Existentialism and Indian design collide in Subodh Gupta’s latest New York show
In a world where the idea of value is equated with luxury, status and rarity, Subodh Gupta has made it a point to elevate the everyday. His latest exhibition ‘Seven Billion Light Years’, recently opened at Hauser & Wirth’s Chelsea gallery in New York, showcases the full breadth of his readymade way of thinking. Spanning installations, sculptures and films from across the artist’s career, and debuting a new series of paintings, the works collectively comment on everyday life in India, while weaving in hints of existentialism along the way.
Gupta's affection for readymade objects has not only made him a recognisable fixture in the contemporary art world, but an ambassador of Indian culture as well. The New Delhi-based artist’s paintings, also titled ‘Seven Billion Light Years’, present everyday utensils like well-worn dishes and scratched metal pans, at a magnified scale. Painted with exacting detail on canvases over two metres high, the familiar objects take on an otherworldly and infinite quality. Gupta has also attached the original objects onto the paintings, creating a bond between the two entities like planets in orbit that plays into his ongoing dialogue about the distance between mortal life and the greater cosmos.
Gupta's use of found objects may give his works Duchampian and Surrealist undertones, but metaphors aside, they articulate the tensions and dichotomies of everyday Indian life. 'When I see utensils, it gives me a feeling I can’t describe. I get very excited,’ says Gupta, of his process. 'The marks of the utensils just tell me so many stories and I feel them so completely.'
One of the show’s highlights is the installation, ‘This is not a fountain’ (2011-2013), an assemblage of aluminium cooking vessels and taps that spout running water, measuring 12 feet in length. Another work entitled ‘My Family Portrait’ (2013) sees each family member represented as hanging racks of metal utensils, kitchen tools and tableware. These affectionate yet unvarnished personifications dial into the social, economic and cultural idiosyncrasies of India in a lighthearted yet poignant way.
Hauser & Wirth's exhibition will coincide with the unveiling of another major new work from Gupta at ‘After Midnight: Indian Modernism to Contemporary India 1947/1997’, which opens at the Queens Museum in New York on 8 March 2015.
'Seven Billion Light Years V', 2014. The paintings feature everyday utensils like well-worn dishes and scratched metal pans, at a magnified scale.
Spanning installations, sculptures and films from across the artist’s career, the works collectively comment on everyday life in India, while weaving in hints of existentialism along the way.
One of the show’s highlights is the installation, ‘This is not a fountain’, 2011-2013, an assemblage of aluminium cooking vessels and taps that spout running water, measuring 12 feet in length.
'Pure (I), 1999—2014' invites visitors to bury a prized possession of theirs across a plot of cow dung, a sacred substance in India.
A still from 'Seven Billion Light Years', 2014-2015. The two-minute film depicts the making of roti, a flatbread widely consumed in the India.
'Imperial Metal', 2014, comprises a bundle of 24 carat gold plated rods displayed on a structure composed of charred wood and steel.
'My Family Portrait' (right), 2013, ( with 'Aam', 2015, on the left) sees each family member represented as hanging racks of metal utensils, kitchen tools and tableware.
'When I see utensils, it gives me a feeling I can’t describe. I get very excited,’ says Gupta, of his process. 'The marks of the utensils just tell me so many stories and I feel them so completely.'
Detail of 'Orange Thing', 2014, a spherical piece made from copper kitchen tongs, steel and plastic.
'Seven Billion Light Years III', 2014.
'In this Vessel lie Groves and Gardens', 2011, (pictured left) is a seemingly simple terracotta jar that on closer inspection reveals stainless steel utensils and jute lighting. To the right, 'Pearl', 2011.
Gupta describes this piece, 'Known Stranger', 2014, as 'a collage of domestic objects that are both humble and familiar'.
ADDRESS
Hauser & Wirth
11 West 18th Street
New York NY 10011
United States
Receive our daily digest of inspiration, escapism and design stories from around the world direct to your inbox.
Pei-Ru Keh is a former US Editor at Wallpaper*. Born and raised in Singapore, she has been a New Yorker since 2013. Pei-Ru held various titles at Wallpaper* between 2007 and 2023. She reports on design, tech, art, architecture, fashion, beauty and lifestyle happenings in the United States, both in print and digitally. Pei-Ru took a key role in championing diversity and representation within Wallpaper's content pillars, actively seeking out stories that reflect a wide range of perspectives. She lives in Brooklyn with her husband and two children, and is currently learning how to drive.
-
Five of the finest compact cameras available todayPocketable cameras are having a moment. We’ve assembled a set of cutting-edge compacts that’ll free you from the ubiquity of smartphone photography and help focus your image making
-
London label Wed Studio is embracing ‘oddness’ when it comes to bridal dressingThe in-the-know choice for fashion-discerning brides, Wed Studio’s latest collection explores the idea that garments can hold emotions – a reflection of designers Amy Trinh and Evan Phillips’ increasingly experimental approach
-
Arts institution Pivô breathes new life into neglected Lina Bo Bardi building in BahiaNon-profit cultural institution Pivô is reactivating a Lina Bo Bardi landmark in Salvador da Bahia in a bid to foster artistic dialogue and community engagement
-
Inside the work of photographer Seydou Keïta, who captured portraits across West Africa‘Seydou Keïta: A Tactile Lens’, an exhibition at the Brooklyn Museum, New York, celebrates the 20th-century photographer
-
Out of office: The Wallpaper* editors’ picks of the weekFrom sumo wrestling to Singaporean fare, medieval manuscripts to magnetic exhibitions, the Wallpaper* team have traversed the length and breadth of culture in the capital this week
-
María Berrío creates fantastical worlds from Japanese-paper collages in New YorkNew York-based Colombian artist María Berrío explores a love of folklore and myth in delicate and colourful works on paper
-
Out of office: the Wallpaper* editors’ picks of the weekAs we approach Frieze, our editors have been trawling the capital's galleries. Elsewhere: a 'Wineglass' marathon, a must-see film, and a visit to a science museum
-
June Leaf’s New York survey captures a life in motionJune Leaf made art in many forms for over seven decades, with an unstoppable energy and fierce appetite leading her to rationalise life in her own terms.
-
Jamel Shabazz’s photographs are a love letter to Prospect ParkIn a new book, ‘Prospect Park: Photographs of a Brooklyn Oasis, 1980 to 2025’, Jamel Shabazz discovers a warmer side of human nature
-
The Hammer Museum in Los Angeles launches the seventh iteration of its highly anticipated artist biennialOne of the gallery's flagship exhibitions, Made in LA showcases the breadth and depth of the city's contemporary art scene
-
Inside a Courtney Love-inspired art exhibition in New YorkLiza Jo Eilers looks to the glory days of Hole at an exhibition at Grimm New York