The “Eyes on Bangladesh” photography exhibition was an honest and gritty recount of the past and present events that have culminated into the current embodiment of Bangladesh. It is refreshing not to see a minimization of some of the country’s flaws, even if it didn’t outright embrace these imperfections.

The particular photographic series showing the discrepancy between and the dichotomy of treatment of house servants had a very poignant effect on me. The differences in the ways the “servants” and their “masters” presented themselves are a testament to such shortcomings of this somewhat newly formed country. For example the faces of the masters expressed contentment, satisfaction, and serenity—ones that show the enjoyment they have as a result of the way their lives have fallen into place—while on the other hand, the faces of the servants were ones of exhaust, distress, and discomfort with their situation. The story that was related of servants not being able to sit on their master’s couch is allegorical and really is symbolic of a larger problem that is presented in the Bengali culture.

IMG_2056

Another particular photographic series, which appeared to be very sentimental and exemplary of Bangladesh, was the avant-garde art display of the phone call conversation, which takes a stance on mental health awareness. It is very disturbing in this day and age, to see the overwhelming stigma associated with persons afflicted with mental health issues, which certainly hinders the progress should be made in dealing with psychiatric issues. The artwork seemed to be presented in a nostalgic fashion, yet desiring to change the past, but I would also interpret the photographs as presenting something positive in the future.

The final photographic series expresses the sentiments and aspirations of the Bangladeshi people, which parallel the desires and hopes of the country. The curatorial intentions of this exhibit were successful in presenting an accurate depiction of Bangladesh, its people and its challenges.

IMG_2051