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Samdani Art Award Exhibition

Curated by Anne Barlow

The Samdani Art Award 2023 presents new works by twelve emerging Bangladeshi artists who reflect on various social, economic and ecological concerns in the midst of one of the most difficult climatic periods for South Asia. While each project is distinct in its focus and material form, collectively, the artists in the exhibition engage with critical societal issues by questioning mainstream and binary thinking, advocating for change, and imagining spaces of possibility in the future.


The ongoing impact of industrialisation and climate change are key topics for Purnima Aktar, Sohorab Rabbey and Habiba Nowrose. Through references to folklore and mythology, Aktar’s work highlights the uncertain future and diminishing biodiversity of the Sundarbans, the largest contiguous mangrove forest in the world known as the ‘lungs’ of Bangladesh. Rabbey’s spatial intervention, whose forms are partly inspired by dams and barrages on the Teesta river, acts as a critical commentary on the geopolitical, topographical and ethnocultural transformation of the Bengal Delta region. Reflecting on ancient flood myths that span diverse cultures and religions, and on our current-day emergence from a global pandemic, Nowrose’s installation of photographs and objects seeks to convey a utopian world in which humans might exist in harmony with other beings after a great deluge.


Md Fazla Rabbi Fatiq and Rakibul Anwar consider how urban and rural environments are affected by construction that errs towards the invasive. Remnants of unfinished bridges in open fields, canals and agricultural land are seen as both symbols of ‘abandoned dreams’ and systemic corruption in Fatiq’s poignant photographs, whereas Anwar’s expansive wall drawings are informed by his observations of seemingly arbitrary urban planning that continues to alter the cityscape of Dhaka, as well as its social and communal spaces.


Concerns around human rights, particularly in relation to the disenfranchised, are powerfully expressed in the work of Ashfika Rahman and Faysal Zaman. Rahman’s project resembles the interior of a home in an indigenous Santal community, and questions the responsibility of state security forces in relation to the burning of Santal homes during land ownership disputes. Incorporating extracts from interviews and archival images of victims of ‘enforced disappearance’,  Zaman’s haunting installation gives material presence to victims’ own words and those of their loved ones. Through references to such acts of intolerance or brutality against people, and to the damage humans inflict on nature and its ecosystems, the topic of violence becomes a recurring subtext throughout the exhibition.


Sumi Anjuman, Rasel Rana and Dipa Mahbuba Yasmin focus on the challenges faced by those with diverse sexual and gender orientation. Through her evocative photographs, Anjuman brings a human dimension to the oppression of non-binary people in Bangladesh, giving voice to their stories, while Rana encapsulates the struggles and hopes of diverse communities in a fantastical landscape in which every being is welcome. Referencing figures including the Bangladeshi artist SM Sultan whose identity was considered to be ‘elusive’, Yasmin similarly advocates for the legitimacy of sexual and gender fluidity and for individuals to be recognized and respected for who they are. 


Mojahid Musa and Dinar Sultana Putul share an interest in using natural or recycled materials in much of their work. Musa’s experimental and imaginative animal forms made first in clay, and then fused with other materials or ready-made objects, test assumptions around the relative value of such components in everyday life. Putul’s respect for agricultural and more traditional ways of life is borne out in the environment and hand-made objects she creates; at the same time, her work is influenced by historical figures such as engineer and architect Buckminster Fuller and utopian visions of a self-sustaining, egalitarian society.



Purnima Aktar


আঠারো ভাটির দেশ, A Tale of Eighteen Tides, 2022-2023

Installation

Commissioned and Produced by Samdani Art Foundation for DAS 2023

 

The Sundarbans mangrove forest, known as the ‘land of eighteen tides’, is host to a vast range of flora and fauna, including the Bengal tiger. According to local folklore, the Sundarbans is watched over by Bonbibi, a revered female deity. It is said that for hundreds of years, woodcutters, honey collectors and others whose livelihoods depend on the forest, have prayed to Bonbibi to protect them from harm.

 

Despite being a UNESCO World Heritage site, the fragile ecosystem of the Sundarbans is increasingly under threat due to climate change and environmental pollution. A Tale of Eighteen Tides is an allegorical work that explores this loss of biodiversity in the forest alongside the cultures and traditions that are in danger of dying out with it. Comprising eighteen parts, the installation depicts the figure of Bonbibi alongside a Bengal tiger and other wild animals, with those species that are already extinct painted in monochrome.

