Joana hadjithomas & khalil joreige performance toyota
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Contradictions of today’s politics show up in my work as metaphors: Subodh Gupta
In his first major show The Way Home at the Bihar Museum in Patna, contemporary artist Subodh Gupta gathers sculptures and paintings linking him with his roots and memories that have defined his long career. The exhibition, which opens to the public on November 10, and runs up to February 15, has 20 sculptures and a select group of paintings from 2003 to 2024. Gupta, whose works have found home at well-known museums around the world, making him one of the most influential Indian artists today, deals with the personal to comment on the overarching reality and pays tributes to the migrant workers from Bihar for their seldom-acknowledged contributions to nation-building. In an email interview with FE, Gupta, who dedicates the exhibition to his mother, talks about the significance of the show in his home state, inspiration from his roots and his international collaborations. Edited
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Born
1972, Shiga
Nationality
Japanese
Based in
Japan
About Rinko Kawauchi
Born in 1972 in Shiga Prefecture, Japan. Lives and works in Tokyo. In 2001 she simultaneously released a series of three photographic books – UTATANE, HANABI, and HANAKO from publisher Little More, and in 2002 she was awarded prestigious 27th Kimura Ihei Award for UTATANE and HANABI. Other noteworthy Rinko Kawauchi publications include AILA (FOIL, 2004), the eyes, the ears, and Cui Cui (FOIL, 2005), Illuminance, (Aperture, FOIL, Kehrer verlag, Editions Xavier Barral, and POSTCART, 2011) and Ametsuchi (Apeture, Kehrer verlag and Seigensha). She also received the eminent Infinity Award in 2009 in the Arts Category by the International Center of Photography; the 63rd Ministry of Cultural Affairs Newcomer of the Year award for 2012; the 29th Shashin no Machi Higashigawa Native Japanese Artist Award for 2012. Kawauchi has participated in and hosted a multitude of group and solo exhibitions both within
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Bidoun
As our readers may have noted, since its inception in 2004 Bidoun has evolved from a scrappy quarterly spurred by the sweat of its editors and a monthly check from a single benefactor into a slightly manic nonprofit that publishes books, curates exhibitions, organizes educational initiatives, and even has its own library. Now we run on paperwork, mountains of it, and the love of our six hundred (600) subscribers (whom we love right back: we lose money on each and every one of you!). Despite — or maybe because of — these changes, we’ve been doing some of our best work ever. But since becoming a nonprofit last year, with all its attendant stresses, we’ve been asking ourselves how we might improve Bidoun. Perhaps Bidoun will never be an all-powerful cultural megalith, but it could be (cue grant-speak) a fully sustainable organization, the kind of place that can afford to pay its monthly rent and salaries on time, and then some.
If we were a count