The concept of rhythm here is essential: that of the steps with the sound, of the body with the wall, and the independent rhythm of the rain, that escapes boundaries. The font echoes the rhythm of the dry clapping produced by the metal pad punching the paper and, by metonymy, of the regular beat of the train wheels on the rail tracks, while we imagine the gentle breathing of the man walking, and then sleeping during this “overnight train journey.” The device reinforces the sense of time implied by a journey across a territory, but also unites a private, “secret” rhythm (that of the breathing) with a public rhythm (the train tracks), through the typing of the story.30 The text thus transforms the space travelled into time, and associates the journey with a unique individual experience—that of a man sleeping through the night in a train and reconvening with himself. The gate is mechanised to hit and break the walls on which it is installed. Sometimes, the text is used to annotate an image or object in a manner that encourages one to think about the act of archiving”. She says: Physical location is one of the many entities that determine the functioning of the human brain…We have entered a great watershed moment today, where the roots of all locations are floating freely in a deep glocal sea, whose shores touch the east as they touch the west, and individuals gravitate to their own islands as per their own aspirations, their own politics, and as perchance too…The East is feeling distressed about this more acutely today, as social space is extremely close knit in this region, with several generations still living together under the same roof.48, Shilpa Gupta and Henri Lefevbre: Rhythmanalysis, While she shares Rogoff’s valorisation of trade as performative, Gupta’s concept of the latter seems somewhat different. Beyond the mockery of absurd administrative regulations, the artist’s intention is to underscore that life goes on in these zones of administrative limbo: “Daily life in the borderland belies state intentions and the flow of people and goods continue, prompted by historical and social affinities, geographical continuity and economic imperative.”25 In other works, Gupta attempts to symbolically re-establish a territorial continuity between Bangladesh and India through installations that narrate the exchange of goods between cities on each side of the border, such as Dhaka and Calcutta or even Mumbai. The informal, illegal trade is part of the daily life in the borderlands, where the border both constructs and subverts the state.37, Shilpa Gupta and Irit Rogoff’s “inhabitation”, Gupta views migrations of people and merchandise as capable of opposing the artificial confines of nation-states and global capitalism. For its thirty-third issue, InVisible Culture invites scholarly articles and creative works that engage with the legacy of Douglas Crimp (1944-2019). Curator: Cecilia Alemani. When reading the text they become aware of the fact, or are confirmed in their assumption, that the slabs stand for gravestones. The spectator’s encounter with the slabs echoes that of someone walking in a Kashmiri village and suddenly coming across an unusual bump of the ground, below a tree, on the side of the road. / When you walk with a person think that snow is falling between you and on the person. See all articles As a result, no one dares to take care of them, for fear of being seen and arrested by the authorities. The text narrates a journey: Three hours and an overnight train journey The invisibility of the crimes is underpinned by the lack of expressivity and affect of the material. Between two sets of orders, the voice alludes to the presence of an invisible wall, of a lost house, during an eight minute loop. 01:14.9, 40878. Of defining people, place, everything! I purport to link it to an “aesthetic of life” based on the concept of individual agency vis-à-vis coercive, political, economic and social forces, and to a dialogical relationship with the environment, which can be found in some western philosophers as well as in Asian aesthetics. Her works such as 100 Hand drawn maps of my country, My East is Your West and Map Tracings have defied the fixed idea on borders and nation as propounded by the high politics. Behave in the manner of a traveller who, sitting by the window of his compartment, describes the landscape as it unfolds to a person placed behind him.”36. On a shelf built in a sidewall lies a stack of application forms the same unpleasant light-green colour, cheap texture, and lean, ordinary font found on Indian administrative documents. Standing in the middle of the hall, surrounded by metal spikes, microphones hovering above your head, the large-scale multi-channel sound installation For, In Your Tongue, I Can Not Fit by Gupta is bound to hold your attention. Art Start Treasurer | Shelly Norlin; Square 1 Art | Lauren Gvillo, Brandy Jahn; Reflections | Emily Helgren; Art