上海当代艺术馆开馆记
Subodh Gupta
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Subodh Gupta (生于1964年)
艺术家简历
Subodh Gupta 在创作中不断的反映出他在新德里的生活情景。他经常描绘印度乡村贫困地区的情境，特别是他出生成长的地方，并与残酷无情的大都市- 新德里作强烈的对比。Gupta 的作品表现印度文化中的人与物，并同时阐述传统和当代间的紧张关系。艺术家运用陈腐的物品， 比如牛和牛粪， 或者厨房中常见的不锈钢器具，去评论社会中的病态，如种族歧视、 社会等级、全球化、工业化和宗教。
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Subodh Gupta (生于1964年)
艺术家简历
Subodh Gupta 在创作中不断的反映出他在新德里的生活情景。他经常描绘印度乡村贫困地区的情境，特别是他出生成长的地方，并与残酷无情的大都市- 新德里作强烈的对比。Gupta 的作品表现印度文化中的人与物，并同时阐述传统和当代间的紧张关系。艺术家运用陈腐的物品， 比如牛和牛粪， 或者厨房中常见的不锈钢器具，去评论社会中的病态，如种族歧视、 社会等级、全球化、工业化和宗教。
顶钱！！
Cow
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Cow, 2005 Sold
Cast aluminum and bronze
41 x 71 x 30 inches
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Cow, 2005 Sold
Cast aluminum and bronze
41 x 71 x 30 inches
Untitled
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Untitled, 2003
Chromogenic print
39 x 59 inches Edition of 5
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Untitled, 2003
Chromogenic print
39 x 59 inches Edition of 5
Empty
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, 2002, stainless steel bowls
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, 2002, stainless steel bowls
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High life
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, 2001
Aluminium pots pans and gun
Variable size
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, 2001
Aluminium pots pans and gun
Variable size
The way home
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, 2000
Installation
Stainless steel, fibreglass, film
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, 2000
Installation
Stainless steel, fibreglass, film
Colgate
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, 2003
Cast aluminium and jute thread
variable size
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, 2003
Cast aluminium and jute thread
variable size
I Go Home Every Single Day
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Subodh Gupta is best known for his sculptural works that elevate the status of found objects from everyday items to artworks; his works have involved casting bamboo sticks, kitchen utensils and most recently, a scooter in metal. The objects that Gupta works with refer to a traditional way of life in the sub-continent that is rapidly disappearing as India becomes a homogenised, urban society. Gupta has said, about these works, that he enjoys their absurdity and density, as well as their ability to become a bridge between Eastern and Western cultural traditions.
For The Showroom, Subodh Gupta will present a new body of work that continues to draw from his own immediate experiences in India; these include his childhood and family, his everyday environment, food and the places and people that he encounters. On this occasion he will explore the ideas of economic migration.
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Subodh Gupta is best known for his sculptural works that elevate the status of found objects from everyday items to artworks; his works have involved casting bamboo sticks, kitchen utensils and most recently, a scooter in metal. The objects that Gupta works with refer to a traditional way of life in the sub-continent that is rapidly disappearing as India becomes a homogenised, urban society. Gupta has said, about these works, that he enjoys their absurdity and density, as well as their ability to become a bridge between Eastern and Western cultural traditions.
For The Showroom, Subodh Gupta will present a new body of work that continues to draw from his own immediate experiences in India; these include his childhood and family, his everyday environment, food and the places and people that he encounters. On this occasion he will explore the ideas of economic migration.
Installation view from UNESCO ASCHBERG/Gasworks Exhibition
Subodh Gupta studied painting until 1988 in Patna, India. Today, he works with a variety of media, from photography to installation. Since his first solo exhibition in 1997 in New York his work has been shown in exhibitions in India, the United States and in England.
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Subodh Gupta studied painting until 1988 in Patna, India. Today, he works with a variety of media, from photography to installation. Since his first solo exhibition in 1997 in New York his work has been shown in exhibitions in India, the United States and in England.
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* 1964 Khagoul, Bihar, Indien. Lebt in Neu-Delhi, Indien.
