The work deals with Technology, Rural, Village, Water, Bird, Tree, Stray, Sky, Plane, Biman Bangladesh Airlines, Modernization, Mother. Photographed by Kuntala Lahiri-Dutt and David J Williams. + - Entry no.: V1 CC17 2000s AC0 000 N 006 Title: Untitled Artist: Anonymous Year of creation: Unknown Photographer: Kuntala Lahiri-Dutt and David J Williams Copyright info: All Rights Reserved by Kuntala Lahiri-Dutt, David J Williams, and Mapin Publishing Date Photo Taken: c. 2000s Location: Dhaka, Bangladesh Resolution info: N/A Source: http://www.kuntalalahiri-dutt.org/rickhaw-art-of-bangladesh/ ; Lahiri-Dutt, Kuntala, and David J Williams. Moving Pictures: Rickshaw art of Bangladesh. Ahmedabad, India: Mapin Publishing, 2010.; This photo is used in this archive with permission taken from Kuntala Lahiri-Dutt Notes: Painted on a metal backboard and attached on the back of a rickshaw; the carrier logo of the plane appears to be the logo of the flag carrier Biman Bangladesh Airlines; the model is probably DC10 Subjects: Technology, Rural, Village, Water, Bird, Tree, Stray, Sky, Plane, Biman Bangladesh Airlines, Modernization, Mother Bibliographical Reference/s: Lahiri-Dutt, Kuntala, and David J Williams. Moving Pictures: Rickshaw art of Bangladesh. Ahmedabad, India: Mapin Publishing, 2010. Previous Next

The work deals with Tiger, Animal, Bird, Jungle, Forest, Sky, Tree, Royal Bengal Tiger. Photographed by Onu Tareq. + - Entry no.: V1 CC26 2015 AC25 000 N 003 Title: Untitled Artist: Mujahid Year of creation: Unknown Photographer: Onu Tareq Copyright info: All rights reserved by Onu Tareq Date Photo Taken: July 26, 2015 Location: Rajshahi, Bangladesh Resolution info: N/A Source: https://www.facebook.com/photo/?fbid=10155875898000497&set=a.10150411323665497 Notes: Probably attached on the metal back of an electric rickshaw Subjects: Tiger, Animal, Bird, Jungle, Forest, Sky, Tree, Royal Bengal Tiger Bibliographical Reference/s: N/A Previous Next

An exhibition that toured several galleries and museums in the UK Rickshaws: Art and Industry Special thanks to Tom Learmonth for such rare access to this exhibition Date: 1987-8 Venue: Touring exhibition in the UK. Presented by: Rickshaw Exhibition Committee Design and Production: Tom Learmonth Photography: Tom Learmonth and Shah Ahmed Sadeque (Mithu) Text: Robert Gallagher and Dan Jones Funding: War on Want, Christian Aid, Tollemache Trust, and Hilden Trust Installation Shots © Tom Learmonth © Tom Learmonth Tricycle for kids © Tom Learmonth © Tom Learmonth 1/19 Exhibits Rickshaw; manufactured in Bangladesh and reassembled by cyclists in London © Tom Learmonth Rickshaw; manufactured in Bangladesh and reassembled by cyclists in London © Tom Learmonth Rickshaw; manufactured in Bangladesh and reassembled by cyclists in London © Tom Learmonth Rickshaw; manufactured in Bangladesh and reassembled by cyclists in London © Tom Learmonth 1/12 Artist: Manik © Tom Learmonth Gypsy Sardar (leader); Artist: Md. Gofur (probably) © Tom Learmonth Artist: Ahmed © Tom Learmonth Artist: Manik © Tom Learmonth 1/54 Painted seat cover © Tom Learmonth Painted seat cover; Artist: Ahmed; Year of creation: 1983 © Tom Learmonth Painted seat cover; Artist: Masud © Tom Learmonth Painted seat cover © Tom Learmonth 1/7 Decorative object for rickshaw © Tom Learmonth Decorative object for rickshaw © Tom Learmonth Part of the rickshaw hood © Tom Learmonth Decorative object for rickshaw © Tom Learmonth 1/20 A pair of sandal worn by a unknown rickshaw puller © Tom Learmonth Tools of rickshaw mechanics © Tom Learmonth Rickshaw registration plate © Tom Learmonth A pair of sandal worn by a unknown rickshaw puller © Tom Learmonth 1/5 Movie poster; Artwork by Shilpi; Year: 1984 © Tom Learmonth Movie poster © Tom Learmonth Painted kula © Tom Learmonth Movie poster; Artwork by Shilpi; Year: 1984 © Tom Learmonth 1/5 Exhibition Texts and Study Pack Exhibition Plan and Proposal Exhibition Credit Warner, Rachel, Dan Jones, Barbara Joseph, Jayne Spittle, John Wallett, Tom Learmonth, and Shah Ahmed Sadeque. Rickshaws: Art & Industry . Basement Project/Young World Books, 1989. Go back

