মুক্তিযুদ্ধ - Fight for Freedom

Object data

Artist: Shams Pranto (shamspranto)
Title: মুক্তিযুদ্ধ - Fight for Freedom
Selection: place 15 · serial 993675 · Wave submission
Source alias: OUT-015 Submitted location/date: Dhaka, Bangladesh · 2020
Medium: collage photograph made in Photoshop
Submitted dimensions: 2800 × 4000 pixels · Nikon D7200, 50 mm
Media: Media and source record

Caption

Two women appear at separate teal train windows: one looks outward, while the other shields part of her face with an orange head covering.

Close looking

The train window divides each woman from the viewer and from the other passenger. One face meets the outside world; the other is partly hidden by patterned cloth and a lifted arm. Below them, a torn poster enters the frame; its provenance and relation to the Liberation War remain unresolved. The carriage is a vehicle, but the windows make each passenger a separate image.

Colour keeps the collage from becoming solemn: teal paint, orange cloth, and the muted surfaces of the train hold the frame in a precise balance. The women are visible and separated at once. Movement is possible inside the train’s public infrastructure: windows, tracks, and carriage walls place each figure in a shared vehicle with divided sightlines.

Artist’s account

Pranto’s submission names the work for the Bangladesh Liberation War and describes the window as a threshold between inside and outside, citizenship and freedom. The artist represents that written consent is available. The consent scope and poster source remain to be verified; no consent instrument is retained in the Museum record.

Curatorial interpretation

The 1971 war supplies historical context; the photograph stages a contemporary scene in which a torn poster carries an attributed memory of liberation. Its provenance and relation to the historical frame remain unresolved. Freedom is pictured through the split windows and the movement of the train, with collage joining memory to passage.

Context

The Liberation War Museum’s public history supports the title’s 1971 reference. That history is context for the work, not proof of its documentary scene. The collage sources, depicted-person permissions, and preferred public title form require confirmation.

Status and source note

Status: Selected; not yet minted or accessioned; not in the permanent Collection. Rights/source note: The written scholarship is within the current text-publication scope; exact-commit review, image display, accessibility, and image-specific consent remain pending under the current publication boundary. The submission contains a CC0 declaration and represents written consent for depicted people; consent scope, poster provenance, title spelling confirmation, and image-delivery scope remain to be verified. No consent instrument is retained in the Museum record. See the rights and source record and institutional record.

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