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 • 333 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 • 2 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 • 129 notes
On buffalos and books
‘I Saw it Once at the Indus Valley Civilization’
"So more than the divide between Sindh and other provinces, in terms of art it was the distinction between modern and contemporary that became more obvious. One noticed modern works by artists such as Sadequain, Jamil Naqsh, Gulgee, Ahmed Pervaiz and several others, which presented a specific idea of art and its association with certain mediums (oil etc.), scale (suited for homes) as well as content (stylized, figurative or abstract surfaces).
On the other hand, the works of contemporary art displayed mostly in the curated section of the exhibition reflected how the new forms of expressions are turning into viable voices. Images, techniques and mediums — considered remote from the ordinary audience — were displayed in public and invited a response. This response could not have been measured or grasped but the mere fact these pieces were occupying public domain was a step in bringing the works of major artists to a layperson.
Perhaps the most exciting exhibit in this show was ‘I Saw it Once at the Indus Valley Civilization’, a fiberglass and found books installation that comprised a large buffalo sitting on a block of books. The work invited a viewer’s interest not only in the way the domestic and familiar creature was constructed (lifelike) but in how both parts of the work were composed and completed the narrative. The relationship of a local animal with books, mostly imported from the West and in English language, was intriguing; it indicated the connection and tension between the two modes of existence and different world views.”
(Photo courtesy of The News)
2:04 pm • 21 February 2014 • 2 notes
Pattern to Follow
Part of Aisha Khalid’s belief in the spirituality and divinity the infiniteness geometric shapes can provide, Pattern to Follow seeks to create images that relative to Islamic and Pakistani issues in a manner that doesn’t restrict the viewers to the image infront of their eyes. Instead, Aisha creates images that allow the viewers to explore for themselves the infinite levels of spirituality these patterns pave the way for them to follow.
9:40 pm • 10 February 2014 • 190 notes
Hajra Waheed's first public show in Montreal
Image Detail: Sea Change - Character 1: In the Rough, An Epic Novel (Slide 1/400);
Collage/ Negative Glass Slides 3 x 3 in
Strictly speaking, Hajra Waheed and Paul Butler’s very different works are decoupages rather than collages. Waheed’s A Short Film from Sea Change: Character 1: In the Rough, 2013, is a highly evocative and cinematographic narrative of one man’s journey of discovery, in the form of a collage of 300 negative glass slides and postcards from the 1930s and 1940s.
(Image courtesy of Hajra Waheed’s website)
9:34 pm • 10 February 2014
Putting Bangladesh on the Arts Map
"For its second edition, the Dhaka Art Summit will focus on South Asia, a bid to increase the international visibility of artists from across the region.
The event will include 250 artists, all from South Asia, and 32 local and foreign galleries. Fourteen solo art projects curated by Diana Campbell Betancourt, artistic director of the Samdani Art Foundation, will feature works by Rana Begum, Tayeba Begum Lipi, Runa Islam, Naeem Mohaiemen and Mahbubur Rahman, all of Bangladeshi origin. But Afghanistan is also represented in the series (Lida Abdul), as are Pakistan (Rashid Rana and Shahzia Sikander), Nepal (Ang Tsherin Sherpa) and India (Jitish Kallat, Shilpa Gupta, Asim Waqif, Rathin Barman and Mithu Sen).”
Exciting to see this initiative gaining momentum in South Asia!
1:16 am • 4 February 2014 • 2 notes
Pakistani artist wins the coveted Prince Claus Award
The Streets Are Rising
Oil on canvas
Pakistani artist, (Nazia Khan) was presented with a prestigious international art award on Friday for “breaking stereotypes, especially highlighting the complex social position of women”
(Image courtesy of Art Now Pakistan)
10:29 pm • 27 January 2014 • 2 notes
Nai Reesan Shehr Lahore Diyan
(Image courtesy of artnet.com)
11:30 pm • 26 January 2014 • 23 notes
What is So Pakistani About This Painting?
Oil, Acrylic and printed fabric on canvas
"Walk down the hall to What Is So Pakistani About This Painting?. This title text is printed on the central panel of a crowded and cheap-looking print. The words Painting and Pakistani are written in Roman letters and the rest of the English sentence is in Urdu. Tastelessness and transliteration have been transformed into a heady Pop anthem.
It just so happens, of course, that the title is a central question of contemporary art practice in Pakistan. No one who wishes to situate an artist’s work in the present period can escape it. Rashid Rana has clearly been bludgeoned with it. And with this piece he has decided that it is no longer his problem. It’s yours.
When you look at Rana’s photorealist paintings of the 19th century bacchanalian sculpture group by Jean Baptiste Carpeaux, commissioned by the Paris Opera House, you may ask if he painted these himself. (And if he didn’t, you may wonder whether he laughed all the way to the bank.) Whoever nurses such conservative grievances, however, should know this: in today’s art world, when you’re startled to learn that a prolific multimedia artist didn’t execute his vision with his own hands, you’re considered anachronistic and rather sweet. In a way, then, this work is cocky and cheeky: it subtly undermines you as well as the august institution in which it hangs. Deal with it.”
-Salman Toor in this great piece on Rashid Rana’s latest show
(Image courtesy of The Friday Times)
11:14 pm • 26 January 2014 • 4 notes
New Voices In Art By Saira Sheikh
Fly My Pretties
Steel, iron, incandescent bulb
"In Lahore, at the National College of Arts, for instance, the success of explorations in the traditional genre of “Miniature Painting” has of late become the hallmark of the institution. Many miniature painters graduating from NCA have gone on to practice illustrious and commercially successful careers as artists as well as teaching in other art schools in the country, thus proselytizing the idea and related mediums….
Chronologically much younger than the National College of Arts is the Indus Valley School of Art and Architecture in Karachi…At IVS, an emphasis on the popular has led to a movement in Pakistani art that significantly employs and investigates vernacular cultural elements, themes and ideas.
The School of Visual Arts and Design, at Beaconhouse National University in Lahore, has, over the ten years of its existence in the art-academic realm, also contributed to extending the horizons of Pakistani art…One of the guiding principles at SVAD was to blur the boundaries that have traditionally been perpetuated between disciplines and mediums, and focus instead on inculcating critical and conceptual thought and inquiry, while retaining content that is personally and culturally relevant and significant.
These three art schools, though distinct - in their histories, cultural contexts, pedagogical approaches and artistic vision, as well as in their respective hallmarks - are also similar in certain ways; one of these being the phenomenon of the degree show and its significance in initiating the professional careers of graduating students”
(Photograph courtesy of Art Now Pakistan)
12:08 am • 24 January 2014 • 9 notes
Contemporary Pakistani Art recently learnt that Summaiya Jilliani, in collaboration with HAHAxParadigm, has been producing some stunning street art in Philadelphia this winter.
Here are some behind-the-scenes photographs that CPA is so excited so share with its followers.
All photographs by Jason Chen. Courtesy of Ginger Rudolph/Haha Mag
10:41 pm • 22 January 2014 • 7 notes
Syed Sadequain Ahmed Naqvi
Untitled (Acrobats) Stamped “Atelier Sadequain” (lower left)
Pen and ink on paper
1:17 am • 14 January 2014 • 2 notes