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.
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
Kromosho Beyond ‘Belonging’
In the mid-2000s, a young- Munem Wasif began exploring the hidden corridors of Old Dhaka alongside his trusty, timeworn companion, Zenit—a mechanical relic from the Soviet era. This journey eventually culminated in his 2012 photographic masterpiece Belonging, a work that revolutionized visual storytelling in Bangladesh’s art scene. Much like the dark, ever-flowing waters of the Buriganga that have witnessed Dhaka’s transformation, Wasif’s artistic journey has traversed many phases—each urging audiences to look beyond the surface. From `Seeds Shall Set Us Free’ to `Collapse’, his work continuously invites deeper reflection, all while retaining an unbreakable bond with Old Dhaka. After nearly 16 years, Munem Wasif returns to Dhaka with a solo exhibition titled `Kromosho’, now on display at Bengal Shilpalay in the capital. The show, which runs until May 31, 2025, features contributions from curatorial advisor Tanzim Wahab, project assistant Iftekhar Hassan, and architectural designer Dehsar Works, and is open to everyone. Reflecting on his previous work, Wasif explained, “I felt something was lacking when Belonging was released. It merely touched upon the surface of the people and their celebrations—I couldn’t capture the core of their daily lives, the very ‘life’ of Puran Dhaka. That realization gave birth to Kheya’l. This exhibition is a testament to my transformation over the past two decades.” The opening at Bengal Shilpalay buzzed with energy as art enthusiasts gathered to witness what promises to be one of the most memorable exhibitions in recent memory. Kromosho unfolds in three movements: it begins with Wasif’s ethereal black-and-white photographs from the Belonging era, which converse with his fresh, vibrant color works from Stereo. This juxtaposition creates a dynamic tension between past and present, memory and reality. In Kheyal, a cinematic meditation captures the pulsing rhythm of Old Dhaka, while the installations Shamanno and Paper Negative blend documentation with imagination, challenging our perceptions of what is real versus what is remembered. Critically, Old Dhaka may seem like a ticking time bomb—overcrowded, decaying, and a bitter relic of collective neglect. Yet, Wasif’s work reveals the hidden vitality amid this chaos, unearthing a poetry rarely seen by the casual observer. Kromosho does more than display images of a place; it captures its very essence. The exhibition serves as a mirror, prompting us to consider what we preserve and what we forsake in our relentless march toward modernity. In an age of rapid urbanization and cultural amnesia, Wasif’s work stands as both an archive and an elegy—an enduring reminder that some stories transcend what can be captured by cameras or words. To fully appreciate its depth, one must experience it both in person and with an open, reflective heart. As visitors wander through the gallery, they are invited not only to observe but also to introspect. In this way, Kromosho transcends the role of a mere art exhibition—it becomes a conversation, a homecoming, and ultimately, a call to bear witness. Written by Shahbaz Nahian
