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মেসার্স অলি ট্রেডার্স ব্যবসার/পেশার ধরণ: ধান, চাল, গম, ভূট্টা ও সরিষার ষ্টক ব্যবসা স্বত্ত্বাধীকারী/লাইসেন্সধারী:  মোছাঃ নাছিমা খাতুন পিতা: মোঃ সিরাজুল ইসলাম মাতা: মোছাঃ নিজাম আকতার ঠিকানা: ভবানীপুর বাজার, পার্বতীপুর, দিনাজপুর। মেয়াদ: ৩০-০৬-২০২৫ খ্রিঃ সর্বশেষ নবায়ন তথ্য অর্থবছর তারিখ রশিদ নং ধরন ২০২৪-২৫ ২৯-১০-২০২৩ ১৪৭ নগদ

Gov. Kate Brown dissed a war hero. Or so the story goes. And as the tale finds safe harbor, we watch another simple, incendiary narrative drive us through these complex times. Few issues are as convoluted as health-care, a context the story requires. Boxed in by campaign promises to repeal and replace the Affordable Care Act, Rep. Greg Walden, R-Ore., and the House Republicans pitched a plan that leaves 23 million more Americans uninsured. Six weeks later, reclusive Senate Republicans are rolling out their own health-care package, one that similarly decimates Medicaid expansion. In Oregon, meanwhile, Universal Health Services has long sought state approval for a 100-bed private psychiatric hospital in Wilsonville. Universal is the nation's largest for-profit psychiatric hospital chain, and operates Cedar Hills Hospital in Southwest Portland. The company says Cedar Hills turned away dozens of patients each month in 2016 because its 89 beds ...

Computers can’t think; they do not reason on their own. Your mind is not a computer and your computer is not a mind. Engineers of ubiquitous computing platforms are determined to convince us otherwise. For many of them, artificial general intelligence—the point at which computers will exceed the intellectual capacity of humans—is just around the corner. A cadre of techno-philic artists follow closely on their heels. But their claims have been greatly oversold. Few of these brave Futurists are able to ponder the deeper problem involved. Our minds crave narrative. Stories are how we make sense of an otherwise blank reality. If we are to live alongside artificial intelligence (AI), how might that bear on the narratives we use to make meaning of our world?  The American artist Ian Cheng knows computers can’t think. For several years, he has drawn on his study of cognitive science and his work with the special effects company Industrial Light and Magic to make work about human immersion...

The fourth edition of Shubbak, the biennial London festival that celebrates Arab art and culture, starts this weekend. The two-week-long festival (1 to 16 July) includes more than 150 artists from 14 Arab countries at over 80 events showing visual art, performance, film and literature. This year’s offerings will focus on “looking imaginatively to the future, whilst reflecting on the fragility, resilience and challenges of artists in times of crisis,” a press statement says.   The visual arts programme kicks off at the British Museum with a day of talks and performances, dedicated to how Middle Eastern artists and organisations can survive in the face political conflict, censorship and cultural destruction. “The British Museum is an ideal location and partner to explore the multiple issues of preserving cultural heritage and the fragile situation of artists,” says Eckhard Thiemann, the artistic director of Shubbak. A day-long symposium on Sunday, 2 July, organised by the Mosaic R...

When Howard Hodgkin died in March this year, he had already helped plan his exhibition Painting India (1 July-8 October) at the Hepworth Wakefield in great detail. The country that inspired the paintings in the show was of enormous significance to him; and the exhibition seems to have gained a corresponding importance. It is the first to gather a broad range of his paintings capturing his Indian memories and experiences. Hodgkin had given detailed instructions to Eleanor Clayton, the show’s curator. These included how to hang the pictures. “He came to see the Stanley Spencer show which I also curated, which had about twice as many paintings,” she recalls, “and perhaps that’s why one of the first things he said to me was: ‘You will make sure that the paintings have enough space.’ He said that when the paintings are too close together they fight with each other.” Hodgkin had also expressed delight at the light-filled rooms in the David Chipperfield-designed building and urged Clayton ...

