The Karachi Miniature

The Karachi Miniature (May 4th – 24th, 2010) is a curatorial collaboration between two contemporary miniature artists, Sumaira Tazeen and Mahreen Zuberi, and Sumbul Khan, whose Graduate research in Art History was based on 16th century Islamic miniatures.

Critical discourse surrounding contemporary miniature had thus far centered on Lahore, the city where it all began, and the South Asian diaspora in America, where it first received acclaim.  There had yet to be an exhibition which evaluated miniature production in Karachi independent of the global/glocal trend, where the practice has flourished for almost ten years now.  This show was curated to probe the possibility of there being a regional particularity to contemporary miniature practice of the kind that existed between the historical ateliers of Herat and Tabriz.

The participating artists include Sumaira Tazeen and Mahreen Zuberi, who formulate and teach miniature curricula at The Indus Valley School of Art and Architecture and Department of Visual Studies, Karachi University, and their proteges: Malika Abbas, Hina Farooqui, Madiha Suboor, Fariha Nadir, Nosheen Iqbal and Raheela Abro.

The Karachi Miniature Brochure (PDF)

(click on each image for larger view)

Sumaira Tazeen. Sabz Bagh (2010). Opaque waterbased pigment, brocade and metal on vasli. 8 x 12 inches. red dot

Sumaira Tazeen_ Threesome (2010). Opaque waterbased pigment, silver leaf, lace and brocade on vasli. 8inches by 12 inches.

Mahreen Zuberi. Sub 1 (2010). Gouache on vasli. 18″ x 13″.

Mahreen Zuberi. Sub 2 (2010). Gouache on vasli. 13″ x 16″.

Nosheen Iqbal. Once upon a time I (2010). Metal, plastic and copper wire. 9.4 x 7cm. red dot

Nosheen Iqbal. Once upon a time II (2010). Metal, plastic and copper wire. 7 x 4.5cm. red dot

Nosheen Iqbal. Once upon a time III (2010). Metal, plastic and copper wire. 7.5 x 4.5cm. red dot

Nosheen Iqbal. Horsepower (2010). Metal, plastic and copperwire. 9 x 4cm. red dot

Nosheen Iqbal. Extinct (2010). Metal, plastic and copperwire. 9 x 4cm. red dot

Malika Abbas. Sachal Sarmast (2010). Gouache on Vasli. 12″ x 15″. red dot

Malika Abbas. Conversation (2010). Gouache on Vasli. 13″ x 15″.

Malika Abbas. Amidst the Great Ones in Fakir jo Goth (2010). B&W hand-tinted photograph on silver gelatin paper (Fuji watercolour). 12″ x 6.5″. red dot

Malika Abbas. Sachal the Shrine (2010). B&W hand-tinted photograph on silver gelatin paper (Fuji watercolour). 9″ x 13″.

Malika Abbas. A Prayer (2010). B&W hand-tinted photograph on silver gelatin paper (Fuji watercolour). 12″ x 6.5″.

Malika Abbas. Mystic Crown (2010). B&W hand-tinted photograph on silver gelatin paper (Fuji watercolour). 6.5″ x 9″. red dot

Hina Farooqui. Baba Bharat Singh (Undressed) copy(2010). Gouache on vasli. 8.5″ x 10.8″

Hina Farooqui. Size 0 (2010). Gouache and cyanotype. 20.5″ x 13.5″.

Hina Farooqui. Size 1 (2010). Gouache and cyanotype. 26.5″ x 20.5″.

Hina Farooqui. Size 2 (2010). Gouache and cyanotype. 20.5″ x 13.5″.

Madiha Suboor. Silence I (2010). Gouache on vasli. 5.2″ x 4.1″. red dot

Madiha Suboor. Silence II (2010). Digital Print and Gouache on vasli. 3″ x 5″.

Madiha Suboor. Silence III (2010). Gouache on vasli. 3.3″ x 2.5″.

Madiha Suboor. Silence IV (2010). Digital Print and Gouache on vasli. 2.9″ x 4″.

Madiha Suboor. Untitled (2010). Digital print and gouache on vasli. 5″ x 2.7″.

Fariha Nadir. Tanao 1, (2010). Tea wash, thread, gouache on vasli. 18″ x 20″. red dot

Fariha Nadir. Tanao 2 (2010). Tea wash, thread and gouache on vasli, 12.5″ x 22″. red dot

Fariha Nadir. Tanao 3 (2010). Tea wash, thread, gouache on vasli, 12″ x 20″. red dot

Metonyms for Memories (March 4th -24th)

Objects, places, signs can function as associative devices for triggering memories.  In the visual schema, memories are evoked through generally recognizable referents or through metaphors that allude to the original because of an inherent similarity.  In making such a grammatical choice, the artist’s interest is in sharing the experience of revisiting a memory rather than treating the surface as a memorial itself.  In Sheherbano Husssain and Aqeel Solangi’s works, these usual tropes are rejected.  Instead the works become montages of metonyms. By definition, a metonym differs from a metaphor in that it does not describe likeness/similarity but operates as a stand in/substitute for the original referent.  In doing so, metonymy allows for an image to be located in particular experience rather than claiming universality of association as does a metaphor. 

