Durjoy Rahman, a textile and garments businessman from Bangladesh, may appear to some as an unlikely connoisseur of avant-garde art. However, in reality, the two realms harmonize seamlessly in his world. His extensive experience in the fashion industry spanning over 25 years has not only honed his business acumen but also nurtured his deep-seated passion for creativity and aesthetics. This entrepreneurial journey has intertwined with his fervor for art collection, resulting in every facet of his being bearing the mark of artistic influence, whether evident in his collections, fashion sense, or social interactions.
From a young age, Durjoy had a fascination for thought-provoking objects, ranging from vintage cars and movie posters to artifacts and watches. These items have always captivated him for the stories they tell and the creativity they inspire. As he matured, this interest evolved into a more structured pursuit, especially as his travels exposed him to diverse forms of artistic expression, enriching his appreciation for creativity. His professional endeavors have taken him across the globe, where he has delved deeper into the world of art, recognizing each piece as a universe waiting to be explored, prompting reflection, inquiry, and awe at the boundless potential of human creativity.
Initially drawn to graphic design and pop art, Durjoy encountered the groundbreaking works of artists like Andy Warhol through these mediums. “One of his pieces, in particular, featuring Liz Taylor, really moved me and left a lasting impression. This work played a pivotal role in revolutionizing the pop art movement”, he shares. In the context of Bangladesh, he holds a special admiration for Rafiqun Nabi (Ranabi) and his iconic character ‘Tokai,’ a symbol of social critique that sparked important conversations. Over the years, Durjoy has amassed the largest collection of Nabi’s works, cherishing their significance and impact.
Looking back on his journey, Durjoy believes his venture into art collection began by chance rather than by a scheduled plan. “The first few pieces I collected prompted me to start visiting galleries to find things I liked. Then I began reading more about the artists whose works spoke to me. I collected pieces that were notable and told stories about their artistic journey. Most pieces were passion buys simply because I loved them. What started as a casual interest soon evolved into a lifelong pursuit fueled by a deep appreciation for creativity and expression.” With a collection exceeding 1500 artworks, Durjoy takes pride in the diverse array of pieces he has acquired, ranging from contemporary Bangladeshi master painters to renowned Western artists.
His art collection has now reached a point of consolidation, defining him as an art collector, although he prefers to be seen as an enthusiast rather than a mere collector. While his collection boasts a significant number of pieces, Durjoy emphasizes that its value lies not in quantity but in the enriching journey he has undertaken so far.
Throughout this journey, he has acquired and collected some of the most important works from various artists’ careers. Despite not having a full-time advisor, he has sought guidance from art consultants, historians, and gallerists, drawing insights from a diverse range of sources. Art advisors, in particular, have been invaluable allies, providing crucial support in navigating the art world. The collective wisdom and assistance from these sources have played an important role in shaping a collection that stands as one of the most formidable in South Asia.
The Journey of Art Collecting
One common question frequently posed to Durjoy Rahman is how he selects pieces for his collection. His approach is characterized by a lack of predetermined focus; he collects what resonates with him personally. This results in a diverse collection spanning artwork from various regions globally. Rahman’s choices are heavily influenced by delving into an artist’s journey and evolution, with a requirement that the art must strike a chord with his personal experiences, surroundings, or the society he engages with daily.
For instance, Rahman’s interest in Andy Warhol’s art of Liz Taylor was piqued when a clothing company wanted to feature it on a T-shirt, aligning with his work in the fashion industry. Additionally, his appreciation for comics from Tokai stems from their relatability to his life experiences. “When I was young, comics from Tokai were really important to me. They weren’t just fun to read; they also showed things about life that I understood. ‘Tokai’ said things I could deeply relate to,” he shares.
Rahman’s collection includes African art, with artists like Serge Clottey and William Kentridge offering insights that deeply resonate with him, drawing parallels to his own cultural background and experiences. “Clottey’s use of jerry cans evokes memories of Bangladeshi oil jars, while Kentridge’s portrayal of apartheid draws parallels with Bangladesh’s own struggle for independence in 1971”, Durjoy adds. Themes of displacement and migration, which captivate him personally, find eloquent expression in the works of artists like Kamruzzaman Shadhin, Mahbubur Rahman, Shilpa Gupta, and Rasheed Araeen.
