[{"id":11007,"title":"Singing Cloud","dimensions":"152.4 x 457.2 x 61 cm, audio: 00:09:30","date_begin":"2008-01-01","material":"object built with thousands of microphones with 48 multi-channel audio","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":72,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy of Louisiana Museum of Modern Art, Humlebaek, Denmark.  Acquired with the funding from The Augustinus Foundation","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2009-01-01","reference":"","stream_count_app":22,"permalink":"singing-cloud--2","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/717/large/Shilpa_Gupta_Singing_Could_2008_2009photo_M_HKAcc9.jpg?1401957130","poster_credits":"(c)image: M HKA","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eSinging Cloud\u003c/em\u003e is an installation that takes the form of a large amorphous shape constructed using 4000 microphones. The work considers the psychological impact of today\u0026rsquo;s highly mediated information landscape, where fear and suspicion are cultivated. Developed through a collaboration with Mahzarin Banaji, a professor of psychology at Harvard University, the work considers the power of media images as expressed by the behaviour of individuals. In particular, Banaji\u0026rsquo;s research considers the multi-layered alterations that take place in human perception following exposure to images when there is a drop in consciousness of one\u0026rsquo;s self, down to the level of our collective conscience. Gupta has subsequently interpreted and extended this research into a soundtrack made from hypnotic fragments of speech. The microphones have had their function reversed, so rather than being used to record sound, they emit this soundtrack, designed to \u0026lsquo;sing\u0026rsquo; and ripple over its surface. (NH)\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eSinging Cloud \u003c/em\u003eis een installatie in de vorm van een grote amorfe vorm waarin 4000 microfoons werden verwerkt. Het werk beschouwt de psychologische impact van het hedendaagse zeer gemedieerde informatielandschap, waar angst en achterdocht worden gecultiveerd. Het werk, ontwikkeld in samenwerking met Mahzarin Banaji, professor in de psychologie aan de Harvard University, stelt vragen bij de kracht van mediabeelden zoals die tot uitdrukking worden gebracht in het gedrag van individuen. In het bijzonder beschouwt Banaji\u0026#39;s onderzoek de meerlagige veranderingen die plaatsvinden in de menselijke waarneming na blootstelling aan beelden die een daling in het zelfbewustzijn teweeg brengen, gaande tot op het niveau van het collectieve bewustzijn. Gupta heeft vervolgens dit onderzoek vertaald in een soundtrack die is opgebouwd uit hypnotische spraakfragmenten. De functie van de microfoons werd omgekeerd, dus in plaats van te worden gebruikt om geluid op te nemen, geven ze deze soundtrack \u0026ndash; die is bedoeld om over het oppervlak te \u0026lsquo;klinken\u0026rsquo; en te rimpelen \u0026ndash; weer. (NH)\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eSomeone Else\u003c/em\u003e est une \u0026oelig;uvre de Gupta pr\u0026eacute;sent\u0026eacute;e en deux parties au M\u0026nbsp;HKA et \u0026agrave; la Biblioth\u0026egrave;que Permeke d\u0026rsquo;Anvers. Elle se base sur l\u0026rsquo;id\u0026eacute;e d\u0026rsquo;une biblioth\u0026egrave;que de 100 livres qui ont \u0026eacute;t\u0026eacute; \u0026eacute;crits anonymement ou sous un pseudonyme. Ils ont \u0026eacute;t\u0026eacute; s\u0026eacute;lectionn\u0026eacute;s dans les litt\u0026eacute;ratures du monde entier et de tous les si\u0026egrave;cles, dont certains de Emily Bront\u0026euml; (sous le pseudonyme de Ellis Bell) et de Herman Hesse (sous le pseudonyme de Emil Sinclair). L\u0026rsquo;anonymat et les pseudonymes ont \u0026eacute;t\u0026eacute; choisis pour diverses raisons, de \u0026laquo;\u0026nbsp;la peur due \u0026agrave; un pr\u0026eacute;nom qui n\u0026rsquo;\u0026eacute;tait pas clairement masculin\u0026nbsp;\u0026raquo; \u0026agrave; \u0026laquo;\u0026nbsp;la peur de ne pas pouvoir rentrer dans son pays\u0026nbsp;\u0026raquo;, illustrant la th\u0026eacute;matique de la censure ainsi que les pr\u0026eacute;jug\u0026eacute;s sociaux dans divers contextes culturels. Au M\u0026nbsp;HKA, 100 reproductions m\u0026eacute;talliques de livres sont pr\u0026eacute;sent\u0026eacute;es sur des \u0026eacute;tag\u0026egrave;res. Chacun est grav\u0026eacute; du titre du livre et de la raison pour l\u0026rsquo;anonymat de l\u0026rsquo;auteur, et chacun est vide pour signifier l\u0026rsquo;absence de la v\u0026eacute;ritable identit\u0026eacute; de l\u0026rsquo;auteur. \u0026Agrave; la Biblioth\u0026egrave;que Permeke, une s\u0026eacute;lection des livres a \u0026eacute;t\u0026eacute; ins\u0026eacute;r\u0026eacute;e dans les rayons, dont de nouvelles additions \u0026agrave; cette liste, \u0026eacute;crites en n\u0026eacute;erlandais \u0026agrave; l\u0026rsquo;origine et disponibles au pr\u0026ecirc;t. (NH)\u003c/p\u003e"}]},{"id":11009,"title":"Someone Else","dimensions":"variable dimensions","date_begin":"2011-01-01","material":"stainlees steel, 100 etched books","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of Mr. Juan Pablo Carranza","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2014-01-01","reference":"","stream_count_app":11,"permalink":"someone-else--3","description_ru":null,"description_de":null,"description_es":null,"description_el":null,"short_description_du":null,"short_description_fr":null,"short_description_ru":null,"short_description_de":null,"short_description_es":null,"short_description_el":null,"description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/023/719/large/Shilpa_Gupta_-_Someone_Else_M_HKA.jpg?1401958081","poster_credits":"(c)image: Jamie Woodley","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eSomeone Else\u003c/em\u003e is a work by Gupta that is presented in two parts, at M HKA and at the Permeke Library in Central Antwerp. The work is based around the idea of a library of 100 books that have been written either anonymously or under a pseudonym. The books have been selected from around the world and from across centuries, including books by Emily Bront\u0026euml; (who used the pseudonym Ellis Bell) and Herman Hesse (who used the pseudonym Emil Sinclair). The reasons for authors deciding to do this varies greatly, from \u0026ldquo;Fear of not having a Christian name positively masculine\u0026rdquo; to \u0026ldquo;fear of not being able to return home\u0026rdquo;, together offering an insight into the issue of censorship as well as social prejudices in different cultural contexts.\u003c/p\u003e\u003cp\u003eAt M HKA, 100 metal surrogate book sculptures are presented on shelves. Each is etched with the title of a book as well as the reason for its author\u0026rsquo;s anonymity, and each is empty to signify the absence of the author\u0026rsquo;s real identity. At the Permeke Library, a selection of the books have been inserted into the shelves, including many new additions to this list originally written in Dutch, and are available to read or borrow. (NH)\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eSomeone Else\u003c/em\u003e is een werk van Shilpa Gupta dat in twee delen wordt gepresenteerd: in het M HKA en in de Permeke Bibliotheek in het centrum van Antwerpen. Het werk is gebaseerd op het idee van een bibliotheek van 100 boeken die ofwel anoniem of onder een pseudoniem werden geschreven. De bibliotheek omvat boeken van alle tijden en afkomstig uit de hele wereld, waaronder boeken van Emily Bront\u0026euml; (die het pseudoniem Ellis Bell gebruikte) en Herman Hesse (die het pseudoniem Emil Sinclair gebruikte). De redenen waarom auteurs beslissen een pseudoniem aan te nemen varieert sterk, van \u0026ldquo;angst omwille van het niet hebben van een duidelijk mannelijke christelijke naam\u0026rdquo; tot \u0026ldquo;angst om niet naar huis terug te kunnen keren\u0026rdquo;, en bieden een inzicht in de problematiek van censuur en sociale vooroordelen in verschillende culturele contexten.\u003c/p\u003e\u003cp\u003eIn het M HKA worden 100 metalen surrogaat-boeksculpturen op planken gepresenteerd. In elk van hen is de titel van het boek ge\u0026euml;tst alsook de reden voor de anonimiteit van de auteur. Elk boek symboliseert het ontbreken van de echte identiteit van de auteur en is dan ook leeg. In de Permeke Bibliotheek werd een selectie boeken in de schappen geplaatst, met daarbij vele nieuwe toevoegingen aan de lijst, waaronder een ruim aantal die oorspronkelijk in het Nederlands geschreven werden, en beschikbaar zijn om te worden gelezen of uitgeleend. (NH)\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eSomeone Else\u003c/em\u003e est une \u0026oelig;uvre de Gupta pr\u0026eacute;sent\u0026eacute;e en deux parties au M\u0026nbsp;HKA et \u0026agrave; la Biblioth\u0026egrave;que Permeke d\u0026rsquo;Anvers. Elle se base sur l\u0026rsquo;id\u0026eacute;e d\u0026rsquo;une biblioth\u0026egrave;que de 100 livres qui ont \u0026eacute;t\u0026eacute; \u0026eacute;crits anonymement ou sous un pseudonyme. Ils ont \u0026eacute;t\u0026eacute; s\u0026eacute;lectionn\u0026eacute;s dans les litt\u0026eacute;ratures du monde entier et de tous les si\u0026egrave;cles, dont certains de Emily Bront\u0026euml; (sous le pseudonyme de Ellis Bell) et de Herman Hesse (sous le pseudonyme de Emil Sinclair). L\u0026rsquo;anonymat et les pseudonymes ont \u0026eacute;t\u0026eacute; choisis pour diverses raisons, de \u0026laquo;\u0026nbsp;la peur due \u0026agrave; un pr\u0026eacute;nom qui n\u0026rsquo;\u0026eacute;tait pas clairement masculin\u0026nbsp;\u0026raquo; \u0026agrave; \u0026laquo;\u0026nbsp;la peur de ne pas pouvoir rentrer dans son pays\u0026nbsp;\u0026raquo;, illustrant la th\u0026eacute;matique de la censure ainsi que les pr\u0026eacute;jug\u0026eacute;s sociaux dans divers contextes culturels.\u003c/p\u003e\u003cp\u003eAu M\u0026nbsp;HKA, 100 reproductions m\u0026eacute;talliques de livres sont pr\u0026eacute;sent\u0026eacute;es sur des \u0026eacute;tag\u0026egrave;res. Chacun est grav\u0026eacute; du titre du livre et de la raison pour l\u0026rsquo;anonymat de l\u0026rsquo;auteur, et chacun est vide pour signifier l\u0026rsquo;absence de la v\u0026eacute;ritable identit\u0026eacute; de l\u0026rsquo;auteur. \u0026Agrave; la Biblioth\u0026egrave;que Permeke, une s\u0026eacute;lection des livres a \u0026eacute;t\u0026eacute; ins\u0026eacute;r\u0026eacute;e dans les rayons, dont de nouvelles additions \u0026agrave; cette liste, \u0026eacute;crites en n\u0026eacute;erlandais \u0026agrave; l\u0026rsquo;origine et disponibles au pr\u0026ecirc;t. (NH)\u003c/p\u003e"}]},{"id":9714,"title":"Someone Else – A Library of 100 Books Written Anonymously or Under Pseudonyms","dimensions":"488 x 22 x 190 cm","date_begin":"2011-01-01","material":"stainless steel, 100 etched books","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Collection Kiran Nadar Museum of Art","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":36,"permalink":"someone-else","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/539/medium_500/Shilpa_Gupta_Mukha-SomeoneElse_PatV.jpg?1623071769","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/539/large/Shilpa_Gupta_Mukha-SomeoneElse_PatV.jpg?1623071769","poster_credits":"image: (c) Pat Verbruggen, Collection Kiran Nadar Museum of Art","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eSomeone Else\u003c/em\u003e is based around the idea of a library of 100 books that have been written either anonymously or under a pseudonym. The books have been selected from around the world and from across centuries, including books by Emily Bront\u0026euml; (who used the pseudonym Ellis Bell) and Herman Hesse (who used the pseudonym Emil Sinclair). The reasons for authors deciding to do this varies greatly, from \u0026ldquo;Fear of not having a Christian name positively masculine\u0026rdquo; to \u0026ldquo;fear of not being able to return home\u0026rdquo;, together offering an insight into the issue of censorship as well as social prejudices in different cultural contexts. 100 metal surrogate book sculptures are presented on shelves. Each is etched with the title of a book as well as the reason for its author\u0026rsquo;s anonymity, and each is empty to signify the absence of the author\u0026rsquo;s real identity. (NH)\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eSomeone Else\u003c/em\u003e is gebaseerd op het idee van een bibliotheek van 100 boeken die ofwel anoniem of onder een pseudoniem werden geschreven. De bibliotheek omvat boeken van alle tijden en afkomstig uit de hele wereld, waaronder boeken van Emily Bront\u0026euml; (die het pseudoniem Ellis Bell gebruikte) en Herman Hesse (die het pseudoniem Emil Sinclair gebruikte). De redenen waarom auteurs beslissen een pseudoniem aan te nemen varieert sterk, van \u0026ldquo;angst omwille van het niet hebben van een duidelijk mannelijke christelijke naam\u0026rdquo; tot \u0026ldquo;angst om niet naar huis terug te kunnen keren\u0026rdquo;, en bieden een inzicht in de problematiek van censuur en sociale vooroordelen in verschillende culturele contexten. In elk van de \u0026#39;boeken\u0026#39; is de titel van het boek ge\u0026euml;tst alsook de reden voor de anonimiteit van de auteur. Elk boek symboliseert het ontbreken van de echte identiteit van de auteur en is dan ook leeg.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eSomeone Else \u003c/em\u003es\u0026rsquo;inspire de l\u0026rsquo;id\u0026eacute;e d\u0026rsquo;une biblioth\u0026egrave;que de 100\u0026nbsp;livres \u0026eacute;crits soit sous couvert d\u0026rsquo;anonymat, soit sous un pseudonyme. Gupta a s\u0026eacute;lectionn\u0026eacute; des livres du monde entier et de toutes les \u0026eacute;poques, y compris des livres d\u0026rsquo;Emily Bront\u0026euml; (qui utilisait le pseudonyme Ellis Bell) et de Herman Hesse (qui utilisait le pseudonyme Emil Sinclair). Les raisons pour lesquelles les auteurs ont d\u0026eacute;cid\u0026eacute; d\u0026rsquo;agir de la sorte varient fortement\u0026nbsp;: de la \u0026laquo;\u0026nbsp;peur de ne pas avoir un pr\u0026eacute;nom positivement masculin\u0026nbsp;\u0026raquo; \u0026agrave; la \u0026laquo;\u0026nbsp;peur de ne plus pouvoir rentrer chez soi\u0026nbsp;\u0026raquo;, offrant ainsi un aper\u0026ccedil;u de la question de la censure et des pr\u0026eacute;jug\u0026eacute;s sociaux dans diff\u0026eacute;rents contextes culturels. Pos\u0026eacute;es sur des \u0026eacute;tag\u0026egrave;res, 100\u0026nbsp;sculptures en m\u0026eacute;tal, repr\u0026eacute;sentant chacune un livre de substitution. Sur chacun d\u0026rsquo;eux sont grav\u0026eacute;s le titre d\u0026rsquo;un livre et la raison de l\u0026rsquo;anonymat de son auteur, et tous sont vides pour signifier l\u0026rsquo;absence de l\u0026rsquo;identit\u0026eacute; r\u0026eacute;elle de l\u0026rsquo;auteur. (NH)\u003c/p\u003e\r\n"}]},{"id":9759,"title":"Singing Cloud","dimensions":"152.4 x 457.2 x 61 cm, audio: 00:09:30","date_begin":"2008-01-01","material":"Object built with thousands of microphones with 48 multi-channel audio","short_description":"","art_status_id":13,"legal_status_id":12,"category_id":58,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Courtesy Louisiana Museum of Modern Art, Humlebæk, Denmark.  