Art has always been a medium of self-expression and cultural storytelling, and as an artist hailing from a developing country, my inspiration often draws from the world around me—its struggles, triumphs, and traditions. Today, I want to introduce one of my favorite contemporary artists, El Anatsui, a visionary sculptor whose works have left an indelible mark on the global art scene. My discovery of his art at the 2019 Venice Biennale was transformative, sparking ideas that connect deeply to my own cultural heritage and artistic practices.

Discovering El Anatsui

El Anatsui is a Ghanaian sculptor celebrated for his innovative use of discarded materials to create breathtaking works of art that transcend categories. Born in 1944 in Anyako, Ghana, he has spent much of his illustrious career in Nigeria, where he teaches and creates in studios based in Nsukka, Enugu, and Tema. Anatsui’s ability to transform everyday materials, like bottle caps and cassava graters, into monumental sculptures that explore themes of colonialism, consumption, and environment is unparalleled. His works are a testament to the power of transformation—both of materials and of perspective.

When I first encountered his shimmering metal sculptures at the Venice Biennale, I was struck by their immense scale and the stories they seemed to whisper. They spoke of history, resilience, and interconnectedness—values that resonated with me as I reflected on my upbringing in Chittagong, a coastal region with its own rich tapestry of traditions and challenges.

A Personal Connection to His Work

Growing up in a small village in Chittagong, I was surrounded by vibrant traditions tied to the sea. Fishing is a way of life here, and women in my community weave fishing nets to support their families. My personal inclination, however, leaned toward knitting and stitching, crafts that I found meditative and expressive. The idea of reusing materials, creating something beautiful out of the discarded, always intrigued me.

Inspired by Anatsui’s use of recycled objects, I began collecting discarded cans from roadsides and pathways. I cut and shaped these cans to create a colorful curtain, much like the shimmering metallic tapestries that define his work. This process felt deeply fulfilling—it was as though I was weaving not just materials, but stories, memories, and a sense of place into the fabric of my art.

The Legacy of El Anatsui

El Anatsui’s journey as an artist is as inspiring as his works. Born to a family of weavers, he grew up with an innate understanding of the power of textiles and patterns. After studying at the Kwame Nkrumah University of Science and Technology, he embarked on a teaching career at the University of Nigeria, Nsukka. Here, he became a central figure in the Nsukka Group, a collective focused on integrating traditional African art forms, such as Uli and Nsibidi, into contemporary expressions.

His exploration of discarded materials began as a commentary on waste and the environment but evolved into something much larger. By using bottle caps and other remnants of consumer culture, Anatsui creates pieces that challenge viewers to consider the histories and identities embedded within these objects. These materials, imbued with the touch of countless hands, bring their own stories to his works, which can interrogate colonial histories or celebrate communal resilience.

Lessons for My Own Practice

What sets Anatsui apart is his approach to art as a fluid, ever-changing process. His sculptures, though intricate and labor-intensive, remain flexible and adaptable. He encourages curators to reshape and reinterpret his works with each installation, reflecting the mutable nature of human experiences.

This openness inspires me to embrace imperfection and fluidity in my craft. Just as Anatsui’s installations take on new forms with each exhibition, my art evolves as it engages with different spaces and audiences. His practice also reinforces my belief that art can bridge the personal and the universal. Through my own use of recycled materials, I strive to tell stories that are deeply rooted in my culture yet resonate beyond borders.

The Cultural and Environmental Impact

El Anatsui’s influence extends far beyond the art world. His works are housed in prestigious collections, from the British Museum to the Smithsonian Institution, and he has received numerous accolades, including the Golden Lion for Lifetime Achievement at the Venice Biennale in 2015. More importantly, his art challenges us to rethink our relationship with materials, consumption, and waste.

As an artist from a developing country, this message is particularly poignant. In regions like mine, where resources are scarce and waste often accumulates unchecked, finding beauty and meaning in discarded objects feels both urgent and empowering. Anatsui’s works remind us that recycling isn’t just an environmental act—it’s a form of storytelling and cultural preservation.

Conclusion

El Anatsui’s journey from a small Ghanaian town to international acclaim is a powerful reminder of the transformative power of art. His ability to turn discarded materials into awe-inspiring sculptures speaks to the resilience of the human spirit and the boundless possibilities of creativity. For me, his influence has been profound, inspiring not only my choice of materials but also the themes and values that underpin my work.

As I continue to explore my own artistic voice, I remain deeply grateful to El Anatsui for paving the way and showing that even the humblest materials can hold immense power and beauty. His art is a call to action—a reminder that, no matter where we come from, we can create works that speak to the world while staying true to our roots.

