There is something mesmerising about Bangladeshi art: it compels you to converse with it in a way that the medium becomes secondary to the concept of the artist. Could this be a connection to land and place, which has been diluted in many other parts of South Asia due to migration as well as internationalism, where the influences of Land and Earth art movements in the West have overshadowed the intrinsic connection to an artist’s immediate surroundings?
From Christo’s wrapped islands,
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