Furthermore, Rahman’s collection extends to South Asian and broader Asian artworks, including pieces by artists like Rafiqun Nabi, Rashid Choudhury, and Murtaja Baseer. His time spent in North America has also influenced his collection, featuring works by Western modern masters such as Lucian Freud, Charles Pachter, and David Hockney.
Unlike collectors who view art purely as an investment, Rahman acquires art for the personal connection it evokes, finding joy and fulfillment in the process. “I resonate with Charles Saatchi, founder of the Saatchi Gallery, who famously said, ‘I don’t buy art for investment; if I did, I would buy premium bonds.’ While some of my collections have indeed appreciated significantly, I acquire art because it speaks to me on a different level.
Rahman’s collecting philosophy emphasizes the intrinsic value of art beyond financial considerations. While some of his collections have appreciated significantly, his primary motivation remains the profound connection he feels with the art. He sees himself not just as a collector but as a curator of ideas, aiming to spark conversations and bridge divides through the narratives woven by his diverse collection. Rahman’s approach to collecting and philanthropy is rooted in a desire to communicate messages through art, transcending cultural boundaries and ideologies.
Giving the passion a purpose
Throughout his journey, Durjoy Rahman has had the privilege of engaging with artists and creatives from diverse backgrounds and cultures. These interactions have enriched his perception of art as a universal language that transcends boundaries and ideologies, inspiring him to establish the Durjoy Bangladesh Foundation (DBF) in 2018.
South Asia, with its rich cultural heritage where art, music, and dance are integral facets of daily life, has historically faced limitations in artistic patronage due to the legacy of colonialism. Post-independence, the region has witnessed the growth of art institutes and the emergence of various art movements. As global connectivity increases, traditional art centers in Europe are embracing diversity, enhancing the global art landscape. Despite these advancements, South Asian artists still require substantial support to gain international recognition. “Patronage plays a crucial role in nurturing and sustaining the arts. Our region’s artists are exceptionally talented, and it’s my hope that individuals like myself can contribute to introducing them to a global audience.”
At DBF, a range of initiatives spanning Europe and Asia are dedicated to actively promoting arts and culture from South Asia. The foundation’s primary goal is to offer representation to these artists, acknowledge their contributions, and amplify their voices within the broader art dialogue. The establishment of DBF signifies a proactive effort to champion art and artists from South Asia and beyond within a critical, scholarly, and international cultural context.
The core mission of the Durjoy Bangladesh Foundation is to empower artists in creating and exhibiting new works, engaging with art practitioners through exhibitions, publications, commissions, and residencies on a global scale. By fostering connections between Asia, Europe, and beyond, the foundation aims to support artists and scholars who offer fresh perspectives on our world and its future. Through these endeavors, DBF shines a spotlight on Dhaka’s vibrant cultural landscape, elevating it onto the global platform.
DBF and the art of giving
In a region, where artistic talent often struggles to find recognition and support, initiatives like DBF play a vital role in nurturing the next generation of artistic talent. By providing artists with the resources, exposure, and mentorship they need to succeed, it is helping to build a more vibrant and inclusive art ecosystem for all.
Despite being relatively young compared to other esteemed art foundations, in just 5 years, DBF made significant strides in the art world. During this brief period, the foundation sponsored and supported numerous cultural projects, particularly focusing on art practitioners from the global south. Collaborations with prestigious organizations such as the Alserkal Arts Foundation in Dubai (UAE), The Photographer’s Gallery in London, Asia Society India Centre in Mumbai (India), SAVVY Contemporary in Berlin (Germany), and the Kochi Biennale Foundation in India, among many others have been instrumental in fostering cross-cultural exchange and critical discourse.
“We announced our initiative with our donation of Indian artist Mithu Sen’s powerful and nostalgic installation MOU (Museum of Unbelongings) to the Kunstmuseum Wolfsburg in Germany as part of their permanent collection. The installation marks one of the first times that a work by a South Asian artist who happens to be female is in the permanent collection of a European institution,” shares Durjoy Rahman.
The foundation supported the “Homelands: Art from Bangladesh, India and Pakistan” exhibition at Kettle’s Yard in Cambridge, UK in 2019, which included a critical symposium with scholars from renowned institutions like the Tate Modern and Courtauld Institute of Art.The event was very well attended, demonstrating strong appetite and curiosity to learn more about the artists and practices from South Asia.
