The revolution, led by the youth of our nation, has stamped itself in the history as a grim fragment. We emerged victorious and are on our way to build a new nation.
During the month-long revolution we saw artists painting the streets and social media, capturing the pivotal moments of the fight against autocracy.
Drik gallery along with Earki and Bangladesh Cartoonist Association, has recently brought together all the artwork made during the revolution into one exhibition. Named ‘Cartoon e Bidroho’, the exhibition includes 300 cartoons that reflect the spirit and gist of it all.
Entering into Drik’s gallery, one notices the red hue that resembles the rebellion. Rap music greets one into the aura of the exhibition, and as one goes through the artwork, one experiences the revolution itself. August, which was once black and for mourning, is now celebrated countrywide as victorious red.
The exhibition will remain open for all till the 23rd of August, 3pm – 8pm, at the photo gallery (8th floor).
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
A significant milestone in shaping Bangladesh’s future was marked today with the official launch of Next50: Collective Futures at BRAC University’s Multipurpose Hall. This landmark publication—the largest edited volume on Bangladesh’s built environment—brings together 81 authors, including many from the Bangladeshi diaspora, to explore the nation’s next five decades of progress, innovation, and connectivity. Spanning 49 chapters across nine major themes, the book examines urban and rural transformation, infrastructure, climate resilience, housing, governance, and technological innovation. Written in accessible language for policymakers, practitioners, and the general public, it bridges cutting-edge research with real-world impact, making complex ideas actionable for those shaping the nation’s future. The event was attended by some of Bangladesh’s most prominent architects, planners, and urbanists from both academia and professional practice. Distinguished guests included Dr. Syed Ferhat Anwar, Vice-Chancellor of BRAC University, and Mohammad Azaz, Administrator of Dhaka North City Corporation, who underscored the urgency of visionary thinking in driving sustainable and inclusive development. The program featured a compelling book introduction by Professor Fuad H. Mallick, Editor-in-Chief of Next50 and Dean of the School of Architecture and Design at BRAC University, followed by an insightful review from Dr. Mohammed Zakiul Islam, Professor at BUET, who highlighted the book’s interdisciplinary approach and its relevance to Bangladesh’s rapidly evolving urban landscape. Adding to the discussions, key stakeholders, including representatives from Shah Cement, reflected on the private sector’s role in shaping the built environment. The event concluded with remarks from the book’s executive editors, Dr. Tanzil Shafique and Dr. Saimum Kabir, who emphasized the collaborative effort behind the publication and its potential to influence future policies and practices. Shah Cement also expressed interest in future collaborations. Beyond the discussions, the launch served as a key networking platform for scholars, policymakers, and industry leaders, fostering dialogue and collaboration on the country’s long-term development. Attendees engaged in meaningful conversations over Iftar and dinner, reinforcing the event’s role in strengthening professional and intellectual ties. Organized by Open Studio and Context BD, with support from Shah Cement, the event also reached a wider audience through a live stream, ensuring broader engagement with the book’s mission.
A video shows Mr. Rahman in the hall with his exhibits, elaborating on his interpretations as remnants of his journey. “The exhibits are a reflection of my journey with art at different times,” he said, as the camera moved to show the hanging base of a traditional riverine boat. Wakilur Rahman has been working with social issues through his artwork since the 80s. He has recently hosted an exhibition by the name “Monon Khonon” at Bengal Shilpalay. It visualized through installments, the cultural aspects that portray the life in the delta regions. The acclaimed artist often ponders over the contour of our thoughts, imaginations, and emotions, and digs into this diversity in people from different regions. Going through the artwork in the exhibition one noticed a dark theme over three earthly elements: A fragment of the exhibition focused on wet mud and imprints on wet mud. The artist believes that mud is instilled in our physical molding and is a crucial part of life. Upon entrance one is greeted by the bottom half of a boat which depicts the enthusiasm of the artist as “Tori” is widely used in Bengali culture and its music. The final material in use is language which is represented by 3 dimensional prints and represents communication.
Total views : 18294
