The Trap That Subodh Gupta and Riyas Komu Are In

(keeping safe distance is the best policy; Subodh Gupta's Very Hungry God)

Revolution or social change enabled by technology has increased the pace of everything and the idea of immortality has been reduced to small packets of satisfaction with a closer expiry date. If we had to wait many years to deliver goods, justice and retribution, today with the aid of technology it happens in no time. When social dynamics changes in this fashion, the rise and fall of socio-political and cultural icons also happen in the same pace. Art market boom brought forth several art heroes and with the collapse of the market many of those heroes also went into oblivion. The latest phenomenon is #metoo which has exposed many dignified personalities of their ugly faces that stink of sexual predation.

The latest one to fall is Subodh Gupta, an artist who grew beyond his own imagination to become a global icon of Indian art. Hailing from a small town in Bihar, with no good English and no good academic knowledge and also with no good craft or skill, Subodh Gupta could position himself at the top of the market aided by the spin doctors of art market and by his own raw cleverness. His growth was phenomenal and could be sufficed in a line: ‘Thus Subodh Gupta became a global art star.’ All what could precede that one line depends largely on how he has narrated his own artistic journey or on the hagiographic writings masqueraded as well thought out theoretical studies on his art by Italian scholars (all tailor made for the market, one should say) and other soothsayers from elsewhere. In short Subodh Gupta was not an artistic phenomenon but a market phenomenon. The global art market needed local heroes from all over the world that boasted a list of super-rich people and a billowing market with aspiring art collectors, buyers and investors.

(golden pinches from behind- Subodh Gupta)

The phenomenon was simply a gambling game that could have been played in real estate sector or in any other investment market. Like any other transaction in the market needs ‘goods’, it also required symbolic values attached to these goods and the makers of it. While the brand of a vehicle or the location of a property mattered a lot in the symbolic value exchanges, art market also needed a brand around which all the symbolic values of art goods could accumulate. Subodh Gupta was simply that one person to whom the symbolic values were attributed. In this clever ploy played by a handful of people who managed funds and moved the art market worked well as they could establish a new kind of art that needed only the artistic name and the symbolic value not really his design, intelligence or executive powers in making a work of art. His job was to parrot a custom made script created by the brains behind his works and his studio. “Start with Rs.3 Crores and above, if not, please have a cup of tea and leave,” an art enthusiast once visited Subodh Gupta’s studio in Gurgaon was told by two heads of a major gallery in Delhi that deal with Subodh Gupta’s works exclusively. The visitor had sought an appointment not to buy his art but to meet him and invite him for a project. The visitor was never allowed to meet Mr.Gupta, who was ‘busy’ for the visitor had no access to Rs.3 crores.

Now Subodh Gupta has been accused of sexual harassment in an instagram handle as a part of the ongoing #metoo campaign. Though a few small things were also caught in the anonymous trail of stories of sexual harassment in the handle the big ones named were Riyas Komu, Valasan Koorma Kolleri, Gaurav Bhatia and now Subodh Gupta. Riyas Komu was removed from the organizing committee of the KMB and also he was divested of his responsibilities as a contributing curator of the Serendipity Art Festival to be held in Goa early next year. The second wicket to fall is Subodh Gupta who, ironically, is also a guest curator in the forthcoming Serendipity Art Festival. Subodh Gupta has pulled himself out of the festival also the organization has severed their connections with him. Though Subodh Gupta has denied his alleged misconducts with girls, three major galleries dealing with his art, namely Nature Morte, Hauser Wirth and Gallery Continua have technically criticized him and categorically said that they have a ‘zero tolerance’ approach towards sexual harassment in the work place. This criticism on the artist and the apparent distancing from him for the time being have surprised the observers though that is the politically correct thing that they can do at this juncture for #metoo is not a local phenomenon but an international one that has brought down many big trees in the cash rich, fame rich and partiarchal fashion and film industry.

(We don't ask for it. Subodh Gupta in Vogue cover)

“Why exactly did you come here?” asked Riyas Komu to the woman artist who came to Kochi while he was feeling her up in a bar where curiously only those two were present at that given time. “Do you think that I should fuck her tonight?” asked Subodh Gupta to a friend as the artist eyed a young female assistant (both reported by the herd and scene instagram account). What might have prompted them to ask such questions? Was it their absolute maleness which they thought was extremely irresistible to the female artists or assistants who come around them? Was it the very idea that they had everything in the world and they could do anything with anybody if they wanted? Or did they think that art world is like that where aspiring young women come around only to be laid so that they could climb up in their careers? Were these artists simply power blinded? In my opinion, all these could be rolled into one to find the reason for their unwanted advancing towards the women artists.

