Open Call For Iranian and Bangladeshi Artists

Open Call For Iranian and Bangladeshi Artists
Khooshk
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 “Open Call For Iranian and Bangladeshi Artists”

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

Irfanul Islam
Irfanul Islam

 
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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.?

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 “Irfanul Islam: My quiet friend”

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

Continue reading “Chobi Mela IX: Transitions”

Postdoctor in Photography, Photography and Human Rights

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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.
Continue reading “Postdoctor in Photography, Photography and Human Rights”

Photographer Rasel Chowdhury Wins Bangladesh's Top Contemporary Art Award

Photographer Rasel Chowdhury Wins Bangladesh’s Top Contemporary Art Award

?artnet News

Rasel Chowdhury. Photo: Sarker Protick

Documentary photographer?Rasel Chowdhury beat out 300 other applicants to win this year’s?Samdani Art Award. The winner was announced today?at the Dhaka Art Summit,?which is curated by Diana Campbell Betancourt.?It is the largest showcase of South Asian contemporary art in the world.
Bangladesh’s premier art prize is awarded bi-annually to emerging artists between the ages of 22-40 living and working in the country. Chowdhury, who is a contract photographer for the New York Times and Getty,?will enjoy an?all-expenses paid three-month residency at the Delfina Foundation in London in order to work on his craft. Continue reading “Photographer Rasel Chowdhury Wins Bangladesh's Top Contemporary Art Award”

Kalpana's Warriors in Delhi

THE SEARCH FOR KALPANA CHAKMA

BY SMRITI DANIEL??/??28TH JANUARY 2016

Kalpana's Warriors_Exehibition Opening
Opening of ?Kalpana?s Warriors? at Drik Gallery 12 June 2015 on the 19th anniversary of her abduction. Photo: Habibul Haque/Drik

 

Shahidul Alam has long been gripped by the life of a woman he has never met.
It?s been two decades since Kalpana Chakma was abducted, but Shahidul refuses to forget her. Standing at the threshold of his latest exhibition,Kalpana?s Warriors, the Bangladeshi photographer pauses for a moment.
In the room beyond is the third in a series of photo exhibitions that began with Searching for Kalpana Chakma in 2013, and was followed by 18 in 2014. The woman around whom these pictures revolve is notably absent from them. She was abducted at gunpoint in the early hours of 12 June 1996 from her home in Rangamati in Bangladesh. Her captors were a group of plain-clothed men who were recognised as being from a nearby army camp. Kalpana never returned home and her fate remains unknown.
When the exhibition first opened at the Drik Gallery in Dhaka, many of those who had been photographed could not risk coming out of hiding, yet the room was full of people who knew Kalpana?s story intimately. Some simply stood for a while before the portraits, others wept. Continue reading “Kalpana's Warriors in Delhi”

Kalpana's Warriors opens in Delhi

 
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Kalpana Chakma, a young leader of the Bangladeshi Hill Women?s Federation, was abducted from her home by military personnel and civilian law enforcers at gunpoint on 12 June 1996. She remains missing. Through this work, part of Drik?s ?No More? campaign, photographer?Shahidul Alam?has tried to break a silence that successive governments, whether civilian or military backed, have carefully nurtured. The exhibition uses laser etching on straw mats, an innovative technique developed specifically for this exhibition. The process involved in creating these images is rooted to the everyday realities of the hill people, the paharis. Interviewees had repeatedly talked of the bareness of Kalpana?s home. That there was no furniture. That Kalpana slept on the floor on a straw mat. The straw mats were burned by a laser beam much as the fire that had engulfed the pahari villages.
Shilpakala Award recipient Shahidul Alam, set up Drik and Majority World agencies, Pathshala South Asian Media Institute and Chobi Mela festival. Honorary Fellow of the Royal Photography Society and visiting professor at Sunderland University. Alam has chaired the World Press Photo jury. Alam also introduced email to Bangladesh. His book my journey as a witness has been described as ?the most important book ever written by a photographer? by legendary picture editor of?Life Magazine, John Morris. He is an internationally acclaimed public speaker and has presented at Hollywood, National Geographic, re:publica, COP21 and POP Tech.
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As Drik As Possible

