Design activism in election season

Design activism forms the core of the latest exhibition — Gandi Baat — curated by Swarup Dutta, at gallery 47-A in the heritage area of Khotachiwadi in Mumbai. The works are stoking discussions and debates during the current long election season.

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, and photographer.

The exhibition brings to the fore a nuanced exploration of political discourse through design. Each of the designers plays 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 our constant and relentless attention. There is amazing imagery, and layered metaphors that make up 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 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 maybe 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 Abhishek Ray, Achira Basu, Ashish Ghosh, Meenakshi Sengupta, Bazlur Rahaman (Baiju), Phalguni Samanta, Soumitra Adhikari, Sumanta Chakraborty, Tamal Bhattacharya, Tulu Sarkar, Vivek Kumar, Samir Roy, Sanjita Sarkar, Shohini Gupta and others.

“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 marginalised,” he continues. “With the ongoing elections, there is a heightened awareness of the importance of economic development versus 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 utilised 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 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 sarees, old kanthas from minority communities, old colonial furniture, ceramics, sculptural textiles, and yarns made from used political flags to knitted old political flags, digital collages, and digitally printed textiles, the collection 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.”

What’s next? “We will continue to build upon the momentum generated by the showcase by further engaging with artists, designers, and indigenous design practitioners, fostering constructive and fruitful collaborations. On the other side, we aim to maintain ongoing conversations with our audiences. We are eagerly awaiting the opportunity to deepen our connections with our audiences and amplify our collective efforts for positive dialogue,” sums up Swarup.