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International Award .

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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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. The
search 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.

In the Peacock composition, the peacock head and its neck are set in tranquil landscape as a distinct entity but simultaneously
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.

The narrative of a fragility is further enhanced by Protector a symmetrical composition constituted by two hands, delicately engulfing
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.

"Drowning" is a panting that speaks about desisting from breaching the territorial integrity of our neighbors. We are vulnerable and
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.

In a video life and time, water takes a centre stage. Hassan explains that water is submissive in all situations; it will conform to the
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.

It is probably in the drawings that Hassan’s eloquence in combining technical draughtsmanship and subject matter can be experienced.
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.

George Kyeyune

Associate Professor

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The College of Engineering, Design, Art and Technology

Makerere University

 

 

 

 

 

Exhibition In Tehran 2018


Catalog

http://www.tehrantimes.com

http://www.iranart.ir

https://financialtribune.com

 

 

 

 

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 2013

Bangladesh Shilpokala Academy Honourable Mention Award

New Age

 

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. 

“Gorgan will host the festival along with other townships such as Kordkouy, Aliabad, Bandar Torkaman and Aqqala,” said director of Golestan cultural office Gholam-Reza Montazeri. 

“About 270 Iranian artists will showcase their works during the festival along with more than 50 participants from other countries,” Mehr News Agency quoted Montazeri as saying. 

The event will present paintings, caricatures, drawings, sculptures, graphic designs, calligraphies, illustrations, pottery, ceramic and photographs created by young artists. 

About 21 countries have announced their readiness to take part in the event including Bangladesh, Pakistan, Turkey, Kyrgyzstan, Lebanon, Qatar, Kuwait, Turkmenistan, Afghanistan, Georgia, Tajikistan, Tunisia, Croatia, Syria, Nigeria, Zimbabwe, Senegal and Ghana.

Reza Khoran from Turkey got the  award in miniature,
Abdul Haq Noori from Afghanistan got  award in calligraphy
Kassir mohammad rida from Lebanon got award in painting.
Md Hasan Morshed from Bangladesh got the first award in painting from this festival


Iran's 2011 International Youth Visual Arts Festival was held from September 9 to 14, 2011.

 

Mahmoud Shalouee
Director General of Visual Art.
Islamic Republic of Iran

Golam Reza Montazeri.
Secretary of International Festival of Visual Arts

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

Daily Sun

Daily Star

Bangladesh Protidin

Sangbad

Prothom Alo

Prothom Alo ,shopno nie


Global news,Bangladesh

Probashi potro

Bangla Eye

Bangladesher Khobor

New age

MIDDLE EAST

 

BERMUDA


2nd Solo Painting Exhibition 2011

Gallery view 1

Gallery view 2

Señor Arturo Perez Martinez
Ambassador of Spain to Bangladesh

Daily Sun

New age

Last Updated on Friday, 25 June 2021 12:02
 


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