Ceramic Expo Bangladesh 2025 Opens in Dhaka, Showcasing National Industry to Global Markets
A four-day international exhibition has commenced in Dhaka to present Bangladesh’s ceramic industry to local, global buyers and investors. Organized by the Bangladesh Ceramic Manufacturers and Exporters Association (BCMEA), Ceramic Expo Bangladesh 2025, one of Asia’s largest and most influential international ceramic trade exhibitions, is being held at the International Convention City Bashundhara (ICCB). This fourth edition of the expo is set to host 135 companies and 300 global brands from 25 countries, including host Bangladesh, while more than 500 international delegates and buyers are scheduled to participate, underscoring the increasing global focus on Bangladesh’s rapidly expanding ceramic sector. BCMEA confirmed that the exhibition will feature three technical seminars, a job fair, extensive B2B and B2C meetings, live product demonstrations, spot-order opportunities, raffle draws, attractive giveaways, and the launch of new ceramic technologies and products. The exhibition is open to visitors free of charge from 10:00 AM to 6:00 PM daily and is expected to attract buyers, suppliers, and stakeholders from across the sector. Speaking at the opening ceremony, Commerce Adviser Sheikh Bashir Uddin said the industry, once fully dependent on imports, has now secured a strong position in global markets. He stressed the need for advanced technology adoption and uninterrupted energy supply to maintain production efficiency. The adviser added that the Interim Government will provide all necessary policy and regulatory support to accelerate the industry’s expansion. Following the inauguration, the adviser and distinguished guests visited various pavilions and stalls, where they praised the innovations and product displays. The commerce adviser expressed confidence that the sector will become increasingly export-driven. The event was presided over by BCMEA President Moinul Islam. Other speakers included Export Promotion Bureau Vice-Chairman Mohammad Hasan Arif, Italian Ambassador to Bangladesh Antonio Alessandro, BCMEA Senior Vice-Presidents Md Mamunur Rashid and Abdul Hakim Sumon, and BCMEA General Secretary Irfan Uddin. BCMEA President Moinul Islam noted that the ceramic industry has experienced rapid growth over the past decade. More than 70 factories producing tableware, tiles, and sanitary ware are currently in operation, serving a domestic market valued at Tk 8,000 crore annually. Over the last ten years, both production and investment have increased by nearly 150 percent. He added that Bangladesh now exports ceramic products to more than 50 countries, earning nearly Tk 500 crore in annual export revenue. Total industry investment exceeds Tk 18,000 crore, with the sector providing direct and indirect employment to approximately 500,000 workers. He further highlighted that major ceramic-producing nations, including China and India, are increasingly exploring investment opportunities in Bangladesh due to its competitive cost advantages and expanding global footprint. Fair Committee Chairman and BCMEA Secretary-General Irfan Uddin said Bangladeshi ceramic products are gaining international recognition for their quality, durability, and modern design. Demand is rising, and new global markets are opening for local manufacturers. He added that the expo will spotlight next-generation ceramic technologies, including automation, advanced digital printing, robotic handling, and upgraded production lines. “Smart tiles and sensor-integrated ceramic products, which are already popular worldwide, are expected to enter the domestic market soon. This expo will help local manufacturers connect with these emerging technologies,” he said. The event is supported by key industry partners. Sheltech Ceramics is serving as the Principal Sponsor, while DBL Ceramics, Akij Ceramics, and Meghna Ceramics are Platinum Sponsors. Gold Sponsors include Mir Ceramics, Abul Khayer Ceramics, HLT DLT, and SACMI, reflecting broad industry backing for the international expo. Written by: Mizanur Rahman Jewel
Body and the Map: Of wounds and Hope
Beautifully curated by Sharmillie Rahman, the exhibition “Body and the Map” took place on Bengal Shilpalay between 15 and 28 December, 2024. By engaging viewers to contemplate the interaction of power, identity, and transition, “Body and the Map” was more than just another decent exhibition that had the July-August uprising as its subject matter; the exhibition not only acted as a stark reminder about what must not be forgotten but also intrigued the audiences to introspect. Consisting of the artworks of ten multidisciplinary artists, many of whom were active participants in the mass uprising that overthrew a long-standing regime, “Body and the Map” was a riveting look at societal upheaval in the aftermath of that student-led mass rebellion. The show, based on the collective memory of Bangladesh’s last July-August, is both a reflection and a debate about the force of resistance, the weight of trauma, and the possibility of change. Their work delves into the complicated