1 November 2016


First time in its feature, Chobi Mela IX is partly commissioning ten Bangladeshi artists as Chobi Mela Fellow to produce site-specific artworks for the festival. To investigate the theme Transitions, artists from different backgrounds of painting, drawing, animation, sculpture, photography, video, sound and installations will expand the possibilities of the medium and test the language of manifestations. These independent projects will be nurtured for six months through constant dialogue and guidance from the team of festival curators led by Mahbubur Rahman. Through this initiative, Chobi Mela aims to support new media artists of Bangladesh to develop their independent projects entailing experimentation and expansion.

In the ninth edition of Chobi Mela, Sarker Protick will show his current work ‘Origin’; a collection of photographs connecting with a Video and sound Installation that re-presents the artist’s exploration of Time and Space. The body of work takes a mix of approaches such as Photo tableaux but also combining that with photographs that were created more instinctively in daily surroundings. Together creating an expression that hints toward the more metaphysical realm of individual existence and experience.

Other Participants
Abir Shome, Arfun Ahmed, Golam Moshiur Rahman, Minhaz Marzu, Molla Sagar, Najmun Nahar Keya, Reetu Sattar, Salma Abedin Prithi, Sarker Protick and Suvra Kanti Das.



Exhibition: ‘Origin’
Serendipity Arts Festival, Goa 2016
The Young Subcontinent, our eyes our stories.
Adil Shah Palace, Panjim
December 16 – 23
More installation view here.

17 October 2016


What Remains will be exhibited in DAEGU PHOTO BIENNALE 2016 in the main curated show “We are from somewhere, but where are we going?” in Daegu, Korea.

“We are from somewhere, but where are we going?”

The ‘2016 Daegu Photo Biennale’, celebrating its upcoming 10th year of exhibition, will be based on the theme, “We are from somewhere, but where are we going?”. The exhibition is inspired by creativity, experimental spirit, time (history), space and the environment of Asia, which will be epitomized in the Main Exhibition and Special Exhibition 1 and 2.

As we have entered the present 21st century, people transcending national boundaries and the massive flow of information is drastically accelerating, and based on the energy that is leading these trends, Asian countries have been experiencing cultural closeness and complex historical interaction. The prevalence in the tremendous flow of energy is changing the overall situation in Asia, has put humans into a state of anxiety and is constantly motivating us to overcome ourselves. That is the reason for entitling the Main Exhibition, “Asian Express”, which embodies “drastic flow” and “individual expression”. From the Main Exhibition, we will be able to newly acknowledge our own existence as well as have a look into how each artist have understood this energy.

More info: http://daeguphoto.com/en/



‘Astres Noirs’ is shortlisted for Paris Photo Aperture Foundation first book award.

Review by Robert Dunn on Photo Book Store Magazine:

“What do we do with black and white these days? Photographers can of course still shoot film, process it, print it; they can chase masters such as Garry Winogrand and Bruce Davidson as if it’s still forty, fifty years ago. But if a photographer wants to bring black and white into the current century—modernize it, exploit all the current possibilities—then what to do?

One approach that caught me at last year’s New York Art Book Fair was Antony Cairns’s LDN EI, in which he put his high-contrast black-and-white images on a hacked Kindle. Clicking through the “book,” you saw less a photo and more an arrangement of tones. I bought the Kindle version of LDN EI (still available), yet passed on the printed version—it wasn’t as interesting, not as pure an experience.

One exciting thing about Katrin Koenning and Sarker Protick’s Astres Noirs is that it brings experiment and new technology in black and white back into a physical, bound book—indeed, one of those photobooks that could only be an actual book. But what intrigues me most about Astres Noirs is that in a way it understands that it’s not black-and-white photography at all, but something else instead.

You get a clue to what’s going on as you open the book and find the words “All colours … within black.” Then you realize that half-hidden under a folded sheet is the word disappear, so the phrase reads, “All colours disappear within black.” And that’s what Astres Noirs is: a book of photos in which the colors have been removed. We call it black and white (or, as we’ll see, more accurately black and silver) because that’s what we’re used to, but in truth the book is onto something else. Just look at the title: In English, Black Stars. This book is not called Black Holes. Light and form do not disappear but instead shine forth, but mysteriously, ambiguously, contradictorily.”

Read more: Photo Book Store Magazine


30 September 2016


It is no longer possible to imagine a world without photography. In our digital age anyone can pick up a camera to produce a ‘good’ image and share it with the world. Cheaper, better, user ­friendly technology and ease of access to online platforms have blurred the line between the professional and the amateur. A new culture of producing and consuming photographs is at work, challenging the profession of photographer as we used to know it, yet at the same time allowing us to express ourselves in innovative ways to a range of potential audiences on a global scale.

As a web­ technology company in the photography industry, Viewbook is directly involved in translating new technologies and needs into meaningful possibilities for photographers. At a time when technology, globalization and the internet are having such great impact, we are curious to find out how photographers see those changes and how they work with them.

Viewbook Transformations is a program designed to explore these new challenges to photography and is aimed at promoting high­quality work, especially the use of photographs as part of a sustained in­-depth narrative. The program includes an annual $5,000 grant, and publishes visual stories. To spark dialogue we have assembled an expert team (see below). Guest writers will share their ideas and vision on changes in photography.

Examples of themes that will be explored within the Transformations program are:

    • Which current developments affect visual storytellers and how?
    • What does it mean to be a photographer today, and how does one make a living doing so?
    • How do technological developments change the way in which stories are produced, and does form affect content?
    • How can photographers best reach and engage an audience?

