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
‘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
Bangladesh Investment Summit 2025 A New Dawn for Economic Growth?
Bangladesh now stands at a critical crossroads. As the country prepares to transition from a least-developed nation (LDC) to a middle-income economy in 2026, it grapples with significant hurdles. Despite years of economic resilience, enduring issues—such as import dependency, skill shortages, stagnant private investment, and declining foreign direct investment (FDI)—continue to slow progress. In this challenging environment, the Bangladesh Investment Summit 2025 emerged as a pivotal event, unveiling initial investment proposals worth Tk 31 billion (3100 crore) and igniting cautious optimism among policymakers and investors. Convergence of Promise and Challenges Organized by the Bangladesh Investment Development Authority (BIDA), the four-day Dhaka summit, held from April 7 to April 10, 2025, brought together over 550 investors and business representatives from more than 50 countries. Inaugurated by Chief Advisor Dr. Muhammad Yunus, the summit sought to reimagine Bangladesh’s global investment identity even as it faced structural challenges. Ultimately, the success of these initiatives will hinge on whether early commitments evolve into sustained and tangible investments. For years, Bangladesh’s investment landscape has remained largely stagnant. Overall investments have hovered between 24–28 percent of GDP, with private investment stuck at 22–24 percent and FDI persistently below 1.0 percent. Recent declines in private investment in FY2023 and FY2024, along with a continuous drop in FDI since FY2018, have been attributed to bureaucratic hurdles, policy unpredictability, and macroeconomic instability—particularly in managing exchange rates. Yet, amid these challenges, the summit has sparked a renewed sense of hope. Global Multinationals Betting on Bangladesh Three major international companies announced expansion plans during the summit: Inditex (Spain): The retail giant behind Zara reaffirmed Bangladesh’s role as a key sourcing hub and hinted at increased procurement. Lafarge Holcim: The cement leader discussed plans to broaden operations and explore carbon capture initiatives. Handa Industries (China): The company committed $150 million to develop textile, dyeing, and garment units in designated economic zones. In addition, Dubai-based DP World expressed interest in investing in Chattogram’s new Mooring Container Terminal. Celebrating Local Champions Local enterprises also received significant recognition at the event. Four Bangladeshi firms were honored for their contributions: bKash (Excellence in Investment): The trailb lazing mobile financial services provider backed by IFC, Ant Group, and SoftBank. Fabric Lagbe (Innovation Award): A digital marketplace that empowers traditional weavers. Walton (ESG Award): A leading local electronics manufacturer exporting to over 40 countries. Square Pharmaceuticals (Investment Excellence): A company that has grown from modest beginnings in Pabna to a globally recognized pharmaceutical powerhouse. These success stories underscore that, despite systemic challenges, Bangladeshi enterprises can thrive on the international stage. Global Investors Show Confidence There is growing international faith in Bangladesh’s revised approach to investment. Foreign investors have commended the interim government for taking proactive measures to attract FDI—a marked departure from previous administrations. A delegation of 60 investors from the U.S., South Korea, China, Japan, India, Australia, and the Netherlands toured key hubs such as the Korean Export Processing Zone (KEPZ) in Chattogram and the Japani Export Processing Zone (JEPZ) in Narayanganj, exploring opportunities in textiles, IT, and manufacturing. KEPZ: A Model Investment Hub Operated by South Korea’s Youngone Corporation, KEPZ has become a shining example of Bangladesh’s readiness for FDI. Investors were impressed by its well-established infrastructure, efficient licensing procedures, and worker-friendly amenities—including a hospital, a textile institute, a 40MW solar project, and an effluent treatment plant. With $700 million already invested, KEPZ now hosts 48 factories and employs 30,000 workers, 75 percent of whom are women. Forging Sustainable Partnerships The summit also facilitated key agreements. Notably, BIDA, the Commerce Ministry, ILO, and UNDP issued a joint declaration to promote sustainable and inclusive growth through targeted trade reforms. Additionally, UK Trade Envoy Baroness Rosie Winterton highlighted long-term opportunities in healthcare and education, paving the way for enduring global partnerships. Navigating the Road Ahead: Can Bangladesh Overcome Its Investment Slump? Despite the summit’s positive momentum, Bangladesh’s investment climate continues to face obstacles: High bank interest rates that deter private borrowing. Policy inconsistencies under the interim government create uncertainty. Weak FDI performance compared to regional competitors like Vietnam and India. Analysts stress that without significant structural reforms—streamlining bureaucracy, ensuring policy stability, and stabilizing the macroeconomy—Bangladesh may struggle to sustain the anticipated investment surge. Execution is Key The Bangladesh Investment Summit 2025 has successfully rebranded the country as an emerging investment destination. With multinationals such as Inditex, Lafarge Holcim, and Handa Industries pledging expansion and local leaders like bKash and Walton proving their global competitiveness, there is considerable cause for optimism. However, the real challenge now lies in execution. Only if Bangladesh addresses its business environment hurdles, refines regulatory frameworks, and maintains macroeconomic stability can this new momentum herald a transformative economic chapter. For now, the world watches closely—will Bangladesh seize this moment, or will these early promises fade away? Only time will tell. Written by Sajibur Rahman
