2 February - 8 May 2011
Gstaad
In collaboration with St James's Church, Piccadilly Visitors to Piccadilly's Southwood Gardens will encounter Mona Lisa, though not as they know her. The most famous and enigmatic personality in the history of Western art has undergone a double makeover: Da Vinci's muse wears a moustache and goatee — courtesy of Marcel Duchamp's infamous 'L.H.O.O.Q.' of 1919 — and she has increased in scale, becoming a larger-than-life sized sculpture realised in black bronze. This transformation is the work of Indian artist Subodh Gupta and is both a homage, as well as the beginning of a dialogue, inserting Gupta into an imaginary conversation between the heavyweights of art history. An appropriation of an appropriation, 'Et tu, Duchamp?' speaks of Gupta's excitement in first encountering Conceptual art and comprehending its power. 'When I saw Duchamp's drawing of the moustache on the Mona Lisa postcard,' he has commented, 'I was thrilled by this simple thing ... Duchamp is a distant figure, but his art is out there in the world, and many artists have reacted to his work'. The sculpture takes Duchamp's irreverent gesture and monumentalises it – the size, material and solidity of Gupta's version referencing the artistic qualities that Duchamp did so much to dispel. In making the icon his own, Gupta has taken possession of the language of conceptual art and laid claim to its inheritance. Gupta has long explored the effects of cultural translation and dislocation through his work, most famously using Indian kitchen utensils such as tiffins and thalis to demonstrate art's ability to transcend cultural and economic boundaries. 'Et tu, Duchamp?', made only a few years after he first encountered 'L.H.O.O.Q.' at Tate Modern, marks a shift in Gupta's approach towards a direct engagement with works from art history.
Et tu, Duchamp?
2009
Subodh Gupta’s sculpture incorporates everyday objects that are ubiquitous throughout India, such as steel tiffin lunch boxes, thali pans, bicycles and milk pails. From such ordinary items the artist produces breathtaking sculptures that reflect on the economic transformation of his homeland. His works investigate the sustaining and even transformational power of the everyday.
Gupta has long explored the effects of cultural translation and dislocation through his work, demonstrating art’s ability to transcend cultural and economic boundaries. His ideas have taken shape in a variety of different media, from film, video and performance to steel, bronze, marble, and paint, which Gupta employs for both their aesthetic properties and as conceptual signifiers carrying a wealth of connotations. The mass-produced objects that have played such a prominent role in his art offer an ambiguous symbolism: while they are seen by those in the West as exotic and representative of Indian culture, to those in India they are common items that are used daily in almost every household, from the poorest to the most wealthy. Gupta harnesses these varying associations and, in the process, makes his materials subjects in their own right.
In recent years Gupta has shifted his attention from mass produced stainless steel objects to found objects. He is fascinated by the traces left on these objects by their previous owners, turning them from inanimate utensils into items charged with stories of lives lived, visualised by scratches and dents. Through them, viewers can detect what anthropologist and writer Bhrigupati Singh describes as ‘the patterns we create through our diurnal scrapings, the marks we leave night and day, through rise and fall, joy and sorrow, on the surfaces of our ordinary domestic vessels that journey with us, sometimes for years. What we discover in the process are intricately crafted pieces of the cosmos.’
Before his education as a visual artist, Gupta, who is passionate about film, was a street theater actor. The artist's change of residence from his native village to a major urban center is in a way an allegory of today's India. The growing middle class that migrated from villages to large cities is eagerly clearing the path for change and the dominance of global capitalist culture. Gupta is interested in what inevitably disappears in the process of such change.
The Fact That It Amazes Me Does Not Mean I Relinquish It
13 September 2024 – 5 January 2025
Downtown Los Angeles
Arbeiten auf Papier / Works on Paper / Oeuvres sur Papier: 1975 – 2009
27 September – 20 December 2024
Zurich, Limmatstrasse
The Fact That It Amazes Me Does Not Mean I Relinquish It
13 September 2024 – 5 January 2025
Downtown Los Angeles
Arbeiten auf Papier / Works on Paper / Oeuvres sur Papier: 1975 – 2009
27 September – 20 December 2024
Zurich, Limmatstrasse
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