A photography exhibition, Lived stories, Everyday Lives, brings out a few triumphant and few traumatic moments of the yore
Amarjot Kaur
Every picture has a story that is aching to be told and as the Chinese proverb goes, a picture is worth a thousand words, the ones at the Punjab Kala Bhawan explore rather vividly, the socio-economic and political scenario while challenging the complacent historical platitudes.
"The exhibition, Lived Stories, Everyday Lives are the images from private collection across South Asia, including personal contributors, Punjab Digital Library, Liberation War Museum (Dhaka), Tasveer Ghar (Delhi), Three Blindmen Photography (Colombo) and Nepal Picture Library. The project has been launched by the HRI Institute for South-Asian Research and Exchange and is aimed at creating a better understanding of regional history and the state of archives that sustain it," says Daljit Ami.
While you walk your intellect across the gallery, with your aesthetics leashed to your senses, your head oscillates from one corner to another attempting to catch a glimpse of historic moments, which gaze enticingly at you. The collection weaves a colourful mosaic of memories with the ink of rich cultural and political history that is significant to the region and its people. The exhibition features a photograph, Eating out, from the calendar art of the 1950s, drawing much attention to the 'eating out culture' that emerged from the post-colonial idea of women emancipation. The exhibition also showcases images of Faiz Ahmed Faiz's letters, which he wrote to his wife, Alyas, while he was serving his imprisonment period at the Hydrabad jail and some of the most exquisite and rare pictures from Phulwari, a Punjabi magazine, which is considered as the region's liturgical genius. While Bata's first print ad that appeared in the newspapers in the early 60s dons the walls of the gallery, giving much insight into the economic upsurge during that era, photographs like The Departing Solider (1911), Home Is Where The Train Is (1947), Postcard: The Europian War and The Younghusband's Mission (The British attack on Tibet in 1903) describe the pain of separation and warfare.
Pictures like Kamra-e-Faroee and Cameraman to Cleaner showcase the box camera, while the War of Liberation photographs detail on the loss of humanity and manpower, especially the picture of a four-month-old girl's shirt's photo that was clicked by her father, while she lost her life because of the Pakistani army crushed her.
(With Thanks from The Tribune, Sunday, July 14, 2013, Chandigarh, India)
Amarjot Kaur
Every picture has a story that is aching to be told and as the Chinese proverb goes, a picture is worth a thousand words, the ones at the Punjab Kala Bhawan explore rather vividly, the socio-economic and political scenario while challenging the complacent historical platitudes.
"The exhibition, Lived Stories, Everyday Lives are the images from private collection across South Asia, including personal contributors, Punjab Digital Library, Liberation War Museum (Dhaka), Tasveer Ghar (Delhi), Three Blindmen Photography (Colombo) and Nepal Picture Library. The project has been launched by the HRI Institute for South-Asian Research and Exchange and is aimed at creating a better understanding of regional history and the state of archives that sustain it," says Daljit Ami.
While you walk your intellect across the gallery, with your aesthetics leashed to your senses, your head oscillates from one corner to another attempting to catch a glimpse of historic moments, which gaze enticingly at you. The collection weaves a colourful mosaic of memories with the ink of rich cultural and political history that is significant to the region and its people. The exhibition features a photograph, Eating out, from the calendar art of the 1950s, drawing much attention to the 'eating out culture' that emerged from the post-colonial idea of women emancipation. The exhibition also showcases images of Faiz Ahmed Faiz's letters, which he wrote to his wife, Alyas, while he was serving his imprisonment period at the Hydrabad jail and some of the most exquisite and rare pictures from Phulwari, a Punjabi magazine, which is considered as the region's liturgical genius. While Bata's first print ad that appeared in the newspapers in the early 60s dons the walls of the gallery, giving much insight into the economic upsurge during that era, photographs like The Departing Solider (1911), Home Is Where The Train Is (1947), Postcard: The Europian War and The Younghusband's Mission (The British attack on Tibet in 1903) describe the pain of separation and warfare.
Pictures like Kamra-e-Faroee and Cameraman to Cleaner showcase the box camera, while the War of Liberation photographs detail on the loss of humanity and manpower, especially the picture of a four-month-old girl's shirt's photo that was clicked by her father, while she lost her life because of the Pakistani army crushed her.
(With Thanks from The Tribune, Sunday, July 14, 2013, Chandigarh, India)
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