Acquired with funding from The Augustinus Foundation","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2009-01-01","reference":"","stream_count_app":45,"permalink":"singing-cloud","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/864/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_48.jpg?1624269462","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/864/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_48.jpg?1624269462","poster_credits":"image: © M HKA, Courtesy Louisiana Museum of Modern Art, Humlebæk, Denmark. Acquired with funding from The Augustinus Foundation","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eSinging Cloud\u003c/em\u003e is an installation that takes the form of a large amorphous shape constructed using 4000 microphones. The work considers the psychological impact of today\u0026rsquo;s highly mediated information landscape, where fear and suspicion are cultivated. Developed through a collaboration with Mahzarin Banaji, a professor of psychology at Harvard University, the work considers the power of media images as expressed by the behaviour of individuals. In particular, Banaji\u0026rsquo;s research considers the multi-layered alterations that take place in human perception following exposure to images when there is a drop in consciousness of one\u0026rsquo;s self, down to the level of our collective conscience. Gupta has subsequently interpreted and extended this research into a soundtrack made from hypnotic fragments of speech. The microphones have had their function reversed, so rather than being used to record sound, they emit this soundtrack, designed to \u0026lsquo;sing\u0026rsquo; and ripple over its surface. (NH)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eWith the kind support of: Le Laboratoire, Paris and The Cloud Foundation\u003cbr /\u003e\r\nSound Engineer: Thierry Coduys, enterprise HUB\u003cbr /\u003e\r\nSound Design: Shilpa Gupta with Sreejeesh Nair at Fireflys Sound Studio\u003cbr /\u003e\r\nTechnical Team: R\u0026eacute;my Spengler, Sebastien Lamouret\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eSinging Cloud\u003c/em\u003e is een grote amorfe installatie waarin 4000 microfoons werden verwerkt. Het werk beschouwt de psychologische impact van het huidige, sterk gemedieerde informatielandschap, waar angst en achterdocht worden gecultiveerd. Het werk, ontwikkeld in samenwerking met Mahzarin Banaji, professor in de psychologie aan de Harvard University, stelt vragen bij de kracht van mediabeelden zoals die tot uiting komt in het gedrag van individuen. In het bijzonder beschouwt Banaji\u0026#39;s onderzoek de meerlagige veranderingen die plaatsvinden in de menselijke waarneming na blootstelling aan beelden die een daling in het zelfbewustzijn teweeg brengen, gaande tot op het niveau van het collectieve bewustzijn. Gupta heeft vervolgens dit onderzoek vertaald in een soundtrack die is opgebouwd uit hypnotische spraakfragmenten. De functie van de microfoons werd omgekeerd, dus in plaats van te worden gebruikt om geluid op te nemen, geven ze deze soundtrack \u0026ndash; die is bedoeld om over het oppervlak te \u0026rdquo;klinken\u0026rdquo; en te rimpelen \u0026ndash; weer.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eMet oprechte steun van: Le Laboratoire, Parijs en The Cloud Foundation\u003cbr /\u003e\r\nGeluidstechnicus: Thierry Coduys, enterprise HUB\u003cbr /\u003e\r\nGeluidsontwerp: Shilpa Gupta met Sreejeesh Nair bij Fireflys Sound Studio\u003cbr /\u003e\r\nTechnisch Team: R\u0026eacute;my Spengler, Sebastien Lamouret\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eSinging Cloud \u003c/em\u003eest une grande installation amorphe compos\u0026eacute;e de 4000\u0026nbsp;microphones. L\u0026rsquo;\u0026oelig;uvre examine l\u0026rsquo;impact psychologique du paysage informationnel actuel, hautement m\u0026eacute;diatis\u0026eacute;, qui cultive la peur et la suspicion. D\u0026eacute;velopp\u0026eacute;e gr\u0026acirc;ce \u0026agrave; une collaboration avec Mahzarin Banaji, professeur de psychologie \u0026agrave; l\u0026rsquo;Universit\u0026eacute; de Harvard, l\u0026rsquo;\u0026oelig;uvre observe le pouvoir des images m\u0026eacute;diatiques sur le comportement des individus. Les recherches de Banaji portent notamment sur les alt\u0026eacute;rations qui se produisent \u0026agrave; plusieurs niveaux dans la perception humaine \u0026agrave; la suite d\u0026rsquo;une exposition \u0026agrave; des images lorsqu\u0026rsquo;il y a une baisse de la conscience de soi qui descend jusqu\u0026rsquo;au niveau de notre conscience collective. Gupta a ensuite interpr\u0026eacute;t\u0026eacute; et \u0026eacute;tendu cette recherche \u0026agrave; une bande sonore compos\u0026eacute;e de fragments de discours hypnotiques. Elle a invers\u0026eacute; la fonction des microphones en ne les utilisant pas pour enregistrer des sons, mais pour diffuser cette bande sonore, con\u0026ccedil;ue pour \u0026laquo;\u0026nbsp;chanter\u0026nbsp;\u0026raquo; et ricocher \u0026agrave; sa surface. (NH)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eAvec l\u0026rsquo;aimable soutien de : Le Laboratoire, Paris et The Cloud Foundation\u003cbr /\u003e\r\nIng\u0026eacute;nieur : Thierry Coduys, enterprise HUB\u003cbr /\u003e\r\nConception sonore : Shilpa Gupta avec Sreejeesh Nair chez Fireflys Sound Studio\u003cbr /\u003e\r\nEquipe technique : R\u0026eacute;my Spengler, Sebastien Lamouret\u003c/p\u003e\r\n"}]},{"id":30292,"title":"There is No Explosive in This – Objects Confiscated at the Chhatrapati Shivaji International Airport, Mumbai","dimensions":"161 x 65 x 114 cm","date_begin":"2007-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy AGIVERONA Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"there-is-no-explosive-in-this-objects-confiscated-at-the-chhatrapati-shivaji-international-airport-mumbai","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/071/934/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01.jpg?1624352495","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/071/934/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01.jpg?1624352495","poster_credits":"image: (c) M HKA, Courtesy AGIVERONA Collection","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30290,"title":"Untitled (Don’t See, Don’t Hear, Don’t Speak)","dimensions":"305 x 183 cm, (4x) 102 x 64 cm","date_begin":"2006-01-01","material":"3 digital prints ","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":7,"stream_count":0,"collection":"Courtesy the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e3 photo\u0026rsquo;s: Don\u0026rsquo;t See, Don\u0026rsquo;t Hear, Don\u0026rsquo;t Speak\u003c/p\u003e\r\n","date_end":null,"reference":"","stream_count_app":36,"permalink":"untitled-61be05cd-5c36-4487-aced-5d6826dd004c","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/615/medium_500/Shilpa_Gupta_Mukha-Untitled_Sculpt_PatV.jpg?1623317395","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/615/large/Shilpa_Gupta_Mukha-Untitled_Sculpt_PatV.jpg?1623317395","poster_credits":"image: (c) Pat Verbruggen, Courtesy the artist","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eUntitled \u003c/em\u003eis a series of photographs in which the artist, donning combat trousers, khaki t-shirt, and military cap, poses in turn with her hands over her eyes, ears or mouth; another pair of hands (belonging to an invisible person behind her) furthers the isolation by covering the artist\u0026rsquo;s ears when her own hands cover her eyes and so forth. A sinister dimension of the theme of \u0026lsquo;see no evil, hear no evil, speak no evil\u0026rsquo; is thus exposed: you\u0026rsquo;re hardly ever on your own when making the decision to look away, to keep quiet. More often than not, as \u003cem\u003eUntitled\u003c/em\u003e shows, there is someone else there, pulling the wool over your eyes and making sure your ears will stay shut to the world around you, someone who puts their hands over your mouth if you even think about screaming to wake everyone around you up.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003eThe Formation of Identity, Shilpa Gupta: Someone Else, Arnolfini, Bristol,\u003c/em\u003e In: \u003ca href=\"https://aestheticamagazine.com/the-formation-of-identity-shilpa-gupta-someone-else-arnolfini-bristol/\" target=\"_blank\"\u003eAesthetica Magazine\u003c/a\u003e, 11 April 2012\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eUntitled\u003c/em\u003e is een reeks foto\u0026#39;s waarin de kunstenares, gekleed in gevechtsbroek, kaki T-shirt en militaire pet, afwisselend poseert met haar handen over haar ogen, oren of mond; een ander paar handen (van een onzichtbare persoon achter haar) versterkt het gevoel van afzondering door de oren van de kunstenares te bedekken wanneer haar eigen handen haar ogen bedekken, enzovoort. De onheilspellende ondertoon van het thema \u0026#39;zie geen kwaad, hoor geen kwaad, spreek geen kwaad\u0026#39; wordt zo blootgelegd: het is zelden dat je alleen bent wanneer je de beslissing neemt om weg te kijken of te zwijgen. Meestal is er iemand, zoals \u003cem\u003eUntitled\u003c/em\u003e toont, die je blik be\u0026iuml;nvloed of je doof maakt voor de wereld rondom je. Iemand die zijn handen over je mond plaatst als je er nog maar aan denkt te schreeuwen en iedereen in de buurt wakker te maken.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eVertaling van \u003cem\u003eThe Formation of Identity, Shilpa Gupta: Someone Else, Arnolfini, Bristol,\u003c/em\u003e In: \u003ca href=\"https://aestheticamagazine.com/the-formation-of-identity-shilpa-gupta-someone-else-arnolfini-bristol/\" target=\"_blank\"\u003eAesthetica Magazine\u003c/a\u003e, 11 April 2012\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eUntitled\u003c/em\u003e est une s\u0026eacute;rie de photographies dans lesquelles l\u0026rsquo;artiste, v\u0026ecirc;tue d\u0026rsquo;un pantalon de combat, d\u0026rsquo;un t-shirt kaki et d\u0026rsquo;une casquette militaire, pose tour \u0026agrave; tour avec les mains sur les yeux, les oreilles ou la bouche. Une autre paire de mains, appartenant \u0026agrave; une personne invisible derri\u0026egrave;re elle, renforce l\u0026rsquo;isolement en couvrant les oreilles de l\u0026rsquo;artiste lorsque ses propres mains couvrent ses yeux, et ainsi de suite. L\u0026rsquo;artiste met ainsi en exergue une dimension sinistre du th\u0026egrave;me \u0026laquo;\u0026nbsp;ne pas voir le mal, ne pas entendre le mal, ne pas dire le mal\u0026nbsp;\u0026raquo;\u0026nbsp;: on n\u0026rsquo;est quasi jamais seul \u0026agrave; d\u0026eacute;cider de d\u0026eacute;tourner le regard, de se taire. Le plus souvent, comme le montre \u003cem\u003eUntitled\u003c/em\u003e, c\u0026rsquo;est une autre personne qui vous jette de la poudre aux yeux et vous bouche les oreilles afin de rester aveugle et sourd au monde qui vous entoure, c\u0026rsquo;est quelqu\u0026rsquo;un d\u0026rsquo;autre qui vous met la main sur la bouche au cas o\u0026ugrave; vous pensiez \u0026agrave; crier pour r\u0026eacute;veiller tout le monde autour de vous.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"0\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eThe Formation of Identity, Shilpa Gupta: Someone Else, Arnolfini, Bristol,\u003c/em\u003e dans\u0026nbsp;: \u003ca href=\"https://aestheticamagazine.com/the-formation-of-identity-shilpa-gupta-someone-else-arnolfini-bristol/\" target=\"_blank\"\u003eAesthetica Magazine\u003c/a\u003e, 11\u0026nbsp;avril 2012\u003c/p\u003e\r\n"}]},{"id":30294,"title":"There is No Explosive in This – Objects Confiscated at Manchester Airport ","dimensions":"165 x 65 x 102 cm","date_begin":"2007-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy Astrup Fearnley Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":24,"permalink":"there-is-no-explosives-in-this-table-ii-manchester-international-airport","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/071/932/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_8.jpg?1624351763","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/071/932/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_8.jpg?1624351763","poster_credits":"image: (c) M HKA, Courtesy Astrup Fearnley Collection","translations":[{"locale":"en","description":"\u003cp\u003e67 confiscated objects from international airports.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e67 geconfisqueerde objecten afkomstig uit internationale luchthavens.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e67 objets confisqu\u0026eacute;s dans des a\u0026eacute;roports internationaux.\u003c/p\u003e\r\n"}]},{"id":30295,"title":"Shadow 2   ","dimensions":"Variable dimensions","date_begin":"2006-01-01","material":"Interactive video projection","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy the artist, With the generous support of Thomas Eichhorn","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eInteractive video projection incorporating the viewers simulated shadow\u003c/p\u003e\r\n","date_end":"2007-01-01","reference":"","stream_count_app":22,"permalink":"shadow-2","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/071/935/medium_500/Shilpa_Gupta_Mukha-Shadow2_PatV.jpg?1623316744","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/071/935/large/Shilpa_Gupta_Mukha-Shadow2_PatV.jpg?1623316744","poster_credits":"image: (c) Pat Verbruggen, Courtesy the artist","translations":[{"locale":"en","description":"\u003cp\u003e\u0026quot;The repressed contents of Gupta\u0026rsquo;s work manifested themselves in spectral form \u0026ndash; spectral yet strangely substantial \u0026ndash; as a play of shadows and certainties in the interactive video projection \u003cem\u003eUntitled (Shadows I, II \u0026amp; III)\u003c/em\u003e, 2006-2007. In this scintillating theatre of phantoms, the viewer becomes participants by default, as their shadows \u0026ndash; captured by a live camera \u0026ndash; interacted with shadow figures emerging from the video projection.