‘Shilpa Gupta works around the physical and ideological existence of boundaries, revealing their simultaneously arbitrary and repressive functions. Her practice draws on the interstitial zones between nation states, ethno-religious divides and structures of surveillance – between definitions of legal and illegal, belonging and isolation. Everyday situations are distilled into succinct conceptual gestures; as text, action, object and installation, through which Gupta addresses the imperceptible powers that dictate our lives as citizens or stateless individuals.’Untitled(2009) is a gate slamming back and forward against a wall and the plaster work after months is falling apart. It mad me think of a door being slammed shut. Gupta’s other work was 100 microphones that had been rewired to act as listening devices. The multi-channel sound installation ‘For, in your tongue, I cannot hide’ gives voice to 100 poets who have been jailed through time for their writing or their beliefs. On entering the dimly-lit space visitors encountered 100 microphones suspended over 100 metal rods, each piercing a verse of poetry. Over the course of an hour, each microphone in turn recites a fragment of the poets’ words, spoken first by a single voice then echoed by a chorus which shifts across the space. Several pavilions appeared to eschew from presenting the image of forward thinking cutting edge technology and it’s influence on the human condition in favour of the more traditional static inanimate world of minimal objects. This was evident in the some of the pavillions of the Eastern European countries, but also in the British pavillion (Cathy Wilkes) and the American pavilion showing Martin Puryear. The works I felt resonated the most for me were by Shilpa Gupta, Christian Marclay (49 War Movies), the Brazil pavilion ‘Swinguerra’ by Benjamin De Burca & Barbara Wagner, the Polish pavilion and Roman Stanczak’s ‘inside out plane’ and finally Jon Rafman’s amazing ‘Dreamland Journal 2016-2019’ film which is best described as a ‘3D-hobbyist computer animation depicting an ever-expanding absurdist narrative’.
This is actually the very first exposure created. You can see in the picture above the coating is green, but when left in the light gets exposed and rubbing the surface with water reveals the blue cyanotype underneath:
BANK 1: Starting Top left:- 1,2,3 'Patrol Drama', Jamie Crew, Tramway; 4: 'Nationhood', Alan Rutherford, LAF 2018; 5: MFA Show 2018; 6: GSA Degree show 2018
Top right: Work by Dominic Bradnum
Bottom Right: Work by Tallur L.N.
I guess what this tells me is that you have to really go out there to find something that is quite unique and original. I thought my ideas were unique, but it is interesting to see that someone else has already been down that road.
To be honest, I wasn't always entirely happy with the work that I produced on the making days for M2. The value was that I explored, took risks and went places that essentially guided me to the right places. The works above that I made were really just ideas, but I no longer feel the desire or need to pursue them further.
The first making day of MA3 I felt was a lot more fulfilling and there was a good discussion around the work that I made for it. So let's hope the next making day is just as productive. 
-
Recent Posts
Archives
- September 2023
- January 2022
- December 2021
- December 2019
- September 2019
- May 2019
- February 2019
- January 2019
- December 2018
- November 2018
- October 2018
- September 2018
- August 2018
- March 2018
- February 2018
- October 2017
- September 2017
- July 2017
- May 2017
- February 2017
- January 2017
- December 2016
- November 2016
- October 2016
- September 2016
Instagram feed
No feed