A Shark in a Glass Case

The artwork consists of a 14-foot tiger shark, encased in a large glass tank filled with formaldehyde. The predator appears frozen in a menacing pose, as if ready to attack, but remains motionless, trapped in death. This presentation, both clinical and dramatic, creates a sense of unease for the viewer. Hirst himself stated that he wanted the shark to be large enough to give the impression it could “eat you,” and that the tank should be big enough for the viewer to imagine being inside it.

The power of this piece lies in the illusion it creates: although we know the shark is dead, its imposing size and threatening posture play on our primal survival instincts, evoking a visceral fear. The artist explores the thin boundary between life, death, and our inability to truly grasp death while we are still living.

Between Art and Philosophy: Mimesis and Beauty

Mimesis: A New Interpretation

The concept of mimesis, introduced by Plato, is based on the idea that art is an imitation of reality. In The Physical Impossibility of Death in the Mind of Someone Living, Hirst blurs this traditional line. His shark is not an imitation of nature, but an actual fragment of it, removed from its environment and presented as it is. This is not a sculpture or painting of a shark, but a real shark, transformed into art by its context.

This radical choice challenges Plato’s idea of mimesis. Here, Hirst does not create a degraded representation of reality, as Plato might suggest, but instead presents raw, unaltered reality. In this sense, he follows the tradition of Marcel Duchamp‘s ready-mades, where the found object becomes art simply through the artist’s selection. Hirst forces us to reconsider what art is, and whether art resides in the object itself or in the artist’s intention.

Beauty: A Dialogue with the Sublime

Hirst’s work also challenges our traditional perception of beauty. While classical theories associate beauty with harmony, proportion, and aesthetic pleasure, The Physical Impossibility of Death in the Mind of Someone Living disturbs rather than soothes. The shark symbolizes violence and death, and its mere presence evokes imminent danger. Yet the installation also elicits a certain aesthetic fascination, a mixture of fear and admiration, which philosopher Edmund Burke would attribute to the sublime rather than beauty.

The sublime, according to Burke, is that which has the power to terrify and captivate us, an intense emotion often linked to grandeur and death. Hirst’s shark embodies this duality: it is both terrifying and mesmerizing, a perfect embodiment of Burke’s sublime. The fear of death it evokes forces us to confront our own mortality, creating an experience that is both aesthetic and existential.

A Multi-Dimensional Work

Hirst explores multiple layers of meaning in this work. Psychologically, he taps into our innate fears of predators and death. Zoologically, he highlights a misunderstood and feared animal. Popular culture, with its imagery of the shark as a ruthless killer (think of the film Jaws), further intensifies the fascination and terror felt by the viewer.

But beyond these dimensions, The Physical Impossibility of Death in the Mind of Someone Living also questions the role of art. Hirst faced criticism when the original shark began to deteriorate, raising issues about the conservation of contemporary artworks. When he replaced the original shark with another, it sparked a philosophical debate: does the artwork remain the same if its material object is replaced? For Hirst, the artist’s intention takes precedence over the physical object. He believes the work remains the same because the idea remains intact, even if the shark has been replaced.

Conclusion: A Meditation on Death and Perception

Ultimately, The Physical Impossibility of Death in the Mind of Someone Living is not just about shocking or provoking. It questions our relationship to death, a reality we cannot comprehend while we are still alive. By using a real, threatening shark, Hirst invites us to confront our fears and challenge our preconceived notions of art, beauty, and death.

In capturing a moment frozen between life and death, Hirst creates a work that transcends traditional aesthetics and compels us to contemplate the inevitable: death itself.

I have never imagined writing about him like this. Shafin Ahmed, a name synonymous with Bangladeshi rock music, left an indelible mark on the country’s music scene. Born on 14 February 1961, in the city of Calcutta, Shafin was a rock bassist, singer-songwriter, record producer, and politician. He was best known as the lead singer, songwriter, and bassist for the legendary Bangladeshi rock band Miles, which he joined in 1979 alongside his elder brother, Hamin Ahmed. His passing on 25 July 2024 at the age of 63 is a profound loss for the music community. Although I never met him in person, his voice and his music had a tremendous impact on my life and the lives of many others.

A Musical Heritage and Early Beginnings of Shafin Ahmed

Shafin Ahmed’s musical journey was predestined, given his lineage. He was the youngest son of Kamal Dasgupta, a renowned Bangladeshi classical music singer, and Firoza Begum, a celebrated singer of Nazrul Sangeet. Growing up in a household steeped in music, Shafin’s exposure to melodies and rhythms began at a tender age. By the age of nine, he had already embarked on his musical career, taking lessons in Nazrul Sangeet, a genre his mother was famed for.

In the late 1960s, Shafin’s family relocated to Dhaka, where his musical aspirations continued to flourish. However, it was his stint in London during the late 1970s, where he pursued higher education, that exposed him to the vibrant rock and roll culture, shaping his musical identity.

