United News of Bangladesh

The 20th solo exhibition by Arham ul Huq Chowdhury, titled 'Decorated Deeds: Bangla Calligraphy on Antique Documents', is currently ongoing at La Galerie, Alliance Française de Dhaka (AFD) in the capital’s Dhanmondi. The latest exhibition of Arham's, 'Decorated Deeds', marks his 20th solo show and celebrates 30 years of his association with Alliance Française de Dhaka. Opened on the day of Pahela Baishakh (April 14), the first day of Bangla New Year — this special series features 31 Bangla calligraphy artworks rendered on rare antique documents, some dating back to the East India Company and colonial periods. In this unique body of work, Arham overlays ancient Bangla idioms and proverbs onto vintage papers, symbolically linking linguistic heritage with the tangible remnants of historical narratives—preserving both art and memory. 4th edition of Bangladesh Press Photo Contest launched at Drik "In my pursuit of various facets of arts and knowledge, I came to initiate Bangla calligraphy; going further into it, I found dimensions being added on the way," Arham said in a recent interview with UNB. "In that process of doing Bangla calligraphy, searching for age old idioms, phrases, riddles, and sayings that resonate with deeper meaning, and going further this time, I have tried adding another layer to the visual representation of the ancient words of wisdom." “In 'Decorated Deeds', Arham ul HuQ Chowdhury does not merely exhibit—he resurrects; through the marriage of antique documents and Bangla calligraphy, each work becomes a vessel of memory, a bridge between centuries, and these proverbs are not relics—they are reminders, speaking with renewed urgency about identity, wisdom, and the lived texture of language. We are proud to support this timely and timeless exhibition, which doesn’t just honor heritage—it activates it.” — ARK Reepon, Curator of the exhibition and Founder of ARTCON, told UNB. Arham is a versatile Bangladeshi artist, calligrapher, sculptor, designer, and researcher whose creative journey spans over three decades and multiple mediums. With a formal academic background in Anthropology—holding both Bachelors and Masters degrees from the University of Dhaka—his work reflects a profound engagement with culture, heritage, and the environment.

The Bangladesh Press Photo Contest 2025 has begun at Drik for the fourth consecutive time to celebrate the professionalism, skill, and courage of the country's photojournalists.  The names of seven winners were announced at the inaugural ceremony held on Saturday evening,m at Drikpath Bhaban in Panthapath, Dhaka. The contest began on February 9 with an open call for submissions, and a total of 252 photojournalists submitted 1,310 photographs taken over the past year, covering political, economic, social, cultural, wildlife, and documentary themes.  From these, 31 photographs were selected for the exhibition, which is now open to the public. The Picture of the Year 2024 award was presented to Ashraful Alom, former photojournalist of Prothom Alo, who received a cash prize of Tk 1,00,000.  Six other photographers were awarded under three categories.  In the Politics category, Kazi Salahuddin Razu of Bonik Barta was named winner, and Dr Kumar Bishwajit of Reviewthatplace.com received an Honourable Mention.  United News of Bangladesh (UNB) Photojournalist Tahiyat Nazifa Noor's one of the nominated photographs is being exhibited in this exhibition under this particular category. In the Public Interest Journalism category, M Yousuf Tushar of Business Bangladesh was named winner, while Md Abu Noman Omit of limerickbd.comreceived an Honourable Mention.  In the Arts, Culture and Sports category, Jahir Ahammed Shakil of Image Ghor Photographic Society was declared winner, and Rashed Shumon of The Daily Star received an Honourable Mention.  Each category winner received Tk 50,000 and Honourable Mentions received Tk 10,000, along with crests and certificates. 

