Louisiana Museum of Modern Art
Gauri Gill – Untitled (2015)
- Description
- Specifications
- The Maker
The work is from the series "Acts of Appearance": In ordinary everyday scenes, the characters wear masks and appear confidently as "extra exotic"—in a humorous showdown with the clichés about indigenous society. The series is based on a close collaboration between Gauri Gill and artists from local tribes in the Indian state of Maharashtra.
Giving visibility to girls and women, particularly from rural areas dominated by patriarchal power structures, is a major driving force in much of Gill's work.
The same is the desire to emphasize a diversity of voices and points of view, which is expressed in experimental collaborations and collective works.
The portrait—based on close relationships with the people and places portrayed—forms the central focal point of her extensive body of work, which engages with poetic beauty, empathy, humor and political engagement.
From her base in New Delhi, Gauri Gill has attracted attention on the international art scene, not least at documenta in 2017 and the Venice Biennale in 2019, with an original body of work that encompasses several photographic genres—from classic documentary photography to, as here, staged tableaus and numerous works, created in collaboration with others.
- Brand:Louisiana Museum of Modern Art Denmark
- Country: Printed in Denmark
- SKU: LA-110812-FJ
- Material: Printed on paper.
- Dimensions:33.1" x 23.4" (A1)
From the beginning, the founder, Knud W. Jensen, intended for the museum to be a home for modern Danish art. But after only a few years he changed course, and instead of being a predominantly Danish collection, Louisiana became an international museum with many internationally renowned works.
Louisiana's close contact and collaboration with the international arts and cultural milieu has since been one of the museum's greatest strengths. And also one of the main reasons that it has been possible for Louisiana to present an exhibition program that has resonated so strongly with the public over the years. Louisiana has thus achieved a standing as one of the world's most respected exhibition venues, and in the future, it will be able to attract exhibitions and artists at a level that few other museums—either in Denmark or abroad—can match.
Knud W. Jensen put into action many of the period's visionary ideas about modern museum operation, including a desire for art to have a wide audience. It has always been the view at Louisiana that art is not just for an elite but includes experiences and visions for the many.
Why is it called Louisiana?
Many people wonder about the name of the museum. The short explanation is this—a nobleman and his three wives.
Knud W. Jensen chose to "take over" the name of the country house that he later converted to a museum. The property had been built and named in 1855 by Alexander Brun (1814-93), who was an officer and Master of the Royal Hunt and who married three women who were all named Louise.
Here at Louisiana, he was a pioneer in beekeeping and the cultivation of fruit trees.
From the beginning, it was Knud W. Jensen's vision to create a museum with soul, where the public could encounter artwork—not as something pretentious, but rather something that spoke directly to the viewer. And he emphasized the need for "supplementary content" that could help bring alive and enrich the environment: The more opportunities for experience that the program offers, the more Louisiana lives up to its idea—to be a 'musical meeting place' and a milieu that is engaged in contemporary life.
—Knud W. Jensen
