Photography in Bangladesh: a medium on the move

F’ted 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 “Photography in Bangladesh: a medium on the move”