Omar Chowdhury

Faydabad To-Let (2021)

Performance detail from Faydabad To-Let inside Marina Tabassum’s house
Detail, Faydabad To-Let (2021), performance, 29:22
documentation from Faydabad To-Let
Documentation of performance, Faydabad To-Let (2021)

Watch Faydabad To-Let performance documentation

Floor plan and camera transitions for Faydabad To-Let
Performance score: spatial plan and camera transitions
Upper floor plan and camera transitions for Faydabad To-Let
Performance score: spatial plan and camera transitions
Chalk marks and vinyl stickers left by Faydabad To-Let
Residue (2021), chalk, vinyl stickers
Small painted To-Let sign from Faydabad To-Let
Sign (2020), 40 × 28 cm, aluminium sheet, paint, string
Two performers inside the Faydabad house
Performance documentation, Faydabad To-Let (2021), performance, 29:22
Marina Tabassum’s modernist house in Faydabad
Marina Tabassum’s house, Faydabad, Dhaka—the setting of Faydabad To-Let (2021) and For-Sale (2023). Reference photograph, c. 2011. © Marina Tabassum
Signed legal deeds from Faydabad To-Let
Deeds (2021) (6), 32 × 21 cm, legal deed paper, printing, stamps, signature, biro

Faydabad To-Let (2021) is the first performance and installation in the Faydabad series, staged at a neglected modernist house by Bengali architect Marina Tabassum on the edge of Dhaka. Two performers, carrying scripts and following marks etched onto the floor, rehearse a scene in which one desperately tries to rent the house from the other. Drawing on regional theatre and the conventions of a property viewing, the performance uses each room and architectural feature to explore the introduction of modernism to Bengal, its possibilities and its entanglement with the difficult history of the state.

As the performers walk, sit and drink tea, the prospective renter imagines the life the house might contain. In reality, the building was unwanted and had fallen into disuse; nobody had been able to live there, and suspicions surrounded it. The renter nevertheless invests it with his ambitions. His optimism produces a melancholy reflection on the hopes carried by architects who brought Western modernism to the region, and on what remains when those ideas fail to take root.

Moving from outside to inside and from room to room, the performers continually displace the audience, which must find new ways to position itself within the building. The performers are miked, casting their voices through the rooms even when they cannot be seen. Pages from the eventual deed they sign—containing several strange conditions—hang on the walls. Outside, a small ‘To-Let’ sign displays a mobile telephone number: an inconspicuous intervention that transforms the abandoned building into something apparently available, and changes how visitors understand the site.

View in complete works sequence