\u003c/p\u003e\r\n\r\n\u003cp\u003eAdajania (N.), \u0026ldquo;Darkness is What Light Will Never Be \u0026ndash; Shilpa Gupta\u0026rsquo;s Experiments with Truth\u0026rdquo;, in Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.187.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eWith the kind support of: Liverpool Biennale\u003cbr /\u003e\r\nTechnician: Thomas Eichhorn\u003cbr /\u003e\r\nVideo Editing: Ruchita Zambre\u003cbr /\u003e\r\nCamera: Ajay Noronha\u003cbr /\u003e\r\nActor: Vedanti Agarwal\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026quot;De onderdrukte inhoud in het werk van Gupta manifesteert zich in spectrale vorm \u0026ndash; spectraal en vreemd genoeg toch substantieel \u0026ndash; als een spel van schaduwen en zekerheden in de interactieve videoprojectie \u003cem\u003eUntitled (Shadows I, II \u0026amp; III)\u003c/em\u003e, 2006-2007. In dit sprankelende theater van schimmen worden de toeschouwers vanzelf deelnemers, omdat hun schaduwen \u0026ndash; die worden vastgelegd door een live camera \u0026ndash; in wisselwerking staan met schaduwfiguren die uit de videoprojectie tevoorschijn komen\u0026quot;.\u003c/p\u003e\r\n\r\n\u003cp\u003eVertaling van Adajania (N.), \u0026ldquo;Darkness is What Light Will Never Be \u0026ndash; Shilpa Gupta\u0026rsquo;s Experiments with Truth\u0026rdquo;, in Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.187.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eMet oprechte dank aan: Liverpool Bi\u0026euml;nnale\u003cbr /\u003e\r\nTechnicus: Thomas Eichhorn\u003cbr /\u003e\r\nVideo Editing: Ruchita Zambre\u003cbr /\u003e\r\nCamera: Ajay Noronha\u003cbr /\u003e\r\nActeur: Vedanti Agarwal\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Les contenus refoul\u0026eacute;s de l\u0026rsquo;\u0026oelig;uvre de Gupta se sont manifest\u0026eacute;s sous une forme spectrale, mais \u0026eacute;trangement substantielle, comme un jeu d\u0026rsquo;ombres et de certitudes dans la projection vid\u0026eacute;o interactive \u003cem\u003eUntitled (Shadows\u0026nbsp;I, II \u0026amp; III)\u003c/em\u003e, 2006-2007. Dans ce scintillant th\u0026eacute;\u0026acirc;tre de fant\u0026ocirc;mes, les spectateurs deviennent des participants par d\u0026eacute;faut, car leurs ombres \u0026ndash; captur\u0026eacute;es par une cam\u0026eacute;ra en direct \u0026ndash; interagissent avec les figures d\u0026rsquo;ombre \u0026eacute;mergeant de la projection vid\u0026eacute;o.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cp\u003eAdajania (N.), \u0026ldquo;Darkness is What Light Will Never Be \u0026ndash; Shilpa Gupta\u0026rsquo;s Experiments with Truth\u0026rdquo;, dans Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.\u0026nbsp;187.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eAvec nos sinc\u0026egrave;res remerciements \u0026agrave; : La Biennale de Liverpool\u003cbr /\u003e\r\nTechnicien : Thomas Eichhorn\u003cbr /\u003e\r\nVideo Editing : Ruchita Zambre\u003cbr /\u003e\r\nCam\u0026eacute;ra : Ajay Noronha\u003cbr /\u003e\r\nActeur : Vedanti Agarwal\u003c/p\u003e\r\n"}]},{"id":30296,"title":"I look at things with eyes different from yours","dimensions":"147 x 104 x 12.5 cm","date_begin":"2010-01-01","material":"Print on mirror, embroidered curtain, metal rod","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Private collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":29,"permalink":"i-look-at-things-with-eyes-different-from-yours","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/536/medium_500/Shilpa_Gupta_Mukha-Ilookatthings_PatV.jpg?1623070663","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/536/large/Shilpa_Gupta_Mukha-Ilookatthings_PatV.jpg?1623070663","poster_credits":"image: (c) Pat Verbruggen, Private collection","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;A mirror with a red velour curtain drawn over it, with the text \u003cem\u003eI look at things\u003c/em\u003e embroidered on it. When you draw the curtain aside, the sentence continues on the mirror \u0026ndash; \u003cem\u003eWith eyes different from yours\u003c/em\u003e \u0026ndash; and the viewer sees himself in reflection. As a general comment the statement functions as a catalyst for the artistic process. The artist looks at the world, shows it to us, and we are induced to reflect on our own starting point. \u003cem\u003eI look at things with eyes different from yours\u003c/em\u003e is a sentence that marks a fundamental existential condition: that we see the world in terms of our own surroundings, and that the Other is always somewhere else, with other eyes \u0026ndash; and that this awareness is the best starting point for seeing and understanding one another with respect. Just as art can move us to such reflection.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026nbsp;Shilpa Gupta \u0026ndash; I look at things with eyes different from yours\u003c/em\u003e, in: \u003ca href=\"http://part.ecommercetrp.it/en/collection/i-look-at-things-with-eyes-different-from-yours-shilpa-gupta/\" target=\"_blank\"\u003ePART - Palazzi Dell\u0026#39;Arte Rimini\u003c/a\u003e\u003c/p\u003e\r\n\r\n\u003cp\u003e\u0026nbsp;\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026quot;Voor een spiegel is een rood velours gordijn gehangen, op het gordijn staat de tekst \u003cem\u003eI look at things\u003c/em\u003e [Ik kijk naar dingen] geborduurd. Als je het gordijn opent, loopt de zin door op de spiegel \u0026ndash; \u003cem\u003eWith eyes different from yours\u003c/em\u003e [Met andere ogen dan die van jou] \u0026ndash; \u0026nbsp;en ziet de kijker zichzelf in spiegelbeeld. Deze uitspraak dient als een katalysator voor een artistiek proces. De kunstenaar kijkt naar de wereld, toont die aan ons, en wij worden uitgenodigd te reflecteren over hoe we zelf naar de wereld kijken. \u003cem\u003eI look at things with eyes different from yours \u003c/em\u003eis een uitspraak die een fundamentele existenti\u0026euml;le voorwaarde impliceert: dat we de wereld zien in termen van onze eigen omstandigheden, en dat de Ander zich altijd ergens anders bevindt, met andere ogen. Dit besef zou het beste uitgangspunt zijn om iemand anders met respect te bekijken en te begrijpen. Kunst kan ons dergelijke inzichten geven.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eVertaling van\u003cem\u003e\u0026nbsp;Shilpa Gupta \u0026ndash; I look at things with eyes different from yours\u003c/em\u003e, in: \u003ca href=\"http://part.ecommercetrp.it/en/collection/i-look-at-things-with-eyes-different-from-yours-shilpa-gupta/\" target=\"_blank\"\u003ePART - Palazzi Dell\u0026#39;Arte Rimini\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Un miroir sur lequel est tir\u0026eacute; un rideau de velours rouge, qui porte l\u0026rsquo;inscription brod\u0026eacute;e \u003cem\u003eI look at things\u003c/em\u003e [Je regarde les choses]. Lorsqu\u0026rsquo;on \u0026eacute;carte le rideau, la phrase se poursuit sur le miroir\u0026nbsp;: \u003cem\u003eWith eyes different from yours\u003c/em\u003e [avec des yeux diff\u0026eacute;rents des v\u0026ocirc;tres] et le spectateur voit son propre reflet. En tant que commentaire g\u0026eacute;n\u0026eacute;ral, l\u0026rsquo;affirmation fait office de catalyseur du processus artistique. L\u0026rsquo;artiste regarde le monde, nous le montre, et nous invite \u0026agrave; r\u0026eacute;fl\u0026eacute;chir \u0026agrave; notre propre point de d\u0026eacute;part. \u0026ldquo;Je regarde les choses avec des yeux diff\u0026eacute;rents des v\u0026ocirc;tres\u0026rdquo; est une phrase qui marque une condition existentielle fondamentale\u0026nbsp;: nous voyons le monde en fonction de notre propre environnement et l\u0026rsquo;Autre est toujours ailleurs, avec d\u0026rsquo;autres yeux \u0026ndash; et cette conscience est le meilleur point de d\u0026eacute;part pour se voir et se comprendre mutuellement avec respect. Tout comme l\u0026rsquo;art peut nous amener \u0026agrave; une telle r\u0026eacute;flexion.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"0\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003e\u003cem\u003e\u0026nbsp;Shilpa Gupta \u0026ndash; I look at things with eyes different from yours\u003c/em\u003e, in: \u003ca href=\"http://part.ecommercetrp.it/en/collection/i-look-at-things-with-eyes-different-from-yours-shilpa-gupta/\" target=\"_blank\"\u003ePART - Palazzi Dell\u0026#39;Arte Rimini\u003c/a\u003e\u003c/p\u003e\r\n"}]},{"id":11008,"title":"Untitled","dimensions":"190 x 21,8 x 25 cm, 00:20:00","date_begin":"2008-01-01","material":"Motion flapboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy Louisiana Museum of Modern Art, Humlebæk, Denmark. Acquired with funding from The Augustinus Foundation","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2009-01-01","reference":"","stream_count_app":39,"permalink":"untitled--186","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/863/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_43.jpg?1624269305","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/863/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_43.jpg?1624269305","poster_credits":"image: (c) M HKA, Courtesy Louisiana Museum of Modern Art, Humlebæk, Denmark. Acquired with funding from The Augustinus Foundation","translations":[{"locale":"en","description":"\u003cp\u003eProduced at the same time as \u003cem\u003eSinging Cloud\u003c/em\u003e, \u003cem\u003eUntitled\u003c/em\u003e takes the form of a flap-board, used traditionally to announce arrivals and departures. The 29 characters of the board\u0026rsquo;s display generate a series of short lines that change every few seconds. The texts appear in an open and associative style, changing rhythmically rather than randomly. Written by the artist, the lines also reference readings and exchanges Gupta had with scientists, philosophers and historians on the divisive nature of information media. (NH)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eWith the kind support of: Le Laboratoire, Paris and The Cloud Foundation\u003cbr /\u003e\r\nSound Engineer: Thierry Coduys, enterprise HUB\u003cbr /\u003e\r\nSound Design: Shilpa Gupta with Sreejeesh Nair at Fireflys Sound Studio\u003cbr /\u003e\r\nTechnical Team: R\u0026eacute;my Spengler, Sebastien Lamouret\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eUntitled\u003c/em\u003e, gerealiseerd in dezelfde periode als \u003cem\u003eSinging Cloud\u003c/em\u003e, heeft de vorm van een \u003cem\u003eflap-board\u003c/em\u003e dat traditioneel wordt gebruikt om aankomst en vertrek aan te kondigen. De 29 tekens van het bord genereren een reeks korte lijnen die om de paar seconden veranderen. De teksten verschijnen in een open en associatieve stijl, en veranderen in een eerder ritmisch dan willekeurig patroon. De lijnen, geschreven door de kunstenaar, verwijzen naar lezingen en uitwisselingen die Gupta heeft gehad met wetenschappers, filosofen en historici over de aard van informatiemedia die verdeeldheid cre\u0026euml;ert. (NH)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eMet oprechte steun van: Le Laboratoire, Parijs en The Cloud Foundation\u003cbr /\u003e\r\nGeluidstechnicus: Thierry Coduys, enterprise HUB\u003cbr /\u003e\r\nGeluidsontwerp: Shilpa Gupta met Sreejeesh Nair bij Fireflys Sound Studio\u003cbr /\u003e\r\nTechnisch Team: R\u0026eacute;my Spengler, Sebastien Lamouret\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eR\u0026eacute;alis\u0026eacute; en m\u0026ecirc;me temps que \u003cem\u003eSinging Cloud\u003c/em\u003e, \u003cem\u003eUntitled\u003c/em\u003e a la forme d\u0026rsquo;un tableau de d\u0026eacute;parts et arriv\u0026eacute;es dans un a\u0026eacute;roport. Les 29 signes du tableau g\u0026eacute;n\u0026egrave;rent une s\u0026eacute;rie de phrases courtes qui changent rapidement. Le texte appara\u0026icirc;t de fa\u0026ccedil;on libre et associative, mais se modifie de fa\u0026ccedil;on rythmique et non al\u0026eacute;atoire. \u0026Eacute;crites par l\u0026rsquo;artiste, les phrases renvoient \u0026agrave; des lectures et des \u0026eacute;changes que Gupta a pu avoir avec des scientifiques, des philosophes et des historiens sur la nature des m\u0026eacute;dias d\u0026rsquo;information en tant qu\u0026rsquo;agents de fragmentation et de division. (NH)\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eAvec l\u0026rsquo;aimable soutien de : Le Laboratoire, Paris et The Cloud Foundation\u003cbr /\u003e\r\nIng\u0026eacute;nieur : Thierry Coduys, enterprise HUB\u003cbr /\u003e\r\nConception sonore : Shilpa Gupta avec Sreejeesh Nair chez Fireflys Sound Studio\u003cbr /\u003e\r\nEquipe technique : R\u0026eacute;my Spengler, Sebastien Lamouret\u003c/p\u003e\r\n"}]},{"id":30301,"title":"1:14.9 1188.5 Miles of Fenced Border – West, North-West","dimensions":"56 x 51 x 158 cm","date_begin":"2011-01-01","material":"Hand wound thread ball and vitrine","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Private collection, Courtesy of Wilde Gallery","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003e1188.5 miles of fenced border \u0026ndash; West, North-West Data\u003cbr /\u003e\r\nUpdate: Dec 31, 2007\u003cbr /\u003e\r\nHand wound ball of thread and a vitrine.\u003c/p\u003e\r\n","date_end":"2012-01-01","reference":"","stream_count_app":28,"permalink":"01-14-9","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/531/medium_500/Shilpa_Gupta_Mukha-1149_PatV.jpg?1623070121","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/531/large/Shilpa_Gupta_Mukha-1149_PatV.jpg?1623070121","poster_credits":"image: (c) Pat Verbruggen, Private collection, Courtesy of Wilde Gallery","translations":[{"locale":"en","description":"\u003cp\u003eIn \u003cem\u003e1:14.9\u003c/em\u003e (2011\u0026ndash;12), a hand-wound ball of thread is accompanied by a small plaque reading \u0026ldquo;1188.5 MILES OF FENCED BORDER \u0026ndash; WEST, NORTH-WEST / DATA UPDATE: DEC 31, 2007.\u0026rdquo; Using sterile data about the fencing of the border between India and Pakistan extracted from a publicly available report by the Ministry of Home Affairs in India, she poetically represents the geopolitical division as a gleaming orb\u0026mdash;a form that seems, at first, as abstract as the raw statistics from which it is derived. Yet the thread\u0026rsquo;s fragility reflects the tenuous nature of national boundaries, which demand constant restatement and surveillance. The object\u0026rsquo;s ovoid shape also suggests origins or genesis, and calls to mind the South Asian partition, which occurred either side of midnight on August 14, 1947, birthing two distinct nations in immediate succession.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eYap (J.)