Transformation Experts:

Arianna Rinaldo
Donald Weber
Giuseppe Oliverio
Sarker Protick
Tanya Habjouqa

More info about the grant:





This week I am hosting the ‘Photographic Museum Of Humanity’ instagram and will be sharing selected works.

28 September 2016


“Astres Noirs” will be presented at ‘Look up at the sky’ in Barcelona curated by Pedro Torres.

Look up at the sky és un cicle de cinc exposicions centrat en la fotografia contemporània a través d’un dels seus principals mitjans de materialització: el fotollibre. Les exposicions que integren el cicle mostraran una vintena de projectes fotogràfics recents d’autors nacionals i internacionals. La selecció de projectes se centra en la relació de l’ésser humà amb el seu entorn, especialment el natural i el de la naturalesa de les coses, a la cerca d’una comprensió global, potser cosmogònica, de la seva ubicació o existència en un context més ampli, cosmològic.

Els fotollibres es presenten agrupats en cinc conceptes: cosmologies, geografies, geoligies, gramàtiques i combinatòries, disciplines que estan relacionades amb el nostre intent de comprensió del món. Com afirmava Humbolt, “el reflex del món exterior de la persona, les impressions de la Naturalesa que l’envolta i les disposicions físiques influeixen per més d’un concepte en la formació misteriosa de les llengües. La persona treballa al seu interior la matèria que li subministren els sentits, i els resultats d’aquesta operació interna són tant del domini del Cosmos, com els fenòmens sobre els quals es realitza”. Així, cada projecte posseeix i reflecteix un món propi a través del llenguatge inherent. I amb tots ells procurarem fer el que el saberut alemany negava a la ciència, “perdre’ns a les regions nebuloses de les fantasies cosmològiques”

Pedro Torres.
Comissari de Look up at the sky (Terrassa Comissariat 2016)



27 September 2016

“Writing Photographs’- a workshop that i gave this year’s edition of Obscura Festival, Penang, Malaysia.


The produced body of works examine and explore urban spaces and the dichotomy of it. A space that never feels still but always in transition, on the move.

While some individual have worked with the physical space others reacted in a more instinctive and emotive response to it. Their critical observation varies from the highly consumeristic surroundings to the state of absolute nothingness. The subjects of theirs stories ranges from conventional photographic topics to the most banal. Collectively they have created a complex narrative of Georgetown, Penang.

While the social media ‘Likes’ and Instagram feeds are feeding our visual appetite every hour, the quality of the contents are debatable. How much of it stays in our mind and for how long? Or do they all function similar like ‘Snapchat’, disappear from the existence. As a storyteller do we adopt the new media? How much of it is a necessity? And how much of it is just noise. It’s also worthwhile to think about if this technological advancement are affecting our taste or limiting our visual possibilities. Does it allow us to be sensitive enough to go in depth of a story? Do the works live in our consciousness?

“Writing Photographs’ is an interface questioning all these contemporary platforms and trends and preferably going old school. The participants will produce short stories and will be encouraged to think before making work, to write before pressing the button. How do we incorporate ‘Text’ with our photographic language? How do we transform it into a form rather than functioning as a caption? Or how is it that we can use the photographs as captions? The objective is to develop works where the author is more vocal even if it does not fit in the current and popular structures of storytelling.

Participants are requested to bring a Pen, a notebook and a camera.


Me and my friend Katrin Koenning made a book with the french publisher Chose Commune. It is called ‘Astres Noirs’. Read the review on L’Oeil de la Photographie:

Review by Antoine Soubrier on The Eye of Photography

Although less publicized than the daily dose of drama or the turmoil of our planet, and more cryptic, an event quietly troubled the beginning of the year 2016. Gravitational waves were discovered by American scientists which, like an interstellar ripple, pull at the very fabric of space-time of our universe. It is enough to make the blood of any earthling curdle.

Light, the photographer’s tool, usually sculpts matter: Sarker Protick and Katrin Koenning, however, use light to record darkness, as if in relief. The publishing house Chose Commune invited the two artists to collaborate, thousands of miles apart, by juxtaposing their photographs taken with smartphones, then editing them and printing them on black paper using metallic ink.

This original process reverses the usual points of reference: everything in Astres Noirs seems to be emerging from the dark, cloaked in mystery. We can distinguish faces, landscapes, and all sorts of “life forms”—animal or plant, which should evoke elements of our habitual, reassuring surroundings. But everything appears otherworldly, as if seen from another planet, by a different kind of perception. Our everyday world, the only one we know, has been suddenly splattered by a syrupy bath of strange, nyctalopic power, sweeping the planet at various levels, speeds, and distances all at the same time. The earth glows, and sometimes eyes do. We traverse caves and explosions and accumulate details, trying to understand, sometimes surprised by an encounter, confused by a smile, or by a bird that, from his branch, has seen it all.

Astre Noir
168 pages
79 B&W photographs
16 cm x 22 cm
May 2016
1500 copies
More informations : Chose Commune


Opening of my solo exhibition ‘নিরবধি’, selection of works from What Remains, archive and installation – tomorrow 14th April, 5PM at Latvian Museum of Photography, Riga.

Co-supported by Riga Biannual: http://www.rpbiennial.com/program.html

Dates: 14.04.2016 – 15.05.2016
Meeting with the author on 15th April at 6.00 pm.