Over 18 years, Chobi Mela has mirrored tectonic shifts in photography, moving from challenging Western gazes to embracing diverse, Global South perspectives. From early themes of fighting inequality to later focuses on autobiography and abstraction, the festival has evolved alongside technology—from darkrooms to smartphones—always maintaining a fierce commitment to the camera’s power.
ম্যাগনামের প্রখ্যাত আলোকচিত্রী সুজান ম্যাসাইলাস, যার নিকারাগুয়া বিপ্লবের কাজ ইতিহাসের এক অনবদ্য দলিল। কেবল সংবাদ দাতা নন, তিনি মানুষের সাথে গভীর সম্পর্ক গড়ে তোলেন, যা তার ‘রিফ্রেমিং হিস্ট্রি’ প্রকল্পে দৃশ্যমান। ছবি মেলা দশম আয়োজনে প্রদর্শিত তার কাজ নিয়ে এই লেখা, যা একজন আলোকচিত্রীর দায়বদ্ধতা ও যৌথতার গল্প বলে।
ছবিমেলার দশম অধিবেশনে শাহীন দিল রিয়াজের সাথে আলাপচারিতায় উঠে আসে তাঁর তথ্যচিত্র নির্মাণের দর্শন। ‘জীবন জলেবেলে’ ও ‘শিল্প শহর স্বপ্নলোক’-এ ব্যক্তিগত উপস্থিতি থাকলেও ‘লোহাখোর’-এ তিনি নেপথ্যে। দীর্ঘ প্রবাস জীবন তাঁর দৃষ্টিভঙ্গিতে এনেছে নতুন মাত্রা। ‘হাসান’ চরিত্রকে তিনি দেখেন বিশ্বজনীন প্রোটোটাইপ হিসেবে, আর নিজের চলচ্চিত্রকে মনে করেন সুখ-দুঃখের জীবন্ত পোর্ট্রেট।
Pushpamala N., originating from sculpture, uses photography and video to challenge conventional art forms. Through collaboration, she constructs new narratives informed by feminist perspectives and historical re-readings. Her work transcends gender roles, as seen in her portrayal of male characters, showcasing the depth and diversity of her artistic vision.
Curated by Zihan Karim, Chobi Mela X’s Fellows program explores the theme “Place” through a “parallel universe” concept. Located in an under-construction building, artists from diverse backgrounds—including painting, video, and sound—create site-specific experimental works investigating complex realities like capitalism, identity, and mental states.
Archivist Prashant Panjiar and editor Sanjeev Saith discuss “Kanu’s Gandhi,” chronicling the Mahatma’s final decade through his grandnephew’s lens. Saith highlights Kanu’s unique access, allowing for unconventional framing of Ashram life and political moments. The edit also brings Kasturba’s vital, supportive presence to the forefront of this historical narrative.
Chobi Mela IX introduces its first fellowship program, “Chobi Mela Fellows,” echoing the “Transition” theme and Bangladesh’s evolving art scene. This cross-disciplinary initiative invites ten artists from diverse fields to collaborate with curators, challenging photographic boundaries through experimentation. By merging photography with other mediums, the program aims to elevate photography’s status as an art form and contribute to the communal growth of Bangladeshi visual arts.
Nasir Ali Mamun, one of Chobi Mela IX’s featured artists, is interviewed by Nabil Rahman. He talks about working through rejection, and the importance of persistence and how it is necessary in creative work.
Curiosity drew me to Dhaka for Chobi Mela VIII, eager to explore Bangladesh’s surge in socially-engaged photography. Amidst the city’s chaotic vibrancy and political tension, the festival defied negative stereotypes. Rigorously global and non-Eurocentric, it saturated Dhaka with untold stories—celebrating photography in all its forms through powerful, diverse exhibitions.
Shirin Neshat’s work, like “Women of Allah,” reflects a personal journey of “homecoming” to post-revolution Iran, blending politics with artistic expression. Through powerful imagery—veils, guns, and calligraphy—she critiques both the Iranian regime and Western perceptions. Her video installations, such as “Turbulent,” explore gender divides, while her feature film “Women without Men” delves into themes of oppression and transcendence, embodying her complex relationship with her homeland.
Chobi Mela, the first festival of photography in Asia, is one of the most exciting ventures that Drik and Pathshala has initiated. The first Chobi Mela – International Festival of Photography was held in December 2000 – January 2001. It is the most demographically inclusive photo festival in the world and is held every two years in Dhaka.