Wire report
‘The first time I felt art in my nose’: why a critic missed the point when he called my exhibition meaningless
Projects like London’s Backyard Biennial East are collective endeavours aiming to reach people who feel excluded by art galleries In 2018, on the outside wall surrounding the entrance of the National Theatre of Bangladesh, I first encountered a work by the artist Reetu Sattar . A group of musicians were perched on construction scaffolding, all dressed in white and playing a single note on the harmonium – an instrument used in Bengali classical music. Together, they produced a low hum that seemed to vibrate through everything around me. The work was called Lost Tune. I came across the work at a time when I desperately wanted to learn a musical instrument, but music was not allowed in my house. A growing sentiment in many Bangladeshi Muslim households held that music was prohibited in Islam, despite our long histories of musical traditions. It felt as though everything we knew of the past
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Projects like London’s Backyard Biennial East are collective endeavours aiming to reach people who feel excluded by art galleries In 2018, on the outside wall surrounding the entrance of the National Theatre of Bangladesh, I first encountered a work by the artist Reetu Sattar . A group of musicians were perched on construction scaffolding, all dressed in white and playing a single note on the harmonium – an instrument used in Bengali classical music. Together, they produced a low hum that seemed to vibrate through everything around me. The work was called Lost Tune. I came across the work at a time when I desperately wanted to learn a musical instrument, but music was not allowed in my house. A growing sentiment in many Bangladeshi Muslim households held that music was prohibited in Islam, despite our long histories of musical traditions. It felt as though everything we knew of the past
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What happened
According to The Guardian’s linked report, ‘The first time I felt art in my nose’: why a critic missed the point when he called my exhibition meaningless, Projects like London’s Backyard Biennial East are collective endeavours aiming to reach people who feel excluded by art galleries In 2018, on the outside wall surrounding the entrance of the National Theatre of Bangladesh, I first encountered a work by the artist Reetu Sattar . A group of musicians were perched on construction scaffolding, all dressed in white and playing a single note on the harmonium – an instrument used in Bengali classical music. Together, they produced a low hum that seemed to vibrate through everything around me. The work was called Lost Tune. I came across the work at a time when I desperately wanted to learn a musical instrument, but music was not allowed in my house. A growing sentiment in many Bangladeshi Muslim households held that music was prohibited in Islam, despite our long histories of musical traditions. It felt as though everything we knew of the past
Context
The development sits in VINI’s Culture coverage for readers following arts, entertainment, fashion, film, music, celebrity, and the business of culture. The original report is linked so readers can check the source account, follow later updates, and compare new coverage against the first published record. The linked report is dated 2026-08-06T12:00:47+00:00.
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Source
Primary source: ‘The first time I felt art in my nose’: why a critic missed the point when he called my exhibition meaningless via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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- ‘The first time I felt art in my nose’: why a critic missed the point when he called my exhibition meaninglessThe Guardian - 2026-08-06T12:00:47+00:00
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