UAL Chancellor Grayson Perry and 17 other leading artists, teachers, graphic designers, filmmakers, fashion designers, museum curators, sculptors and award-winning writers have come together to debate the creative behaviours needed for success and why they should form the foundation of education.
Feature article in MIRAJ (2016) Vol 5 Numbers 1 & 2 pp 170 – 184
2016 “Representations of war and peace” paper & panel convenor at Archbishop Desmond Tutu Centre for War and Peace Studies, Liverpool Hope University
2016 De Montfort Univ. Leicester. Major retrospective conference on Stanley Kubrick. Paper: Stanley Kubrick ‘Dispatches from the Edge’
2016 Seoul Museum of Art. Into the Archive: Re-Viewing Kubrick. Research from the Kubrick archive (published in Stanley Kubrick: New Perspectives
2016 VISIBLE EVIDENCE XXII, Univ. of Montana, Native American Visuality
2015 VISIBLE EVIDENCE XXI, (Toronto Univ.) Stanley Kubrick ‘Dispatches from the Edge’
2013 VISIBLE EVIDENCE XX, (Stockholm Univ.) The Dance of Documentary Ethics Screening of Justine at Stockholm Academy of Dramatic Arts.
2013 Screening & paper for Into the Archive: Re-Viewing Kubrick at LACMA (Los Angeles County Museum of Art).
2012 Screening & paper for “Truth, Dare or Promise” The Art of Not Knowing,Goldsmiths’ College, London Univ.
2012 Screening & paper for AHRC Moving Image research Network conference at Univ. of Arts London‘The Dance of Documentary Ethics.’
2011 Screening & paper at Tate Modern, Starr auditorium for ‘Embedded’ conference with Simon Norfolk exhibition. Paper: ‘Accidentally in Bed’ on access and censorship in reporting war.
2011 DOCUMENTARY NOW! (Westminster Univ). ‘Whose story? Ethical tensions and documentary narrative’
2010 ICA, London Remembering Khairlanji, (practice-based film and photography paper) for Histories of Hatred conference, which was also filmed for London Consortium / LCACE documentary).
2010 VISIBLE EVIDENCE XVII, leading forum for Documentary Film studies (Bogazici, Univ. Istanbul, Turkey). Documentary Ethics in the Digital Age (practice-based paper).
2010 MECCSA, Media, Communication & Cultural Studies Association at LSE. The Documentarist and the Subject practice-based (film and text) paper.
2009 VISIBLE EVIDENCE XVI, (Univ. of Southern California, 2009) Solidarity? With whom and to what? Practice-based paper on the creative space of observational documentary and the ethics of response.
2008 VISIBLE EVIDENCE XV, (Univ. of Lincoln) Representing Atrocity: Ethical and Aesthetic Considerations in Photographing the Khairlanji Murders in India. Practice-based film and photography paper / book chapter based on this paper.
2008 DOCUMENTARY NOW! (Birkbeck College, London Univ). Documentary Ethics.
Black Dog Publishing release their new volume Stanley Kubrick: New Perspectives , which includes an essay by Pratap Rughani exploring Full Metal Jacket alongside Rughani’s experiences of filming in the civil war in Sierra Leone.
The book is accompanied by an exhibition at WORK gallery in central London.
Stanley Kubrick: New Perspectives Exhibition: 8 August – 27 September 2014, Private View: Thursday 7 August, 6–8pm
Project Art Works explores and promotes new practical and philosophical approaches to the meaningful involvement of people who have complex impairments in visual art activity that finds its way into mainstream programming and is of exceptional quality in its concept, aesthetic and production.
Maggie Hampton book review Anthology: Project Art Works 1997 – 2012
British Council reviews Anthology: Project Art Works.
This chapter investigates the relationship between ethics and aesthetics in forms of documentary arts and film practice, with a focus on the tension between ‘responsibility’ and ‘artistic freedom’ as interpreted by documentary artists and filmmakers.
2016 (Upcoming) Melanie Manchot in conversation with Pratap Rughani, for Moving Image Research Art Journal (MIRAJ) 2013 John Akomfrah in conversation with Pratap Rughani for Vol 2.1, for Moving Image Research Art Journal (MIRAJ) 2013 Round Table, Ethnography and Documentary in the Avant-Garde for Vol 2.1,for Moving Image Research Art Journal (MIRAJ) 2011 Where Three Dreams Cross Review article for Photography & Culture Journal 2004 A Place Called Home, Art South Africa 3, no. 1 2004 British Homeland, Essay in art catalogue A Place Called Home (British Council, South Africa).
The images in this gallery were taken for a photographic essay called ‘Remembering Khairlanji’. They form part of an exploration of documentary ethics discussed in the book chapter, “Are you a vulture? Reflecting on the ethics and aesthetics of coverage of atrocity and its aftermath” in “Journalism, War and Conflict Resolution” ed. R. Keeble, J.Tulloch & F. Zollmann, Foreword by John Pilger. Peter Lang (2010)
“This chapter is framed by a sequence of documentary still images raising practice-based research questions about the nature of photographic representation of atrocity. Photographs are accompanied by practitioner reflections following a photographic essay responding to a series of caste-based murders in Khairlanji village, Maharashtra, central India.
The images throw up reflections on ethical and aesthetic choices in how to document atrocity. In addition to the shock of these events, I was stimulated (and humbled) in this work by reflecting on Susan Sontag’s critique of Holocaust photography as in general (to paraphrase) “re-victimising the victim.” What is the tension between striving to convey the full weight of and horror of such atrocities and the risk of cheapening (or worse) these events, at a time when some regard much contemporary media as already too sanitized. Are images of suffering, war and atrocity necessarily exploitative or are we coddled – protecting ourselves from fuller engagement with such realities? In the light of this, what might ‘ethical’ coverage look like?”
CAUTION: You may prefer not to look at the following slides of the murdered Bhotmange family.
They are included to help contextualise reflections on ethical questions that follow.