Shilpa Gupta at www.tate.org.uk/netart

Posted by Jemima Rellie | Sat Nov 8th 2003 8:03 a.m.

Shilpa Gupta's new work Blessed Bandwidth invites visitors to log on, choose a religion and get blessed. Set against a world divided by faith, the work explores religion, globalisation and the complex cultural and political dynamics of the internet. Commissioned by Tate Online (http://www.tate.org.uk), it juxtaposes the real and virtual worlds and encourages visitors to consider how these spaces overlap and merge.

Two critical texts accompany the piece:
God, Prayer and Politics: The Work of Shilpa Gupta, Heidi Reitmaier
Blessed-bandwidth.net: it's super authentic, Johan Pijnappel

Both texts and the work itself can be found via http://www.tate.org.uk/netart/blessedbandwidth/
  • Michael Szpakowski | Sat Nov 8th 2003 12:02 p.m.
    < the
    work explores religion, globalisation and the
    complex cultural and political dynamics of the
    internet.>
    Does it? How does it do this?
    So often I read these kind of assertions in
    artist's/curatorial statements.
    I took a look and it feels pretty ordinary and
    formulaic to me.
    Maybe I'm being uncharitable or missing something.
    Maybe I'm not looking in the right way.
    I'd be interested to know what others think.
    michael

    Commissioned by Tate Online
    > (http://www.tate.org.uk), it juxtaposes the real and
    > virtual worlds and encourages visitors to consider
    > how these spaces overlap and merge.
    >
    >
    > Two critical texts accompany the piece:
    > God, Prayer and Politics: The Work of Shilpa Gupta,
    > Heidi Reitmaier
    > Blessed-bandwidth.net: it's super authentic, Johan
    > Pijnappel
    >
    > Both texts and the work itself can be found via
    > http://www.tate.org.uk/netart/blessedbandwidth/
    >
    > +
    > -> post: list@rhizome.org
    > -> questions: info@rhizome.org
    > -> subscribe/unsubscribe:
    > http://rhizome.org/preferences/subscribe.rhiz
    > -> give: http://rhizome.org/support
    > -> visit: on Fridays the Rhizome.org web site is
    > open to non-members
    > +
    > Subscribers to Rhizome are subject to the terms set
    > out in the
    > Membership Agreement available online at
    http://rhizome.org/info/29.php

    =====
    *** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
    http://www.somedancersandmusicians.com/Some_QuickTime_Movies
    http://www.somedancersandmusicians.com/ ***

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  • curt cloninger | Sat Nov 8th 2003 5:57 p.m.
    one of my students made this piece in a couple of weeks:
    http://mmas.unca.edu/~amallen/guardianangel.html

    Its copy is more amusing, its concept is more focused, it more thoroughly chews what it bites off, because it presumes to bite off less. In short, the piece critiques fast food religion. At a deeper level, it laments the corrosive aspects of consumer culture on human spiritual aspirations. I could write a couple of papers on it (blah blah blah), but I just rented a Young Ones DVD, and later I mean to take a nap.

    Its artist statement is in white html at the bottom of the first page. Select all or view source to see it. Even without the artist statement, the critical intention of the piece is self-evident without beating you over the head with self-conscious irony. And if you're tricked into thinking the piece is real (as some people are with blackpeopleloveus.com), then it serves a critcal purpose along those lines as well.

    I think she got an A- or a B+ for it.

    ++++++++++++++++++++++++

    The tate piece blenderizes half-baked critiques of fast food religion, all religion, ritual, partisanship, globalisation, and war. All it lacks is an autogenerative logo and a psuedonymous etoy-ish art corp creator, and it would have filled in all the requisite net.art blanks. Oh, and surveilance cameras. There must always be something about surveilance cameras!

    how you gonna keep em down on the farm
    now that outer space has lost its charm
    http://www.thedance.net/~roth/SONGS/20th.html

    -
    -
    -

    Michael Szpakowski wrote:

