Friday, June 11, 2010

তাইলে একটা গল্প বলি,

আমি মানুষটা স্বাভাবিক এটাই নিয়ম। তাতে কি ?

তাইলে একটা গল্প বলি,

আগে যখন মসজিদে যেতাম, মনযোগের একটা অশ থাকতো জুতার প্রতি। আল্লার ঘরে বসে জুতার টেনশন! আরও কত কি টেনশান। তো,

পরে একদিন ষ্টেশনের চোরাই জুতার এক দোকানদার কে খাতির যত্ন করে বল্লাম, মসজিদ থেকে জুতা চুরি করেন। আপনের দোজকের ভয় নাই ?

"ভাই এইডা কোন পাপ না, আল্লার আমার রুজি রোজগার লিখে রাখছে এই পথে। নমাজীরা আসব, আমরা দু চার জোড়া মারমু, বেচঁমু, বাজার করুম, বউ রাধবো, খামু। বুঝছেন ? এইডা আমগো রিজিক।"

জুম আউট হয়ে দোকানটা থেকে বহুদূর চলে আসে ফ্রেম। ডিজলভ টু ব্লেক।

Wednesday, June 09, 2010

its raw.no one can change my decision. its true.

  fineartsbd_logo bokulphol_logo_final cumakers_logo ctg24_logo

A dreamer can change his time. i believed this.

my new projects are:

 

at last: faridmazumder                                                                                                 mailto me

Tuesday, June 08, 2010

ever day i am going to old.

i am a man, man of 28. its huge. But ,what is i problem ? can told me any one.no.

 

 

now i am looking for job.

a part time artistic creative job.

25 thousand bucks.

 cinema_logo

Tuesday, November 17, 2009

Reminiscences in Lahore

Art

Reminiscences in Lahore

Fayza Huq

Tayyaba Begum Lipi’s controversial and iconoclastic artistic works have been admired both at home and overseas. Her endeavours, in connection with the Britto Trust has always been something to write home about. To add to her artistic knowledge, Lipi visited Pakistan recently, this being her second visit. Her enthusiasm to add to her thirst for knowledge has taken her further on to the first world countries-- but they have not always been recounted or recorded, even in passing. Using razor blades, paintings of exotic legendary birds with women's head and other haunting female forms in the veil, Lipi, in her installations at Lahore, created quite a stir in her quest for liberation of the human mind.

Lipi's installation in Lahore.
The studio where she worked named after RM Naim, is reportedly Pakistan's largest gallery, and draws artists from all over South Asia. Naim is a teacher in Lahore, in the Painting Department while his wife, Sadaf Naim, a teacher in fashion designing, was the co-ordinator for the programme. "In our tight schedule, I had only ten days to work in which I did two paintings, four feet by four feet, and an installation which was eight feet by five feet,” says Lipi. “Apart from exchange of ideas and views in our 'addas', we had a formal presentation, as in the case of most residencies. A rapt audience of about 200 art enthusiasts, artists and critiques gathered there to view and discuss the exhibition. A text by a British critique, who resides in Karachi, summed up the work," says Lipi.
One of the paintings contain the artist's own shape, wearing a "burqa", and has a camouflage which recalled motifs taken from army uniforms. This, in turn, mingled with more images of wriggling and floating sperms that were created by drawings done with pen and ink. The point that Lipi wanted to drive home was that she felt that army government heads are often confused and depressed, the world over, and not quite as confident or buoyant as they may appear to be. "There is similarity and difference, I believe, in our existence, as that in our rulers -- who formulate the guidelines and patterns of our everyday existence and lifestyle. As many countries are Islamic there are some basic fundamental similarities -- should one care to examine deep and ponder over the situation. The suppression of women's rights is there in numerous countries. As I reckon, the socio-political and economic situations in many countries in the third world are similar. The razor blades that I've used symbolise the harsh and thoughtless means to bind and control women. I've used about 3,000 silver and black razor blades in all-- some seen hanging and others being pasted on. When the spotlight of the gallery fell on the blades, mystifying, dancing shadows resulted. The ' burqa' stood for a stultifying cage. The female corpse, meanwhile, was cut out of plywood." says Lipi.
The other participants at the residency says Lipi, went in for paintings, as Pakistani artists, specially in Lahore, are mostly painting-based, and do go in for sculpture or installations in a big way. The exception, according to Lipi, was Osman Ghowri from Karachi , who taught print-,making at Lahore, and who had painted a plastic heart in gold and mounted it on board. This presented a play of human feelings. Apart from this was Ghowri's screen print, tinted with tealeaves, carrying the symbol of a germinating seed. This was delineated with different types of textures.
"Sadaf Naim, meanwhile, had a painting with women's figures with covered heads. She too had suppression of women in mind. Sabah Khan, a Fullbright scholar scheduled for the US, in turn, dealt with different types of interlacing designs, with the subject juxtaposed in front in the form of a bird, says Lipi. Her work involved narration of stories with incredible humour. Irfan Hassan, who was originally from Karachi, and who had studied in Lahore, was basically a student of miniatures, had also fascinating entries. Like many Pakistani artists, his miniature had contemporary thought content and technique , although it had the famous Moghul miniatures as its roots. His topic was contemporary, as was seen in the fairly recent workshop at Drik, Dhaka, which had an instructor from Lahore.