The Rise of Miles

In 1979, Shafin joined Miles as an acoustic guitarist. The band, founded by Farid Rashid, was undergoing changes, and Shafin’s entry marked a new era. By 1991, as the band reestablished itself in the Bangla rock music scene, Shafin had taken on the roles of lead singer and bassist. His contributions were pivotal in crafting the band’s signature sound and propelling them to the forefront of Bangladesh’s music industry.

Miles became a household name, with Shafin at the helm. His distinctive voice and compelling songwriting resonated with fans across the nation. Albums like “প্রতিচ্ছবি” (Reflections) featured many of his compositions, which became anthems for a generation. Shafin’s musical prowess extended beyond performance; he was a visionary who helped shape the band’s creative direction.

Turbulence and Resilience

Despite the band’s success, Shafin’s journey with Miles was not without its challenges. In 2009, internal disputes led to his departure from the band. During this period, he formed a new group, Rhythm of Life, but the venture was short-lived. By the end of 2010, Shafin had rejoined Miles, demonstrating his resilience and commitment to the band.

Shafin’s tenure with Miles was marked by periods of turbulence and reconciliation. He left the band again in 2017, only to return in late 2018 after resolving differences with the other members. His final departure in 2021 marked the end of an era, but his legacy with Miles remained intact.

A Personal Reflection

My introduction to Shafin Ahmed’s music was serendipitous. As a child, I often heard his songs played by a neighbor, long before I even understood the concept of a “band.” His voice, with its captivating timbre, drew me in, making Miles my favorite Bangladeshi band. His ability to carve out his identity, separate from his illustrious parents, inspired many others.

Shafin Ahmed’s influence on Bengali music is immeasurable. He was not just a musician but a cultural icon who bridged generations and genres. His passing on 25 July 2024, at Sentara Norfolk General Hospital in Norfolk, Virginia, due to heart and kidney failure, is a profound loss for the music community.

A Lasting Legacy

As I reflect on Shafin Ahmed’s life and career, I am reminded of the power of music to transcend boundaries and bring people together. Shafin’s journey from a young boy in Calcutta to a rock legend in Bangladesh is a testament to his talent, perseverance, and passion. His music continues to inspire, and his legacy lives on through the countless lives he touched.

In celebrating Shafin Ahmed, we honor not just the man, but the music and memories he gave us. His contributions to Bangladeshi rock will forever hold a special place in our hearts.

At the heart of Besançon, a unique association is transforming public spaces into platforms for artistic expression: Juste Ici. Founded in 2011, this organization is dedicated to supporting contemporary art in public spaces. By making art accessible to everyone, it plays a crucial role in revitalizing the cultural landscape of Besançon and its surrounding areas.

Bien Urbain : A Festival of Art in (and with) Public Spaces

One of the most significant initiatives of Juste Ici is the Bien Urbain festival. Launched in the same year as the association, this festival was held annually until 2022 and then became a biennial event from 2022 onwards. It has become a must-see event for contemporary art enthusiasts. Bien Urbain invites around fifteen international artists to create original, site-specific works that are accessible to everyone in public spaces. These creations—whether sculptures, murals, multimedia works, or illustrations—turn the city into an open-air museum.

During my stay in Besançon from 2018 to 2023, I had the opportunity to discover these artists’ creations through university courses and guided tours organized by Juste Ici. These experiences opened my eyes to the importance of art in urban life and how it can transform our perception of our everyday environment.

The Artistic Hub: La Friche Artistique

Another remarkable initiative by Juste Ici is its management of the Friche Artistique de Besançon, a space dedicated to creativity and experimentation. During my professional degree program (LP METI) at the University of Franche-Comté in 2022-2023, I had the chance to visit this inspiring place with my classmates, guided by David Demougeot, the artistic director of Juste Ici. The Friche is a space where local and international artists meet, exchange ideas, and create. It is also a place where the history and architecture of Besançon are constantly reinterpreted through art.

Civic Engagement and Collective Participation

Juste Ici doesn’t just produce art; it also actively involves the residents of Besançon in collective projects. The “Ateliers Juste Ici,” for example, are initiatives that engage residents of the Planoise and Clairs-Soleils neighborhoods in artistic creation. These workshops empower participants to reclaim their public spaces by integrating collective artworks, whether through mural journalism or public space design.

In addition, Juste Ici leads educational initiatives by inviting artists to work in schools and specialized institutions. These artistic residencies allow students to discover contextual art by interacting with artists and creating art in their own environments. This approach aims to spark curiosity in young people, encourage their creativity, and raise their awareness of the importance of art in public spaces.