Climate_MigrantsThe dot matrix Olivetti printer was noisy. The XT computer came without a hard drive: two floppy disks uploaded the operating system. When the electricity went (as it often did), we had to reload it. Our bathroom doubled as our darkroom. A clunky metal cabinet housed our prints, slides, negatives and files. Anisur Rahman and Abu Naser Siddique were our printers; I was photographer, manager, copy editor and part-time janitor. Cheryle Yin-Lo, an Australian who had read about us in a magazine, joined as our librarian. We offered and she happily accepted a local salary. In god we trust
My partner Rahnuma Ahmed often got roped in when we were short-staffed, which was often. That was 25 years ago. Little experience and zero cash rarely got in the way: we started publishing from day one. Postcards, bookmarks (often using offcuts from the press) and even a company calendar were produced by friendly printers who printed on credit. Residents of Bangladesh?s capital, Dhaka, used to seeing flowers, pretty women, mosques and waterfalls, suddenly woke up to social messages in black and white on their wall calendars. It worked, and we were able to sell them door-to-door and pay back the printers ? until there was a flood and half our stock got inundated.
My Garden in the WildsTired of being pitied for our poverty, and do-gooder attempts to ?save? us, we had decided to become our own storytellers. And did we have stories to tell! Our agency Drik, grew, and we picked up many loyal friends and several powerful enemies along the way. Knowing we had to compete with better-resourced entities in the West, we set up the nation?s first email network using Fidonet. Banglarights, our human rights portal, annoyed the government; our telephone lines were switched off for 30 months. Mainstream galleries turned down exhibitions which were shamelessly political and often critical of the establishment, so we built our own. The government sent riot police to close down our shows on several occasions. Being stabbed in the street, arrested, and generally persecuted became some of the more troubling after-effects of our activism, but a nationwide campaign to reopen our gallery, and a court ruling in our favour, convinced us that the person on the street was on our side. That was all the ammunition we needed. Ballakot Rubble 8246
Along the way, we had set up a photo school, Pathshala, now recognized as being among the finest in the world. We also set up a photo festival, Chobi Mela. Again, a highlight of the Asian cultural calendar. Geed up by what we?d achieved in Bangladesh, we set our sights on challenging the global world order. Majority World was born, a platform for local photographers from Africa, Asia, Latin America and the Middle East with their own stories to tell.
Rescue OperationActivism didn?t pay the bills though and competing in the market place, often with professionals we ourselves had trained, required us to remain cutting edge. Clients cared less for ?good intentions? than they did for good delivery and value for money. It was comforting therefore when a prestigious international client, mentioned in the ?special instruction? section that she wanted the work to be ?As Drik as possible.? Call me Heena
As the organisation grew, we needed better management, stricter controls, increased efficiency and lower costs. This led to a culture shift which didn?t come easily to a group that had grown up like a family and had gotten used to working in a particular way. Our new CEO reminded us, that producing the perfect product was gratifying, but getting it to market on time and within budget, was just as important.
Meeting man's greedDrik today is a role model for the majority world, but a world that is changing. Twenty five years ago, it made sense to start from the ground up. Today we tap into fine professionals we ourselves have groomed, and take them to the international arena. Long term strategy, succession plans and a more global vision are the concerns of the day. It?s a lean, agile and creative organisation run by a younger team, ready for tomorrow. Rejoicing at Ershad's fall
Drik?s ultimate strength however, has been the people who have rallied around us. This includes the people who work here, but goes way beyond it. People, all across the globe, across all conventional barriers, who have believed in us, and stood by us, in the many difficult moments we?ve shared, through many dark nights and days. We owe our very survival to them. Some we have lost forever. Others have stayed away from the limelight, happy to bask in our success from afar. While they have never wanted or expected anything in return, we shall remain indebted to them. This publication is a tribute to them all.
Those we have loved and lost
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All credits and supplementary text available in Flickr page