7 December 2018

Installation view of Temporary Certainty a t 4A Centre for Contemporary Asian Art, clockwise left to right: Sarker Protick, Elegy to Empire (f rom the series Exodus), 2015–ongoing, installation view at 4A Centre for Contemporary Asian Art, black & white photographs (selection of 19); 22.5 x 28.0 cm (each photograph); courtesy the artist. Sarker Protick, Arrival (from the series Exodus) , 2015–ongoing, single-channel HD video and sound installation; 8:00 mins; courtesy the artist.

Sarker Protick’s Exodus (2015–ongoing) considers the expediencies of decolonisation while at the same time being a haunting meditation on the universal contingencies of time. Over a selection of photographs and moving image, the artist explores the decaying buildings and surrounding lands of the feudal estates in East Bengal that were previously owned by Hindu jamindars, or landlords. Following the Liberation War of 1971 that abruptly established the newly independent nation of Bangladesh, huge migrations took place across Bengal. This saw wealthy Hindu landowners abandon their estates for India in fear of the kind of violent reprisals that had erupted following the Partition of India in 1947, while at the same time many Muslims fled West Bengal heading east. A series of controversial laws dating from 1948, culminating in the Vested Property Act of 1974, allowed the confiscation of property by Bangladeshi authorities from groups declared ‘enemies of the state’. Since then, these estates have commonly been left in disrepair, taken over by nature and appropriated by local villagers—another chapter in a landscape indelibly marked by the influence of Mughal rule and British imperialism.

Pedro de Almeida.


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.


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


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/

Design Fabric’s new print magazine ushers in a new era of art and design from India and South Asia. For the past year and a half, we have been documenting and archiving the changing landscape of our creative culture. Our goal? To create a curated space where you can read about the most compelling projects in visual art and understand individual processes through immersive interviews, meaningful collaborations, editorials and showcases.

The second issue of the Design Fabric Magazine features exclusive stories from across South Asia. We take a peek into Pakistani painter Salman Toor’s inspirations; capture the dying rivers of Bangladesh with documentary photographer Sarker Protick; jump into Prince V. Thomas’ unique photo-installations that talk of loss and death; and deconstruct the creative process of Brighton-based illustrator Nishant Choksi. Issue #2 brings together a curated selection of stories we’ve produced in 2018 that touch upon themes like Gender, Environment, Memory and Music. It also contains original collaborations across various mediums to celebrate Inclusivity, Conservation, Love and Creative Expression.

17 June 2018
14 June 2018

‘Exodus’ has received the Magnum Foundation Grant 2018.

The Magnum Foundation Fund fosters diversity and creativity in documentary photography and related practices. In collaboration with the Prince Claus Fund, the Magnum Foundation Fund supports both emerging and experienced practitioners. Each year, a changing international committee of nominators invite photographers to submit proposals for consideration, which are then selected by an independent jury. Selected projects are those that explore new models of storytelling, demonstrate a commitment to social issues, and/or are grounded in the communities they represent.

The Magnum Foundation Fund is an evolution of our former Emergency Fund program, which was established in 2008 during the widespread collapse of media funding for long-term, in-depth documentary work. Since its inception, the Emergency Fund was a force for sustaining photographers and documentary practice. Increasingly, the ways in which stories are told and distributed is shifting, and the Magnum Foundation is fostering those imagemakers who are developing an expansive and innovative future for the field.

29 May 2018

Humanity is at a breaking point where seismic change seems inevitable. In the face of heightened global challenges – from climate change to the refugee crisis and political turmoil to cyberattacks and the threat of terrorism – the medium of photography is able to place a visual focus on such issues. The exhibition [ENTER] presents 15 artists whose work deals intensively with the social, political and ecological narratives of our world. Her works vigorously question social structures and abuse of power.

Valentina Abenavoli Mathieu Asselin Mandy Barker Ewa Ciechanowska and Artur Urbanski Lucas Foglia Nick Hannes Tamara Kametani Katrin Koenning Gábor Arion Kudász Sarker Protick Claudius Schulze Martin Errichiello and Filippo Menichetti Salvatore Vitale

We hope to enter into a progressive intercultural dialogue through the presentation of these works during the 7th Triennial of Photography Hamburg, as we see the festival as a focal point for a broad discussion and as a place where current behaviors are discussed and challenged can. “- Emma Bowkett, curator.

[ENTER] serves as an introductory exhibition to the 7th Triennial of Photography Hamburg 2018 and is part of the Container Festival Center on the square of the Deichtorhallen.


28 May 2018

‘The return of Bernardo Soares’ Stills and sound 8:34 Min. Inspired by Fernando Pessoa’s ‘The book of Disquiet’ my work ‘The return of Bernardo Soares’ is now showing at Collectors Marvila, Lisbon presented by Barbado Gallery and Vintage Department. Special thanks to Boris Eldagsen and Ayesha Sultana.