Dhaka, Feb 17 (UNB) - German cultural organization Goethe-Institut Bangladesh, in cooperation with the International Film Initiative of Bangladesh (IFIB), organized the screening of filmmaker Mrittika Goon’s debut film ‘Kalo Megher Vela’ (The Raft of Clouds) on Sunday, February 16 evening at the Institut auditorium in Dhanmondi of the capital.
International Film Initiative of Bangladesh (IFIB) representative Lubna Sharmin introduced the filmmaker Mrittika Goon, along with film critic, journalist and the moderator of the Q&A discussion session Sadia Khalid, to the audience at the screening.
While sharing her experience on filmmaking as a debut director, Mrittika Goon said, “Kalo megher vela is a philosophical fiction and an adaptation of my father, poet Nirmalendu Goon’s novel of the same title.”
She further explained: “I wanted to show the chaotic aspects of the city life through protagonist Dukhu’s struggling slum life who flees the city and takes asylum in nature to escape the abuse of his stepfather, leaving behind his beloved mother. There he discovers his life’s philosophy: that the path to freedom is blocked by emotional attachments.”
Mrittika summed up the message she tried to express through her debut venture in the following words: “In order to listen to the call of the soul, one must release themselves from the bondage of love.”
Mrittika Goon claims that the story of 'Kalo Megher Bhela' grabbed her attention in her very childhood when she had first read it and eventually got lost in her imaginary world surrounded by the story. Since then, she had been nurturing her desire to make a film on it and in 2015 she got her chance as the government approved grant for the film.
The screenplay of the movie was done by the late Faruk Hossain. Maximum of the shooting was done in Nirmalendu Goon’s ancestral village Barhatta in Netrokona district and the rest was shot in Kamalapur Railway Station and Tejgaon.
The screening was jointly organized by Goethe-Institut and IFIB as part of their monthly film screening and discussion series “Through Her Eyes - A space to watch and discuss films with women filmmakers of Bangladesh”.
Thanks to modern technology and some expert detective work, a nearly 400-year-old painting that had long been attributed to an unknown artist in Rembrandt's workshop has now been judged to have been a work of the Dutch master himself.
For decades, the Allentown Art Museum displayed an oil-on-oak panel painting called "Portrait of a Young Woman" and credited it to "Studio of Rembrandt." Two years ago, the painting was sent to New York University for conservation and cleaning.
There, conservators began removing layers of overpainting and dark, thick varnish that had been added over centuries — and they began to suspect Rembrandt himself was responsible for the original, delicate brushwork underneath.
"Our painting had numerous layers of varnish and that really obscured what you could see of the original brushwork, as well as the original color," said Elaine Mehalakes, vice president of curatorial affairs at the Allentown Art Museum.
Conservators used a variety of tools, including X-ray, infrared and electron microscopy, to bolster the case that it was the work of one of the most important and revered artists in history.
The scientific analysis "showed brushwork, and a liveliness to that brushwork, that is quite consistent with other works by Rembrandt," said Shan Kuang, a conservator at New York University's Institute of Fine Arts who restored "Portrait of a Young Woman."
Outside experts who examined the 1632 painting after the completion of its two-year restoration concurred with the NYU assessment that it's an authentic Rembrandt.
"We're very thrilled and excited," Mehalakes said. "The painting has this incredible glow to it now that it just didn't have before. You can really connect with the portrait in the way I think the artist meant you to."
When "Portrait of a Young Woman" was bequeathed to the museum in 1961, it was considered to be a Rembrandt. About a decade later, a group of experts determined that it had been painted by one of his assistants. Such changes in attribution are not unusual: Over the centuries, as many as 688 and as few as 265 paintings have been credited to the artist, according to Mehalakes.
The museum has not had the painting appraised — and has no intention of selling it — but authenticated works by Rembrandt have fetched tens of millions of dollars.
The painting, currently in the museum's vault, will go on public display starting June 7.
The 5th edition of Dhaka Art Summit: Seismic Movements (DAS 2020), concluded Saturday at the National Art Gallery of Bangladesh Shilpakala Academy (BSA).
The artistic extravaganza, organised by Samdani Art Foundation (SAF) in association with the Ministry of Cultural Affairs and Bangladesh Shilpakala Academy (BSA), has enthralled the visitors since its opening on February 7.
Having quickly established its place in the art calendar of the region , the brainchild of SAF Co-founders Rajeeb and Nadia Samdani, curated by the summit’s Chief Curator Diana Campbell Betancourt- the 5th summit empowered the art-lovers to explore various forms of art from all around the world under one roof.
More than 500 artists, sculptors, curators, critics, collectors, architects and art professionals from over 44 different countries participated in this rendezvous of modern and contemporary art. Forged through alliances across Africa, Australia, South and Southeast Asia, and also extending into Europe and the US, the extravagant event also featured thought-provoking performance arts, videos, panel discussions, symposia, puppet shows and more.
According to Nadia Samdani, this year’s summit theme has been ‘Seismic Movements’ where different artworks related to geological movements, colonial movements, independence movement, social movements had been on display and enthralled the visitors, throughout the summit. Also, DAS – 2020 had been 'plastic-free’ and no air-conditioning was used in the summit.
