New Developments: How a photography course in Dhaka is challenging religious and artistic prejudices

How a photography course in Dhaka is challenging religious and artistic prejudices

Rasel Chowdhury, winner of the 3rd Samdani Art Award, People on low incomes living in slums beside the railway station at Khilgaon, Kamalapur, Dhaka, 2012, (from the series ‘Railway Longings’, 2011–15)

Rasel Chowdhury, winner of the 3rd Samdani Art Award, People on low incomes living in slums beside the railway station at Khilgaon, Kamalapur, Dhaka, 2012, (from the series ‘Railway Longings’, 2011–15). Courtesy the artist

I just got back from the third Dhaka Art Summit (DAS) in the Bangladeshi capital. DAS is the brainchild of Nadia and Rajeeb Samdani, a young collector couple based in the city; it’s not a biennial, nor an art fair or a festival, but an intense four-day summit. For it’s third edition, the Chief Curator of DAS, Mumbai-based Diana Campbell Betancourt, decided not to focus on a particular theme per se but on the South Asia region as a whole, which in itself is a contradictory concept. (What exactly is South Asia? Is Australia a part of it? Sri Lanka? Iran?) She engaged several curators, including me; I was invited to organize an exhibition for the Samdani Art Award, which is given to a Bangladeshi artist between the ages of 20 and 40. Back in October 2015, I had spent a week in Dhaka meeting the 20 artists who had been shortlisted for this award by Aaron Cezar, director of the London-based Delfina Foundation. From my very first conversation with the artists, I sensed that we were at the beginning of an extremely interesting week.

I learned a lot about Bangladesh – the local scene, art education, religion and why, for instance, art­works about love do matter. Some artists I met mentioned that their partner was either Hindu or Muslim and that they could not tell their respective families. As the week went on, I became increasingly enthusiastic about the obvious sense of urgency with which all of the nominated artists work: Bangladesh is rapidly changing on all levels, and these artists are all embracing the challenge to get involved, to have their voices heard and to find appropriate forms of expression for that.

This seemed particularly true for many of the photographers on the shortlist. As it turned out, they all came from a single school: Dhaka’s Pathshala South Asian Media Institute. Set up in 1998 by the Bangladeshi photographer, writer, curator and activist Shahidul Alam, this private school has been dedicated to documentary photography and reportage from the beginning. Located in the central Dhanmondi/Panthapath area of Dhaka, it is a small institute for about 90 students who follow the three-year professional programme, and for about 600 students enrolled in the short, one-semester course. Initially funded by international organisations, Pathshala now is entirely supported through tuition fees. (Though relatively modest at US$460 per semester for the professional programme, inevitably, as in Europe or the US, students are likely to come from more affluent backgrounds, while there are scholarships allowing five students per year to study for free.) Continue reading

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Photography in Bangladesh: a medium on the move

Fêted internationally, the country’s photographers have struggled for status at home. Could that be about to change?

Water reservoir is for the Komolapur Railway station. It’s the main station in Bangladesh. Dhaka.

From the series ‘Railway Longings’ (2011-2015) by Rasel Chowdhury

The eerie moonscape of Munem Wasif’s new photographic series, “Land of Undefined Territory”, appears empty. On closer inspection, it reveals the scars of industrial activity, from vehicle tracks to stone crushing. The sense of menace and alienation is compounded by a three-channel video with a grating soundtrack.

These digital black-and-white shots were taken along an indefinite border between Bangladesh and India — disputed land that is now home to unregulated mining but which also soaked up the blood of past upheavals, from the first, temporary partition of Bengal under the viceroy in 1905, to Partition in 1947 and the Liberation war of 1971. Ostensible documentary veers into questioning in Wasif’s deeply unsettling yet distanced probing of history, territory, ownership and exploitation. Continue reading

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The Story of a Starfish Thrower

Via Vanessa Marjoribankson Apr 29, 2016

Starfish article featured pic v2

I have always held a strong sense of right and wrong. I have always wanted to help people.

Someone asked me recently why, and I responded that this was as much a part of me as the color of my eyes.

Then I realized that these innate characteristics were likely multiplied during defining moments in my own life when I wished for someone to help me.

I was the kid who found baby birds on the ground and took them home to live in our hot water cupboard. I would enlist my friends’ help to find bugs in the garden that we would mash up and painstakingly feed to the “patient” with tiny pipettes. More often than not, the baby birds didn’t survive, which bought floods of tears.