The work deals with Tiger, Tarzan, Man, Animal, Forest, Jungle. Photographed by Stephen Bugno ; https://bohemiantraveler.com/. + - Entry no.: V1 CC19 2015 AC0 000 N 002 Title: Untitled Artist: Unknown Year of creation: Unknown Photographer: Stephen Bugno ; https://bohemiantraveler.com/ Copyright info: Attribution-NonCommercial-NoDerivs 2.0 Generic (CC BY-NC-ND 2.0); https://creativecommons.org/licenses/by-nc-nd/2.0/ Date Photo Taken: October 9, 2015 Location: Dhaka, Bangladesh Resolution info: 1080x1080 Source: https://www.flickr.com/photos/52442953@N05/22061790981/ Notes: Painted on a metal backboard and attached on the back of a rickshaw Subjects: Tiger, Tarzan, Man, Animal, Forest, Jungle Bibliographical Reference/s: N/A Previous Next

The work deals with Hat, Man, Woman, Sunglass, Film. Photographed by Jessica Mudditt. + - Entry no.: V1 CC8 2009 AC9 000 Y 002 Title: Untitled Artist: Raju Year of creation: Unknown Photographer: Jessica Mudditt Copyright info: All Rights Reserved by Jessica Mudditt, Freelance journalist and writer (https://jessicamudditt.com/) Date Photo Taken: October 29, 2009 Location: Sreemangal, Sylhet, Bangladesh Resolution info: 3072x2048 Source: https://www.flickr.com/photos/jessicamudditt/4092602019/ ; This photo is used in this archive with the photographer's permission Notes: Painted on the wooden back of the rickshaw; the yellowish tint is giving it a nostalgic touch; different textures/designs are used in the hats and the clothes; possibly inspired from a film; ownership information is also written on the work prominently. Subjects: Hat, Man, Woman, Sunglass, Film Bibliographical Reference/s: N/A Previous Next

The work deals with Village, Rural, Boat, House, Water, Trees, Bird. Photographed by Onu Tareq. + - Entry no.: V1 CC26 2008 AC0 000 N 001 Title: Untitled Artist: Unknown Year of creation: Unknown Photographer: Onu Tareq Copyright info: All rights reserved by Onu Tareq Date Photo Taken: June 15, 2008 Location: Rajshahi, Bangladesh Resolution info: N/A Source: https://www.facebook.com/photo/?fbid=62591305496&set=a.62590250496 Notes: Two works of the same artist; both works are almost same, although the upper one is more faded than the lower one; painted on the metal back of the rickshaw; painted on a metal backboard and attached to the back lower part of the rickshaw Subjects: Village, Rural, Boat, House, Water, Trees, Bird Bibliographical Reference/s: N/A Previous Next

The work deals with Action, Gun, Man, Woman, Film, Earrings, Fire. Photographed by Rajesh Pamnani. + - Entry no.: V1 CC14 2012 AC0 000 N 003 Title: Untitled Artist: Anonymous Year of creation: Unknown Photographer: Rajesh Pamnani Copyright info: Attribution-NonCommercial-NoDerivs 2.0 Generic (CC BY-NC-ND 2.0); https://creativecommons.org/licenses/by-nc-nd/2.0/ Date Photo Taken: October 9, 2012 Location: Amla Para, Dhaka, Dhaka Resolution info: 1024x680 Source: https://www.flickr.com/photos/pamnani/8100084992/in/album-72157631799088264/ Notes: Inspired by a unknown Bangladeshi film; the background is referring to a fire explosion; painted/printed on the metal backboard and attached on the back of the rickshaw Subjects: Action, Gun, Man, Woman, Film, Earrings, Fire Bibliographical Reference/s: N/A Previous Next

