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Third Text ( IF 0.3 ) Pub Date : 2021-01-20 , DOI: 10.1080/09528822.2020.1860391
Flora Dunster

Abstract

Sunil Gupta’s practice as a photographer has spanned generations, continents, and cities. Throughout, he has grappled with the question ‘what does it mean to be an Indian queer man?’ Gupta’s approach to photography reveals a perspective embedded in the postcolonial sites of Montreal and Delhi, and shaped by his artistic education in London. The use of staged documentary – which belies Gupta’s role as a key player in British photo theory – has worked to bring feeling and experience into representation, creating a photographic basis for identification as gay and/or queer Indian. Based on a conversation at the 2019 conference ‘Cruising the Seventies: Imagining Queer Europe then and now’, this article draws from Gupta’s testimony to map the ways in which his photographs answer to his question. It proposes that Gupta’s work challenges a Eurocentric visual vocabulary, and can offer tools for imagining how ‘queer Europe’ might be displaced and refigured.



中文翻译:

你有地方吗?

摘要

苏尼尔·古普塔(Sunil Gupta)的摄影生涯遍及几代人,大洲和城市。在整个过程中,他一直在努力思考“成为印度酷儿男人意味着什么?”这一问题。古普塔的摄影方法揭示了嵌入蒙特利尔和德里的后殖民地的景象,并受到他在伦敦的艺术教育的影响。分阶段的纪录片的使用(掩盖了古普塔在英国摄影理论中的主要角色)掩盖了人们的感受和经验,为识别同性恋和同性恋者打下了摄影基础。本文基于2019年会议的主题为``游荡七十年代:想像当时和现在的欧洲'',本文取材自古普塔的证词,描绘了古普塔的照片回答他的问题的方式。

更新日期:2021-02-25
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