Aishwarya Raihan

Bengal Shilpalay inaugurated “Shotoborshe Sultan” yesterday, a solo photography exhibition by Nasir Ali Mamun, held as a tribute to legendary Bangladeshi artist SM Sultan on his birth centenary.

Bhumi Gallery in Lalmatia is currently hosting a five-day group art exhibition titled “Aranyarekha”, featuring 12 Bangladeshi artists. The artworks stem from a workshop visit to the Sundarbans. The inauguration ceremony was graced by distinguished personalities, including artist Prof Mohammad Eunus as chief guest and Prof Dr Md Anwarul Islam, Chief Executive of WildTeam Conservation Biology Center. Bird specialist Inam Al Haque presided over the event.

Since the Stone Age, stones have been the bearer of culture and the earliest civilisations. Over time, aside from making weapons, humans began to incorporate stones into building shelters. Later on, they became the first medium for written language through the art of carving, and even today, despite being replaced by papyrus and the printing press, this form of art lives on.

An entire year has passed since the blood-red chapter of July 2024; a trauma we never anticipated facing in an independent country. The survivors of the Liberation War of 1971 are still wounded by the atrocities of Pakistani rule, and yet they witness their countrymen, their children, having their blood spilled. Just as our generation saw the monstrosities of 1971 through visual documentation, the generations after us must also know what we fought for in 2024. With that in mind, several photographers came to the front lines. One such person is Jibon Ahmed, whose solo exhibition “Witness to the Uprising” captures the spirit and sacrifice of those days.

Bhumi Gallery in Lalmatia has opened its latest exhibition, “The Trendsetters”, showcasing 70 remarkable artworks by 10 skilled male artists. The participating artists are Anukul Chandra Majumder, Azmeer Hossain, Kamal Uddin, Sadek Ahmed, Kazi Sahid, Shohag Parvez, Abdullah Al Bashir, Kamruzzoha, Shahanoor Mamun, and Sourav Chowdhury.

A pink poster had been circulating my social media newsfeed, and it turned out to be an art exhibition, so I decided to pay a visit. On the first afternoon of August, Safiuddin Shilpalay hence inaugurated the first solo exhibition, “Abanto”, by Mayesha Islam Abanti. She is a distinguished young lady who is currently enrolled at the University of Birmingham, UK.

The last week of July brought an artistic distraction in the wake of a national tragedy. Seeking a brief moment of emotional respite, I visited Safiuddin Shilpalay on July 26, 2025, as it inaugurated “Carving the Self: Id | Ego | Superego”—the first solo art exhibition of emerging artist Abu Al Naeem. The ceremony was attended by noted professors from the Faculty of Fine Art, University of Dhaka, including Prof Syed Abul Barq Alvi, Prof Dr Azharul Islam Sheikh, Prof Anisuzzaman Anis, and Associate Prof Md Nazir Hossain Khan. Artist and founder of Safiuddin Shilpalay, Ahmed Nazir, was also present.

Almost eight years ago, my eyes encountered a mystical green painting that looked like a fluid fairy forest. That piece, along with several others, shared a similar sense of fluidity. They belonged to a senior from both my school and university. Since then, this style of artwork, known as fluid acrylic art, has become one of my obsessions, making me dive into its world. When I thus came across artist Farida Yesmin Parveen's art exhibition event on social media, I realised that she's someone I must meet.

I have always seen an invisible halo, or perhaps a crown, atop my mother and her three sisters, especially since I was raised by a full‑time working single woman, as though they were goddesses reborn as women. These women—unstoppable, hyperactive, free‑spirited, self‑reliant, and compassionate—are my universe.

Bhumi Gallery in Lalmatia unveiled Mahmudur Rahman Dipon’s third solo visual art exhibition, “The Moments”, on a cloudy summer evening, July 4, 2025. The inauguration welcomed eminent artist and Professor Emeritus Rafiqun Nabi as the chief guest. Renowned Bangladeshi actress Jaya Ahsan graced the event as the special guest, bringing all her starlight. The event marked a celebration of Dipon’s evolving creative journey, featuring an array of compelling works across different media.