., \u003cem\u003eShilpa Gupta - 1:14.9 (1188.5 miles of fenced border - West, North-West)\u003c/em\u003e, In: \u003ca href=\"https://www.guggenheim.org/artwork/31237\" target=\"_blank\"\u003eThe Guggenheim Museum\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn \u003cem\u003e1:14.9\u003c/em\u003e (2011-12) wordt een met de hand opgewonden bol draad vergezeld door een klein bordje met de tekst \u0026quot;1188.5 MILES OF FENCED BORDER - WEST, NORTH-WEST DATA / UPDATE: DEC 31, 2007.\u0026quot; Aan de hand van steriele gegevens over de omheining van de grens tussen India en Pakistan, afkomstig uit een openbaar rapport van het Indiase ministerie van Binnenlandse Zaken, stelt ze [Shilpa Gupta] de geopolitieke scheiding po\u0026euml;tisch voor als een glanzende bol \u0026ndash; een vorm die op het eerste gezicht even abstract lijkt als de ruwe statistieken waaraan deze ontleend is. Toch weerspiegelt de broosheid van de draad de ijle aard van nationale grenzen, die voortdurend opnieuw moeten worden vastgesteld en bewaakt. De eivorm van het object suggereert ook ontstaan of genese, en doet denken aan de Zuid-Aziatische deling, die op 14 augustus 1947 om middernacht plaatsvond, en twee verschillende naties voortbracht die elkaar onmiddellijk opvolgden.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eVertaling van Yap (J.)., \u003cem\u003eShilpa Gupta - 1:14.9 (1188.5 miles of fenced border - West, North-West)\u003c/em\u003e, In: \u003ca href=\"https://www.guggenheim.org/artwork/31237\" target=\"_blank\"\u003eThe Guggenheim Museum\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDans \u003cem\u003e1:14.9\u003c/em\u003e (2011-2012), une pelote de fil enroul\u0026eacute;e \u0026agrave; la main est accompagn\u0026eacute;e d\u0026rsquo;une petite plaque sur laquelle on peut lire \u003cem\u003e1188.5\u0026nbsp;MILES OF FENCED BORDER \u0026ndash; WEST, NORTH-WEST / DATA UPDATE\u0026nbsp;: DEC 31, 2007 \u003c/em\u003e[1185,5\u0026nbsp;miles de fronti\u0026egrave;re cl\u0026ocirc;tur\u0026eacute;e \u0026ndash; ouest-nord-ouest / mise \u0026agrave; jour des informations le 31\u0026nbsp;d\u0026eacute;cembre 2007]. En utilisant des donn\u0026eacute;es st\u0026eacute;riles sur la cl\u0026ocirc;ture de la fronti\u0026egrave;re entre l\u0026rsquo;Inde et le Pakistan, extraites d\u0026rsquo;un rapport du minist\u0026egrave;re indien de l\u0026rsquo;Int\u0026eacute;rieur accessible au public, l\u0026rsquo;artiste repr\u0026eacute;sente de mani\u0026egrave;re po\u0026eacute;tique la division g\u0026eacute;opolitique sous la forme d\u0026rsquo;un orbe brillant \u0026ndash; une forme qui, \u0026agrave; premi\u0026egrave;re vue, para\u0026icirc;t aussi abstraite que les statistiques brutes dont elle est issue. Pourtant, la fragilit\u0026eacute; du fil refl\u0026egrave;te la nature t\u0026eacute;nue des fronti\u0026egrave;res nationales, qui exigent d\u0026rsquo;\u0026ecirc;tre sans cesse r\u0026eacute;affirm\u0026eacute;es et surveill\u0026eacute;es. La forme ovo\u0026iuml;de de l\u0026rsquo;objet sugg\u0026egrave;re \u0026eacute;galement les origines ou la gen\u0026egrave;se, et fait penser \u0026agrave; la partition de l\u0026rsquo;Asie du Sud, qui s\u0026rsquo;est produite de part et d\u0026rsquo;autre, \u0026agrave; minuit, le 14\u0026nbsp;ao\u0026ucirc;t 1947, donnant naissance \u0026agrave; deux nations distinctes comme succession imm\u0026eacute;diate.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"0\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eYap (J.)., \u003cem\u003eShilpa Gupta \u0026ndash; 1:14.9 (1188.5 miles of fenced border \u0026ndash; West, North-West)\u003c/em\u003e, dans\u0026nbsp;: \u003ca href=\"https://www.guggenheim.org/artwork/31237\" target=\"_blank\"\u003eThe Guggenheim Museum\u003c/a\u003e\u003c/p\u003e\r\n"}]},{"id":30302,"title":"Speaking Wall","dimensions":"00:08:00, 300 x 300 x 300 cm","date_begin":"2009-01-01","material":"LCD screen, bricks, headphone","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy Galleria Continua","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eInteractive sensor based sound installation\u003c/p\u003e\r\n","date_end":"2010-01-01","reference":"","stream_count_app":28,"permalink":"speaking-wall","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/529/medium_500/Shilpa_Gupta_Mukha-SpeakingWall_PatV.jpg?1623069914","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/529/large/Shilpa_Gupta_Mukha-SpeakingWall_PatV.jpg?1623069914","poster_credits":"image: (c) Pat Verbruggen, Courtesy Galeria Continua","translations":[{"locale":"en","description":"\u003cp\u003eIn \u003cem\u003eSpeaking Wall\u003c/em\u003e, an installation from 2010, the visitor dons a headset, stepping up onto a row of bricks that dead-end into the wall. Then something unexpected takes place: a voice in the headset tells the visitor where and when to move along the bricks; the audience member\u0026rsquo;s identity is arbitrarily shifted to performer. He or she is brought forward (\u0026lsquo;Step a bit closer, closer ... ,\u0026rsquo; says the wall) and then backed away. To make this all work, Gupta has embedded a sensor in the wall so that it knows where the \u0026lsquo;performer\u0026rsquo; is when issuing its commands. This becomes a poignant performance as the voice begins speaking about shifting borders that render the identities of both human and object ambiguous. The voice of the wall tells a story about a border that was drawn in the dirt and exposed to the wind, thereby shifting a few centimetres. Such arbitrary borders are meaningless, of course, which makes the performer\u0026rsquo;s identity meaningless, too. \u0026lsquo;So its fine,\u0026rsquo; the wall says, \u0026lsquo;so I no longer need your ID, no longer need to know your name, your religion, your sex and the place you came from.\u0026rsquo; There is no need to know your identity when borders across landscapes are constantly being re-drawn by nature or, more likely, by humankind. Gupta asks once again: how much has really changed?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003csup\u003eJones (R.)., \u003cem\u003eShilpa Gupta\u003c/em\u003e, In: \u003ca href=\"https://www.frieze.com/article/shilpa-gupta\" target=\"_blank\"\u003eFrieze\u003c/a\u003e, 2012\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eWith the kind support of:\u003cbr /\u003e\r\nTechnicians: Daan Brinkmann and Thomas Eichhorn\u003cbr /\u003e\r\nAssistance: Czetan Patil and Jacqueline Fernandes\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eIn \u003cem\u003eSpeaking Wall\u003c/em\u003e, een installatie uit 2010, krijgt de bezoeker een koptelefoon op en stapt hij op een strook bakstenen die doodlopen tegen de muur. Dan gebeurt er iets onverwachts: een stem in de koptelefoon vertelt de bezoeker waar en wanneer hij zich over de bakstenen moet bewegen; de bezoeker wordt performer. Hij of zij wordt naar voren geleid (\u0026#39;Step a bit closer, closer ... ,\u0026#39; zegt de muur) en dan weer naar achteren gestuurd. Om dit alles mogelijk te maken heeft Gupta een sensor in de muur ingebouwd, zodat deze weet waar de \u0026#39;performer\u0026#39; zich bevindt wanneer de commando\u0026rsquo;s worden gegeven. Dit wordt een aangrijpende performance wanneer de stem begint te spreken over verschuivende grenzen die de identiteit van zowel mens als object dubbelzinnig maken. De stem van de muur vertelt een verhaal over een grens die in het zand was getrokken en blootgesteld aan de wind, waardoor deze enkele centimeters verschoof. Zulke willekeurige grenzen zijn natuurlijk betekenisloos, wat ook de identiteit van de performer betekenisloos maakt. \u0026lsquo;Dus het is goed\u0026rsquo;, zegt de muur, \u0026#39;ik heb je ID niet meer nodig, ik hoef je naam, je religie, je geslacht en de plaats waar je vandaan komt niet meer te weten\u0026rsquo;. Het is niet nodig je identiteit te kennen wanneer grenzen tussen landschappen voortdurend worden hertekend door de natuur of, waarschijnlijker, door de mensheid. Gupta vraagt zich opnieuw af: hoeveel is er werkelijk veranderd?\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003csup\u003eVertaling van Jones (R.)., \u003cem\u003eShilpa Gupta\u003c/em\u003e, In: \u003ca href=\"https://www.frieze.com/article/shilpa-gupta\" target=\"_blank\"\u003eFrieze\u003c/a\u003e, 2012\u003c/sup\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eMet oprechte steun van:\u003cbr /\u003e\r\nTechnici: Daan Brinkmann en Thomas Eichhorn\u003cbr /\u003e\r\nAssistentie: Czetan Patil en Jacqueline Fernandes\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDans \u003cem\u003eSpeaking Wall\u003c/em\u003e, une installation de 2010, le visiteur met un casque et s\u0026rsquo;avance sur une rang\u0026eacute;e de briques qui se termine en cul-de-sac, par un mur. Puis, quelque chose d\u0026rsquo;inattendu se produit\u0026nbsp;: une voix dans le casque indique au visiteur o\u0026ugrave; et quand se d\u0026eacute;placer le long des briques modifiant de la sorte arbitrairement le statut du spectateur en celui de performeur. Il ou elle est invit\u0026eacute;\u0026middot;e \u0026agrave; s\u0026rsquo;avancer (\u0026laquo;\u0026nbsp;Approchez-vous un peu plus pr\u0026egrave;s, plus pr\u0026egrave;s...\u0026nbsp;\u0026raquo;, dit le mur), et ensuite \u0026agrave; reculer. Pour que tout cela fonctionne, Gupta a int\u0026eacute;gr\u0026eacute; un capteur dans le mur afin que celui-ci puisse d\u0026eacute;tecter l\u0026rsquo;emplacement du \u0026laquo;\u0026nbsp;performeur\u0026nbsp;\u0026raquo; quand il lui donne des instructions. Cette performance devient poignante lorsque la voix commence \u0026agrave; parler des fronti\u0026egrave;res mouvantes qui rendent ambigu\u0026euml;s les identit\u0026eacute;s des humains et des objets. La voix du mur raconte l\u0026rsquo;histoire d\u0026rsquo;une fronti\u0026egrave;re trac\u0026eacute;e dans la terre et expos\u0026eacute;e au vent. Celui-ci l\u0026rsquo;a d\u0026eacute;plac\u0026eacute;e de quelques centim\u0026egrave;tres. De telles fronti\u0026egrave;res arbitraires n\u0026rsquo;ont bien s\u0026ucirc;r aucun sens, ce qui rend l\u0026rsquo;identit\u0026eacute; du performeur tout aussi d\u0026eacute;nu\u0026eacute;e de sens. Le mur dit\u0026nbsp;: \u0026laquo;\u0026nbsp;C\u0026rsquo;est bien, je n\u0026rsquo;ai plus besoin de votre carte d\u0026rsquo;identit\u0026eacute;, je n\u0026rsquo;ai plus besoin de conna\u0026icirc;tre votre nom, votre religion, votre sexe et l\u0026rsquo;endroit d\u0026rsquo;o\u0026ugrave; vous venez\u0026nbsp;\u0026raquo;. Il n\u0026rsquo;est pas n\u0026eacute;cessaire de conna\u0026icirc;tre son identit\u0026eacute; d\u0026egrave;s lors que les fronti\u0026egrave;res entre les paysages sont constamment redessin\u0026eacute;es par la nature ou, plus vraisemblablement, par les humains. Gupta pose une fois de plus la question suivante\u0026nbsp;: combien les choses ont-elles r\u0026eacute;ellement chang\u0026eacute;\u0026nbsp;?\u003c/p\u003e\r\n\r\n\u003cp\u003eJones (R.)., \u003cem\u003eShilpa Gupta\u003c/em\u003e, dans\u0026nbsp;: \u003ca href=\"https://www.frieze.com/article/shilpa-gupta\" target=\"_blank\"\u003eFrieze\u003c/a\u003e, 2012\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eAvec l\u0026rsquo;aimable soutien de :\u003cbr /\u003e\r\nTechniciens : Daan Brinkmann et Thomas Eichhorn\u003cbr /\u003e\r\nAssistance : Czetan Patil et Jacqueline Fernandes\u003c/p\u003e\r\n"}]},{"id":30303,"title":"Stars on Flags of the World","dimensions":"209 x 148 x 15 cm","date_begin":"2012-01-01","material":"Embroidery on cloth","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Private collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"stars-on-flags-of-the-world","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/865/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_50.jpg?1624269612","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/865/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_50.jpg?1624269612","poster_credits":"image: (c) M HKA, Private collection","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eStars on Flags of the World\u003c/em\u003e is based on Gupta\u0026#39;s continued interest in ideas around the un-fixedness of geographical markings, imagined communities, nationhood, and mobility.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eStars on Flags of the World\u003c/em\u003e is gebaseerd op Gupta\u0026#39;s voortdurende interesse in idee\u0026euml;n over de veranderende aard van geografische markeringen, verbeelde gemeenschappen, natievorming en mobiliteit.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eStars on Flags of the World\u003c/em\u003e [\u0026Eacute;toiles sur des drapeaux du monde] s\u0026rsquo;inspire de l\u0026rsquo;int\u0026eacute;r\u0026ecirc;t continu que Gupta porte aux id\u0026eacute;es qui concernent l\u0026rsquo;impermanence des balisages g\u0026eacute;ographiques, les communaut\u0026eacute;s imagin\u0026eacute;es, les identit\u0026eacute;s nationales et la mobilit\u0026eacute;.\u003c/p\u003e\r\n"}]},{"id":30305,"title":"Altered Inheritances – 100 (Last Name) Stories","dimensions":"Variable dimensions","date_begin":"2012-01-01","material":"Pigmented inktjet prints in split wood frames","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy The Prabhakar Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2014-01-01","reference":"","stream_count_app":24,"permalink":"altered-inheritances-100-last-name-stories","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/527/medium_500/Shilpa_Gupta_Mukha-AlteredIn_PatV.jpg?1623069670","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/527/large/Shilpa_Gupta_Mukha-AlteredIn_PatV.jpg?1623069670","poster_credits":"image: (c) Pat Verbruggen, Courtesy The Prabhakar Collection","translations":[{"locale":"en","description":"\u003cp\u003eCollective memory is [...] addressed in Gupta\u0026rsquo;s \u003cem\u003eAltered Inheritances \u0026ndash; 100 (Last Name) Stories \u003c/em\u003e(2014), an installation comprising a series of framed photographs spliced in half, shuffled, and then reinstalled along the line of split, which runs continuously around the room. This set of images is syncopated and wildly associative, ranging from historical photographs to snapshots and scans of abstract drawings. Short texts accompanying the images tell of people who abandoned their last names after migrating to a new place. The abstract geometry of the line again acts as both a divider and a connector, framing a particular kind of alienation as a condition of possibility for identification and belonging.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eMoalemi (M.)