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A 600 x 300 cm sculpture by Subodh Gupta.
Celebrating 800 years of Spirit and Endeavour.
Salisbury, Wiltshire UK.
We were so lucky to be in Bukhara during the Bukhara Biennial - the first contemporary art event in Bukhara of such scale. It is one of the largest and most diverse art initiatives in Central Asia.
The building is titled "Salt Carried by the Wind" by Baxtiyor Nazirov, a Uzbek artist in collaboration with Subodh Gupta from India.
From the exhibition Art is the Antidote in Museum Voorlinden Wassenaar NL.
Two Cows, 2003 - 06, artwork by Indian artist Subodh Gupta.
Global inequality is growing, with half the world’s wealth now in the hands of just 1% of the population, according to a new report.Each of the remaining 383m adults – 8% of the population – has wealth of more than $100,000. This number includes about 34m US dollar millionaires. About 123,800 individuals of these have more than $50m, and nearly 45,000 have more than $100m. There is overwhelming agreement among economists that the Second World War was responsible for decisively ending the Great Depression. When asked why the wars in Iraq and Afghanistan are failing to make the same impact today, they often claim that the current conflicts are simply too small to be economically significant.
There is, of course, much irony here. No one argues that World War II, with its genocide, tens of millions of combatant casualties, and wholesale destruction of cities and regions, was good for humanity. But the improved American economy of the late 1940s seems to illustrate the benefits of large-scale government stimulus. This conundrum may be causing some to wonder how we could capture the good without the bad.
If one believes that government spending can create economic growth, then the answer should be simple: let's have a huge pretend war that rivals the Second World War in size. However, this time, let's not kill anyone.
Most economists believe that massive federal government spending on tanks, uniforms, bullets, and battleships used in World War II, as well the jobs created to actually wage the War, finally put to an end the paralyzing "deflationary trap" that had existed since the Crash of 1929. Many further argue that war spending succeeded where the much smaller New Deal programs of the 1930s had fallen short.
The numbers were indeed staggering. From 1940 to 1944, federal spending shot up more than six times from just $9.5 billion to $72 billion. This increase led to a corresponding $75 billion expansion of US nominal GDP, from $101 billion in 1940 to $175 billion by 1944. In other words, the war effort caused US GDP to increase close to 75% in just four years!
The War also wiped out the country's chronic unemployment problems. In 1940, eleven years after the Crash, unemployment was still at a stubbornly high 8.1%. By 1944, the figure had dropped to less than 1%. The fresh influx of government spending and deployment of working-age men overseas drew women into the workforce in unprecedented numbers, thereby greatly expanding economic output. In addition, government spending on wartime technology produced a great many breakthroughs that impacted consumer goods production for decades.
So, why not have the United States declare a fake war on Russia (a grudge match that is, after all, long overdue)? Both countries could immediately order full employment and revitalize their respective manufacturing sectors. Instead of live munitions, we could build all varieties of paint guns, water balloons, and stink bombs.
Once new armies have been drafted and properly outfitted with harmless weaponry, our two countries could stage exciting war games. Perhaps the US could mount an amphibious invasion of Kamchatka (just like in Risk!). As far as the destruction goes, let's just bring in Pixar and James Cameron. With limitless funds from Washington, these Hollywood magicians could surely produce simulated mayhem more spectacular than Pearl Harbor or D-Day. The spectacle could be televised- with advertising revenue going straight to the government.
The competition could be extended so that the winner of the pseudo-conflict could challenge another country to an all-out fake war. I'm sure France or Italy wouldn't mind putting a few notches in the 'win' column. The stimulus could be never-ending.
If the US can't find any willing international partners, we could always re-create the Civil War. Missed the Monitor vs. the Merrimack the first time? No worries, we'll do it again!