To address the challenge of making a meaningful impact within the global art scene, DBF introduced the ‘Majhi Residency Program’, centered around a central theme or burning issue. This initiative has seen successful residencies in prominent art hubs such as Venice, Berlin, Eindhoven, and Paris, bringing together artists from diverse backgrounds to collaborate and interpret the central theme over a two-week period. The program has proven to be a transformative initiative for the DBF as the foundation is committed to its continuation for the next decade.
The pandemic Durjoy Rahman a new realization of how art activities can continue during critical or adverse times. “I gave an interview with media from the Far East (art market) at the beginning of the pandemic, without even knowing its full impact at that time. I urged support for frontline workers, unaware of the extent of the pandemic. Being a cultural foundation, DBF was probably the first organisation in Bangladesh to get involved with front line workers to equip them for better safety and serve people more confidently. We continued our International Art Residency in Berlin during Berlin Art Week 2020 despite pandemic and to maintain consistency of the continuation of our supported projects internationally”, he recollects.
In collaboration with the Gidree Bawlee Foundation of Arts, DBF launched an exclusive art project, titled ‘Bhumi’, to support rural creative communities during the pandemic. The project engaged 60 traditional families of craftsmen from Santal, Rajbongshi, weaver and other indigenous communities of the Thakurgaon district in Bangladesh.’Bhumi’ made its way to the Kochi-Muziris Biennale at the end of 2022.
When vaccines were introduced, Durjoy decided to create an alternative art space to exhibit art on a limited scale in a time when major public exhibition spaces were closed. “We created this creative space in a warehouse where I used to store my collections. My son asked, ‘What will happen to dad’s random stuff?’ I replied, ‘Those are not random. They are deliberate and hold meaning to me.” During the pandemic, we hosted events on small scales in the creative space.
DBF initiated the DBF-KMB Award in 2022—a multi-year exhibition and lecture program uniting the Hayward Gallery, the Durjoy Bangladesh Foundation, and the Kochi Biennale Foundation. The inaugural recipient of the award, Amol K Patil, debuted his first institutional solo exhibition in the United Kingdom at the Hayward Gallery’s HENI Project Space last year.
In 2023, the foundation supported an innovative performance project by the Britto Art Trust at Art Dubai 2023. The project, titled ‘Longorkhana’, explored the history of Bengal famine and its impact on society. The ‘Longorkhana’ project aimed to encourage public interactions and communal celebrations as powerful tools to explore the world, recall memories, and highlight the trauma of the past to modern-day viewers.
Recently, DBF collaborated with Uronto Artist Community, an artist led open community to host a multidisciplinary exhibition titled ‘Recollected/ স্মরণ. “Recollected” was a distinctive exhibition to showcase a range of multidisciplinary artworks inspired from the history, culture and the local contemporary narratives from two architectural heritages in Sunamganj district in Bangladesh, known as the Gourarang Jaminder palace and the Shukhair Jaminder palace.
Shaping the Cultural Landscape
Through the Durjoy Bangladesh Foundation (DBF), the approach is geared towards challenging negative perceptions not only about Bangladesh but also about South Asia as a whole. “This is why we don’t only focus our activities in Southeast Asia but globally, be it in Europe or America.
We want to enrich the minds of individuals, enhancing creativity, critical thinking, and fostering a sense of social responsibility towards art history and heritage.”
Contrary to the conventional perception of art foundations as purely charitable entities, DBF adopts a strategic collaboration mindset, providing essential resources to artists and art practitioners to enhance their development for future critical dialogues. Recognizing the negative portrayal of Bangladesh in the media, the foundation seeks to counter these narratives that perpetuate stereotypes, aiming to showcase a more nuanced and positive image of the country. By engaging in cultural diplomacy and highlighting sectors like healthcare, education, and the export of manpower, DBF endeavors to present Bangladesh as a beacon of development in South Asia, emphasizing its rich cultural heritage that is often overlooked, underutilized, or underappreciated.
In the ever-evolving landscape of the art world, the Durjoy Bangladesh Foundation (DBF) is driven by the belief that the future is now. The foundation’s mission is rooted in the ambition to effect change through art, spotlighting artists from global regions that have traditionally been marginalized in the international art arena. Embodying the ethos of transforming perspectives through artistic practice, DBF’s vibrant calendar of art events, exhibitions, residency programs, awards, and symposiums is designed to empower artists and inspire optimism for a brighter tomorrow, a vision that is within reach today.
