Design activism forms the core of the latest exhibition – Gandi Baat – curated by Swarup Dutta, at gallery 47-A in the heritage are of Khotachiwadi in Mumbai. Stirring discourse and discussion during the political elections that are engaging with the country’s populus at large right now.
Why the title ‘Gandi Baat’? “The term “Gandi Baat” translates to “dirty talk” or “naughty conversation” in English, and it’s also the title of a Hindi film song. I chose it for its instant recognition and provocative nature, especially fitting for discussing ‘dirty politics’,” explains Swarup – a multidisciplinary art and design practitioner, educator, photographer, scenographer himself.
The exhibition brings to the fore a rather curiously nuanced exploration of political discourse through design. With each of the designers playing the strategic role of an activist, prompting thought processes and conversations with the viewers. “The idea is to foster a deeper understanding of the interconnectedness between design, activism, and politics,” he says.
The all-pervasive nature of politics in our country demands the dedication to this topic blazing through news, newsmakers, and even novice voters these days. There is amazing imagery, and layered metaphors that compose the collection on display, with bold red LPG cylinders masquerading as vote boxes, and mute mouths marking the melee. Call it the power of design activism to reignite crucial dialogues at the right time.
“I believe design activism has the power to disrupt complacency, cultivate empathy, and spark meaningful dialogue, ultimately fostering a more informed, engaged, and empowered voices. My efforts were definitely humble,” says Swarup. “I have co-created along with my collaborators, ‘discursive objects’ which are like my Trojan Horses; finding their way into urban affluent homes where they work as subtle provocateurs, gently nudging the audience to confront social- political issues and may be engage in meaningful conversations about them. From playful and direct to metaphoric and abstract, my approach to the project’s products reflects a spectrum of styles and techniques. This diversity mirrors the complexity of political issues and aims to captivate audiences with its rich tapestry of ideas.”
Scruffy faces wearing foxed expressions, an inverted rendition of the iconic Taj Mahal, peaceful expressions on lidded-faces, and more, run through the show. There are ruminations in textiles, scarp, ceramic…at the hands of artists Abhisek Ray, Achira Basu, Ashish Ghosh, Meenakshi Sengupta, Bazlur Rahaman ( Baiju), Phalguni Samanta, Soumitra Adhikari, Sumanta Chakroborty, Tamal Bhattacharya, Tulu Sarkar, Vivek Kumar, Samir Roy, Sanjita Sarkar, Shohini Gupta…
“An aware citizen can make informed choices. The showcase aims to inspire individuals to reflect on their role as citizens, engage in meaningful dialogue, and take proactive steps towards building a more inclusive and democratic society,” says Swarup. “By timing the showcase during this period, it provides an opportunity to leverage the momentum and focus on conversations that encourage reflection, dialogue, and affirmative action.”
“I feel design activism is particularly crucial in the current socio-political climate because it addresses pressing issues and sparks important conversations that are often overlooked or marginalized,” he continues. “With the ongoing elections, there is a heightened awareness of the importance of economic development vs preserving democratic values and social justice.”
Swarup is known to work intensively towards the revival of indigenous crafts and Gandi Baat is no exception in terms of bringing forth a rich cultural backdrop. He has collaborated with traditional Gomira mask makers from Dinajpur, who, while retaining their traditional language, addressed various complex themes. “Similarly, women Dhokra weavers from the same region have abandoned their traditional language to weave far more intricate and contemporary narratives, almost serving as witnesses to the passage of time and political discourse around them. Kantha embroiderers from Burdwan and Birbhum, along with vintage textiles from border regions of Bengal, have been creatively and metaphorically utilized to express an overall sense of restlessness and anxiety. Additionally, Sandesh (traditional sweet) mould makers from Chitpur have crafted tongue-in-cheek artworks in collaboration with our collaborating artists,” he explains, running through the multiple sub-veins in the exhibition.
It is a staggering mix of materials experimented with in the artworks. From repurposed clothing, old saris, old kanthas from minority communities, old colonial furniture, ceramics, sculptural textiles, yarns made from used political flags to knitted old political flags, digital collages, and digitally printed textiles, the gathering is varied. “The mediums employed in the project are diverse and intricate, mirroring the complexity of the issues we seek to address,” he says. “The goal was to facilitate close interaction among collaborators and create a space for the exchange and cross-pollination of ideas.”
Shilpi Madan for Sunday Herald
