100 Hand drawn maps of my country, India

2014 - Drawing & Print (Drawing & Print)

22 x 30 in. / 8.66 x 11.81 cm

Shilpa Gupta

location: Mumbai, India
year born: 1976
gender: female
nationality: Indian
home town: Mumbai, India

These 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.


Mumbai-based Shilpa Gupta’s practice crosses disciplines and media to include interactive videos, websites, objects, photographs, sound, and public performances. Probing and examining themes such as desire, religion, tradition, gender, global capitalism, social injustice, security, borders, and power, Gupta actively engages herself with the political and cultural world around her.


Colors:



Other related works, blended automatically

Untitled (Don’t See, Don’t Hear, Don’t Speak)
© » KADIST

Shilpa Gupta

2008

The three monkeys in Don’t See, Don’t Hear, Don’t Speak are a recurring motif in Gupta’s work and refer to the Japanese pictorial maxim of the “three wise monkeys” in which Mizaru covers his eyes to “see no evil,” Kikazaru covers his ears to “hear no evil,” and Iwazaru covers his mouth to “speak no evil.” For the various performative and photographic works that continue this investigation and critique of the political environment, Gupta stages children and adults holding their own or each other’s eyes, mouths and ears...

n°5 The International Sail
© » KADIST

Enrique Ramirez

2017

Ramirez’s The International Sail is the fifth in a series that features an upside-down worn out, mended and fragmented boat sail...

La Memoria Verde
© » KADIST

Enrique Ramirez

2019

Enrique Ramirez’s La Memoria Verde is a work of poetry, politics, and memory created in response to the curatorial statement for the 13th Havana Biennial in 2019, The Construction of the Possible ...

Days of Our Lives: Playing for Dying Mother
© » KADIST

Wong Hoy Cheong

2009

Created for the tenth Lyon Bienniale, in Days of Our Lives: Playing for Dying Mother, Wong’s ongoing negotiation of postcolonial globalization takes aim at French society...

Contrabando
© » KADIST

Julio Cesar Morales

2011

Contrabando is a work that references the larger sociological phenomenon in which immigrant economic strategies come to infiltrate urban landscapes...

I Want to be Gentleman
© » KADIST

Lu Chunsheng

2000

Lu has developed an oeuvre that consists of characters in bizarre situations...

History of Chemistry I
© » KADIST

Lu Chunsheng

2004

A mesmerizing experience of a vaguely familiar yet remote world, History of Chemistry I follows a group of men as they wander from somewhere beyond the edge of the sea through a vast landscape to an abandoned steel factory...

Drag
© » KADIST

Xiaoyun Chen

2006

In the video work Drag, a man in a dark room pulls on the end of a rope...

In Search of Vanished Blood
© » KADIST

Nalini Malani

2012

Malani draws upon her personal experience of the violent legacy of colonialism and de-colonization in India in this personal narrative that was shown as a colossal six channel video installation at dOCUMENTA (13), but is here adapted to single channel...

South Africa Righteous Space
© » KADIST

Hank Willis Thomas

2014

South Africa Righteous Space by Hank Willis Thomas is concerned with history and identity, with the way race and ‘blackness’ has not only been informed but deliberately shaped and constructed by various forces – first through colonialism and slavery, and more recently through mass media and advertising – and reminds us of the financial and economic stakes that have always been involved in representations of race....

Black Imitates White
© » KADIST

Hank Willis Thomas

2012

Thomas’ lenticular text-based works require viewers to shift positions as they view them in order to fully absorb their content...

Its Always Fun to Live in This Country
© » KADIST

Eko Nugroho

2009

Nugroho’s installations and performances have their roots in the shadow puppet rituals in Indonesia, particularly the Javanese Wayang tradition whose essence is in the representation of the shadows...

Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido)
© » KADIST

Claudia Joskowicz

2015

Some Dead Don’t Make a Sound (Hay muertos que no hacen ruido) is a single-channel video by Claudia Joskowicz that features the Mexican legend of the Weeping Woman (La Llorona) as its main protagonist...

Intentionally Left Blanc
© » KADIST

Hank Willis Thomas

2012

Intentionally Left Blanc alludes to the technical process of its own (non)production; a procedure known as retro-reflective screen printing in which the image is only fully brought to life through its exposure to flash lighting...

I used to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance
© » KADIST

Daniel Joseph Martinez

1978

For I use to eat lemon meringue pie till I overloaded on my pancreas with sugar and passed out; It seemed to be a natural response to a society of abundance (1978), also known as the Bodybuilder series, Martinez asked male bodybuilding competitors to pose in whatever position felt “most natural.” They are obviously trained in presenting their ambitiously carved physiques, but their facial expressions seem comparatively unstudied...

Nachbau
© » KADIST

Simon Starling

2007

Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...

Un hombre que camina (A Man Walking)
© » KADIST

Enrique Ramirez

In Un Hombre que Camina (A Man Walking) (2011-2014), the sense of rhythm and timing is overpowered by the colossal sense of timelessness of this peculiar place...

Memory: Record/Erase
© » KADIST

Nalini Malani

1996

Memory: Record/Erase is a stop-motion animation by Nalini Malani based on ‘The Job,’ a short story by celebrated German poet and playwright Bertolt Brecht...

Days of Our Lives: Reading
© » KADIST

Wong Hoy Cheong

2009

Days of Our Lives: Reading is from a series of work was created for the 10th Biennale de Lyon by the artist...