Sometimes they did, though, and for every feathered life saved, the angst was worth it.  Continue reading

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Open Call For Iranian and Bangladeshi Artists

Open Call For Iranian and Bangladeshi Artists


Exchange Program (Iran – Bangladesh)
1-31 July, 2016 – Tehran
7 January – 7 February , 2017 – Dhaka

Application Deadline
10 May, 2016

Pathshala and Kooshk Residency present the first round of exchange program between Tehran and Dhaka for two Bangladeshi and two Iranian visual artists. This exchange program exists out of two parts. The first part is held from 1-31 July, 2016 in Tehran, Iran.

In this residency, the Bangladeshi artists have the opportunity to work in Tehran, Iran and collaborate with the Iranian artists. During this time, the space will be open to a local public of artists, students, and art critics. The program will end with a presentation and a panel discussion. Continue reading

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HUMAN CHAIN: Protest against the murder of Photographer and Drik Employee ‘Irfanul Islam’

Irfanul Islam
Irfanul Islam


প্রেস বিজ্ঞপ্তি

দৃক কর্মকর্তা ও আলোকচিত্রী মোঃ ইরফানুল ইসলাম হত্যার প্রতিবাদে মানববন্ধন

ঢাকা। ৮ এপ্রিল, ২০১৬

দৃক কর্মকর্তা ও আলোকচিত্রী মোঃ ইরফানুল ইসলাম হত্যার প্রতিবাদে দৃক পিকচার লাইব্রেরি লিমিটেডপাঠশালা সাউথ এশিয়ান মিডিয়া ইন্সটিটিউট যৌথ উদ্যোগে ঢাকা বিশ্ববিদ্যালয়ের টি.এস.সি. রাজু ভাস্কর্যের সামনে ৯ এপ্রিল ২০১৬ শনিবার, বিকাল ৩:৩০ মিনিটে প্রতিবাদী মানববন্ধনের আয়োজন করেছে।

মানববন্ধনে আলোকচিত্রীরা ক্যামেরায় কালো কাপড় বেঁধে এবং অংশগ্রহণকারীরা কালো ব্যাজ পরে প্রতিবাদী প্ল্যাকার্ড প্রদর্শন করবেন।

উক্ত মানববন্ধনে উপস্থিত থেকে সংবাদ পরিবেশনের অনুরোধ করছি।

দৃক ও পাঠশালার পক্ষে
এএসএম রেজাউর রহমান
জেনারেল ম্যানেজার, দৃক

সুরবি প্রত্যয়ী- ০১৯১২১৬০১৫০

Dear All,

Drik Picture Library and Pathshala South Asian Media Institute will initiate to form a Human chain at T.S.C, Dhaka University on 9th April, 2016, Saturday at 3.30pm for the protest against the murder of Photographer and Drik Employee ‘Irfanul Islam’ who was kidnapped and murdered on 2 April, 2016. Photographers will wrap black cloth on their camera and other participants will wear a black badge and show protest placard.

We are requesting you all to take part in this protest and please note your presence and support is VERY IMPORTANT. 

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Irfanul Islam: My quiet friend

Irfanul Islam
Irfanul Islam

The moon was low over the city lights at 4:30 in the morning in Mexico City. A dull orange thin sliver, it too was in mourning. I was heading to the airport, but had just heard the news. Rahnuma had been keeping me updated. Ever since Irfan’s disappearance, we had feared the worst, but hoped upon hope that this time it would be different. They had the money, why did they need him? The news hit very hard.

I had joined the Bangladesh Photographic Society in 1984. Irfan had been part of our small administrative team. After serving as secretary general and three terms as president, I left the BPS to start up the Drik agency. Irfan soon decided to follow me to Drik. He worked in the darkroom with Anisur Rahman. The giant prints we had made in those days of Bangabandhu, in that tiny darkroom, with improvised troughs and hand mixed chemicals, were the handiwork of these two fine technicians.

