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  1. Los Angeles Review of Books

    Michael Kurcfeld 

    One thinks of India as a land of vibrant and varied color, of tile and textiles in everyday life that ravish with the most exotic hues. But Soham Gupta decided early on, when he dropped out of college at a difficult emotional turning point, that he would shoot exclusively in stark black-and-white. His subject became the unfortunate denizens of Calcutta’s meaner streets — prostitutes, junkies, lepers, the insane — whom he cajoled and befriended enough to gain their acceptance, and even their collaboration. Gupta’s nocturnal series, Angst, enshrouded them in an impenetrable, dolorous black from which they seemed to emerge as if from the photographer’s own imagination. The play of harsh light on their bodies and faces creates a theatrical atmosphere that almost redeems their deprivations and the pitiless blight of Calcutta. They are disturbing portraits, some difficult to look at without cringing (particularly that of a man so disfigured by a genetic condition called neurofibromatosis that his face sags pendulously down to his chest as if melting). But Gupta’s unflinching capture of the city’s underbelly is an artistic coup that manages to appear brave and sympathetic, not exploitive. He insists that these ghostly figures are beautiful to him, and it’s not hard to believe it’s true because of his own past alienation as a frail child. In some ineffable way, he identifies with them.
    The title of Gupta’s self-published book, Diary/Fiction, reveals his aim — to entwine the hellish scenes he encounters on his nightly rambles with his own inventions. Like characters in a Beckett play, the people that lurch and swoon in front of his camera seem to peer out from an absurd world in utter resignation, neither defeated nor saved. Though the series is ultimately a critique of the vast disparity between the wealthy class and those barely surviving, living side by side in an extremely congested urban grid, it is also a vivid reckoning of just how many shades of humanity exist in the lower depths. One might guess that Gupta had been inspired by, say, Diane Arbus in his choice of marginalized human oddities. In fact, he was incited far more by a book — Last Exit to Brooklyn, by Hubert Selby Jr. “I think my work has the same harshness and cruelty that characterizes his writing.”
    A passage from Gupta’s book, mounted at the entrance to the exhibition of Angst seen at the Delhi Photo Festival, attests to his own acrid literary taproot:


    But our Calcutta, this crumbling city, it echoes with the cries of pain and the howls of agony, everywhere during heartbreaking winters, when the other half is having the most beautiful time of their lives. You just got to lend your ears to those silent cries, whether in the depths of the neighborhood garbage vat, by the trapped soul of the stinking dead cat and the unconscious mad man, flies buzzing around them, or in that country liquor bar buzzing with the grumbles of impoverished melancholy drunkards […]. The city, like that forgotten pot of tea, feels so bitter the tea-leaves resting in the teapot’s womb — like your love for Calcutta — responsible for all the bitterness.

     

     

     

     

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    FR

    La Nouvelle République

    Sébastien Acker

    C'est un garçon incroyable. Frontal. 28 ans, une intelligence rare qui affleure dès les premiers mots : « Je veux produire beaucoup, beaucoup, beaucoup parce que je veux avoir plus tard le regard le plus large possible sur les années de ma jeunesse ».

    La détermination rivée à la flamme de son regard, Soham Gupta écrase la vérité à grands coups de flash. Visible à l'espace Michelet, sa série sur les pauvres de Calcutta, rencontrés au plus près dans un parc de sa ville natale, résume on ne peut mieux son travail. Qu'elle soit lépreuse et difforme, d'une tristesse abyssale ou aux confins de la folie, la vérité inonde ses portraits. Ce qui change fondamentalement des images déjà vues sur le sujet, c'est son aptitude à exprimer le réel sans verser dans le pathos du misérabilisme. L'image est là, telle quelle, il la livre à la liberté de chacun avec une sagesse impressionnante pour un petit bonhomme d'à peine 30 ans. « C'est mon langage. Sans doute une façon radicale d'exprimer ma propre colère ou ma frustration. Un peu comme ces femmes russes qui montrent leurs seins pour se faire entendre ».

    " Une célébration du corps "

    La nudité, c'est d'ailleurs le thème qu'il a choisi à Niort. Une première. A mille lieues des codes pudiques de sa culture, ce qui a été un choc pour lui. Des Niortais se prêtent au jeu. La vérité est là, nue, de pied en cape face à l'objectif. « Je ne cherche pas à prendre de jolies photos, des choses typiques. C'est une célébration du corps tel qu'il est, dans le plus grand respect de ses imperfections », lâche-t-il. Là non plus, aucune ambiguïté. Pas une once d'érotisme ni de chemins tordus.
    Il avait découvert la photo en 2005 avec le boîtier d'anniversaire de son père. Il s'y est mis sérieusement depuis 2009. « Une façon d'évacuer les choses négatives et d'être plus heureux avec moi-même », confie le diplômé en journalisme.