The work deals with Rural, Village, House, Lettering, Bird, Human, Abstract. Photographed by Adam Cohn. + - Entry no.: V1 CC5 2018 AC0 000 Y 001 Title: Untitled Artist: Shah Aman (Probably) Year of creation: Unknown Photographer: Adam Cohn Copyright info: Attribution-NonCommercial-NoDerivs 2.0 Generic (CC BY-NC-ND 2.0); https://creativecommons.org/licenses/by-nc-nd/2.0/ Date Photo Taken: March 26, 2018 Location: Kotwali, Chattogram, Bangladesh Resolution info: 5184x3456 Source: https://www.flickr.com/photos/adamcohn/49027579967/ Notes: The painting style is significantly abstract; the primary painting is placed on the wooden back; the frame is designed with repeating patterns; the images of bird (probably penguin) and bar ice cream appearing on the circular frames on the top are significantly similar to the brand logo of Polar Ice Cream Bangladesh, although there's no writing that assures that these images promote or represent that company or its product Subjects: Rural, Village, House, Lettering, Bird, Human, Abstract Bibliographical Reference/s: N/A Previous Next

The work deals with Taj Mahal, Train, House, Development, Transportation, Religion. Photographed by Tom Learmonth. + - Entry no.: V1 CC18 1980s AC0 000 N 005 Title: Untitled Artist: Anonymous Year of creation: Unknown Photographer: Tom Learmonth Copyright info: Copyright Tom Learmonth 1981; https://www.tomlearmonth.com/ Date Photo Taken: 1985 Location: Dhaka, Bangladesh Resolution info: 3538x5270 Source: Learmonth, Tom. "Rickshaw Art in Bangladesh." Mimar: Architecture in Development 39 (1991): 76-79.; This photo is used in this archive with permission taken from the photographer Notes: Painted on a metal backboard and attached on the back of a rickshaw; Taj mahal drawn on heart-shaped frames on both side of the rickshaw Subjects: Taj Mahal, Train, House, Development, Transportation, Religion Bibliographical Reference/s: Learmonth, Tom. "Rickshaw Art in Bangladesh." Mimar: Architecture in Development 39 (1991): 76-79. Previous Next

The work deals with Film, Action, Gun, Love, Cleavage, Teeth, Jewelry, Man, Woman. Photographed by Tom Bradley. + - Entry no.: V1 CC9 2013 AC11 AC12 000 N 002 Title: Untitled Artist: Sajjad (Top); Nadim (Bottom) Year of creation: Unknown Photographer: Tom Bradley Copyright info: All Rights Reserved by Tom Bradley (http://www.tom-bradley.com/) Date Photo Taken: November 10, 2013 Location: Nilphamari, Rangpur, Bangladesh Resolution info: 640x640 Source: https://www.flickr.com/photos/tommy_boy_bradley/10778645436/ ; This photo is used in this archive with the photographer's permission Notes: Two different works by two different artist on the same rickshaw body; the bottom work is considerably faded than the upper one, pointing to the difference in the time of creation; name of rickshaw or cycle store is written on the top-right corner of the second painting; the second painting is probably inspired from an old Bangladeshi film, depicting celebrity film actors Shabana and Joshim Subjects: Film, Action, Gun, Love, Cleavage, Teeth, Jewelry, Man, Woman Bibliographical Reference/s: N/A Previous Next