Curry, 2005
Installation, Küchengeräte und Geschirr aus Stahl
Curry, 2005
Installation, Küchengeräte und Geschirr aus Stahl
Irresistable Attack; video still
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SUBODH GUPTA
b. 1964 Works in Delhi
Irresistable Attack; video still
Gupta's works combine a theatrical sense of scale with a performative aspect, be it his own or that of the audience, be it literal or subtly implied. By videotaping his own ritualistic actions, by delineating spaces in which to perform, by directing participatory aesthetic events, or by crafting dramatic ensembles of objects and images, Gupta has attempted to create an art that seeps beyond its own borders. His art seeks to energise all that we encounter and force us to re-evaluate our own aesthetic parameters. He has found a way to speak of the local to the global and to teach the disenfranchised the language of the empowered.
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SUBODH GUPTA
b. 1964 Works in Delhi
Irresistable Attack; video still
Gupta's works combine a theatrical sense of scale with a performative aspect, be it his own or that of the audience, be it literal or subtly implied. By videotaping his own ritualistic actions, by delineating spaces in which to perform, by directing participatory aesthetic events, or by crafting dramatic ensembles of objects and images, Gupta has attempted to create an art that seeps beyond its own borders. His art seeks to energise all that we encounter and force us to re-evaluate our own aesthetic parameters. He has found a way to speak of the local to the global and to teach the disenfranchised the language of the empowered.
Vehicle for seven seas, 2004
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Bronze and aluminium
Variable size
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Bronze and aluminium
Variable size
Doot,
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2004
Life size ambassador car cast in aluminium
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2004
Life size ambassador car cast in aluminium
Plenty
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, 2003
Installation. Stainless steel pots
Variable size
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, 2003
Installation. Stainless steel pots
Variable size
Three cows
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, 2003
Bronze and crom
Life size bycycle
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, 2003
Bronze and crom
Life size bycycle
Vilas
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Subodh Gupta
Vilas
Installation, 1999
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Subodh Gupta
Vilas
Installation, 1999
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Rani
oil, cowdung on canvas, 167.5cm x 229cm,
2002 Con. No. 2483
Gupta's works combine a theatrical sense of scale along with a performative aspect. Much as Gandhi was able to galvanize precise historical moments and socio-political struggles around the simplest of symbols (as in his use of salt and hand-loomed cloth), Gupta has repeatedly used steel kitchen utensils, cows and cow-dung, and religious iconographies in a number of ways and in a variety of settings. His use of cow-dung, for instance, in paintings, sculptures, installations and performance works, speaks of the anxious terrains inhabited by Indians within their own country and their nation's place within a globalising culture. Gupta has devised a strategic language through his art which can accommodate both international dialogues of forms and materials while addressing subjects of importance to his home, family and immediate community. He has found a way to speak of the local to the global and to teach the disenfranchised the language of the empowered. (Peter Nagy, an excerpt)
Rani
oil, cowdung on canvas, 167.5cm x 229cm,
2002 Con. No. 2483
Gupta's works combine a theatrical sense of scale along with a performative aspect. Much as Gandhi was able to galvanize precise historical moments and socio-political struggles around the simplest of symbols (as in his use of salt and hand-loomed cloth), Gupta has repeatedly used steel kitchen utensils, cows and cow-dung, and religious iconographies in a number of ways and in a variety of settings. His use of cow-dung, for instance, in paintings, sculptures, installations and performance works, speaks of the anxious terrains inhabited by Indians within their own country and their nation's place within a globalising culture. Gupta has devised a strategic language through his art which can accommodate both international dialogues of forms and materials while addressing subjects of importance to his home, family and immediate community. He has found a way to speak of the local to the global and to teach the disenfranchised the language of the empowered. (Peter Nagy, an excerpt)
Sculpting a new future
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Subuhi Jiwani
Friday, June 09, 2006 15:13 IST
A milkman’s cans hung on a bicycle, a monumental black bulb—that’s the face of contemporary Indian sculpture. It’s no longer heads or figures on a pedestal that can fit snugly in your living room corner.
It’s big, assembled and interactive. It’s made with non-traditional materials like fibreglass or plastic, it’s on the wall and mixed with video. It’s more brazen than ever before— and it’s bringing in big bucks at auctions.
Modern masters of sculpture like Ramkinker Baij and Somnath Hore created relatively traditional works that stood on a pedestal or the floor. But the younger generation, which includes Sudarshan Shetty, Subodh Gupta and Riyas Komu, increasingly creates works that blur the line between sculpture and installation.