But to repeat the impact of World War II today would require a truly massive effort. Replicating the six-fold increase in the federal budget that was seen in the early 1940s would result in a nearly $20 trillion budget today. That equates to $67,000 for every man, woman, and child in the country. Surely, the tremendous GDP growth created by such spending would make short work of the so-called Great Recession. The big question is how to pay for it. To a degree that will surprise many, the US funded its World War II effort largely by raising taxes and tapping into Americans' personal savings. Both of those avenues are nowhere near as promising today as they were in 1941. Current tax burdens are now much higher than they were before the War, so raising taxes today would be much more difficult. The "Victory Tax" of 1942 sharply raised income tax rates and allowed, for the first time in our nation's history, taxes to be withheld directly from paychecks. The hikes were originally intended to be temporary but have, of course, far outlasted their purpose. It would be unlikely that Americans would accept higher taxes today to fund a real war, let alone a pretend one. That leaves savings, which was the War's primary source of funding. During the War, Americans purchased approximately $186 billion worth of war bonds, accounting for nearly three quarters of total federal spending from 1941-1945. Today, we don't have the savings to pay for our current spending, let alone any significant expansions. Even if we could convince the Chinese to loan us a large chunk of the $20 trillion (on top of the $1 trillion we already owe them), how could we ever pay them back? If all of this seems absurd, that's because it is. War is a great way to destroy things, but it's a terrible way to grow an economy. What is often overlooked is that war creates hardship, and not just for those who endure the violence. Yes, US production increased during the Second World War, but very little of that was of use to anyone but soldiers. Consumers can't use a bomber to take a family vacation. The goal of an economy is to raise living standards. During the War, as productive output was diverted to the front, consumer goods were rationed back home and living standards fell. While it's easy to see the numerical results of wartime spending, it is much harder to see the civilian cutbacks that enabled it. The truth is that we cannot spend our way out of our current crisis, no matter how great a spectacle we create. Even if we spent on infrastructure rather than war, we would still have no means to fund it, and there would still be no guarantee that the economy would grow as a result. What we need is more savings, more free enterprise, more production, and a return of American competitiveness in the global economy. Yes, we need Rosie the Riveter - but this time she has to work in the private sector making things that don't explode. To do this, we need less government spending, not more.
The existing literature identifies natural resource wealth as a major determinant of civil war. The dominant causal link is that resources provide finance and motive (the “looting rebels” model). Others see natural resources as causing “political Dutch disease,” which in turn weakens state capacity (the “state capacity” model). In the looting rebels model, resource wealth first increases, but then decreases the risk for civil war as very large wealth enables governments to constrain rebels, whereas in the state capacity model, large resource wealth is unambiguously related to higher risk of war. This research note uses a new dataset on natural resource rents that are disaggregated as mineral and energy rents for addressing the resources-conflict relationship. We find that neither a dummy variable for major oil exporters nor our resource rents variables predict civil war onset with a 1000-battle-death threshold coded by Fearon and Laitin (2003) Fearon, J. D. and Laitin, D. D. 2003. Ethnicity, insurgency, and civil war. American Political Science Review, 97(1): 1–16.
[Crossref], in the period after 1970 for which rents data are available. However, using a lower threshold of 25 battle deaths, we find that energy wealth, but not mineral wealth, increases the risk for civil war onset. We find no evidence for a nonlinear relationship between either type of resources and civil war onset. The results tentatively support theories built around state capacity models and provide evidence against the looting rebels model of civil war onset.
www.businessinsider.com/lets-pretend-to-have-another-seco...
A considerable body of poetical work has been attributed to Saint Kabir. And while two of his disciples, Bhāgodās and Dharmadās, did write much of it down, "...there is also much that must have passed, with expected changes and distortions, from mouth to mouth, as part of a well-established oral tradition."
In that Place There Is No Happiness or Unhappiness,
No Truth or Untruth
Neither Sin Nor Virtue.
There Is No Day or Night, No Moon or Sun,
There Is Radiance Without Light.
There Is No Knowledge or Meditation
No Repetition of Mantra or Austerities,
Neither Speech Coming From Vedas or Books.
Doing, Not-Doing, Holding, Leaving
All These Are All Lost Too In This Place.
No Home, No Homeless, Neither Outside or Inside,
Micro and Macrocosm Are Non-Existent.
