'If You Have A Garden In Your Library' .... II

“The kind of library is made for me. I can decide to pass a whole day there in bliss: I read the papers, take the books down to the bar, then I go to look for some more. I make my discoveries, having gone into work on say British Empiricism; I start to follow commentaries on Aristotle instead. On getting the floor wrong, I find myself in an area, I hadn’t thought to enter, on medicine, but then I suddenly find works on Galen and hence complete with philosophical references. In this sense the library becomes an adventure.”

- Umberto Eco

An essay by Umberto Eco titled "Di Bibliotheca" (The Library) which was read at a conference held in March 1981 on the 25th Anniversary of Bibliotheca Comunale in Milano at Palazzo Sormani. It was subsequently published in Quaderni di Palazzo Sormani in 1981

Cyra Ali, Onaiz Taji, Samya Arif and Sara Khan will be exhibiting in the first show. This exhibition is the second part of the series.

The exhibition is curated by Malika Abbas with Amna Naqvi serving as a curatorial advisor.

'If You Have A Garden In Your Library' .... I

'If You Have A Garden In Your Library' .... I is the title of the show opening at AAN Gandhara Art Space on 11th April 2019. The point of departure for the show was a paragraph by Umberto Eco. “The kind of library is made for me. I can decide to pass a whole day there in bliss: I read the papers, take the books down to the bar, then I go to look for some more. I make my discoveries, having gone into work on say British Empiricism; I start to follow commentaries on Aristotle instead. On getting the floor wrong, I find myself in an area, I hadn’t thought to enter, on medicine, but then I suddenly find works on Galen and hence complete with philosophical references. In this sense the library becomes an adventure.”

An essay by Umberto Eco titled "Di Bibliotheca" (The Library) which was read at a conference held in March 1981 on the 25th Anniversary of Bibliotheca Comunale in Milano at Palazzo Sormani. It was subsequently published in Quaderni di Palazzo Sormani in 1981. Saba Khan, Wardha Shabbir, Mehreen Zuberi and Mohsin Shafi will be exhibiting in the first show. This exhibition is part of a two part series and Part II will follow this show. 

Depicture

"Depicture" seeks to address the transient nature of time-based media and calls upon the participating artists to contemplate the potentially non-archival quality of their work. Will their work remain accessible to viewers lets say, 50 years from now? The exhibition also seeks to consider the role of the artist while shaping intellectual and shared history; examining heritage through architectural spaces/dilapidated colonial buildings as well as new urbanism and its impact on quality of life and the destruction or lack of preservation of nature/natural landscapes and the sea due to urban development. All the artists in the exhibition are social practitioners, photographers and/or filmmakers and their work unfolds to the viewer over time in different ways. Artists featured in this exhibition include Aisha Abid Hussain, Ali Sultan, Iqra Tanveer, Jovita Alvares, Malika Abbas, Numair Abbasi, Nurjahan Akhlaq, Veera Rustomji. Curated by Alia Bilgrami

From the Hills to the Sea

Objects We Behold

To curate was to be able to take ongoing conversations forward and to locate a wide range of journeys. Reading into work as opposed to showcasing it. What developed was a beautiful engagement by each artist into his or her concerns, articulated in unexpected form.  Adeela Suleman, Affan Bhagpati, Marium Agha, Ruby Chishti and Tazeen Qayyum seemed to have seen or read “body” much beyond its physicality.  The realization of “beholding”, being besotted.  The object, a window to something else. And a world into itself.

The Show has been curated by Amra Ali.

The Distance Between Two Points

Born in 1966, Roohi Ahmed graduated from the Karachi School of Art in 1992 and has largely worked and taught in Karachi, apart from brief sojourns in Australia from where she received her MFA at University of New South Wales in 2013 and multiple residencies in Bangladesh, Germany, UK and USA. In the 1990’s, Ahmed became influenced by other emerging practitioners who were engaging with the city and was involved as an early team member at VASL helping build it during its nascent stages in the late 1990’s. Ahmed’s practice evolved with exhibitions and projects both solo and in collaboration with other artists through the 2000’s and continues today.

