PREFACE
“to reshape some histories, to bring back the forgotten others, to reassess and alter the already hazily known, to redefine some standards of writing and our understanding, thoughts and feelings of an era lost. More importantly, to allow this man to breathe his words […] Memory, collectively lost, can now be somewhat regained.”
These thoughts are taken from the last pages of the publication The Art Critic dedicated to the Burmese born, India based critic and artist Richard Bartholomew. The words come from Bartholomew´s son Pablo, and they eloquently comment on the power of his father’s archive, in particular his writing, to critically build different pasts. Bartholomew’s thoughts do more than address the urgent need to fortify the interlinking of art historical narratives - many forgotten or simply unknown - within the South Asia region, but they inspire us to consider their impact beyond it. And they do more, since they demand that we persevere in new ways of nurturing critique that will strengthen regional histories of immense richness to the world.
To do so we must nurture structures of empowerment, knowledge sharing and production, within which micro-histories will not just claim their place within macro-histories but also contribute to their revitalisation.
It is on the wings of this impulse that Diana Campbell Betancourt, Artistic Director of the Dhaka Art Summit, together with Katya García-Antón, Director and Curator of OCA, Office of Contemporary Art Norway, Chandrika Grover Ralleigh, Head of Liaison Office India of the Swiss Arts Council – Pro Helvetia, and Bhavna Kakar, Director of Take on Art Magazine are launched the CRITICAL WRITING ENSEMBLE as part of the Dhaka Art Summit 2016. The project was curated by Katya García-Antón, Director and Curator of OCA, with the collaboration of Antonio Cataldo, Senior Programmer of OCA. Research into the processes and structures that could help to empower writers today has been a part of the curatorial practice of Katya García-Antón in recent years. She was commissioned by Pro Helvetia – Swiss Arts Council in 2012-13 to devise a programme for the discussion and activation of critical art writing in Switzerland involving cross-generation peers across the linguistic regions and traditions of the country. CWE has drawn from this valuable experience, repositioning previous thoughts and posing new questions within the context of the Dhaka Art Summit, as well as the histories and currencies of the South Asia region. CWE took a cross-regional approach and was developed in collaboration with Bhavna Kakar, who in addition to convening with the peers in Dhaka, also developed CWE-1 in an official partnership with Maharaja Sayajirao University of Baroda, by organising a series of discussions and workshops amongst regional peers during the month of December 2015 in the lead-up to CWE II at the Summit. Finally, in 2017, CWE will be developed as a further iteration within the context of Nordic Europe through a programme held in OCA, Oslo.
CWE therefore brings together peers from the South Asia region and across the globe, into different working constellations to share writing histories and knowledge with each other, experiment together, and produce new critical impulses regarding art writing, which will be compiled in a specially dedicated publication with wide international distribution.
Such an endeavour is positioned within a local therefore as much as a global framework, in more ways than one, for not only is this a project of some urgency regionally, it reminds us of the fact the crisis is a global one. Art writing has for some time endured challenges which vary in nature across the world. In some parts there are fewer places in which to write critically and experimentally about art and art history, there is less and less financing for this, there is less and less time; in others whilst platforms for writing may actually be on the rise, their value and impact has declined.
Writing is by nature a lonely endeavour, but under these conditions, art writing is being pushed to the margins and alienated from the central and critical position it should have in our societies, as will the immediate contact it should have with our audiences. If this decline continues, art histories around the world will homogenise and the immense richness and diversity of our cultures, essential to rewrite and re-imagine present and past histories, will lose their critical edge as the very voices that should build it, which should experiment it and reinvent it, disappear over time.
STRUCTURAL SUMMARY
CWE seeks to foster a community of art writing peers working together. Breaking the isolation that characterises much writing practice, the platform hopes to create a lively environment for intellectual exchange.
CWE seeks to connect art writers experience and knowledge of regional and national writing histories, across the South Asian region and other regions globally.
CWE II seeks to develop these relations through a four-day platform of presentations, panel discussions, lecture performances, group debates and readings, within the context of the Dhaka Art Summit, its exhibitions and talks programmes.
CWE views art writing as a practice in its own right. Writing in general is strongly shaped by the contexts in which it is practiced and where it appears, and so the platform will consider discussing writing in a variety of historical and formal contexts.
CWE counted on access to the Asia Art Archive that was on site in Dhaka.
CWE will publish the material presented during, and derived from these sessions and distribute it internationally by Mousse Publishing. The publication will include a variety of contributions from all peers.
Session 1 Discussion, part 2
Al Fresco – Writing Within and Against the Art School
Date: 3 February 2016, 3.30pm
Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy
With Yin Ker, Filipa Ramos, Shukla Sawant, Chus Martínez, Anshuman Das Gupta, moderated by Katya García-Antón and Antonio Cataldo
Session 1 Discussion, part 2
Al Fresco – Writing Within and Against the Art School
Date: 3 February 2016, 3.30pm
Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy
With Yin Ker, Filipa Ramos, Shukla Sawant, Chus Martínez, Anshuman Das Gupta, moderated by Katya García-Antón and Antonio Cataldo
Rebranding Mesopotamia: The Inextinguishable Fire
by Övül Durmusoglu
Date: 7 February 2016, 12.00pm
Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy
Turkish curator and writer Övül O. Durmusoglu will focus on the flow of information which builds our disjointed everyday life to address the reality of war and its virtual manifestations. Starting with the reading of contemporary cinematic and installative propositions she asks questions which are immanent upon us – Where did Daesh come from? How did the migrant population increase in Europe? Or, how did the populist right-wing Pegidas movement against non-Muslims and immigrants in Germany, started in Dresden, draw thousands of participants in 2014? – to morph on our future from within and outside the arts.
