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at the overturn

The film is a deflection of sources scattered within a loose narrative framework that feeds off from itself and derives closure from this feeding off.

The sources include, a confrontation scene from Solaris, 1972 (By Andrei Tarkovsky), Self Immolation by Qung Duc, 1963 in Saigon, Vietnam, The Promethean myth, the Parasite and the question of Nihilism — these are intertwined with a science fiction narrative that propels these “curiosities” while simultaneously working as a narrative anchor. 

The word para in parasite means “to be alongside”. The etymology is derived from para-sitos; a person eating at another’s table. Consumption is predominately a form of extraction, which in post-capitalist society laced with nihilism. The parasite functions on relations and draws lines of exchange that are then constantly intercepted, in order to form inclinations which rests on formulations of capital. The key word then is force, what forces are applied for this inclination to occur?

at the overturn_poster

Arshad Hakim (b. 1992) attained his MFA from the Shiv Nadar University (2016). He was a fellow at Ashkal Alwan—The Lebanese Association of Plastic Arts (2017-18). He works primarily with photographs, text-based pieces and video, and his interest lies in non-linear and non-narrative cinema. 

Hakim's exhibitions include, “Critical Constellations” held by the Foundation of Indian Contemporary Art, New Delhi, ‘As We become’ curated by Meenakshi Thirukode, New Delhi, Open Studios at Ashkal Alwan, Beirut, “Watermelon, Fish and Half Ghost” Swiss Cottage Gallery, London. He has been a resident at #1 Shanti Road, Bangalore and was invited to a summer school at ZhDK in Zurich, co-organized by Manifesta 11. He has been published by the Arts Of the Working Class, an art newspaper based out of Berlin.

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