Faiza Ramim

The Faculty of Fine Arts at Dhaka University marked the 80th birth anniversary of Professor Matlub Ali on the evening of April 26 with an exhibition of his paintings, live musical performances, and a tribute discussion.

“If you are alone you belong entirely to yourself. If you are accompanied by even one companion you belong only half to yourself or even less in proportion.” This quote by Leonardo da Vinci, reiterated by Kamal Uddin, assistant professor at the Faculty of Fine Arts, University of Dhaka, was invoked in association with the philosophy of artistic independence, setting a fitting tone for Rajib Ahasen’s first solo exhibition, “Embrace of the Earth”.

The programme affirmed the region’s secular, inclusive character, highlighting values of openness and shared heritage.

BotTala Theatre staged the 100th performance of its production “Khona” at Central Shaheed Minar on April 11, marking a rare milestone for a Bangladeshi stage play.

Her professional life has extended beyond studio practice into art education, children’s culture, and publication. She is also the author of two books, “Surrealism in Painting” and “Drawing and Reading of Pictures”.

The 141st edition of the World Film Manifestation Programme (WFMP), organised by the Dhaka University Film Society, began on April 6 at the TSC swimming pool with a theme that carried unmistakable political urgency: “Come and See the Blood in the Streets.” Conceived as a programme on war, repression, and the social consequences of organised violence, this edition sought to bring viewers into direct engagement with films that examine moments of upheaval, alongside the structures of power that make such upheaval possible and recurrent.

Drawing from natural elements, urban structures and everyday objects, the works present high-contrast visual compositions that encourage prolonged observation.

The event drew a diverse audience united in their admiration for the Mro people’s resilience in preserving their language and cultural heritage.

The exhibition showcased a powerful blend of original artwork, contemporary pieces, and preserved historical artifacts, illustrating the sacrifices made during the language movement and the long struggle for the recognition of Bengali as a state language.

Freedom of expression, enshrined in UN human rights instruments, UNESCO declarations, and the International Covenant on Civil and Political Rights, remains a cornerstone of democratic societies. It ensures that journalists can report facts, hold authority to account, and document history as it unfolds. Though protected by law, these rights are often taken for granted. Journalism, in its pursuit of truth, continues to carry inherent risk.

A special screening of four documentary films by filmmaker Molla Sagar was held on February 7, at Bengal Shilpalay in Dhanmondi. The event brought together narratives rooted in people’s movements, labour struggles, ecological relationships and lived histories, offering a rare opportunity to engage with documentary cinema in a filmmaking landscape where the form remains underrepresented.

If you live in Dhaka long enough, you learn how the city runs on things you do not see: back-end labour, silent trades, invisible costs politely filed under the word industry. “Into My Lungs”, a multimedia exhibition by artists Ayman Alazraq and Emanuel Svedin, walks straight into that blind spot and refuses to look away. Running from January 23 to February 7, 2026, at Alliance Française de Dhaka, Gulshan, the exhibition takes a subject most people never talk about and places it directly in front of you, impossible to ignore.

Dhanmondi Lake began as part of a natural water system before being reshaped through planning decisions that accompanied the growth of the neighbourhood. Over the decades, it has absorbed new roles as a recreational space, ecological corridor, and social meeting ground. The exhibition traced these shifts with care, presenting the lake as an accumulation of layers formed through use, intervention, neglect, and attachment.

Architecture does not have that luxury, or even wants it. It is meant to be entered, tested, and lived inside. "Parallels" leans into that truth, treating architecture as something that unfolds through experience rather than something completed at first glance.

Getting down from the bike before the YAMAHA Flagship Center at 5:45pm last Friday, January 23, I spotted a short, lean man; hardly looking older than 40–45, walking out of the parking lot. As he moved closer, it became clear who I was looking at: Ibrahim Ahmed Kamal, the legendary guitarist of Warfaze, who was in town to lead “Guitar Master Class 4”, a special session featuring him as the guest mentor.

In an interview, poet Richard Siken says, “Art doesn’t come from trauma, art comes from curiosity.” And we are most curious when the emotions we feel are so intense that even more than tending to them or managing to live through them, understanding them feels as crucial as breathing. Living with grief is painful, but living through meaningless grief is impossible. It is easy to mistake this exhibition as portrayals of trauma, of grieving, but such can’t be said when that is the reality people exist within. But it is just an exhibition of resistance, resilience and endurance than of torture and exploitation, sometimes more former than the latter.

The fair features a carefully arranged selection of stalls showcasing handcrafted goods, traditional showpieces, and local delicacies, creating a welcoming space where artisans and visitors can engage in a meaningful exchange of heritage and creativity.

The event was conceived as more than a display of finished works. A projector ran audiovisual material and portfolios created specifically for the occasion, supported by thoughtful food arrangements and a steady flow of visitors.

The event was conceived as more than a display of finished works.

“The toughest part is that we both know; what happened to you, why are you out on your own. Merry Christmas, please don’t call.” — Bleachers