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He actively tried to involve the men who volunteered as subjects, printing contact sheets in London and sharing them to ensure that he had their consent to print the photographs, with the understanding that the images would not be shown at the time in India. Gupta, who was living in London at the time, returned to India to make photographs at cruising sites.
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These experimental pictures are the natural precursors to Gupta’s better-known series Exiles, which he shot from 1986 to 1987. Sunil Gupta, India Gate, 1987, from the series Exiles (A rare documentary image of gay subjects, looking out at a lake, which Gupta made from an elevated vantage point in Udaipur, was later used for the cover of Jeremy Seabrook’s 1998 book, Colonies of the Heart.) By explicitly foregrounding and orienting the bodies of his volunteers, either alone or in pairs, their gazes averted from the camera toward these monuments, Gupta inverts and refutes this historical gesture of erasure, expressly confirming the presence of these men and the culture of cruising that was a part of the fabric of Delhi. He marked gardens of historical monuments in Delhi as furtive destinations for these men, who, in those unaccounted hours between when work would end at five o’clock and dinner was served at seven, stepped outside their domestic, conventional family lives to have a casual tryst.įor ethical reasons, Gupta decided against simply taking documentary pictures of men who were actually cruising at these locations, as it was “too revealing of people who did not want to be seen.” Instead, he insisted on the visual presence of historical landmarks, recalling a strain of nineteenth-century colonial photography that exulted in the beauty of archaeological sites often evacuated of people, effectively erasing all indications of the society in which they existed.
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Gupta was aware that gay men navigate a city with a distinct agenda driven by searching for a partner or lover.
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They are constructed photographs, with Delhi not merely a backdrop for the experiences of the gay men Gupta directed but a subject itself. Unlike the other bodies of work that Gupta had in his portfolio at the time, either straightforward photojournalism or personal photography projects, these images were conceptually driven. Sunil Gupta, Towards an Indian Gay Image, Lake Pichola, Udaipur, 1983 The image reproduced in the Guardian comes from this group of fewer than ten gelatin-silver prints that, until recently, were rarely exhibited or published, and were later christened as Towards a Gay Indian Image (1982). Frustrated, Gupta made some staged photographs that imagined anonymous men purportedly cruising in various locations around Delhi. “No one wanted to be in a picture.” Gupta was staggered by how men had accommodated themselves to this situation, where it was not polite “in a Delhi drawing room” to discuss living an out gay life. He quickly realized through a friend, the historian Saleem Kidwai, that a gay underground did exist and that to connect with it all that was needed was “one telephone number.” It was “all word of mouth,” Gupta told me last year. While transiting through Delhi, Gupta, who had come out by the age of seventeen in Montreal, was curious about urban gay life there and wanted to take some pictures. Eugene Smith, he traveled back to India in 1980, receiving a student award from Thames Television to document poverty in the rural Ajmer district of Rajasthan. Having aspirations of being a social-justice photographer in the mode of W.
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Gupta, who was born in New Delhi, immigrated with his family to Canada in 1969, at the age of fifteen. “One of the best kept secrets in India is the practice of homosexuality, although there is no lack of practitioners from all social classes,” Gupta writes, noting the constant “fear of discovery” and that Indian society “requires the individual to dedicate his/her life to presenting a conventional puritanical public image.” Accompanying the concise text is a single black-and-white image taken by Gupta, picturing a lone man in a kurta, his face cropped from the frame and his body angled away from the camera toward the gardens of the grand Mughal mausoleum Humayun’s Tomb. On November 26, 1982, the Guardian, in its Third World Review section, ran a piece with the startling headline “They Dare Not Speak Its Name in Delhi: Sunil Gupta on the Secret Suffering of India’s Homosexual Community.” At the time, being gay in India was still illegal, as decreed by Section 377 of the Indian Penal Code, instituted in 1861 during the British rule of India.