The Commons: The lost and found archives of Dhaka
The mixed-media art exhibition reflects on how capitalism has led to a loss of common spaces that welcome culture, tradition, and people from all walks of life
Traditional gatherings such as 'jatra' (theatre troupes) and 'melas' (fairs) were once accessible and eagerly anticipated by everyone. These were not the 'fancy events' curated for Instagram but spaces of genuine enjoyment, free of hefty price tags.
Today, everything comes at a price–be it the price of a venue for a celebration or the value of a canvas displaying rickshaw art. When this realisation hits, you can't help but long for the past again.
This sentiment resonates deeply with the mixed-media art exhibition 'The Commons'. The exhibition is a reflection on how capitalism has led to a loss of "common spaces" that welcome culture, tradition, and people from all walks of life. Held at Eksho Ek Art Space in Gulshan 2, the exhibition opened its doors on 14 November and will run until 30 November.
Keep updated, follow The Business Standard's Google news channel
The exhibition has been organised by Goethe-Institut Bangladesh in collaboration with Literra Magazine, a monthly online magazine that focuses on arts and culture.
The theme of the event invites viewers to reflect on the traditions that they hold dear, and confront the forces that led to its displacement or transformation. The exhibition, in turn, becomes a space to rediscover and reimagine shared histories and cultures.
"Everything we once enjoyed in free spaces now comes with a price. There is no longer a place for the common people," said Aninda Rahman, the curator of the exhibition.
Rahman continues, "In areas like Gulshan-Banani, rickshaws no longer carry rickshaw art, yet people here purchase rickshaw art artefacts at exorbitant prices. The commodification of people's culture and its appropriation as a trend has become the prevailing narrative."
Rahman also notes that a village known as Bhola was once a quiet area that welcomed common people. However, the area was transformed into the corporate hub for the upper class known as Gulshan, mirroring Dhaka's broader urbanisation.
This rapid development has not only distanced the city from its cultural roots but also turned that very culture into a luxury commodity to be marketed and consumed.
The commodification of people's culture and its appropriation as a trend has become the prevailing narrative
The exhibition successfully combines art and history with their message through mixed media. With most art pieces, they display long descriptions of the history behind their piece, providing more context to their work. The addition of photography, such as in the piece 'In and Around' by Labib Imam Chowdhury, gives viewers a better perspective of what is exactly at stake in the trap of rapid urbanisation.
Literra Magazine's 5th issue was also released at the inauguration of the exhibition, and an installation even featured excerpts from the magazine displayed on its walls–offering visitors a glimpse into the publication's thought-provoking content.
The magazine is available for purchase at Tk500, and it brings stories from diverse writers together through their common perspectives on the world.
For those seeking an unfiltered glimpse into our culture and a chance to revisit the spaces we've lost over the years, Gulshan's Eksho Ek Art Space is the place to be.
TBS Picks
Hargila by Pradip Pal
The earthenware artists of Rayer Bazar face a threat to their craft and Pradip Pal is one of the few remaining artists among them. Pal created an earthenware sculpture of the hargila bird, commonly found in Dhaka and Kolkata, to spread awareness about how it has become endangered due to rapid urbanisation, becoming a rare sight these days.
Dresdens by Bushra Islam Labonno
Dresden captures the tragic past during World War II, highlighting the cultural destruction and resilience. The structure holds dolls in different compartments, representing how each person is trying to survive in an unfinished structure. It reflects on rebuilding, memory, and the human spirit amidst the devastation.
Untitled by Prokriti Shyamolima
The piece is about the iconic Boudhanath Stupa in Kathmandu, with its white dome called 'Kumbha'. The painting, done on scrap cardboard, stands upon a lightbox with scriptures. The use of scrap material is a statement on preserving nature and utilising resources. On the side, it depicts a small Palestinian flag, almost like it is sending out a prayer.
