Dhaka Art Summit






Aurélien Lemonier is an architect and served for ten years as curator in the department of Architecture of the Centre Pompidou in Paris. He is the newly appointed Director of the Musée national de l’histoire de l’immigration in Paris. In the ten years that he was been affiliated with the Centre Pompidou, he curated exhibitions on Robert-Mallet-Stevens, Dutch Avante-Garde Architecture, the History of the Modern Museum in France, Jean Prouvé, Bernard Tschumi, and most recently a Frank Gehry retrospective. Lemonier has been researching post-Independence South Asian architecture for the past three years and expanded the collection of architectural drawings at the Centre Pompidou to include the Middle-East and South Asian holdings. He curated the critically acclaimed Bangladeshi architecture show at the 2016 Dhaka Art Summit.



Jeannette Plaut is an architect from Universidad de Chile as well as an architectural critic and academician. She is Co-Founder and Director of CONSTRUCTO and is the Director of YAP_CONSTRUCTO—the Young Architects Programme in partnership with MoMA (New York), MAXXI (Rome), Istanbul Modern (Istanbul), and MMCA (Seoul). She was selected by MoMA to be part of the MoMA International Curatorial Institute in Modern and Contemporary Art (2016). Plaut has worked as the correspondent for Latin America for several media outlets, magazines and books—both Chilean and international. She has taught architectural studies at Universidad Católica de Chile and Universidad Andrés Bello and has served as editor-in-chief of Trace magazine since 2010. Plaut curated the exhibition of Architectural and Urban Planning Case Studies exhibited in the Chilean Pavilion at the 2010 Shanghai Expo in China. She was Director of the XV Chilean Architecture Biennial (2006), Director of the International Conference of Architects at the XIV Chilean Architecture Biennial (2004), and Coordinator of the International Conference of Architects at the XIV Chilean Architecture Biennial (2002). She was the Architectural Editor of Ambientes Magazine (2000-2009). She has been invited as a keynote speaker at numerous events, including: The Sustainable City IV in Estonia, Universidad Católica de Chile, Universidad Diego Portales, Universidad Federico Santa María, Parque Cultural de Valparaíso among others. She has consulted for UN-CEPAL Division of Sustainable Development and Human Settlements Division (2004-2010) and currently has served on the juries for the Swiss Rolex Mentor & Protégés Arts Initiative, the Ibero-American Biennial 2014 (BIAU), organised by the Spanish government. She was the curator of the exhibition EXTRA-ORDINARY: New Practices in Chilean Architecture at the Center for Architecture in New York (2016).



Shamsul Wares worked under Louis I. Kahn, and his associate, Muzharul Islam during the construction of the Parliament of Dhaka. He is the Dean of the School of Environment and Design at the University of Asia Pacific, and an Architectural consultant at Shisrikkhu Sthapati in Dhaka. He was a professor in the Architecture Department of the Bangladesh University of Engineering Technology (BUET) and attended as juror and speaker in many seminars, art and architecture exhibitions, competitions, architecture biennials and triennials in Bangladesh and abroad.

Wares has designed many residential, institutional and public buildings. He has served as President of The Institute of Architects, Bangladesh (IAB) for two terms and has led the Bangladesh delegation at five ARCASIA meetings. He was awarded the Life Time Achievement Award for Architectural Education by the institute in 2009. He also serves as a technical advisor to a number of Bangladesh Government Organisations. Wares has been a member of international design competition juries including Architect of the Year Award (AYA) in New Delhi (1997 and 1999), ARCASIA Award for Architecture, CAA 7th International Student Design Competition (2006).




Mona Hatoum

Mona Hatoum’s poetic and political oeuvre is realised in a diverse and often unconventional range of media, including installations, sculpture, video, photography and works on paper. Hatoum started her career making visceral video and performance work in the 1980s that focused with great intensity on the body. Since the beginning of the 1990s, her work moved increasingly towards large-scale installations that aim to engage the viewer in conflicting emotions of desire and revulsion, fear and fascination. In her singular sculptures, Hatoum has transformed familiar, every-day, domestic objects such as chairs, cots and kitchen utensils into things foreign, threatening and dangerous. Even the human body is rendered strange in works such as Corps étranger (1994) or Deep Throat (1996), installations that use endoscopic journeys through the interior landscape of the artist’s own body. In Homebound (2000) and Sous Tension (1999) Hatoum uses an assemblage of household furniture wired up with an audibly active electric current – combine a sense of threat with a surrealist sense of humour to create works that draw the viewer in on both an emotive and intellectual level. In smaller sculptures such as Traffic (2004) and Twins (2006) Hatoum uses found materials, rich with patina and laden with personal resonance, to create poetic, beguiling works on an intimate scale.



