leaders, amongst others:

2013 - 2014 'TO MAKE A WORK - Motivation, Affinity, Circumstance': DAI at art school Kala Bhavan in Santiniketan.

2014-2015 CINÉTRACTS BY OTHER MEANS: NOTES FROM TEHRAN,