    > < the
    > work explores religion, globalisation and the
    > complex cultural and political dynamics of the
    > internet.>
    > Does it? How does it do this?
    > So often I read these kind of assertions in
    > artist's/curatorial statements.
    > I took a look and it feels pretty ordinary and
    > formulaic to me.
    > Maybe I'm being uncharitable or missing something.
    > Maybe I'm not looking in the right way.
    > I'd be interested to know what others think.
    > michael
    >
    > Commissioned by Tate Online
    > > (http://www.tate.org.uk), it juxtaposes the real and
    > > virtual worlds and encourages visitors to consider
    > > how these spaces overlap and merge.
    > >
    > >
    > > Two critical texts accompany the piece:
    > > God, Prayer and Politics: The Work of Shilpa Gupta,
    > > Heidi Reitmaier
    > > Blessed-bandwidth.net: it's super authentic, Johan
    > > Pijnappel
    > >
    > > Both texts and the work itself can be found via
    > > http://www.tate.org.uk/netart/blessedbandwidth/
    > >
    > > +
    > > -> post: list@rhizome.org
    > > -> questions: info@rhizome.org
    > > -> subscribe/unsubscribe:
    > > http://rhizome.org/preferences/subscribe.rhiz
    > > -> give: http://rhizome.org/support
    > > -> visit: on Fridays the Rhizome.org web site is
    > > open to non-members
    > > +
    > > Subscribers to Rhizome are subject to the terms set
    > > out in the
    > > Membership Agreement available online at
    > http://rhizome.org/info/29.php
    >
    >
    > =====
    > *** QuickTime large QuickTime NUMBER, it is small, office being nearly
    > office OF the office OF the COMMANDS office OF the film or many nearly
    > time the small order where that, that is the office OF the office OF
    > the COMMANDS QuickTime when into the film, is given, it gives the
    > office OF the
    > http://www.somedancersandmusicians.com/Some_QuickTime_Movies
    > http://www.somedancersandmusicians.com/ ***
    >
    > __________________________________
    > Do you Yahoo!?
    > Protect your identity with Yahoo! Mail AddressGuard
    > http://antispam.yahoo.com/whatsnewfree
  • Michael Szpakowski | Sun Nov 9th 2003 5:31 a.m.
    Hi Curt
    < one of my students made this piece in a couple of
    weeks:
    http://mmas.unca.edu/~amallen/guardianangel.html

    Its copy is more amusing, its concept is more
    focused, it more thoroughly chews what it bites off,
    because it presumes to bite off less.>
    I absolutely agree. I'd go further & say that
    precisely *because* of its terseness, its concreteness
    of content and its thoroughness of execution ( except
    for the misspelling of 'promiscuous')
    it actually starts to achieve some of the pretensions
    of the Tate piece.
    Isn't this often the case with good art that the truth
    about a small thing, well told, then has many broader
    and more universal implications?
    When you have work like this it starts to be
    meaningful to say that the piece is 'about this' or
    'about that', 'does this' or 'does that' (although I'm
    grateful that the artist herself didn't, or at least
    not in that horribly portentous way).

    < I think she got an A- or a B+ for it>

    You're a hard man- I'd have given her a straight A.
    best
    michael

    =====
    *** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
    http://www.somedancersandmusicians.com/Some_QuickTime_Movies
    http://www.somedancersandmusicians.com/ ***

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  • Jemima Rellie | Mon Nov 10th 2003 7:05 a.m.
    Hi there Michael and I'd suggest it does for the following reasons:

    Religion >
    - The central subject for the work is world religion, from the
    perspective on an artist based in Mumbai.

    Globalisation >
    - Shilpa did not travel to the UK at any point in the commissioning
    process (This was primarily a question of how best to use the limited
    funds available. We're hoping to get Shilpa over in the Spring to
    participate in some related educational events). All communication
    between Tate and the artist and took place via pcs and phones.
    - What's more, I'd suggest that the work encourages visitors to reflect
    on the effect of globalisation on religion (and vice versa), and how
    religion on a state/global scale blurs with politics.

