Kromosho | Book | Nokhta

Kromosho (ক্রমশ)— The book expands on those narratives through conversations and essays by Samia Khatun, Rupali Gupte & Prasad Shetty, and Tanzim Wahab, alongside an exchange with Natasha Ginwala. Their reflections span photography, literature, architecture, and urban form, thinking around facets of artistic practices across South Asia while revealing the city as both a subject and a collaborator.

Joop Swart Masterclass | Workshop | World Press Photo

In 2024, the Joop Swart Masterclass — the prestigious mentorship programme by the World Press Photo Foundation — brought together 12 emerging visual storytellers from across the globe. This intensive six-day programme offers masterclasses, portfolio reviews, and professional development sessions designed to sharpen long-term documentary projects and expand creative perspectives. 



Bangladesh’s Second Independence: A Personal Account |
Dina M. Siddiqi.| The Funambulist

On August 5, 2024 (or July 36th, as revolutionaries called it), Bangladeshi Prime Minister Sheikh Hasina fled the country after three weeks of a massive student-led movement that emerged victorious against the old regime. The weeks that follow a Revolution are always moments of possibilities.




Seeds Shall Set Us Free | Exhibition | Fotogalleriet

Seeds Shall Set Us Free is the title of a solo exhibition centered around the work of Munem Wasif, an artist based in Dhaka, Bangladesh, whose practice turned from documentary photography and filmmaking to artistic investigations community-controlled and biodiversity-based food systems in recent years. This presentation at Fotogalleriet by the artist, the first in the Nordic countries, will depart from Seeds Shall Take Us Free (2017-2021), consisting of a series of documents, photographs, and cyanotypes that refer to classic scientific representation and “alpona,” the Bengali practice of creating ritual floor paintings using rice paste.




Tania Roy| Review | Fotogalleriet

Writer and academic Tania Roy has meticulously crafted a compelling text that delves into the intricate tapestry of artist Munem Wasif’s work and practice.

Before approaching each of these works more closely, we might pause at the syntax of simple futurity in the title that frames the display as a whole; and which is borrowed from the installation, Seeds Shall Set Us Free II. By deploying the grammar of inclination and determination in its title, this core work of the exhibit cues us to discern moments of subaltern resistance within larger histories of catastrophic ecological exploitation and social exclusion in the nineteenth and early twentieth-centuries.




Editing as Practice | Workshop | 
Salzburg International Summer Academy

The focus of the course is to understand editing as a practice and a continuous process. By engaging with the idea of sequencing and narrative building, students explore how editing can create, alter and influence new meanings in our work. Students learn to analyse various theories and approaches to editing and look at the conjunction of flow, pace and rhythm in a narrative. By drawing parallels between composing music, cinema practices and textual forms, students explore various materials – taken or found, documentary or fiction – to understand editing in contemporary image-making practices. How can the same body of work respond to the needs of different forms of representation, such as for digital platforms, physical exhibition or as a book?




Jomin o Joban: A Tale of The Land | Exhibition |
Stadtgalerie Museumspavillon

With image-based works, the artist Munem Wasif explores the concept of the trace in its various forms. In complex installations of photography, moving image, archive material and found objects, concepts of the present and transience are questioned. Between documentation and fiction, his works create open narratives of revised history and contemporary events.




তীব্র/Tibro | Exhibition| Pathshala South Asian Media Institute

The works of the seven artists presented in this exhibition resonate in the same pitch. The pitch might be the same, but their creative births, essences, lines are different. At times intense, at times unbearable, even shrill, sharp, and difficult. A reflection of a time of stifling suppression.  As though certain processes have gotten stuck in certain words pandemic, torture, surveillance, hunger, senseless deaths. Some of the works in this exhibition are old, some are current and some are new - all of which have been gathered for this moment.  These works which were created at different times, come together now to communicate in a new reverberation, sound, they arrive with a new intonation, reaching new scales.




Podcasts | CHOBI MELA - শূন্য

Travel restrictions and multiple lockdowns forced us to connect with each other virtually. Sitting in our own spaces in Berlin, Dhaka, Delhi, Kathmandu, New York, Edinburg, Dakar, Dubai but engaging with each other, in conversations. Fourteen speakers and seven podcasts.



চোখ/CHOKH (after Hitchcock) | Diaries from Home | VU

In the first phase of lockdown in Dhaka, I kept a diary and posted various things on Instagram and later these 49 posts complied on the website of VU agency.

A flock of 200 Shamuk-khol birds had perched in three Shimul trees of Bajitpur village of Natore and most fell to the ground on Thursday morning as they could not keep up with the hit of Cyclone Amphan. The villagers captured, slaughtered, cooked and ate all.

