‘The Story of Art’ exhibition Of Art and Altruism
Organized by Dhaka Storytellers from February 8 to February 13, the lush gallery space Aloki Greenhouse in the capital’s Gulshan hosted an exhibition titled The Story of Art. The exhibition boasted a stunning collection of 80 to 90 artworks, captivating audiences for a week. Curated by Syeda Adiba Hussain, co-founder of Dhaka Storytellers, The Story of Art was more than just a display of artistic excellence. This was Dhaka Storytellers’ second art event, following the charity exhibition Art for Charity in August 2024. In the same vein, The Story of Art supported a larger cause, with a portion of the proceeds donated to five schools and one college in Sylhet, demonstrating the power of art to create tangible change beyond gallery walls. Beyond the beauty of its displays, the exhibition underscored the immense power of art to inspire and drive change. By merging artistic excellence with humanitarian efforts, it aimed to uplift communities, empower individuals, and support crucial social causes. Having been in the making for almost a year, the exhibition was carefully planned to bring together some of Bangladesh’s most celebrated artists. The lineup included some of the country’s most notable names, such as Rafiqun Nabi, Monirul Islam, Hamiduzzaman Khan, and Kanak Chanpa Chakma. Furthermore, the exhibition commendably featured artworks by several emerging artists, creating a dynamic collection that bridged generations of artistic expression. From simply beautiful paintings to thought-provoking sculptures, The Story of Art was also an opportunity for both seasoned and budding collectors to acquire unique pieces while contributing to a noble cause. The grand opening on Friday, February 7, set the tone for the week-long exhibition. The launch was attended by an invitation-only audience, including the participating artists, their families, media professionals, and notable guests. As the exhibition drew to a close, it left behind more than just a collection of breathtaking visuals; it also left an indelible impression on those who visited. The fusion of artistic expression with social commitment deeply moved attendees, inspiring them to consider the vast potential of art beyond aesthetics. The exhibition carried a narrative that extended far beyond the gallery walls, reinforcing the idea that art is not merely to be observed but to be experienced, felt, and acted upon. The event was about more than just admiring artworks—it was about creating a shared vision where artists, curators, and spectators all committed to a cause bigger than themselves. It demonstrated that art has the ability to transcend traditional boundaries, reaching into the hearts of individuals and communities, sparking conversations, and inspiring action. Ultimately, The Story of Art was a celebration of creativity’s ability to inspire, connect, and transform lives. The week-long show was a powerful testament to the transformative synergy between art and altruism. It showcased how art exhibitions, when intertwined with a greater purpose, can spark meaningful change. Written by Shahbaz Nahian
In Search of the Mangrove Goddess
Exploring the Sundarbans’ cryptic mangroves may be a weird, larger-than-life experience. When danger occurs in this wide wilderness, instinct frequently prompts one to seek spiritual protection. In such cases, the Sundarbans’ guardian spirit—Bon Bibi or Bono Bibi—is invoked. Bon Bibi is revered by the local forest dwellers as the divine guardian of the region’s treacherous environment. From April 4 to April 20, the Kalakendra gallery at the capital’s Lalmatia featured “In Quest of Bono-Bibi,” a mixed-media solo exhibition by artist Saidul Haque Juise. Juise, known for his precise craftsmanship, bright masks, and three-dimensional compositions, returned with a solo display following a long absence. Bon Bibi’s mythology is unique in that it combines both the Islamic and Hindu traditions, and it is commonly held that invoking her name in times of crisis promises divine assistance. The stories related to Bon Bibi are woven in a rich tapestry of mythology, which prodded Juise’s psyche when he was a child. Later in life, deeply touched by the Sundarbans’ environmental deterioration, he created this body of work as a lament and devotion to nature. This anthology, with its recurring themes of environmental concern and political overtones, combines lyrical extracts from folklore or shloks related to Bon Bibi with his own storytelling. The birth of these artworks dates back to the COVID pandemic. A time when despair loomed large. It was during this