Biennale 2025: An Event Not to Be Missed

Since its inception, the Bien Urbain festival has seen the creation of 422 works by 162 artists and collectives from 25 different countries. These works, spread across Besançon, Osselle, and Saint-Vit, have helped to strengthen the cultural identity of the region. With the festival now operating as a biennial, the next edition is scheduled for June 2025. This event promises to once again be a powerful meeting point between art and the public, with works that will continue to surprise, challenge, and move viewers.

Conclusion

Juste Ici is much more than just an association; it’s a driving force for urban and social transformation. Through its commitment to artistic creation in public spaces, it breathes new life into entire neighborhoods while offering residents and visitors a fresh way to experience the city. The Bien Urbain festival, a true showcase of this commitment, is a must-attend event for anyone looking to explore the richness of contemporary art in an accessible and open setting. As we look forward to the next edition in 2025, Besançon continues to resonate with the rhythm of past, present, and future creations.

First Encounter with Rainer Oldendorf : A Meeting of Cultures

I first met Rainer Oldendorf during a two-month residency program at ISBA in France. Coming from Bangladesh, I was excited yet nervous about immersing myself in a new environment. On our first meeting, when I mentioned my Bangladeshi roots, Rainer immediately connected with me by talking about a Bangladeshi filmmaker he admired. He even took me to the library and showed me a book about this filmmaker, who I was not yet familiar with. This gesture of cultural exchange made me feel welcomed and set the tone for our future interactions.

Becoming His Student: A World of Opportunities

A few months later, I officially became Rainer Oldendorf’s student at ISBA. Under his guidance, I participated in various art projects and exhibitions, each one offering a new learning experience. One of the most memorable was a study tour to the Folkwang Museum in Essen on April 13, 2019. I visited this exhibition with Rainer and two Erasmus students, which expanded my understanding of contemporary art in a way that only firsthand experience can provide.

In July of that year, I had the opportunity to work on a filmmaking project titled “Marco 14” in Vienna. Alongside Rainer, ISBA students, and Erasmus students, we spent a week in Vienna exploring the intersection of video art and narrative storytelling. This experience piqued my interest in video art and deepened my appreciation for Rainer’s approach to merging different media in his work.

The HIVE Workshop: A Collaborative Endeavor

From the beginning of 2022 to the end of 2023, I had the privilege of being involved in the HIVE creative research workshop, organized by Rainer. This workshop was a unique initiative aimed at fostering collaboration among students, artists, and cultural institutions. We visited museums, cultural sites, exhibitions, and artists’ studios, each visit offering new perspectives on art and creativity.

One particular highlight was the exhibition and film project in Germany in March 2022. I had the chance to collaborate with prominent artists like Patrick Neu, Carl Emanuel Wolff, Pierre Soignon, Maike Aden, and Frédéric Lormeau. These experiences enriched my understanding of how art can transcend cultural and geographical boundaries, and how it can be a powerful tool for storytelling and social commentary.

A Personal Connection: The Emotional Journey

Beyond the academic and professional interactions, my relationship with Rainer Oldendorf also developed on a personal level. In January 2022, I, along with three other ISBA students, assisted him in moving the furniture from his parents’ apartment. This task was deeply emotional for Rainer, as it involved parting with memories and collections that held significant sentimental value. Witnessing his vulnerability and the importance he placed on personal history provided me with a deeper understanding of the emotional connections that underpin much of his work.

Exploring New Horizons: The Final Chapter

My journey with Rainer culminated in a visit to Bauhaus University and the House of Goethe in Weimar, followed by a trip to Dresden in July 2023. These visits, rich in historical and cultural significance, were the perfect conclusion to my time with him. They encapsulated everything I had learned from Rainer: the importance of history, the power of storytelling, and the endless possibilities of creative exploration.

Reflecting on His Influence and Legacy

Rainer Oldendorf is not just an exceptional educator; he is an influential artist whose work spans various media, including sculpture, film, photography, and teaching. Born on October 28, 1961, in Lüchow, Germany, Rainer’s artistic journey has taken him across multiple countries, establishing a strong presence in places like Besançon, Lörrach, Paris, and Porspoder. His work is characterized by a deep exploration of personal, social, and political history, often reflecting on the contexts in which his pieces are created.

Rainer’s artistic philosophy revolves around the idea of transforming the public space into a private one, blending reality with fiction, and exploring the delicate line between photography and film. His approach is holistic, involving the communities he engages with and inviting spectators to become active participants in the narrative. This is evident in his numerous solo and group exhibitions across Europe, where his work has been showcased in prestigious venues like Fundació Antoni Tàpies in Barcelona, Kunstverein in Bonn, and documenta 14 in Athens and Kassel.

