Art Space

Events

MICROCOSM

July 20 - August 12, 2017

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

May 04 - June 23, 2017

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.

Gandhara Art 2017

23 March, 2017

From emerging talents to the Modern masters of both Asia and the West, Art Basel in Hong Kong traces twelve decades of art history across its six sectors: Galleries, Insights, Discoveries, Encounters, Magazines and Film. On display will be the highest quality of paintings, sculptures, drawings, installations, phototgraphs, video and editioned works from the 2oth and 21st centuries, by more than 3,000 artists from Asia and around the globe. The show will also offer extensive opportunities for intellectual discovery, through discussions and presentations, creating a platform of cross-cultural exchanges for artists, gallerists, collectors and visitors. Gandhara-Art Space is showcasing the works of: Khadim Ali, Faiza Butt, Fazal Rizvi, Risham Syed and Adeel uz Zafar.

Proposals towards a new architecture

23 March, 2017

A continuing investigation into the changing face of the city through measures of policing, securitization and urban regulation manifested in the barricades and barriers that have come to form a kind of 'soft architecture'™ of Karachi, this ongoing body of work presents itself as a witty series of proposals that attempt to formulate an integrated architecture of the city through new possible configurations of urban dwellings and structural formations.

WHAT IS SEEN AND NOT SEEN WITH OR WITHOUT SEEING

09 February, 2017

WHAT IS SEEN AND NOT SEEN WITH OR WITHOUT SEEING is a subjective survey of drawing as a reflective process which extends beyond sensory perception. It reviews the trajectory of an idea as it transforms from 'being' into 'becoming' (visual/physical manifestation of the idea), the transformation of the intangible into tangible, irrespective of the tools utilized to aid this process. This exhibition marks the beginning of a long term project tracing the trajectory of drawing practices in the contemporary art of Pakistan. It is specific in its selection of artists who have all been trained at the same institution, following a train of thought which has matured and branched out in distinct and diverse practices. It documents the inspirations and influences which have evolved in a language of its own over the last three and a half decades. Conceived and curated by Hajra Haider Karrar the exhibition features some of the most prominent names in the contemporary art of Pakistan, Zahoor Ul Akhlaq, Anwar Saeed, Quddus Mirza, Adeel Uz Zafar, Mohammad Ali Talpur, Ayaz Jokhio, Fahd Burki, Ali Kazim, Rehana Mangi, Noor Ali Chagani, Sara Khan and Hammad Gillani.

Traces of the Famliar

22 December, 2016

Ayesha Zulfiqar's new body of works represents her experiences of traversing between known and unknown paths where her memory is embodied in material and spatial conditions. The desire to transform the ephemeral and temporal into containable physical embodiments stems from an urge to revive lived moments in order to abate this longing. It is perhaps in resistance to accepting a foreign condition, the unease with the unknown where one tends to introspect and delve within in search of an intimate and known realm. The ritual of drawing her room repetitively from different viewpoints, documenting each detail and alteration over the years she lived there becomes an exercise in permanence establishing and giving life to the familiar An archive of reassurance - a physical manifestation of her primary construct. Now inhabiting these confines her focus extends beyond the material objects to the empty, invisible and connecting space in the middle, the spaces of circulation which capture her attention and are deemed to hold the same value as the material objects.

'How we mark the land'

27 October, 2016

The act of cartography, while seemingly utilitarian and benign, has been a powerful way of documenting and marking territory as a means of exploration, control and conquest. Artists from Pakistan have explored the possibilities and limitations of this practice since Partition - the creation of which was also the result of arbitrary demarcation. This exhibition brings together disparate and diverse practices exploring how artists have been inspired by, addressed and critiqued the notion of cartography and representation through exploring its limitations and reappropriating its ability to discipline and control. In their experiments they have subverted hegemonic practices and reimagined new forms of visuality and seeing. They have grappled with and addressed complex issues of home, colony, belonging and transcendence.

Through the high walls and closed gates

18 August, 2016

Through the high walls and closed gates.. Farida Batool traverses the political urban landscape presenting contrasting realities through the dichotomy of before and after moments; the temporality of the present and the transformation of history and memory through erasure. By juxtaposing her experiences with those of others encountered along the way, she comments on the cultural and political turmoil of the present day. The selection of lenticular technique as her medium of choice allows her to create these visible shifts in her narrative which allow the work to be navigated in multiple ways.