Lipi uses razor blades to symbolise the harsh and thoughtless means that are adopted to control women.
"The present miniature work from Pakistan is undoubtedly mind-boggling. Each such miniature painting takes two weeks to a month to complete. Such is the effort put on tiny pieces of paper that one can count every single strand of hair on the heads of the human figures," says Lipi.
Commenting on the Lahore artists, Lipi says: "They are definitely well aware of what is going on in the field of Fine Arts. This may be said of not just the artwork of in and around the Subcontinent but the world over. I was surprised that so many of the artists there were acquainted, for instance, with my work. Their curiosity for other parallel experimental work appealed to me greatly. In Bangladesh, I feel, artists have their exhibitions, but fail to have much interaction with other fellow artists or visitors. When painting or sculpting, the artists there have a clear content matter in their minds and are ready to answer anyone about their work, instead of being taciturn or arrogant.
“Even the ordinary gallery visitor, and not just art students, came up with numerous questions, which spoke of their enquiring minds. In fact, I grew somewhat exhausted with the battery of questions, so that I had to take refuge in an inner room for the time being. Each individual, in the constant stream of viewers, had questions to fire me with, and I was naturally elated by this rapport with the Lahorites.”

Painting by Lipi.
Lipi had been to Lahore earlier, and she is totally fascinated with the city with its historical Moghul architecture, bewitching gardens and their exotic flowers and birds. She was also fascinated with the manicured lawns; turrets of mosques and palaces and ramparts of forts. “This centuries-old city -- with its racing horse-drawn carts, mustachioed men with turbans and floating garments; "parathas" and mouth-watering "kababs"-- is surely a spot with tremendous artistic sensibility and savoir faire,” says Lipi. The spirit of the adventurous and artistic Moghuls is in the air -- even if one goes to the ordinary" havelis" (houses) with their unique sense of leisure and work, adds Lipi.
“One feels that one is a "dramatis personae" in a centuries old enfolding drama, while viewing the exotic and ancient place that has resulted in the flowering of the enquiring modern mind of the 21st century,” says Lipi. Lipi mentions that it is no wonder, that young Pakistani artists have successful exhibitions today at Mont Marte and Victoria Albert Museum . Available scholarships to UK and the US for these artists are there too, to encourage them. The number of local patrons of these artists is also heartening. Their sale, in Bangladesh, in comparison, can only be compared to that of master painters, she concludes.
.Copyright (R) thedailystar.net 2009

Friday, November 13, 2009

Sculpting Bangladesh

Mushfique Wadud searches out the stories behind the most significant sculptures of Bangladesh, the majority of which are monuments to the struggle and spirit of independence, and learns why each and every one is indispensable to our heritage and identity.





