Gupta reinterprets 'Line of Control' in Beijing
New Delhi, Sep 10 (IANS) A two month solo exhibition of India's
hottest contemporary artist Subodh Gupta in Beijing, titled
"Line of Control", presents an illuminating body
of work, including installations, stainless steel sculptures
In the works being showcased in Beijing's Arario Gallery Sep
6-Nov 8, Gupta tests the colonial/racial guilt and teases
the consumerist desires of the Western world through his monumental
sculptures and installations, created by putting together
hundreds of shining stainless steel objects that reflect the
short circuit between tradition and change.
The title "Line Of Control" converts a blase' media
stereotype into a poetic metaphor. Here, a phrase invariably
used to describe contested borders between disputed territories
from Bosnia to Kashmir is shorn of its limited and limiting
geo-political rhetoric to describe that invisible-yet-concrete
boundaries of time and space that exist between want and aspiration,
between realisation and faith, between dreams and reality,
between night and nightmare.
Gupta's giant sculpture "Line Of Control" symbolises
the uneasy pressure spot that seeks to liberate mundane tension-ridden
reality through a bursting mushroom cloud of kitchen utensils
- wittily proposing, as it were, a cloudburst of prosperity,
peace and harmony.
The New Delhi-based artist navigates his chariot of transgressions
in a cathartic pageant - that of a world constantly being
lost/destroyed and yet emerging anew, reconfigured, reconstructed
from its own debris.
By the invocation of the many metaphors of food and its containers,
both the sublime and the sensual are never far from Gupta's
ever hospitable high table.
His amazing work "Start.Stop." comprises a huge,
slowly moving sushi belt fitted with scores of tiffin boxes.
On the one hand, this work talks about food and how it has
travelled in time across seas and continents. On the other,
it recalls the obscure destiny of the dabbawallas of Mumbai
who manually transport wheelbarrows of tiffin boxes filled
with home cooked food in a fast changing urban reality where
industrially packaged food threatens to soon become the convenient
norm. In this seductive formalisation of the 'moveable feast',
the mantra for nirvana is a clever combination of eros and
The exhibition also presents a seemingly simple work, "I
Believe You", composed of a pair of well-worn rubber
slippers in a shiny steel platter. It throws up multiple questions
of identity in the modern day world.
The exhibition also includes some major canvasses by Gupta
depicting stainless steel utensils in chaotic motion interspersed
with blobs and ribbons of pure colour disrupting the surface
of the picture. From realist interpretations, this set of
canvasses have rhythm and motion traversing through them.
The invite to the show has the picture of an installation
of steel plates in which are kept seven small bowls and a
steel tumbler along with a small wooden planks used for sitting.
It's the signature of forwarding the rural construct into
the modern millennium.
Indo-Asian News Service