Christie’s Asia Week in New York this March, saw contemporary Indian sculpture —especially installation—fare exceptionally well. Ravinder Reddy’s Woman of Kapulapadu II, a seven-foot-tall fibreglass head of a red, wide-eyed woman, went for Rs77.6 lakh.
Subodh Gupta’s installation OK Mili, a pile of stainless steel dabbas, went for Rs66.6 lakh. His Two Cows, which has two brass cycles with milk cans, brought down the hammer at Rs60 lakh during Saffronart’s auction the same month.
Gupta was one of the few Indian artists to be invited to the Venice Biennale last year.
“There is a huge appetite for sculpture and installation,” says Geetha Mehra of Sakshi Gallery, which recently hosted an exhibition of Riyas Komu’s gigantic wood sculptures. “Five years ago, there wasn’t much sculpture or installation, and exposure was limited. Now there are more practitioners, even painters like Subodh Gupta and Sunil Gawde are taking on the three-dimensional, especially installation.”
Dinesh Vazirani of Saffronart says that his auction house started to include sculpture in its sales a year ago. And he is optimistic: “A lot more buyers are asking for sculptures, and those who have built up collections of paintings will turn to sculpture to complete their collections.” He believes the demand will hike prices.
However, Subodh Gupta, who is wary of auctions, isn’t popping champagne yet. “Auction houses are dangerous—one day they will put you on top and the next day they will bring you down,” he says. He feels more secure selling his works through galleries to private collectors, who may treasure it longer.
Despite the rising popularity of sculpture in the Indian market, Gupta points out that all isn’t hunky-dory: “I haven’t seen any installation art at Indian auctions yet. There’s a lot of pretty-looking sculpture in the market, but people aren’t brave enough to buy installation. The tough-looking sculpture and installation is still bought by international—not Indian—collectors.”
The Louis Vuitton group of luxury bags is one of the most loyal collectors of his work, Gupta adds. In fact, its ongoing exhibition of contemporary Indian art at its store on the Champs Elysees in Paris includes Gupta’s works.
Priyasri Patodia, whose Priyasri art gallery recently held an exhibition of 21 sculptors’ work, has a suggestion for those with a yen for taking calculated risks: “Art investment is about putting your money in the right thing at the right time. Sculpture hasn’t reached its peak yet.” You may not need pots of luck—perhaps, just stainless steel dabbas.
[attachment=23206]
Subuhi Jiwani
Friday, June 09, 2006 15:13 IST
A milkman’s cans hung on a bicycle, a monumental black bulb—that’s the face of contemporary Indian sculpture. It’s no longer heads or figures on a pedestal that can fit snugly in your living room corner.
It’s big, assembled and interactive. It’s made with non-traditional materials like fibreglass or plastic, it’s on the wall and mixed with video. It’s more brazen than ever before— and it’s bringing in big bucks at auctions.
Modern masters of sculpture like Ramkinker Baij and Somnath Hore created relatively traditional works that stood on a pedestal or the floor. But the younger generation, which includes Sudarshan Shetty, Subodh Gupta and Riyas Komu, increasingly creates works that blur the line between sculpture and installation.
Christie’s Asia Week in New York this March, saw contemporary Indian sculpture —especially installation—fare exceptionally well. Ravinder Reddy’s Woman of Kapulapadu II, a seven-foot-tall fibreglass head of a red, wide-eyed woman, went for Rs77.6 lakh.
Subodh Gupta’s installation OK Mili, a pile of stainless steel dabbas, went for Rs66.6 lakh. His Two Cows, which has two brass cycles with milk cans, brought down the hammer at Rs60 lakh during Saffronart’s auction the same month.
Gupta was one of the few Indian artists to be invited to the Venice Biennale last year.
“There is a huge appetite for sculpture and installation,” says Geetha Mehra of Sakshi Gallery, which recently hosted an exhibition of Riyas Komu’s gigantic wood sculptures. “Five years ago, there wasn’t much sculpture or installation, and exposure was limited. Now there are more practitioners, even painters like Subodh Gupta and Sunil Gawde are taking on the three-dimensional, especially installation.”
Dinesh Vazirani of Saffronart says that his auction house started to include sculpture in its sales a year ago. And he is optimistic: “A lot more buyers are asking for sculptures, and those who have built up collections of paintings will turn to sculpture to complete their collections.” He believes the demand will hike prices.