Aqeel Solangi. Roshan kahein bahaar ke imkaan hue tu hain IV. Acrylic and embossed print on paper, 18″ x22″.

Aqeel Solangi. Untitled (2009).  Aquatint, 15″ x 25″.

Aqeel Solangi.  Untitled.  Offset ink, oil on marble and graphite and acrylic on cloth, 12″ x 14″.

Aqeel Solangi. The Shifted Circle. Graphite and Acrylic on paper, 18″ x 22″.

Aqeel Solangi. The Enigma of a Familiar Place. Acrylic and graphite on paper, 18″ x22″.

Aqeel Solangi. Untitled. Oil on canvas, 21″ x 24″.

Aqeel Solangi. Jamuna Kinaray (2008). Oil on canvas, 24″ x 27″.

Aqeel Solangi. The Enigmatic Appearance. Oil on canvas pasted on board, 27″ x 48″.

Sheherbano Hussain. An Artist of the Floating World III (2009). Edition 1 of 3. Photomontage, 10.3″ x 13″.

Sheherbano Hussain. An Artist of the Floating World V (2009). Edition 2 of 3. Photomontage, 10.3″ x 13″.

Sheherbano Hussain. An Artist of the Floating World VI (2009). Edition 1 of 3. Photomontage, 10.3″ x 13″.

Sheherbano Hussain. An Artist of the Floating World IX (2009). Edition 2 of 3. Photomontage, 10.3″ x 13″.

Sheherbano Hussain.  Ascent (and now my heart is full). Oil and mixed media on paper, 13.5″ x 21″.

Sheherbano Hussain. Avenging Angels. Artist’s proof. Mixed media montage on paper, 11.8″ x 16.2″.

Sheherbano Hussain. Blood of Eden. Edition 1 of 3. Mixed media montage on paper, 11.8″ x16.2

Sheherbano Hussain. The Bridge. Oil and mixed media on wood, 20″ x 52″.

Sheherbano Hussain. Pilot (outer view). Oil and mixed media on wood, 20″ x 24″. red dotSheherbano Hussain. Pilot (inner view)

 Sheherbano Hussain. Eternal Sunshine of a Spotless Mind.  Oil and mixed media on wood, 20″ x 24″.

Asif Farrukhi at Poppy Seed

February is Art and Literature Month at Poppy Seed
 
The first talk of the Art and Literature series will be held on Feb 12th, at 5:30pm sharp. 
 
Asif Farrukhi will speak about how art and artists have been portrayed in Urdu Literature.
 
About the speaker: Asif Farrukhi is a renowned short story writer and critic and contributes regularly to the English language press. He is also the editor of Dunyazad, a literary journal of new writing and contemporary issues.  He was awarded the Prime Minister’s Literary Award by the Pakistan Academy of Letters in 1997 and more recently the Tamgha-i-Imtiaz.
 
The talk is free and open to the public but does require participants to pre-register by Wednesday, February 8th, 2010.  Artists, writers and students are encouraged to attend.
 
Participants may register over the telephone or via email: 
Ph: 021.3569.3808.
Email: poppyseed.gallery@gmail.com
 

“Revisiting…” (Feb 4th – 24th)

Three Art Educators revisit their artistic practice and re-evaluate their concerns as artists and educators in “Revisiting…”  Adnan Lotia revisits what a good drawing is supposed to be in the light of his experience as a high school art educator.  Sohail Abdullah revisits the equation between a photographic image and the memory of a moment.  Zairah Maher revisits her understanding of the female body and psyche.

(click on each image for a larger view)

Adnan Lotia. Schah. Pencil on Canvas board. 24″ x 24″. red dot

Adnan Lotia. Shakir. Pencil on Canvas board. 24″ x 24″.

Adnan Lotia. Dadi. Pencil on Canvas board. 24″ x 24″. red dot

Adnan Lotia. Mikail. Pencil on Canvas board. 24″ x 24″.

Adnan Lotia. MM. Pencil on Canvas board. 24″ x 24″. red dot

 

Zairah Maher. Yummy Mummy series. Dimensions variable. Silk, Khaddar, Chiffon, Velvet, Silk Thread, Black pigment and Canvas.