reality of a country dealing with its old and fresh scars and the tiers of collective psychological state of the mass after the newfound independence. The participating artists were A. Asan, Afsana Sharmin, Ashang Mong, Farzana Ahmed, Mong Mong Shay, Niazuddin Ahmmed, Palash Bhattacharjee, Rasel Rana, Razib Datta, and Ripon Saha. The July-August uprising was characterised by an unprecedented feeling of urgency, as residents defied persecution to demand justice, equality, and dignity. However, the road to liberation came at a high cost, with bodies mutilated, lives lost, and a collective psyche permanently transformed. The show explores this dichotomy, emphasising the body as both a personal and societal vessel for history, pain, and resilience. The artworks that were adorned by the gallery space delve deeply into the concept of the body as a source of memory and resistance. Whether through physical depictions or abstract interpretations, the ten artists highlighted how the human body bears the weight of institutional injustice and governmental violence. The visual narratives starkly remind us about biopolitical disposability, demonstrating how individuals became victims of normalised violence during the authoritarian system. The relationship between body and land appears as a repeating pattern, emphasising identities defined by culture, religion, race, and gender, all of which intersect within a nation’s sovereign borders. However, these links are loaded with tension, since the scars of authoritarian authority and systematic impunity are etched on both the body and map. In the aftermath of this historic movement, “Body and the Map” illustrated the dialectics of trauma and renewal, hopelessness and optimism. The exhibition stressed the importance of open discourse and the reframing of identity and government as centralised power disintegrates and something new emerges. Despite recollections of terror, violence, and loss, the artworks elicit a cautious hope. The collective body politic, though scarred, remains resilient, signalling a determination to redefine itself and the map it inhabits. Written by Shahbaz Nahian
Brishtite Roder Kona’ reminisces Kazi Abdul Baset
The ongoing exhibition titled ‘Brishtite Roder Kona’ at Bengal Shilpalay lets new audiences be introduced to the works of one of the finest artists from Bangladesh, Kazi Abdul Baset. In an age when electricity has reached even the most remote corners of Bangladesh and air conditioning is ubiquitous, the image of a woman cooling herself with a traditional handheld fan may appear to be a relic of the past. However, this simple act of seeking relief from the heat was immortalised in the works of Baset. While his works are rarely exhibited these days, the exhibition at Bengal Gallery in Dhanmondi has provided a unique opportunity to view a comprehensive collection of his work. The exhibition features 72 pieces in a variety of mediums, including acrylic, pastel, charcoal, watercolour, and ink drawings. The artworks are all from private collections and have been generously shared to introduce Baset’s genius to a new generation. Kazi Abdul Baset’s legacy is enormous but unappreciated. Baset, a humble and introverted guy, was recognised for his plain pyjama and grey panjabi outfit, as well as his rigorous guidance of his students. He received a Fulbright scholarship and studied in Chicago from 1963 to 1964. Baset’s work has a unique blend of figurative and abstract styles. Despite his modernist approach, Baset’s themes frequently revolved around the simplicity and beauty of rural life, capturing its essence with profound depth. His depictions of rural women and domestic life added a new dimension to modern Bangladeshi art, specially his paintings of woman with a fan becoming almost a trademark of his artistic identity. Baset had a close relationship with fellow artist Mohammad Kibria, another shining light in Bangladesh’s art history, and analogies between their works were frequently made. Their mutual influence and inspiration resulted in considerable artistic synergy, which shaped Bangladesh’s art scene in the 1960’s. Baset began his career as an art teacher at Nawabpur High School, where other notable figures such as Mohammad Kibria and Murtaza Bashir taught. Baset’s artistic development—from his early realistic images of rural life to his later experimentation with abstraction and return to realism—reflects a dynamic and diversified artistic journey. This show at Bengal Gallery is a fitting tribute to the brilliance of Kazi Abdul Baset, providing spectators with a unique opportunity to immerse themselves in the works of a master who caught the soul of Bangladesh with unsurpassed sensitivity. Presented by Bengal Arts Programme, the exhibition walls adorns the works of Baset which he produced between the 1960’s and 1990’s. All the works being showcased are collected from the personal collections of Abul Khair, Abul Hasnat-Nasimun Ara Haque, Matiur Rahman and Luva Nahid Choudhury. Open for all, the exhibition commenced on 8 November 2024 and will run till 11 January 2025. Written by Shahbaz Nahian
