editor’s note
Between the performative the abortive
'Dekhloom aar akloom', or replicating in drawing what is right in front of the eyes, may lead to sterile artistic ends. Abanindranath Tagore's caution against the futility of making verisimilitude a... Read
features
Globalism in the wake of conceptual art
The art history and art theory of the 20th century was dominated by a methodology that equates the pictorial with the linguistic. In the most extreme manifestations, the idea of the Read
writes ADNAN MADANI
Thoughts on cultural heterogeneity
In the relational diagram of modernity, as in that of the pre-modern epochs, crosspollination is a phenomenon which, as one of the major constituents of cultural regeneration and evolvement, has been Read
writes MUSTAFA ZAMAN
Navigating the abstract: At the interstice of science and philosophy
In recent years abstract art has seen a worldwide resurgence. This interest is not only limited to a reassessment of its historical value, but extends to present-day abstract art practice. Is Read
writes USHMITA SAHU
archeology
Motifs of aura and actuality in Kazi Nazrul Islam: passages from modernity
Depart reprints here two separate articles on poet Kazi Nazrul Islam by SALIMULLAH KHAN, the public intellectual, scholar and faculty at the University of Liberal Arts Bangladesh, Dhaka. The rationale behind Read
Reading Nazrul Islam after Walter Benjamin: A critique of fascism in colonial Bengal
'Early in his life, Kazi Nazrul Islam, the most notable Muslim poet of modern Bengal, edited and published a weekly Bengali journal named Dhumketu, the Comet. The name was symbolical of Read
writes SALIMULLAH KHAN
depart file
Identifying with identity: Beyond the choice between cherry and jamon
A few weeks ago I was invited for breakfast at the house of an artist couple. At the table along with other delicacies and seasonal delights, they served a bowl full Read
writes QUDDUS MIRZA
overview
Doris Salcedo: igniting silence
The retrospective exhibition of the Colombian artist is entitled simply, Doris Salcedo. Organized by the Museum of Contemporary Art, Chicago, and installed at the Solomon R. Guggenheim Museum, New York (June 26-October 12 Read
writes DEBORAH FRIZZELL
foreshortened
Trajectories: 19th-20th century printmaking from India and Pakistan
The history of mechanical reproduction in South Asia is interwoven into the originative narrative found in every scholarly work on modern South Asian artistic practices, from Partha Mitter's Much Maligned Monsters Read
writes WOODMAN TAYLOR
Firoz Mahmud's instrumentalization of shifting metaphors
The paradigms of the 'Global Contemporary' present a dominant narrative that has looked to the post cold war era of artistic production situated in the framework of a 'flat' world. In Read
writes MEENAKSHI THIRUKODE
singled out
womb as wound: Dilara Begum Jolly’s Amorar Akkhyan
The sites of remembrance are always a source of emotional trauma, and Dalim Bhaban in Chittagong, in particular, notorious as it was for being a makeshift torture house for the collaborators Read
encounter
Graffiti and other varieties of rebellion: Ronni Ahmmed and Imran Ferdous in discussion
Grafitti is a kind of violation of the law, a social disturbance of sorts. Say, you draw or put down something on a clean wall or on a constructed edifice which Read
artist writes
A painting – beyond a surface, beyond a narration and more…
How far can physicality be the pivot of a work of art? Are there any other possibilities of two or three dimensional surface and space for painting? Are there any necessities Read
navigator
Subject-object nexus in Mahbubur Rahman's recent works
Between the embodied, corporeal mortality and the disembodied deaths we die on a daily basis in our automated subjective response in complicity with the codes released by the Capital Order rests Read
writes MUSTAFA ZAMAN
Of Hybridity and Holarchy in Gods and Beasts : Disjunctures and Continuities in the Mythos of Ronni
Resisting what appears at first to be a momentous digression from past trans/fixations, a certain nostalgia for the mnemonically memorable absurdist waiting for his millennial Godot, Ronni Ahmmed, may well have Read
writes SEEMA AMIN and MUSTAFA ZAMAN
Trace Material
A photograph captures as much as it reduces. Much like a breath exhaled, photographs are a reminder of one that doesn't exist anymore, that moment it was taken. With life, there's Read
writes PARSA SANJANA SAJID
End Run
Nabil Rahman's first solo exhibition, It Hung Over Us Like an Anvil, at Longitude Latitude 6 was a meditation on endings. A significant number of pieces, mixed media collations of found objects Read
writes PARSA SANJANA SAJID
Engage/disengage to initiate sensory ruptures: Farzana and Palash's overlapping geographies
Farzana Rahman Bobby and Palash Baran Biswas are printmakers attached to their respective ecologies built around aesthetic variables of their own choices, those that they repeatedly arrive at through the application Read
writes GOLAM MORTUJA
The lightening should have struck me : Arindam Chatterjee's spectral vision
The moment one steps inside the gallery, Arindam Chatterjee's works at a glance appear to be suggesting a bleak dark world where spectres of death and decimation dance across the canvases Read
writes SOUMIK NANDY MAJUMDAR
