I’d pretty much perfected the art. I’d go down to the newest library I could find. Become a member as quickly as I could, and armed with my new membership card head straight to section 770, the magical number for photography at UK public libraries. I would take out the full complement of 8 books that I was allowed at any one time. When the lending period was over, they would be replaced by another eight.
I devoured the books, which were mostly monographs, or ones on technique, composition or even special effects. I knew too little about photography, to know how limited my knowledge was. It was many years later, when my partner Rahnuma, gave me a copy of “The Seventh Man” by John Berger, that a new way of looking at photographs opened up. Unknowingly, it was the book “Ways of Seeing” that later opened another window. One that helped me see the world of storytelling. That was when I realised that image making was only a part of the process. Once youtube arrived on the scene, and the television series with the same name entered our consciousness in such a powerful way, his TV series “Ways of Seeing” became my new staple diet. Here was a leftie who could still speak in a language the average person could understand, and that too on a topic such as art. His fascination was neither about the artist nor the artwork itself, but how we responded to it and how it gained new meaning through our interaction. While it was art he was dissecting, it was popular culture he was framing it within.
That there was so much to read in a photograph, beyond the technicalities of shutter speed, aperture and resolution, is something my years of reading section 770 had never revealed. The photographs of Jean Mohr (The Seventh Man), were unlikely to win awards in contests, or fetch high prices in auctions, but Berger’s insights into the situations and the relationships that the photographs embodied, gave them a value way beyond the mechanics of image formation. Berger never undermined the technical or aesthetic merits of a photograph. He simply found far more interesting things to unearth.
A report on Pathshala South Asian Media Institute, published by the online news portal bdnews24.com, has come to our attention (“Shahidul Alam’s Pathshala operates without affiliation,” bdnews24.com, 6 August 2016). Unsubstantiated allegations, backbiting and innuendo and the absence of cross checking characterise the “report.” It is a shoddy piece of journalism. Continue reading “PATHSHALA?S RESPONSE TO BDNEWS24.COM?S REPORT”
We chose not to be photographed. His broad smile was somewhat subdued, though the impishness of his chuckle still remained. The big hug didn’t work out. Even in the generous light through the large open window, a frail Kiarostami with tubes wasn’t how we wanted him depicted. He had cancer, and the surgery had gone wrong. My young friend Mansour Kiaei had accompanied me and had only met the great man for the first time. He wanted to photograph the two of us. We declined, saving the moment, for when Abbas would be better, and more the Abbas, as I had known him.
OPINION – 11 MAR 2016 BY DANIEL BAUMANN Frieze.com
How a photography course in Dhaka is challenging religious and artistic prejudices
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, art works 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 “New Developments: How a photography course in Dhaka is challenging religious and artistic prejudices”
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 লিমিটেড ও পাঠশালা 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
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 3.30 pm 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.”
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?
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
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.