Ministry of Cultural Affairs, Iran recently organised the nine-day long 18th International Festival of Visual Arts for Young Artists. The festival began on September 9 in Gorgan, Iran. Emerging Bangladeshi artist Md. Hasan Morshed was among the participants and won the first prize for painting. ******************* 2nd Solo Painting Exhibition 2011. Ambassador Arturo Pérez Martinez ,of Spain to Bangladesh, inaugurated the exhibition on 12 May.Among others,Professor AAMS Siddique,vice-chancellor of Dhaka University and Professor Md.Matlub Ali Dean Faculty of Fine Arts were Present on the occasion. Read more...
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21 03 2023| Links |
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Exhibition In UGANDA 2019
Linking man and nature in the Journey to Venus There is a persistent element in the stories of modern art of the post colonial countries-- it is that of search for identity. Thesearch for identity has been necessary after a disruptive phase of colonial occupation. The colonial phase lasted for over 200 years in India in contrast to Africa where the Berlin conference in 1885 concluded the partition of Africa and thereafter, formally colonized by European powers. Hassan comes from Bangladesh which was part of the Indian sub-continent until 1947 when political disagreements based on religious and demographic distribution of Islam and Hindu population led to the creation of West Pakistan and East Pakistan (now Bangladesh since 1971). The implication of colonial occupation was the de-centering of local cultures and their technical achievements in the development process. The centering of colonial education which by its nature was formal and necessarily Western oriented increased our dependence on the West. Education was a key medium for affirming colonial influence. Several art schools emerged and as would be expected academic art where technique and methods and materials were given due emphasis. The Revivalism Movement of the 1930s in the Indian Art Schools was reacting against the overt Western canons of art education. Echoes of such stories were heard in Nigeria. In the 1950s, a stage was set where the drama of change was enacted by a section of students in the Department of Fine Arts, University of Zaria. The central point of the Zaria Rebels Society manifesto was the fact of synthesis of old and new as well as acceptance of change as a means of art remaining art. Art remaining art is a plea that art schools in African should consider building from and on the existing artistic heritage. At Makerere, similar conversations of renewing past traditions in the context of modern development occurred even though within restricted margins. Hassan comes from a country that deeply values its past and the discussions and his studio experiments extol and pay singular attention to the Bangladesh’s remarkable heritage. Indeed, Hassan’s studio engagements and achievements particularly those that have resulted in the Journey to Venus exhibition at Makerere Art Gallery attest to this. The Orient Art Department of Dhaka University where he graduated with a masters 2009 is well known for its research in local content. In this enabling environment, Hasan the “switched on” painter, has been able to distinguish himself as an ardent researcher in his search for a personal identity, both in materials, processes and content, in the medium of water color. Hasan’s passion for water color (and ink) makes him relevant for the Makerere Art School, where the medium of water color is still in its infancy. Todd’s curriculum of the independence decade had relegated water color to the fringes. Both water color and batik which share a lot in common were considered to be ‘non academic’ because of their overt dependence on what was to him, chance. Yet, Francis Taga, one of the foremost water colorist and interestingly, a graduate of Todd’s curriculum has a different view of this. The reasons for denigrating water color under Cecil Todd, are the very reasons that according to Taga makes water color a difficult and challenging medium. Before Taga popularized it, it was the debutant Sudanese painters who first made a strong imprint with water colors, on the Ugandan art scene, in the early 90s. Indeed, the Sudanese painters, whose work was largely abstract were a major influence on the Ugandan painters particular in the late 90s and after the millennium. The Sudanese abstraction painters had an allegiance to their local resources which was both Islamic and African. They showed in Tulifanya and Afriart the two leading galleries at the time. For some obscure reasons, Makerere Art School was insulated from this influence—not that it had to embrace it-- preferring to retain a pictorial narrative approach, even when it had by the mid 90s upgraded water color to be at par with oil color and other subjects. By showing in Makerere Art Gallery Hassan is bringing closer to Makerere Art School what the Sudanese failed to do. Hassan’s paintings, like the Sudanese, draw from a combination of religion and secular environments. Makerere art community, with its multiplicity of religions and cultures is therefore a rich ground that will be impacted Hassan’s work. Hassan is not new in Uganda. In 2013, he had a stint of two months at Nagenda International Academy of Art and Design (NIAAD) as a visiting academic. For a researcher who is fascinated by nature, the lush green and thick foliage that surrounds NIAAD campus as well as NIAAD”S flexible teaching agenda Nagenda, made a strong impression on the adventurous artists to which he contributed. The inter-relationship between fauna and flora is a principle preoccupation in Hassan’s work. The two are intimately intertwined and interdependent. Their fragility and mortality are palpable. Oftentimes, the compositions which predominantly landscapes, are appear pale with human forms enmeshed into them -- as if to suggest that human recklessness has had a role to play in the planet earth’s environmental degradation – a, still a contested hypothesis. Venus is a planet closest to mother earth and name has roots in the Greek mythology. Love and affection is implied in Venus. The Journey to Venus is a fantasy that for a moment helps us to reflect on how imperative it is that we should save our planet earth from further degradation. Hassan invites us on this odyssey in his water colors, drawings and videos. His compositions are surreal which allows him to create layers of multiple meanings and centers of reflection.
