Pune has changed. Some realise it, some don’t. Some object to the changes, some ignore them. Diorama in Flux — a multi-disciplinary exhibition organised at TIFA Working Studios, bridges the gap between the past, present and future of the cultural heritage of the Marathi people. The exhibition, which is underway till January 27, showcases an array of art pieces with a distinctive intent.
Connecting with the roots
It was in Diwali that artist Nachiket Prakash was struck with the unusuality that had become a part of the city. He sat, witnessing the deserted roads, realising that most of the residents had probably gone back to their hometowns during the festive season.
Prakash, who has curated the Diorama in Flux... exhibition says, “I would like the non-Maharashtrians, who are unaware of the culture and traditions of Pune, to understand that this city is not just about the skyscrapers or glitz and glamour. Seventy per cent of the people living in Pune have migrated from other cities and towns, and because of them, this city has grown and expanded. They are not connected with the heritage, culture, history and politics of the city. I want them to understand its roots, feel the essence that this city has to offer and then be a part of this environment.”
According to him, a city is like a family. “I have no objection to urban architecture but the way it is implemented is wrong. Mahatma Phule Mandai is more than 200-year-old architectural structure. But the underground metro on which the work is going on, will pass right through this area on completion, resulting in the collapsing of the entire ecosystem. This is unfair to the heritage of the city,” adds Prakash.
He then talks about the artists who are exhibiting paintings, letters, photographs and more.
Sentimental piece
Abhishek Pote has put up a set of four paintings; each projecting the way architecture in Pune has changed over the period. One of his paintings projects the drift from Pataleshwar caves on J M Road to the Pune Metro. He also talks about the ‘wada’ culture which is now on decline. In one of his paintings, he has added an urbanised touch to the wadas. “I used to live in a wada. My dad got it demolished and got a building constructed on the same plot. Now that he’s no more, this piece of art is a tribute from a son to a father,” says Pote, pointing out to the sentimental piece of art.
As a visual artist, he sees how the city has got camouflaged into something else with time. He believes this is one of the reasons he got drawn towards art.
From old to new
Tanvi Bhadre, who has done MA in Fine Arts, had photographs of Pune but realised that putting plain pictures out there made no sense. That’s when she thought of adding letters to the visuals. “Letters are old-school and add a touch of nostalgia. This exhibition focuses on the old heritage and culture of Pune. My concept revolves around communication between the Old Pune and the New Pune; the old city is full of despair. There are letters from Tulshibaug to Pavilion Mall, Kunjir Talim to Golds Gym, from PMT to Metro, the Peth areas of Pune to Magarpatta City. All the letters question the lost heritage of the city. The development comes with a price. That’s what I’ve tried projecting through the pictures and letters,” says Bhadre.
Folds of fabric
Pranav Talvelkar is a fashion designer. For this exhibition, he has used khan, a fabric produced in Guledgudda district in Karnataka, but widely used in Pune to depict the city’s attachment with its lost authenticity. He associates memories with this particular fabric.
“In the recent changes that Pune has gone through, the use of this fabric has gone down drastically. People don’t even know what this fabric is anymore. The younger generation does not wear sarees often, and it is only people with fashion perspective who understand the glamour and the flow that this fabric holds,” says Talvelkar.
His 360-degree art piece was designed after a month’s contemplation. Talvelkar decided to pour his thoughts into a piece of artwork with the help of a bathtub, broken chairs and a few pieces of khan fabric. According to him, the bath tub depicts depth, the broken chairs symbolise dilapidation while the khan pieces resemble the traditional aspects of Maharashtra. He has added a touch of nostalgia by covering the ears of the chairs with a copper kalash, which is traditionally used during Gudhi Padwa that marks the beginning of the Maharashtrian New Year. “It is a good thing that we’ve evolved so much but what affects me is that in the process of development, we’ve forgotten our roots. I wish it wasn’t that way,” he adds.
In decline
He has pulled off three (photograph) panoramas representing three different parts of the city, which Shahid Khan believes, have been forgotten. One showcases Kumbharwada, depicting the story of a man named Musafir Prajapati, who settled down in Pune after a casual visit, and has been living here for the past 20 years.
The second one depicts an alley that has shops selling materials made of bamboo. There, he bumped into someone whose great-grandfather had come to Pune 150 years ago, from a village near Solapur. He then goes on to share about their lifestyle and their struggles.
The third panorama shows the working conditions of people under the same roof, somewhere near Kasba Peth. Pramod Phadke, one of the oldest persons working there, was extremely generous to share his story with Khan. “They were so welcoming. You don’t meet that kind of people around here anymore. This is something I miss about old Pune,” says Khan.
