‘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
A City’s Story in Stitches and Strokes
Dhaka’s rapid urbanization is impossible to ignore. This city of relentless energy and transformation is a place where tradition and modernity collide amidst its bustling streets and ever-changing skyline. As the economic heart of Bangladesh, it draws thousands seeking better opportunities. But this comes at a cost: overcrowding, strained resources, and a growing disconnect between the old and the new. Against this backdrop, ShohorNama Dhaka Episode II sought to explore the city’s complexities through art. Launched in early 2024, the project brought together visual artists, architects, artisans, and students from the University of Dhaka’s Faculty of Fine Art to create a tapestry of urban narratives. And the exhibition of this project took place from February 15 to 25 at the level 4 under construction space of the capital’s Bengal Shilpalay. The exhibition was inaugurated by H.E. Marie Masdupuy, Ambassador of France to Bangladesh, on February 15, 2025. Titled after the project name, the multidisciplinary exhibition wove together the threads of urban life, resilience, and creativity. Presented by the Bengal Arts Programme in collaboration with the Britto Arts Trust, ShohorNama II was a visual love letter to Dhaka, its people, and their stories. From large appliqué tents to wood-cut prints, installations, and performance art, it was a celebration of Dhaka’s artistic topography. At its core, ShohorNama was about storytelling. One of the standout features is the Pakghor Project, a community kitchen born out of necessity during the devastating floods of 2024 in the Khulna region. Pakghor provided warm meals to 500 villagers for a week. But it became more than just a kitchen—it became a space for shared stories, resilience, and hope. The Dorjikhana Project takes a different approach, focusing on textiles and their cultural significance. Through appliqué and embroidery, artists explore the connection between traditional practices and the modern garment industry. The project also draws inspiration from Bangladesh’s fading circus traditions. Resulting in a stunning collection of textile art that speaks to both the past and the present. Another striking element of ShohorNama is its use of tents. Historically, tents have symbolized temporary shelter for nomadic communities, and in this exhibition, they represent the fluidity of migration—whether due to natural disasters, economic hardship, or political unrest. The Big Tent installation captured this impermanence, reflecting the challenges faced by marginalized communities. The exhibition also highlighted the collaborative spirit of the project. Workshops with the University of Dhaka’s Department of Printmaking and Department of Craft allowed students to contribute to large-scale works, such as woodcut prints and appliqué pieces. These workshops not only honed technical skills but also fostered a sense of shared purpose, blending individual creativity into a cohesive vision. The exhibition was a feast for the senses! As Dhaka continues to evolve, exhibitions like “ShohorNama Dhaka Episode II” remind us of the importance of preserving our stories and traditions. Through art, we can find common ground, build resilience, and imagine a better future.
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 woodcuts 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 tradition, showcasing his remarkable focus. 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 woodcuts. 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
