ALL PROJECTS My Rhino is not a Myth, Art Encounters Biennial 19 May- 16 July 2023, Timișoara, Romania- Mizanur Rahman Chowdhury We are delighted to partner with the Art Encounters Biennial to support DAS 2018 Samdani Art Award winner Mizanur Rahman Chowdhury (Sakib) to further develop his practice as he prepares to create a new installation for Srihatta , our permanent space. The curator of the biennial, Adrian Notz shares: "I got to know Sakib in late 2021 in Zurich during his residency there, where I saw his installation “Fear of Social Bin” in real life. Immediately, I was triggered to write a small text about it. So much even, that I thought I need to be a bit poetic about it. On a skiing lift, where we went sledging in the mountains Sakib told me about how he mixes different realities and spiritualities in the research for his work. I like to call his works community based performative installations. For the 5th Art Encounters Biennial Sakib expanded the collaborative and performative community to the whole European cultural capital Timisoara. Using the eternally stretched time in his installations Sakib got to know Timisoara and its hidden stories and treasures in no time. Like a detective and forager, a hunter and gatherer he brought back small precious ingredients from different personal archives and stories around the town that composed his “Weltraum” (German for outer space, literally meaning “world room”) under the title “Waiting for the Becoming Song”. Ganda, the rhino we referred to in the title “My Rhino is not a Myth”, may have the same Bengali homelands like Sakib, but it is the subtitle “art science fictions” that describes best, what he was doing. He created a real world artistic and scientific fiction of our present and future world and reality. It was a great honour and pleurae to be working with Sakib thanks to the support of the Samdani Foundation."