Runa Islam’s work challenges and explores the structures, materiality and histories of representation and visuality, often in relation to cinematographic and architectural concerns. Adopting diverse methods and approaches in the presentation of her work, she disrupts, alters and enhances visual and architectural space, shifting perception and drawing attention to the act of seeing. In her last film works, the artist uses an increasingly pared-back filmic language to delve ever more deeply into questions of visuality, perception and the role of lens-based technologies in mediating how we see and understand the world. Sequences of almost abstracted images suggest the material aspects of film, the shimmer of celluloid or the grains of silver halide crystals. Her visual syntax is often so restricted that the image is all but denied. What comes to the fore is the act of looking itself. In Magical Consciousness (2010), for example, the back of a Japanese folding screen serves as an allegory for ‘the silver screen’, while This Much is Uncertain (2009-2010) relates the grain of film stock to the glittering volcanic sand found on the Italian island of Stromboli. Islam’s recent work, Emergence (2011), is a 35 mm film of a photographic print being processed in a dark room. Stripped back to a stark monochrome palette of black and red, it considers the contradictory yet closely linked relationship between the still and the moving image. Her recent work highlights the material shifts of film and includes Islam’s process of reclaiming the silver from exposed celluloid to create cast sculptures and drawings.

Solo exhibitions include Verso, SFMoma (2016), Anatomical Study, Kiosk, Ghent (2014), Dogs Devouring Horses/The Move, Arter, Istanbul (2012), Projects 95: Runa Islam MOMA, New York (2011), Runa Islam, Site Santa Fe, Santa Fe, New Mexico (2011), Runa Islam, Musée d’art Contemporain de Montréal (2010) and Museum of Contemporary Art, Sydney (2010). She has participated in many group exhibitions, including Looking around corners, Turner Contempory, Margate (2016) Fassbinder Now, Martin Gropius Bau (2015), The Present of Modernism, Mumok (2014), the 11th Sharjah Biennial (2013), 6th Asia Pacific Triennale, Queensland Art Museum, Brisbane (2009), The Cinema Effect, Hirshhorn Museum and Sculpture Garden, Washington (2008) the Turner Prize, Tate Britian (2008), Brave New Worlds, Walker Art Center, Minneapolis (2007), the 51st International Venice Biennale (2005), More than This! Negotiating Realities, Göterborg International Biennale for Contemporary Art (2005), and 8th International Istanbul Biennial (2003).



Sheela Gowda (born 1957 in Bhadravati, India) is a contemporary artist living and working in Bangalore. Trained as a painter Gowda expanded her practice into sculpture and installation employing a diversity of material like human hair, cow-dung, incense and kum kum powder (a natural pigment most often available in brilliant red). Her artistic education took place at Ken School of Art, Bangalore; MS University, Baroda; Bangalore University; Vishwabharati University, Santiniketan, as well as at the Royal College of Art, London. Gowda is known for her ‘process-orientated’ work, inspired by everyday labour experiences of marginalised people in India. Sheela Gowda lives in Bangalore. She was a finalist for the 2014 Hugo Boss Prize. Her work has been exhibited at major museums and institutions around the world and at exhibitions such as documenta (2007), Venice Biennale (2009), Sharjah Biennial (2009), Busan Biennial (2012), and Gwangju Biennale (2014).


Subodh Gupta

Subodh Gupta was born in 1964 in Khagaul, India and now lives and works, New Delhi.  Before his education as a visual artist, Gupta, who is passionate about film, was a street theatre actor. The artist’s change of residence from his native village to a major urban center is in a way an allegory of today’s India. The growing middle class that migrated from villages to large cities is eagerly clearing the path for change and the dominance of global capitalist culture. Gupta is interested in what inevitably disappears in the process of such change. Gupta’s works are featured in major international private and institutional collections and he has been the focus of numerous shows worldwide. Works by Subodh Gupta are in the collections of major museums, among them: Centre Georges Pompidou, Paris, France; Tate Collection, London, England; The Astrup Fearnley Museum of Modern Art, Oslo, Norway; the Museum of Fine Arts, Houston TX, USA and The Israel Museum, Jerusalem, Israel. Gupta is represented by:  Nature Morte (New Delhi, India), Hauser & Wirth (London, England; Zurich, Switzerland; New York NY), Galleria Continua (San Gimignano, Italy; Le Moulin, France; Beijing, China), and Arario Gallery (Seoul, Korea; Beijing, China; Cheonan, Korea).