“Dui”, a successor to the exhibition, “Ek”, is the second chapter of the series of exhibitions curated by Taiara Farhana Tareque. Taking place simultaneously over two places in the city— Studio 6/6 and Dwip Gallery, “Dui” portrays two alternative visions of a singular artist, but draws up a merged conversation by bringing in the concept of a particular space and tying it together within the artwork. “The point of synchronicity is actually at in minds of the audience,” Taiara explains.
She further explains that in the earlier exhibition, “Ek”, the mechanism of the space played a literal part in the artworks which were displayed, with murals being etched on the walls of Studio 6/6. This was also partly similar in case of “Dui”, with there being an open studio for the first quarter of the exhibition. Audiences could come by Studio 6/6 and have a closer look at the artists building up their opuses, making it a highly immersive experience. Whereas at Dwip Gallery, the viewers would get a taste of the same artist but this time, dabbling in a different form of media altogether. “With ‘Dui’, I wanted to give an option to the artists to be able to explore with the art they are creating without letting them get boxed within a certain genre,” Taiara says.
This group exhibition showcases artworks by Dibarah Mahboob, Nuzhat Tabassum, Shehzad Chowdhury, Taiara Farhana Tareque, Rubiaya Amin Rhea, Rafi Nur, Kazi Asadur Rahman, Prithi Khalique, Papia Sarwar Dithi, Nazm Anwar, Md Mazharul Haque Tonmoy, Kazi Tahsin Agaz Apurbo, Mouri Hassan, Fahad Al Alam, Aabir Khalid, Mahfuz Hossain, Monon Muntaka, Alex and the Monsters.
“On one hand, I have some of my collected works which holds the vision of idyllic bliss, of nature and nurture. On the other hand, I have a piece made from scrap metal, where there is a monkey standing as the symbol for all that is corrupting this utopic landscape— continuously acting as the bandwagon of fraudulent false progress,” shares Shehzad Chowdhury. Being a part of this exhibition was an exhilarating experience for the artist.
Nuzhat Tabassum talks about the use of UV rays and fluorescent lights in sculpting her neon-laced Technicolor mural at Studio 6/6, going on to stress on the energy which is created while being in a dialogue with all these artists. “I did not have a set idea on what I wanted to do with the space, but I knew I would be inspired by the synergy between the artists,” she says.
Such clever and integral use of space is a recurrent motif in postmodernist works but what is perhaps phenomenal about “Dui” is that it offers an alternative image, in connection to the Avant- Garde, making concomitant existences a legit option for exploration. The exhibition will conclude on April 3, 2021.
The author is a postgrad student of English Literature and a freelance journalist. firstname.lastname@example.org.