ALL PROJECTS Rewind Curated by Amara Antilla, Beth Citron, Diana Campbell and Sabih Ahmed Rewind was built on the Dhaka Art Summit’s mandate as a research platform by assembling works from public and private collections in Europe, South and Southeast Asia, and the United States that chart the diverse manifestations of abstraction in pre-1980s South Asia. Rewind featured more than 90 works by 13 artists associated with Bangladesh (Safiuddin Ahmed, Rashid Choudhury, S.M. Sultan), Burma (Germaine Krull, Bagyi Aung Soe), India (Monika Correa, Nalini Malani, Akbar Padamsee, Krishna Reddy, Arpita Singh), Pakistan (Zahoor ul Akhlaq, Anwar Jalal Shemza), and Sri Lanka (Lionel Wendt). The exhibition explored how three generations of artists have responded to shifting cultural, political, and social contexts with experiments in abstraction, or the relationship between representation and abstraction—even when some of their primary practices are or were firmly rooted in figuration. The majority of the works on view were produced between the late 1940s and the late 1970s, a period that witnessed the Independence of India and Pakistan from Britain and the devastating Partition of the subcontinent, followed by several major conflicts including the 1971 Liberation of Bangladesh. Transnational modernism provided fertile ground for many artists in the face of unstable borders. From the pared-down calligraphic scrawls of Aung Soe, Shemza, and Singh, and the distillations of natural and human form undertaken by Reddy, Ahmed, Sultan, and Krull to the experiments with light, pattern, and flatness of Choudhury, Malani, Padamsee, the works in Rewind embody some of the ways in which modernism has played out within and beyond the region. For some of these artists, abstraction signified participation in an increasingly international, even global, modernism that developed in the wake of World War II. Gestural abstraction, most often related to expressionist movements, enabled artists to adapt or even discard figural iconography. Others turned to folk motifs linked with traditional practices and materials to explore how modernism and national independence might coexist. Yet others, inspired by achievements such as Le Corbusier’s design for the city of Chandigarh, turned to geometry and the visual logic of industrialisation or, in defiance of a universal rhetoric of progress and modernisation, revived elements of the pre-modern. Acknowledging the focusing of, art and ideas on cosmopolitan sites in South Asia; the growth of exchange between Europe, Latin America, and the United States; and the concomitant rise of cultural and political isolationism, Rewind seeks to create new affinities between artists and artworks that transcend temporal and national affiliation, while dislodging the West as the central point of reference. The Bangladesh, Burma, East and West Bengal, Ceylon, India, Pakistan, and East Pakistan, where these works were made have solidified into new geopolitical formations with some of the tightest and longest borders in the world today. These realities have prevented many of the works shown from travelling freely; in many cases, they are being shown publicly here for the first time. The exhibition offered conceptual and formal perspectives that challenged the way we define South Asian abstraction and the larger history of mid-century modernism. Safiuddin Ahmed and Nalini Malani Rewind, installation view, works by Safiuddin Ahmed, courtesy of Ahmed Nazir Collection and Nalini Malani, courtesy of the artist. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Jenni Carter Rewind, installation view, works by Safiuddin Ahmed, courtesy of Ahmed Nazir Collection and Nalini Malani, courtesy of the artist. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Noor Photoface Nalini Malani Rewind, installation view, works by Nalini Malani, courtesy of the artist. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Noor Photoface Saffiudin Ahmed Rewind, installation view, works by Safiuddin Ahmed courtesy of Ahmed Nazir Collection. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Jenni Carter Krishna Reddi Rewind, installation view, works by Krishna Reddy, courtesy of the artist and the Samdani Art Foundation. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Jenni Carter Monika Correa Rewind, installation view, works by Monika Correa, courtesy of the artist and Jhaveri Contemporary, Mumbai. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Jenni Carter Rashid Choudhury Rewind, installation view, works by Rashid Choudhury, courtesy of the Bangladesh National Museum, Bangladesh Shilpakala Academy, Anwar Hossain Manju Collection, Dhaka and Farooq Sohban Collection, Dhaka. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Jenni Carter Anwar Jalal Shemza Rewind, installation view, works by Anwar Jalal Shemza, courtesy of Jhaveri Contemporary, Mumbai and the Estate of Anwar Jalal Shemza, Eastbourne, UK. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Noor Photoface Zahoor Ul Akhlan Rewind, installation view, works by Zahoor ul Akhlaq, courtesy of the Inayat Ismail Collection, Karachi, the Estate of Zahoor Ul Akhlaq, Lahore and Toronto, Jhaveri Contemporary, Mumbai and Pakistan High Commission, Dhaka. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Jenni Carter S.M. Sultan Rewind, installation view, works by S. M. Sultan, courtesy of the Samdani Art Foundation Collection, the Bangladesh National Museum, Farooq Sohban Collection and Enam A. Chaudhury Collection, Dhaka. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Jenni Carter Lionel Wendt Rewind, installation view, works by Lionel Wendt, courtesy of Jhaveri Contemporary, Mumbai and Mahijit Singh and Nalin Tomar, New Delhi. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Noor Photoface Germaine Krull Rewind, installation view, works by Germaine Krull, courtesy of The Museum of Folkwang, Essen, Germany and the Germaine Krull Estate. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Jenni Carter Bagyi Aung Soe Rewind, installation view, works by Bagyi Aung Soe, courtesy of the Samdani Art Foundation Collection, private collection Singapore and Bagyi Lynn Wunna collection, Yangon. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Noor Photoface Rewind Installation views Rewind, installation view. Photo courtesy of the Dhaka Art Summit and Samdani Art Foundation. Photo credit: Noor Photoface

ALL PROJECTS Let me get you a nice cup of tea Tate, London Yasmin Jahan Nupur’s work "Let me get you a nice cup of tea' 2019-2020 acquired by Tate, is currently on display at the Tate Modern. While she joins a great group of Bangladeshi artists in the collection, she is the first Bangladeshi artist whose work is being displayed at Tate as part of their permanent collection. This is a historic moment we are proud to be a part of - especially when it comes to mediums like performance which are not always the most simple works to collect. SAF worked on this project curatorially to support Yasmin Jahan Nupur from the start of an idea as one of the first DAS 2020 commissions to a presentation in our Artisitc Director Diana Campbell’s Frieze London program for Frieze LIVE in 2019 developed in partnership with a research residency DAS facilitated with Peabody Essex, further working with the artist as her ideas expanded into what was experienced at DAS 2020. Exhibit320 supported the initial presentation in London and so many people from around the world contributed to the development of this live piece through sharing their research knowledge.

