Anuj Malhotra is a critic, curator, and a cultural activist based out of New Delhi, India. In 2012, he founded Lightcube, an acclaimed film collective, regularly touted as one of the leading resources for pioneering research and presentation of image-forms in the country. He also helped conceive the theoretical model for The Dhenuki Cinema Project, a multifaceted and versatile project that mobilizes populations in rural and semi-urban areas of the country through the medium of film. Anuj also publishes Umbra, the country’s only newspaper devoted to the study of the topographies of alternative film in India, as well as handling curatorial duties for The Garga Archives, a digital museum dedicated to the life and work of B.D. Garga, one of the world's foremost authorities on the history of film. In his decade-long career, he has endeavoured to forge a media culture which is characterized by qualities of open-source access, conceptual density, and an active contemplation of the relationship shared by a curator and their community.
Suraj Prasad is the co-Founder and technology head at Lightcube, Suraj is also the publisher of Umbra, a quarterly journal of independent cinema in India. A recipient of ARThink South Asia Fellowship 2018 and a member of NETPAC, he has been on a number of NETPAC Awards Juries. Through Lightcube, he has helped organise nearly 350 film screenings across India, many in rural areas. A Bachelor of Engineering in Electronics and Instrumentation, Suraj moved into the world of films after spending about four years in the radio industry hosting radio shows and producing radio programmes. He is active in the theatre circle in New Delhi as well and has recently found interest in immersive theatre and experimental cinema.
The Reanimated Corpse is a live exhibition, where a cast of anointed individuals - a detective, a historian, a sociologist, an old citizen of the city, a projectionist and a cinephile - assemble to contemplate a mythical Indian film from the 1930s and induce through this simulation in the minds of the audience, the memory of a film. Its performance will teeter on the narrow, porous boundary between history and mythology to forge a discussion of the various separate organs that constitute the popular memory of a film: its story, its reproducible iconography, the images that emanate as residue from it, the social circumstances of which it is a yield and the anecdotes that result from its placement in popular culture. It will attempt to install a contemplation of the different modes by which contemporary culture remembers – or performs a remembrance.