Quiet and somewhat reclusive, Irfan was also slightly self-conscious as he had a mild stammer. He was a photographer, though he was not employed as one at Drik. He still joined us on photo shoots. He made friends easily with his disarming smile, but was less comfortable with more public roles. Once we closed the wet darkroom at Drik, a lab technician was no longer needed. Given his interest in photography, we tried Irfan out at our school of photography, Pathshala, but it was Drik, where he felt at home, and while he was not normally the person to say no or be defiant, this was one instance where he put his foot down. He was not going to budge from Drik. We had to find a new role for him. Continue reading

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The spirit of a ghostly fabric

Rare depiction of terracotta weaver. Terracotta art was at its peak from 4th - 8th century. Courtesy of Ruby Ghuznavi, Dhaka. Bangladesh. Photo: Shahidul Alam/Drik/Majority World
Rare depiction of terracotta weaver. Terracotta art was at its peak from 4th – 8th century. Courtesy of Ruby Ghuznavi, Dhaka. Bangladesh. Photo: Shahidul Alam/Drik/Majority World

Having heard Saif speak of muslin over the last three years, I had gained some knowledge, albeit second hand. Going out filming with him to museums, arboretums and libraries, I had met some of the world’s leading experts. Lived part of the history. A surprise awaited me. It is not a book written by an expert, but a labour of love, written by a hungry enthusiast, not yet jaded by the weight of authority. It has all the facts. The rigour of research. The scholarly precision. The concern for one’s fellow human. Continue reading

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Chobi Mela IX: Transitions

Imagine being told you have only ten more days. To love, to live, to celebrate, to cherish, to repent, to ponder. Perhaps ten weeks, maybe months. Perhaps you have cancer, or you are on someone’s hit list. Or you have just been sentenced.Perhaps someone thousands of miles away will press a button. Perhaps you are in jail, being tortured. Perhaps death to you is a release, and end to pain, an  acceptable price for your belief. Let’s move to happier thoughts. Perhaps you will start a new life. Maybe your first child is about to be born. You have crossed many miles and you near land. You see sunlight after years in solitary confinement. You bathe in rain after months of drought.

Maybe you have a discovery that will transform the way we live. Are you at a fork in your life as an artist? Have you embraced another medium, has someone given new meaning to your work? Is there a new visual language that will help interpret your world?

Perhaps you are seeing, or hearing for the first time. Maybe you are in love.Perhaps years of research have unearthed hidden wonders in the artistic space you walk on? Have you found a sparring partner, who stretches you to the limits of your potential? Is there a new way of seeing? Does your artistic journey, bring new relevance to the work you produce? Are you ready to emerge, as a butterfly from a chrysalis, momentarily waiting for your wings to dry?

Are you a curator whose interpretation has caused the world to look at a body of work anew? Are you on the other side of the fence, seeing what artists within have forgotten to see?  Are you prepared to take on the complexities of seeing, when doors are closed, minds are locked?  Perhaps space is your forte, and you work with the physicality of a venue, producing site-specific work that is ephemeral in its form, but eternal in its concept. Are you tied down by the shackles that define photography, or are you prepared to take flight, going outside the boundaries, reaching out to the periphery, unearthing the unknown?

Are you the old or the new, or do you not accept such definitions? Does your visual space extend to the non-visual, do you hear, touch, feel through your eyes? Is your photography trapped between the corners of a two dimensional frame, or will new relationships between dimensions be the catapult that releases your art? Do pixels move you? Are you married to grains of silver? Are objects found and unearthed, part of your domain?

Does the white cube encumber you? Do you seek open spaces? In spirit, in mind,in form. Are you able to connect the dots? Are you the artist, the curator, the scientist, the historian, the editor, the journalist, the collector, who will find the magic that will take photography to new heights? Who will tell your story? Share your thoughts, cherish those moments. Who will help you live after you die? Who will hold your hand as you dance naked in the sun, wear bright colours, sing out loud? Are you the storyteller who visualizes a changing planet?

Submission Guidelines

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Postdoctor in Photography, Photography and Human Rights

Screen Shot 2016-03-28 at 06.46.27

University of Gothenburg

Type of employment: Fixed-term employment, 2 years
Extent: 100 %
Location: Valand Academy, Gothenburg
First day of employment: 2016/9/1
Reference number: PER 2016/54

Valand Academy at the University of Gothenburg and the Hasselblad Foundation have a long-term partnership developing critical reflection on photography and its mediation. As part of this partnership, the Hasselblad Foundation is launching a research project on photography and human rights in Autumn 2016, and photo-based artists holding a PhD can apply to a two-year Post-Doctoral position at Valand Academy starting September 2016. The number of positions available is one.
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