Day: November 15, 2025
Glimpses from 75-95
Titled “Phire Dekha/Re See,” the ongoing exhibition at the capital’s Kalakendra is comprised of the most heavyweight line-up of artists in a single group show in this gallery’s journey so far. Although a young gallery run by the veteran Wakilur Rahman, Kalakendra has already cemented its place as a hub for regular exhibition-goers of Dhaka, and its latest exhibition is another beautiful stroke in its canvas. Kazi Rakib, Deepa Haq, Dhali Al Mamoon, Dilara Begum Jolly, Nisar Hossain, and Shishir Bhattacharjee, Saidul Haque Juise, Fareha Zeba, Ratan Mojumdar, Habibur Rahman, Ruhul Amin Kajol, Lala Rukh Selim, Towfiqur Rahman, and Wakilur Rahman—if you are an enthusiast of the Bangladeshi art scene, you are at least familiar with a few of these names from this stellar list of Bangladeshi artists. These names, whether as a promising back-in-the-day or established artist, as a respected teacher for generations of art students, or as a curator, are all notable in their own ways in a detailed history of the Bangladeshi art scene. Growing up in a country where there is a mass tendency of collective amnesia towards the importance of archives and still no organized/proper practice of museum and gallery culture, if you have ever wondered what the art of some notable names looked like when they were at your and your Charukola friends’ age, “Phire Dekha” provides you a glimpse. The show gathers these fourteen artists, whose works once characterized the visual rhythm of postwar Bangladesh. The display, which runs from 1975 to 1995—an era marked by instability, transformation, and fragile hope—does not attempt to rebuild history but rather to reflect on it through the lens of art. Those two decades were more than just years on a timeline; they were a line of reckoning. Bangladesh, yet learning the lexicon of its freedom, was seeing seismic worldwide shifts—the demise of socialism, the growth of neoliberal dreams, and the gradual disintegration of collective idealism. These factors undoubtedly influenced how artists thought, created, and responded to their surroundings. The show makes no conclusive statements about that age; rather, it creates a contemplative space between history and present, memory and method, inviting visitors to rediscover what art previously possessed and what it continues to disclose. “Re See” is curated without the weight of theory or curatorial rigor, instead assembling pieces of real experience rather than a predefined theme. All of the participating artists were young art students in the years following the Liberation War. Some were members of collectives such as Dhaka Painters or the Somoy Group, while others forged their own paths of discovery. Their works together provide a mosaic of artistic and emotional progress, a portrait of a generation that used color, form, and gesture to express its times. The exhibition features paintings, sculptures, prints, sketches, and mixed-media pieces, the majority of which are from the artists’ personal archives. The mix of mediums—etchings, acrylics, watercolor, and assemblage—reflects the restless search for words that marked Bangladeshi art throughout those decades. “We seldom get to see the works that shaped our contemporary practice,” he observed. “Between 1970 and 1990, the political and cultural landscapes of our country changed dramatically, and those changes inevitably entered art. The young artists of that period absorbed both global and local influences, reinterpreting them through their own materials, symbols, and languages. Many have since matured into leading figures, guiding the next generations of creators,” said art historian and critic Professor Abul Mansur. These words capture the essence of “Re See”; it is not nostalgia but an act of rediscovery, an artistic archaeology of thought and feeling. The exhibition runs daily from 4 p.m. to 8 p.m. until November 15 at Kalakendra. Written by Shahbaz Nahian
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Machan and Floating Schools Win Prestigious Ammodo Architecture Award 2025
Two Projects from Bangladesh – Machan: Korail Community Platform in Dhaka by Paraa and the Floating Schools for Community Resilience by Shidhulai Swanirvar Sangstha in Pabna district, —have been named among the 26 global recipients of the 2025 Ammodo Architecture Award for their contributions to socially and ecologically responsible design. From the Ammodo, this year’s selection spans six regions: Africa, Asia, Europe, North & Central America, South America, and Southeast Asia & Oceania. The chosen projects address diverse urban and rural contexts, tackling issues such as housing, education, ecological restoration, and collective living. Awardees were selected by an international advisory committee consisting of six renowned architects and cultural professionals from around the globe: Joumana El Zein Khoury, Andrés Jaque, Anupama Kundoo, Floris Alkemade, Mariam Issoufou and Loreta Castro Reguera. Machan: Korail Community Platform, Dhaka The name – Machan, meaning ‘platform’ in Bangla, is Dhaka’s first community-driven permanent cultural and creative hub located in the Korail low-income settlement. It emerged from the “Korail: City of Culture” initiative, a sustainable urban development project led by architecture studio Paraa. Built collaboratively with Korail residents, youth groups, and community leaders, Machan transforms a former dumping ground into a vibrant cultural centre. The platform hosts a variety of social, cultural, and creative activities including: architectural design exhibitions, artwork displays, photography showcases, installation art, and performing arts. The platform collaborates with other organizations facilitating workshops on participatory planning, community mapping, and arts like indigo dyeing. The project establishes a much-needed, multifunctional open space that enables residents to gather, and participate in shared activities, effectively converting a former waste ground into a dynamic community hub. The project supports local cultural practitioners and connects their knowledge to global discussions on sustainability and the rights of marginalized communities. Floating Schools for Community Resilience by Shidhulai Swanirvar Sangstha, Pabna The “Floating Schools for Community Resilience” project by Shidhulai Swanirvar Sangstha primarily operates along the Gumani River in the Faridpur and Bhangura subdistricts of Pabna. The initiative brings schools to students in villages along the Gumani River, using a flexible fleet of boats for classrooms, health clinics, and training centers to ensure continuity of services during seasonal flooding. The floating schools lead consistent access to education. The initiative eliminates the need for students to travel to schools that may be inaccessible due to flooding, ensuring continued learning. The boats use solar energy to power onboard computers and other equipment, allowing for interactive learning. The boats can also be used as shelters during severe floods, ensuring continuous community support. Due to this initiative, over 22,500 students have graduated from the program so far, and it provides access to education for children who would otherwise have dropped out due to floods or economic hardship. The initiative ensures access to healthcare and training, even during crises, and has been replicated in other countries. The project has empowered women and girls through microloans and income-generating opportunities. The Ammodo Architecture Awards is an annual international prize presented to “advance socially and ecologically responsible architecture worldwide.” The Ammodo Architecture Awards was launched in 2024 by Stichting Ammodo, a Dutch foundation that supports art, science and architecture. The awards aim to “recognize and support architects and projects that address contemporary social and environmental challenges through innovative design and community engagement. Each recipient of Ammodo Architecture Award 2025 receives a grant to further develop their work. The complete list of 2025 awardees can be viewed on the Ammodo Architecture Award website. Written by Tasmiah Chowdhury photo courtesy: City Syntax, Shidhulai Swanirvar Sangstha
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