Sunsets, Everyday
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    Sunsets, Everyday

    Directed by



    15 min

    • Urdu


    Sunsets, everyday is the result of an investigation that the artist undertook of the process, both physical and cinematic, involved in creating images of domestic violence. During the lockdown, some victims courageously used social media to share photos of their faces, as a way of encouraging other women to report such crimes. The marks on their bodies were the only tangible proof of the blows and pain they had suffered, and the artist took these as a point of departure for thinking about all the things that happen out of sight. Mahmood commiss ioned a production team in Lahore to create and film, in his absence, a repeated scene of domestic violence, based on his instructions and images of injuries that women shared. While the main crew was busy with this task, two camera operators were asked to constantly film the entire process and the elements of the set, down to the last detail. This method of working from a distance, invites a reflection on the artist’s role and authorship, turning him into a witness and observer of his own work. The process of staging violence is what generates the images on the screen, but the act itself is almost completely hidden from the viewer. We see only narrow closeups and small portions of women’s bodies. Rejecting spectacularization, the artist focuses instead on the cinematic process and the codes of its language. In this metacinema of violence, the onlookers are technicians, crewmembers, present settings and objects struggling with his exhausting work for sixteen straight hours of shooting. The camera explores the settings with a forensic gaze, and the objects that compose it are put on an equal footing with the people. Both are forced to witness to the violence enacted before them. The almost obsessive repetition of identical actions, like cleaning the floor, becomes a way of expressing the routine nature of violence. An act that is repeated with tragic continuity. Every day, as inevitable as the sunset


    • Ammodo Tiger Short award - IFF Rotterdam



    Basir Mahmood
    Mani Boss
    Basir Mahmood

    Director's Statement

    I am interested in exploring my position as an artist by adopting multiple roles including: an author who writes narratives; an initiator who sets in motion collisions of people and improvised scenarios to create original stories; an observer who teleports in or out of the everyday situations he is observing to see intimately from within and from without; a withdrawn subject, for example a disengaged onlooker on a main street

    Basir Mahmood

    Basir Mahmood

    Netherlands, Pakistan

    In order to engage with situations around him, Basir Mahmood ponders upon embedded social and historical terrains of the ordinary, as well as his personal milieu. Using video, film or photograph, he weaves various threads of thoughts, findings and insights into poetic sequences that coalesce into ever reinstituting forms of narratives. His career began with a year long fellowship at the Akademie Schloss Solitude in Stuttgart, Germany, in 2011. Thereafter, he went on to participate in residencies in five different countries

    Mahmood has received accolades from around the world for his work, having received at least eight grants and awards, including by The Abraaj Group Art Prize, Mondrian Fonds, Sharjah Art Foundation, Videobrasil and SAI Harvard University. Most recently, he is listed as a winner for Portugal's prestigious and highly competitive, Paulo Cunha e Silva Art Prize 2020. Finally, Mahmood remains an academic who teaches and delivers talks at notable art institutions around the globe, and curated a video program Video Club at the Stedelijk Museum in Amsterdam. He lives and works between Amsterdam and Lahore.