Five Elemental Constituents and the Trinity Are Both Not There
Witnessing Un-struck Shabad Sound is Also Not There.
No Root or Flower, Neither Branch or Seed,
Without a Tree Fruits are Adorning,
Primordial Om Sound, Breath-Synchronized Soham,
This and That - All Are Absent, The Breath Too Unknown
Where the Beloved Is There is Utterly Nothing
Says Kabir I Have Come To Realize.
Whoever Sees My Indicative Sign
Will Accomplish the Goal of Liberation.
Kabir
What is seen is not the Truth
What is cannot be said
Trust comes not without seeing
Nor understanding without words
The wise comprehends with knowledge
To the ignorant it is but a wonder
Some worship the formless God
Some worship His various forms
In what way He is beyond these attributes
Only the Knower knows
That music cannot be written
How can then be the notes
Says Kabir, awareness alone will overcome illusion
Kabir
There is a common trunk that carries energy from the EARTH TO COSMOS? a kind of Milky Way, fruit of the mammary tits of a sacred cow. The link between the body of light and the physical body is a silver rope invisible from mortals. It would be necessary to die first to be reborn in a spiritual World. The attachment to material values divides us and the World War is the result of an oversized human ego. Thus, we must digest our reptilian impulses to live detached from the roots of evil and once again become a sacred fruit of the Tree of Life.In this early spring, he seems happy to be in Paris. It was there that, in 2006, his career took a truly international turn. For the Nuit blanche, Subodh Gupta had been invited to produce a work: "Very Hungry God". This monumental skull of gleaming kitchen utensils was shown at Saint-Bernard church in the Goutte-d'Or district, where the battle of the undocumented had taken place ten years earlier. Struck by this paradoxical image of prosperity and death, François Pinault immediately bought the sculpture, then installed it in front of his Venetian foundation, at the Palazzo Grassi. This skull became one of the most famous vanities of contemporary art with the one Damien Hirst made in diamonds a year later.Born in a village in northern India, marked in his childhood by the presence of a theatre company and by film screenings where his mother took him, Subodh Gupta experienced a meteoric rise. First trained in figurative painting, he put this technique aside to make videos and assemblages of objects, often kitchen utensils, which have been his signature for about ten years. This is the case of "People Tree", a giant tree created especially to be presented in one of the Mint's courses. Subodh Gupta has a sense of sharing and loves to cook. It is for him an essential reference: he compares willingly the kneading of a bread dough and the artistic gesture. His works also tell the story of travel and exile, like his boat overflowing with metal amphorae and evoking the fate of migrants.
He is interested in the cosmos and the philosopher's stone, a mysterious substance known to turn lead into gold.
Faced with success, we had to produce a lot. The size of his workshops kept increasing every year to accommodate more assistants - he said he sometimes made less good pieces. So, for some time now, his work has taken a more meditative turn. He is interested in the cosmos and the philosopher's stone, a mysterious substance reputed to turn lead into gold, cure diseases, prolong human life... He also returned to painting. Through works, often colossal, installed in 18th century salons, the exhibition shows how far we have come.
Subodh Gupta spent a week working in the Mint's workshops to make a medal himself. The exchanges seem to have been spontaneous with the engravers, in this place which is one of the oldest factories in Paris. It was as an alchemist that he thought about his project: the idea came to him to associate the preciousness of spices with that of metal by placing the key ingredients of a good curry, garam masala, on modelling clay. The assembly will be scanned and pressed onto a metal disc. A reminder that in Vasco da Gama's time.
fr.pressfrom.com/actualite/culture/-95491-subodh-gupta-un...
While often Gupta, an artist based in New Delhi, uses form and content emanating from an Indian milieu as initial points of reference, these works are far from nostalgic, nativist or even culturally specific. They serve instead as universally relatable ruminations on the physical, the metaphysical, and their interconnections.
, In This Vessel Lies the Philosopher’s Stone, is a citation from the writings of the Indian poet Kabīr, from the 15th century, who is one of India’s most celebrated mystics and venerated by Hindus and Muslims alike.