The most amount of people standing still, screaming & laughi

14 July, 2016

The most amount of people standing still, screaming & laughing. The pioneer video artist of Pakistan, Bani Abidi unfolds layers of the interwoven web of complex structures inherent in her native city. Her videos and photographs are a social commentary on the politics and culture of a faulty system. The slow moving satirical and often absurd visuals, at times accompanied with text, are the artist take on persisting and prevalent behaviors portraying the failures and triumphs of living in a struggling neo liberal society.

Through the rearview mirror and the looking glass

12 May, 2016

through the rearview mirror and the looking glass. Risham Syed has the innate ability to convey complex narratives by creating re-enactments of everyday life, whether by painting a dull façade or through seemingly routine objects, which draw connections between imperial histories and the neo colonial present. There is a constant back and forth between the past and the present, where she encapsulates the wide span between two eras into a moment, of reflection and realization simultaneously.

Gandhara Art 2016

22 March, 2016

From emerging talents to the Modern masters of both Asia and the West, Art Basel in Hong Kong traces twelve decades of art history across its six sectors: Galleries, Insights, Discoveries, Encounters, Magazines and Film. On display will be the highest quality of paintings, sculptures, drawings, installations, photographs, video and editioned works from the 20th and 21st centuries, by more than 3,000 artists from Asia and around the globe. The show will also offer extensive opportunities for intellectual discovery, through discussions and presentations, creating a platform of cross-cultural exchanges for artists, gallerists, collectors, and visitors. Gandhara is showcasing the works of: Adeel Uz Zafar Atif Khan Khadim Ali, Olivia Fraser, Murad Khan Mumtaz & Sher Ali

Is she a Spinner of Yarns

25 February, 2016

Is She a Spinner of Yarns. This show encompasses three artists works, which despite having a strong medium connection are visually poles apart! Using the thread as a form of drawing each artist tells a unique narrative. Cyra Ali uses it to question social and gender biases. Samina Islam is using thread in her paintings to form a feminine voice and Imrana Tanveer talks of a more Glocal (Global and Local) landscape, a world transmuting in the form of weaves.

Harappan Connections

14 January, 2016

Ancient Artefacts,Contemporary Potteries & Interpretive Artworks. A photographic Exhibition on the Indus Valley Civilization with featured potteries of Muhammad Nawaz and Sheherezade Alam. This exhibition was a component of the Rediscovering Harappa: Through the Five Elements. An exhibition was conceived and put together by the Inheriting Harappa Project team under the direction and with the curatorial skills of Dr. Tehnyat Majeed. The project was fortunate to have the institutional support of the Lahore Museum. And finally, the major impetus was provided by the UNESCO International Fund for Promotion of Culture (IFPC) Award, and was brought to Karachi with the support of AAN Foundation.

More Than Meets the Eye

17 December, 2015

@Gandhara-art Space Karachi 17th December 2015 - 12th January, 2016 Arif Mehmood Alia Bilgrami Emaan Rana Hina Farooqui Farid Alvie Curated by Malika Abbas Artists have always pushed technical and conceptual boundaries to constantly evolve their art. Photographers in particular have always been interested in exploring alternative processes. However with the advancements in digital technology currently, the availability of the materials required for these processes is close to impossible. Furthermore applications and filters currently exist to achieve effects that previously employed tedious methods and techniques. This show discusses how artists are using methods of this digital age to experiment with technique and keep the ethos & passion for alternative photography alive.

Pretty Can Be Gritty

01 October, 2015

The works of art in this exhibition are lush in their treatment and yet the issues of urbanization these attempt to engage with are not a local, but a global phenomena. A 'glocal' phenomena, which is dealt with a light touch of irony and a sprinkle of satire. Saba Khan's uses kitschy materials to create satirical paintings depicting layered deserts and houses. Sara Khan uses bullet holes to symbolise body piercings in portraiture and reveals violence in contemporary society while Sausan Saulat's paintings of utilitarian objects on flower-adorned wallpaper pushes this paradox even further.

Cross Fire

06 August, 2015 Living in three separate continents, Khadim Ali (Australia), Sher Ali (Afghanistan) and Mahwish Chishty (USA) are reconnecting with their personal history through this collaborative exhibition that examines transition of decade-long 'war on terror'. Underlying concerns such as demonizing the political foe, the embodiment of good and evil by the superior and inferior, respectively, has been a common thread throughout history and across cultures and societies. The forces and groups representing "the superior/good" have used every available means and opportunities to suppress "the inferior/evil", without being accountable to any stakeholders. They have also defined and re-defined the terms of any social, cultural, economic and political relations between themselves and "the other", as they have manipulated the religious and historical narrations to maintain the status quo.
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