His exhibitions, such as “Wie ich lebe und warum” at Galerie du Granit in Belfort (2019), and “Grammaire au service de la disparition” at Ecole Régionale des Beaux-Arts in Valence (2006), are testament to his ability to provoke thought and evoke emotion through his art. Rainer’s work often challenges conventional boundaries, encouraging viewers to question their perceptions of space, time, and memory.

As Nuria Enguita Mayo insightfully observed, Rainer’s art is “an exercise that shifts the public space to the private one, the real space to a fictitious one, between photography and film.” This duality in his work is what makes his art so compelling and relevant in today’s world, where the lines between reality and fiction are increasingly blurred.

Having had the privilege of learning from him, I can confidently say that Rainer Oldendorf has not only shaped my artistic practice but also broadened my worldview. His teachings have inspired me to continue exploring the intersections of different media and to always remain curious about the world around me.

In conclusion, my time with Rainer Oldendorf has been transformative. He is not just a teacher, but a mentor and guide who has opened doors to new opportunities and ways of thinking. His influence will undoubtedly continue to shape my artistic journey for years to come.

In April 2019, my journey with the renowned sculptor Carl Emanuel Wolff began. This serendipitous encounter occurred during a study tour to Essen, Germany, organized by Rainer Oldendorf. Alongside two Erasmus students, we had the privilege of lodging at Professor Wolff’s apartment. Our stay was memorable not just for the hospitality but also for the enriching artistic discussions that took place over dinner, prepared by Wolff himself. His apartment was a treasure trove of art, reflecting his diverse tastes and deep appreciation for the creative process.

The Dresden Experience: From Student to Sculptor

Motivated by this initial meeting, I eagerly pursued an Erasmus program at the Academy of Fine Arts Dresden (HFBK), hoping to learn under Wolff’s guidance. From October 2020 to March 2021, I immersed myself in the vibrant artistic community of Dresden, where Wolff’s influence was palpable. Despite initial nerves, I found Wolff and my classmates to be welcoming and supportive. Our first official meeting was marked by yet another communal dinner, underscoring Wolff’s belief in the power of shared experiences.

Learning Amidst a Pandemic: Challenges and Opportunities

The global pandemic cast a shadow over my time in Dresden, limiting opportunities to participate in exhibitions and collaborative projects. However, this period of isolation also allowed for deep reflection and focused studio work. Wolff’s guidance was invaluable during this time, as he encouraged us to explore the intersections of art and reality, challenging conventional boundaries.

An Unexpected Reunion: March 2022 Exhibition and Film Project

Fortune smiled upon me again in March 2022 when I participated in an exhibition and film project in Germany, organized by Rainer Oldendorf. This project brought together a diverse group of artists, including Patrick Neu, Pierre Soignon, Maike Aden, Frédéric Lormeau, and of course, Carl Emanuel Wolff. This collaboration was a testament to Wolff’s enduring influence and the far-reaching impact of his mentorship.

Carl Emanuel Wolff: A Life Dedicated to Art

Carl Emanuel Wolff was born in Essen, Germany, in 1957. He studied at the Düsseldorfer Kunstakademie under G. Graubner and has since established himself as a significant figure in the contemporary art world. His career includes notable teaching positions, such as a visiting professorship at the Academy of Fine Arts in Braunschweig (1992–1995) and a professorship at the Academy of Fine Arts in Dresden from 2000. Wolff’s work has been showcased in numerous prestigious exhibitions worldwide, from solo shows at the Lehmbruck Museum in Duisburg to group exhibitions in Miami, Shanghai, and Moscow.

Artistic Philosophy and Contributions

Wolff’s sculptures and installations delve into the ideological and factual aspects of contemporary art. His work often interrogates the boundaries between art and life, presenting everyday objects and scenarios in ways that challenge viewers’ perceptions. As Prof. Dr. Karin Stempel eloquently noted, Wolff’s creations compel the viewer to complete the artwork through engagement and contemplation, dissolving the arbitrary demarcations between art and reality.

One of his notable projects involved bronze sculptures of wild boars in Ehrenfriedersdorf. These life-size pieces, placed without pedestals, blend seamlessly into their environment, embodying Wolff’s philosophy of integrating art with everyday experiences. The sculptures, dynamically carved and patinated, pay homage to the local legend of wild boars discovering mineral ore, merging historical narrative with contemporary artistic expression.

“Different things are an image. Sports, fables, cigars, salad, meat – whatever – can be added. While studying we question the assertion of ‘art’ and also the assertion of ‘reality’.”
Prof. Carl Emanuel Wolff.