., \u003cem\u003eShilpa Gupta and Zarina\u0026rsquo;s \u0026ldquo;Altered Inheritances: Home is a Foreign Place\u0026rdquo;\u003c/em\u003e, In: \u003ca href=\"https://www.art-agenda.com/features/273820/shilpa-gupta-and-zarina-s-altered-inheritances-home-is-a-foreign-place\" target=\"_blank\"\u003eArt Agenda Review\u003c/a\u003e, 2019\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eHet collectieve geheugen wordt [...] aangesproken in Gupta\u0026#39;s\u003cem\u003e Altered Inheritances \u0026ndash; 100 (Last Name) Stories\u003c/em\u003e (2014), een installatie die bestaat uit een reeks ingelijste foto\u0026#39;s die doormidden zijn gesneden, dooreen zijn gehaald en vervolgens opnieuw zijn ge\u0026iuml;nstalleerd. Deze reeks beelden is ritmisch en wild associatief, vari\u0026euml;rend van historische foto\u0026#39;s tot snapshots en scans van abstracte tekeningen. Korte teksten bij de beelden vertellen over mensen die hun achternaam hebben laten vallen nadat ze naar een nieuwe plek waren gemigreerd. De abstracte geometrie van de lijn waarop de helften werden gehangen fungeert als scheidingslijn en verbindingslijn, die een bepaald soort vervreemding omkadert als een voorwaarde voor mogelijke identificatie en samenhorigheid.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eVertaling van Moalemi (M.)., \u003cem\u003eShilpa Gupta and Zarina\u0026rsquo;s \u0026ldquo;Altered Inheritances: Home is a Foreign Place\u0026rdquo;\u003c/em\u003e, In: \u003ca href=\"https://www.art-agenda.com/features/273820/shilpa-gupta-and-zarina-s-altered-inheritances-home-is-a-foreign-place\" target=\"_blank\"\u003eArt Agenda Review\u003c/a\u003e, 2019\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eDans \u003cem\u003eAltered Inheritances \u0026ndash; 100 (Last Name) Stories (2014\u003c/em\u003e) [H\u0026eacute;ritages alt\u0026eacute;r\u0026eacute;s \u0026ndash; 100\u0026nbsp;histoires (de patronymes)], Gupta aborde la m\u0026eacute;moire collective [\u0026hellip;]. L\u0026rsquo;installation comporte une s\u0026eacute;rie de photographies encadr\u0026eacute;es, coup\u0026eacute;es en deux, m\u0026eacute;lang\u0026eacute;es, puis r\u0026eacute;assembl\u0026eacute;es le long de la ligne de partage, qui parcourt toute la pi\u0026egrave;ce. Cet ensemble d\u0026rsquo;images, syncop\u0026eacute; et associatif \u0026agrave; tous \u0026eacute;gards, va de photographies historiques \u0026agrave; des instantan\u0026eacute;s en passant par des scans de dessins abstraits. Des textes brefs accompagnent les images et racontent l\u0026rsquo;histoire de personnes ayant abandonn\u0026eacute; leur nom de famille apr\u0026egrave;s avoir migr\u0026eacute; vers un nouveau lieu. La g\u0026eacute;om\u0026eacute;trie abstraite de la ligne agit \u0026agrave; la fois en tant que facteur de division et de r\u0026eacute;union, encadrant un type particulier d\u0026rsquo;ali\u0026eacute;nation comme une condition permettant l\u0026rsquo;identification et l\u0026rsquo;appartenance.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"0\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eMoalemi (M.)., \u003cem\u003eShilpa Gupta and Zarina\u0026rsquo;s \u0026ldquo;Altered Inheritances: Home is a Foreign Place\u0026rdquo;\u003c/em\u003e, dans\u0026nbsp;: \u003ca href=\"https://www.art-agenda.com/features/273820/shilpa-gupta-and-zarina-s-altered-inheritances-home-is-a-foreign-place\" target=\"_blank\"\u003eArt Agenda Review\u003c/a\u003e, 2019\u003c/p\u003e\r\n"}]},{"id":30297,"title":"Untitled (There is No Border Here)","dimensions":"Variable dimensions","date_begin":"2005-01-01","material":"Self adhesive tape","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy the artist, With the generous support of Hivos and Mohile Parikh Center, Mumbai","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2006-01-01","reference":"","stream_count_app":29,"permalink":"untitled-there-is-no-border-here","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/535/medium_500/Shilpa_Gupta_Mukha-ThereIsNoBorder_PatV.jpg?1623070516","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/535/large/Shilpa_Gupta_Mukha-ThereIsNoBorder_PatV.jpg?1623070516","poster_credits":"image: (c) Pat Verbruggen, Courtesy the artist","translations":[{"locale":"en","description":"\u003cp\u003e\u0026quot;Much like today\u0026rsquo;s world, the violence in Shilpa\u0026rsquo;s work trespasses frontiers. It is not contained within one nation or territory. In fact it emerges as an attitude, regardless of religious or racial differences. This may be the wrong analogy, but like the wind, birds, sunshine and Big Mac, this violence does not stop within boundaries, so what we see happening in the north of Pakistan is taking place at varying scales in Afghanistan, India and other parts of the world [...]. This altered view of the world is pointed out in the work of Shilpa Gupta, when she maps a location with adhesive tape printed with the text \u0026lsquo;There is no Border Here\u0026rsquo; (2005-2007). Paradoxically, this message about the demolishing of barriers is written on a material that is often employed to barricade a certain area.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eMirza (Q.), \u0026ldquo;The Usual Suspect\u0026rdquo;, in Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.123.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026quot;Zoals vandaag zo vaak voorkomt in de wereld overschrijdt ook het geweld in het werk van Shilpa Gupta de grenzen. Het blijft niet beperkt tot een natie of grondgebied. Meer nog, het toont zich als een opvatting, ongeacht de religieuze of raciale verschillen. Het is misschien niet de juiste analogie, maar net als de wind, de vogels, zonneschijn en een Big Mac, wordt dit geweld niet tegengehouden door landsgrenzen. Wat we zien gebeuren in het noorden van Pakistan, gebeurt op verschillende niveaus in Afghanistan, India en andere delen van de wereld [\u0026hellip;]. Deze andere manier om naar de wereld te kijken wordt belicht in het werk van Shilpa Gupta. Zoals wanneer ze een locatie in kaart brengt met zelfklevende tape waar de tekst \u0026lsquo;There is No Border Here\u0026rsquo; (2005-2007) op staat gedrukt. Deze oproep om grenzen te slopen is paradoxaal genoeg gedrukt op een materiaal dat doorgaans wordt gebruikt om gebieden af te sluiten.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eVertaling van Mirza (Q.), \u0026ldquo;The Usual Suspect\u0026rdquo;, in Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.123.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Tout comme dans le monde actuel, la violence d\u0026eacute;passe les fronti\u0026egrave;res dans l\u0026rsquo;\u0026oelig;uvre de Shilpa. Elle ne se limite pas \u0026agrave; une nation ou un territoire. En fait, elle \u0026eacute;merge comme une attitude, ind\u0026eacute;pendamment des diff\u0026eacute;rences religieuses ou raciales. C\u0026rsquo;est peut-\u0026ecirc;tre une mauvaise analogie, mais \u0026agrave; l\u0026rsquo;instar du vent, des oiseaux, du soleil et du Big Mac, cette violence ne s\u0026rsquo;arr\u0026ecirc;te pas aux fronti\u0026egrave;res, si bien que ce qu\u0026rsquo;on voit se produire dans le nord du Pakistan se d\u0026eacute;roule \u0026agrave; des \u0026eacute;chelles diff\u0026eacute;rentes en Afghanistan, en Inde et dans d\u0026rsquo;autres parties du monde [\u0026hellip;]. Shilpa Gupta met cette vision alt\u0026eacute;r\u0026eacute;e du monde en \u0026eacute;vidence dans son \u0026oelig;uvre lorsqu\u0026rsquo;elle cartographie un lieu avec du ruban adh\u0026eacute;sif sur lequel est imprim\u0026eacute; \u003cem\u003eThere is no Border Here\u003c/em\u003e [il n\u0026rsquo;y a pas de fronti\u0026egrave;re ici] (2005-2007). Paradoxalement, ce message sur le d\u0026eacute;mant\u0026egrave;lement des barri\u0026egrave;res est \u0026eacute;crit sur un mat\u0026eacute;riau qui est souvent utilis\u0026eacute; pour barricader une certaine zone.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"0\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eMirza (Q.), \u0026ldquo;The Usual Suspect\u0026rdquo;, in Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.\u0026nbsp;123.\u003c/p\u003e\r\n"}]},{"id":30313,"title":"Today will end","dimensions":"600 x 95 cm","date_begin":"2012-01-01","material":"Neon","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy the artist, With the generous support of ...Einzweidrei ","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":21,"permalink":"today-will-end","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/526/medium_500/Shilpa_Gupta_Mukha-Today_Evenbeeld.jpg?1623069555","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/526/large/Shilpa_Gupta_Mukha-Today_Evenbeeld.jpg?1623069555","poster_credits":"image: (c) Evenbeeld, Courtesy the artist","translations":[{"locale":"en","description":"\u003cp\u003eThe neon installation\u0026sbquo; ʼToday will endʼ is an outdoor artwork, which appropriates the sky as an infinite plane on which incandescent words are inscribed. Driven by the utopian idea of unity, the artist postulates free movement across terrains, not only geographical but also in terms of class, gender, and social practices. The assertion\u0026sbquo; ʼToday will endʼ may seem so self-evident that it is hardly worth mentioning it. However, by puncturing the sky as an undivided space with this truism, the artist makes us aware that it is an existential and universally shared truth.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003eThe installation ʻToday will endʼ by Shilpa Gupta illuminates Hotel Castell!\u003c/em\u003e, In: \u003ca href=\"http://www.stmoritzartmasters.org/2017/06/13/the-installation-%CA%BBtoday-will-end%CA%BC-by-shilpa-gupta-illuminates-hotel-castell/\" target=\"_blank\"\u003eArt Masters\u003c/a\u003e St. Moritz, Switserland, 2016\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe neoninstallatie ʼToday will endʼ is een openlucht kunstwerk dat zich de hemel toe-eigent als een oneindig vlak waarop gloeiende woorden zijn gegraveerd. Gedreven door het utopische idee van eenheid, wil de kunstenaar vrije beweging over gebieden, niet alleen geografisch maar ook in termen van klasse, geslacht en sociale praktijken. De bewering \u0026lsquo;Vandaag zal eindigen\u0026rsquo; lijkt zo vanzelfsprekend dat het nauwelijks de moeite waard is te vermelden. Maar door met deze stelling de hemel als ondeelbare ruimte te doorboren, maakt de kunstenaar ons ervan bewust dat het een existenti\u0026euml;le en universeel gedeelde waarheid is.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eVertaling van\u003cem\u003e The installation ʻToday will endʼ by Shilpa Gupta illuminates Hotel Castell!\u003c/em\u003e, In: \u003ca href=\"http://www.stmoritzartmasters.org/2017/06/13/the-installation-%CA%BBtoday-will-end%CA%BC-by-shilpa-gupta-illuminates-hotel-castell/\" target=\"_blank\"\u003eArt Masters\u003c/a\u003e St. Moritz, Switserland, 2016\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eL\u0026rsquo;installation au n\u0026eacute;on \u003cem\u003eToday will end\u003c/em\u003e est une \u0026oelig;uvre d\u0026rsquo;art en plein air, qui s\u0026rsquo;approprie le ciel comme un plan infini sur lequel s\u0026rsquo;inscrivent des mots incandescents. Pouss\u0026eacute;e par l\u0026rsquo;id\u0026eacute;e utopique de l\u0026rsquo;unit\u0026eacute;, l\u0026rsquo;artiste postule la libre circulation \u0026agrave; travers les territoires, non seulement g\u0026eacute;ographiques, mais aussi en mati\u0026egrave;re de classe, de genre et de pratiques sociales. L\u0026rsquo;affirmation \u0026laquo;\u0026nbsp;aujourd\u0026rsquo;hui s\u0026rsquo;ach\u0026egrave;vera\u0026nbsp;\u0026raquo; peut para\u0026icirc;tre si \u0026eacute;vidente qu\u0026rsquo;il est \u0026agrave; peine utile de la mentionner. Cependant, en rompant l\u0026rsquo;espace indivis\u0026eacute; du ciel avec ce truisme, l\u0026rsquo;artiste nous fait prendre conscience d\u0026rsquo;une v\u0026eacute;rit\u0026eacute; existentielle et universellement partag\u0026eacute;e.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"0\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eL\u0026rsquo;installation \u003c/em\u003eToday will end\u003cem\u003e de Shilpa Gupta \u0026eacute;claire l\u0026rsquo;H\u0026ocirc;tel Castell\u0026nbsp;!\u003c/em\u003e, dans\u0026nbsp;: \u003ca href=\"http://www.stmoritzartmasters.org/2017/06/13/the-installation-%CA%BBtoday-will-end%CA%BC-by-shilpa-gupta-illuminates-hotel-castell/\" target=\"_blank\"\u003eArt Masters\u003c/a\u003e St. Moritz, Suisse, 2016\u003c/p\u003e\r\n"}]},{"id":30314,"title":"Untitled","dimensions":"12.7 x 12.7 cm","date_begin":"1995-01-01","material":"300 ink drawings","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":216,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"1996-01-01","reference":"","stream_count_app":21,"permalink":"untitled-56042515-cf91-4512-a043-bc0e8b4a602e","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/524/medium_500/Shilpa_Gupta_Mukha-Untitled_Drawing_PatV.jpg?1623069083","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/524/large/Shilpa_Gupta_Mukha-Untitled_Drawing_PatV.jpg?1623069083","poster_credits":"image: (c) Pat Verbruggen, Courtesy the artist","translations":[{"locale":"en","description":"\u003cp\u003e300 ink drawings, serially numbered, were mailed within Bombay. \u0026ldquo;Please dispose after use\u0026quot; was stamped on the reverse side.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e300 inkttekeningen, serieel genummerd, werden binnen Bombay verstuurd. \u0026quot;Gelieve weg te gooien na gebruik\u0026quot; was gestempeld op de achterkant.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e300 dessins \u0026agrave; l\u0026rsquo;encre, num\u0026eacute;rot\u0026eacute;s en s\u0026eacute;rie, ont \u0026eacute;t\u0026eacute; envoy\u0026eacute;s par la poste \u0026agrave; Mumbai. Au verso, un cachet appos\u0026eacute; disait \u0026laquo;\u0026nbsp;\u0026Agrave; jeter apr\u0026egrave;s usage\u0026nbsp;\u0026raquo;.\u003c/p\u003e\r\n"}]},{"id":30315,"title":"Blame","dimensions":"00:01:49, 300 x 130 x 340 cm","date_begin":"2002-01-01","material":"Glass bottles, fake blood, posters, stickers, video","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy Lekha and Anupam Poddar Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2004-01-01","reference":"","stream_count_app":28,"permalink":"blame","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/525/medium_500/Shilpa_Gupta_Mukha-Blame2_Evenbeeld.jpg?1623069461","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/525/large/Shilpa_Gupta_Mukha-Blame2_Evenbeeld.jpg?1623069461","poster_credits":"image: © Evenbeeld, Courtesy Lekha and Anupam Poddar Collection","translations":[{"locale":"en","description":"\u003cp\u003e[\u0026hellip;] another work by Shilpa Gupta, \u003cem\u003eBlame \u003c/em\u003efrom 2002, aptly describes our current situation. In this interactive installation and performance, the artist distributed bottles with the labels of blame (with inscriptions such as \u0026lsquo;Blaming you makes me feel so good. So I blame you for what you cannot control. Your religion, your nationality. I want to blame you. It makes me feel good\u0026rsquo;) in the local trains of Mumbai and at other public spaces, such as shopping malls.