Image used for representational purpose only.
Upon a recent encounter with a young artist working on the heritage of the old streets of Ahmedabad, I started to ponder over the role of contemporary Indian art in the documentation of lost histories in a city, the experiences that carry the weight of wistful nostalgia. Prior to photography, painting was the only way to capture the sensibilities and ways of life, often limited to a certain elite and disregarding the experiences of the subaltern. The movements in the realm of arts has changed that over time, however, documentation of quaint corners of cities still remains to be explored, especially by the younger generation of artists.
These tiny corners, situated in the narrow gullies of old streets lined up with small markets are being renovated into a new globalised cultural existence comprising residential complexes and malls. The need to archive the heritage of these corners are more than a yearning for nostalgia. In the past, many artists have explored these themes in their practices. Bhupen Khakhar’s renditions dipped into the language of the vernacular, capturing the essence of the markets and mohallas and the experiences of a marginalised social domain continue to entice me. Engulfed in that wonderment, I re-look at two emerging contemporaries attempting to document the rare corners of a city.
Yash Jani from Ahmedabad researches and works in the old streets in the heart of the city, popularly known as Amdavad Ni Pol. In his practice, he explores the culture of the Pol, the architecture, form, subject, space and spiritual life of old Ahmedabad. He archives the lifestyle of people there through his distinctive perspective on its heritage and structures. His visual practice acts as a window and an archive, rich in a culture that is survived by a few.
Another artist belonging to Gujarat exploring the dynamics of everyday life of the middle class and themes of consumer culture and stereotypes is Roshan Chhabria. Taking cues from his surrounding in the form of illustrations in local publications, signboards etc., Chhabria’s visual language is composed of humorously presenting mundane situations from everyday life of the middle class. In doing so, he also documents the lifestyle of a social strata that is changing and will soon cease to exist.
The archiving of these spaces and lifestyles in visual arts is of utmost importance, not for mere aesthetic but to ensure that the humdrum of common life is preserved and documented in a fast-paced world without being lost in the layers of time. It will be interesting to see more artists in the future who explore and focus their practices on the theme of changing landscape of city life.
Sunaina Anand
Founder and Director, Art Alive Gallery, New Delhi
sunaina@artalivegallery.com
