In a set of para-fictional texts which interweaves the life of cultural historian Dr. Shahidul Zaman with key moments in the ruptured history of Bangladesh, the artist Omar A. Chowdhury, builds a reflexive mirror to examine the nature of memory, of historiography, and the processes of the art system. Recounting the history of an exhibition that was censored and closed down in Dhaka in 2016, Chowdhury constructs a narrative that doubles back on itself along multiple axes of the personal and public as he and Dr. Zaman delve into the uncertainties in the presentation of identity, the recollection of history, and the compromises of political commitment.
Omar A. Chowdhury
Disoriented by geographic and temporal ruptures Omar A. Chowdhury makes para-fictional environments that house tightly-coupled fields of objects, actions and representations which include texts, performances, actions, films, photographs, sculptures, sounds, archives and code. Appropriating the processes and tools of phenomenology, hermeneutics and modernist narratology his work effaces the partitions between what is real and what is not.
Omar has recently had presentations at Haus der Kulturen der Welt (Berlin), 4A Centre for Contemporary Asian Art (Sydney), Bengal Foundation (Dhaka), MOMENTUM (Berlin). His recent film Augustijn was selected for a world premiere at the International Film Festival Rotterdam 2019. He has had screenings at Film and Video Umbrella (London), Haus der Kulturen der Welt (Berlin), La Gaîté lyrique (Paris), Queensland Gallery of Modern Art (Brisbane).
In 2019 he is a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam. He is based in Amsterdam and Dhaka.