    Complex cultural and political dynamics of the internet >
    - The site homepage is IP specific and varies depending on the
    geographical point of access. In the UK, the first religion we are
    offered is Hindu.
    - Furthermore, the site is hosted in India, not with the majority of
    Tate Online's content, in Glasgow, which (I reckon) raises interesting
    questions about the relationship of the museum to such practice.
    - Shilpa has placed ads on Google to try and attract new, non net
    art/art museum visitors to engage with the very public work.

    This is my on the fly response, but I'd also really recommend reading
    the 2 texts that accompany the piece.

    : )

    Jemima

    -----Original Message-----
    From: Michael Szpakowski [mailto:szpako@yahoo.com]
    Sent: 08 November 2003 16:02
    To: Jemima Rellie; list@rhizome.org
    Subject: Re: RHIZOME_RAW: Shilpa Gupta at www.tate.org.uk/netart

    < the
    work explores religion, globalisation and the
    complex cultural and political dynamics of the
    internet.>
    Does it? How does it do this?
    So often I read these kind of assertions in
    artist's/curatorial statements.
    I took a look and it feels pretty ordinary and
    formulaic to me.
    Maybe I'm being uncharitable or missing something.
    Maybe I'm not looking in the right way.
    I'd be interested to know what others think.
    michael

    Commissioned by Tate Online
    > (http://www.tate.org.uk), it juxtaposes the real and
    > virtual worlds and encourages visitors to consider
    > how these spaces overlap and merge.
    >
    >
    > Two critical texts accompany the piece:
    > God, Prayer and Politics: The Work of Shilpa Gupta,
    > Heidi Reitmaier
    > Blessed-bandwidth.net: it's super authentic, Johan
    > Pijnappel
    >
    > Both texts and the work itself can be found via
    > http://www.tate.org.uk/netart/blessedbandwidth/
    >
    > +
    > -> post: list@rhizome.org
    > -> questions: info@rhizome.org
    > -> subscribe/unsubscribe:
    > http://rhizome.org/preferences/subscribe.rhiz
    > -> give: http://rhizome.org/support
    > -> visit: on Fridays the Rhizome.org web site is
    > open to non-members
    > +
    > Subscribers to Rhizome are subject to the terms set
    > out in the
    > Membership Agreement available online at
    http://rhizome.org/info/29.php

    =====
    *** QuickTime large QuickTime NUMBER, it is small, office being nearly
    office OF the office OF the COMMANDS office OF the film or many nearly
    time the small order where that, that is the office OF the office OF the
    COMMANDS QuickTime when into the film, is given, it gives the office OF
    the http://www.somedancersandmusicians.com/Some_QuickTime_Movies
    http://www.somedancersandmusicians.com/ ***

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  • Michael Szpakowski | Mon Nov 10th 2003 7:19 a.m.
    Hi Jemima
    thanks for the reply.
    Nothing of what you've said about the piece, however,
    is immediately apparent from the piece itself, which I
    still find pretty lacklustre.
    Plus, I'm just personally uncomfortable with the
    amount of meta artistic sludge one has to trudge
    thorugh in order to "get" a piece like this.
    I can't help feeling that the worthy things you claim
    the piece does could probably be better accomplished
    by a terse little pamphlet on religion and
    globalisation.
    Did you take a look at the student piece that Curt
    referenced?
    I think it does a lot of what you claim for the Tate
    piece with considerable more economy and force.
    I will take a look though at the Tate documentation
    and have a think about it, as you suggest.
    best
    michael

