Click on Image to Enter Project Page

Click on Image to Enter Project Page

Red Shift, 2017, Lightbox embedded in wall

Click on Image to Play Install Video

Click on Image to Play Install Video

Code-switching, 2017, LCD screen embedded in wall, magazine cutouts, text animation

Click on Image to Play Video

Click on Image to Play Video

CURSE: A Study in Acts of Violence, 2017, Looped digital video containing samples of motion capture data

Click on Image to Play Install Video

Click on Image to Play Install Video

Tips for Wealth Redistribution, 2017, Site responsive installation Money-gun, cash, acrylic boxes on metal stands

Click on Image to Enter Project Page

Click on Image to Enter Project Page

Drop Ceiling, 2017, Site-responsive installation Modified fluorescent light fixture, chains

Click on Image to Enter Project Page

Click on Image to Enter Project Page

Outsourced: Fall, 2016, Site-responsive installation, text.

Click on Image to Enter Project Page

Click on Image to Enter Project Page

Minutes from the Congress of Scam International, 2017, Telephone headset, audio of IRS scam callers from India introducing themselves with their American names

Click on Image to Enter Project Page

Click on Image to Enter Project Page

Luncheon, 2017, Archival pigment print, 25.5”x32”

Click on Image to Enter Project Page

Click on Image to Enter Project Page

Come Red, It’s Spring (Palash Flower), 2017, Archival pigment print, fire extinguisher, wall

7.25 Stress-relief Punching Balls, 2018, Punching balls, springs, metal fasteners

Measure Me Twice, Cut Me Once: Provisional, 2017, Archival pigment print, 32”x40"

Measure Me Twice, Cut Me Once: Again, 2017, Archival pigment print, 20”x25"

Fifty Years of Independence, 2015, Archival pigment print, 40”x32"

Interview, 2015, Archival pigment print, nails, magnets, ~44”x48"x4”

Click for Install Documentation

Click for Install Documentation

The Opposing Thumb of Ekalavya, 2017, Minecraft earthwork, audio

Click Image for Documentation

Click Image for Documentation

Radcliffe Line Rasterization, 2017, Minecraft earthwork

Expanding the probability distribution of the Big Ben, Kolkata into The Venetian Sky, Las Vegas, 2016, Archival pigment print, 60”x40”

All Dreams are White, 2015, Archival pigment print, 16”x20"

Click on Image to Play Video

Click on Image to Play Video

(nonsite), 2016, browser-based

Click on Image to Play Video

Click on Image to Play Video

A Passage to India, 2016, looped digital video

Editorial Use Only, 2015, Archival pigment print, 32”x25.5”

Outsourced: Embryo Transplant Phase, 2016, Found digital ultrasound video, shopping cart, mobile, tablet, cable, play mat.

Click on Image to Play Install Video

Click on Image to Play Install Video

Child of New India, 2016 16mm sound projector, 16mm found educational documentary film: Mooti...Child of New India, CCTV camera, tripods, cable, CRT television, fabric.

Seedless, 2016, Archival pigment print, 16”x20"

2001—>2015, 2016, Fabric, archival pigment print on inkjet paper, photo background sweep stand kit, fishing lines, binder clips, ~10’x10’x10’

Non Resident Alien, 2015, Archival pigment print, 50”x40”

Normalization, 2015, Archival pigment print, 40”x32”

In-code, 2016, Power outlets, double-male-ended power cord.

Click on Image to Play Video

Click on Image to Play Video

Kolkata 71, 2015, 1hr, 26 min looped digital video

Click on Image to Play Install Video

Click on Image to Play Install Video

CanoScan 4400F, 2016, Deconstructed scanner, nails.

 

Pre/Post/Eros

As a non-resident alien in the United States, originally from formerly colonized India, I am compelled, both personally and academically, by the subjects of identity and politics. Working in the mediums of photography, video, installation, sculpture, and new media, my ongoing body of work, which goes by the collective name of Pre/Post/Eros, explores the transition from postcolonialism to neocolonialism, with special attention paid to history, capital, and spectatorship. Within this series, my most recent work deals with the issue of labor and is attentive to the shifts that mark this subject, not only temporally across history, but also spatially, as it manifests across geopolitical borders and, more immediately the space of the gallery. As is often the case, this work functions self-reflexively and reflects an awareness of my labor as artist and the way art – my product – functions within institutional spaces. Often, my art exists both in both physical spaces, such as galleries, and virtual spaces, such as those “found” online; however, in either case, my work is consistently in dialogue with its own formal properties and the spaces and mechanisms of display. My work literally and conceptually interrogates the apparatus, the tool, the image-maker, the agent, the laborer, the product, and the politics of its own making. Imbued with humor, futility, and violence the pieces occupy a precarious position between being a parody of “socialist nostalgia,” and an expression of sincere concern towards exploitation of labor. 

 

My materials include physical objects, as well as data and image sources, such as readymades, scans, products, computer generated product images, declassified army documents, educational documentary films, and stock photography- all fluid signifiers of history, economics, and culture. Yet, it’s important to stress that my work is not indifferent to aesthetics and actively works to seduce the spectator through the languages of advertising and industrial design, making use of a saturated palette and a clean, fetishistic presentation of the object. However, these seductions ultimately fail to satisfy because, in my work, the viewer is deliberately implicated by the socio-political content of the work, which often addresses imbalances in power.

 

© 2010-Present Deepanjan Mukhopadhyay

Written permission necessary to use any content from this website. deepanjan91(at)gmail(dot)com