 

Aktar’s work is inspired by nature and the myths and symbols of the Bengal Delta, as well as by artistic source including Mughal miniatures, Tantric paintings and Bangla folk art. She often combines these in her work to address issues around social and environmental justice.


b. 1997, Narayanganj; lives and works in Dhaka



Rakibul Anwar


মহানগর, Mohanagar, 2023

Drawings on paper

Commissioned and Produced by Samdani Art Foundation for DAS 2023 

 

Rakibul Anwar’s life is intertwined with the city of Dhaka where he has been living since childhood. For Anwar, the transformation of Dhaka from a former Mughal outpost to a developing metropolitan centre with its different neighbourhoods, languages, symbols and sounds, is an endless source of inspiration.


His work brings together direct observations of daily life with visual imagery derived from his ongoing research into the history of Dhaka through novels, articles and archival sources. These new drawings, one of which resembles the form of a scroll, are made on dictionary pages that have been randomly joined together, creating a kind of subliminal ‘noise’ that for Anwar feels like the sensation of living in Dhaka itself. Capturing moments of daily life, they depict the shifting ‘footprint’ of the city: people, places and objects are out of proportion with one another and viewed from various perspectives from aerial to eye level. This agglomeration of images – including street scenes, bullfights, and architectural elements – present a disorientating and almost surreal ambience.


Anwar also considers the loss of Dhaka’s ecological heritage that continues to occur through planning and construction projects that fail to take existing ecosystems into account, leading to a critical imbalance between the built and natural environment. Images of beehives and animals act as signifiers for a loss of biodiversity that results in part from Dhaka’s dying lakes, polluted rivers, and lost gardens. Collectively, these new drawings present a poignant reflection on the complex and ever-changing physical and psychological state of the city.


 B. 1993, Dhaka; lives and works in Dhaka



Rasel Rana


একজন বাগানির স্বপ্ন , The Gardener’s Dream 2023

Acrylic on canvas

Commissioned and Produced by Samdani Art Foundation for DAS 2023


The Gardener’s Dream presents an idyllic scene of a gardener surrounded by various species of plants - a beautifully crafted universe in which all living things co-exist in harmony. The garden acts as a metaphor for a world in which everyone and everything has equal importance and equal rights, in contrast to the discrimination and trauma often faced by those who have diverse genders. 


This new work follows on from Rana’s Gender Bird series in terms of its lush representation of a figure in a landscape, and a sense of longing for an individual to be accepted for who they are. In The Gardener’s Dream, this also manifests itself through the work’s unique shape, which for Rana, expresses the way in which queer lives are often ‘framed’ by society as being different.


Informed by various sources including Voodoo art and symbols, the bright colours of Rickshaw painting and the figure of the TEPA PUTUL (folk doll), Rana’s work presents a multi-layered and deeply personal perspective on issues of identity and an individual’s place in the world.

b. 1995, Dhaka; lives and works in Dhaka



Sumi Anjuman


হাওয়ায় নেওয়া চাঁদ, Winds carry moon, 2021-2022

Interdisciplinary medium  

Commissioned and Produced by Samdani Art Foundation for DAS 2023 

 

Much of Anjuman’s photography engages with individuals or communities who have been oppressed or silenced by mainstream society. Her collaborative approach is guided by ideas of inclusivity and reflects the depth of the relationships she builds over time. Winds carry moon continues her work with those who, due to their gender identity, are frowned upon and considered unlawful in society to the extent that some have received death threats. Her photographs reflect on the restrictions and lack of equal rights that many individuals face in daily life, offering a sensitive insight into their inner psyches, and life journeys that commonly diverge from accepted norms in terms of prevailing societal and religious beliefs.

 

Winds carry moon creates a space of possibility between this reality and a world in which LGBTQIA+ individuals in Bangladesh can concentrate on their love, hopes and dreams, instead of being in a constant state of angst and homophobic isolation, struggling to be perceived as human.

 

Born in a conservative society, Anjuman has faced internal conflicts around being a woman that have helped her connect and empathize with others' oppression and trauma. Anjuman considers her photography practice to be more poetic than documentary in nature, verging on the abstract as a way of creating a non-violent dialogue about contemporary society. 

b. 1989, Bogura: lives and works in Dhaka and The Hague 




Md Fazla Rabbi Fatiq