However, Subodh Gupta, who is wary of auctions, isn’t popping champagne yet. “Auction houses are dangerous—one day they will put you on top and the next day they will bring you down,” he says. He feels more secure selling his works through galleries to private collectors, who may treasure it longer.
Despite the rising popularity of sculpture in the Indian market, Gupta points out that all isn’t hunky-dory: “I haven’t seen any installation art at Indian auctions yet. There’s a lot of pretty-looking sculpture in the market, but people aren’t brave enough to buy installation. The tough-looking sculpture and installation is still bought by international—not Indian—collectors.”
The Louis Vuitton group of luxury bags is one of the most loyal collectors of his work, Gupta adds. In fact, its ongoing exhibition of contemporary Indian art at its store on the Champs Elysees in Paris includes Gupta’s works.
Priyasri Patodia, whose Priyasri art gallery recently held an exhibition of 21 sculptors’ work, has a suggestion for those with a yen for taking calculated risks: “Art investment is about putting your money in the right thing at the right time. Sculpture hasn’t reached its peak yet.” You may not need pots of luck—perhaps, just stainless steel dabbas.
Subodh Gupta
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Gupta works in a wide range of mediums from sculpture and painting to installation, photography, video and performance.
He elevates the status of found objects from everyday items of rural India to artworks - cow dung, milk buckets, kitchen utensils, scooters, guns and gulal powder.
Born in Khagaul, India and now living and working in New Delhi, Subodh Gupta works from his own experience of the stark contrasts present in a country which combines rural simplicity and growing urban globalisation. He works with existing objects and a wide range of materials to create emblems and symbols of the society around him. In their simplicity they reflect the social, economic and cultural complexities of India today.
Brought up in rural Bihar and now working in Dehli, Subodh Gupta chooses items such as bicycles and or a bucket, or makes castes of luggage or life size cows as familiar symbols of everyday life. An Ambassador taxi with caste bronze luggage on top or cooking utensils in serried rows are presented as seductive stereotypes.
Yet they allude to the familiar sight of migrant workers returning home with consumer goods or reflect the aspirations of the well educated middle classes. Within its simplicity Subodh Gupta's work is as layered as the society he lives in.
Gupta 在他的作品里利用了许多非常广范的媒介，从雕塑到油画到装置，摄影，录像和行为。他将这些印度农村里的日常用品的位置提升到艺术品上--牛粪，牛奶桶，厨房器具，单脚滑行车，枪和咖喱粉。出生在印度，Khagaul，现居住在新德里，Gupta 的作品多于表现自己对于农村和全球化的反差的经验。他利用这些存在于他身边的物件和多样的材料来创造他周围社会的象征和符号。这些简洁的东西也反射了印度今天的社会，经济和文化复杂性。在Bihar的农村里长大，今天他住在新德里，Gupta 选择用自行车，水桶，行李箱和真实大小的牛来表现日常生活的符号。一个大使的出租车顶上放置了很多的铜做的行李箱和不锈钢厨房器具也同样的表现出诱人的印象。他也影射了移民劳工在回家时所带的物品，这反映了他们对受教育中产阶级的渴望。在gupta这些简洁的作品里我们看到了他所居住社会里层层的关系。
[attachment=23203]
Gupta works in a wide range of mediums from sculpture and painting to installation, photography, video and performance.
He elevates the status of found objects from everyday items of rural India to artworks - cow dung, milk buckets, kitchen utensils, scooters, guns and gulal powder.
Born in Khagaul, India and now living and working in New Delhi, Subodh Gupta works from his own experience of the stark contrasts present in a country which combines rural simplicity and growing urban globalisation. He works with existing objects and a wide range of materials to create emblems and symbols of the society around him. In their simplicity they reflect the social, economic and cultural complexities of India today.
Brought up in rural Bihar and now working in Dehli, Subodh Gupta chooses items such as bicycles and or a bucket, or makes castes of luggage or life size cows as familiar symbols of everyday life. An Ambassador taxi with caste bronze luggage on top or cooking utensils in serried rows are presented as seductive stereotypes.
Yet they allude to the familiar sight of migrant workers returning home with consumer goods or reflect the aspirations of the well educated middle classes. Within its simplicity Subodh Gupta's work is as layered as the society he lives in.
