Jewel A Rob
Abdur Rob Jewel widely known as Jewel A Rob; is a practicing visual artist and independent curator based in Dhaka. He was born and brought up in Dhaka, Bangladesh. Jewel completed his M.F.A on Drawing and Painting from faculty of Fine Art, DU. As a medium of work Jewel experimenting with various options such as Drawing, Painting, Video, Image manipulation, Photography, Installation and performance art. While he uses a variety of materials and processes in each project, it depends on the methodology. Some of his projects occasionally consist of multiple works, in a range of different media, grouped around specific themes and meanings. With the philosophy of magic realism he mostly depicts personal experiences of life living process which contains socio-economical issues, political crisis, genocide and movements. Jewel exhibited his works in Bangladesh, Italy, India, Indonesia, Germany, Greece, Korea, Nepal, Taiwan and USA. He encountered various community based projects with Britto Arts Trust, Crack International Art camp, Imago Mundi, Bengal Foundation, Samdani Art Foundation and Chobimela 0. Jewel exhibited his Live Art in KIPAF16, HH Art space, NPAF17, Venice International Performance Art Week, EE, Asian Art Biennale, BPAW, Expedition Camp and also joined a research projects in Documenta-14 and Muenster Sculpture Project. His first curator in residency program was at ASSN, ACC at Gwangju, Korea in 2018. Recently Jewel got “Bengal Subir-Chowdhury curatorial grant” for his project Death Sentence which is based on Killing methods, techniques, artillery, warfare, war mechanism, history and correlation with art. He is the founder of bGac & CAN. Jewel is a member of Britto Arts Trust and also was the Co founder of Back Art.
Statement: My practice comprises visual and live actions, drawings, video installations and live art along with historical research, to help build narratives based on the collective experience of everyday living. The works come from a critical view of the socio-political and cultural issues from South Asian history and through the lens of political crisis, economic, socio-cultural, environmental and other issues inclusive of land and food politics, trans-boundary river and water crisis, genocide and civil rights movement, war & after effects. This involves an exploration of the idea of ‘normality’ – habits that often become ritualistic tendencies as we negotiate ‘diplomatically’ with ourselves – to find a balance between desires, fantasy and a demanding reality. I experiment with diverse processes and materiality that is contextualised within the framework of South Asian history and magical-realism. Every medium, object and my way of working is dependent on both the poetics and data collection from collected archives.
The history of the postcolonial religious conflict in Southeast Asia is tremendously crucial for the anthropological understanding. Before European colonial conquests, wars between people of the same religion in Southeast Asia were commonplace. Here, good religion thrives, and yet, tens of thousands of people have died in conflicts involving religion. Buddhists, Christians, and Muslims have all been, and are still involved in, major and minor disputes, conflicts, and killings for ostensibly religious reasons. Most of the time, Southeast Asian religious groups are not in conflict and live in mutual tolerance, interacting in public spaces, markets, work, and the like, though less so in private life. Nevertheless, a persistent unease exists between religions and ethnic groups, and conflicts do occur. There are also frequently clashes between Muslims and non-Muslims, though conflicts pitting Christians against Buddhists or animists also occur. Many Southeast Asians struggle with this fact and generally conclude that religious conflict comes from bad people misusing the common good of religion. They conclude that politics, ethnic tensions, resources, and other factors—not religion—are always to blame. The fresh violence now spilling into India is yet another reminder of the internal divisions that haunt South Asia more than seven decades after the region’s borders were drawn along religious lines. The partition of India in 1947 saw millions of Hindus flee to modern-day India and millions of Muslims to Pakistan and what is today known as Bangladesh. But countless others remained rooted as minorities in each country, enduring persecution and bouts of violence, which observers fear is becoming increasingly normalised.
In this project, I brought the images of recent conflicts of both Bangladesh and India. Where the both Hindu and Muslim community suffers in different land. In recent years internet became the powerful tools for propagates fake news and disinformation in both countries. Creating chaos by spreading rumour and hatred through social media, messages became very common now a days; which is really outrages and formidable.