“In Bangla traditional kitchen stands for the word PAKGHOR. In the countryside of Bangladesh, we did not have a concept of living room or dining room in past. PAKGHOR. was the place that usually covers both the needs of a family. It is indeed a meeting place for the family members at where they share, discuss, chat, plan and so on as part of a family life. From serious discussion to fun to emotion to anger or from plan to process to result related to one’s life eventually become part of a PAKGHOR. While the women of the family cook food, other members of the family provide the company in many ways. Although there is no sofa or dining table arrangement, PAKGHOR typically is predetermined to be a cooking as well as sitting and eating space.

The effect of Food Politics as a global language that somewhat responds to the wars, politics, displacement, migration, commercially grown food, food control, colonization, femine, hybrid culture and inorganic lifestyle we live in. Despite all negative effects on our society, environment and culture, we are trying to look back into our ethnicity, own roots and culture that our own ancestors lived in. Recalling the simple and natural lifestyle and culture we are stepping ahead to share this with a wider global audience. The history shows us repeatedly that behind all the wars or political crises food played a vital role to control the global economics. 

We intent to make traditional food at PAKGHOR as part of our activation program throughout the fair. This food is for the viewers who are interested on food and conversation.”

This project was presented as part of After Rain, 2024 Diriyah Contemporary Art Biennale, where the artists welcomed visitors into an ecological, social, and diasporic space defined by the structures of the Bengali palan and pakghor. The palan, a traditional kitchen garden usually looked after by women and children, supplied the pakghor, a living-room-like family kitchen.