Institute of Architects Bangladesh Brings Pohela Boishakh to Life on Its Premises
The Institute of Architects Bangladesh (IAB) welcomed the Bengali New Year in vibrant style, hosting its first-ever Pohela Boishakh celebration on its premises. Titled “Esho Mati Notuner Ahobane”, the event was a colourful and cultural affair that reached beyond the architectural fraternity. Architects’ spouses, children, and extended family were warmly welcomed. The idea was simple: to celebrate the new year and the people who stand behind the scenes of every great architect. Festivities began at 3 PM, as the rhythmic beat of traditional dhol set the tone. Architect Asif M Ahsanul Haq, Convener of the Bengali New Year Celebration Committee, opened the event, inviting everyone into the heart of the celebration. With warm smiles and colorful attire, attendees embraced the spirit of community and enjoyed the laughter and tradition with their extended family. The IAB grounds were transformed into a festive fair, with interactive cultural corners drawing crowds throughout the day. Children gathered around clay artists and potters, their hands deep in clay, learning to mold traditional shapes. Nearby, shitol pati (cooling mat) weavers demonstrated their age-old techniques, encouraging young participants to try their hand at weaving. A painting zone was also set up, where children were free to create without the pressure of competition. Their artwork was later displayed, showcasing unfiltered creativity and color. Laughter echoed from the crowd gathered around the Putul Nach (puppet dance) and magic show, where entertainment delighted audiences of all ages and reminded everyone of the charm of folk performances. At the heart of the event was a bustling Meena Bazaar, alive with the flavors of tradition. Stalls served familiar favorites—muri, murki, naru, moya, samosa, beguni, lemonade, and kacha aam er shorbot—while architects and their families showcased their creative talents through stalls featuring homemade food, traditional sarees, books, paintings, and handmade crafts. It was a beautiful blend of personal passion and cultural pride. Major industry sponsors, including Berger Paints Bangladesh, Italiano Marble and Granite, Indigo Marble and Granite, Tilottoma Group, and Space Couture, added their own festive touch. Their vibrant booths offered free face art, portrait sketches, and a variety of Bengali snacks and refreshments, contributing to the lively spirit of the day. As the sun began to set, the stage came alive with folk songs and traditional dances performed by members of the architectural community. The soulful performance by Sadhu Songo, a renowned Lalon music troupe, captivated the audience with its spiritual melodies. The evening came to a heartfelt close with a collective rendition of “Esho He Boishakh,” followed by heartfelt closing remarks from Professor Dr. Abu Sayeed M Ahmed, President, and Professor Dr. Masudur Rashid, General Secretary of the Institute of Architects Bangladesh. The night concluded with a warm, memorable dinner under the open sky—an evening to remember. This landmark celebration was not just about welcoming a new year, it was about embracing shared roots, honouring cultural expression, and celebrating the bonds that make up the architectural community.
Dissonance Of Debris
From May 17th to 31st, the solo painting exhibition titled “Debris” by Kazi Salahuddin Ahmed adorned the walls of La Galerie, Alliance Française de Dhaka, Dhanmondi. The two-week-long, thought-provoking exhibition featured nearly 30 works on board paper, providing spectators with a glimpse into the artist’s most recent studies. Remembering is a kind of rebellion in Kazi Salahuddin Ahmed’s universe. His solo exhibition, “Debris,” was an uncompromising documentation of human vulnerability. The artist’s recollections of Bangladesh’s 1971 Liberation War seep into modern tragedies—Gaza’s annihilation, the Rohingya exodus, and Kashmir’s stifled cries. The paintings didn’t merely show ruins; they also resurrected spirits. Ahmed’s life had several eras of turmoil. Born within a world transformed by partition and war, his early work in the 1980s was abstract, but the twenty-first century tightened his emphasis. The song “Debris” captures this progression. Each piece is a palimpsest, with layers of pigment representing the strata of history, where erasure and evidence fight silently. Ahmed’s use of board paper as canvas makes a statement in and of itself. Board paper repels, as opposed to ordinary canvas, which absorbs, forcing the artist to handle surface tension. The resulting sculptures have a temporary quality, as if they would disintegrate like the makeshift shelters in Cox’s Bazar’s refugee camps. Though anchored in Bangladeshi stories, “Debris” speaks to a lexicon of global migration. The exhibition’s centerpiece, “Babel Fragment” (2024), depicts the mythological tower as a jagged silhouette against a sulfurous hue. Its shattered planes evoke both bombed-out Aleppo and the decaying tenements of Old Dhaka. Ahmed, who has flown from Paris to Islamabad, appears to imply that rubbish knows no boundaries. In “Eclipse of Return” (2024), a skeletal stairway rises into the emptiness, its steps fractured like vertebrae. Nearby, “Archive of Dust” displays a child’s sneaker half-buried in a thick texture that mimics charred dirt “The utter erasure of Gaza, which was once full of life; the ongoing miseries of people in Kashmir; or the hopelessness faced by displaced Rohingyas attempting to make a living in camps in Chattogram—all of this jostles the mind as one attempts to ponder the future of the human race. Furthermore, it is difficult to leave behind the legacy of Bangladesh’s repeated failures to shape a future. The people’s desire for political stability has always been a never-fulfilled dream in our country. The demise of the authoritarian dictatorship has undoubtedly allowed everyone to focus on a future beyond the current system, but it appears that things are still breaking apart, leaving us with only emotional rubble,” observed famous art critic Mustafa Zaman. The intimacy of “Debris” sets it apart from other forms of protest art. In “Letters Unsent,” bits of Urdu and Bangla letters emerge behind layers of gray, like voices muted by time. The piece is similar to Ahmed’s 2018 series on refugee diaries, but the language is virtually illegible—a metaphor for history’s selective memories. Written By Shahbaz Nahian
‘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
