Cartoon e Bidroho’- A bloodshot rebellion portrayed in art!!

For the Love ofLanguage Nation and Literature

With a new sun, new authorities emerge, revitalising familiar spaces. The 40th Ekushey Book Fair 2025, themed “July Mass Uprising: Building a New Bangladesh (New Bangladesh Deconstruction),” featured over 700 publishing houses at the premises of Bangla Academy and Suhrawardy Udyan. The month-long fair was inaugurated by Dr. Muhammad Yunus, the Chief Adviser of the interim government on 01 February.     The Amar Ekushey Book Fair, a fundamental element of Bangladesh’s literary heritage, returned this year with a striking and visually captivating transformation. Uniquely crafted stalls add an architectural charm that sets this year’s fair apart from the previous editions. Visitors are greeted with the richness of literature and an impressive array of architecturally designed stalls, each presenting a unique identity. The influence of the new government is evident in the fair’s structured setup, where each stall showcases unique aesthetics through bold shapes, intricate exteriors, and thematic designs.     When visiting this year’s Ekushey Book Fair, the crowd was astounding. People of all ages turned the fair into a true celebration. The entrance was bustling with various food vans, and women and children were all dressed up. The Book Fair has never been this festive and crowded in recent years, even on working days. Whether for recreation or out of love for books, the fair should continue in this spirit for eternity, celebrating Bangla language and literature. Readers and visitors took a moment to admire the aesthetics embraced by publishers who dedicated extra time and thought to beautifully decorate their pavilions.     One of the highlights of this year’s book fair is the pavilion by Iti Prokashon, titled ‘Ziar Bari’ (Zia’s House), named after Ziaur Rahman, a prominent army chief, freedom fighter and politician who served as the sixth President of Bangladesh from 1977 to 1981. A key figure in the country’s War of Independence, Zia’s name has often been sidelined in public discourse and textbooks due to the agendas of the previous autocratic regime. In contrast, Onnodhara Prokashon transformed its pavilion into a representation of the Bangladesh Parliament House. The sight of these two distinct symbols coexisting on the same ground truly captivated visitors. Afsar Brothers gave their pavilion a harmonious blend of heritage and functionality, making it an inviting space for book lovers while paying homage to Bengal’s rich architectural traditions. The structure follows a half-timbered design with exposed wooden beams and white infill panels, resembling classic Bengali rural or zamindari house styles. Other notable mentions include Bishwa Shahitto Kendro, which transformed its pavilion into a two-story BRTC bus structure, paying homage to its Moving Library. Bhashachitro Publications adopted a minimal, monochrome palette, giving the pavilion a simple yet elegant look. Bengal Books chose a wooden pavilion, creating a soothing atmosphere for buyers with its well-decorated books and thoughtful lighting. The Puthiniloy stall featured a book-structured roof, while Gronthik designed its stall to resemble a mud house with bamboo. Shaishab Prakash’s stall is shaped like a whimsical castle, inviting readers into a world of children’s literature. These creative designs add a unique visual and conceptual dimension to the fair, making it not just a place for purchasing books but also for cultural and artistic appreciation. The best pavilion design goes to Batighar, designed by artist Shahinur Rahman. The triangular front featured a stained-glass-like panel with motifs from Nakshi Kantha and Patachitra, reflecting Bengali folk art. Inside, a red dome element, inspired by a Chhoto Sona Mosque, highlighted local heritage. The steeply pitched roof with exposed red clay tiles resembled traditional Bangladeshi huts. For its artistic excellence, Batighar won the Kayum Chowdhury Memorial Award for best pavilion in this year. Sadly, the kids’ section lacked vibrancy, with limited space for children to explore and freely roam around. However, a few stalls, including Shoishob Prokash, Mayurpankhi, and EKRI MIKRI, did a decent job of capturing the attention of young visitors. Shoishob Prokash transformed its stall into a castle-like structure, Mayurpankhi adhered to its palette with subtle adjustments, and EKRI MIKRI added a creative touch by placing a horse for children to play on, making the stall an engaging and fun experience for the little ones. This year, the fair included 66 more stalls than the previous year. 99 publishers were located at the Bangla Academy premises and 609 at the Suhrawardy Udyan area. There were 37 pavilions in total, with one at the Bangla Academy premises and 36 at Suhrawardy Udyan. The Little Magazine Corner had been set up in Suhrawardy Udyan, with 130 stalls. In the children’s corner, 74 institutions had been allocated. The fair also featured daily seminars and cultural programmes in the evening, and a special “Children’s Hour” held every Friday and Saturday from 11am to 1pm. As part of the Amar Ekushey celebrations, various children’s competitions, including art, recitation, and music, were organised. The fair had four entrance points: TSC, Doyel Chattar, MRT station, and Engineering Institute. Director General of Bangla Academy Mohammad Azam and Member Secretary of the Fair Management Committee Sarkar Amin said to Ceramic Bangladesh that the fair was entirely polythene and smoking-free, with security provided by the Police, RAB, Ansar, and various intelligence personnel. All participating institutions sold books on a 25% commission basis. The academy published 43 new books and reprinted 41 books for this fair. A total of 3,300 new titles were published in this Book Fair 2025 and Bangla Academy stall alone sold books worth Tk 61 lakh. Several awards were presented at the fair, including the Chittaranjan Saha Memorial Award for the best publisher, the Munir Chowdhury Memorial Award for artistic excellence, and the Rokanuzzaman Khan Dadabhai Memorial Award for children’s literature. These awards recognise the contributions of publishers and authors to the literary and cultural landscape of Bangladesh. Written By Fariha Hossain

‘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

Through the eyes of artist Wakilur Rahman

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.