Amanul Huq | Exhibition | Chobi Mela XI

Amanul Huq is a pioneer of creative photography in Bangladesh, drawn from childhood to image-making – first in lines, then in light. Rooted in the Bengal Delta, his photographs move beyond record-keeping to become silent theatre, capturing rivers, labour, light and the quiet dignity of ordinary lives. 



Pramodha Weerasekera | Review | ArtReview Asia

Munem Wasif has been documenting and engaging with the city of Old Dhaka in Bangladesh through photographs, moving image and installations for over two decades. Kromosho, which means ‘step-by-step’ in Bangla, is a collection of stories and thoughts about that urban environment, the livelihoods of those who engage with it and the community that those people form as a result.





গণঅভ্যুত্থানে আলোকচিত্র | Exhibition 

The mobile exhibition will travel to the sites across Dhaka that turned into battlegrounds during the critical moments of July and August (Central Shaheed Minar, TSC, Mohammadpur Beribadh, Mirpur, Jatrabari, Rampura, Hatirjheel). It seeks to weave together the anti-discrimination student movement led by young people with the 15-year political struggle for freedom of expression, democracy and resistance to fascism.



Muhammad Yunus | Le Monde

In an interview with Le Monde, the head of Bangladesh's interim government talks about the reforms urgently needed to put the country back on its feet after 15 years of authoritarian rule.



In the Palm of My Hand | On My BookShelf | ArtIndia

Artist and educator MUNEM WASIF shares a list
of texts and photobooks he keeps going back to.

I love reading and holding books in my hands—small, scaled, poetic books that easily slip into a bag or rest by my bedside. Books that make me think. Often, I’m drawn to those about artists—their ideas, their obsessions, what moves them.





Robert Gardner Fellow | Peabody Museum of Archaeology & Ethnology, Harvard University

Following an international search, the Peabody Museum of Archaeology & Ethnology, Harvard University, is pleased to announce the selection of Munem Wasif as the 2023 Robert Gardner Fellow in Photography. The fellowship provides a stipend to begin or complete a proposed project followed by the publication of a book.




Converstaion with Natasha Ginwala | Exhibition |
Project 88

Held at Project 88 in 2022, Growing With The City documents a conversation between curator Natasha Ginwala and artist Munem Wasif around his exhibition Kromosho (ক্রমশ). Ginwala frames the exhibition as a slow “accrual” — a recursive movement through time where images echo, bleed, and reassemble like an editing table in motion. She describes Wasif’s practice as resisting hegemonic ways of chronicling cities such as Bombay and Dhaka, instead attending to by-lanes, passageways, and what she calls “ambient infrastructures” — spaces caught in states of construction and deconstruction.




Mario D’Souza | Review| Art Foroum

Central to this exhibition was Kheyal, a moving-image work shot between 2015 and 2018. The title means something like “imagination” or “fiction.” With his moody, mystical treatment of frames, Wasif attempts to imbibe the sensibilities of magic realism and the absurdity in our everyday life. Mist and liquid become metaphors for the locality, its glorious past, and its current state.




Prime: Art's Next Generation | Book | Phaidon

This stunningly illustrated survey brings together more than 100 of the most innovative and interesting contemporary artists working across all media and spanning the globe. These are tomorrow’s art superstars as chosen by the future leaders of the art world: the curators, writers, and academics with their fingers on the pulse of contemporary art and culture.




Homelands: Art from Bangladesh, India and Pakistan | Kettle's Yard – University of Cambridge

Through photography, sculpture, painting, performance and film, Homelands told stories of migration and resettlement in South Asia and beyond, as well as violent division and unexpected connections. The exhibition engaged with displacement and the transitory notion of home in a region marked by the repercussions of the Partition of India and Pakistan in 1947, and the independence of Bangladesh in 1971, as well as by contemporary migration. The artists explored intimate and political histories, often contesting borders, questioning common pasts and imagining new futures.




Discussion | Crossing Boundaries:
Art-making between Bangladesh, India and Pakistan

Hear Homelands artists Sohrab Hura, Desmond Lazaro, Seher Shah and Munem Wasif in conversation with exhibition curator, Devika Singh, Curator, International Art, Tate Modern.



Staging Situations | Workshop | Serendipity Arts Festival

The workshop will explore different possibilities of staged photography. Beginning with a quote by Jeff Wall, 'I begin by not photographing', the workshop will focus on various processes and practices of ‘Staging Situations’ divided into three chapters: As constructed narrative; performing for the camera; and stranger than fiction. The participants will travel through various historical and contemporary interventions by artists—from tableau vivant to self-portrait