Zairah Maher.  Untitled (full view). Silk thread on Muslin.

Zairah Maher.  Untitled (detail I). Silk thread on Muslin. 8″ x 8″.

Zairah Maher.  Untitled (detail II). Silk thread on Muslin. 8″ x 8″.

Zairah Maher.  Untitled (detail III). Silk thread on Muslin. 8″ x 8″.

Zairah Maher.  Untitled (detail IV). Silk thread on Muslin. 8″ x 8″.

Zairah Maher.  Untitled (detail V). Silk thread on Muslin. 8″ x 8″.

Sohail Abdullah. Nightlife Bombay ’07. Black and White Photographic Print, Kentmere Kenthene Fine Lusture M.Wt. 2. 22.4″ x 15.8″.

Sohail Abdullah. Infra-red Ficus. Black and White Photographic Print, Kentmere Kenthene Fine Lusture M.Wt. 2. 22.4″ x 15.8″.

Sohail Abdullah. Little Clothes, 1984 (III). Sepia toned Photogram on black and white photographic paper. 15″ x 33″. 

Sohail Abdullah. Home Wall, Bhagtapur, ’07. Tannin toned Cyanotype on 300 gm Canson Montval acid-free paper. 20.5″ x 14.25″.

 Sohail Abdullah. On the Chariot of Laxmi, Bhagtapur ’07. Tannin toned Cyanotype on 300 gm Canson Montval acid-free paper. 20.5″ x 14.25″.

Sohail Abdullah. Mangroves by Night, Karachi ’04. Tannin toned Cyanotype on 300 gm Canson Montval acid-free paper. 20.5″ x 14.25″.

 

 

 

Nafisa Rizvi on “The Moving Image”

Nafisa Rizvi. “Image and Reality” in Herald, Vol. 40 (Number 12), Dec 2009. pp. 108-109.

(click on each image for larger view)

Marjorie Hussain on “The Moving Image”

Marjorie Hussain. “New Space, New Ideas” in Newsline, Volume 22 (Number 6), December 2009.  pp. 110-111.

http://www.newslinemagazine.com/2009/12/new-space-new-ideas/

The Moving Image (Nov 19th-Dec 4th)

The Moving Image is a visual conversation between Roohi Ahmed, Munawar Ali Syed, Abdullah Syed, Farah Jamaluddin, Asad Hussain, Auj Khan and Irfan Hassan about the ways in which the media boom has transformed lived reality in urban Pakistan.  The artists exhibited here include those who work within the media industry and those who observe its products from the outside.

Curated around Jean Baudrillard’s ideas of hyperreality and simulacra, the works in the show critique the pervasive influence of the moving image in the lives of uncritical audiences.  The myth of objective reportage, the ever watchful gaze of the “well-informed” anchor and the particularity of network agendas in tailoring coverage are referenced here.  Other voices question the glamorous representations of the real world in entertainment programming, querying how these representations speak to the psyche of the usual consumer, informing her/his perceptions and expectations of life.  All said and done, they acknowledge the addictive potential of the medium that has the masses glued to their television screens at any given hour.

The show opens November 19^th and continues to December 4^th, from 10:30am to 7:30pm daily (excluding Sundays).

(click on each image for a larger view)

Irfan Hasan. Standby. Gouache and Screenprint on Vasli. 15.4” x 13” and 13” x 34”.

Irfan Hasan. Noise. Gouache on Vasli. 20” x 28”.

Roohi Ahmed. I-We. Installtion with Drip Stand, IV Drips, Drip Set and text.

I-We (detail)



I-We (detail)

Farah Jamaluddin. “Mera Moqaf” – My Agenda. Collage with painted Xerox paper and mirrors. Installation Dimensions Variable.

Munawar Ali Syed. Between the Black Boxes (a). Fiberglass, Wood and acrylic. 29.5” x 24.5”.

Munawar Ali Syed. Between the Black Boxes (b). Pen, ink and Paint on paper. 26” x 19.5”

Munawar Ali Syed. Between the Black Boxes (c). Fiber glass, Wood and acrylic. 28.5” x 24”.

Abdullah Syed. Trance-mission I-V. Electronic LED with painted aluminum and red diodes. Installation dimensions variable.

Abdullah Syed. This picture is not Static. Honey, Beeswax, permanent ink and emboss on Vasli. 20” x 17”.

This picture is not static (detail).

Abdullah Syed. Food for Thought.  Cast beeswax. Approx. 21” x 13.6” x 1.5”

Auj Khan. Noise II. Oil on Vinyl. 70″ x 55″.

Asad Hussain. Morphing. Charcoal, embroidery and pen on leather. Approx. 7.5 ft x 7.5 ft.