FAQs Frequently asked questions General What makes the Samdani Art Foundation (SAF) unique? The Samdani Art Foundation is a solely non-commercial entity, which is unique to both Bangladesh and a rarity across the South Asian region. While there are other art foundations in Bangladesh, SAF is the only one not tied to commercial activities within the art world. SAF also rejects the art camp model of other local foundations, which ask artists to produce works for free in return for participating in their programs. SAF is privately funded and does not sell any artworks, nor does it generate income by engaging with the commercial activities of galleries or art fairs. All of SAF’s programmes are free and never require registration or participation fees. In 2012 the Samdani Art Foundation founded the bi-annual Dhaka Art Summit (DAS), an international non-commercial research and exhibition platform for art and architecture related to South Asia, which re-examines how we think about these art forms in a regional and wider context. DAS’s interdisciplinary programme creates a generative space for art and exchange, and is unique in that it commissions, funds, and produces works as opposed to merely exhibiting them. Many projects commissioned and produced by SAF for DAS—such as those by Shilpa Gupta, Rashid Rana, Jitish Kallat, and Munem Wasif—have travelled to international institutions such as the Berlin Biennale, NYU Abu Dhabi, San Jose Museum of Art, Gwangju Biennial, and the Singapore Biennial. This is not a collection building strategy; works commissioned for DAS often travel to other international exhibitions after the event and will continue to belong to the artists. SAF does not recover production money or take commissions pertaining to the work it produces. The Foundation has been successful in providing a non-commercial platform for international institutions to consider art from Bangladesh in their curatorial research process, which has led to the inclusion of work by Bangladeshi artists and architects in international exhibitions. Munem Wasif, Ayesha Sultana, and Rana Begum have recently showcased their work in Korea at the 11th Gwangju Biennale–the Biennale’s first inclusion of Bangladeshi artists. Architect Kashef Chowdhury’s work in the 2015 Venice Architecture Biennale was the Biennale’s first inclusion of a Bangladeshi architect, which speaks to the rising role of Bangladeshi architecture on the international scene. Munem Wasif participated in fifth edition of the Singapore Biennale after its curator reached out to SAF for information about Bangladeshi emerging artists. SAF supported Naeem Mohaiemen’s solo exhibition at the Kunsthalle Basel in 2014, leading to the artist’s inclusion in documenta14. In 2017, Kunsthalle Zürich included two Bangladeshi artists from the Samdani Art Award (Samsul Alam Helal and Raqiful Shuvo) in the group exhibition Speak, Lokal, curated by DAS 2016 guest curator Daniel Baumann. Raqiful Shuvo and Farzana Ahmed Urmi recently participated in the 11th Shanghai Biennale with the support of SAF. There has been unprecedented mobility for emerging Bangladeshi artists in recent years, which SAF is proud to have supported and will continue to do so through its various initiatives. The Samdani Art Foundation has a great number of projects including the Samdani Seminars, the Samdani Artist Led Initiatives Forum, the Samdani Art Award, the Samdani Architecture Award, the Dhaka Art Summit, and the recently launched DAS Research Fellows programme. SAF also supports a great number of global events and the participation of artists from Bangladesh in international exhibitions. For further information about our projects, please visit the dedicated section on our website here. What is the Samdani Art Award? Who is behind the Samdani Art Foundation (SAF)? What is the source of these private funds? Is there a tax exemption from the sources invested in the Samdani Art foundation (SAF)? Does the Samdani Art Foundation (SAF) plan to expand outside Dhaka? What is the arts centre in Sylhet? Why Sylhet? What initiatives will Srihatta – Samdani Art Centre and Sculpture Park promote? What are the Samdani seminars? Who takes part in the seminars? Why Dhaka and Bangladesh? What is the Samdani Architecture Award? What is the Samdani Artist-led Initiatives Forum? How does the Samdani Art Foundation sustain itself financially?