Protests against the flooding of an ancient town on the Tigris River have moved to the headquarters of the Dutch firm involved in removing monuments from the site. The town of Hasankeyf, with its origins in a 12,000-year-old settlement on the banks of the river in south eastern Turkey, has become a cause celebre for conservationists since the start of construction on the giant Ilisu Dam. A small group of activists have been protesting at the Dutch company Bresser in 's-Gravendeel, near Rotterdam, against what they claim is the firm’s vital role in the removal of a 550-year-old, 1,100 tonne medieval tomb last month. The tomb of Zeynel Bey, killed in battle with the Ottomans in 1473, was moved on a special wheeled platform around two kilometres to “New Hasankeyf”, the settlement that Turkish authorities are building to rehouse displaced people. Further monuments, including the gate to Hasankeyf’s castle, a monastery, a mausoleum, and a bath are set for removal, it is reported.  Eur...

The bands New Order and Joy Division are inextricably bound with Manchester, with their music an integral part of the northern city’s cultural heritage and identity since the 1970s. The exhibition  True Faith   at  Manchester Art Gallery  (until 3 September) looks at the impact of the two groups on contemporary artists such as Mark Leckey, Barbara Kruger, Glenn Brown, Jeremy Deller and Julian Schnabel. “True Faith is rooted in the social and cultural histories, and the psychological geography of Manchester itself,” writes the co-curator Matthew Higgs in the exhibition catalogue. The show includes Peter Saville’s cool, crisp album cover artwork for New Order and Joy Division (Factory Records label). The record sleeves draw on a vast range of influences: Movement (Factory Album, 1981) is inspired by the Italian Futurist artist Fortunato Depero’s poster for the 1932 exhibition Futurismo Trentino.   The German-Egyptian artist Susan Hefuna meditates on the themes ...

A major Bill Viola retrospective opening today (30 June) at the Museo Guggenheim Bilbao marks the US video artist’s “special connection” to the museum, says its director Juan Ignacio Vidarte. He describes the show, which runs until 9 November, as a highlight of the year-long programme of exhibitions and events honouring the 20th anniversary of the Frank Gehry-designed museum in the northern Spanish city.  Viola’s installation The Messenger (1996), originally commissioned for Durham Cathedral in England, was screened at the Guggenheim Bilbao in 1997, the year it opened. The museum’s 2004 exhibition of the artist’s works catalysed its long-term engagement with film and video art, Vidarte says. A black box gallery dedicated to the medium opened there in 2014. The museum had harboured a wish to produce a larger-scale project with Viola for years, Vidarte says, but the time was right for the 20th anniversary. The result spans four decades of work and the evolution of video as an arti...

A workbench littered with cans of spray paint in every imaginable colour, boxes overflowing with tubes of acrylic paint, toy trucks, forks, a pipe organ with a crucifix sitting on top of it, a jar containing what appears to be a fish preserved in formaldehyde, pairs of eyeglasses and shoes, a Second World War-era Vickers machine gun case and a London A to Z guide. When the Australian-born artist Sidney Nolan died in the UK in 1992, where he had moved in 1951, his widow closed the doors to his studio, preserving everything inside just as Nolan had left it. This summer, the charitable trust that runs the Rodd—Nolan’s 250-acre farm in Herefordshire—is temporarily opening his studio to visitors as part of celebrations to mark the centenary of the artist’s birth. Before the studio could be opened to the public, the Australian conservator and Nolan specialist Paula Dredge was brought in to examine and conserve its contents. She was confronted by a huge stockpile of paint, particularly Ri...

The vast new Battersea Power Station regeneration project taking shape in south London will encompass several cultural initiatives including an annual public sculpture commission and a new multi-use arts venue called The Village Hall. The revamped famous 1930s power station, which is owned by a consortium of Malaysian investors, is a flagship development at the heart of Nine Elms, the new residential and commercial district spanning the Thames from Lambeth Bridge to Battersea (the redevelopment is scheduled for completion around 2026). The developers say that £6.8m will be invested in the culture programme. In a key move, Jude Kelly, the artistic director of the Southbank Centre in London, was appointed the cultural advisor at Battersea Power Station last year. Kelly told The Times newspaper that she envisages creating the world’s longest “arts corridor” along the river, stretching from The Globe Theatre next to Tate Modern down to the power station. An annual sculpture commission, ...