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eMirza (Q.), \u0026ldquo;The Usual Suspect\u0026rdquo;, in Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.124.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e[...] een ander werk van Shilpa Gupta, \u003ci style=\"mso-bidi-font-style:normal\"\u003eBlame\u003c/i\u003e uit 2002, geeft een treffende beschrijving van onze huidige situatie. In deze interactieve installatie en performance deelde de kunstenaar flesjes uit met verwijten (blame) op de etiketten (met opdrukken als \u0026#39;Door je de schuld te geven voel ik me zo goed. Dus ik geef je de schuld voor iets waar je geen controle over hebt. Je religie, je nationaliteit. Ik wil je de schuld geven. Het geeft me een goed gevoel\u0026#39;) in de lokale treinen van Mumbai en in andere openbare ruimtes, zoals winkelcentra.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eMirza (Q.), \u0026ldquo;The Usual Suspect\u0026rdquo;, in Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.124.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e[\u0026hellip;] Une autre \u0026oelig;uvre de Shilpa Gupta, \u003cem\u003eBlame\u003c/em\u003e, datant de 2002, d\u0026eacute;crit avec justesse notre situation actuelle. Dans cette installation se compose de bouteilles portant des \u0026laquo;\u0026nbsp;\u0026eacute;tiquettes de bl\u0026acirc;me\u0026nbsp;\u0026raquo; sur lesquelles on peut lire des inscriptions telles que\u0026nbsp;: \u0026laquo;\u0026nbsp;Vous bl\u0026acirc;mer me procure un tel sentiment de bien-\u0026ecirc;tre. Donc je vous bl\u0026acirc;me pour ce que vous ne pouvez pas contr\u0026ocirc;ler\u0026nbsp;: votre religion, votre nationalit\u0026eacute;. Je veux vous bl\u0026acirc;mer. Cela me fait du bien\u0026nbsp;\u0026raquo;. Lors de performance interactive, l\u0026rsquo;artiste a distribu\u0026eacute; de telles bouteilles dans des trains locaux de Mumbai et dans d\u0026rsquo;autres espaces publics, comme des centres commerciaux.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"0\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eMirza (Q.), \u0026ldquo;The Usual Suspect\u0026rdquo;, dans Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.\u0026nbsp;124.\u003c/p\u003e\r\n"}]},{"id":30317,"title":"24:00:01","dimensions":"177 x 25 x 28 cm, 00:30:00","date_begin":"2012-01-01","material":"Motion flapboard","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Emanuelle Traks and Michael Guttman Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":26,"permalink":"flap-board-24-00-01","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/614/medium_500/Shilpa_Gupta_Mukha-240001_2_PatV.jpg?1623315205","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/614/large/Shilpa_Gupta_Mukha-240001_2_PatV.jpg?1623315205","poster_credits":"image: © Pat Verbruggen, Courtesy Emanuelle Traks and Michael Guttman Collection","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30318,"title":"For, In Your Tongue, I Cannot Fit","dimensions":"Variable dimensions","date_begin":"2017-01-01","material":"Sound installation, 100 speakers, microphones, printed tekst, metal stands","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Kiran Nadar Museum of Art","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2018-01-01","reference":"","stream_count_app":35,"permalink":"for-in-your-tongue-i-cannot-hide-poets-project","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/846/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_19.jpg?1624267168","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/846/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_19.jpg?1624267168","poster_credits":"image: (c) M HKA, Courtesy Collection Kiran Nadar Museum of Art","translations":[{"locale":"en","description":"\u003cp\u003e100 microphones are suspended from the ceiling and reverse-wired to function as speakers. From each of it, recitals of a different poet\u0026rsquo;s verse emanate in a synchronised chorus. Below each microphone the corresponding verse is spiked on a stand. All of the writers who are represented, some living decades or decades ago, were imprisoned for their poetry or politics. The title is inspired by the work of 14th-century Azerbaijani poet Imadaddin Nasimi.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eShilpa Gupta - For, in your tongue, I cannot fit. 2017-2018\u003c/em\u003e, In: \u003ca href=\"https://universes.art/en/venice-biennale/2019/tour-arsenale-1/shilpa-gupta\" target=\"_blank\"\u003e58th Venice Biennale 2019\u003c/a\u003e, 2019\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eWith the kind support of: Edinburgh Art Festival, Yarat Contemporary Art Space along with PEN International\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e100 microfoons hangen aan het plafond en zijn omgekeerd bedraad om als luidsprekers te dienen. Uit elk van de microfoons klinkt de voordracht van een vers van een dichter in een gesynchroniseerd refrein. Onder elke microfoon is het vers op een standaard gespijkerd. Alle vertegenwoordigde schrijvers, sommige van decennia geleden, werden gevangen genomen omwille van hun po\u0026euml;zie of hun politieke overtuigingen. De titel is ge\u0026iuml;nspireerd op het werk van de 14e-eeuwse Azerbeidzjaanse dichter Imadaddin Nasimi.\u003c/p\u003e\r\n\r\n\u003cp\u003eVertaling van \u003cem\u003eShilpa Gupta - For, in your tongue, I cannot fit. 2017-2018\u003c/em\u003e, In: \u003ca href=\"https://universes.art/en/venice-biennale/2019/tour-arsenale-1/shilpa-gupta\" target=\"_blank\"\u003e58th Venice Biennale 2019\u003c/a\u003e, 2019\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eMet de oprechte steun van: Edinburgh Art Festival, Yarat Contemporary Art Space samen met PEN International\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e100 microphones sont suspendus au plafond et inversement c\u0026acirc;bl\u0026eacute;s afin de fonctionner comme des haut-parleurs. Chacun d\u0026rsquo;eux diffuse des r\u0026eacute;citations de vers d\u0026rsquo;un po\u0026egrave;te diff\u0026eacute;rent et l\u0026rsquo;ensemble donne lieu \u0026agrave; un ch\u0026oelig;ur synchrone. Sous chaque microphone, une feuille comportant le vers correspondant est empal\u0026eacute;e sur un support pointu. Tous les \u0026eacute;crivains repr\u0026eacute;sent\u0026eacute;s, parmi lesquels certains ont v\u0026eacute;cu il y a des d\u0026eacute;cennies, voire des si\u0026egrave;cles, ont connu l\u0026rsquo;incarc\u0026eacute;ration \u0026agrave; cause de leur po\u0026eacute;sie ou de leur positionnement politique. Le titre s\u0026rsquo;inspire de l\u0026rsquo;\u0026oelig;uvre du po\u0026egrave;te azerba\u0026iuml;djanais du XIV\u003csup\u003ee\u003c/sup\u003e\u0026nbsp;si\u0026egrave;cle, Imadaddin Nasimi.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eShilpa Gupta \u0026ndash; For, in your tongue, I cannot fit. 2017-2018\u003c/em\u003e, dans\u0026nbsp;: \u003ca href=\"https://universes.art/en/venice-biennale/2019/tour-arsenale-1/shilpa-gupta\" target=\"_blank\"\u003e58\u003csup\u003eth\u003c/sup\u003e Venice Biennale\u0026nbsp;2019\u003c/a\u003e, 2019\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eAvec l\u0026rsquo;aimable soutien de : Festival des arts d\u0026rsquo;\u0026Eacute;dimbourg, Yarat Contemporary Art Space avec PEN International\u003c/p\u003e\r\n"}]},{"id":30319,"title":"100 Hand Drawn Maps of My Country","dimensions":"(7x) 57.2 x 72.6 cm","date_begin":"2008-01-01","material":"Carbon tracings on paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"TH Collection, Courtesy Vadehra Art Gallery, With the generous support of Shrutti Garg, Renee Baert, Cuenca Biennale, Alain Colardelle, Centre d'Art Contemporain La Synagogue de Delme, Art Sonje Center and Gwangju Biennale","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":26,"permalink":"hand-drawn-maps-of-my-country","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/521/medium_500/Shilpa_Gupta_Mukha-100Hand_PatV.jpg?1623068555","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/521/large/Shilpa_Gupta_Mukha-100Hand_PatV.jpg?1623068555","poster_credits":"image: (c) Pat Verbruggen, TH Collection, Courtesy Vadehra Art Gallery","translations":[{"locale":"en","description":"\u003cp\u003eThese hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory. Gupta created each map by superimposing 100 separate drawings of each country. The project investigates modern notions of the nation-state, national identity, and borders by looking at countries in which boundaries are contested and the history of the land far precedes such ideas.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003eShilpa Gupta - 100 Hand drawn maps of my country, India\u003c/em\u003e, In: \u003ca href=\"https://kadist.org/work/100-hand-drawn/\" target=\"_blank\"\u003eKadist\u003c/a\u003e, 2014\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDeze met de hand getekende kaarten maken deel uit van een doorlopende reeks die in 2008 werd gestart waarin Gupta gewone mensen vraagt om uit hun hoofd de grenzen van hun thuisland te tekenen. Gupta cre\u0026euml;erde elke kaart door 100 afzonderlijke tekeningen van elk land over elkaar heen te leggen. Het project onderzoekt moderne opvattingen over de natiestaat, nationale identiteit en grenzen door te kijken naar landen waar grenzen worden betwist en waar de geschiedenis van het land ver voorafgaat aan dergelijke idee\u0026euml;n over grenzen.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eVertaling van\u003cem\u003e Shilpa Gupta - 100 Hand drawn maps of my country, India\u003c/em\u003e, In: \u003ca href=\"https://kadist.org/work/100-hand-drawn/\" target=\"_blank\"\u003eKadist\u003c/a\u003e\u003cem\u003e, \u003c/em\u003e2014\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eCes cartes dessin\u0026eacute;es \u0026agrave; la main font partie d\u0026rsquo;une s\u0026eacute;rie entam\u0026eacute;e en 2008, dans laquelle Gupta demande \u0026agrave; des personnes ordinaires de dessiner de m\u0026eacute;moire les contours de leur pays d\u0026rsquo;origine. Gupta a cr\u0026eacute;\u0026eacute; chaque carte en superposant 100\u0026nbsp;dessins distincts de chaque pays. Le projet examine les notions modernes d\u0026rsquo;\u0026Eacute;tat-nation, d\u0026rsquo;identit\u0026eacute; nationale et de fronti\u0026egrave;res en se penchant sur des pays dont les fronti\u0026egrave;res sont contest\u0026eacute;es et dont l\u0026rsquo;histoire du pays pr\u0026eacute;c\u0026egrave;de de loin ces notions.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"0\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eShilpa Gupta \u0026ndash; 100 Hand drawn maps of my country, India\u003c/em\u003e, dans\u0026nbsp;: \u003ca href=\"https://kadist.org/work/100-hand-drawn/\" target=\"_blank\"\u003eKadist\u003c/a\u003e\u003cem\u003e, \u003c/em\u003e2014\u003c/p\u003e\r\n"}]},{"id":30320,"title":"Untitled (Don't See, Don't Hear, Don't Speak)","dimensions":"134,5 x 84 x 92 cm","date_begin":"2017-01-01","material":"Polymer resin, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":4,"stream_count":0,"collection":"Courtesy Aarti Lohia","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2018-01-01","reference":"","stream_count_app":27,"permalink":"untitled-dont-see-dont-speak-dont-hear","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/519/medium_500/Shilpa_Gupta_Mukha-DontSee_PatV.jpg?1623067904","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/519/large/Shilpa_Gupta_Mukha-DontSee_PatV.jpg?1623067904","poster_credits":"image: (c) Pat Verbruggen, Courtesy Aarti Lohia","translations":[{"locale":"en","description":"\u003cp\u003e[...] the artist revisits her photographic series, \u0026lsquo;Don\u0026rsquo;t See Don\u0026rsquo;t Hear Don\u0026rsquo;t Speak\u0026rsquo; (2006) to create a sculpture in which three identical people encircle one another, each concealing the other\u0026rsquo;s eyes, ears or mouth. Based on a Japanese proverb made popular by Mahatma Gandhi, the work sits within the context of our current changing political landscape and recent wave of separatism \u0026ndash; a present force in the artists own home country, where agencies are often suppressed for their views. Creating a potent dialogue with other pieces [...], Gupta\u0026rsquo;s sculpture offers a powerful reflection on freedom of expression. The artist continues: \u003ci\u003e\u0026ldquo;Time and again, like where we are at today, voices of truth cause discomfort and stand truncated, however the resonances stay and they continue to be heard\u0026quot;.\u003c/i\u003e\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eYARAT CENTRE: Shilpa Gupta \u0026ndash; \u003cem\u003eFOR, IN YOUR TONGUE, I CAN NOT FIT\u003c/em\u003e Solo Show, In: \u003ca href=\"http://www.yarat.az/index.php?lang=en\u0026amp;page=12\u0026amp;yrtMaincatID=12\u0026amp;yrtSubcatID=0\u0026amp;yrtEventID=2003\" target=\"_blank\"\u003eYARAT Contemporary Art Space\u003c/a\u003e, 2018.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e[...] herneemt de kunstenares haar fotografische reeks \u0026#39;Don\u0026#39;t See Don\u0026#39;t Hear Don\u0026#39;t Speak\u0026#39; (2006) en cre\u0026euml;ert ze een sculptuur waarin drie identieke figuren elkaar omhelzen. De figuren verhullen elks de ogen, oren of mond van de ander. Het werk is gebaseerd op een Japans gezegde dat populair werd gemaakt door Mahatma Gandhi en past binnen de context van ons huidig veranderend politiek landschap en de recente golf van separatisme \u0026ndash; een actuele kracht in het thuisland van de kunstenaar, waar agentschappen vaak worden onderdrukt vanwege hun opvattingen. Gupta\u0026#39;s sculptuur, die een krachtige dialoog aangaat met andere stukken [...], biedt een krachtige reflectie op de vrijheid van meningsuiting. De kunstenaar stelt: \u0026quot;Telkens weer, zoals nu, veroorzaken stemmen van de waarheid ongemak en worden ze verwijderd, maar de resonanties blijven en ze blijven gehoord worden\u0026quot;.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eVertaling van YARAT CENTRE: Shilpa Gupta \u0026ndash; \u003cem\u003eFOR, IN YOUR TONGUE, I CAN NOT FIT\u003c/em\u003e Solo Show, In: \u003ca href=\"http://www.yarat.az/index.php?lang=en\u0026amp;page=12\u0026amp;yrtMaincatID=12\u0026amp;yrtSubcatID=0\u0026amp;yrtEventID=2003\" target=\"_blank\"\u003eYARAT Contemporary Art Space\u003c/a\u003e, 2018.