Tayeba Begum Lipi, Not For Me 2, Stainless Steel. Courtesy Shrine Empire
Tayeba Begum Lipi, Not For Me 2, Stainless Steel. Courtesy Shrine Empire

Stilettoes of steel

An interview with Dhaka-based artist Tayeba Begum Lipi.

Dilpreet Bhullar is a writer based in New Delhi. Her essays on visual ethnography, identity politics and partition studies have been published in books and journals, including Voices and Images, South Asian Popular Culture, Violent and Vulnerable Performances, Indian Journal of Human Development and digital archive Critical Collective. She is the associate editor of Visual Arts Journal, published by India Habitat Centre, New Delhi.

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Artist Tayeba Begum Lipi's works, at display in Delhi's Shrine Empire Gallery from 28 January to 2 March 2019, are razor sharp – quite literally. Formed from the scaffolding of steel blades and safety pins, they are arranged to resemble stilettoes, handbags, inner wear, dressing table, to name a few. The exhibition, titled 'Vanity Fair', aims to capture the pain and violence experienced by women in Bangladesh and beyond, by juxtaposing the violent threat of these objects, traditionally associated with the feminine, with the metallic gloss of consumer choice.

Born in Gaibandha, Bangladesh, in 1969, Tayeba Begum Lipi did her Master of Fine Arts in Drawing and Painting at the University of Dhaka. Over the years, her artistic interventions have tried to subvert narratives that deify women as self-sacrificing figures while keeping them at the fringes of history. An award-winning artist, Lipi's works have been exhibited all around the world, and she has curated several projects. She is also a co-founder of the Britto Arts Trust, a Dhaka-based artist-run collective that supports the country's artists through funding, exhibitions, dialogues and residencies.

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