On the Bangladeshi art scene
He convinced his artists that there was no alternative to painting. When artists gave up painting after their bachelor's or master's it was always a painful event for Tajuddin. He himself has seen many exhibits in places such as France, Netherlands (where he had a solo in the mid -'90s, and group exhibitions), Islamabad (where he had three group shows, including one on the recent earthquake, along with Kuhu, Jamal Ahmed, Iftikharuddin Ahmed and Mushtaque Ahmed).
Most of his exhibitions have so far received rave review by foreign critics, and have been lapped up by buyers. He often donates the sale proceeds of his earnings to social welfare. He even exhibited in Pretoria, South Africa, on Bangladesh's National Day, fairly recently. Tajuddin's most recent feather in his cap is the Honourable Mention Award from Saju Art Gallery in 2000.
For all latest news, follow The Daily Star's Google News channel. Dwelling on the present art scene, Tajuddin said the he was confident that Bangladeshis can progress further, and win accolades for our country. Even if one compares our success with the rest of the subcontinental countries, we have not lagged behind, he says. He agrees with The Daily Star that in Bangladesh we had a western outlook from the outset, and even though India and Pakistan are bigger countries, they have their own problems and hang-ups. Tajuddin goes on to say that he has travelled widely and compared Bangladesh with USA, Europe, and the subcontinent.
Comparing Bangladeshi artwork with those found in the West, Tajuddin says, "The modern art work in the West has had a strong impact since the days of Zainul Abedin, and even earlier. Artists, galleries, and art lovers have increased by leaps and bounds. We have, undoubtedly, seen rapid progress since '71. We could finance a group exhibition overseas, such as the Bengal Gallery's recent workshop, arranged in Venice in 2000. If you ask for my opinion about the Asian Biennials, organised by the Shilpakala Academy, Dhaka: they too are remarkable, except for the unavoidable glitches and the ensuing gossip in Dhaka, sometimes. There will always be jealousies and cliques of artists, from time to time. How much more discreet can the International Jury Board be?
"Admittedly all the works that are adjudged and displayed are not necessarily the best in the individual countries. There are unavoidable natural reasons for this. There is need for further improvement in our Biennials. The comparative biennials overseas have a better collection, but naturally. The exchange of ideas and opinions at our gatherings is less, in comparison. Yet, this too can be ascertained and excused to a point. There should be workshops and the final selections could be more selective and redoubtable. The budget, for the exhibition, as you put it, is tight. Under the circumstances, Bangladesh could see 'nothing fairer', as you say. There should not be usual protests and grumbling among our local artists about the awards, that ensues so often."