ALL PROJECTS Kamruzzaman Shadhin at Delfina Foundation Spring Residency 2026 Tondra artist and long-term Dhaka Art Summit (DAS) collaborator Kamruzzaman Shadhin participated in the Spring Residency 2026 at the Delfina Foundation, developed around the theme Making and Materiality. Working across sculpture, installation, and collaborative practices, Shadhin's research is rooted in process, labour, and the transformation of locally sourced materials. During the residency, he continued his exploration of material knowledge and making, expanding conversations around the social and cultural histories embedded within everyday materials. Samdani Art Foundation, a long-term institutional partner of the Delfina Foundation, supported Shadhin's participation in the residency as part of its ongoing commitment to enabling international exchange and supporting artists from Bangladesh in developing sustained relationships with global arts institutions.

ALL PROJECTS Metropolitan Museum of Art Donation The Met, New York, 2019 An untitled tapestry by Rashid Choudhury (1932–1986), recently gifted to The Met by Nadia and Rajeeb Samdani, is the first work of art made by a visual artist in independent Bangladesh to join the Museum's collection. While The Met does hold pre-modern works that are attributed to the region of Eastern Bengal, Untitled (1981) is a significant and major addition to the Museum's collection of modern and contemporary art because it broadens the department's remit of collecting and preserving important modern works from South Asia. Untitled, now on view in gallery 399, presents an abstract and multifaceted twist of earth tones, with hints of orange and sections of light blue. I find that there is an arresting dynamism to the central component of the tapestry: it appears as a symphony of elongated and fragmented vertical shapes, which intertwine with each other in a way that is remarkably evocative of a body—or perhaps numerous bodies—in motion. This important work is a telling example of Choudhury's visual language, which is distinctly modernist and aesthetically innovative, but is also situated within a particular historical and cultural context. Choudhury dedicated himself to the modern art movement in his country through his work as a teacher and community facilitator. In his own work he sought expression through a medium that was very demanding in practical terms and that was less-highly regarded as fine art when compared to painting and sculpture at the time. Nevertheless, he developed his own visual idiom, which drew from the rich, historic traditions of South Asian iconography as well as his studies in Europe. As is evident in his three tapestries at The Met, Choudhury distilled these varied pre-modern and modern forms to create works with a phenomenological impact—one that feels not only effortless, but also transportive. The whole text written by DAS 2016 curator Shanay Jhaveri can be found here. This is the second donation from the Foundation's collection, distributing the knowledge of Bangladeshi art history through the research conducted during the Dhaka Art Summit. Image: Installation view of three tapestries by Rashid Choudhury. At center is a recent addition to The Met collection, and at left and right are two loans from The Samdani Art Foundation. Image credit: MET

