Let's Take It Outside - An Exhibition by Gandhara Art
Gandhara Art Gallery’s latest show “Let’s Take It Outside” will be featuring works from Ahsan Jamal, Imrana Tanveer, Noor Ali Chagani and Nashmia Haroon. The show will be up until July 5th.
The press release is as follows:
"Using the popular phrase’ Let’s Take It Outside’ which commonly translates to taking the disagreement or the fight elsewhere, this exhibition plays on the notion of moving the narrative or the dialogue away from its present condition. Thus, moving it away from the corridors of power and drawing rooms, to a place where it is more relevant and unhindered. It challenges the notion of exclusivity and seeks to provide a voice to those whose opinions are have historically been tolerated but ignored like a mild irritant. The question to put forward would be, who might those be. The public at large.
The work of all four artists, Ahsan Jamal’s quiet portraits and still landscapes, Imrana Tanveer’s tongue in check commentary on the realm of power, Noor Ali Chagani’s exposed brickwork and Nashmia Haroon’s scaffolding all call for pushing the narrative to its rightful place. Outside.”
More details can be found on their Facebook event page.
3:48 pm • 12 April 2014 • 3 notes
Transmissions from a Missing Satellite / Mehreen Murtaza
17 – 20 October 2013
Mehreen Murtaza’s work is a composition of visual narratives where traditional background meets popular culture. With imagery derived from Sufi culture and the skewed logic of science fiction, her labour-intensive digital collages are a virtual world that juxtaposes the natural with the mechanical, where technology challenges religious myth, superstition and ritual. The premise for the show lays in dream logics, alternative knowledge, uncertain histories and the creative production of new and perhaps imaginary information, where a conception of the alternative reality is expressed into the realm of an exhibition scenario.
In Transmission From A Missing Satellite, we follow cryptic clues (Telegrams from the Future, 2013) and mystical evidence (a floating stone mimicking the Floating Stone of Jerusalem at the Dome of Rock) through a bricolage of fact, fiction, truisms, (Parallel World, 2013) and historical displacement vis-à-vis the fragmented narrative of the late Dr. Abdus Salam, who’s work in the field of theoretical physics won him the Nobel Prize for physics in 1979. His memory has been marred by prejudice because he belonged to the minority Ahmadi sect, a group persecuted by successive governments since 1974; and condemned as heretics by even mainstream Muslims. Murtaza treats Abdus Salam’s biography as the foundation of a scripted narrative with numerous artistic approaches to visualize adventures in quantum immortality and meta-verses.
2:05 am • 9 April 2014 • 5 notes
A group of artists installed a child’s portrait facing up in the heavily bombed Khyber Pukhtoonkhwa region of Pakistan, where drone attacks regularly occur.
One of the most powerful art installations we’ve seen in a long time.
Please read more about the project #NotABugSplat at http://notabugsplat.com/
12:34 am • 9 April 2014 • 6 notes
SONGS OF LOVE 5, 6, 7 & 8
Multi-media on archival paper
(Images courtesy of Aicon Gallery)
11:53 pm • 8 April 2014
What is… contemporary South Asian miniature art?
‘Pattern to Follow’
"In an essay titled “The ‘Expanded Field’ of Contemporary Miniature” (Nafas Art Magazine, 2010), Nasar identifies the leading figures in contemporary miniature art as Imran Qureshi, Shahzia Sikander, Nusra Latif Qureshi and Aisha Khalid, all graduates of the Miniature Painting Department of NCA. Nasar says it is thanks to these artists, who circulate in international biennales, museums and other institutions worldwide that miniature art has become an “ism” for the new generation.
In an interview with the Telegraph India, Nasar says that “these artists have taken the South Asian tradition of miniature to new heights, and then moved beyond the page to invent a new visual language, rooted in tradition but of the here and now.”
Art critic and curator Dr Virginia Whiles, Associate Lecturer at Chelsea College of Art, University of the Arts, London, and author of a seminal book about miniature art from Pakistan, said that “the very tradition of miniature painting, particularly the Mughal style which is promoted as Pakistan’s cultural heritage, has become the inspiration for some of the most radical contemporary art work in Pakistan today.””
