A museum curator’s response | asians art museum's …
The Asian Art Museum’s director, ..
After Jahangir’s departure, the institution of the Asian Art Biennale quickly regressed as its organizers no longer had direct control over spending of the government funds supporting it, and they lacked Jahangir’s international, passionate, and highly charismatic leadership, which had driven forward the legacy of the artistic networks built from the ground up. What is left is a model in which individual countries are allocated nearly equal space and send works they feel best represent the creativity of their countries, from the perspective of their official channels. Dhaka-based artist, and three-time Dhaka Art Summit guest curator Mohammed Muniruzzaman recently assumed the long-vacant post of director of visual arts at the Bangladesh Shilpakala Academy, and I look forward to seeing how the institution develops under his leadership.
Art museum essay | Sales Architects
In the fifth edition, the commissioner of the Japan section of the biennale, Raiji Kuroda, warned Jahangir that without curatorial care (by that time, most of the participating countries were leaving the selection of works to the organizing government officials and the hanging committee of the Bangladesh Shilpakala Academy, which was comprised of artists and art students), the platform would falter. The Fukuoka Asian Art Show was by then three editions old, and building curatorial expertise within a museum structure that was very different from that of the Bangladesh Shilpakala Academy. Jahangir took this feedback to heart but left shortly after the opening of the fifth Asian Art Biennale without having fully achieved his vision for the institution to resume his own artistic practice, twelve years later than he had intended.