2 May 2019

Excerpt from the Text by Julien Bouissou on Le Monde

When it comes to ways in which artists address ecological issues, actions can be big or small – it’s the action that is important however subtle. In the face of complex environmental problems ‘Bruised: Art Action and Ecology in Asia’ examines how artistic response combined with gentle activism can result in a rich legacy and empower further actions in the community.

Bruised: Art Action and Ecology in Asia is part of the of ART+CLIMATE=CHANGE 2019 23 April–19 May, a socially-engaged festival of exhibitions, theatre works, keynote lectures, events and artist talks considering climate change impacts and the challenges and opportunities arising from climate change.

 

Selection of Exodus from the Exhibition – (Dis)Place at the Korean Cultural Centre, Delhi, India.

1 May 2019

In 1970 Satyajit Ray released Aranyer Din Ratri (Days and Nights in the Forest) in Kolkata. In the film, we follow four friends as they escape the daily grind of the city and travel to a forest. Over time, we discover their divergent perspectives and opinions of this shared journey, and see how the meanings of the same road shift and change between individuals. 

Pothe Pothe is a different take on the road in South Asia. It is about shifting places, travelogues, long marches and protests, and sometimes just about getting to your destination.

From the hippies of Nepal to Gandhi’s march to Noakhali or Arfun Ahmed’s travel across the borders, Pothe Pothe explores various stories and fragments of life on the road. Its transcends borders, creates new horizons and connects individual and collective experiences across the region.

Curated by Sarker Protick & Munem Wasif 

‘The earth is closing on us’
Rohingya Refugees in Exile

Where do you belong if nobody accepts you as a citizen with human rights? How does do you prove your ethnicity when you are the victim of systemic violence over decades? How do you build a life in makeshift camps when you know you are neither from here nor from there?

How you bury your dead in someone else’s land? 

Since the brutal attacks on Rohingya communities by the Myanmar Border Guard Police on 25 August 2017, 656,000 Rohingya refugees have arrived in Bangladesh from the northern parts of Myanmar’s Rakhine State*. At least 6,700 Rohingya, including 730 children under age of 5, were killed. According to the NGO Doctors Without Borders, hundreds of villages were destroyed. The United Nations have termed these events a “textbook example of ethnic cleansing”.

The earth is closing on us – Rohingya Refugees in Exile is an attempt to trace the contemporary condition of Rohingya refugees in Bangladesh, through photographs, archival material, found footage, video, drawing and sound. These interventions, drawing on a range of media, come together to address the various modalities of statelessness experience by the Rohingya.

The title The Earth Is Closing on Us is taken from a poem by Palestinian poet Mahmoud Darwish. 

*Rohingya refugees have been fleeing to Bangladesh from Myanmar since the 1970s.

Curated by Sarker Protick & Munem Wasif 

1 January 2019

“Of river and lost lands” é uma instalação audiovisual que explora a paisagem melancólica e cinzenta do rio Padma, no Bangladesh. //

Centro Português de Fotografia, 16 May – 30 Jun. Curadoria de Krzysztof Candrowicz; co-curadoria Emma Bowkett.

7 December 2018

 

Bengal Arts Programme is happy to announce the upcoming opening of (Dis)Place, an exhibition of contemporary art in Delhi (India) on Friday, December 7. Works of 10 artists and 1 research collective from Bangladesh will be featured in the exhibition.

(Dis)Place is supported by the Korean Cultural Centre India and FICA – Foundation for Indian Contemporary Art through a grant for curatorial proposals ‘from India and other SAARC Countries’. Aiming to think through exhibition practices and to address the notion of the region, the grant was awarded to Bangladesh-based curators Tanzim Wahab and Hadrien Diez.

Participating artists and research collective are: Bengal Institute; Shahidul Alam; Tayeba Begum Lipi; Ronni Ahmmed; Najmun Nahar Keya; Afsana Sharmin Zhumpa; Shimul Saha; Zihan Karim; Sarker Protick; Sayed Asif Mahmud; Md.Shamsul Arifin.

The exhibition will continue until February 22, 2019 at Korean Cultural Centre India.

FRAMES PER SECOND: HOW SARKER PROTICK PORTRAYED A MONSOON’S ARRIVAL

Review on PDN, Read here

By Holly Stuart Hughes

15 October 2018

Every year Light Work invites between twelve and fifteen artists to come to Syracuse to devote one month to creative projects. Over 400 artists have participated in Light Work’s Artist-in-Residence Program, and many of them have gone on to achieve international acclaim.

The residency includes a $5,000 stipend, a furnished artist apartment, 24-hour access to our state-of-the-art facilities, and generous staff support. Work by each Artist-in-Residence is published in a special edition of Contact Sheet: The Light Work Annual along with an essay commissioned by Light Work. Work by former Artists-in-Residence is also part of the Light Work Collection.

We are pleased to announce the 2019 Light Work Artists-in-Residence:

Congratulations to Carolyn Drake, Kris Graves, Pao Her, Mark McKnight. Meryl Meisler, Rafal Milach, Zora Murff, Sarker Protick, Arpita Shah, Cian Oba-Smith, Jiehao Su, Ka-Man Tse, and Cristina Velásquez.

22 August 2018

SYDNEY. 31 AUGUST – 14 OCTOBER 2018.

4A Centre for Contemporary Asian Art, Sydney.

Rushdi Anwar  Alana Hunt  Sarker Protick 

Temporary Certainty is shaped by an investigation of sudden shifts of historical change wrought by complex interventions in the greater Asia region. Showcasing new works from Australian artists Rushdi Anwar and Alana Hunt alongside a new body of work from Sarker Protick, this exhibition brings together three distinct voices that share long-standing commitments to humanitarian and activist concerns. With a focus on Bengal, Kurdistan and the Kimberley region of Western Australia, Temporary Certainty explores how artists approach geography as a marker of the consequences of broader geopolitical expediencies.

The three distinct geographical contexts represented in this exhibition, each with their seemingly disparate environmental challenges and contingencies, are here connected by the way the artists have explored questions of nationalisms, the legacies of sovereignty, and contested narratives of memorialisation. Equally defined by more urgent concerns and experiences of displacement and transience, the works presented in Temporary Certainty are distinguished by their emergence within conditions of uneasy reconciliation. Additionally, a common thread between each artist’s vision across the works presented in this exhibition is the central importance of the photographic image as a medium that excels at mediating between space and time, reality and illusion. The artists utilise this visual language, alongside other mediums and methodologies, in a shared pursuit of seeking to unveil the symbolic resonances that inhabit built environments within fractured contexts.

Grappling with tensions between certainty and doubt, permanence and all that is ephemeral, Temporary Certainty contemplates the value of what can be apprehended—much less held onto—with any guarantee in an age lurching towards ever greater polarisation.

Temporary Certainty is produced by 4A Centre for Contemporary Asian Art. Rushdi Anwar’s commissioned work has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body. The presentation of Sarker Protick’s Exodus has been supported by The Esplanade, Singapore, with additional support from the Australian Centre for Photography.

More: http://www.4a.com.au/temporary-certainty/