Rongbaaz, undertaken at Britto Art Space, seeks collaboration among several contemporary Bangladeshi artists – Aminul Islam Ashik, Jewel A Rob, Lutfun Nahar, Mahbubur Rahman, Shimul Dutta, Shimul Saha, Tayeba Begum Lipi, Yasmin Jahan Nupur, Mohammad Hanif Pappu, and Tapan Das – from seemingly differ Rongbaaz , Rickshaw, Revival Mohammad Zaki Rezwan April 2020 It was in the early 2000s when Dhaka banned baby taxis from its streets to reduce air pollution. Dhakaites were then introduced to CNG-powered auto-vehicles for their urban commute. Those new vehicles were painted entirely green to maintain a sense of uniformity. This decision might have eased some of their environmental concerns, but what many did not discern at that moment was the extinction of baby taxi art. A few years later, indomitable flowers started blooming on the sides of these vehicles. Quite similarly to this unexpected emergence, bunches of flowers also started blooming on the walls of white cubes, be it as a parasite, host, or both. Rongbaaz , undertaken at Britto Art Space, seeks collaboration among several contemporary Bangladeshi artists – Aminul Islam Ashik, Jewel A Rob, Lutfun Nahar, Mahbubur Rahman, Shimul Dutta, Shimul Saha, Tayeba Begum Lipi, Yasmin Jahan Nupur, Mohammad Hanif Pappu, and Tapan Das – from seemingly different modes of art practices. Even though Britto Arts Trust has previously accommodated similar projects within their institutional framework, this one eventually turns out as more self-referential than the others. The first thing that can grab anyone’s attention is the mirror hanged on one of the columns upon which the white cube gallery stands. Framed by decorative materials typically seen on the hood of rickshaws, this mirror evinces how the project banks on the dominance of rickshaw and cinema banner painting in Bangladeshi public domain to turn this white cube into a public domain. Nevertheless, it could hardly recapitulate the entire cube in its reflection, let alone what exists beyond. Yet, the viewers can situate themselves against or within the institution in that restricted reflection and explore the apparent contention between the public domain and institutional domain in Bangladesh. The term rongbaaz is popularly referred to as someone who defies the law and order. How is this project ambitioning to become a space for the rongbaaz of the Bangladeshi art landscape? The venture correlates with Andrea Fraser’s idea of an institution of critique by acknowledging its inextricability from the institution followed by an examination of its function. Like graffiti, artists of this exhibition vandalized the facade of their institution even after being cognizant about the expunction of this makeover once the exhibition would be over. Not only do such temporal and spatial restrictions hint at the infrastructural limitation of local art and cultural institutions, but they also confess how even with lesser endorsement rickshaw art and cinema banner practice have thrived and been mobilizing the public sphere for nearly half a century. The collaboration envisions a new language in contemporary arts at the crossroads of different streams of artistic thoughts. The incorporation of the aesthetic language used by rickshaw or cinema banner artists into Leonardo da Vinci’s The Last Supper deliberately demonstrates disorientation, if not only defiance. The conjoining of the flamboyant color palette, the lotus platform, and the narcissistic figuration of the selves in the work initiates a process of de-westernization and self-criticism. For both art and human history, Vinci’s painting, as well as the moment captured within, marks a new era. The question is how and to what extent Rongbaaz is doing it. Often overgeneralized (and mistreated) as naive or primitive for being pastiche and vernacular, both rickshaw art and cinema banner painting practices require a thorough investigation, both artistically and academically. The reenactment of some of the epochs of Western art, culture, and civilization—for example, Vinci’s artistic reawakening and Sam Shaw’s iconic sexualization of Marilyn Monroe—tests the expandability and adaptability of these practices without maiming their core values. The visual retracing of pop icons from both east and west reminisces the postmodern movement of Andy Warhol that once incepted the critical potential of pastiche. Besides, dramatic moments taken from Bangla films manifest how affective experiences can traverse different aesthetic domains, for example, film and painting. Shelved within reach and encompassed by the utilitarian philosophy of rickshaw and cinema banner painting, the painted pots and pans remind how these practices are going through material and consumerist evolution due to the inimical economy. All these cohesively fractured images eventually contemplate the frontiers stationed in between high and low, pastiche and original, institutionalized and noninstitutionalized. As emphasized repeatedly, the true success of Rongbaaz lies in the fact that it intentionally fails to challenge the trajectory of these so-called naive art practices, instead reflecting on the self at large. Exhibition link: http://brittoartstrust.org/2020/02/02/rongbaaz/ Originally published in: https://www.showcase.com.bd/2020/04/20/rongbaaz-rickshaw-revival/ Go back

The work deals with Taj Mahal, Religion, Lotus, Bird, Sky. Photographed by Kevin Bubriski. + - Entry no.: V1 CC23 1994 AC0 000 Y 021 Title: Untitled Artist: Anonymous Year of creation: Unknown Photographer: Kevin Bubriski Copyright info: All rights reserved by Aramco Americas Date Photo Taken: 1994 Location: Dhaka, Bangladesh Resolution info: 3072x2048 Source: AramcoWorld Notes: Used as the cover of seatback upholstery Subjects: Taj Mahal, Religion, Lotus, Bird, Sky Bibliographical Reference/s: Kirkpatrick, Joanna and Kevin Bubriski. “Transports of Delight: Ricksha Art Of Bangladesh.” Aramco World 45, no. 1 (1994): 32-35. Previous Next