Biography

Contemporary perceptions of female sexuality are deeply influenced by Foucauldian biopolitics, religious habituations, socio-political constructs and psychosomatic effects. The pharmacopornographic [1] regime of the XXI century further complicates this perspective due to an exaggerated tilt towards techno-capitalism, global media and bio-technologies. It is amongst these Deleuzian societies of control that Dipali Gupta’s art subverts notions of patriarchy, androcentric, and binarism, engaging the materiality of devices associated with sex, desire, and pleasure. The concept of the assemblage and Donna Haraway’s cyborg are at the heart of her explorations as she investigates the nexus of the sex toy and female sexuality in its constant state of becoming, regeneration and experimentation.

Layering concepts with artistic canons and appropriating the less significant genre of still life, Dipali’s work comments on painting as a historically male-dominated activity. She reconstructs a contemporary still life defying socio-political myths of reproduction, domestication, spectatorship, self and identity. Her videos further rupture signifiers of female sexuality with the absence of the female body which is traditionally defined to be sexual and objectified for the male gaze.

Dipali Gupta lives and works between Malaysia and Singapore and her work has been showcased across South East Asia exhibiting in Hong Kong, Kuala Lumpur, New Delhi, with collaborations, symposiums, and performances in Portugal and Singapore.

[1] Pharmacopornography: concept by Paul B Preciado in Testo Junkie – Sex, Drugs and Biopolitics in the Pharmacopornographic Era,

Singapore, Hong Kong, India, Malaysia, London

Exhibitions

2019 – Group Exhibition – Young Master’s Art Prize, Cynthia Corbett Gallery, London

2019 – Group Exhibition – I Am But Also, Ultra Super New. Singapore

2019 – Experimental – Apotheca, Suma Orientalis, Malaysia

2019 – Group Exhibition – Open Studios Penang, Penang

2019 – Group Exhibition – Bedroom Zine Club at Bedroom TKT, Hong Kong

2019 – Group Exhibition – Artwalk Little India at Ultra Super New in collaboration with Singapore Art Week, Singapore

2018 – Group Exhibition – TCC Art Moves, Singapore

2018 – Group Exhibition – Sound Reasons, Korean Cultural Centre, New Delhi

2018 – Group Exhibition – Fan Death in Bedroom, Hong Kong – The Little Death

2018 – Solo Exhibition   – Chan Davies Art Prize 2018, Chan + Hori Contemporary, Singapore – O Her!

2018 – Group Exhibition – MeshMinds 1.0, Art Science Museum, Singapore – Singapore Sound Sculptures

2018 – Group Exhibition – ASEAN Pravasi Bharatiya Divas, High Commission of India, Singapore

2017 – Group Exhibition – One Night Only, McNally School of Fine Arts – #HerPleasure Performance

2017 – Collaboration with BA (Hons) Musical Theatre, McNally School of Fine Arts – Picasso’s Women

2016 – Group Exhibition – One Night Only, LaSalle College of the Arts, Singapore

2015 – Group Exhibition – Collective Consciousness, The Arts House, Singapore

2019 – Speaker – FEMeeting 2019, Portugal

2019 – Panel Discussion – Panelist S.E.A. Focus – Art Making in Singapore, Opportunities and Challenges

2019 – Writer – Art & Market – artandmarket.net

2018 – Dissertation Presentation Seminar – Trans/Missions 2018 – McNally School of Fine Arts

2018 – Writer – Praxis Press – Review of MA Symposium 2018

2017 – Writer – Praxis Press – Review of Singapore Biennale 2017

 

Education and Work Experience

August 2015 – 2018

Bachelor of Fine Arts, McNally School of Fine Arts, LaSalle College of the Arts, Singapore

2014

Certificate in Western Art, Nanyang Academy of Fine Arts, Singapore

Certificate in Abstract Art, Nanyang Academy of Fine Arts, Singapore

2013

Docent – Singapore Art Museum

Certificate in Modern Art History, LaSalle College of the Arts, Singapore

Certificate in Drawing Using the Right Side of the Brain, LaSalle College of the Arts, Singapore

Assistant Curator, Redress, a non-profit art show for Bamboo Networks, Singapore

2012

Counselor, Anonymous Testing Clinic, Action for Aids

2011 – 2002: Marketing & Advertising

Manager – Marketing and Brand – Kalpataru Retail Ventures Pvt. Ltd, Mumbai

Group Brand Director – Bates Asia, Mumbai

Deputy Manager, Marketing – Future Group, Mumbai

Strategic Planner – Lowe Lintas, Mumbai

Account Manager – Lowe Scanad, Nairobi, Kenya

Senior Account Executive – Ogilvy & Mather, Mumbai

2001: Higher Education

Master’s in Commerce & Economics, University of Mumbai, 2001

Post Graduate in Management and Business Administration, Mumbai Educational Trust, specialization – Marketing, 2001

Certified Bartender, Bollywood Movie Buff and Yoga fan

Research/Reading References

Haraway, Donna. Simians, Cyborgs, and Women: The Reinvention of Nature. | New York: Routledge, 1991. | Jones, Amelia. Body Art Performing the Subject. Minneapolis: University of Minnesota Press, 1998. | Mitchell, W J T. “What Do Pictures Really Want?” Visual Culture, Modernity, and Art History (1996): 71-82. Preciado, Paul B. | Testo Junkie, Sex, Drugs and Biopolitics in the Pharmacopornographic Era,. | New York: the Feminist Press, 2013. Gilles Deleuze, Felix Guattari. | A Thousand Plateaus: Capitalism and Schizophrenia. | Minneapolis: University of Minnesota Press, 1987. Comella, Lynn. Vibrator Nation. | Durham and London: Duke University Press, n.d. Gilles Deleuze, Felix Guattari. | A Thousand Plateaus: Capitalism and Schizophrenia. Minneapolis: University of Minnesota Press, 1987. | Yen, Yuehping. Calligraphy and Power in Contemporary Chinese Society. New York: RoutledgeCurzon, 2005. | Pocius, Genevieve. “Temporality, Spatiality and Looking in Chantal Akerman’s Jeanne Dielman, 23 Quai du Commerce, 1080 Bruxelles (1975) and Agnès Varda’s Cléo from 5 to 7 (1962).” 2015. http://digitalrepository.unm.edu/fll_etds. | MUSAC. Lexcture Performance, New Artistic Formats. 2017. <http://conferenciaperformativa.org/en/project/>. | Milder, Patricia. Teaching As Art The Contemporary Lecture Performance. 2010. <http://www.mitpressjournals.org/doi/pdf/10.1162/PAJJ_a_00019>.