In early 2017, the inaugural Samdani Architecture Award invited, through open call, individuals or groups of 3rd and 4th year Bangladeshi Architecture students to propose new models for learning in abandoned urban spaces across Bangladesh, using ecologically sustainable, and locally sourced materials and technology. Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Chhaya Tori (ছায়া তরী) Maksudul Karim FIRST PRIZE From 135 registrations, Maksudul Karim’s design, Chhaya Tori (ছায়া তরী), which translates as Shadow Boat, was selected. A Level 3, B.Sc Architecture student at Premier University, Chittagong, Karim’s design utilised traditional Shampan boat building techniques—synonymous with Bangladesh’s fishing communities—bringing traditional rural Bangladeshi construction techniques into the urban environment. Using bamboo as its primary construction material, Chhaya Tori floated above ground level on bamboo supports, covered with a shade (known locally as choi) erected using traditional bamboo inter-weaving techniques, allowing natural light to fall into the internal teaching space. Bangladesh has one of the largest inland waterway networks in the world with nearly 5,000 miles of navigable waters, making boats a vital mode of transportation to the nation. Despite this, the use of traditional boat building methods is in decline in favour of mechanised mass-produced models. “Maksudul Karim's design embraced themes from the origins of the tectonics as the interlacing of materials and fibres proposing a habitable structure. Exploring local materials and techniques he offers experiences based in the generation and superposition of shadows with different sieves that present an organic changing atmosphere.” - Jeannette Plaut, Co-Founder and Director Constructo Karim was awarded the inaugural Samdani Architecture Award during the Dhaka Art Summit's Opening Celebratory Dinner and received funding towards further studies. DHAKA ART SUMMIT 2018 EDUCATION PAVILION On 2 February 2018, Karim’s winning design was unveiled at the heart of the Bangladesh Shilpakala Academy as the Dhaka Art Summit 2018’s Education Pavilion. Curated by Diana Campbell, the Education Pavilion transformed DAS into a free art school, re-imagining the traditional toolboxes used when considering art-making and artistic practices. This free and alternative art school’s curriculum was led by leading artistic practitioners and educators from institutions including: Goldsmiths University (UK); Yale School of Art (USA); Cornell University (USA); Kalabhavan Santiniketan (India); Harvard, South Asia Institute (USA); Lucerne University of Applied Sciences and Arts (Switzerland); Open School East (UK); Council (France); and the FHNW Academy of Art and Design (Basel, Switzerland); among others. Programmed across DAS’s nine-day duration, the Education Pavilion hosted a bilingual, collaborative curriculum, developing a timely and productive discussion about art education in South Asia. Samdani Architecture Award In early 2017, the inaugural Samdani Architecture Award invited, through open call, individuals or groups of 3rd and 4th year Bangladeshi Architecture students to propose new models for learning in abandoned urban spaces across Bangladesh, using ecologically sustainable, and locally sourced materials and technology. Participants were required to design an imaginative and innovative open pavilion, both visually stimulating and architecturally flexible for different functions, including lectures, events and workshops. The winning proposal was selected by an international jury: Aurélien Lemonier (National Museum of the History of Immigration, Paris, France); Jeannette Plaut (Constructo, Santiago de Chile); and Shamshul Wares (Department of Architecture, State University of Bangladesh). “I sense a Threshold: Light to Silence, Silence to Light – an ambiance of inspiration, in which the desire to be, to express, crosses with the possible … Light to Silence, Silence to Light crosses in the sanctuary of art.” - Louis Kahn Just under 20 percent of Bangladesh’s land mass is covered with forest, the largest of which are in the Chittagong Hills, covering around 4,600 square kilometres, and the tidal mangrove forests in the Sundarbans, covering around 6,000 square kilometres. Mimicking the layering of foliage in Bangladesh’s lush forests, the pavilion’s two outer mesh layers create a visual barrier to the outside world. A space for public gatherings, lectures and sharing, inside the pavilion, rays of light push through the outer mesh, creating patterns and shapes that will change with the seasons and time of day. Fouzia Masud Mouri (b. 1996) Ahmad Abdul Wasi (b. 1995) Both level 3, B.s.c Architecture students at the Bangaldesh University of Engineering and Technology To Sense The Unseen, Designed by Team Gaia SECOND PRIZE Dhaka, the capital and largest city in Bangladesh, is a city of diversity. One of the most densely populated cities in the world, crammed with educational institutes, government and private offices, markets, industrial units and residences, it is filled with people from all walks of life and backgrounds. A microcosm of the whole country, The Dot Pavilion encapsulates Dhaka’s diversity, creating a space for the city’s people to meet. An omnidirectional circle, representing the city’s diversity, the pavilion’s main vernacular structure uses bamboo and wood. Maintaining an environmental friendly structure, bamboo will keep the inner environment 3° degrees cooler than outside, while the structures longitudinal cross-section hollows absorb co2. An outer layer of lipids, will protect the bamboo structure from rotting. Rahat Ibna Hasan (b. 1996) Nirupam Bakshi (b. 1996) Md. Khalid Hossain (b. 1996) All Level 3, B.s.c Architecture students at the Bangladesh University of Engineering and Technology The Dot Pavilion, Designed by Team Delta THIRD PRIZE

