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Shilpa Gupta

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Open a larger version of the following image in a popup: Shilpa Gupta, There is No Border here, 2005-2006
Open a larger version of the following image in a popup: Shilpa Gupta, There is No Border here, 2005-2006
Open a larger version of the following image in a popup: Shilpa Gupta, There is No Border here, 2005-2006
Open a larger version of the following image in a popup: Shilpa Gupta, There is No Border here, 2005-2006
Open a larger version of the following image in a popup: Shilpa Gupta, There is No Border here, 2005-2006

Shilpa Gupta

There is No Border here, 2005-2006
Wall Drawing with Self-Adhesive Tapes
118 1/8 x 118 1/8 in
300 x 300 cm
Copyright The Artist
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Further images

  • (View a larger image of thumbnail 1 ) Shilpa Gupta, Blame, 2002
  • (View a larger image of thumbnail 2 ) Shilpa Gupta, Blame, 2002
  • (View a larger image of thumbnail 3 ) Shilpa Gupta, Blame, 2002
  • (View a larger image of thumbnail 4 ) Shilpa Gupta, Blame, 2002
  • (View a larger image of thumbnail 5 ) Shilpa Gupta, Blame, 2002
Much of Gupta’s work addresses borders drawn between countries, people and within ourselves. In the wall drawing, 'There Is No Border Here (2005-06)', a barrier tape subversively fragments a flag....
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Much of Gupta’s work addresses borders drawn between countries, people and within ourselves. In the wall drawing, "There Is No Border Here (2005-06)", a barrier tape subversively fragments a flag. The text reads as follows; ‘I tried very hard to cut the sky in half. One for my lover and one for me. But the sky kept moving and clouds from his territory came into mine. I tried pushing it away with both my hands. Harder and harder. But the sky kept moving and the clouds from my territory went into his. I brought a sofa and placed it in the middle. But the clouds kept floating over it. I built a wall in the middle. But the sky started to flow through it. I dug a trench. And then it rained, and the sky made clouds over the trench. I tried very hard to cut...' The text is at once both lyrical and tender yet also employs the language of battle and conflict. Significantly it closes abruptly and returns to the first sentence, implying a cycle of repetition and continuity. On the work, historian Iftikhar Dadi writes, "Flags are emblems of nation-states, whose borders are created and patrolled largely by violence and surveillance, and especially in postcolonial societies, have served to divide historically linked regions and communities. The work offers a counter imaginary to official nationalisms that invariably strive to posit borders and divisions as natural and eternal."
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Exhibitions

SELECTED | 2019 | ‘ÜberMauer Biennale Arcipelago Mediterraneo’, Palermo. Curated by Beatrice Merz | 2018 | ‘While I Begin’, Solo, Voorlinden Museum and Gardens, Wassenaar | 2015 | ‘States of Uncertainty’, Haggerty Museum of Art, Marquette University, Wiscosin, USA. Curated by Emilia Layden | 2014 | ‘Art from Elsewhere’, Gallery of Modern Art (GoMA), Glasgow. Curated by David Elliott | 2012 | ‘Lines of Control: Partition as a Productive Space’, Herbert F. Johnson Museum, Cornell University, Ithaca, NY. Curated by Green Cardamom | 2012 | ‘Someone Else’, Arnolfini, Bristol. Curated by Nav Haq | 2010 | ‘To the Arts, Citizens!’, Serralves Museum of Contemporary Art, Porto. Curated by Óscar Faria and João Fernandes | 2010 | ‘A Bit Closer’, Solo Show, Contemporary Arts Center, Cincinnati | 2009 | ‘Biennale Cuvee – World Selection of Contemporary Art’, OK Center for Contemporary Art, Linz, Austria. Curated by Manray Hsu | ‘Border Jam’, Montevideo. Curated by Gerardo Mosquera 2007 | ‘Solo Show’, Sakshi Gallery, Mumbai | ‘Solo Show’, Apeejay Media Gallery, New Delhi | 2006 | ‘Solo Show’, Bose Pacia Gallery, New York | ‘9th Havana Biennial’

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