Art, Democracy, and Human Rights: A Journey of Reflection and Action
On December 19, 2024, I embarked on a deeply inspiring journey into the world of art and activism. Accompanied by Mr. Ajitesh Rai, I visited Bharat Kala Bhawan to witness Lebanese-American artist Chawky Frenn’s exhibition, “We the (Discarded) People: Welfare or Warfare?” This was followed by the Visual Voices for Peace exhibition at Banaras Hindu University (BHU), a culmination of five months of collaborative work with students. The day was made even more special by my interaction with Frenn, which is managed by Prof. Suresh Nair, who recently received the JanMitra Award from PVCHR and curated by Pradosh Mishra, Curator & Professor, History of Art.
Frenn’s art, which he enriched further by gifting me a painting on indigenous struggles, resonated deeply with my own advocacy for Dalit rights. My reflections on this experience, later published in Hindi on Junputh under the title “Chawky Frenn in Benares and the Indian Context of His Paintings,” explored the profound connections between his art and the socio-political realities of India.
Art as a Medium of Justice
Chawky Frenn, an Associate Professor and Fulbright Scholar at George Mason University, creates art that challenges power structures and amplifies the voices of the marginalized. His series, “We the (Discarded) People,” critiques the betrayal of democratic ideals and the commodification of war, urging viewers to confront uncomfortable truths.
Democracy for Sale: When Power Serves Greed
Frenn’s Democracy for Sale series illustrates the subversion of democracy by corporate greed. Drawing on historical insights, he portrays how unchecked capitalism undermines governance. Abraham Lincoln’s warning about corporations enthroning themselves at the expense of democracy echoes in modern critiques by Bernie Sanders and Barack Obama. The Citizens United ruling, which allows unlimited corporate spending in elections, exemplifies this systemic erosion of democratic values.
Through his work, Frenn amplifies the voices of those excluded from the democratic process, challenging the audience to reclaim democracy as a tool for public welfare rather than private profit.
The photos vividly capture the artistic brilliance of Chawky Frenn’s work. All photographs were taken by Prof. Suresh Nair.
The War Dividend: The Economics of Violence
In The War Dividend, Frenn examines how wars are manufactured to sustain corporate profits. His art reflects George Orwell’s assertion that “war is peace” in the manipulative language of power. By exposing the dehumanization wrought by militarism, Frenn highlights the devastating costs of conflict.
Figures like Smedley Butler, who described war as a racket benefiting the few, and Ernest Hemingway, who warned of its “permanent ruin,” find powerful expression in Frenn’s work. The series critiques the systemic mechanisms that exploit human lives for economic gain, echoing Mahatma Gandhi’s poignant observation: “What difference does it make to the dead…whether the destruction is wrought under the name of liberty or democracy?”
Visual Voices for Peace: Nurturing Change through Art
At BHU, the Visual Voices for Peace exhibition showcased the creativity and resilience of students mentored by Frenn. This initiative reflects the transformative power of art in fostering empathy and dialogue.
The students explored themes of identity, solidarity, and justice, addressing local issues like caste discrimination and gender inequality. Their works, inspired by global art movements and local realities, created a platform for meaningful engagement, mirroring grassroots activism by organizations.
From Global Insights to Local Struggles
Frenn’s art finds powerful parallels in India’s socio-political context. His critique of systemic oppression resonates with the struggles of marginalized communities in India, from Dalits to displaced rural families.
For instance, the story of Fula Devi, a resident of Sajoee Musahar Basti in Varanasi, illustrates the transformative potential of grassroots empowerment. Supported by JanMitra Nyas, she established a kitchen garden, improving her family’s well-being and financial stability. Such initiatives align with the themes in Frenn’s art, which champions dignity and agency for the oppressed.
My Reflections in Junputh
In my column on Junputh, I explored how Frenn’s art connects with India’s realities of caste oppression, economic disparity, and gender inequality. I highlighted his ability to translate the universal language of art into a call for justice, inspiring us to confront the systemic inequities that define our world.
The act of writing in Hindi, a language that connects deeply with India’s grassroots communities, was intentional. It sought to amplify these critical messages to audiences who live the realities Frenn depicts, urging collective action for change.
A Call to Action
Frenn’s exhibitions compel us to question our role in perpetuating systemic inequalities. His art is not just a medium of critique but a catalyst for action, reminding us that peace cannot exist without justice. The words of John Lewis — “Peace cannot exist where justice is not served” — capture the essence of Frenn’s work.
At the grassroots level, initiatives like those of JanMitra Nyas and PVCHR reflect this ethos. They challenge entrenched systems of exploitation while fostering hope and resilience among marginalized communities.
Reclaiming Democracy and Humanity
The exhibitions, my interactions with Frenn, and my reflections on Junputh reaffirm the transformative potential of art and activism. They underscore the urgent need to challenge systems of oppression and build a world rooted in justice and dignity.
Chawky Frenn’s gift of his painting on indigenous struggles symbolizes the profound connection between art and advocacy. It inspires a vision of democracy that serves all people and a commitment to peace that prioritizes human dignity over economic gain.
As global citizens, we must embrace this vision. Whether through art, grassroots activism, or collective advocacy, the path to a just and equitable future begins with our willingness to act. The question remains: Will we rise to fulfill the promise of “We the People”?