After a hectic day at work, I found myself rushing to Gallery Chitrak last Sunday evening to indulge in “Nandonpot”, a group art exhibition inaugurated on the day of the summer solstice (June 21). I could hardly control my excitement before entering the gallery, and like most of the time, I was not disappointed. “Nandonpot” is a visual group art exhibition displaying artworks by artists from various generations. Notably, Eminent artist Professor Hamiduzzaman Khan, art critic Moinuddin Khaled, and Country Chief Risk Officer Mohammad Enamul Haque of Standard Chartered Bank, attended the opening ceremony as guests.

Drik Gallery today wrapped up an exhibition on the emergence and evolution of child care facilities in Bangladesh through the photography of Md Rakibul Hasan. In collaboration with the International Labour Organization (ILO) and the Bangladesh Institute of Labour Studies (BILS), the exhibition “Keeping Childcare in Picture” intends to inform the masses and create awareness about the necessity and nature of child care facilities in our country. 

“O Death O Dance”, a solo visual art exhibition displaying artist Mobassir Alam Mazumder's compositions, is as mystical and beautiful as its name. During its inauguration on May 6 at the Bishwo Shahitto Kendro Art Gallery, veteran painter and Professor Emeritus Rafiqun Nabi graced the event as the chief guest. Artist and writer Professor Abul Mansur and art critic Syed Azizul Haque also attended the ceremony as speakers. Following the affectionate speeches from the guests, Prof Nabi declared the exhibition to be open for visitors.

Dwip Gallery in Lalmatia opened its doors to the second exhibition of its kind, “Miniscope 2”, on April 26. Flaunting creative gateways for diverse artists from both Bangladesh and India, it is currently hosting miniature and endearing artworks.

When I was merely three, my mother, being a history major and a sibling to freedom fighters, took it upon herself to ingrain the Liberation War and the birth of Bangladesh into my mind. As a result, I grew up learning about “Shangshaptak”, the legendary sculpture representing the spirit of our Liberation War, by the renowned sculptor Hamiduzzaman Khan. I felt like I had hit the jackpot when I got the opportunity to meet him and learn from him during my third semester of the Bachelor of Architecture (BArch) programme. Finally, 11 years later, I experienced an exhibition dedicated entirely to him.

The topographic beauty of Bangladesh owes a debt to its waterbodies. Being a delta embellished with rivers, natural canals, wetlands, lakes, swamps, ponds, and fountains that flow into the Bay of Bengal in the south, the beauty of our land knows no bounds. The spirit of water flows through the veins of Bangladeshi people and the survival of the entire nation revolves around the waterbodies. Thus, our way of life, livelihood, and pretty much everything is centred around water. These ever-familiar images of rural Bangladesh and its people are powerfully portrayed on artist Zannat Keya’s canvases.

Artist Al-Akhir Sarker’s solo art exhibition “Satoborsher Dhaka” — a visual journal of our beloved Dhaka city and its transformation over the past few centuries — is underway at Bhumi Art Gallery in association with Shilpangan. Inaugurated yesterday, the ceremony was attended by the trustee of the Liberation War Museum and writer Mofidul Haque as the chief guest, and prominent architect Mustapha Khalid Palash as the special guest. The exhibition is dedicated to Foyez Ahmed, a Bikrampur-born legendary journalist, who grew up in Dhaka. Ahmed held onto the memoir of the city and its changes while becoming a pioneer of art galleries in Dhaka himself.

Growing up, I have read plenty of fairy tales, imagining those storied multiverses vividly. The colours and textures I visualised and sensed while reading those tales existed only in my mind. That was until I entered Bhumi Art Gallery last Sunday — the venue where “Epic Journey of a Migratory Bird”, the second solo painting exhibition by Syed Golam Dastagir, is on display.

Enakkhi Saha Roy, Ishrat Parveen Leena, and Ranjana Sayeed — a trio of visual artists driven by their love and passion for visual arts — are practicing artists whose second group exhibition, titled “Bindu”, is being hosted at Bhumi Art Gallery in Lalmatia. The inauguration event of the art exhibition took place on December 20, where painter Professor Emeritus Rafiqun Nabi graced the event as the chief guest. The exhibition was underway after the inaugural event consisting of performances of musicians from various genres.

Most of the artworks currently adorning the walls of Gallery Chitrak were created between 2016 and 2024. The exhibition features 70 pieces, including acrylic, oil, and watercolour paintings, etchings, drawings, charcoal works, and some of his iconic graphic designs for BTV.