Freedom of expression, enshrined in UN human rights instruments, UNESCO declarations, and the International Covenant on Civil and Political Rights, remains a cornerstone of democratic societies. It ensures that journalists can report facts, hold authority to account, and document history as it unfolds. Though protected by law, these rights are often taken for granted. Journalism, in its pursuit of truth, continues to carry inherent risk.

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In response to the recent attack, Prothom Alo organised an art initiative built around its attacked and fire-damaged premises. Titled "Alo", the exhibition brings together artist Mahbubur Rahman’s reflections on destruction, memory and resilience, transforming the damaged space into a site of introspection and dialogue.

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On December 18, 2025, that risk became visible when the Prothom Alo office in Dhaka was attacked. A large group of individuals reportedly descended on the premises, causing extensive damage to the building. Furniture, books and equipment were thrown from upper floors and set on fire outside. Law enforcement officers faced threats, and those attempting to document the incident encountered intimidation.
Soon after, the Daily Star premises were also targeted.

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Entering the burnt structure for the first time, Mahbubur Rahman described feeling overwhelmed by what he saw;  charred walls, damaged rooms and fragments of what once sustained daily work.
Burnt books were later displayed in a transparent case inside a partially intact room. Beyond it, blackened remnants filled the space, suggesting both loss and continuity. One installation features a steel lock marked with footprints; a stark symbol of forced entry. Another binds together surviving books under the inscription: “Ei mohashagore snan kore jagore” (Awaken and bathe in this great ocean), underscoring knowledge as a force that endures beyond violence.

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Objects warped by fire, once functional and purposeful, now stand altered, stripped of their original form. Yet the exhibition resists framing them solely as ruins. Instead, it poses a quiet question: how can such a space regain balance? How can light re-enter darkness?

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In one installation, pigeons move freely across a fire-damaged floor, navigating desks and scattered remnants. Their presence suggests continuity amid disruption, a living counterpoint to destruction.

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Throughout the exhibition, Rahman juxtaposes fragility and persistence, stillness and motion, absence and presence. The burnt fragments serve as evidence of violence, but also of survival. Even in a damaged space, traces of life remain.

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In the artist’s words, “If this spontaneous yet carefully composed arrangement can offer even a fleeting moment of introspection, inviting us to reflect both on ourselves and the world around us. I will be satisfied.”

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It is often easy to dismiss something as propaganda when it challenges one’s perception of the news. In moments of violence, when aggression overtakes dialogue and force seeks to silence expression, the strength of the pen may appear to falter. Yet, it rarely does so for long. Within 17 hours of the attack, Prothom Alo resumed operations, its online platforms restored, a reminder that institutions built on reporting and documentation persist even under pressure.

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