As Drik As Possible

The 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. My partner Rahnuma Ahmed often got roped in when we were short-staffed, which was often.

Climate_Migrants
Climate Migrants: “Our people are driven by a terrible sense of deficiency. When the last tree is cut, the last fish is caught, and the last river is polluted; when to breathe the air is sickening, you will realize, too late, that wealth is not in bank accounts and that you can’t eat money.” Alanis Obomsawin Photo Abir Abdullah from his series on Climate Change.

Continue reading “As Drik As Possible”

As Drik as Possible

Introduction to the Drik 2016 calendar.

A behind the scenes glimpse at a remarkable media phenomenon:

The 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. Md. 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 western magazine, joined as our librarian. We offered and she happily accepted a local salary.

Continue reading “As Drik as Possible”

Wresting the Narrative From the West

By?JAMES ESTRIN?New York Times
As far as Shahidul Alam is concerned, he does not live in the third world or the developing world. While the photographer?s home is in Bangladesh, a decidedly poor country, he thinks of himself as residing in ?the majority world.?
Boy playing with home made ball, in shelter built for earthquake victims in Pakistan. ? Shahidul Alam/Drik/Majority World
Boy playing with home made ball, in shelter built for earthquake victims in Pakistan. ? Shahidul Alam/Drik/Majority World

Most people today do not live in Europe or North America, or have white skin. Yet the world?s economy and media are dominated by a handful of Western countries, and the reporting on developing nations is not always done by people who know their subjects well. Continue reading “Wresting the Narrative From the West”

Shahidul Alam presenting at Tate Modern

Violence and Representation – Part 6 18 September 2010 by Shahidul Alam

To coincide with the exhibition Exposed: Voyeurism, Surveillance and the Camera, this symposium explores violence as a subject in relation to representations in the broadest range of historical and geographical?contexts.
It includes international artists, photojournalists and theorists who from their distinctive perspectives will attempt to unveil notions of spectatorship and consumption of violent images in contemporary culture. Key questions will encompass the notion of the political, apolitical or depoliticised spectator of representations of violence; the consequences of these kinds of practice and the difference between photo reportage and art photography. Speakers include Shahidul Alam, Steve Edwards, Susan Meiselas, Simon Norfolk, John Roberts, Julian Stallabrass and Alberto Toscano. Lawyer Rupert Grey was a discussant. Supported by Oxford Art Journal, Oxford University Press, the Open University and the British?Council.

Shahidul Alam: Crossfire

Public event???By?BRISBANE POWERHOUSE

7 November?at?09:00?until?3 December?at?17:00 in UTC+10
Paddy Field. ??Shahidul Alam/Drik/Majority World

Photographer, journalist, and human rights activist Shahidul Alam examines the issue of the increasing number of extra-judicial killings
in Bangladesh.

In 2004 the Bangladesh government created a new armed enforcement agency, The Rapid Action Battalion (RAB), in response to a perceived law and order crisis. From early days RAB became notorious for the number of people that have been killed, allegedly during gun battles, because they?ve been caught in the ?crossfire?.
Shahidul Alam?s Crossfire project was first shown in Bangladesh in 2010 to draw attention to these killings. The government responded by shutting down the show. Eventually, facing a court ruling in favor of Alam, the government backed down and the show was reopened for a day.
Following a successful showing at the Queens Museum of Art New York in April, 2012, this exhibition marks the first time it will be shown in Australia.
Opening night: 6.30pm Wed 07 Nov
Brisbane Powerhouse
Presented by Drik, UQ?s Centre of Communication and Social Change, School of Journalism and Communication, Griffith University?s Queensland College of Art (QCA) and Brisbane Powerhouse

Limon urged to settle

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