Övül O. Durmusoglu is a curator and writer. She is the director/curator of YAMA screen in Istanbul. She works as a curatorial advisor to Gulsun Karamustafa's monograph in Hamburger Bahnhof in 2016. She also co-leads 'Solar Fantastic’, a research and publication project between Mexico and Turkey. Durmusoglu has recently curated 'Future Queer', the 20th year anniversary exhibition for Kaos GL association in Istanbul. In the past, she acted as the curator of the festival Sofia Contemporary 2013 titled as 'Near, Closer, Together: Exercises for a Common Ground'. She organised different programmes and events as a Goethe Institute fellow at Maybe Education and Public Programs for dOCUMENTA (13).
Indian Printed Matters after Independence
by Devika Singh
Date: 8 February 2016, 12.00pm
Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy
This presentation by Paris-based art historian and curator Devika Singh (who is currently writing a book on artistic practices in India between 1947 and 1991) takes the title of this session on ‘printed matter’ as a point of departure to discuss a moment when art reviews were a critical site of transaction in India between the public sphere and contemporary art currents. For writers of the immediate post-independence period, few issues mattered more than the relation between India and the outside. Opinionated and polemical, writings on art contributed to debates on the nature of art and its dialogue with history and ideas of the nation. Commenting on Indian art of the 1950s in the pages of the review MARG in 1967, Jaya Appaswamy described this changing decade as an opening onto the world, from ‘local nationalistic idioms to a world international language’. Using the first years of MARG as a central example, the presentation explores this period of radical reconfiguration to ask what its internationalism amounted to and how we can make sense of it today.
Devika Singh is an art historian, critic and curator based in Paris and an affiliated scholar at the Centre of South Asian Studies at the University of Cambridge. She holds a PhD in the History of Art from the University of Cambridge. Singh was the Smuts Research Fellow at Cambridge (2012-2015) and has held fellowships at the French Academy at Rome (Villa Medici), the Freie Universität, Berlin, and the John W. Kluge Center of the Library of Congress, Washington DC. She has published extensively in catalogues, art magazines and journals, including frieze, Art Press, Art Asia Pacific, Art History and Modern Asian Studies and is currently writing a book on art in post-independence India for Reaktion Books. She is also curating several exhibitions on photography in India.
Letters– ‘The long awaited morn’
by Salima Hashmi
Date: 4 February 2016, 12.30pm
Venue: 3rd Floor Auditorium, Bangladesh Shilpakala Academy
Artist, cultural writer, activist and founding Dean of School of Visual Arts at the Beaconhouse National University at Lahore Salima Hashmi, will read and comment letters of her father Faiz Ahmed Faiz to address the power of the epistolary form as a critical tool for resistance.
Salima Hashmi is an artist, curator and contemporary art historian. Professor Hashmi was the founding Dean of the School of Visual Art and Design at Beaconhouse National University, Lahore; she taught at the National College of Arts (NCA) Lahore for 31 years and was also Principal of the College for four years. Salima Hashmi has written extensively on the arts. Her book Unveiling the Visible- Lives and Works of Women Artists of Pakistan was published in 2002, and Memories, Myths, Mutations – Contemporary Art of India and Pakistan, co-authored with Yashodhara Dalmia for Oxford University Press, India, was published in 2006. She has recently edited The Eye Still Seeks – Contemporary Art of Pakistan for Penguin Books India in 2014. In addition, Salima Hashmi curated ‘Hanging Fire’: an exhibition of Pakistani Contemporary Art for Asia Society Museum, New York in 2009, which was accompanied by an extensive catalogue. The Government of Pakistan awarded her the President's Medal for Pride of Performance for Art Education in 1999. And the Australian Council of Art and Design Schools (ACUADS) nominated her as Inaugural International Fellow, for distinguished service to art and design education in 2011.She is a practicing artist and has participated in many group exhibitions and has had six solo exhibitions at a national and international level. She is Council Member of the Human Rights Commission of Pakistan.
