Body and the Map: Remnants of a revolution 

In a corner on the third floor of Bengal Shilpalay, a static fills an old TV screen. You can barely tell what is going on behind the screen. Across from it, ripped newspapers cover the walls. 

Red LED signs spelling out "All eyes on…" and "shomabesh", were not only a reminder of the stark times but also made the space appear as if it were taken straight out of a dystopian novel. 
 
In reality, this corner is actually an art installation titled, 'The Logout' by Palash Bhattacharjee, reflecting what his reality looked like during the July-August uprising. 
 
Just like Palash, 10 emerging artists came together to share their experiences of the uprising and to question the future of the nation through the group exhibition, 'Body and Map'. 

Curated by Sharmillie Rahman, the exhibition takes a multidisciplinary approach, allowing artists to explore their experiences in their own artistic languages. 
 

From ceiling to floor, the exhibition treats viewers with captivating installations, each telling a harrowing tale.  The gallery itself was made up of odd nooks and corners, but somehow it felt like it was made for this exhibition. 
 
The room is split in two, divided with a pit-like space, but the space still manages to be part of the exhibition with bamboo sticks placed haphazardly in the divide, with mannequin legs peeking out from the ground. Little figurines hang from the sticks, appearing to look like the trajectories of bullets, just as they hit people. 
 
Similarly, each and every corner is utilised in the exhibition. 
 
"The space itself guided my curation," explained Sharmillie. "It's a semi-open, informal space, quite different from the 'white cubism' aesthetic we're accustomed to."
 

She continues, "Alongside the narrative of the exhibition, the nature of the space becomes more interesting. You sort of get to explore the whole area and discover things. There's elements of surprise and shock throughout the venue."
 
Generally, people are told not to think too much into the artist's intention behind art, allowing space for the viewers' own imagination to run wild. However, for this exhibition, I believe the stories that come with each piece adds value to the experience, as they each tell a personal story. In a way, the contents of the venue also felt like peering into a time capsule.
 
For example, Bhattacharjee's piece, 'The Days of Logout' was made out of newspaper cuttings and his muses during the period of time when there was an internet blackout during the uprising. 
 
The story behind the piece, 'Desired Peace' by Rasel Rana is just as striking. Alongside a sculpture of fabric and cotton, the series also contains a collection of framed artworks. Within those frames are the sketches and writings that came out as a result of the immense anxiety the artist endured during the uprising. 

Alongside sketches of wings, the Shahid Minar, the feet of the deceased, and empty thrones, you will also find scribbled words like, "nightmare", "pani" (water), "rajakar" and more. 
 
A Asan's series of woodcut pieces titled, 'Not Enough Space' explores generational trauma broken by the hope of healing.  
 
"Our generation did not witness the nation's struggle for independence and niether do we remember much during Ershad's regime. But we carry these experiences through our mothers, the preceding generation. Similarly, the wound created by the recent events will pass down to future generations," explains A Asan. 
 
Alongside raising questions about the future of the country and its existing political system, many pieces also commemorate those who passed away during the uprising. The sculpture component of Rasel Rana's 'Desired Peace' series honours those who were killed and injured, by showcasing injured body parts through cotton and fabric. 
 
With engaging installations crafted with intriguing narratives, this might just be one of the most interesting exhibitions going on right now. 
'Body and the Map' opened its doors at bengal Shilpalay on 15 November and will run till 28 December.
 
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Desired Peace by Rasel Rana
 
The framed sketches and doodles are a relic of sorts from the uprising. These sketches were an outlet for the artist as he dealt with the anxiety that took hold of the whole nation. Words such as "freedom" and "nightmare" stand out, giving viewers a bit of insight into the inner turmoil during that period.
 

I Live Here but Don't Exist by Farzana Ahmed Urmi
 
The hanging chair, made of cow skin and wood, is beaten up, pulled apart, and torn. The artist made the piece only to break it, reflecting on the assault of beatings and bullets the protesters had to face. This piece stands as a reflection on the cruelty of violence. 

 
In the Field of Duality by Mong Mong Shay
 
Painted across five panels, the painting takes over the wall it is placed on. The anxiety the piece conveys is almost as consuming as its size. The red, orange, and yellow hues create ever-watching faces. From anger to anguish, the expressions are loud and clear in each face.