If one is looking for any aesthetic rationale behind the selection of most
of the artworks on display at the exhibition, Freedom and Awakening Phase II, on
view at Cell 5 of the Alipore Museum since October 7, one would be disappointed indeed. The grounds of the former prison are sprawling. The exhibition has been organised jointly by the Government of West Bengal and the Kolkata Centre for Creativity. Apart from seven well-established artists, an eighth, Suman Dey, who is said to be self-taught, has been thrown in. The exhibition celebrates the opening of the Alipore Museum, where freedom fighters were once imprisoned.

As one walks into the largish hall where the works are arranged, one cannot miss the mammoth bundle wrapped in a red chequered gamchha or towel and hanging like a distended appendage at the far end of the room. This is by Debasish Mukherjee who has, according to the press handout, “conducted extensive research with weavers and artisans across India.” The small frames of gamchhas embroidered with concertina wire motifs are better conceived.

In an adjoining room, the walls are plastered with photocopies of mug shots of freedom fighters, both callow and mature, many of whom were executed. Chhatrapati Dutta’s portraits of the same look empty and hollow by contrast. The same can be said of Debanjan Roy’s small statue of Mahatma Gandhi striding along alone with only his walking stick for support. He is there in flesh, not in spirit.

Ill-conceived and ill-executed, Arunima Choudhury’s painting is quite a mess. One can produce many fanciful readings of Smarak Roy’s three heads — one of them apparently chattering — but one couldn’t accuse him of being humorous in the least. His crafts skills need to be honed. Without going into the merits of the work, it would suffice to say that Mithu Sen’s prints are out of context.

Only Chandra Bhattacharjee seems to have spared some thought to the theme. The abandoned blanket and mug on the bare floor speak volumes (picture).