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This is an archive article published on July 25, 2018

Cause and Effect

A photo series depicting poverty in India has sparked outrage on social media.

WPP has been pulled up on social media for “promoting the series.”

A photo series intended to highlight “extreme poverty and disease” in India has invited severe outrage on social media. Shared by Italian photographer Alessio Mamo on the Instagram handle of World Press Photo (WPP), the photographs were taken in Uttar Pradesh and Madhya Pradesh, described by Mamo as “two of the poorest states of India”. Titled “Dreaming Food”, the series conceived in 2011 has visibly poor subjects standing with their faces covered in front of tables full of food. The caption reads: “The idea of this project was born after reading the statistics of how much food is thrown away in the West, especially during Christmas time. I brought with me a table and some fake food, and I told people to dream about some food that they would like to find on their table.”

Responding to the criticism, Mamo said in a statement, “The people I photographed were living in a village and they were not suffering from malnutrition anymore, they were not hungry or sick, and they freely participated in the project… I want to offer my deepest apologies to anyone who felt offended and hurt by this photos, and to the people I photographed.”

Awarded second prize in “People, Singles” category at the 2018 WPP Photo Contest for his portrait of Manal (11), a victim of a missile explosion in Kirkuk, Iraq, Mamo was given the opportunity to temporarily take over WPP’s Instagram account as part of the award. An official statement by WPP on the issue says: “The photographers are responsible for selecting their work to show and writing their captions… Other than his portrait of Manal, none of the photographs Alessio has shared were awarded prizes in the photo contest.”

Meanwhile, WPP has been pulled up on social media for “promoting the series”, but most comments are targeted towards the photographer. The series had also invited criticism when it was showcased at the 2013 Delhi Photo Festival. Prashant Panjiar, its co-founder, recalls, “We showed the work as an example of Staged Conceptual Photography that looked into the inequities of consumption. Our team was divided on the choice of this work, and some viewers were also offended by it.”

In the past, similar photo shoots have been condemned for being insensitive. In 2014, Mumbai-based photographer Raj Shetye’s photograph of a model fighting men in a bus was criticised for trivialising the 2012 rape case that shocked India.

Vandana Kalra is an art critic and Deputy Associate Editor with The Indian Express. She has spent more than two decades chronicling arts, culture and everyday life, with modern and contemporary art at the heart of her practice. With a sustained engagement in the arts and a deep understanding of India’s cultural ecosystem, she is regarded as a distinctive and authoritative voice in contemporary art journalism in India. Vandana Kalra's career has unfolded in step with the shifting contours of India’s cultural landscape, from the rise of the Indian art market to the growing prominence of global biennales and fairs. Closely tracking its ebbs and surges, she reports from studios, galleries, museums and exhibition spaces and has covered major Indian and international art fairs, museum exhibitions and biennales, including the Venice Biennale, Kochi-Muziris Biennale, Documenta, Islamic Arts Biennale. She has also been invited to cover landmark moments in modern Indian art, including SH Raza’s exhibition at the Centre Pompidou in Paris and the opening of the MF Husain Museum in Doha, reflecting her long engagement with the legacies of India’s modern masters. Alongside her writing, she applies a keen editorial sensibility, shaping and editing art and cultural coverage into informed, cohesive narratives. Through incisive features, interviews and critical reviews, she brings clarity to complex artistic conversations, foregrounding questions of process, patronage, craft, identity and cultural memory. The Global Art Circuit: She provides extensive coverage of major events like the Kochi-Muziris Biennale, Serendipity Arts Festival, and high-profile international auctions. Artist Spotlights: She writes in-depth features on modern masters (like M.F. Husain) and contemporary performance artists (like Marina Abramović). Art and Labor: A recurring theme in her writing is how art reflects the lives of the marginalized, including migrants, farmers, and labourers. Recent Notable Articles (Late 2025) Her recent portfolio is dominated by the coverage of the 2025 art season in India: 1. Kochi-Muziris Biennale & Serendipity Arts Festival "At Serendipity Arts Festival, a 'Shark Tank' of sorts for art and crafts startups" (Dec 20, 2025): On how a new incubator is helping artisans pitch products to investors. "Artist Birender Yadav's work gives voice to the migrant self" (Dec 17, 2025): A profile of an artist whose decade-long practice focuses on brick kiln workers. "At Kochi-Muziris Biennale, a farmer’s son from Patiala uses his art to draw attention to Delhi’s polluted air" (Dec 16, 2025). "Kochi Biennale showstopper Marina Abramović, a pioneer in performance art" (Dec 7, 2025): An interview with the world-renowned artist on the power of reinvention. 2. M.F. Husain & Modernism "Inside the new MF Husain Museum in Qatar" (Nov 29, 2025): A three-part series on the opening of Lawh Wa Qalam in Doha, exploring how a 2008 sketch became the architectural core of the museum. "Doha opens Lawh Wa Qalam: Celebrating the modernist's global legacy" (Nov 29, 2025). 3. Art Market & Records "Frida Kahlo sets record for the most expensive work by a female artist" (Nov 21, 2025): On Kahlo's canvas The Dream (The Bed) selling for $54.7 million. "All you need to know about Klimt’s canvas that is now the most expensive modern artwork" (Nov 19, 2025). "What’s special about a $12.1 million gold toilet?" (Nov 19, 2025): A quirky look at a flushable 18-karat gold artwork. 4. Art Education & History "Art as play: How process-driven activities are changing the way children learn art in India" (Nov 23, 2025). "A glimpse of Goa's layered history at Serendipity Arts Festival" (Dec 9, 2025): Exploring historical landmarks as venues for contemporary art. Signature Beats Vandana is known for her investigative approach to the art economy, having recently written about "Who funds the Kochi-Muziris Biennale?" (Dec 11, 2025), detailing the role of "Platinum Benefactors." She also explores the spiritual and geometric aspects of art, as seen in her retrospective on artist Akkitham Narayanan and the history of the Cholamandal Artists' Village (Nov 22, 2025). ... Read More


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