The Distance Between Two Points examines the practice of Roohi Ahmed, a Karachi based artist who has worked in diverse mediums to explore overlapping concerns around nationhood, belonging, gender and the body.

Who Gets To Talk About Whom

'Who Gets To Talk About Whom' - Opens at Gandhara Art on 5th July, 2018, by investigating the recent surge of collaborative formats of artistic practice in Pakistan, the project aims to identify the root instigator(s) and need for new modes of representation by means of encounters and discourse. 

MICROCOSM 2

Microcosm 2 has brought insight into how this generation of artists experiencing and reinterpreting their attitude, identity, environment, tastes, sexualities and political learning through their artwork. This exhibition offers a rich, intricate, multidisciplinary exploration of the work in a variety of media-ranging from drawing, painting, sculpture, installation, illustration, photography, video and few surprising mix.

PART I : DISRUPTION OF LANGUAGE

‘Conversation with cold white surfaces’ was the first experience Aisha had when it came to Art Making. Starting from the blank white pages of a diary which is a symbol of keeping a day to day record of one’s pains and pleasures to the claustrophobic images filled with unreadable text spreading like a contagious virus.  Starting from a very personal emotional turmoil it grew up to become a political comment such as ‘Personal is Political’.

A crucial aspect of her creative practice is working in an archival mode.  The thought of exploring hidden treasures of narrative yet to be told excites her while digging for ancient documents, scripts, photographs and text. The images are static yet moving, the words say nothing but they breathe. It’s like weaving of a net or making of a cocoon with ultimate patience and sheer pleasure just as one’s develop a relationship or a spiritual contact. The lucidity in the free flowing forms is organic reminding one of body secretions as well. The works executed in liquid medium, reflects the obsessiveness with the process, a force to explode, a desire to break free from something tightly knotted. The heartbreaking ache for one’s own existence, the imbalance and crudeness of life constitute a mellow palette and mood.

The Boys' Playground

These series of portraits consist of older men in their relative field of expertise which is their playground. I have photographed them intentionally on the 6 x 6 square format on film. There is a common discipline in this body of work i.e. one roll of film per personality. Amounting to 12 negatives per subject on an average. The light source is available light and most of the portraits are made with the camera aperture fully open for a shallow depth of field. This technique is very contrary to the rules of “Portrait Photography”, in which mostly pin sharp faces are emphasized as a rule. My project deals with frailty of the moment and circumstance as well. I couldn’t make contact sheets of all my subjects as in most cases negatives were studied and selected. The time and resource limit has forced me to be more on my toes in seeing the light, face and the transient company of the sitter.

The Fleet- A Solo Project by Fazal Rizvi

The Fleet’ considers the possibility of the sea as a site through which the border is observed and imagined. This too becomes a space, despite its fluidity, that is marked, divided and policed. Floating upon the seas are various vessels, symbolized in this work through the body as well as the boat, that are used to examine tensions around freedom and captivity as life traverses through the marine.

Specifically, for the artist, the Arabian Sea littoral exists as a site of fluid exchange and possibility; especially symbolised by the fishermen who navigate this sea and depend on it as a source of their livelihood, but at the same time exist as victims of this system. Thus, through this body of work, the viewer may be able to better understand the politics of the sea and its relationship to land and nation.

Rooms are never finished

Rooms are never finished', a title borrowed from Agha Shahid Ali, is a body of work that alludes to the shifting architectures of aspiration in a part of Karachi where the artist grew up. The neighbourhood is called Darakhshan Township, a development of Defence Housing Authority, and it consists of some 200 residential homes facing one edge of the Arabian sea (Seaview).

This work mulls over the shrinking of Seaview, a vibrant and free public beach enjoyed by masses escaping the weight of the city, and its relationship to the aspirations of a robust middle class living in Darakhshan across from it; upgrading, renovating and expanding their homes over the last 30 years. As the artist laments the loss of free public space on Seaview on the one hand, she looks at the land on which her own house stands on the other. It is reclaimed from the sea and eager to capture more space like the houses of her neighbours all around, begging an acknowledgement of her own complicity in the displacement of the beach and local ecologies she has loved in Karachi. Working through a series of interviews she looks at the aspirations of her neighbours and the workers on the beach to find that this complicity has surprising intersections across classes in the (often) self-destructive drive to develop the city. 