Kabīr identifies a humble vessel, a trope for the human body, to be the carrier of everything – the earth, the universe, and the divine. Subodh Gupta’s most recent works are a meditative exploration of both the literal and metaphorical implications of these verses. The quotidian pantry has long been Gupta’s artistic realm where he finds material and meaning. But rather than expressing earthly horrors and delights, he has moved into capturing the cosmic in the everyday, resulting in a body of work that is simultaneously minimalist and exaggerated. For Gupta, the steam that escapes a boiling kettle suggests a new galaxy emerging, the sparks that scatter out of a wood stove appear to represent the birth of new stars, and the metallic banging of a hammer crushing aluminum suggests the celestial big bang. As the domestic is superimposed on the cosmic, astrophysical wonders are minimized to the mundane, and mundane earthly objects out into inter-stellar awe.
he phrase paaras or paarasmani, mentioned in the verses by Kabir, refers to an oddly universal mythological object that is able to transmute ordinary materials into precious metals or imbue them with extraordinary powers. The western equivalent to this mystical gem is known as the philosopher’s stone. The power of the philosopher’s stone is uncannily similar to an artist’s power to elevate an ordinary object into a prized possession, simply by rendering it in an artwork. Subodh Gupta’s work is particularly analogous to this alchemical act of transmutation and this is evident throughout his works, most literally perhaps in the work titled Only One Gold, which shows a humble potato seemingly transformed into a lump of gold.
www.itsliquid.com/subodh-gupta-in-this-vessel-lies-the-ph...
L’artiste plasticien Subodh Gupta travaille les icônes de la culture indienne présente « Very Hungry God » (propriété de François Pinault) à la Monnaie de Paris jusqu’au 26 août 2018 💀
Jalsa
Oeuvre de Subodh Gupta (Inde, 1964)
fr.wikipedia.org/wiki/Subodh_Gupta
2023
Ustensiles en aluminium, acier, cable, bois, bétons, appareils de cuisine
dimensions variables
(l'oeuvre est un clin d'oeil à l'architecture du Hangar Y)
Collection Frédéric Jousset
Courtesy of Galleria Continua
Oeuvre exposée dans le parc de sculptures de Chalais au sein de la forêt de Meudon en région parisienne.
hangar-y.com/poi/subodh-gupta-jalsa/
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Loin du tumulte parisien, au sein du parc de Chalais-Meudon classé au domaine national, le site du Hangar Y raconte sa nouvelle histoire créative à la croisée de l’art, de la culture, des sciences, de la nature et des loisirs. Extrait du site officiel du Hangar Y dans la forêt de Meudon. hangar-y.com/
One of three large sculptures by Subodh Gupta at The Pearl, Doha, Qatar. Each head is that of a soldier, Gupta's representation of Gandhi's Three Wise Monkeys.
Sculpture installation entitled "There is always cinema (III)" 2008
Found objects, nickel, brass
Courtesy GALLERIA CONTINUA, San Gimignano, Beijing, Habana, Les Moulins and the artist himself
L’artiste plasticien Subodh Gupta travaille les icônes de la culture indienne présente « Very Hungry God » (propriété de François Pinault) à la Monnaie de Paris jusqu’au 26 août 2018 💀
Subodh Gupta
Если у вас завалялась пара старых кастрюль и сковородок, то непременно отдайте их Субодху Гупте (хрен выговоришь, спорим?), он обязательно смастерит поделку.
Как раз сейчас ему не хватает двух вафельниц, коричневых от старости, зеленого эмалированного ведра и одной кастрюли с желтым цветочком — надо же закончить гигантскую скульптуру Кролика.
Mamiya RZ67 Pro II, Fuji Velvia 100F, 10000x8000, imacon Flextight X5
Subodh Gupta: Everyday Divine
An exhibition of works by one of India's pre-eminent contemporary artists drawn from the private collection of Larry Warsh, New York
Everyday (2009) - Subodh Gupta - Stainless steel on marble base.
