Around the mid-2000s, a young Munem Wasif, with his rickety Soviet-era Zenit camera, found himself indulging in the allures of the older parts of Dhaka. Infinite lived experiences and thousands of shutter counts later, his first magnum opus, “Belonging”, came to life in 2012. This photo book became one of the most revered photographic bodies of work in Bangladesh’s visual art history.
On November 10, Project 88 inaugurated Munem Wasif's second solo-exhibition at their gallery in Mumbai, India. The exhibition is titled "Kromosho"--'step by step' in Bengali--and features Wasif's body of work, which the artiste has developed over almost two decades. Munem Wasif’s image-based works often mix photographs with moving images, archive documents or collected paraphernalia to reveal notions of impermanence and insecurity. A major theme throughout his work, is the philosophy of leaving things open to interpretation.
Around the mid-2000s, a young Munem Wasif, with his rickety Soviet-era Zenit camera, found himself indulging in the allures of the older parts of Dhaka. Infinite lived experiences and thousands of shutter counts later, his first magnum opus, “Belonging”, came to life in 2012. This photo book became one of the most revered photographic bodies of work in Bangladesh’s visual art history.
On November 10, Project 88 inaugurated Munem Wasif's second solo-exhibition at their gallery in Mumbai, India. The exhibition is titled "Kromosho"--'step by step' in Bengali--and features Wasif's body of work, which the artiste has developed over almost two decades. Munem Wasif’s image-based works often mix photographs with moving images, archive documents or collected paraphernalia to reveal notions of impermanence and insecurity. A major theme throughout his work, is the philosophy of leaving things open to interpretation.
