The art of resistance: When Debashish’s powerful posters added fuel to the cause

Social media was pivotal during the 'July Uprising', fostering unity, shaping narratives, and amplifying resistance. Among the many digital activists, Debashish Chakrabarty stands out. 

A Bangladeshi artist based in the US, his impactful work transcended borders, resonating deeply with Bangladeshis worldwide. Known for his sharp critique of misrule and injustice both in Bangladesh and abroad, Chakrabarty has earned widespread acclaim for his powerful artistic commentary.

The exhibition, titled 'July Uprising in Debashish Chakrabarty's Posters,' opened on 7 January and features 20 of his selected works. It is currently held at the Bangladesh Shilpakala Academy and will conclude on 19 January.

Chakrabarty's works contain a distinct visual style—yellow highlights, black shadows, and red midtones, all textured with a layer of artificial grain across his posters, which has a dominant presence of the red hue. 

With texts in vintage news-style fonts, the limited variation of colour created a powerful aesthetic that resonated deeply with the public. 

His deliberate choice of a limited palette not only added visual coherence, but also made the posters instantly recognisable. His posters depict subjects whose facial expressions convey a spectrum of emotions—unbearable suffering, fierce resistance, and provocation.

What makes the exhibition truly immersive is the integration of technology, allowing visitors to experience it through augmented reality (AR) and virtual reality (VR) using a provided headset. 

This interactive feature offers additional context for the posters, including displaying newspaper cutouts and audio-video clips related to specific works. Overall, this approach significantly enhances the visitor experience, taking it to the next level.

I simply acted as a mediator. Later, as the student movement evolved into a broader mass uprising, some of my works might have echoed the people's aspirations.

Debashish Chakrabarty

While we refer to the artworks as "posters" for simplicity or perhaps due to the absence of a better term, Chakrabarty's creations aren't traditional posters like those found on street-side walls, instead, they are more commonly displayed on people's Facebook walls.

He has been making posters on social media for the last five years. Before the July uprising, his works focused on the daily administrative and bureaucratic struggles, along with the tyranny of the then-ruling party. The series under which he made these posters was titled "Rashtro Jontrona."

Chakrabarty became actively involved in the movement on 8 July, creating two impactful posters with the slogans, "Drive out fascists, claim justice" and "Kick out the frauds, achieve equality." 

On 15 July, following the ruling government's attack on students, he produced another striking poster in Bangla that read, "On spring nights like this, I spit in the face of fascists." 

This poster quickly went viral, with people sharing it widely, using it as profile pictures, and setting it as cover photos. As the movement gained momentum, his work further fuelled the cause.

"I simply acted as a mediator. Later, as the student movement evolved into a broader mass uprising, some of my works might have echoed the people's aspirations," Chakrabarty said during his virtual inauguration speech.

During the previous regime, when fear reigned, Chakrabarty, as an artist, faced critical choices. He chose to focus on the everyday struggles of the people, setting aside traditional "high art" to forge his own path.

"I've drawn inspiration from political banners, posters, packaging design—and even meme culture," he explained. He used everyday language not just for communication but as an integral part of his art.

Throughout history, art has consistently amplified the voices of the voiceless, from protests to revolutions. Chakrabarty's works will likely endure as a visual testament to the current struggles and a blueprint for how art can empower marginalised voices for future generations.

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