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e[\u0026hellip;] l\u0026rsquo;artiste revisite sa s\u0026eacute;rie photographique \u003cem\u003eDon\u0026#39;t See Don\u0026#39;t Hear Don\u0026#39;t Speak\u003c/em\u003e (2006) pour cr\u0026eacute;er une sculpture dans laquelle trois personnes identiques s\u0026rsquo;encerclent, chacune cachant les yeux, les oreilles ou la bouche de l\u0026rsquo;autre. Inspir\u0026eacute; d\u0026rsquo;un proverbe japonais rendu populaire par le Mahatma Gandhi, l\u0026rsquo;\u0026oelig;uvre s\u0026rsquo;inscrit dans le contexte de notre paysage politique actuel en mutation et de la r\u0026eacute;cente vague de s\u0026eacute;paratisme \u0026ndash; une force pr\u0026eacute;sente dans le pays d\u0026rsquo;origine de l\u0026rsquo;artiste, o\u0026ugrave; des instances sont souvent r\u0026eacute;prim\u0026eacute;es pour leurs opinions. Cr\u0026eacute;ant un dialogue puissant avec d\u0026rsquo;autres pi\u0026egrave;ces [\u0026hellip;], la sculpture de Gupta offre une r\u0026eacute;flexion intense sur la libert\u0026eacute; d\u0026rsquo;expression. L\u0026rsquo;artiste poursuit\u0026nbsp;: \u0026laquo;\u0026nbsp;Encore et toujours, comme c\u0026rsquo;est le cas aujourd\u0026rsquo;hui, des voix de v\u0026eacute;rit\u0026eacute; provoquent un malaise et leurs propos sont tronqu\u0026eacute;s, mais leurs r\u0026eacute;sonances subsistent et elles continuent d\u0026rsquo;\u0026ecirc;tre entendues.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"0\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eYARAT CENTRE\u0026nbsp;: Shilpa Gupta \u0026ndash; \u003cem\u003eFOR, IN YOUR TONGUE, I CAN NOT FIT\u003c/em\u003e Solo Show, dans\u0026nbsp;: \u003ca href=\"http://www.yarat.az/index.php?lang=en\u0026amp;page=12\u0026amp;yrtMaincatID=12\u0026amp;yrtSubcatID=0\u0026amp;yrtEventID=2003\" target=\"_blank\"\u003eYARAT Contemporary Art Space\u003c/a\u003e, 2018.\u003c/p\u003e\r\n"}]},{"id":30321,"title":"There is No Explosive in This – Objects Confiscated at the Pierre Elliott Trudeau International Airport, Montreal","dimensions":"161 x 65 x 114 cm","date_begin":"2011-01-01","material":"Mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Courtesy Vadehra Art Gallery","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":16,"permalink":"there-is-no-explosive-in-this-objects-confiscated-at-the-pierre-elliott-trudeau-international-airport-montreal","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/001/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_7.jpg?1624352187","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/001/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_7.jpg?1624352187","poster_credits":"image: (c) M HKA, Courtesy Vadehra Art Gallery","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;In Gupta\u0026rsquo;s work, the subject of terrorism is approached such that it negates the stereotypical definition and description of our contemporary conflicts. Here, sensitive issues are not dealt with in a remote or distanced manner. Actually it is the artist, who instead of commenting on the crucial questions of terrorism, enters her own work and becomes part of it: as a girl soldier or the owner of a suitcase with the text declaring \u0026lsquo;There is No Explosives in This\u0026rsquo; (2007), or a person distributing \u0026lsquo;Blame\u0026rsquo; (2002-2004) bottles. The interactive nature of some of her works also suggests how the artist, instead of being a voyeur \u0026ndash; and inviting the spectator to act as one \u0026ndash; wishes to participate in the artwork, the art world, the world at large, and to be a potent player in changing the existing order and system of power relations.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eMirza (Q.), \u0026ldquo;The Usual Suspect\u0026rdquo;, in Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.122.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026quot;Shilpa Gupta benadert het onderwerp terrorisme op zo\u0026rsquo;n manier dat het de stereotype definitie en beschrijving van onze hedendaagse conflicten ontkent. Gevoelige kwesties worden niet op een afstandelijke manier behandeld. In feite is het de kunstenaar die, in plaats van commentaar te geven op de cruciale kwesties van terrorisme, haar eigen werk binnengaat en er deel van gaat uitmaken: als een soldaat of de eigenaar van een koffer met de tekst \u0026#39;There is No Explosives in This\u0026#39; (2007), of een persoon die flessen met \u0026#39;Blame\u0026#39; (2002-2004) uitdeelt. Het interactieve karakter van sommige van haar werken suggereert hoe de kunstenaar, in plaats van een voyeur te zijn \u0026ndash; en de toeschouwer uit te nodigen als een voyeur te handelen \u0026ndash; wil deelnemen aan het kunstwerk, de kunstwereld, de wereld in het algemeen, en een krachtige speler wil zijn in het veranderen van de bestaande orde en het systeem van machtsverhoudingen.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eVertaling van Mirza (Q.), \u0026ldquo;The Usual Suspect\u0026rdquo;, in Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.122.\u003c/p\u003e\r\n"},{"locale":"fr","description":""}]},{"id":30322,"title":"Untitled","dimensions":"(10x) 31 x 22 x 3 cm","date_begin":"2018-01-01","material":"Tracings on paper, wood","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":13,"stream_count":0,"collection":"Courtesy the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":36,"permalink":"untitled-0835cb91-cdfc-4b5f-a4ee-aefbc472eef1","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/848/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_26.jpg?1624267612","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/848/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_26.jpg?1624267612","poster_credits":"image: (c) M HKA, Courtesy the artist","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30323,"title":"A Liquid, the Mouth Froze","dimensions":"17.5 x 11 x 18.5 cm","date_begin":"2018-01-01","material":"Cast of an open mouth in gun metal, etched brass plate","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":24,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":18,"permalink":"a-liquid-the-mouth-froze","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/861/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_24.jpg?1624268865","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/861/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_24.jpg?1624268865","poster_credits":"image: © M HKA, Courtesy the artist","translations":[{"locale":"en","description":""},{"locale":"nl","description":""},{"locale":"fr","description":""}]},{"id":30324,"title":"Untitled (Bengal Borderlands)","dimensions":"Variable dimensions","date_begin":"2013-01-01","material":"Mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy the artist","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2014-01-01","reference":"","stream_count_app":19,"permalink":"untitled-bengal-borderlands","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/518/medium_500/Shilpa_Gupta_Mukha-BengalBorderlands_PatV.jpg?1623067762","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/518/large/Shilpa_Gupta_Mukha-BengalBorderlands_PatV.jpg?1623067762","poster_credits":"image: (c) Pat Verbruggen, Courtesy the artist","translations":[{"locale":"en","description":"\u003cp\u003eWith the kind support of: Samdani Art Foundation and Majlis\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eMet oprechte steun van: Samdani Art Foundation en Majlis\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eAvec l\u0026rsquo;aimable soutien de : Samdani Art Foundation et Majlis\u003c/p\u003e\r\n"}]},{"id":30325,"title":"There is No Explosive in This – Street Series","dimensions":"106,7 x 71 cm","date_begin":"2007-01-01","material":"Digital photograph, archival paper","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":23,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"With the kind support of: Cornerhouse, Manchester and Renee Baert","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":19,"permalink":"there-is-no-explosive-in-this-street-series","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/845/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_12.jpg?1624266997","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/845/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_12.jpg?1624266997","poster_credits":null,"translations":[{"locale":"en","description":"\u003cp\u003eThe series \u0026lsquo;No Explosive in This\u0026rsquo; includes work produced across different mediums, including performance art and photography. The series began with a performance in which the artist asked 100 participants to carry bags and suitcases around the streets of London, covered with the words, THERE IS NO EXPLOSIVE IN THIS.\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003e\u003cem\u003eThere is No Explosives in This,\u003c/em\u003e In: \u003ca href=\"https://artsandculture.google.com/asset/there-is-no-explosive-in-this-shilpa-gupta/rAEGlmQumUlnIA\" target=\"_blank\"\u003eGoogle Arts and Culture\u003c/a\u003e, 2007\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003eDe reeks \u0026#39;No Explosive in This\u0026#39; omvat werk dat in verschillende media is gemaakt, waaronder performancekunst en fotografie. De reeks begon met een performance waarin de kunstenaar 100 deelnemers vroeg om tassen en koffers door de straten van Londen te dragen. Op de koffers stonden woorden \u0026lsquo;THERE IS NO EXPLOSIVE IN THIS\u0026rsquo; gedrukt.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eVertaling van\u003cem\u003e There is No Explosives in This,\u003c/em\u003e In: \u003ca href=\"https://artsandculture.google.com/asset/there-is-no-explosive-in-this-shilpa-gupta/rAEGlmQumUlnIA\" target=\"_blank\"\u003eGoogle Arts and Culture\u003c/a\u003e, 2007\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003eLa s\u0026eacute;rie \u003cem\u003eNo Explosive in This \u003c/em\u003e[ceci ne contient pas d\u0026rsquo;explosifs] se compose d\u0026rsquo;\u0026oelig;uvres de diff\u0026eacute;rentes disciplines, entre autres, la performance et la photographie. La s\u0026eacute;rie a commenc\u0026eacute; par une performance dans laquelle l\u0026rsquo;artiste demandait \u0026agrave; 100\u0026nbsp;participants de porter dans les rues de Londres des sacs de voyage et des valises couverts des mots \u003cem\u003eTHERE IS NO EXPLOSIVE IN THIS\u003c/em\u003e.\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"0\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003e\u003cem\u003eThere is No Explosive in This,\u003c/em\u003e dans\u0026nbsp;: \u003ca href=\"https://artsandculture.google.com/asset/there-is-no-explosive-in-this-shilpa-gupta/rAEGlmQumUlnIA\" target=\"_blank\"\u003eGoogle Arts and Culture\u003c/a\u003e, 2007\u003c/p\u003e\r\n"}]},{"id":30406,"title":"There is No Explosive in This","dimensions":"Variable dimensions","date_begin":"2007-01-01","material":"Mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"Courtesy Vadehra Art Gallery, Courtesy Astrup Fearnley Collection, Courtesy AGIVERONA Collection","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2011-01-01","reference":"","stream_count_app":36,"permalink":"there-is-no-explosive-in-this","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/866/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_4.jpg?1624269906","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/866/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_4.jpg?1624269906","poster_credits":"image: (c) M HKA, Courtesy Vadehra Art Gallery, Courtesy Astrup Fearnley Collection, Courtesy AGIVERONA Collection, With the generous support of Renee Baert and Cornerhouse, Manchester","translations":[{"locale":"en","description":"\u003cp\u003e\u0026ldquo;In Gupta\u0026rsquo;s work, the subject of terrorism is approached such that it negates the stereotypical definition and description of our contemporary conflicts. Here, sensitive issues are not dealt with in a remote or distanced manner. Actually it is the artist, who instead of commenting on the crucial questions of terrorism, enters her own work and becomes part of it: as a girl soldier or the owner of a suitcase with the text declaring \u0026lsquo;There is No Explosives in This\u0026rsquo; (2007), or a person distributing \u0026lsquo;Blame\u0026rsquo; (2002-2004) bottles. The interactive nature of some of her works also suggests how the artist, instead of being a voyeur \u0026ndash; and inviting the spectator to act as one \u0026ndash; wishes to participate in the artwork, the art world, the world at large, and to be a potent player in changing the existing order and system of power relations.\u0026rdquo;\u003c/p\u003e\r\n\r\n\u003chr /\u003e\r\n\u003cp\u003eMirza (Q.), \u0026ldquo;The Usual Suspect\u0026rdquo;, in Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.122.\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u0026quot;Shilpa Gupta benadert het onderwerp terrorisme op zo\u0026rsquo;n manier dat het de stereotype definitie en beschrijving van onze hedendaagse conflicten ontkent. Gevoelige kwesties worden niet op een afstandelijke manier behandeld. In feite is het de kunstenaar die, in plaats van commentaar te geven op de cruciale kwesties van terrorisme, haar eigen werk binnengaat en er deel van gaat uitmaken: als een soldaat of de eigenaar van een koffer met de tekst \u0026#39;There is No Explosive in This\u0026#39; (2007), of een persoon die flessen met \u0026#39;Blame\u0026#39; (2002-2004) uitdeelt. Het interactieve karakter van sommige van haar werken suggereert hoe de kunstenaar, in plaats van een voyeur te zijn \u0026ndash; en de toeschouwer uit te nodigen als een voyeur te handelen \u0026ndash; wil deelnemen aan het kunstwerk, de kunstwereld, de wereld in het algemeen, en een krachtige speler wil zijn in het veranderen van de bestaande orde en het systeem van machtsverhoudingen.\u0026quot;\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"3\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eVertaling van Mirza (Q.), \u0026ldquo;The Usual Suspect\u0026rdquo;, in Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.122.