Reflections on Mentorship and Influence

Working under Carl Emanuel Wolff has been a transformative experience. His approach to art, characterized by a profound questioning of reality and a commitment to pushing artistic boundaries, has deeply influenced my own creative journey. Wolff is not only a remarkable artist but also a generous mentor who fosters a collaborative and inclusive environment. His ability to combine intellectual rigor with a genuine warmth and openness makes him an exceptional figure in the art world.

As I continue my artistic pursuits, the lessons learned from Carl Emanuel Wolff remain a guiding force, inspiring me to explore, question, and create with authenticity and passion.

As a foreign student in France, participating in the Erasmus program was not obligatory for me. However, my curiosity and the inspiration I received from my teacher, Rainer Oldendorf, at ISBA drove me to explore this opportunity. With a deep admiration for German Expressionism, I chose to apply to the Academy of Fine Arts Dresden (HfBK). The academy’s rich history, combined with the enchanting images of Dresden I found online, solidified my decision. From October 2020 to March 2021, I embarked on a six-month journey that would become one of the most joyful and transformative periods of my life.

Navigating the Challenges of a Pandemic

Upon arrival, I worked under the guidance of sculptor Carl Emanuel Wolff, diving into theoretical courses on Romantic art and German Expressionism. This period was marked by the challenges posed by the COVID-19 pandemic, which led to the cancellation of many courses and exhibitions. Despite these setbacks, I found solace and camaraderie among the international students in my accommodation, sharing experiences and forging lifelong friendships.

A City of Inspiration

Dresden, with its stunning architecture and rich cultural heritage, offered me endless inspiration. I visited numerous museums and castles, immersing myself in the works of German masters, particularly the mesmerizing landscapes of Caspar David Friedrich. The city itself felt like an open-air museum, a perfect blend of history and art.

Meeting Local Artists: Hanif Lehmann and Christine Wahl

One of the most memorable aspects of my time in Dresden was meeting local artists Hanif Lehmann and Christine Wahl. Hanif, in particular, played a significant role in my artistic development. Born in Rochlitz, Saxony, in 1971, Hanif studied painting and graphics at HfBK Dresden under esteemed artists like Siegfried Klotz and Claus Weidensdorfer. Since 1998, he has been a freelance artist, running his own printing workshop, the Widukind-Presse Dresden.

A Studio of Warmth and Creativity

Hanif’s warm hospitality, despite the language barrier, made me feel at home. He often invited me to his studio, where we shared cups of warm coffee, and he introduced me to printmaking and typography techniques. I had never tried etching before, but Hanif’s encouragement and expertise opened a new world for me. His studio was a haven during the pandemic, a place where creativity thrived despite the closed doors of the city.

Exploring Hanif’s Artistic World

Hanif’s work is characterized by his unique style, often focusing on still life, train stations, and social issues. He has also created numerous portraits of people from around the world. His participation in book fairs and residency programs across the globe has enriched his artistic perspective. The 36th Leipzig Graphic Arts Fair, which features over 100 artists and explores the theme of “hortus secretus,” highlights Hanif’s commitment to the art of printmaking. His contributions to the fair, along with other artists from Saxony, Saxony-Anhalt, and Thuringia, showcase a diverse range of interpretations, from concrete garden scenes to fantastical creations.

The Value of Friendship and Mentorship

Despite the challenges of the pandemic, my time in Dresden was invaluable. Hanif’s generosity extended beyond art; he became a friend and mentor. His fluent English and keen interest in music and history made our conversations enlightening and enjoyable. The opportunity to work with him, especially in his printing workshop, was a highlight of my Erasmus experience. We explored various printmaking techniques and experimented with mixed forms, even practicing bookbinding when academy courses were unavailable.

A Journey of Cultural Immersion

This experience in Dresden was more than an academic exchange; it was a profound cultural immersion. I discovered the nuances of German Expressionism and Romanticism, learned new artistic techniques, and, most importantly, formed lasting connections with people who enriched my journey. The friendships I made, the art I explored, and the challenges I overcame made this Erasmus adventure unforgettable. It reminded me of the beauty of stepping out of one’s comfort zone and the joy of embracing new experiences.

Christine has lived in Paris as well as abroad, working in very diverse environments that have influenced and enriched her work. From Berlin, where she exhibited for the first time in 1978, to Guadeloupe, Cameroon, Cyprus, Greece, and Burkina Faso, she has perfected a unique style and narrative technique that make her a complete artist.

The Beginning of a Friendship

Christine Robion is not just my favorite artist; she is also a close friend, almost like family. Our meeting is all the more remarkable given the difference in age and nationality. In July 2015, I began learning French at the Alliance Française in Chittagong, Bangladesh, an institution that organizes language courses and cultural events. In 2016, the Alliance Française of Chittagong invited Christine Robion for an artist residency, due to her interest in the Bengali language and her book on the life of a boy from Chittagong who migrated to France.

