31 May 2019

Work in progress, from Syracuse. Dark Spring, 2019.

2 May 2019

Excerpt from the Text by Julien Bouissou on Le Monde

When it comes to ways in which artists address ecological issues, actions can be big or small – it’s the action that is important however subtle. In the face of complex environmental problems ‘Bruised: Art Action and Ecology in Asia’ examines how artistic response combined with gentle activism can result in a rich legacy and empower further actions in the community.

Bruised: Art Action and Ecology in Asia is part of the of ART+CLIMATE=CHANGE 2019 23 April–19 May, a socially-engaged festival of exhibitions, theatre works, keynote lectures, events and artist talks considering climate change impacts and the challenges and opportunities arising from climate change.


Selection of Exodus from the Exhibition – (Dis)Place at the Korean Cultural Centre, Delhi, India.

1 May 2019

In 1970 Satyajit Ray released Aranyer Din Ratri (Days and Nights in the Forest) in Kolkata. In the film, we follow four friends as they escape the daily grind of the city and travel to a forest. Over time, we discover their divergent perspectives and opinions of this shared journey, and see how the meanings of the same road shift and change between individuals. 

Pothe Pothe is a different take on the road in South Asia. It is about shifting places, travelogues, long marches and protests, and sometimes just about getting to your destination.

From the hippies of Nepal to Gandhi’s march to Noakhali or Arfun Ahmed’s travel across the borders, Pothe Pothe explores various stories and fragments of life on the road. Its transcends borders, creates new horizons and connects individual and collective experiences across the region.

Curated by Sarker Protick & Munem Wasif 

‘The earth is closing on us’
Rohingya Refugees in Exile

Where do you belong if nobody accepts you as a citizen with human rights? How does do you prove your ethnicity when you are the victim of systemic violence over decades? How do you build a life in makeshift camps when you know you are neither from here nor from there?

How you bury your dead in someone else’s land? 

Since the brutal attacks on Rohingya communities by the Myanmar Border Guard Police on 25 August 2017, 656,000 Rohingya refugees have arrived in Bangladesh from the northern parts of Myanmar’s Rakhine State*. At least 6,700 Rohingya, including 730 children under age of 5, were killed. According to the NGO Doctors Without Borders, hundreds of villages were destroyed. The United Nations have termed these events a “textbook example of ethnic cleansing”.

The earth is closing on us – Rohingya Refugees in Exile is an attempt to trace the contemporary condition of Rohingya refugees in Bangladesh, through photographs, archival material, found footage, video, drawing and sound. These interventions, drawing on a range of media, come together to address the various modalities of statelessness experience by the Rohingya.

The title The Earth Is Closing on Us is taken from a poem by Palestinian poet Mahmoud Darwish. 

*Rohingya refugees have been fleeing to Bangladesh from Myanmar since the 1970s.

Curated by Sarker Protick & Munem Wasif 

1 January 2019

“Of river and lost lands” é uma instalação audiovisual que explora a paisagem melancólica e cinzenta do rio Padma, no Bangladesh. //

Centro Português de Fotografia, 16 May – 30 Jun. Curadoria de Krzysztof Candrowicz; co-curadoria Emma Bowkett.

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.



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