The first photo solo exhibition of photojournalist Sony Ramani titled 'Endangered Nature and Environment' has begun at the National Art Gallery of Bangladesh Shilpakala Academy. The 6-day exhibition features over 60 striking photographs alongside a thought-provoking video installation, offering a compelling visual narrative of Dhaka’s deepening environmental crisis. With over a decade of experience documenting Bangladesh’s socio-environmental landscape, Ramani presents an urgent and unfiltered perspective on the capital’s alarming ecological decline. “As a photojournalist documenting Bangladesh’s socio-environmental landscape for over a decade, I have witnessed firsthand the devastating impact of pollution and environmental degradation in Dhaka,” Ramani said. “My exhibition seeks to visually document these pressing issues and spark meaningful dialogue on sustainable urban development and environmental policies.” Dhaka, one of the most unliveable cities in the world, is grappling with a range of environmental challenges including air pollution, water contamination, waste mismanagement, and rapid urban sprawl. Ramani’s exhibition captures these issues through four central themes—air pollution caused by unregulated emissions, the pollution of rivers and lakes, the growing crisis of waste disposal, and the vanishing green spaces swallowed by the city’s expansion. The exhibition invites journalists, artists, activists, policymakers, and the general public to engage with these powerful visuals and reflect on the future of Dhaka’s environmental wellbeing. The exhibition will remain open to the public daily from 3 pm to 8 pm until April 24.

Celebrating the Bengali New Year 1432 with elegance and cultural heritage, the three-day exhibition 'Crafting The Many Threads of Cultural Textiles' by celebrated designer Maheen Khan was inaugurated on Friday at EDGE Gallery in the capital's Gulshan.  The event presented by United Commercial Bank PLC (UCB) and powered by Mutual Trust Bank Limited (MTB) is showcasing approximately one hundred collections of the country's eminent fashion designer Maheen Khan. Curated by prominent fashion designer Saibal Saha, the exhibition is a blend of heritage and innovation, showcasing handcrafted sarees, Nakshi Kantha, Islamic motifs, Rajshahi silk, and contemporary embroidery work.  This vibrant showcase of Maheen Khan's versatile works demonstrates how traditional techniques can evolve into a modern art form. The opening ceremony was held in two sessions in morning and evening.  Adviser to the Ministry of Fisheries and Livestock Farida Akhtar inaugurated the exhibition in the morning and spoke about the deep connection between nature and craft . Emphasizing the importance of preserving traditional motifs she encouraged artisans to continue drawing inspiration from their environment. "I encourage you to delve deeper into traditional local motifs like different types of fish, as they reflect our cultural identity. Celebrating Baishakh through crafts, rather than limiting it to rallies, offers a richer and more lasting way to preserve and honor our heritage," Adviser Farida Akhtar said. São Paulo celebrates city art museum’s new Renoir exhibit

From the outside, it looks like any other New England church building: a boxy, white structure with a single steeple surrounded by an old stone wall, set against rolling hills and pine forest. Inside, though, the South Solon Meeting House has a secret unknown even to some who drive through the tiny Maine town every day. The interior of the building is covered in 70-year-old fresco murals that encourage some in the state's art community to describe it as “Maine's Sistine Chapel.” The murals were painted by artists in the 1950s and, while they have long been appreciated by visitors, the recent creation of a website dedicated to them by students at Colby College in Waterville, Maine, has generated new interest in the paintings. Véronique Plesch, a Colby professor of art, hopes the building inspires more appreciation of frescoes. “I fell in love with the place, because I have studies frescoes all my life,” said Plesch, who is a member of the board of the historical society that cares for the meeting house. She added that the paintings should stay in public places and not be in private institutions. The meeting house was built in 1842 and hosted church services until the 1940s, though there were periods of closure, such as times of war. A decade later, Margaret Day Blake found the building in a state of disuse and the former student at the nearby Skowhegan School of Painting and Sculpture put out a call for young artists to paint frescoes under the school's supervision in 1951. The artists were given creative freedom and told there would be no limits to subject matter, but that Biblical scenes would “offer rich and suitable” imagery. The interior was covered in such scenes from 1952 to 1956 and the walls remain adorned with frescoes, including one that references Leonardo da Vinci's “The Last Supper." Another fresco depicts the binding of Isaac, in which a hooded Abraham prepares to sacrifice his son on God's orders. The Great Flood is depicted as it was by Michelangelo at the Sistine Chapel at the Vatican. Two of the 13 artists — Sigmund Abeles of New York City and Sidney Hurwitz of Newton, Massachusetts — both in their 90s, are still living. Both spoke fondly about their time at the meeting house. “We would go out there and paint and then take a lunch break in the cemetery behind the building. It was a very idyllic time,” Hurwitz said. “I very much enjoyed it.” Guatemalan artisans handcraft velvet robes for Holy Week Celebrations Today, the meeting house, which is open to the public without locks on its doors, serves as a community gathering and performance space. Many of its old features, including box pews made for smaller people of a different time, are still intact. Abeles recalled painting the scene of Jacob wrestling with the angel from the Book of Genesis. “It's a very, very special place, and it was a unique experience" to work on the frescoes, Abeles said. On a recent Sunday morning, Plesch gave a lecture at the meeting house before a group of members of the Maine Art Education Association as part of the group's spring conference. Long ago, attendants of the building might have been preparing for an Easter service, but on this day it was full of teachers fascinated by the frescoes. Suzanne Goulet, an art teacher at a nearby high school, said she was previously aware of the frescoes and confessed she had peeked into the windows of the old building, adding that it's great the paintings are still inspiring art lovers decades later. “The inspiration is that we bring it back to our students,” Goulet said.  

