Amid Bangladesh’s post-2024 political shift following the anti-discrimination movement leading the fall of the former regime, graffiti has regained its prominence as a medium of resistance and social critique, and a latest graffiti artwork in Chattogram’s CRB area - envisioned from the iconic French sculptor Auguste Rodin’s ‘The Thinker’ but interestingly, seated on a donkey - sparking curiosity through its cryptic “Hobeki?” (HOBEKI?) inscription, reminiscent of the popular ‘Subodh’ graffiti that captivated Dhaka in 2017.

A closer look reveals that the artwork, painted on the 20-foot-wide and 12-foot-high whitewashed wall of a building structure at a highly focal point in Shireeshtala, CRB Road, Chattogram, directly references Rodin’s famous sculpture, The Thinker—a universally recognized symbol of deep contemplation. However, its placement on a donkey adds a satirical twist, prompting curious onlookers and observers to interpret it as a critique of intellectuals.

Adding to the mystery, the artwork is accompanied by the cryptic inscription “Hobeki?” (HOBEKI?), echoing the enigmatic Subodh graffiti that emerged on Dhaka’s walls in 2017. The Subodh series became a cultural phenomenon, with its iconic phrases including "Subodh tui paliyey ja, ekhon somoy pokkhey na, tor bhaggey kichhu nei" (Flee Subodh, time is not on your side, nothing is written in your fate), "Subodh tui paliye jaa, bhuleo firey ashish na" (Flee Subodh, don't even return by mistake), "Subodh, kobe hobe bhor?" (Subodh, when will dawn arrive?) and more, which resonated deeply with many due to its subtle political undertones.

Now, with the “Hobeki?” (HOBEKI?) logo-entitled graffiti making its maiden appearance in Chattogram, speculation is growing over whether the same anonymous artist or group is behind this latest thought-provoking work.

Local artists, social commentators and art enthusiasts believe the new graffiti serves as a critique of the role of intellectuals in the current society. While ‘The Thinker’ symbolizes philosophical depth and wisdom, placing it on a donkey - a creature often associated with stubbornness and lack of intelligence - seems to suggest that intellectuals, despite their insights, may be powerless or misguided, relying on forces beyond their control.

Graffiti has long been a medium of social and political commentary, with renowned international artists like Banksy using street art to challenge societal norms. In some parts of the world, such works have been embraced and preserved as cultural artifacts.

The “Hobeki?” (HOBEKI?) artwork at CRB has already turned the site into an informal gallery, drawing crowds eager to decipher its message - and social networking sites are also buzzing with comments and shares about the recent graffiti.

The resurfacing of the “Hobeki?” (HOBEKI?) motif at a time of social and political change suggests a renewed use of street art as a form of critical discourse in Bangladesh. While Subodh symbolized escape and survival, ‘The Thinker on a Donkey’ appears to reflect stagnation or misplaced trust.

Regarding this intriguing graffiti, ARTCON founder ARK Reepon, who is actively engaged in researching the anonymous graffiti artist known as “Hobeki?” (HOBEKI?) and his ‘Subodh’ series, which has sparked significant discussions within the art scene, talked to UNB and shared his insights.

Reepon, the founder of ARTCON, the nation’s pioneering art agency dedicated to promoting and supporting Bangladeshi artists through digital documentation, art publications, and exhibitions to showcase the nation’s artistic talent, continued: “This latest HOBEKI? masterpiece deserves global recognition for its powerful critique of intellectualism and governance. By merging Rodin’s ‘The Thinker’ with a donkey, the artwork highlights a universal paradox - intellectual depth overshadowed by systemic inertia.”

“In an era of political instability and misinformation, this imagery resonates globally, much like Banksy’s critiques of power. The donkey, symbolizing irrationality, suggests that thinkers today are often powerless, carried by forces beyond their control; and being placed in a historically significant region like Chattogram, and that too with the selection of Shireeshtala at CRB, known as the “Lung of Chittagong,” a hub for cultural events and public gatherings - ensures the artwork engages a diverse audience, amplifying its societal resonance beyond Bangladesh, and positioning it within the global street art movement as a thought-provoking statement on authority and societal direction,” Reepon told UNB.

Traditionally, “Hobeki?” (HOBEKI?) has unveiled works in Dhaka. However, following the July 5 uprising, Dhaka’s walls became saturated with student-led graffiti and impactful new messages, and the noticeable thing is that the graffiti at CRB was made on March 7, the date which serves as a poignant reminder of the nation’s enduring struggles and aspirations for genuine freedom.

As Bangladesh navigates an era of uncertainty, the artwork invites viewers to question the trajectory of intellectual leadership and societal progress. However, questions remain: Will the authorities acknowledge its significance and protect it, or will it be erased like many other politically charged artworks?

Regardless of its interpretation, one thing is clear: “Hobeki?” (HOBEKI?) has once again succeeded in sparking debate, curiosity, and reflection the hallmarks of truly impactful street art.