Two men and two women standing around an award
Two men and two women standing around an award

Left to right: Kamruzzaman Shadin, Salma Moushum, Sangeeta Jindal and Durjoy Rahman

The Asia Society India Centre hosted their first in-person event since COVID-19 for the The 2023 Asia Arts Game Changer Awards in which the winner of the Asia Arts Future Award 2023 was announced.The event was attended by a diverse group of collectors, curators, artists, gallerists, business leaders, and global institutional heads

This year’s winner of the Asia Arts Future Award 2023 is the Gidree Bawlee Foundation of Arts.The Foundation was founded in 2001 by Kamruzzaman Shadhin and co-run by Salma Jamal Moushum in the village of Balia in Thakurgaon, Bangladesh. The organisation aims to develop artworks and projects that respond to local history, culture, and the environment. This is done through various social practices and community-focused activities.

An artwork of sculptures of people holding hands in a circle

Bhumi Project at Kochi-Muziris Biennale 2022/23. Image courtesy of DBF/GB

This award category has been supported the Durjoy Bangladesh Foundation (DBF) since 2020 for. Since 2019 Gidree Bawlee has been working with DBF on various projects. Kamruzzaman Shadhin was even a participant in the organisation’s first Majhi Art Residency Project in 2019 in Venice, Italy.

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In 2020, DBF collaborated with Gidree Bawlee Art Foundation, to create the “Bhumi” project which supported traditional crafts and workers in the Thakurgaon District during the pandemic. Subsequently, the works are currently on display at the Fifth Kochi-Muziris Biennale in Fort Kochi, India until April 2023.

three women and a man all wearing dresses and tunics standing side by side

Left to right: Salma Moushum, Varunika Saraf, Nilima Sheikh and Kamruzzaman Shadin

DBF also funded another exhibition with Gidree Bawlee Director, Kamruzzaman Shadhin, titled “The Elephant in the Room”.

Read more: Rana Begum and Durjoy Rahman on South Asian art’s global ascendancy

The exhibition was was hosted at the US Embassy and the Canadian High Commission in Dhaka in 2020 /21 and was later exhibited in D3 space during Art Dubai 2021.

Find out more:

www.gidreebawlee.org

durjoybangladeshfoundation.org

 

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three men standing together, two in navy blazers and a smaller man in the middle wearing a multicoloured scarf and grey t-shirt

Durjoy Rahman with Bose Krishnamachari, president of Kochi-Muziris Biennale, and Ralph Rugoff, director of the Hayward Gallery, at the launch for the DBF-KMB Award and Lecture Series, Venice, April 2022, photographed by Clelia Cadamuro

With the opening of the Kochi-Muziris Biennale on Monday 12th December, LUX speaks to the founders of the Durjoy Bangladesh Foundation/Kochi-Muziris Biennale Award, which has been created in collaboration with the Hayward Gallery, London.

The inaugural recipient of the multi-year award will be chosen shortly after the opening of the fifth Kochi-Muziris Biennale, held in Kochi, Kerala, India, in December 2022. Aligning with Rahman’s ethos, the award will be bestowed based on merit to an emerging South Asian artist participating in the Biennale.

framed items on coloured canvases hung up on a wall

Spring Song, 2016 ongoing, by Munem Wasif

“Recipients will have their first UK solo exhibition at the Hayward Gallery’s HENI Project Space in the Southbank Centre. Such an honour will no doubt transform the trajectory of their careers,” says a clearly pleased Rahman. “Seeing a South Asian artist, irrespective of their religion or country of origin, occupy such a prestigious space in London – the former centre of colonial Britain – is a powerful example of decolonisation, progress and tolerance.”

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Speaking exclusively to LUX, Hayward Gallery director Ralph Rugoff adds his own thoughts on the initiative: “With the DBF-KMB Award, Durjoy Rahman will be expanding the impact and legacy of South Asian art by funding exhibitions of South Asian artists at London’s Hayward Gallery, introducing UK and European audiences to important new artistic voices from the region.” He adds, “By fostering cultural exchange and community-engagement programmes, the DBF plays a vital role in creating new connections and conversations between South Asian artists and the rest of the world.”

a brick wall

The Wall, 1967, by Murtaja Baseer

Fittingly, Rugoff will also be co-curating another impressive facet of the collaboration, The Durjoy Bangladesh Lecture Series, alongside the Kochi-Muziris Biennale Foundation team. Slated for 2024, 2026 and 2028, the programme promises to feature an impressive line-up of distinguished curators and artists from the Global South.

