Side x Side


Deepanjan Mukhopadhyay
August 6-12, 2020

I am a non-resident alien in the United States, originally from formerly colonized India, 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. 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.

*Read Deepanjan Mukhopadhyay’s interview with us here
*For more info on Deepanjan Mukhopadhyay’s work, please visit his website and Instagram

Image list:
-Deepanjan Mukhopadhyay, 7.25 Stress-relief Punching Balls, 2018, Punching balls, springs, metal fasteners
-Deepanjan Mukhopadhyay, Drop Ceiling, 2017, Site-responsive installation, Modified fluorescent light fixture, chains
-Deepanjan Mukhopadhyay, Luncheon, 2017, Archival pigment print
-Deepanjan Mukhopadhyay, Come Red, It’s Spring (Palash Flower), 2017, Archival pigment print, fire extinguisher, wall
-Deepanjan Mukhopadhyay, Tips for Wealth Redistribution, 2017, Money-gun, US currency, acrylic boxes, metal stands
-Deepanjan Mukhopadhyay, Red Shift, 2017, Lightbox embedded in wall
-Deepanjan Mukhopadhyay, (nonsite), 2016, Browser-based / Link:
-Deepanjan Mukhopadhyay, Measure Me Twice, Cut Me Once: Again, 2017, Archival Pigment Print
-Deepanjan Mukhopadhyay, Measure Me Twice, Cut Me Once: Provisional, 2017, Archival Pigment Print
-Deepanjan Mukhopadhay, CURSE: A Study in Acts of Violence, 2017, Looped HD video containing samples of motion capture data
-Deepanjan Mukhopadhyay, Code-switching, 2017, LCD screen embedded in wall, magazine cutouts, text animation 

© 2020 Deepanjan Mukhopadhyay