Gupta 在他的作品里利用了许多非常广范的媒介，从雕塑到油画到装置，摄影，录像和行为。他将这些印度农村里的日常用品的位置提升到艺术品上--牛粪，牛奶桶，厨房器具，单脚滑行车，枪和咖喱粉。出生在印度，Khagaul，现居住在新德里，Gupta 的作品多于表现自己对于农村和全球化的反差的经验。他利用这些存在于他身边的物件和多样的材料来创造他周围社会的象征和符号。这些简洁的东西也反射了印度今天的社会，经济和文化复杂性。在Bihar的农村里长大，今天他住在新德里，Gupta 选择用自行车，水桶，行李箱和真实大小的牛来表现日常生活的符号。一个大使的出租车顶上放置了很多的铜做的行李箱和不锈钢厨房器具也同样的表现出诱人的印象。他也影射了移民劳工在回家时所带的物品，这反映了他们对受教育中产阶级的渴望。在gupta这些简洁的作品里我们看到了他所居住社会里层层的关系。
This Side is The Other Side (scooter)
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This Side is The Other Side (scooter)
medium: Bronze, size: Lifesize
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This Side is The Other Side (scooter)
medium: Bronze, size: Lifesize
Love Difference
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Subodh Gupta
Love Difference, 2003
107 x 81 x 74 cms (edition of three)
aluminium, bronze
Collection of the artist, New Delhi
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Subodh Gupta
Love Difference, 2003
107 x 81 x 74 cms (edition of three)
aluminium, bronze
Collection of the artist, New Delhi
TITLE: Grass Cutter
ARTIST: Subodh Gupta
CATEGORY: Paintings
MATERIALS: acrylic on canvas
SIZE: h: 36 x w: 36 in / h: 91.4 x w: 91.4 cm
REGION: Indian
ARTIST: Subodh Gupta
CATEGORY: Paintings
MATERIALS: acrylic on canvas
SIZE: h: 36 x w: 36 in / h: 91.4 x w: 91.4 cm
REGION: Indian
Untitled, 2003
Installation, photos
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The installation refers to Indian workers in the Gulf States. On their way home after months of slaving away and living in the closest of quarters, they proudly carry their acquisitions with them in such cartons (never in suitcases).
Installation, photos
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The installation refers to Indian workers in the Gulf States. On their way home after months of slaving away and living in the closest of quarters, they proudly carry their acquisitions with them in such cartons (never in suitcases).
Basket of Gold Cow Dung Cakes, 2003 Sold
Cast aluminum and bronze
14 x 24 x 24 inches
Cast aluminum and bronze
14 x 24 x 24 inches
Magic Wands
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Magic Wands, 2004 Sold
Cast aluminum
50 x 60 x 3 inches
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Magic Wands, 2004 Sold
Cast aluminum
50 x 60 x 3 inches
TITLE: Untitled (Bricks)
ARTIST: Subodh Gupta
WORK DATE: 2003
CATEGORY: Photographs
MATERIALS: C-Print
EDITION/SET OF: 1 of 5
SIZE: h: 52 x w: 37 in / h: 132.1 x w: 94 cm
REGION: Indian
STYLE: Contemporary
ARTIST: Subodh Gupta
WORK DATE: 2003
CATEGORY: Photographs
MATERIALS: C-Print
EDITION/SET OF: 1 of 5
SIZE: h: 52 x w: 37 in / h: 132.1 x w: 94 cm
REGION: Indian
STYLE: Contemporary
TITLE: Untitled (Taxi)
ARTIST: Subodh Gupta
WORK DATE: 2003
CATEGORY: Photographs
MATERIALS: C-Print
EDITION/SET OF: 1 of 5
SIZE: h: 52 x w: 37 in / h: 132.1 x w: 94 cm
REGION: Indian
STYLE: Contemporary
ARTIST: Subodh Gupta
WORK DATE: 2003
CATEGORY: Photographs
MATERIALS: C-Print
EDITION/SET OF: 1 of 5
SIZE: h: 52 x w: 37 in / h: 132.1 x w: 94 cm
REGION: Indian
STYLE: Contemporary
TITLE: Untitled (Airport Trolley)
ARTIST: Subodh Gupta
WORK DATE: 2003
CATEGORY: Photographs
MATERIALS: C-Print
EDITION/SET OF: 1 of 5
