Sarker Protick was born in 1986 in Dhaka, Bangladesh, and continues to live and work as a photographer and as a facilitator at The Pathshala. Protick’s photography and videography explores the landscapes and the cultures that are disappearing from the histories and the lives of people in Bangladesh. His narratives are primarily rooted in the materiality of time and impermanence through eroded lands, colonial spaces, and family history. He is one of the participating artists at the Yokohama Triennale 2020. The 7th edition of this festival held in Japan is directed by Raqs Media Collective New Delhi and the word that they have chosen for the festival is “Afterglow” to talk about how, in our everyday lives, we unknowingly experience the residues of light sparked at the beginning of our time. In this festival, Protick exhibits a new video collage titled রশ্মি / Raśmi / Ray and a series of photographic slides titled Love-Kill, which introduces once-prosperous ﬁlm industry of Bangladesh.
In this exchange Sarker Protick and I discuss photography through some of his works; the processes he undertakes to capture images and suture them with sounds to create video installations. The conversation delves into his works being shown at the Yokohama Triennale 2020; the intersections between sound, architecture and imagining of the future in his work; the censorship and politics that surround photography—in art and journalism; and his influences.