appearing as a river streaming down the lower edge of the composition. A cluster of trees define the peacock crest while the human settlement describe its eye.
an oxygenated red rose flower, clutched in the middle. Although the visual impressions of this composition are human hands and a rose flower, it is a metaphor for a visceral revelation of a human rib cage, an armored guard for the heart and other vital organs the body. We all need protection from the ravages of our adversaries. We need protection from negative forces.
exposed in territories that are not meant for our domicile. While the fish is comfortably swimming under water, the intruding man is clearly losing it.
shape of the container that contains it—a bottle, a pot, a glass etc…Hassan takes the debate further to remind us that water is life and we are ourselves over 70 percent water. Water therefore is a resource that we have to safeguard at any cost for our survival.
Rebel is a directional tightly knitted and animated drawing with human and animal motifs moving into and out of the frame. The characters executed in definitive lines, dance menacingly, which adds to a sense of mystery; after all, it is rural subject where rituals and festivals are rife. Hassan in this drawing, has left the background open to increase clarity and effectiveness of the composition. In this debut exhibition at the Makerere Art Gallery, Hassan is emphatically engraving himself in the annals of MTSIFA as an artist who, by forging coherent link between culture and nature employing the medium of water color, drawing and video leaves us with a question of where our collective responsibility lie to protect our planet for posterity. He also challenges us to be, what Simon Njami, a celebrated African curator would call, thinkers. Hassan’s work reveals and conceals at the same time. It is meditative and bridges the human divide based on race, ethnicity and creed. It is worth paying a visit.
Associate Professor This e-mail address is being protected from spambots. You need JavaScript enabled to view it The College of Engineering, Design, Art and Technology Makerere University
Exhibition In Tehran 2018
Iran Bangladesh Cultural exchange 2017
Venue: Pathshala media Institute gallery,Dhaka
Darbast Platform,Mohsen Gallery.Tehran
Dr. Kizito Maria Kasule
Eirik Jarl Trondsen
20th National Art Exhibition Bangladesh 2013Bangladesh Shilpokala Academy Honourable Mention Award
18th international visual art festival for young artists,Iran Iran's northern Golestan Province is planning to hold the 18th International Youth Visual Arts Festival in the provincial capital of Gorgan. 18th International festival of youth's visual arts was held by the center of visual arts. Reza Khoran from Turkey got the award in miniature,
Mahmoud Shalouee
Golam Reza Montazeri.
Renowned Artist Manoucher Mouqari
With all participants of the festival
Artist Abdul Haq Noori from Afghanistan Mubarak Al-Malik from Qatar & Kizito Amartey from Ghana
TV Interview
in front of a painting of Iran contemporary Museum Art
2nd Solo Painting Exhibition 2011
Señor Arturo Perez Martinez
Protocol,Video art Monitor 7,SAVAC (South Asian Visual Arts Centre)
Mybindi .com ,South Asian Arts,Entertainment & Lifestyle
Jadu Ghor-Fake behind the trust
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| Last Updated on Friday, 25 June 2021 12:02 |