As a student of Fine Arts in Chittagong and the Alliance Française, I had the chance to participate in a workshop with Christine Robion. To better understand her work, we were given her book “La vie rêvée de Chotan Barua.” Unfortunately, in July 2016, a terrorist attack in Bangladesh led to the cancellation of the residency for safety reasons. It was a sad moment, and Christine’s writings and works deeply touched me. I wrote her a message on Facebook, and we have stayed in touch ever since.

Reunions in France

In 2018, I had the opportunity to come to France for a two-month residency at ISBA, where I met Christine in person for the first time. This meeting was a key moment in my artistic journey. In 2022, I participated in a two-week workshop with Christine and an exhibition at the Trévron town hall. This exhibition, titled “Regards Croisés,” highlighted our personal interpretation of Celtic crosses, symbols ubiquitous in the Trévron region.

The exhibition’s opening took place on Thursday, February 24, at 6 PM at the Trévron town hall. We have painted twenty-four 30×30 cm canvases, inspired by Breton heritage, especially the crosses and locks of the region. This experience was of paramount importance to me. It allowed me to discover the rich heritage of Brittany and inspired me to settle there.

Inspired by Brittany

During the second day of the exhibition, we invited students from the Trévron school to visit the exhibition and draw the crosses they saw around them. This interaction with the young students deeply inspired me and reinforced my desire to immerse myself further in Breton culture.

My journey with Christine Robion perfectly illustrates how art transcends borders and cultural differences. Our collaboration and friendship have not only enriched my artistic experience but also broadened my personal and professional horizons. Christine taught me the importance of storytelling in art and how each work can tell a unique and powerful story.

A Decisive Turning Point

In conclusion, my encounter with Christine Robion was a decisive turning point in my artistic career. She offered me invaluable opportunities and inspired me to continue exploring and expressing my vision through art. Her influence on my work is undeniable, and I am grateful for every moment shared with her. Through our collaborations, I learned that art is a universal language capable of creating deep and lasting connections between individuals, regardless of their origins or backgrounds.

Thus, my experience with Christine Robion and our exhibition “Regards Croisés” represents not only a fusion of our artistic talents but also a testament to the friendship and mutual inspiration that can arise from the meeting of two worlds.

A Journey into Local Art

During my internship, I was immersed in various tasks, from curatorial duties to engaging with museum visitors. This hands-on experience provided invaluable insights into museum operations and the intricacies of art preservation. However, the most profound learning came from the museum’s extensive collection of local art, particularly the works of Pierre Bichet.

Pierre Bichet, born on November 29, 1922, in Pontarlier and passed away on February 18, 2008, in the same town, was a multifaceted artist. Renowned for his snowy landscapes, especially those of the Jura mountains, Bichet was also a filmmaker and speleologist. His collaborations with the famous volcanologist Haroun Tazieff, spanning nearly forty years, highlight his adventurous spirit and diverse talents.

The Life and Legacy of Pierre Bichet

Pierre Bichet’s life was as rich and varied as his artistic oeuvre. His early years in Pontarlier and Morteau were filled with influences that steered him towards art. A chance encounter with four young artists at an exhibition across from his family home ignited his passion for painting. This early exposure led him to pursue formal art education, even as World War II interrupted his studies and forced him into a tumultuous period of resistance and survival.

After the war, Bichet resumed his art studies and embarked on a journey that would see him becoming an integral part of the Pontarlier art community. His marriage to Suzanne Duval, with whom he had five children, anchored his personal life while his professional life flourished. Bichet’s works, especially his lithographs, became iconic representations of Jura’s landscapes.

The Exhibition: Honoring Pierre Bichet

In July 2023, the Pontarlier Museum organized a special exhibition to honor Pierre Bichet, featuring artworks donated by his family. This event was not just a tribute to his artistic genius but also a celebration of his contributions to the local community. Bichet’s landscapes, particularly his “grandes neiges” series, captured the serene beauty and harsh realities of Jura’s winters with unmatched emotional depth and technical skill.

Bichet’s Artistic Evolution

Bichet’s artistic journey is marked by an evolution from early figurative works to later abstract landscapes. His early paintings often featured allegorical and religious themes, as well as scenes from everyday life in Haut-Doubs. However, from the 1960s onwards, his focus shifted predominantly to landscapes, capturing the silence, cold, and light of winter with a unique cinematic scope.

The 1980s were a particularly challenging period for Bichet, marked by personal tragedies. Despite these hardships, his work continued to evolve, with his palette simplifying and his compositions becoming more profound and introspective. His late works, especially those depicting vast snowy landscapes, remain some of the most evocative portrayals of Jura’s natural beauty.