Read more: Durjoy Rahman: Making Space For Art Of The Global South

Staying true to his mission, Rahman notes that the public series will “further build the Hayward Gallery’s critical and research-driven engagement with the South Asian arts landscape.”

Untitled, 1975, by Shahabuddin Ahmed

Remembering partition is never a simple exercise. But doing so through the lens of Durjoy Rahman, via his artistic philosophy, philanthropic mission and art collection, offers a unique understanding of the subcontinent and applicable methods of decolonisation. “Rather than alienate one group or another, art should bridge our collective understanding,” says Rahman, as our time together comes to an end. “This is the moment to remember that lesson.”

Find out more: durjoybangladesh.org

This article first appeared in the Autumn/Winter 2022/23 issue of LUX

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boat cruise
boat cruise

On board Saffron, Spice Routes’ double-storey houseboat. Image by James Houston

Beyond Kerala’s humid, bustling cities lies a subtropical maze of secret waterways and verdant rice paddies. LUX discovers the singular beauty of the backwaters, aboard a luxury houseboat

We arrived in Fort Cochin, dusty and bleary-eyed from a long train ride down from Mumbai, into the thick humidity of an early Indian summer. Fort Cochin is the prettiest and oldest part of Kochi. It was once occupied by the Dutch and the Portuguese, and the cobbled streets and architecture retain the appearance of old-world Europe. The food is fresh with tropical flavours that differ from the rich, creamy sauces of Northern India. We ate best at the tables beside little huts which sit beneath palm trees along the waterfront, where the fish is caught practically before your eyes and served simply with fried spices and rice.

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Whilst this part of the town used to be busy trade port (there’s plenty to be discovered in various museums), the rhythm of life is now sleepy and tranquil, with tourists drifting between air-conditioned cafes, craft shops and independent art galleries. During our stay, we caught the last few days of the Kochi-Muziris Biennale, stumbling across various installations and exhibitions hidden within courtyards and gardens as we wandered the streets.

Mountains

Views over the rolling hills of Wayanad. Image by James Houston

Almost everyone we met was returning to the state for the second or third time, having fallen in love on their first visit. The top recommendations were to stay amongst the tea plantations in Wayanad (the north-eastern part of Kerala) and to go on a cruise through the backwaters. For many travellers, the word ‘cruise’ understandably conjures up images of massive five-storey monster ships, packed tight with tourists, but in Kerala, a cruise simply means a boat trip whether that’s on a fishing boat, houseboat, or in any other kind of floating vessel.

Most of the backwater tours depart from the coastal town of Alleppey (an hour and a half’s drive down the coast from Fort Cochin, or two hours in a tuk tuk if you prefer a slower, more scenic route). Spice Routes, unlike many of other cruise providers, offers exclusive use of their luxury houseboats, meaning that you get the whole thing to yourself. The company owns six boats varying from one-bedroom to five-bedrooms. We were booked on Saffron, an elegant double-storey boat with a large bedroom, ensuite bathroom and lounge area on the lower deck and a dining room and sundeck upstairs. The interiors paired traditional Keralan design with contemporary touches and an abundance of floor-to-ceiling windows.

Read more: Art dealer Tamara Beckwith on Rob Munday’s holographic portraiture

Rather than feeling like a floating hotel, the boat felt homely and private. The staff were there when we needed them, and not when we didn’t. We spent most of the time from our departure to nightfall, lying on the deck, sunbathing, watching the fishing boats and listening to the birds.

It is worth noting that the backwaters are by no means a secret and whilst there are, most likely, more secluded routes to navigate on smaller vessels, the main waterways tend to be busy with activity. By the evening though, when we moored up close to a bank to buy fish for our supper from a local fisherman, most of the other boats had returned home. We ate amidst silence and slept with the blinds up in a grand four-poster bed, waking with the sun.

The real luxury of the sailing through these waters, though, is the opportunity to see the landscapes and life beyond India’s urban environments. For most travellers, experiences of the country tend to be confined to the cities dotted along designated transport routes; self-drive cars are near impossible to hire and if you have a driver, it can be difficult to know exactly where to direct them unless there’s it’s to a tourist site. In the backwaters, life happens on the riverbanks: the washing of clothes, dishes, bodies, hair, swimming, chatting, playing. On the deck of a luxury boat, we became  voyeurs, made suddenly, acutely aware of the country’s wealth divide, of our privilege and other ways of existing in the world.

Rates from 25000 INR per night on-board Saffron, incl. all meals (approx. £250/ $350 / €300)

For more information visit: spiceroutes.in

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