Modern sculpture, collection of kitchen items. Color photo taken in Tate Modern, London, UK, 2015
Monnaie | Quai de Conti
Subodh Gupta - « Adda » / Rendez-vous exhibition
La Monnaie de Paris, Paris.
Apr.13 - Aug.26, 2018
People Tree
2018
One of 3 sculptures by Indian artist, Subodh Gupta, entitled "Ghandi's Three Monkeys". They are made from brass, steel and old kitchen utensils and represent aspects of war. One has a soldier's helmet, one a gas mask and this one has the hood of a terrorist
Subodh Gupta
Untitled, 2010
Bronze, ustensiles en acier inoxydable
serpent 180 par 168 par 549 cm
Oeuf 89 par 89 par 132 cm
www.fiac.com/SubodhGupta1.html
In situ, Fabienne Leclerc, Paris
by Subodh Gupta, by the Palazzo Grassi on the Grande Canal, Venice, 21-Nov-07.
[More]...
Photo by Bob Ramsak / piran café
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Die Einzelausstellung von Subodh Gupta ist die erste große Solopräsentation des indischen Künstlers in Europa. Gupta präsentiert im MMK neue und bereits existierende Arbeiten auf der gesamten ersten Ebene des Museums.
Subodh Gupta (*1964 in Khagaul, Indien) lebt und arbeitet in Neu-Delhi. Er studierte zwischen 1983 und 1988 Malerei am College of Art in Patna, arbeitet jedoch vorwiegend in den Medien Skulptur, Fotografie, Installation, Video und Performance. Am Bekanntesten sind Guptas raumgreifende skulpturale Arbeiten, die aus Alltagsgegenständen bestehen oder in denen er auf diese Bezug nimmt: Edelstahlgeschirr, wie es in Indien alltägliche Verwendung findet, Pfannen, Melkeimer, Fahrräder, Einkaufswagen dienen ihm als Materialien und „Bausteine”, mit denen er Megastrukturen mit einprägsamer Semantik schafft. Dabei klingen häufig die Themenkomplexe des Kochens und Essens an, die sich auch in seinen performativen Arbeiten wiederfinden. Gupta interessiert das Kochen und Essen als Manifest einer kulturellen Alltagspraktik, aber auch als Sinnbild für Essentialität und Existenz. In seinen Arbeiten gibt es immer wieder Bezüge zu sozioökonomischen Entwicklungen seines Heimatlandes Indien und zu Entwicklungen der globalen Wirtschaft, aber auch episodische Referenzen zu seiner eigenen Biografie.
Die Einzelausstellung von Subodh Gupta ist die erste große Solopräsentation des indischen Künstlers in Europa. Gupta präsentiert im MMK neue und bereits existierende Arbeiten auf der gesamten ersten Ebene des Museums.
Subodh Gupta (*1964 in Khagaul, Indien) lebt und arbeitet in Neu-Delhi. Er studierte zwischen 1983 und 1988 Malerei am College of Art in Patna, arbeitet jedoch vorwiegend in den Medien Skulptur, Fotografie, Installation, Video und Performance. Am Bekanntesten sind Guptas raumgreifende skulpturale Arbeiten, die aus Alltagsgegenständen bestehen oder in denen er auf diese Bezug nimmt: Edelstahlgeschirr, wie es in Indien alltägliche Verwendung findet, Pfannen, Melkeimer, Fahrräder, Einkaufswagen dienen ihm als Materialien und „Bausteine”, mit denen er Megastrukturen mit einprägsamer Semantik schafft. Dabei klingen häufig die Themenkomplexe des Kochens und Essens an, die sich auch in seinen performativen Arbeiten wiederfinden. Gupta interessiert das Kochen und Essen als Manifest einer kulturellen Alltagspraktik, aber auch als Sinnbild für Essentialität und Existenz. In seinen Arbeiten gibt es immer wieder Bezüge zu sozioökonomischen Entwicklungen seines Heimatlandes Indien und zu Entwicklungen der globalen Wirtschaft, aber auch episodische Referenzen zu seiner eigenen Biografie.