SIZE: h: 52 x w: 37 in / h: 132.1 x w: 94 cm
REGION: Indian
STYLE: Contemporary
ARTIST: Subodh Gupta
WORK DATE: 2003
CATEGORY: Photographs
MATERIALS: C-Print
EDITION/SET OF: 1 of 5
SIZE: h: 52 x w: 37 in / h: 132.1 x w: 94 cm
REGION: Indian
STYLE: Contemporary
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Subodh Gupta
Frieze Art Fair
21-24 oct. 2005
Booth B20
"Installation view"
TITLE: Chimta
ARTIST: Subodh Gupta
WORK DATE: 2005
CATEGORY: Sculptures
MATERIALS: Stainless steel kitchen tongs, iron
EDITION/SET OF: 1/3
SIZE: h: 20 x w: 44 x d: 19 in / h: 50.8 x w: 111.8 x d: 48.3 cm
REGION: Indian
Subodh Gupta
Frieze Art Fair
21-24 oct. 2005
Booth B20
"Installation view"
TITLE: Chimta
ARTIST: Subodh Gupta
WORK DATE: 2005
CATEGORY: Sculptures
MATERIALS: Stainless steel kitchen tongs, iron
EDITION/SET OF: 1/3
SIZE: h: 20 x w: 44 x d: 19 in / h: 50.8 x w: 111.8 x d: 48.3 cm
REGION: Indian
Booth B20
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Subodh Gupta
Frieze Art Fair
21-24 oct. 2005
Booth B20
"Installation view"
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Subodh Gupta
Frieze Art Fair
21-24 oct. 2005
Booth B20
"Installation view"
Curry 2 (2)
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Subodh Gupta, Frieze Art Fair, Booth B20
"Curry 2 (2) ", 2005
Stainless steel
220 x 138 x 39cm
ref. 08163
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Subodh Gupta, Frieze Art Fair, Booth B20
"Curry 2 (2) ", 2005
Stainless steel
220 x 138 x 39cm
ref. 08163
Feast for Hundred and Eight
Gods 2
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Subodh Gupta, Frieze Art Fair, Booth B20
"Feast for Hundred and Eight Gods 2", 2005
Stainless Steel Ustensils
104 x 72 x 72 cm
ed. of 3
Gods 2
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Subodh Gupta, Frieze Art Fair, Booth B20
"Feast for Hundred and Eight Gods 2", 2005
Stainless Steel Ustensils
104 x 72 x 72 cm
ed. of 3
Feast for Hundred and Eight
Gods 1
[attachment=23174]
Subodh Gupta, Frieze Art Fair, Booth B20
"Feast for Hundred and Eight Gods 1" , 2005
Stainless Steel Ustensils
125 x 77 x 77 cm
ed. of 3
Gods 1
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Subodh Gupta, Frieze Art Fair, Booth B20
"Feast for Hundred and Eight Gods 1" , 2005
Stainless Steel Ustensils
125 x 77 x 77 cm
ed. of 3
Feast for Hundred and Eight
Gods 3
[attachment=23183]
Subodh Gupta, Frieze Art Fair, Booth B20
"Feast for Hundred and Eight Gods 3", 2005
Stainless Steel Ustensils
125 x 77 x 77 cm
ed. of 3
Gods 3
[attachment=23183]
Subodh Gupta, Frieze Art Fair, Booth B20
"Feast for Hundred and Eight Gods 3", 2005
Stainless Steel Ustensils
125 x 77 x 77 cm
ed. of 3
Untitled 3" (Bucket)
[attachment=23184]
Subodh Gupta, Frieze Art Fair, Booth B20
"Untitled 3" (Bucket) , 2005
Stainless Steel
200 x 167 x 167 cm
Installation View 2005
[attachment=23184]
Subodh Gupta, Frieze Art Fair, Booth B20
"Untitled 3" (Bucket) , 2005
Stainless Steel
200 x 167 x 167 cm
Installation View 2005
Curry 2 (1)
[attachment=23185]
Subodh Gupta, Frieze Art Fair, Booth B20
" Curry 2 (1) ", 2005
Stainless steel
220 x 138 x 39cm
ref. 08163
[attachment=23185]
Subodh Gupta, Frieze Art Fair, Booth B20
" Curry 2 (1) ", 2005
Stainless steel
220 x 138 x 39cm
ref. 08163