(Full Article can be read on ArtRadarJournal.com)
(Image courtesy of Corvi Mora, London)
8:01 pm • 7 April 2014 • 4 notes
All Brooklyn based folks should check out Smack Mellon’s group show “In Plain Sight” which will be featuring Bani Abidi’s work. The show is curated by Sarah Lookofsky.
More details can be found here.
(Photo courtesy of Smack Mellon)
8:02 am • 7 April 2014 • 1 note
Art: A Photographic Paradise
Interesting piece on Art Now Pakistan on Arif Mahmood’s photography of exhibitions.
"Art and its space have always amused me. I am obsessed about people and their environment. The gallery or the art space is a good hunting ground for images. A photographer is also a hidden collector. To collect is to own and to own is to dream. I don’t know if this makes sense but obsessions are simply layered desires. So the geometry of people and objects with heavy lighting is a pleasure which I indulge in during art talks and exhibitions. The essence is the final image for me."
(Text via Art Now Pakistan)
(Photography courtesy of Arif Mahmood/Art Now Pakistan)
1:06 am • 7 April 2014 • 2 notes
Check out Asia Week in New York!
Download the schedule here
Although Pakistani artists have not been adequately represented, there will still be plenty of fascinating pre-Partition work for South Asian art enthusiasts!
Running from 14th-22nd March.
8:35 pm • 14 March 2014
Fleshy Weapons (1997) - Pakistani Artist Shahzia Sikander
I was looking at the idea of the goddess. And it didn’t matter how many hands it had, just the notion that it was the female body with several hands was important. A Hindu goddess has a very specific face, and here I was stripping off the face and taking away the identity that defines the goddess and putting the veil on top of it. So it was like playing with both aspects- not to underestimate what’s behind the veil, and at the same time taking away the physical violence of the facial expression and the particular sort of identities that come through the image of the goddess. - Shahzia Sikander
3:54 pm • 14 March 2014 • 86 notes
Urdu Film Series (1990-2009) - Iftikhar Dadi // Pakistan
C-print Diasec, 64 x 52cm
A suite of photographs of Urdu-language films shown on state-controlled television in the 1970s, examining television as a way of imagining and shaping collective ideas of ‘success’ or ‘urban modernity’ as exemplified by the interiors, fashion, personae and gestures of the films. Taken at slow shutter speeds, they capture scanning lines of the television screen and produce a grainy, blurred effect that suggests a dream or trance-like state, several steps removed from the ‘reality’ of the depicted scenes.
1:45 pm • 6 March 2014 • 362 notes
Imran Channa's Studio
"I stretch an idea as much as I can, explore all corners of possibilities until the point that there is nothing new left in it for me to experience, it is only then that I move on” - Imran Channa
(via Art Now Pakistan)
1:38 pm • 6 March 2014 • 7 notes
Box of Memories (Edition 1 of 3)
(Image courtesy of Art Chowk)
12:12 am • 28 February 2014 • 8 notes
Installation at Terminal 1 Departure Lounge
Toronto Pearson International Airport
On view till February 2014.
“The title of this work therefore suggests a place in between flight and arrival, a temporary space where the passenger places their trust in others to complete the necessary final step. Alongside this trust is anticipation, the state of being on the cusp of something new…
In Qayyum’s work, the familiar and iconic airport passenger seat is rendered crimson with floral motif filigree that is interlaced with cockroaches. The beautiful and the undesirable are side by side, each one partially camouflaged by the other. Qayyum views the roach as a stand-in for “others” who are different from ourselves, the “others” upon whom judgement is imposed for their difference…
Trust is at the heart of this art installation and in the experience of an airport. We trust those who are with us, we respect the protocol and conduct of travel, and we hold in high esteem the difference and sameness of an unfolding journey that often begins with the person we choose to sit beside. Ultimately, Holding Pattern is perhaps a method of how we locate ourselves in the other.”
Director | Curator Art Gallery of Mississauga
via ArtNow Pakistan
12:02 am • 28 February 2014 • 134 notes