January 5, 2017: 6:30am-6:51pm
12 hours, 21 minutes
live performance + time-lapse + durational video work of the same length

Bangladesh was chosen for the fifth work in the series was chosen to contrast with Western ideas about sea-level rise and expose a different perspective. The Primary partnership with Britto Arts Trust of Dhaka, which was developed over 18 months. Despite significant warnings from the U.S. State Department about security threats, Sunde chose to follow through with plans and followed recommended protocol to stay out of the public eye.

Sunde and the incredible team from Britto coped with sickness, loss of equipment and other documentation challenges. This reinforced the importance of working with a local cinematographer and film crew.

There was lots of music: mandolin, khamak, drums, and the call to prayer, that added so much to the project. The “Human Clock” movement phrase was adapted into traditional Bengali form. Saint Martins Island is two miles from the Bangladesh / Myanmar border so there was a new resonance with the contemporary refugee crisis and seeing water as a means of survival. Many local stories were collected and are part of the 36.5 video archive.

36.5 / Bay of Bengal, Bangladesh

St. Martins Island, 5th iteration
by Sarah Cameron Sunde

with Britto Arts Trust and Bangladesh Environmental Network
Tayeba Lipi & Mahbub Rahman (curators)
Saiful Wadud Helal (cinematographer)
Reetu Sattar & Nasir Ahammed (producers)

Due to the political situation in Bangladesh, we chose to keep this iteration under the radar and did not seek out press. 


Following the screening at Britto, the 36.5 / Bay of Bengal durational video work (12 hours, 21 minute) has been exhibited together with 36.5 / North Sea (12 hours, 46 minutes) during Works on Water, an inaugural triennial at 3LD Art & Technology Center, New York City, June 2017 and at Yellowfish Durational Performance Art Festival in Seattle, Washington, 2018.