Walk | Brandy Jahn Co-VP School Services | Neha Munshi & Megan Urbaitis Back to Business Packets | Neha Munshi & Megan Urbaitis Campus Enhancement | Rebecca Ramirez Emergency Preparedness | Stephanie Justus Payload Production | OPEN 5 pm to 11 pm, Since 29 years For Louis Althusser, this appears as a deliberate process organized by the dominant class through the state apparatus.38 For Marxist anthropologists it is a spontaneous process, stemming from everyday life. It conveys a sense of uncertainty mixed with clarity, but also of threat, as when one approaches a border inundated with lights of control at night. It may be suggested that Gupta’s narratives, which blur and shift the frontier, redeem history by belatedly reconstructing a space in which graves are reunited with their caretakers, people with their houses, family members with their estranged land. Her projects emphasize trade as fostering a trans-national community. The voice asks: Did grand mom come / from your side onto my side / to visit our mothers grave? The number 1278 refers to the number of unnamed and unmarked graves found in Kupwara, the district located the farther to the northwest, on the very edge of the country.11. Shilpa Gupta (1976) lives and works in Mumbai, India where she studied sculpture at the Sir J. J. It also testifies to the mental representation of the path, which is created by walking: “It’s like you know the journey so well, you do it so often, that you can draw it while closing your eyes,” Gupta explains.70 In both this work and Speaking Wall, the narrative acts as a bridge between two subjectivities, that of an actual walker and that of the spectator, through the means of the latter’s body. Since words and gestures produce direct results, they must be harnessed not to pure ‘internal consciousness’ but to consciousness in movement, active, directed towards specific goals,” Lefevbre. We may understand Gupta, who herself comes from the Agrawal community, as leaning towards this interpretation of trade “of foods, textiles and artworks” as producing “bottom-up knowledges.”47 She is well aware of the politics of trade and smuggling, as it has been discussed in several texts and exhibition catalogs written, in particular, by Geeta Kapur. She traces the flow of people and goods (cows, SIM cards, DVDs, gold) sometimes smuggled, sometimes lost in the no man’s land between frontiers. Shilpa Gupta (b.1976) lives and works in Mumbai, India where she has studied sculpture at the Sir J. J. School of Fine Arts, Mumbai SOLO PRESENTATIONS 2019 Altered Inheritances: Home is a Foreign Place (two-person show), Ishara Art Foundation, Dubai. documenta 15, 2022. Leslie White posits in The Evolution of Culture (1959) that: “A culture, or socio-cultural system, is a material, and therefore thermodynamic system.” It is subjected to laws of conservation and expansion of energy, which also control “the movements of commerce and industry, the origin and wealth and poverty.”39 In Terra Infirma (2000), Irit Rogoff also evokes transnational, but strongly knit communities of traders, as being capable of countering the homogenizing model of globalization.40 She gives the example of Indian communities photographed by Indian artist Gauri Gill in Kabul “who have been living in Afghanistan for hundreds of years, as traders, who speak Dari Afghan language,” but have moved to India “and still dream of Jalalabad.”41 Referring to the curatorial projects of Bengali Anshuman Dasgupta, Rogoff also argues that the “‘zones of disidentification’ or ‘no man’s land,’” like Kashmir or West Bengal, are such transnational space as “people pay less attention to being on this side or that side of the border; because it has economies, because they’re porous, because of weird little things that float in and out of both sides.”42 Rogoff compares the process of “gliding through border lines” to smuggling, as they both “[operate] as a principle of movement, of fluidity and of dissemination that disregards boundaries” by creating “a performative disruption that does not produce itself as conflict.43 For Rogoff, smuggling is a form of embodied resistance to dominant economic systems.44 It produces “bottom-up knowledges, partly experimental, partly theorized, that allow us to rethink maps of what we think we know.”45 It is more efficient than a Marxist top-down criticism of neo-capitalism, and goes beyond the concept of hybridity that is based on the centrality of the subject. 