\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u0026laquo;\u0026nbsp;Dans l\u0026rsquo;\u0026oelig;uvre de Gupta, le th\u0026egrave;me du terrorisme est approch\u0026eacute; de telle sorte qu\u0026rsquo;il nie la d\u0026eacute;finition et la description st\u0026eacute;r\u0026eacute;otyp\u0026eacute;es de nos conflits contemporains. L\u0026rsquo;artiste ne traite pas les sujets sensibles de fa\u0026ccedil;on distante ou lointaine. En somme, au lieu de commenter les questions cruciales du terrorisme, l\u0026rsquo;artiste entre dans son \u0026oelig;uvre et en devient partie int\u0026eacute;grante\u0026nbsp;: en tant que soldate, en tant que propri\u0026eacute;taire d\u0026rsquo;une valise portant le texte \u003cem\u003eThere is No Explosive in This\u003c/em\u003e (2007) ou en tant que personne distribuant des bouteilles \u003cem\u003eBlame\u003c/em\u003e (2002-2004). La nature interactive de certaines des \u0026oelig;uvres de Shilpa Gupta sugg\u0026egrave;re \u0026eacute;galement que plut\u0026ocirc;t qu\u0026rsquo;\u0026ecirc;tre voyeuse et inviter le spectateur \u0026agrave; aussi agir comme tel, l\u0026rsquo;artiste souhaite participer \u0026agrave; l\u0026rsquo;\u0026oelig;uvre, au monde de l\u0026rsquo;art, au monde en g\u0026eacute;n\u0026eacute;ral, et \u0026ecirc;tre une actrice puissante dans le changement de l\u0026rsquo;ordre existant et du syst\u0026egrave;me des relations de pouvoir.\u0026nbsp;\u0026raquo;\u003c/p\u003e\r\n\r\n\u003cdiv align=\"center\"\u003e\r\n\u003chr align=\"center\" size=\"0\" width=\"100%\" /\u003e\u003c/div\u003e\r\n\r\n\u003cp\u003eMirza (Q.), \u0026ldquo;The Usual Suspect\u0026rdquo;, dans Ed. Adajania (N.), \u003cem\u003eShilpa Gupta\u003c/em\u003e, Prestel Verlag, 2009, p.\u0026nbsp;122.\u003c/p\u003e\r\n"}]},{"id":30407,"title":"While I Sleep","dimensions":"Variable","date_begin":"2008-01-01","material":"Mixed media","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":5,"stream_count":0,"collection":"Courtesy Louisiana Museum of Modern Art, Humlebæk, Denmark.  Acquired with funding from The Augustinus Foundation","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":"2009-01-01","reference":"","stream_count_app":38,"permalink":"while-i-sleep","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/862/medium_500/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_41.jpg?1624269081","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/072/862/large/2021_SHILPA_GUPTA_photo_M_HKA_clinckx_01_41.jpg?1624269081","poster_credits":"image: © M HKA, Courtesy Louisiana Museum of Modern Art, Humlebæk, Denmark. Acquired with funding from The Augustinus Foundation","translations":[{"locale":"en","description":"\u003cp\u003e\u003cem\u003eSinging Cloud\u003c/em\u003e and \u003cem\u003eUntitled \u003c/em\u003eare part of the project titled \u003cem\u003eWhile I Sleep\u003c/em\u003e, where voices from the inner worlds, dreams and multitudes emerge when dominant structures sleep.\u003c/p\u003e\r\n\r\n\u003cp\u003eWith the kind support of: Le Laboratoire, Paris and The Cloud Foundation\u003cbr /\u003e\r\nSound Engineer: Thierry Coduys, enterprise HUB\u003cbr /\u003e\r\nSound Design: Shilpa Gupta with Sreejeesh Nair at Fireflys Sound Studio\u003cbr /\u003e\r\nTechnical Team: R\u0026eacute;my Spengler, Sebastien Lamouret\u003c/p\u003e\r\n"},{"locale":"nl","description":"\u003cp\u003e\u003cem\u003eSinging Cloud \u003c/em\u003een \u003cem\u003eUntitled \u003c/em\u003emaken deel uit van het project \u003cem\u003eWhile I Sleep\u003c/em\u003e, waarin stemmen uit de innerlijke wereld, uit dromen en menigten tevoorschijn komen wanneer dominante structuren slapen.\u003c/p\u003e\r\n\r\n\u003cp\u003eMet oprechte steun van: Le Laboratoire, Parijs en The Cloud Foundation\u003cbr /\u003e\r\nGeluidstechnicus: Thierry Coduys, enterprise HUB\u003cbr /\u003e\r\nGeluidsontwerp: Shilpa Gupta met Sreejeesh Nair bij Fireflys Sound Studio\u003cbr /\u003e\r\nTechnisch Team: R\u0026eacute;my Spengler, Sebastien Lamouret\u003c/p\u003e\r\n"},{"locale":"fr","description":"\u003cp\u003e\u003cem\u003eSinging Cloud \u003c/em\u003eet \u003cem\u003eUntitled \u003c/em\u003esont parties du projet intitul\u0026eacute; \u003cem\u003eWhile I Sleep\u003c/em\u003e, o\u0026ugrave; des voix de mondes int\u0026eacute;rieurs, de r\u0026ecirc;ves et de foules \u0026eacute;mergent lorsque les structures dominantes sont endormies.\u003c/p\u003e\r\n\r\n\u003cp\u003eAvec l\u0026rsquo;aimable soutien de : Le Laboratoire, Paris et The Cloud Foundation\u003cbr /\u003e\r\nIng\u0026eacute;nieur : Thierry Coduys, enterprise HUB\u003cbr /\u003e\r\nConception sonore : Shilpa Gupta avec Sreejeesh Nair chez Fireflys Sound Studio\u003cbr /\u003e\r\nEquipe technique : R\u0026eacute;my Spengler, Sebastien Lamouret\u003c/p\u003e\r\n"}]},{"id":30299,"title":"Threat","dimensions":"72 x 229 x 107 cm (15 x 6.2 x 4 cm each)","date_begin":"2008-01-01","material":"4500 Soaps","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":58,"platform_id":1,"deleted":false,"asset_count":6,"stream_count":0,"collection":"Collection M HKA, Antwerp / Collection Flemish Community","cached_tag_list":"","publishing_process_id":1,"annotation":"\u003cp\u003eVan \u003cstrong\u003eShilpa Gupta\u003c/strong\u003e (°Mumbai, Indië, 1976) werd in het kader van de monografische tentoonstelling in het museum, de installatie \u003ci\u003eThreat\u003c/i\u003e aangekocht. Het werk heeft iets weg van een kleine monoliet en bestaat volledig uit individuele stukken zeep waarop het woord 'THREAT' in reliëf gedrukt staat. De toeschouwers mogen een stuk mee naar huis nemen. Deze sterk performatieve kwaliteit laat het werk in omvang groeien. (CBP, De multipolariteit vanuit Eurazië)\u003c/p\u003e","date_end":"2009-01-01","reference":"BK009182","stream_count_app":49,"permalink":"threat","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/071/941/medium_500/Threat2.jpg?1620052603","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/071/941/large/Threat2.jpg?1620052603","poster_credits":"Courtesy the artist","translations":[{"locale":"en","description":"\u003cp\u003eVisitors are invited to take a soap each (or maximum 1 soap per family).\u003c/p\u003e\u003cp\u003e“A communal exercise, in dialogue with an earlier piece \u003ci\u003eThere is No Explosives in This\u003c/i\u003e (2007), \u003ci\u003eThreat\u003c/i\u003e was a small monolith composed entirely\u0026nbsp; of individual bars of soap embossed with the word ‘THREAT’ which viewers […] were invited to take home. The bars of soap were fashioned in size, weight and shape to look like extra-large bricks. By calling for the soaps to be taken at discretion by any and everyone, the address of the piece is elaborated. Remaining rooted in the real, it can also simultaneously be considered as no longer automatically authored by or addressed to anyone in particular. In the taking of a soap, every participating viewer holds the prospect of engaging and sharing in a communal discourse. Notwithstanding how directed or abstract that might be, it is the hopeful triggering of the process, which is the effect embodied in every soap that is by design conjoined to the real. So piece by piece, soap by soap, can this wall of threat be dismantled? Can it be rinsed away?”\u003c/p\u003e\u003chr\u003e\u003cp\u003eJhaveri (S.), “To See Again and Again”, in Ed. Adajania (N.), \u003ci\u003eShilpa Gupta\u003c/i\u003e, Prestel Verlag, 2009, p.60.\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eBezoekers worden uitgenodigd om elk een zeep mee te nemen (maximaal 1 zeep per gezin).\u003c/p\u003e\u003cp\u003e\"In dialoog met het eerdere werk \u003ci\u003eThere is No Explosive in This\u003c/i\u003e (2007) vormt \u003ci\u003eThreat\u003c/i\u003e een soort gemeenschappelijke oefening. Het werk heeft iets weg van een kleine monoliet en bestaat volledig uit individuele stukken zeep waarop het woord 'THREAT' in reliëf staat. De kijkers [...] mogen een stuk mee naar huis nemen. De zeepstaven lijken in grootte, gewicht en vorm op extra grote bakstenen. Door iedereen aan te sporen de zeepstaven mee te nemen, groeit het werk in omvang. Hoewel het werk een houvast heeft in het reële, verliest het door de actie de band met de maker en een eventueel bedoeld publiek. Wie een stuk zeep neemt verandert van kijker in de eigenaar van een object waarmee hij zich kunnen engageren voor een gemeenschappelijke actie. Los van hoe gericht of abstract dat mag zijn, het is een hoopvol ontketen van het proces waarmee elk stuk zeep is doordrongen. Kan deze muur van ‘THREAT’ [dreiging] stuk voor stuk, zeep per zeep worden ontmanteld? Kan de dreiging worden weggespoeld?”\u003c/p\u003e\u003chr\u003e\u003cp\u003eVertaling van Jhaveri (S.), “To See Again and Again”, in Ed. Adajania (N.), \u003ci\u003eShilpa Gupta\u003c/i\u003e, Prestel Verlag, 2009, p.60.\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003e«\u0026nbsp;Un exercice communautaire, en dialogue avec une pièce précédente, \u003ci\u003eThere is No Explosive in This\u003c/i\u003e (2007), \u003ci\u003eThreat\u003c/i\u003e était un petit monolithe entièrement composé de briques de savon individuelles dans lesquels est gravé le mot \u003ci\u003eTHREAT \u003c/i\u003e[menace] que les spectateurs […] étaient invités à emporter chez eux. La taille, le poids et la forme des pains de savon étaient façonnés de manière à ressembler à de très grandes briques. En demandant que les savons soient mis à la discrétion de tout un chacun, le message qu’adresse l’œuvre est élaboré. Tout en restant ancrée dans le réel, on peut aussi la considérer comme n’étant plus automatiquement l’œuvre d’un·e auteur·e en particulier ni ne s’adressant à quiconque de spécifique. En prenant un savon, chaque spectateur participant détient la perspective de s’engager et de partager un discours commun. Nonobstant l’orientation ou l’abstraction de ce discours, c’est l’espoir de déclencher le processus qui est l’effet incarné dans chaque savon qui est, par sa conception, lié au réel. Ce mur de la menace peut-il ainsi être démantelé pièce par pièce, savon par savon\u0026nbsp;? Peut-il être rincé\u0026nbsp;?\u0026nbsp;»\u003c/p\u003e\u003chr\u003e\u003cp\u003eJhaveri (S.), “To See Again and Again”, dans Ed. Adajania (N.), \u003ci\u003eShilpa Gupta\u003c/i\u003e, Prestel Verlag, 2009, p.\u0026nbsp;60.\u003c/p\u003e"}]},{"id":31943,"title":"Untitled (You Are Eating a Part of Yourself)","dimensions":"00:03:54","date_begin":"1996-01-01","material":"","short_description":"","art_status_id":13,"legal_status_id":47,"category_id":21,"platform_id":1,"deleted":false,"asset_count":3,"stream_count":0,"collection":"M HKA / Collection Flemish Community","cached_tag_list":"installation, M HKA, collection","publishing_process_id":1,"annotation":"","date_end":null,"reference":"BK009650","stream_count_app":28,"permalink":"untitled-eating-a-part-of-yourself","description_ru":"","description_de":"","description_es":"","description_el":"","short_description_du":"","short_description_fr":"","short_description_ru":"","short_description_de":"","short_description_es":"","short_description_el":"","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/446/medium_500/Gupta_nails_02.png?1654694430","cached_actor_names":"SHILPA GUPTA","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":true,"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/445/large/Gupta_nails_01.png?1654694394","poster_credits":"(c)Shilpa Gupta, 1996","translations":[{"locale":"en","description":"\u003cp\u003eIn her work \u003ci\u003eUntitled (You Are Eating a Part of Yourself)\u003c/i\u003e, we see the artist ominously biting her fingernails. She is sitting on a window ledge, staring aimlessly through the glass, and a sense of anxiety can be seen clearly in her compulsive bad habit. We hear a voice off-camera repeating over and over “you are eating a part of yourself”. It is a modest work, presented on a very small video monitor, yet it is also amongst her formative. Inevitably she is peering out into, and seeking to understand, the society she lives in, and it is causing her to eat away at her fingers. Gupta previously stated about the work: “I tried to make a comment on the prevailing confusion and the way we consume ourselves subconsciously”. \u003ci\u003eUntitled (You Are Eating a Part of Yourself)\u003c/i\u003e considers such effects on the subconscious that ultimately manifest in disquiet and auto-cannibalism. They were to become central and recurring concerns in her work over the following decades.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"nl","description":"\u003cp\u003eIn \u003ci\u003eUntitled (You Are Eating a Part of Yourself)\u003c/i\u003e zien we de kunstenares onheilspellend op haar vingernagels bijten. Ze zit op een vensterbank en staart doelloos door het venster,\u0026nbsp;uit haar dwangmatige ‘slechte’ gewoonte blijkt duidelijk haar angst. We horen een stem buiten beeld die keer op keer herhaalt: you are eating a part of yourself\u0026nbsp;[je bent een deel van jezelf aan het eten]. \u003ci\u003eUntitled (You Are Eating a Part of Yourself) \u003c/i\u003eis een bescheiden werk dat wordt gepresenteerd op een heel kleine videomonitor. Tevens is het ook een van Gupta’s belangrijke vroege werken. Ze kan niet anders dan naar buiten turen en de samenleving waarin ze leeft proberen te begrijpen – wat ervoor zorgt dat ze aan vingers begint te knabbelen. Eerder zei Gupta over het werk: ‘Ik heb geprobeerd een commentaar te leveren op de heersende verwarring en de manier waarop we onszelf onbewust consumeren’. \u003ci\u003eUntitled (You Are Eating a Part of Yourself) \u003c/i\u003ethematiseert het soort effecten op het onderbewustzijn die zich uiteindelijk uiten in onrust en auto-kannibalisme. De komende decennia zou Shilpa Gupta zich in haar werk steeds opnieuw met dit soort vraagstukken bezighouden.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"},{"locale":"fr","description":"\u003cp\u003eDans son oeuvre \u003ci\u003eUntitled (You Are Eating a Part of Yourself)\u003c/i\u003e, nous voyons l’artiste se ronger nerveusement les ongles. Elle est assise sur le rebord d’une fenêtre, fixant le vide à travers la vitre. Un sentiment d’anxiété transparaît clairement dans sa manie compulsive. Nous entendons une voix hors champ qui répète en boucle « tu es en train de manger une partie de toi-même ». Il s’agit d’une oeuvre modeste, présentée sur petit moniteur vidéo ; pourtant elle fait partie des oeuvres formatrices de Gupta. L’artiste observe et cherche inlassablement à comprendre la société dans laquelle elle vit, et cela pousse à se ronger les ongles. Gupta a précédemment déclaré à propos de cette oeuvre : « J’ai essayé de formuler un commentaire sur la confusion ambiante et la façon dont nous nous consommons inconsciemment. » \u003ci\u003eUntitled (You Are Eating a Part of Yourself)\u003c/i\u003e examine de tels effets sur le subconscient qui se manifestent en définitive par un sentiment d’inquiétude et par l’auto-cannibalisme. Deux thèmes qui deviendront des préoccupations centrales et récurrentes dans son travail au cours des décennies suivantes.\u003c/p\u003e\u003cp\u003e\u0026nbsp;\u003c/p\u003e"}]}]