Art, Reflection, And Dialogue In Varanasi: My Visit To ISHI Gallery
Art, Reflection, and Dialogue in Varanasi: A Transformative Encounter with Parnab Mukherjee
On the serene afternoon of January 16, 2025, Varanasi — a city that embodies the essence of India’s spiritual and cultural heritage — hosted an inspiring convergence of art, philosophy, and education. I had the privilege of attending an art exhibition titled We the Discarded at the ISHI Gallery in Samane Ghat, curated by the illustrious Parnab Mukherjee. Known for his profound influence in alternative theatre and human rights advocacy, Mukherjee brought together the powerful works of Prof. Chawky Frenn, Prof. Suresh K. Nair, and Prof. Pradosh Mishra.
The gallery brimmed with anticipation as students from Sunbeam College engaged with the exhibits, creating an atmosphere of intellectual curiosity and artistic appreciation. The exhibition, a vivid exploration of human resilience, democracy, and social justice, was not merely an artistic endeavor but a movement to awaken collective consciousness.
An Artistic Journey: “We the Discarded”
The works displayed in We the Discarded spoke volumes about the artists’ commitment to addressing socio-political realities. Prof. Chawky Frenn, a Lebanese-American artist and Fulbright scholar, is renowned for using his art to challenge power structures and amplify marginalized voices. His creations critiqued the commodification of democracy and the perpetuation of systemic inequalities, resonating with global issues and India’s own struggles against caste and economic disparity.
Prof. Suresh K. Nair, celebrated for his murals and symbolic artistry, contributed pieces that bridged traditional Indian philosophy with contemporary themes. His artwork depicted the teachings of Narayana Guru, particularly the mirror’s symbolism of self-reflection and spiritual realization. Prof. Pradosh Mishra, known for his historical depth, added layers of cultural narratives, exploring how art can serve as a repository of memory and a tool for advocacy.
The event’s energy was amplified by the presence of young students who brought their perspectives and inquiries to the forefront. Their discussions with the artists turned the gallery into a vibrant space for learning and exchange. Photographs taken during the event captured the synergy of ideas and the sheer brilliance of the artwork, immortalizing a moment of shared humanity and hope.
A Visit to the Lal Bahadur Shastri Hostel: Murals and Mirrors
Following the exhibition, we ventured to the Lal Bahadur Shastri hostel to witness Prof. Suresh K. Nair’s mural work. The mural, which incorporated mirrors, was a stunning tribute to the teachings of Narayana Guru. The integration of mirrors symbolized the Upanishadic Mahavakya Tat Tvam Asi (“Thou art that”), inviting viewers to reflect on their intrinsic divinity and interconnectedness with the universe. This artistic expression was a powerful reminder of the transformative potential of self-awareness and collective introspection.
Narayana Guru’s philosophy of “One Caste, One Religion, One God for All” resonated deeply within the mural, emphasizing the universal values of equality and justice. The connection between the philosophical and the visual was profound, creating an immersive experience that transcended the boundaries of art and spirituality.
Parnab Mukherjee: The Curator Extraordinaire
Parnab Mukherjee’s role as curator elevated the exhibition from a display of artwork to a profound dialogue on humanity and justice. Mukherjee, a stalwart in alternative theatre, has long used unconventional spaces to stage performances that tackle pressing issues such as human trafficking, environmental degradation, and systemic violence. His ability to connect literature, art, and activism into a cohesive narrative is unparalleled.
During the event, Mukherjee’s insights illuminated the works on display, adding depth and context to the audience’s understanding. His reflections on the poetic legacy of Mirza Ghalib further enriched the experience. Quoting Ghalib’s description of Varanasi as the “Kaba of Hindustan,” Mukherjee highlighted the city’s role as a melting pot of spiritual and cultural traditions. This blend of art, literature, and social commentary underscored the exhibition’s thematic richness.
Art as a Catalyst for Change
The exhibition’s impact extended beyond its visual appeal, serving as a clarion call to confront systemic injustices. Prof. Chawky Frenn’s series, We the Discarded, critiqued the betrayal of democratic ideals by corporate greed and the commodification of war. His work exposed the mechanisms that marginalize communities, challenging viewers to reimagine democracy as a tool for public welfare rather than private profit.
Frenn’s ability to articulate global struggles through his art mirrored India’s own socio-political challenges. Issues like caste discrimination, economic disparity, and gender inequality found resonance in his themes, making his work deeply relevant to the Indian context. His emphasis on reclaiming democracy and amplifying marginalized voices aligned seamlessly with the ethos of the exhibition.
The student participants, mentored by the artists, contributed to the dialogue through their fresh perspectives. Their enthusiasm and curiosity created a dynamic exchange that underscored the exhibition’s role as an educational platform. This synergy between art and education was a testament to the transformative power of collaborative learning.
A Personal Reflection
As I immersed myself in the exhibition and the subsequent visit to Prof. Nair’s mural, I was struck by the profound connections between art, philosophy, and activism. The interactive nature of the event fostered a sense of community and shared purpose. It was a reminder that art, in its truest form, is not confined to aesthetics but serves as a medium for reflection, dialogue, and action.
The experience also reinforced the enduring relevance of Narayana Guru’s teachings. His emphasis on self-reflection and equality found new expression in the murals, bridging the gap between ancient wisdom and contemporary realities. The mirrors in Prof. Nair’s work became a metaphor for the exhibition itself, reflecting the diverse voices and perspectives that converged in the space.
Inspiring a Vision for the Future
The journey culminated in a renewed sense of hope and commitment to fostering an inclusive, just society. Parnab Mukherjee’s extraordinary ability to curate such a multifaceted event was a testament to his vision and dedication. His oratory skills and deep understanding of art and literature made him an inspiring figure for all who attended.
The exhibition We the Discarded was not just an artistic event but a movement that celebrated the dignity of the marginalized and the resilience of the human spirit. It called upon us to confront uncomfortable truths and take collective action to create a more equitable world.
In the words of John Lewis, “Peace cannot exist where justice is not served.” This sentiment echoed throughout the exhibition and my reflections on the day’s experiences. Art, as demonstrated by the works of Frenn, Nair, and Mishra, holds the power to challenge, inspire, and transform. It bridges divides, fosters empathy, and illuminates paths toward a better future.
Last words
My visit to the ISHI Gallery and the Lal Bahadur Shastri hostel on January 16, 2025, was a journey of discovery and inspiration. The synergy of art, education, and activism created an experience that was both enriching and empowering. It was a celebration of the universal values of justice, equality, and resilience, reminding us of the transformative potential of creativity and dialogue.
Parnab Mukherjee’s curation of We the Discarded and the accompanying discussions left an indelible mark on all who attended. The event underscored the importance of art as a medium for social change and the role of dialogue in fostering understanding and action. As I reflect on this experience, I am reminded of the power of collective efforts to challenge the status quo and envision a world rooted in justice and dignity for all.