Firoz Mahmud

He was an awarded guarantee from Asian cultural(ACC) in New York. Guggenheim Museum's UBS Global Art Initiative and Asia Society invited him for symposium 'Continuous Horizons: Contemporary Art for Asia, No Country: Contemporary Art for South and Southeast Asia Programs. In 2019, Firoz Mahmud has been nominated for France based COAL prize which was hosted and artworks screened at Centre Pompidou in Paris.

Art Asia Pacific magazine published an article `Garden of Historical Delights` on Firoz Mahmud`s solo exhibition held at Ota Fine Arts in Singapore. Hong Kong based Art, design and lifestyle magazine COBO magazine published on Firoz Mahmud`s exhibition titling `Firoz Mahmud: Delineating Colonialism of Bengal Presidency`, written by Selima Quader Chowdhury which published in January 2019. In 2013, Asia Society in Hong Kong invited him in a symposium 'Continuous Horizons: Contemporary Art for Asia, No Country: Contemporary Art for South and Southeast Asia Programs’ Co-organized by the Solomon R. Guggenheim Museum.

Among Mahmud's solo exhibitions include at Ota Fine Arts in Singapore ‘Drawing Reverberation’, Abinta Gallery of Fine Arts Dhaka `Reverberation`.

In 2017, the Soaked Dream photograph series was exhibited at Against Competition/Towards Mutual Aid in New York by ABC No RIO at Flux Factory. Among his recent projects on the refugee families and displaced people were exhibited at Bangkok Art Biennale in 2018 and Sharjah Art Foundation in UAE.

Mahmud was featured on Japan Times and DNP magazine written by Lucy Birmingham. He exhibited his solo exhibition "Loss of the Toss is Blessing of Their Disguise," on NinKi:Urgency of Proximate Drawing at Dhaka Art Center in 2013. The Daily Star featured on his ongoing (primarily anonymous) NinKi: Urgency of Proximate Drawing photograph when he had a solo exhibition at Dhaka Art Center.

He exhibited his stencil painting in his solo exhibition 'Lamentation in Two Lies' at the Ota Fine Arts in Tokyo in 2011. He exhibited solo exhibition 'NinKi: Legacies, Run over the Yamuna’ simultaneously with Nandan Ghiya at Exhibit 320 in New Delhi in 2015.

Firoz Mahmud exhibited large scale art projects or long spanned art series at the art biennale and triennial exhibitions he attended, including 1st Bangkok Art Biennale, 1st Lahore Biennial, Dhaka Art Summit , Sharjah Biennale, Cairo Biennale, Asian Biennale. Setouchi Triennale art festival, 1st Aichi Triennial (10), Echigo-Tsumari Art Triennial (06 & 09/DAP),. where is produced mostly community and people engaged artworks.

Mahmud exhibited Echigo-Tsumari Art Triennial 2006 in Nigata Japan (2.1) where he exhibited numerous wooden airplane in the city of Tokamachi. Mahmud is one of the finalist artists at The Sovereign Asian Art Prize in 2007 in Hong Kong. He was invited to exhibit at the 9th Sharjah Art Biennial in 2009 where he exhibited large sculptural installation, 'Halcyon Tarp' with Royal Bengal Tigers. In 2010 he created 26 feet long fighter aircraft sculptural installation 'Sucker'wfp21' to exhibit 1st Aichi Art Triennial at Aichi Arts Center, Aichi Prefectural Museum of Art in 2010. Mahmud was invited to an exhibition 'Step Across This Line'- Contemporary art from Bangladesh, India & Pakistan in Asia House London co-organized by Grosvenor Gallery and curated by Deeksha Nath.

Firoz Mahmud (ফিরোজ মাহমুদ) is a Bangladeshi visual artist. He was the first Bangladeshi fellow artist in research at Rijksakademie Van Beeldende Kunsten in Amsterdam. Mahmud's work has been exhibited at the following biennales including Sharjah Biennale, 1st Bangkok Art Biennale, entry athe Dhaka Art Summit, Setouchi Triennale (BDP), 1st Aichi Triennial, Congo Biennale, 1st Lahore Biennale, Cairo Biennale, Echigo-Tsumari Triennial, Asian Biennale.

He used to practice detailed drawings documenting all manner of things, human figures, animals that attracted him. In early 1990s he used to have his art studio in a dilapidated building of green groceries market around Dhaka New Market area where he made numerous drawings of workers, labors, vendors and slum-dwellers around the market. Most of the drawings he drew with pencil, pen and pastel on journals and sketchbooks which he also studied for paintings, some of which can be identified as preparatory to particular works such as `Evening twilight at Methor Potti (Poronto Bikel, 1997)` which he painted finally at Hajaribugh sweepers colony in Dhaka, `Cooking for worker`(1997) and`Bookbinders`(1994).