10 Indian Artists Who Are Shaping Contemporary Art. During a second exhibition at Louisiana Museum of Modern Art, the performer was a local, darked hair woman. Accessed May 5, 2017. doi: According to Gupta, this flow of goods serves as testimony to an unstoppable will to survive. In conclusion: Shilpa Gupta, Michel de Certeau and Henri Lefevbre. Certeau ascribes a spiritual dimension to these anonymous journeys, the drive to mark the world with one’s imprint, however minimal and invisible. Gupta travelled to contested areas in Kashmir, visiting Sinagrar and traveling alongside the border. This megapolis of 22 million inhabitants, 19% of which are Muslims, combines slums with the most advanced Indian corporations’ headquarters, traditional family life with the cultural features of post-modernity.6 It is a showcase for the “glocal” era. Gupta is appreciative of Ono’s art and was offered a copy of Grapefruit by a friend who saw similarities between their work.35 The two artists share a common sensitivity to an “inward view of the self,” that is informed by Zen Buddhism. To the utopia of the modern city and its rectangular grid of large avenues, Certeau opposes places “haunted by many different spirits hidden there in silence, spirits one can ‘invoke’ or not,” “the only places where people can live.”77 Similarly, Gupta’s arrangement of the exhibition space for My East is your West in Venice is a journey in the dark. See Reece Jones, “Sovereignty and Statelessness in the Border Enclaves of India and Bangladesh,”, Interview with the author in the artist’s studio, Mumbai, April 8, 2016. The wall has an embedded distance sensor that detects how far or how close the observer is from it (fig. Excavating cultural history from the everyday objects, reclaiming the poetics of lost literature, visually reinstating the futility of borders, indeed cry to remain outside the practice of tagging. Yet, according to the artist, many observers did sign up and took a slab. The politics of censorship around the work of literature and writers have been dominant in Gupta’s work For, In Your Tongue, I Can Not Fit, which is inspired from her previous work Someone Else – A library of 100 books written anonymously or under pseudonyms. School of Fine Arts, Mumbia. There is an implied Christian mysticism in this celebration of each individual mark on the modern urban territory, as the symbol of the unique importance of each soul, however ordinary.79 It somewhat differs from Gupta’s philosophy of life—her perspective as an Indian is informed by the persistence of a strong collective life. The photograph, with its soft lighting, somewhat liberates the spectator from this enforced idea and leads him/her back to the memory of the experience of the object. It is an official cemetery attended annually by the Chief Minister of the State on July 13th, the day of mourning for a free, democratic Kashmir. Her work is particularly concerned with the estrangement between India, Pakistan and Bangladesh, which is cultivated by nationalist governments. The “Parable of the wilderness of life” of the. Photographer: Anil Rane, Detail of 1278 unmarked, 28 hours by foot via National Highway No 1, East of the Line of Control installation. Gupta says: When the object lies in your house, may be a person visits you and asks about it and then you become the storyteller, or you might wonder and go back to look where it came from. Shilpa Gupta’s art and the narrativity of the body in space and time This is a striking example of the way Gupta constructs her works, as nested narratives, made of successive encounters that create layers of texts and affects embedded over time in the object. Her essays on visual sociology and identity politics are frequently published in leading books, journals and magazines. At the 58th edition of the Venice Biennale, Mumbai-based artist Shilpa Gupta is one of only three Indian artists to be selected by curator Ralph Rugoff to be part of the main exhibition, along with 78 other artists from around the world. we'll send you a link to reset your password. However, zones of belonging are constantly being manipulated through methods of exclusion and erasure, be it based on gender, religion, map lines, and as we have seen in the past devastating months, economic disparity has left thousands of migrants stranded”. Significantly, a map of Kashmir made by artist Roohi Ahmed. Cited in French from Sigmund Freud, “Le début du traitement”. It reads: Go straight. Shilpa Gupta (b.1976) lives and works in Mumbai, India where she has studied sculpture at the Sir J. J. I am interested in the conscious and unconscious space that lies in between the object and the formation of meaning.”56 Thus, a second layer is added to the notion of frontier which is central to her work: while the first is the frontier which separates communities enforced by national and religious narratives, the second concerns the internalized narratives and psychic maps they create. SHILPA GUPTA 1976 Born in Mumbai, Maharashtra 1992-1997 B.F.A. 5 Shilpa Gupta, 1:998.9, 2015 Installation view of My East is your West, Palazzo Benzon, Venice, Italy, 2015 Courtesy of the artist. : Did grand mom come / from your side onto My side / to visit our mothers grave impression... “ thought-actions ” and inner consciousness, between immediacy and elapsed time a medicine that is only (... 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