In workshops across Guatemala, artisans have spent months meticulously hand-stitching intricate garments that will be unveiled this week during Holy Week processions throughout the country and beyond. These ornate velvet cloaks, embroidered with gold thread, will adorn wooden statues of the Virgin Mary and Jesus Christ. Carried by devotees along cobbled streets lined with thousands of spectators, the figures play a central role in the country’s Holy Week traditions. Palm Sunday marks the Christian celebration of Jesus’ triumphant arrival in Jerusalem, where crowds welcomed him with palm branches, as described in the Bible. Holy Week, the most sacred time in the Christian calendar, also includes the Good Friday reenactment of Jesus’ crucifixion and culminates in the Easter celebration of his resurrection. At the María Auxiliadora workshop, located about 41 kilometers southwest of Guatemala City, 28 artisans — mostly women — can be seen stitching by hand. They work with deep velvet fabrics, embroidering them with intricate gold floral patterns under the shadow of the dormant Volcano of Water. Some cloaks, such as those made for the Virgin Mary figures, can span roughly 4 square yards (3 meters) and weigh over 50 pounds. To prevent damage to the statues, a metal structure is used to support the garments. Workshop owner Alejandro Juárez Toledo, who has dedicated 26 years to this craft, still becomes emotional when he sees the cloaks finally draped over the figures that will be paraded through the streets. “The most meaningful moment for me is when the embroidery is sewn onto the fabric — that’s when the emotional connection with the client begins. The whole experience becomes more fulfilling,” he said. His team’s handmade robes have been used not only in Guatemala but also in countries such as El Salvador, Honduras, Costa Rica, and Panama. Guatemala’s Holy Week celebrations are known for their grandeur. In 2022, UNESCO recognized them as part of the Intangible Cultural Heritage of Humanity. Walter Gutiérrez, a history professor at San Carlos University, emphasized the importance of the events: “These processions represent the essence of Guatemala — culturally, spiritually, and traditionally.”

Cultural organisation Chhayanaut is set to welcome the Bengali New Year 1432 with its 58th edition of the traditional Pahela Baishakh celebrations at Ramna Batamul in the capital, upholding the spirit of light, liberation, and cultural unity amid growing global and national challenges. The announcement came at a press conference held at Chhayanaut Sangskriti Bhaban in the capital’s Dhanmondi on Friday afternoon. Chhayanaut Executive President Dr Sarwar Ali, Vice President Khairul Anam Shakil, General Secretary Laisa Ahmed Lisa, Joint Secretary Partha Tanvir Naved, and Jayanta Roy were present at the briefing. "This will be our very first Pahela Baishakh event without our recently deceased dearest President Dr Sanjida Khatun. In this year's celebration of togetherness, we urge everyone to keep her in your best wishes," Dr Sarwar Ali said at the press conference. Despite witnessing the erosion of values both at home and abroad, the organization believes in hope and unity. “We dream of togetherness and walking hand in hand. The day will return when we will cherish life as a community, and the journey towards a better world will succeed with love for humanity and the earth,” said General Secretary Laisa Ahmed Lisa. This year’s theme for Chhayanaut’s celebration is “Amar Mukti Aloy Aloy” (My Liberation in Light), and the event will commence at dawn with a performance of Raag Bhairavi. The two-hour-long cultural program will feature a total of 24 performances, including nine group songs, 12 solo renditions, and three recitations. ICCR celebrates 75 years of cultural diplomacy in Dhaka The program has been thoughtfully curated with songs of love for light, nature, and humanity, along with patriotic and inspirational compositions to awaken self-awareness and collective consciousness—symbolizing a call for enlightenment and liberation of the Bengali community. The entire event will be broadcast live on Chhayanaut’s official YouTube channel (youtube.com/@chhayanautbd), Facebook page (facebook.com/chhayanautbd), and on Bangladesh Television (BTV). Law enforcement agencies and the Public Works Department are working diligently to ensure safety and discipline throughout the event. Volunteers and selected members of the Thirteenth Hussars Open Rover Group are also contributing tirelessly alongside Chhayanaut organizers. The overall stage and event design has been coordinated by Chhayanaut alumnus Sujan Chowdhury. Demonstrating all of its vibrant and festive offerings marking the maiden dawn of the new Bengali year 1432, Chhayanaut called for sincere cooperation from all in making this year’s celebration a success.

