Lost Homeland of Sindh
Dara Shukoh Library
Ulhasnagar Matrix is a permanent installation at the Partition Museum at the Dara Shukoh Library. Other interventions into the Lost Homeland of Sindh gallery include Windows to Sindh and From the Film Archive.
Ulhasnagar Matrix
2024
LED profiles, custom electronics, handwritten text.
Ulhasnagar was a World War II military transit camp that housed lakhs of Sindhi and Punjabi Partition refugees, and that quickly developed into a full-fledged city, built over five camps, with its own special urban character. This room consists of journeys of people “via Ulhasnagar”. Patterns of why and where people moved, what they did for work and pleasure, and who followed whom, light up this matrix of movement and individual stories.
We can think of migrations as having a kernel of desire and hope, even in the worst circumstances. Details of why and where people move or stay as they seek better lives, tell us more about the world than simplified histories. Ulhasnagar became a kind of fertile refuge, a camp in which people developed social contacts and survival techniques, and cultivated dreams and desires that carried them elsewhere, kept them in Ulhasnagar, or made them choose or return to this place, later in life. A movement that didnt stop with partition but continued.
By CAMP
With original research and interviews by CAMP and Vandana Govindani, Seema Menghani and Manthan Bachani.
Calligraphy by Gurpreet Kaur.
Special thanks to Dr. Subhadra Anand, Dr Ram Jawhrani, Asha Chand, Peter Dhalwani, Manoj Lassi and the many participants in Ulhasnagar and around the world that we conversed with.
Windows to Sindh
45 mins loop
with Vloggers from Sindh
Through the archways of this Muhari or balcony from Shikarpur, we take a low-flying tour through the region of Sindh today, visiting its unique natural landscapes and cities, syncretic religious sites and shrines, ancient, mediaeval and colonial monuments and historical landmarks. A portal to Sindh made possible via the generosity of contemporary vloggers.
From the Film Archive
20 mins loop
An annotated journey through archival footage, documenting the syncretic traditions of Sindh in the 1930’s, the arrival and settling of Sindhi refugees in India, their literary and cultural events and the movements to recognise Sindhi as a language in the constitution, and to retain the Perso-Arabic Sindhi script. It includes excerpts from the Sindhi language feature film Abana (1958) that includes footage of the migration from Sindh and the “item” song Hede Hede Hede, filmed on location in Ulhasnagar that has people jiving and making light of their “position” in the camps.
as part of
Proposals for a Memorial to Partition
Curated by Murtaza Vali
CAMP draws a series of lines between this and that exhibition. Not only between country A and country
B, or horizontally between peoples or on the plane of "cultural exchanges" or "extra-national space",
but vertically, or diagonally, reaching out to an actual place, to its actual power and presence.
You Must Change Your Life w/ Bombay Tilts Down
Shaina A presented a video performance, screenings, and was part of a panel on archives.
at Field Recordings 6
Screening, followed by Q and A with CAMP.
With filmmakers and scholars Helen Grace and Iqbal Barkat who also feature in the film.
Helen will introduce the film and Iqbal will lead and moderate the post-screening discussion with CAMP.
2pm to 5pm.
At the Biennale of Sydney.
Learning from 3 years of Inlaks Fine Art Awardees at CAMP.
With Anup, Vanshika, Mohit, Sheshadev and Biswajeet.
Al Jaar Qabla Al Daar
Caillou Film Festival
A conversation prompted by CAMP's Metabolic Container at the Singapore Biennale.
SYDNEY OPERA
CCTV, 102 mins
Filmed on location in February 2026 from a CCTV camera atop the White Bay Power Station
Gadigal / Waranne Country
Shaina and Ashok present at Body Public: Through a Performance Archive, a research symposium at the Kochi Biennale, 2026.
Shaina: 100 year project, performative media, emancipated spect-actors, publics at the heart of practice.
Ashok: Types of writing as forms of attention to artwork, as distinct from gaze, listening, experience in general, or data analysis.