Discovering Bichet’s Lithographs

One of the most exciting aspects of my internship was the opportunity to explore Bichet’s lithographs. These works, often characterized by their elongated formats and intricate details, offer a different perspective on Jura’s landscapes. Bichet’s lithographs, influenced by his travels to Japan and his collaborations with other artists, are a testament to his versatility and mastery of different media.

Visiting Bichet’s house and studio in Pontarlier was a highlight of my internship. It was here that I truly appreciated the depth of his connection to Jura and his dedication to portraying its essence. Almost every family in the region has a piece of his artwork, a testament to his impact on the local culture.

Conclusion

My internship at the Pontarlier Municipal Museum was a transformative experience that deepened my appreciation for local art and history. Discovering the work of Pierre Bichet was particularly significant, offering insights into the life and legacy of an artist who profoundly shaped the cultural landscape of Jura. Bichet’s art, especially his lithographs, continues to inspire and resonate, capturing the timeless beauty of his beloved Jura.

In 2011-12, during my second year at the Institute of Fine Arts of the University of Chittagong, I encountered the realism art movement through an art history class. This was when I discovered the works of Gustave Courbet, a French artist renowned for his dedication to depicting life as it is, devoid of embellishment. His commitment to realism fascinated me and profoundly influenced my artistic journey.

In 2018, I participated in an art residency program and later studied at the Institute of Fine Arts in Besançon (ISBA). Learning that Courbet hailed from this region and that his hometown, Ornans, was nearby, was thrilling. Ornans, often likened to a small Venice with its canals and natural beauty, inspired many of Courbet’s landscapes. Visiting the Gustave Courbet Museum and his studio in Ornans was a profound experience. I also had the opportunity to see significant collections of his works at the Art Museum of Besançon, the Musée d’Orsay in Paris, and the Musée Fabre in Montpellier.

Initially, Courbet’s super realistic art captivated me with its visual appeal. However, as I delved deeper, I realized his works were not just visually realistic but also a profound manifestation of the societal realities of his time.

Reflecting on Artistic Responsibility

In a text I wrote on October 15, 2019, I grappled with some deeply personal and chaotic thoughts about the role of an artist in society:

“As an art student, I often wonder: What is the artist’s responsibility to society or the state? Is there any responsibility at all? If yes, how much do we practice it, or even realize it? In my opinion, artists should protest against social, political, and economic inconsistencies or various problems of a country.

From famine, the language movement, and the war of independence to anti-authoritarian movements—where have artists not contributed? Sadly, at present, no one seems to have the courage to address the various problems of the country. Artists seem confined within the small area of their studios, focusing on personal benefits. No time to think about the country, society, and the people. Or perhaps they don’t want to think, or lack the courage to reflect on these issues.”

During a museum visit as part of a workshop, I observed a woman guiding tourists through famous artworks. She explained Courbet’s “Killing a Deer/A Deer Hunt” with enthusiasm. Although I had seen the painting many times before and admired its details, that day, I felt an urge to escape from it. As everyone discussed the violence depicted—the 22 dogs killing a deer, the master on horseback whipping them—I saw the faces in the painting morph into something more violent, mirroring the current societal realities.

I told a friend to create a cartoon similar to that painting, but he was afraid. Fear of depicting the real scenario of our country and its political situation—can this be the image of a democratic state? Where no one has freedom of speech, and fear of death looms, we are dying a thousand times every day.

The Current Situation in Bangladesh

Since December 14, 1971, my motherland has lost many heroic intellectuals. Today, the pain of losing them is compounded by the presence of educated individuals who perpetuate injustice and anarchy. The uneducated, semi-educated peasants, workers, and laborers of the villages seem to possess more humanity and morality than these so-called educated elites.

The tragic death of Abrar Fahad at BUET in 2019 underscored the dangers students face when speaking out against injustice. Today, the situation remains grim, with terrorist groups like the Chatra League, supported by the government and police, attacking students across universities. On July 15, 2024, we find ourselves in the same dire situation, with thousands of students under attack by the Chatra League and police, backed by the government.

The Exodus of Talent and the Uncertain Future

There was a time when Bangladeshi students who studied abroad returned to contribute to their homeland. However, now, 99% of Bangladeshi students seek any opportunity to leave the country permanently. This brain drain is alarming, as the nation loses its brightest minds to a climate of fear and repression.

Education that does not teach humanity and morality but instead promotes anarchy and injustice is not education at all. The current climate in Bangladesh, where students are terrorized and freedom of speech is stifled, paints a grim picture of our future.

As artists, we must question our role and responsibility in such tumultuous times. Inspired by Courbet’s dedication to portraying societal realities, we should strive to reflect and challenge the injustices around us, despite the risks. Our silence only perpetuates the violence and repression that threaten to engulf our society.