A very special exhibition titled ‘Lighting the Fire of Freedom’, an initiative of the Centre for Research and Information (CRI), ICT Division, in collaboration with BSA and the Ministry of Cultural Affairs, paved tribute to the Father of the Nation, Bangabandhu Sheikh Mujibur Rahman on his birth centenary. Curated by Ruxmini Reckvana Q Choudhury, Assistant Curator of SAF- the exhibition narrated the journey of Bangabandhu (1920 – 1975), chronologically; through a rich variety of archival and contemporary materials including personal photographs, newspapers, videos and artworks. The exhibition treasures historic moments, dating back to the Bengal Presidency under British Raj, the East Pakistan regime, and finally Bangladesh.
The 5th edition of the Samdani Art Award curated by Philippe Pirotte and in partnership with the Goethe-Institut of Dhaka, provided artists the opportunity to create new work for DAS 2020 and to be supported in a residency at Srihatta. Soma Surovi Jannat received the Samdani Art Award this year, for her work “Into the Yarn, Out in the One” (pen on plywood, wood and wall, 2019-2020). The other shortlisted artists were: Ariful Kabir, Ashfika Rahman, Faiham Ebna Sharif, Habiba Nowrose, Najmun Nahar Keya, Palash Bhattacharjee, Sounak Das, Sumana Akter, Tahia Farhin Haque, and Zihan Karim. Breaking the convention, Promiti Hossain was respected with a special mention award for her work “Personal and Social” (2019-2020), facilitated by the Jury Board from their honorariums of the summit.
‘Roots’, curated by Dhaka based artist and educator Bishwajit Goswami, examined the transfer of knowledge by art educators who have been influential in the building of Bangladesh’s art history. The exhibition focused on the role of Bangladeshi artists in building the institutions that support artistic production in the country, from founding formal institutions like art schools (such as Zainul Abedin with the Faculty of Fine Arts, University of Dhaka and Rashid Choudhury with the Institute of Fine Arts, University of Chittagong) to informal art education outside of the capital (SM Sultan’s Shishu Swarga and Charupith Jashore).
The 6th edition of Dhaka Art Summit is scheduled to lift its curtain on 2022.
Pahela Falgun usually falls on February 13 but this year it coincided with Valentine’s Day as Bangla Academy revised Bangla Calendar to match it with the Gregorian calendar and cultural attractions like the ongoing Dhaka Art Summit (DAS) - 2020 draws a large number of visitors, as a result.
As both the festivities coincided on Friday, the weekly holiday, people from all over the city joined the summit to explore the artistic extravaganza.
“We are regularly welcoming a huge number of art-enthusiasts and admirers in our DAS-2020, however it has been very exceptional today. People from all ages and classes have been visiting the summit since early morning, enjoying both the festivities and the holiday altogether”- Prema, one of the Art Mediators in this year’s summit, spoke about the massive attendance.
Due to the huge crowd presence on the road towards Ramna Park and Bangladesh Shilpakala Academy where the Summit is taking place, vehicles stood for hours in traffic jam and the summit-goers even had to walk a long distance to join the summit.
The art-lovers, however, did not face discomfort they suffered on the road, over celebrating the occasion with their beloved.
To enthrall the visitors, the summit authority offers a number of options for recreation- including regular cultural shows on every evening at BSA ground, a manual whirligig ride for kids and adults and a huge food court containing branded stalls.
“The traffic on the road is terrific, but after entering the summit and exploring all the extravagant festivities here, now it feels like we have successfully utilised our first Falgun and Valentine’s Day after our marriage” - Prottoy and Dola, a newlywed couple expressed their joy after visiting the summit.
Both Pahela Falgun and Valentine’s Day had been full of colours and jovially festive in the capital for years- and the extravaganza of the art biennale called DAS leveled up the celebration in 2020, engaging people from all ages.
The 5th edition of Dhaka Art Summit concludes on Saturday, February 15.
German cultural institution the Goethe-Institut Bangladesh unveiled the locker-mural titled Übernatural: Unlocked on Tuesday at the Goethe-Institut in Dhanmondi.
The mural project features 12 supernatural characters from German and Bengali traditions illustrated by 13 artists. A musical performance by Alex and the Monsters was followed by a story-telling session and a scavenger hunt during which visitors won Goethe-Institut goodies and HerStory Foundation’s books.
The initiative is a project by Goethe-Institut Bangladesh, facilitated by HerStory Foundation.
“Back in January, Goethe-Institut commissioned HerStory Foundation to beautify the bag lockers that are used by visitors of the Institute. The result is a mural by 13 artists illustrating 12 supernatural female characters from Bengali and German folk traditions”, Goethe’s Information Officer Sharmin Shoma told UNB.
She further explained that the beautification of the storage facilities unlocks the many powerful female-driven narratives of the two cultures.
The stories and the artists are- Mader Gaan by Aabir Khalid, Patal Konya Monimala by Ahmed Fahim, Tanyabi Firti by Antora Mehrukh Azad, Rapunzel by Fj Mony, Frau Prechta by Farah Khandaker, Sultana’s Dream by Inshra Sakhawat Russell, Brunhild by Kabir Ava, Übernatural: Unlocked - typography by Kazi Istela, Frau Holle by Rafiuzzaman Rhythom, Chadburi by Sayeef Mahmud, Lorelei by Shourov Khan, Behula and Manasha by Venessa Kaiser and Bon Bibi by Wasi Ahmed.