ArtReview
Bharti Kher, ‘Intermediaries’, 2019–20 (installation view, Bangladesh Shilpakala Academy, Dhaka). Courtesy the artist; Nature Morte, New Delhi; Samdani Art Foundation, Dhaka; and Perrotin, Paris, New York, Hong Kong, Seoul, Tokyo and Shanghai
It’s been a long time since the biennial Dhaka Art Summit took place in February this year. In more ways than one. The fact that it was titled Seismic Movements, a play on the notion of the summit as being something geological as much as social and political (or ‘how the world is moving and how we move in the world’, as the summit’s chief curator, Diana Campbell Betancourt, put it in her introduction in the catalogue – a theme that seemed to be summed up by Bharti Kher’s