Fortuitously framed by a house transformed into a gallery, this body of work hopes to peel away some skin and enter the underbellies of lives from a place of self-awareness. Like past projects this work explores fragments of longing also, but this time allows aspiration—a less seemly cousin—to peer through its clothes making the poetic rude, less self-indulgent, and local to a place that is magical even while it stumbles into unknown futures.

Before There Was A Monsoon

Dual Concurrent Exhibitions at Gandhara Art Space
This exhibition opens at Gandhara Art Space on Thursday, October 19, 2017. This is a landmark show as we will be showing two separate exhibitions featuring the works of Abdul Ali Haider, Aisha Khalid, Afshar Malik, Anneka Cheema, Anwar Saeed, Atif Khan, Bushra Obaid, Fatima Saeed, Haider Ali Akmal, Hasnain Owais, Imran Ahmad, Imran Qureshi, Jamil Baloch, Laila Rahman, Muhammad Abrar, Dr Murtaza Jafri, Naira Mushtaq, Naazish Ataullah, Nurayah Sheikh, Quddus Mirza, RM Naeem, Saad Ahmad, Saba Manzoor, Sameera Khan, Sara Zahid, Zara Asghar & Zobia Yaqoob. 
Gandhara would like to thank Atif Khan and the Cowasjee Print Studio for their collaboration on this project.

The Past as Present

Archives have played a role in art-making as a site of inquiry to be investigated and transformed. As we approach the 70^th anniversary of the creation of Pakistan, it may be observed that discourse centers largely on questions of fracturing and ruptures which are important notions to be addressed and unpacked. However, what happens after the moment of the rupture or the creation? And how do peripheries operate in this context?

In this exhibition, four emerging practices are placed in dialogue with each other to address notions of who would confused and create anxieties around national narratives through their practice looking at the archive. Zulfikar Ali Bhutto’s practice investigates notions of masculinity, sexuality and desire through the excavation of newspaper and print archive. Veera Rustomji explores histories of the Parsi community in Karachi whose presence is under erasure. Moonis Ahmad looks at notions of memory and how borders are imagined and understood in this context. Finally Ghulam Mohammad locates the politics of language through the practice of destruction and recreation of the national Urdu language, while not being a native speaker of it. Through these practices the viewer may reflect on how past histories and experiences, especially from margins, may allow us to understand the complex narratives of celebrating the present

MICROCOSM

Microcosm - A current survey of contemporary art. A generational challenge has already been taken up and this idea has been explored in many major international projects in a global context. Youthfulness is a highly subjective topic and in the last years of boom, various artists came to the fore representing a new generation (young means under- 40). Based on the conviction that some of the most radical gestures in the art history have been carried out by the artists in early stages of their career, this curated exhibition, investigation or survey emphasizes the stars of tomorrow’s art scene who bring a myriad of visual culture influences in their art practice. There are 13 artists carefully chosen who are novel in this arena, previously hadn’t had any major exhibits and certainly their captivating works are yet to be seen with a youthful flair, and most importantly are born in 80’s or after. Some of them have yet to blow out thirty candles on a birthday cake.

Microcosm has brought insight into how this generation of artists experiencing and reinterpreting their attitude, identity, environment, tastes, sexualities and political learning through their artwork. This exhibition offers a rich, intricate, multidisciplinary exploration of the work in a variety of media-ranging from drawing, painting, sculpture, installation, illustration, photography, video and few surprising mix.

Fragmented Landscapes

Violence leaves traces. Be it habitually remembered or deliberately evoked, it has a deep impact on individual awareness as well as collective identities. The memory of violence is not only embedded in peoples' bodies and minds but also adorned onto space in all kinds of settings especially in the natural environment.Places and landscapes do not simply act as memory containers but rather profoundly shape, and are also shaped by, the ways in which violence is performed, experienced and remembered. This tense relationship is apparent in designed memorials — whether erected at sites where the violence and suffering took place, such as a war memorial, or constructed to forget violence and wish it away. Violence, thus, becomes a part of the landscape – the more heinous the violence the more beautiful its memorial.