     

     

     

    EN

    La Nouvelle République

    Sébastien Acker | Translated by Paul Muse

    He is an amazing boy. Up-front, 28 years old, with a rare intelligence that is revealed as of his opening words: ‘ I want to produce lots and lots and lots of work because I want to have later the broadest possible view of the years of my youth.’
    With determination shining in his eyes, Soham Gupta pins down truth in sudden bright flashes. On show at Espace Michelet, his series on the downtrodden of Calcutta, met up close in his hometown, sums up his work better than any other could. Whether of people suffering from leprosy and misshapen, of abysmal sadness or on the edge of madness, his portraits are brimming with truth. What is essentially different from other such images is the author’s ability to express the subject’s squalid reality while not falling into pathos. The image is there, as is, and he delivers it for everyone’s free interpretation with wisdom that is impressive in a young man of almost thirty. ‘It’s my language, no doubt a radical way of expressing my own anger or frustration. A bit like those Russian women who show their breasts to be heard.’

    A CELEBRATION OF THE BODY

     Nudity, as it happens, is the theme he chose to explore in Niort. A first. A far cry from the modest codes of his culture, and a shock for him. As it turns out, the people of Niort play the game. The truth is there, from head to toe, facing the camera.
    ‘I am not trying to take pretty pictures, typical things. It is the celebration of the body as it is, in utmost respect for its imperfections,’ he says. Here again, no ambiguity. Not an ounce of eroticism or twisted motives.
    He first discovered photography in 2005, using his father’s birthday camera. He has been working on it seriously since 2009. ‘A way of evacuating the negative feelings and being happier with myself,’ says the journalism graduate.

      

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    Laatikkomo

    Interview with Soham Gupta

     


    L: Where are you from? What cities, and/or countries have you lived in – or what places have in-fluenced you?
    SG: I once met a man in Cambodia whom I asked, ‘And where are you from, Sir?’
    The gentleman replied, ‘I am from my mother!’
    So, I am also from my mother, I’d say.
    Currently based in Calcutta.
    And I share a love-hate relationship with this great city – I despise it as much as I love it; every nook, every cranny is a museum of memories – the city, it claws onto me no matter how far I try to go. With the passage of time, I am hating my existence here more and more, even as I find myself rooted deeper and deeper within.
    I am urban. I love cities. I love the stink of urine around Roma Termini, I love the whiff of cheap perfume in Belleville, Paris, as I pass by Chinese whores. I love silent long rides in an auto rickshaw zipping down the empty roads of Delhi past the rush hour in the autumn evening. I am obsessed about secrets. Secrets every big city throbs with.
    To me, the sight of impoverished drunkards warming themselves by the pyres of a crematorium on a winter night is probably the most inspiring of all sights.

     

    L: What is your earliest memory of photography?
    SG: My parents photographed me obsessively while I was growing up – those glossy images and cheap albums constitute my earliest memory of photography.

     
    L: Your images are dark – photographed in the dark, but the lighting in your images is soft even when using a flash, which is unusual. What attracts you to dark light and without revealing all your professional secrets what light sources are you using?
    SG: I used to work with an external flash, it was frustrating; but eventually I sold it off, relying solely on the in-built pop-up flash of my camera.

     
    L: Many of your projects are photographed in impoverished environments and dense cityscapes. Are you attracted to these particular environments or are there other kinds environments that you would be interested in photographing if possible?
    SG: I respond to themes of loneliness and isolation, of abuse and pain, of scarred pasts and uncertain futures, sexual tensions and existential dilemmas. My work stands testimony to the requiem of countless dreams, even as it is a record of my angst-ridden youth.

     
    L: Photography is often a tool for telling stories but you are also a writer. Are somethings said more easily or more effectively with words versus images (or vis versa) or do you see image and words as complimentary to each other?
    SG: For me, images and words are always complementing each other. Before I was seriously into photography, I was studying Comparative Literature and wanted to be a writer. Writing is my first love. Being a writer and a photographer at the same time is convenient – at times when I am sick of making images, I write. And then, when I am sick of writing, I make images.

     
    L: In your series “Don’t let them know” you are leaving half of the work of interpretation for the viewer. How important is it to leave part of the story unsaid?
    SG: I see ‘Don’t Let Them Know’ as a book without words – I am still collecting and editing images, I have no clue how it will ultimately take shape.