São Paulo is commemorating the opening of the new tower of its renowned art museum with a Renoir exhibition, drawing art enthusiasts to the Brazilian metropolis. The São Paulo Museum of Art, widely known as MASP and one of the most popular cultural destinations in the country, unveiled its new 14-story tower on March 28. This expansion completes the museum’s architectural vision 77 years after its original inauguration. The new structure, named in honour of MASP’s first artistic director, Pietro Maria Bardi, features five exhibition halls, two multipurpose spaces, a restoration laboratory, classrooms, a restaurant, and a museum store. Thirteen paintings by French impressionist Pierre-Auguste Renoir are among the key attractions, delighting visitors. Many are also curious to see the architectural harmony between the new tower and the iconic red MASP building, located along Paulista Avenue, Brazil’s most iconic commercial boulevard. In May, the museum is set to present an exhibition dedicated to Claude Monet, another French impressionist beloved by Brazilian audiences. The new addition more than doubles the museum’s total area to 7,821 square meters (84,184 square feet), boosting its exhibition capacity by 66%. Its exterior, constructed with pleated and perforated metal panels, complements the original brutalist style of the existing building. Construction began in 2019 and was fully financed by private donors, who contributed roughly 250 million Brazilian reais (around $43 million), according to MASP. The project took inspiration from vertical museum designs, similar to those found in New York City. “MASP is the leading museum in the Southern Hemisphere when it comes to European art,” said Paulo Vicelli, the museum’s director of experience and communication. “We house over 11,000 works — Modigliani, Cézanne, van Gogh, Raphael, and other great masters, as well as prominent Brazilian artists.” “Art can change people and cities,” he added. “Everyone who visits leaves transformed.” Originally housed elsewhere, MASP moved to Paulista Avenue in 1968. Designed by architect Lina Bo Bardi, the building is a quintessential example of brutalist architecture, marked by exposed concrete, raw materials, and an imposing scale. It has since become a key landmark and tourist destination in São Paulo. “MASP has outgrown its original structure. Expanding was necessary,” said museum director Heitor Martins. “This marks a historic milestone. Now, one museum exists in two buildings.” A subterranean passage connecting the old and new buildings is under construction and expected to be finished by November. Until then, visitors must step briefly onto busy Paulista Avenue to move between the structures. Naira Regis de Moura, a 60-year-old visitor from Porto Alegre in southern Brazil, said she was deeply touched upon seeing the new tower. Though in town for a concert, she made time to explore the museum. “This represents a milestone for Brazilian art,” she said.

