‘Charcha’ by Kala Kendra. Charja. Uddojapon ‘celebrates Chattogram’s institutional arts education



Celebrating 50 years of Bangladeshi independence and institutional art education in Chattogram, Kala Kendra’s exhibition, “Charcha. Charja. Uddojapon” features the works of some art graduates from the Institute of Fine Arts of the Chittagong University.

Participating artists include Alok Kumar Sarkar, Afsana Sharmin, Abu Naser Robi, Ashraful Hasan, Yasmin Jahan Nupur, Emran Hosen, SM Reyad, Gonshai Pahlavi, Joydeb Roaja, Jayatu Chakma, Jasmin Akhter, Tanvir Parvez, Tasadduk Hossain Dulu, Dillyara Begu Niazzudin Ahmed Biju, Palah Bhattacharjee, Farah Naz Moon, Fahad Hasan Kazmee, Monir Mrittik, Mujahid Musa, Meherun Akter Sumi, Razib Dutta, Ripon Saha, Shatabdi Som, Sajib Sen, Sanjoy Bikash Das and Sanjib Dutta.

The various works of art on display celebrate the individuality of fine art practice in Chattogram. The artists attempted to shed light on a variety of topics, including gender-based violence, socio-political issues and the complexities of human nature. “We did not restrict the artists in terms of specific mediums and allowed them to be free with their creations,” explained Wakilur Rahman, one of the curators of the exhibition.

Works in the exhibition. Photos: Monon Muntaka


Works in the exhibition. Photos: Monon Muntaka

“Tousa” by Emran is a fascinating installation created with different food packaging. “I finished this project during the pandemic. Since we couldn’t buy art supplies due to the lockdown, I started working with items available at home,” he explained. The works presented represent the various moods, situations and uncertainties of this period.

On the other hand, Jolly’s installation, “Deher Akkhyan”, was inspired by the violence and abuse suffered by women during the pandemic. torture of women.

Tasadduk’s “Celebration of Urbanizations” portrays the unhealthy competition that binds our lives, as we often forget to differentiate between good and evil. “Rural people are attracted to urbanization, and this way of life causes culture shock. To integrate into this society, they sometimes engage in various crimes,” he said.

Alok created a sculpture with completely empty condensed milk cans. Each box represents a human spirit, enclosed within the limits of fear and resentment. The cans are all connected to each other, showing how human lives are intertwined although they are different.

Afsana’s “ignorant incidence” is based on industrialization, corruption and the politics of power. Through the project, she pays tribute to the innocent lives lost in industrial accidents. The bones of his work denote the fossils of the workers, which are the foundation of an industrial society. “The lives of the workers are neglected in all respects. In this case, they were trapped in the fire for hours without any sign of a fire extinguishing system. Lives lost also include those of children,” a- she asserted.

Both Joydeb and Jayatu’s works revolve around the life of indigenous communities in mountainous regions. The social, political and cultural issues of these regions, as well as the impact of development, are brilliantly portrayed through their plays.

Jasmin’s “Muhurto” consists of two self-portraits made with fabric. The work presents his reflections in different situations.

Finally, Sanjoy’s work depicts a traumatic chapter in his life when the artist lost his father the day after his son was born. The work is part of his ongoing “My Notebook Page” series. He mainly uses acrylic colors. He also added spray paint to add texture and represent his unique style.

The exhibition will be open to everyone until October 23, from 4 p.m. to 8 p.m.

The author is a freelance journalist. Email: [email protected]


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