Contact Us Don't hesitate to reach out to us. Use the form below to say hello, ask questions, or share your thoughts. First name Last name Email* Phone Message* Submit Location Tel: +8802 8878784-7 Fax: +8802 887 8204 info@samdani.com.bd Level 5, Suite 501 & 502, Shanta Western Tower, 186 Gulshan – Tejgaon Link Road, Tejgaon I/A, Dhaka-1208, Bangladesh. SAF Office 01 sazzad@samdani.com.bd +8801777763430 Sazzad Hossain Head of Administration Press Contact 02

ALL PROJECTS AFIELD Study #3 Let's Share! Documenta Fifteen, Kassel AFIELD Study #3 Let's Share! at documenta fifteen by Elisa Cuccinelli https://www.youtube.com/watch?v=A8VgP1397j4 AFIELD Study is a series of co-learning programs led by members of the network on different topics. Based on closed sessions and public workshops, it seeks to nurture synergies between like-minded practitioners, allowing for mutual exchange of skills and knowledge. AFIELD Study #3 was structured around the meeting between two groups: grassroots initiatives that experiment with alternative support structures, and individuals who critically reflected on their role as collectors, patrons or philanthropists. It is often difficult to think about the big picture and the long term when struggling to ideate in “survival mode”. Our convening hopes to contribute to current debates on resource sharing from a wide array of experiences that allow us to think together about the use of networks such as AFIELD to elaborate sustainable sharing infrastructure. This reunion was the first one where a number of AFIELD members met “in real life” to celebrate and think together after 3 years of meeting online. Samdani Art Foundation supported the travel of Bangladeshi initiatives to participate in this edition of AFIELD Study.

ALL PROJECTS The Space Between - Rana Begum At The Parasol Unit Foundation For Contemporary Art 13th June - 18th September 2016| The Parasol Unit Foundation For Contemporary Art, London, UK Dhaka Art Summit 2014 Solo Project artist Rana Begum had her first solo show, supported by the Samdani Art Foundation at The Parasol Unit.

ALL PROJECTS Modern Art Histories in and across South Africa & South Asia Asia Art Archive, Hong Kong, 12 - 21 Aug 2019 The Dhaka Art Summit, Institute for Comparative Modernities(ICM) at Cornell University, and Asia Art Archive, with support from the Getty Foundation’s Connecting Art Histories initiative, launched a new research project entitled Modern Art Histories in and across Africa, South and Southeast Asia. The project began by convening 21 emerging scholars and 5 faculty members in Hong Kong in August 2019 to begin an ongoing research project connecting art histories outside of western frameworks. This group later reconvened at DAS 2020.

ALL PROJECTS Rasel Chowdhury At The Delfina Foundation During the Dhaka Art Summit 2016, an international jury, comprised of Cosmin Costinas, Catherine David, Beatrix Ruf, and Aaron Seeto, selected Rasel Chowdhury as the recipient of the 2016 award. Announced during the DAS 2016 Opening Dinner on the 5 February by Kiran Nadar , Chairperson of the Kiran Nadar Museum of Art and Trustee of the Shiv Nadar Foundation in New Delhi, Chowdhury received a six-week residency with the Delfina Foundation in London which he undertook in the Autumn of 2016. Rasel Chowdhury is a Dhaka-based artist whose passion lies in documenting environmental issues using camera. Born in Jamalpur, he started working in photography without a conscious plan, and eventually became addicted and decided to document spaces in and around Bangladesh. He obtained a degree from Pathshala, South Asian Media Institute in 2012. His body of work deals with unplanned desperate urbanization, the dying River Buriganga, the lost city of Sonargaon, the Mega City of Dhaka, and newly transformed spaces around Bangladesh railroads to explore the change of the environment, unplanned urban structures and new form of landscapes.