A rare Salvador Dali painting discovered during a routine house clearance in Cambridge is set to go under the hammer in October, with an estimated value of up to £30,000 ($40042.35) — despite being bought for just £150 ($200.29).

Recently, social media was flooded with her success story, as her work was selected as one of the top entries from over 7,000 submissions for London’s prestigious Drawing of the Year Awards. Her illustration was also featured in the Drawing of the Year 2025 book, earning her international recognition.

The last week of July brought an artistic distraction in the wake of a national tragedy. Seeking a brief moment of emotional respite, I visited Safiuddin Shilpalay on July 26, 2025, as it inaugurated “Carving the Self: Id | Ego | Superego”—the first solo art exhibition of emerging artist Abu Al Naeem. The ceremony was attended by noted professors from the Faculty of Fine Art, University of Dhaka, including Prof Syed Abul Barq Alvi, Prof Dr Azharul Islam Sheikh, Prof Anisuzzaman Anis, and Associate Prof Md Nazir Hossain Khan. Artist and founder of Safiuddin Shilpalay, Ahmed Nazir, was also present.

Set in a society marked by consumerism and apathy, the play follows Shubhonkar—a seemingly ordinary man—who becomes entangled in the turbulence of social upheaval. While others burn for the cause, Shubhonkar simply wants to hold hands, to connect, to not be forgotten. Yet, the system swallows him whole.

The play unfolds through a series of fragmented scenes that examine authoritarian violence, collective trauma, and human resistance. Rather than following a linear plot, “Mukhomukhi” weaves together anti-war sentiments and political memory, echoing the spirit of last year’s July movement.

“Boner Dhare Nodi” is set along a riverbank deep in the forest, where animals—wolves, elephants, deer, rabbits, monkeys, butterflies—live in harmony until a territorial dispute arises.

At the heart of Aguni lies Rabindranath Tagore’s “Raktakarabi”, a work long associated with anti-authoritarian thought. But Nawsaba has reshaped it, interweaving stories from Bangladesh’s history of resistance, from farmers’ movements to the July 2024 uprising to create what she describes as “a symbolic and political retelling through puppetry and song.”

Almost eight years ago, my eyes encountered a mystical green painting that looked like a fluid fairy forest. That piece, along with several others, shared a similar sense of fluidity. They belonged to a senior from both my school and university. Since then, this style of artwork, known as fluid acrylic art, has become one of my obsessions, making me dive into its world. When I thus came across artist Farida Yesmin Parveen's art exhibition event on social media, I realised that she's someone I must meet.

For decades, his works stood sentinel across the landscape of this country—quiet but powerful witnesses to our struggles, our resilience, and our history. “Sangsaptak”, perhaps his most defining piece, looms outside Jahangirnagar University’s central library like a frozen cry.

An anthropos' wish embedded in a sculptural form, shaped by soil, emerging from the void inside a mold: this is what meets the eye at Murshed Jahangir’s exhibition “I Wish to Be Here.”

Renowned sculptor and painter Hamiduzzaman Khan, whose work etched the spirit of Bangladesh’s Liberation War into the nation’s public memory, has died. He was 79.

Drawing from Sunil Gangopadhyay’s acclaimed novel “Moner Manush”, the play delves into the spiritual and philosophical essence of Lalon’s akhra—his vibrant space of music, dialogue, and resistance.

Set against a parched desert landscape, the play follows a paranoid merchant, a humble porter, and a local guide as they journey across unforgiving terrain in pursuit of profit and survival. A fatal misunderstanding leads to tragedy, unfolding into a courtroom drama that questions whether justice can truly be impartial when wealth and power dominate the rules.

The acclaimed stage production “Asharossho Prothom Diboshe” by Theatre Factory is set to return to the stage tomorrow, at 7:15pm at the Mohila Samity Auditorium on Bailey Road.

Drawing inspiration from Taufiq al-Hakim’s Egyptian theatre and stories by Khalil Gibran, the production critiques the political machinery behind modern-day wars.

Prominent theatre troupe Dhaka Padatik is set to stage the 38th production of its acclaimed historical drama “Trial of Surya Sen” on July 20 at the Experimental Theatre Hall of Bangladesh Shilpakala Academy (BSA).

Acclaimed Bangladeshi artist Muhammad Monsoor Kazee has returned with his third solo exhibition titled “Co-existence of Abstract”, now open at Safiuddin Shilpalay, Dhanmondi.

In observance of the historic July Mass Uprising, a month-long series of commemorative events titled “July Reawakening” is being held under the patronage of the Ministry of Cultural Affairs and organised by Bangladesh Shilpakala Academy.

The initiative explores the killing of Abu Sayed, a student activist at Begum Rokeya University in Rangpur, who was tragically killed during a protest on July 16, 2024. His death became a pivotal moment in the July Uprising, which ultimately led to the downfall of Sheikh Hasina’s government.

Born on July 11, 1936, in Brahmanbaria, Al Mahmud (full name - Mir Abdus Shukur Al Mahmud) played a pivotal role in reshaping Bangla poetry in the post-Tagore era. His acclaimed collection 'Sonali Kabin' (Golden Dowry) brought together themes of rural life, love, history, nationalism, and spirituality in a lyrical and distinctly local voice, earning him wide recognition.