The Indian Council for Cultural Relations (ICCR) celebrated its 75th anniversary on Wednesday, marking a milestone in cultural diplomacy and its enduring role in strengthening the India-Bangladesh relationship through vibrant cultural exchange. To commemorate the occasion, the Indian Cultural Centre, under the High Commission of India in Dhaka, hosted a celebratory event featuring traditional performances and reflections on the legacy of the ICCR. Speaking at the event, Deputy High Commissioner of India in Dhaka, Shri Pawan Badhe, said the anniversary not only celebrates ICCR’s journey since its inception in 1950 but also highlights the deep-rooted cultural ties between India and Bangladesh. “The occasion not only celebrates ICCR’s legacy but also reflects the shared cultural heritage and enduring people-to-people ties between India and Bangladesh,” he said. Since its foundation, ICCR has played a key role in promoting India’s cultural heritage abroad through a wide range of artistic, educational, and cultural initiatives. In Bangladesh, the Indira Gandhi Cultural Centre (IGCC) was established in Dhanmondi in 2011, followed by the Indian Cultural Centre in Gulshan in 2021. Over the years, these centres have hosted numerous programs including classical dance and music performances, literary events, film screenings, exhibitions, and workshops, contributing to deeper artistic collaboration between the two nations. Mangal Shobhajatra may get a new name: Farooki Wednesday’s event featured a special performance of 'Lai Haraoba' by members of the Manipuri community from Sylhet, trained by Indian experts. The performance was presented as a symbol of shared heritage and ICCR’s commitment to preserving traditional art forms and empowering local communities. IGCC students also presented captivating performances in Kathak, Bharatanatyam, and Hindustani Classical Music, showcasing the cultural vibrancy nurtured through the Centre’s programs. Beyond cultural engagement, ICCR also fosters educational ties by offering over 500 scholarships annually to Bangladeshi students pursuing higher studies in India—further strengthening the academic and people-to-people connections between the neighbouring countries. Dignitaries, artistes, students and cultural enthusiasts attended the event.

At Hong Kong’s Art Basel, artist Chow Chun-fai’s latest works transport viewers back to a defining moment in the city’s history—the 1997 handover from British to Chinese rule. His paintings, displayed at the same venue where the transition took place, revisit a time when Hong Kongers took pride in their city’s vibrancy and openness. That era has since taken a drastic turn. China’s imposition of a national security law in 2020 has effectively silenced dissent, prompting many young professionals and artists to emigrate. However, Chow has remained in Hong Kong, continuing to document his home despite political uncertainty. Art as a Chronicle of ChangeChow, widely recognized for his thought-provoking recreations of classic movie scenes with bilingual subtitles, presents a new collection that reflects on key moments in Hong Kong’s recent history. His paintings at Art Basel revisit major events, including the 1997 handover, trips by top Chinese leaders, and China’s selection as the host of the 2008 Olympic Games. “While studying art, we’ve learned about artists who lived through momentous times. Since we are experiencing such a period ourselves, I will continue to learn from it,” Chow said in an interview. His works also highlight the career of Sharon Cheung, a former journalist and now gallery director, who covered some of Hong Kong’s most defining political events. One of Chow’s paintings captures a famous 2000 exchange where former Chinese President Jiang Zemin scolded Cheung for asking “too simple, sometimes naive” questions about Hong Kong’s leadership. City Guide to Kathmandu, Nepal for Bangladeshis Another series, titled Panda, depicts Jiang’s lighter side. It revisits his humorous response to a 2002 U.S. press conference question about pandas, where he replied in English, “I’m sorry, I am an electrical power engineer.” Chow said he included this piece because of Hong Kong’s recent fascination with pandas, sparked by twin cubs born last year. Art Amid Political ConstraintsOver the past two decades, Chinese leaders have become less open with Hong Kong journalists. In 2023, Beijing even canceled the premier’s annual press conference—one of the few opportunities for media interaction with top officials. Meanwhile, Hong Kong has seen intensified political control, particularly after the 2019 anti-government protests. Pro-democracy activists have been jailed, independent media outlets shut down, and cultural institutions subjected to tighter scrutiny. In 2021, authorities amended the city’s film censorship laws on national security grounds, leading some filmmakers to stop screening their work locally. Bookstores and libraries have also begun practicing self-censorship. Despite these challenges, Cheung and Chow remain committed to their work. “People are more cautious about expressing their thoughts, but fear won’t stop us,” said Cheung, director of SC Gallery. “Art creates space for interpretation—we’re not telling people what to think, but rather allowing them to reflect.” Finland ranked again the world’s happiest country in 2025: What’s the secret Chow, who has never considered leaving Hong Kong, believes that artists witnessing historical transformations have a responsibility to document them. “Finding ourselves in this moment of change, how could I, as a creative professional, not be here to witness it personally?” he said. Source: With input from agnecy