On October 18, the chairman of a faction of Islami Oikya Jote (IOJ), Fazlul Haq Amini, on behalf of the Islami Ain Bastobayon Committee threatened to pull down every single statue around the country declaring that the establishment of statues were against the principles of Islam.
The statement came in the backdrop of the government decision to pull down five baul statues, from the city’s airport area on October 15, by officials of the Roads and Highways Department (RHD) and civil aviation authority after protests from a radical Islamic organisation called the Khatame Nobuyat (anti-Ahmaddiya movement), whose members tried to pull down the statue only a day or two earlier.

For over a month, different rights’ group, cultural organisations, progressive students’ organisations of the Dhaka University and other educational institutions, cultural personalities led impassioned protests against the government for pulling down the sculpture. The movement, however, appears to have died down for the time being.
Meanwhile, the military-backed interim government who, over the last 20 months have taken various radical steps to reform political parties and age-old institutions once again failed to respond to the threats posed by fundamentalists – something that the government has been consistent at from the beginning be it responding to their protests against the Prothom Alo cartoon, their criticism of the women development policy, and even their threat to destroy the Shikha Anirban, a symbolic monument to the contribution of the armed forces in the war of liberation.
Many of sculptures that have been built around the country represent the great struggles of our history as a nation, most notably the war of independence. As academics and cultural activists point out, sculpting is an art form which is different from idol worship, something the religious bigots have associated it with. Also, in a secular society, there must be equal respect for all religions, beliefs and forms of art, they say.
‘Sculpture is a three-dimensional art form that can be touched by anyone. Even a blind person can touch it and visualise it,’ points out Lala Rukh Selim, associate professor at the sculpture department in Dhaka University who has been teaching sculpture for thirteen years.

Monday, August 17, 2009

Display of artworks by street children


Display of artworks by street children


Students of 'Ashar Pothay' with one of the organisers (C)

The StreetWise Art Exhibition was held recently at the Radius Center, Bays Galleria, Gulshan, says a press release. The exhibition, which started on December 7, displayed an impressive array of artworks by street children, aged between 4 and 15. The young artists are students of the 'Ashar Pothay' school, a StreetWise pilot project. Reproductions of the artworks on T-shirts and a set of greetings cards were also on display at the exhibition.

'Ashar Pothay' embarked on its journey in January 2006. Located in Badda, it is like a sanctuary where the children, faced with poverty, hunger, abuse, and the associated dangers of living on the streets, can meet 5 times a week from 9am to 4pm. Here they are taught Math, Bangla, English, Computer Studies, Religion, Music and Art and Crafts. They can also enjoy story telling, coaching and games. In addition they are offered breakfast and lunch. A savings programme ensures that they can contribute and provide for their families while pursuing their dream of getting an education that will help them break free from the shackles of hardship.

Fifty percent of the revenue earned from the sales of these products goes to each child's savings account, while the rest goes back into the StreetWise project. It is StreetWise'e dream that this ongoing effort will allow 'Asar Pothey' to become self-sufficient and graduate to a boarding school in the near future.

Editorial : Exploration & expansion of fine arts

Fineartsbd.com is a site dedicated to the exploration and expansion of fine arts; we intend it to be a resource for people all over the world, especially for Bangladeshis who want to explore various art forms. It is also designed to act as a medium for expanding quality art works to mass people. The creators of this site earnestly want it to be like a cultural café where men come, explore and get enriched. Fineartsbd.com is a wonderful collection of all forms of fine arts. It contains paintings. And in addition, you may find resources on sculpture, photography, film, dance, theatre, poetry and so on. This is how it’s different from other sites of similar type. Unlike others, it concentrates on the different branches of Fine Arts. You don’t think a single branch will represent the whole tree, do you? The life-blood of the site is youth. It’s a pleasure to welcome the young people to knock at our door and get their art works published. We know how it is to be an unappreciated painter or an unpublished poet. If you really think you’ve attained quality, (and if we agree with you,) you’ll see your signature, vivid below your painting or with your poem. With the youth, fineartsbd.com also contains works by the masters like sultan or zainul abedin. The masters are our history, and the youth is our future. Fineartsbd.com is rooted in Bengali tradition; but, it has been nourished by art as a universal human faculty which goes beyond national borders. Enriched thus, we hope to bloom a divine flower with petals of countless colors.

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