emotional upheaval that the artist Juise channeled his sorrow, frustration, and fear into a series of expressive sketches. Using vibrant shades of black, green, red, and blue— which are reminiscent of traditional Bangladeshi folk pottery— Juise stained his pages with raw emotion. Later, by combining various materials, such as twisted metal wires, paint, ink, handmade paper, newspaper pieces, etc., Juise enhanced the series even further. He was able to convey Bon Bibi’s holy force and the forest’s ethereal essence through these components. His line drawings smoothly blend with his pen and ink pieces to create complex collages that have a vibrant yet delicate vibe. In the meanwhile, the collection gains a tactile, even unearthly quality from his wire sculptures. The series gives viewers a deep feeling of Bon Bibi’s pervasive atmosphere. Along with his technical finesse, Juise added a unique Bengali flavor to the pieces. He skillfully combined the forms of people, animals, and insects to create flowing silhouettes that convey both motion and motionlessness. These shapes convey a duality: sadness that is subdued yet evident and fury that is controlled but strong. In doing so, Juise creates a collection of work that is both visually pleasing and profoundly significant by balancing artistic form with emotional weight. “In Quest of Bono-Bibi” stands much like an artistic diary that procures the artist’s personal reflections, cultural memory, and the urgent call for ecological reverence. It bridges folklore and modernity, spirituality and artistry—ultimately offering a visual testament of healing and harmony between humans and the natural world.
“Timber Tales” sparks a dialogue in wood and ink
The ongoing exhibition titled Timber Tales at La Galerie, Alliance Française de Dhaka, invites audiences to experience the collaborative journey of three emerging artists who explore memory, process, and material through the art of woodcut printmaking. Within the exhibition, a faint, earthy scent of wood and ink hangs in the air. Walking into the gallery, some might find themselves pausing longer than expected, tracing the grain of the wood, as if searching for their own stories between the lines. The exhibition features three artists—Rakib Alam Shanto, Shakil Mridha, and Abu Al Naeem—who express individuality through their woodcut prints. This contemplative exhibition is running from June 17 to June 25, 2025. Curated by the artists themselves, the exhibition reimagines the possibilities of woodcut as a medium. Here, the tactile intimacy of carved timber meets the visual language of reflection, nostalgia, and search. As you wander through the space, individual voices emerge. Shakil Mridha’s work, with its minimalistic yet profound geometric forms, feels like a contemporary ode to Bangladeshi folk art, skillfully abstracting familiar motifs. Rakib Alam Shanto’s large-scale black and white pieces command attention, a powerful revival of a classic tradition, showcasing his remarkable focus. And Abu Al Naeem’s pieces, often abstract, subtly reveal hidden figures, reflecting his continuous exploration of materials and techniques. Each artist, in their unique way, elevates woodcut beyond mere reproduction, transforming it into a medium of profound personal expression. And through that expression, each of their work reflects the heart of the creative process, where stories are carved into existence. At the heart of Timber Tales is a tribute to beginnings, to the mentor who shaped them, and to the space where it all began. Their acknowledgement of Professor Md. Anisuzzaman, whose generous guidance helped steer their vision, reveals the deeply collaborative ethos of the show. “This is where it all began—for the three of us,” reads a line from the exhibition note, underscoring the intimate bond between craft, community, and coming-of-age. In an era of digital immediacy, there’s something revolutionary about the deliberate slowness of woodcut. And the three artists have breathed new life into the ancient art of woodcut. More than just a technique, it’s a dialogue between human touch and natural materials. Each frame holds a deeper narrative of tireless dedication—the careful selection of wood, the precise cuts, the methodical inking, and the final, expectant press. Open to all and continuing until 25 June 2025, Timber Tales will leave visitors with more than just images on paper. In a city rushing to reinvent itself, the exhibition feels like a pause, a reminder of our roots with a sense of belonging—to the artists, to the materials, and to the timeless, meditative act of making. Written By Samira Ahsan