Absolute patriarchy and male arrogance make someone with some fortune and fame in hand so power drunk and blind that makes them let go of their sense of discerning. While dignity is demanded from those people whom the women artists admire and respect these people take it as a sign of invitation. One must remember what Tarun Tejpal, the veteran news person had said in a similar situation; he said he has misjudged the situation. That means he had thought the young journalist’s proximity and confidence with him as an invitation to bed. Valsan Koorma Kolleri, a good old man whose trail of harassing females has been known amongst his friends but often thought that his approach was either fatherly or avuncular until it was proven otherwise by young girls who were younger than his own daughter. Such a shame! This was what exactly the senior journalist, Gowridasan Nair of the Hindu newspaper did to the daughter of his own friend and confidante.

(Mud on person;Subodh Gupta in an early performance)

With the gallery distancing from Subodh Gupta and making their unambiguous statement regarding workplace sexual harassment, one thing is clear that the forward journey of Subodh Gupta is a bit difficult. However, there is some ambiguity in the disowning statement of the galleries. They have not made it clear that whether they would be dealing with Subodh Gupta in future or not. There are two clear scenarios now: One, they would stop dealing with Subodh Gupta completely. Two, they will wait for the merit of the case to roll out with time and once the dust is settled they would revive Subodh Gupta with a brand new exhibition or a completely changed personality. The first scenario is distant and remote for such an investment has gone into Subodh Gupta’s works so it is very difficult to ‘kill’ all those capital and profits in one go. The second scenario is feasible because unless someone comes out with a name and files a case against Subodh Gupta, no legal actions can be taken against him. Even if someone files a case he has the wherewithal to deal with it even if it is a protracted fight within the legal system of India. This should give some hope to Subodh Gupta and Riyas Komu. Both of them could hope that they could come out clean at some stage.

But that is easier said than done. The fortunes could change overnight. We have many such examples: from Vijay Malya to Nirav Modi (both of them are now fugitives), Lalu Prasad Yadav to Subrato Roy. In Indian politics now winds are changing their directions. Anything could change at any time. In Bollywood both Shakti Kapoor and Shiney Ahuja never came back after sex allegations. Tanushree Datta has created a huge dent in the image of Bollywood veteran Nana Patekar. Recently in Kerala, plagiarism has brought down the visibility and respectability of three major cultural figures such as Deepa Nishant, Shree Chithran and Sunil P Ilayidam. There is something called public ire. One cannot say how public would react once such grave allegations are made against the celebrities. When Riyas Komu’s name was mentioned in the inaugural function of the present edition of the KMB there were oppositions from the audience. When Riyas Komu was seen hanging out in the KMB venues, some women activists raised objection. Subodh Gupta is currently in a glass cage and what would happen to him if he dares to come out of it, none can predict. We should not forget one of the top names in Chintan Upadhyaya who is languishing in a Jail in Thane. Even his rehabilitation in the art scene after his release seems to be doubtful for market is never lenient to aberrations if it is not willing pornography. Film star Dileep’s fortunes have dipped abysmally after he was jailed for harassing a fellow actress in the Malayalam film industry.

(Precarious balancing: Subodh Gupta with his work)

In that given context and backdrop, whatever kind of money riding on Subodh Gupta’s name and works, the concerned agencies may not be comfortable to work with him again. Nature Morte has a woman co-owner and director and it would be difficult for her to endorse a sexual aggressor which would in fact create road blocks to her own business in future. So are the women professionals in the Hauser Wirth and Gallery Continua. They must be less tolerant towards an aggressor of Subodh Gupta’s caliber. Here Subodh Gupta is not a problem but the money riding on his name. What about propping up a new star in his place and siphoning all those riches into that new art phenomenon in the art scene? Nature Morte has a few more big names in their stock. They just need to find strategies to promote the artist duo like Tukral and Tagra who have found their footing not only in art but also in advertisement, design and gaming. When in power everyone feels that he is invincible, but out of power, he is a nobody whatever riches one has. Both Subodh and Riyas may be salvaged from the troubles but they cannot seek public approval again. To gain public approval they have to go through the legal route. But the trap is that the anonymous women who have come out to expose these artists have not yet gone to the court. So the denial from these guys would remain a wild cry and the allegations will remain as allegations. So long as the allegations remain, the public appearances of Subodh, Riyas, Valsan and many others would bring unexpected consequences; even if these public appearances involve a function or an exhibition itself. The only way out for these artists is to drag the herd and scene instagram to court. But the trap is then they will file counter affidavits with real names and real incidents. It will be difficult for these artists to get out of such legal mazes.