Dislocating Authority in a Colonial Art School: critical interventions of a “native” insider
by Dr Shukla Sawant
Date: 3 February 2016, 4.00pm
Venue: 2rd Floor Auditorium, Bangladesh Shilpakala Academy
Focusing on the autobiography, periodical columns and official reports written by Madhev Vishwanath Dhurandhar (1867–1944), a ‘native’ art educator and administrator within the colonial bureaucracy of the Bombay Presidency, the presentation will examine the curricular interventions and nuanced resistance offered by him through his arguments published in English and Marathi to address different language publics. In contrast to the colonial era education policy that insisted on a revivalist typology rendered through language of academic rigor and directed towards design education for the ‘natives,’ Dhurandhar, who was to rise to the position of the headmaster of the venerable Sir Jamsetjee Jeejeebhoy School of Art, while adhering to academic means, was to make his career primarily as an independent ‘History Painter,’ illustrator and landscapist. While Santiniketan’s credentials as a site of Tagore’s resistance project have been dealt with extensively in art historical writing in India, the everyday opposition of figures entangled in colonial institutional structures have received little attention. With her presentation Jawaharlal Nehru University Professor Shukla Sawant, based in Delhi, by drawing attention to rare archival material, hopes to further the discussion on the fissures in colonial structures of power that were chiseled out from within.
Dr Shukla Sawant is a visual artist and Professor of Visual Studies, School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi where she has taught since 2001. She is also currently visiting faculty at the Bhau Daji Lad Museum, Mumbai. Prior to joining JNU, Shukla Sawant taught for twelve years at the Department of Fine Arts and Art Education Jamia Millia Islamia New Delhi. After graduating in painting from the College of Art, New Delhi she specialised in printmaking at the École nationale supérieure des Beaux-Arts in Paris and later went to the Slade School of Art and Centre for Theoretical Studies, London on a Commonwealth grant. Her research interests include modern and contemporary art, art in colonial India, photography, printmaking and new media. Shukla has ten solo shows to her credit and has published various catalogue essays and contributed chapters in books on Contemporary Indian Art. She is a founding member of the Indian Printmakers’ Guild and was a working group member of Khoj International Artists’ Association between 1998–2005. She has delivered lectures at the NGMA, New Delhi; University of Heidelberg, Germany; New School, New York and Brandeis University; and has participated in the 18th International Congress of Aesthetics, Beijing University, 2010. Her recent publications include: ‘Landscape Painting a Formal Inquiry’ in The Indian Quarterly, ‘A Question of Perspective’, The Indian Quarterly; ‘Instituting Artists’ Collectives: the Bangalore/Bengaluru Experiments with “Solidarity Economies”’, Journal of Transcultural Studies, Heidelberg University; ‘Out Of India: Landscape Painting Beyond the Picturesque Frame’ in Landscape Painting, the Changing Horizon, Delhi Art Gallery, New Delhi, 2012.
Art writing from below: Transversality in the country of mistranslation
by Mustafa Zaman
Date: 8 February 2018, 3.00pm
Venue: 2nd Floor Seminar Room, Bangladesh Shilpakala Academy
Conceiving it as a site for raising and debating issues, Depart magazine’s editor Mustafa Zaman will offer the raison d’etre behind the art quarterly published from Dhaka, Bangladesh, whose principal aim is providing critical reinforcement to the burgeoning art scene of the country. Zaman will look at the state of art criticism in Bangladesh while simultaneously examining some of the crucial critical interventions as activities from below. Often subject to mistranslation in the artistic circuit, what some writings set in motion is a social/collective reaction, while others pass without notice. Thus, the coincidence of art as a critical praxis and art writing as a critique remains even more misunderstood.
Born in 1968 Mustafa Zaman received his Bachelor of Fine Arts in 1989 from the Institute of Fine Arts (now, Faculty of Fine Arts), University of Dhaka. In the late 1990s Zaman started contributing art reviews to Observer Magazine, a weekly supplement of the daily Observer. He joined The Daily Star in 2002 and worked in the scope of a feature writer for Star Weekend Magazine for three years writing on a gamut of subject matters including art, literature and politics. He has contributed numerous art reviews and articles on major Bangladeshi artists to a number of vernacular dailies including Bhorer Kakoj and Prothom Alo. Zaman is now editor of Depart: a magazine launched in 2010 and focused on contemporary art from South Asia with special emphasis on the emerging art scene of Bangladesh. He has written numerous prefaces to exhibition catalogues of major Bangladeshi young artists. Zaman’s major curatorial efforts include ‘CrossOver’ (2011–2012), which occasioned two back-to-back workshops and exhibitions planned in collaboration with co-curator Sushma K Bahl, sponsored by Art & Bangladesh in Dhaka, and Art Mall in Delhi, with artists from India and Bangladesh as participants; two solo exhibitions in 2013 including ‘DeReal’ by Bahram, a rickshaw painter who crossed over to mainstream art circle, and ‘Gravity Free World’ by expatriate artist A Rahman; and lastly a retrospective exhibition in 2014 entitled ‘In(site)’ by Kazi Salahuddin Ahmed. As an artist Zaman had his first solo in 2002 where sourced image were placed alongside texts to interrogate the order of knowledge; his second solo showcased his large paintings on canvases in an exhibition in 2010, at Bengal Gallery of Fine Arts; and the third was a playful mix of two and three-dimensional works framed as a series of seemingly disparate yet thematically related conceptual pieces at Alliance Francaise in 2010. His most recent multimedia installations and interactive pieces were presented at Bengal Lounge in 2013, at a duo exhibition with fellow artist Rafiqul Shuvo, under the title ‘Automated Subjectivity’.
Aunohita Mojumdar