    --- Jemima Rellie <Jemima.Rellie@tate.org.uk> wrote:
    > Hi there Michael and I'd suggest it does for the
    > following reasons:
    >
    > Religion >
    > - The central subject for the work is world
    > religion, from the
    > perspective on an artist based in Mumbai.
    >
    > Globalisation >
    > - Shilpa did not travel to the UK at any point in
    > the commissioning
    > process (This was primarily a question of how best
    > to use the limited
    > funds available. We're hoping to get Shilpa over in
    > the Spring to
    > participate in some related educational events). All
    > communication
    > between Tate and the artist and took place via pcs
    > and phones.
    > - What's more, I'd suggest that the work encourages
    > visitors to reflect
    > on the effect of globalisation on religion (and vice
    > versa), and how
    > religion on a state/global scale blurs with
    > politics.
    >
    > Complex cultural and political dynamics of the
    > internet >
    > - The site homepage is IP specific and varies
    > depending on the
    > geographical point of access. In the UK, the first
    > religion we are
    > offered is Hindu.
    > - Furthermore, the site is hosted in India, not with
    > the majority of
    > Tate Online's content, in Glasgow, which (I reckon)
    > raises interesting
    > questions about the relationship of the museum to
    > such practice.
    > - Shilpa has placed ads on Google to try and attract
    > new, non net
    > art/art museum visitors to engage with the very
    > public work.
    >
    > This is my on the fly response, but I'd also really
    > recommend reading
    > the 2 texts that accompany the piece.
    >
    > : )
    >
    > Jemima
    >
    >
    > -----Original Message-----
    > From: Michael Szpakowski [mailto:szpako@yahoo.com]
    > Sent: 08 November 2003 16:02
    > To: Jemima Rellie; list@rhizome.org
    > Subject: Re: RHIZOME_RAW: Shilpa Gupta at
    > www.tate.org.uk/netart
    >
    >
    > < the
    > work explores religion, globalisation and the
    > complex cultural and political dynamics of the
    > internet.>
    > Does it? How does it do this?
    > So often I read these kind of assertions in
    > artist's/curatorial statements.
    > I took a look and it feels pretty ordinary and
    > formulaic to me.
    > Maybe I'm being uncharitable or missing something.
    > Maybe I'm not looking in the right way.
    > I'd be interested to know what others think.
    > michael
    >
    > Commissioned by Tate Online
    > > (http://www.tate.org.uk), it juxtaposes the real
    > and
    > > virtual worlds and encourages visitors to consider
    > > how these spaces overlap and merge.
    > >
    > >
    > > Two critical texts accompany the piece:
    > > God, Prayer and Politics: The Work of Shilpa
    > Gupta,
    > > Heidi Reitmaier
    > > Blessed-bandwidth.net: it's super authentic, Johan
    > > Pijnappel
    > >
    > > Both texts and the work itself can be found via
    > > http://www.tate.org.uk/netart/blessedbandwidth/
    > >
    > > +
    > > -> post: list@rhizome.org
    > > -> questions: info@rhizome.org
    > > -> subscribe/unsubscribe:
    > > http://rhizome.org/preferences/subscribe.rhiz
    > > -> give: http://rhizome.org/support
    > > -> visit: on Fridays the Rhizome.org web site is
    > > open to non-members
    > > +
    > > Subscribers to Rhizome are subject to the terms
    > set
    > > out in the
    > > Membership Agreement available online at
    > http://rhizome.org/info/29.php
    >
    >
    > =====
    > *** QuickTime large QuickTime NUMBER, it is small,
    > office being nearly
    > office OF the office OF the COMMANDS office OF the
    > film or many nearly
    > time the small order where that, that is the office
    > OF the office OF the
    > COMMANDS QuickTime when into the film, is given, it
    > gives the office OF
    > the
    >
    http://www.somedancersandmusicians.com/Some_QuickTime_Movies
    > http://www.somedancersandmusicians.com/ ***
    >
    > __________________________________
    > Do you Yahoo!?
    > Protect your identity with Yahoo! Mail AddressGuard
    > http://antispam.yahoo.com/whatsnewfree

    =====
    *** QuickTime large QuickTime NUMBER, it is small, office being nearly office OF the office OF the COMMANDS office OF the film or many nearly time the small order where that, that is the office OF the office OF the COMMANDS QuickTime when into the film, is given, it gives the office OF the
    http://www.somedancersandmusicians.com/Some_QuickTime_Movies
    http://www.somedancersandmusicians.com/ ***

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    Protect your identity with Yahoo! Mail AddressGuard
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  • Tamara LAI | Mon Nov 10th 2003 7:28 a.m.
    ----------
    De
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