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Subodh Gupta, the contemporary artist who shot to fame over the last decade with shows from the Saatchi Gallery to the Venice Biennale, is making his Korean debut at two locations of the Arario Gallery.
/ Courtesy o faratio Gallery
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By Ines Min
Walking down a small alley near Samcheong-dong, one may find himself or herself passing by a particular gallery, one of several dotting the corners of the neighborhood. A name in Helvetica boldly pronounces the artist whose work now occupies the space inside, two words so monumental in the relative superstardom gained just over the past seven years: Subodh Gupta.
The artist who has been at the forefront of the contemporary field is making his Korean debut with two solo exhibitions at the Arario Gallery in Seoul and Cheonan, South Chungcheong Province. Bringing his classic, instantly recognizable pieces together with new sculptures, Gupta’s official introduction to the Korean public also takes a daring step into an unfamiliar realm ― works in marble.
Gupta, known for his massive installations made of stainless steel and bronze ― notably, the macabre shine of ``Very Hungry God,’’ a skull delicately comprised of kitchen utensils ― explores the amba stone unearthed in India.
 Marble has always been fascinating for me,’’ Gupta told reporters at a press preview of his exhibition Tuesday. The material, he explained, is one which has been used by the greats throughout the ages, including, of course, the likes of Michelangelo. Not to mention, that ``most homes in India have marble in them.’’
The artist has been widely noted for his commentary on his native land, from traveling issues to those constant elements of daily life. ``Everything is Inside,’’ is one of his most recognizable works: a heavily-bundled suitcase sits atop the roof of a small Ambassador taxi, sunk into the ground, tied in place with rope. The piece, on display at the Cheonan gallery, is a remark on the mass migrations people take across the country with their entire life possessions in tow.
 ``They don’t buy Louis Vuitton or Samsonite suitcases,’’ Gupta said, adding that the tied ropes are still beautiful in their sincerity. ``I was always fascinated, what is inside?
``I thought they carried gifts for children, clothing or cosmetics,’’ he said. ``For them, it’s everything, a lifetime of work.’’
The Seoul exhibition in marble is a continuation of these themes, though surprisingly singular in their execution. As opposed to large-scale agglomerates of smaller kitchen utensils, Gupta shows a particular strain of focus. A water kettle, tiffin box and even an installation parodying the Western still life in the least number of separate parts are shown in the stone (``It’s not so good quality,’’ Gupta noted, pointing out the gray streaks present in each piece, though it only adds to the striking charm of his work).
The ``still-life’’ is an intriguing reinterpretation of the classic genre. Gupta’s installation features several skulls ― a popular motif in India where they are used in Hindu and Buddhist Tantra ― atop a wooden table that multitasks as a bed in many Indian homes.
``We know too much about Western art,’’ he said, referring to the basic classes every student receives in still-life classes, which are heavily influenced by Western ideals, composed of extremely Western objects. ``And we know about it, but they don’t know about our cultures.’’
Yet his work cannot be stereotyped into simply ``Indian art,’’ nor can Gupta be called just an ``Indian artist.’’
``It’s not about the influence by Indian life or Indian people. I live there, and I have no choice,’’ Gupta said. ``If I lived in America I would be influenced by American life.
``It’s the nature of the artist that where you live, you are surrounded by the common culture,’’ he said. ``Every artist reacts with his or her own culture, agenda.’’
Gupta, who grew up in a small town and only moved to the capital of New Delhi after art school, understands the grit of real life having seen poverty up close and struggling to make ends meet before his explosive success.
This perhaps is what leads to one of the artist’s greatest traits, that intimate touch which manages to find a comfortable niche in the universal. Gupta’s art can be understood by everyone, but each is the sort of distinguished work that could have only been created by him, in a culmination of experiences and thoughts.
An untitled piece in the Seoul exhibition is comprised of beautifully breaking waves, contained within the shallow bowl of the sculpture’s base. The work, surreal in its dreamlike qualities, seems entirely unlike the rest of Gupta’s oeuvre. He pulls out a liter-bottle of Coca-Cola, refilled with thick, ebony engine oil.
Making sure everyone is gathered, Gupta, with a bit of grand showmanship, slowly pours the liquid into the base of the piece, immediately staining the clear white with the opaque of the liquid.
``I couldn’t resist myself,’’ he said, adding that there was little witness, reality to the piece before. ``This is the mark now, completely transformed to how I have felt it ― now it’s complete satisfaction.’’
The Seoul exhibition is on display through Oct. 10, the Cheonan show until Nov. 7. For more information, visit www.arariogallery.com.
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무디스, 스페인·伊·포르투갈 신용등급 강등
