In Focus
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After a Revolution:  Authenti...

by Adnan Madani  

  Like many deeply conservative entities, Pakistan these days is full of talk of revolution. …

Francis Alys, When Faith Moves Mountains

On the Political Potential of ...

by Madyha Leghari

  The intersection of art and political change is a contested territory. A simplified historical …

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Contemporaries in the Corridor...

by Gemma Sharpe

Held across the Asia Society, the Grey Art Gallery and the Queens Museum in New …

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NOTES ON CURATING: THE CURATOR...

by Zarmeene Shah

The meaning of the word ‘curator’ – and thus the role assigned to the individual …

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Fake Paintings...

by Sibtain Naqvi

In 2004, Domenico De Sole, the Chairman of Sotheby’s auction house sued Knoedler & Co, …

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Copy It Right...

by Ambereen Karamat

Instead of understanding what copyrights are, let’s look at it from a different perspective:  It comes …

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The Curious Cases of Copyright...

by Hurmat Ul Ain

  Art is interesting to us because it makes us think about ordinary things differently …

Rashid Rana in Conversation with Glenn D. Lowry 
The Museum of Modern Art

There is no End | In conversat...

by Natasha Jozi

The greatest challenge in art today is not novelty rather contextualizing of expression. Defying the …

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Conversation | About and Aroun...

by Mina Arham

  “Conversation” is one of the three key components of the inaugural Lahore Biennale, the …

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The Artist Statement...

by Madyha Leghari

The necessity of the artist statement is agreed upon by all but those involved. In …

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Excerpts from Statements by an...

by Omer Wasim

In his artist’s statement, “Traces of Ecstasy,” Rotimi Fani-Kayode starts off by talking about destiny, …

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The Art of Keeping Alive...

by Natasha Jozi

It is subject to debate on the accuracy of its completion, however we know that …

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‘We are such stuff / As drea...

by Dua Abbas Rizvi

Long before John Keats wrote of the immortality of a Grecian urn, its fossilised occupants, …

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His Master’s Brush...

by Aasim Akhtar

It may seem strange that so much doubt is possible about the oeuvre of so …

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The Art of Forging Art...

by Rashid Arshed

Back in early 70’s, when I was Principal of the Central institute of Arts and …

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Consorting with the Four-Legge...

by Dua Abbas Rizvi

I recently chanced upon a new addition to my mother’s vast, personal library – a …

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Depictions of the Dragon in an...

by Zahra Khan

Similar to today’s contemporary culture, pictorial representations in early Islamic manuscripts and literature were highly …

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Hermann Nitsch: Sacrifice and ...

by Julius John Alam

Animals have been depicted in art for some 40,000 years. Starting with Paleolithic cave paintings …

Fountain 1917, replica 1964 Marcel Duchamp 1887-1968 Purchased with assistance from the Friends of the Tate Gallery 1999 http://www.tate.org.uk/art/work/T07573

The (Un)Making of Meaning (or...

by Zarmeene Shah

  In a time when ideas of definitions, boundaries, representations and interpretations have gained an …

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The Imperishable Construct...

by Natasha Jozi

No offense to the physicists and science enthusiasts who might question the authenticity of this …

Artist residency 'Outlandia' in Glen Nevis, designed by Malcolm Fraser Architects. Courtesy of London Fieldworks.

The Residency; as Retreat, Rel...

by Madyha Leghari

The cropping up of artist residencies in past two or so decades, seems almost be …

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by Saira Shiekh & Omer Wasim

Deadlines:   June 01 – Project01 started; June 15 – filed; June 17 – Project02 …

Mihrab of Sultan Ibrahim Mosque in the Fortezza of Rethymno, Crete

From the ‘Silence of Languag...

by Julius John Alam

In the Republic (514a – 520a), Plato has Socrates describe, in what is known as …

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The Beautiful Excuse of ‘...

by Sehr Jalil

“Finding your self – yes it’s this huge park in San Diego where we live …

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The Mythology of Monuments...

by Shahana Rajani

Driving towards Nishan-e-Pakistan ­­–a newly inaugurated “national solidarity monument” – a series of new adverts …

SYRIA - 2001/01/01: Syria, Palmyra, Ancient Roman City, Triumphal Arch And Colonnaded Street. (Photo by Wolfgang Kaehler/LightRocket via Getty Images)

Monuments to the Mind...

by Dua Abbas Rizvi

Making monuments is as much a mental act as it is a physical one. The …

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This is Not Made by Quddus Mir...

by Adnan Madani

John Baldessari, Commissioned Paintings, 1969   From  Marshall McLuhan and Quentin Fiore, The Medium is …

Fountain 1917, replica 1964 Marcel Duchamp 1887-1968 Purchased with assistance from the Friends of the Tate Gallery 1999 http://www.tate.org.uk/art/work/T07573

Monologue/ Soliloquy...

by Saira Shiekh

  Monologue/Soliloquy:   I am an artist, and an occasional writer. In fact, mostly an …

Rirkrit Tiravanija, Pad Thai, 1990

Art Activism – Morally a...

by Rabeya Jalil

Any art activity that activates, engages, evokes, generates a response and brings about a spectacle …

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Artivism...

by Amina Ejaz

In the most simplistic terms, according to Tate Modern’s online glossary, activist art ‘is a …

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A Strange and Sublime Address:...

by Aasim Akhtar

Initially, the word studio was used to describe the work itself rather than the workplace. …

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Notes from My Journal: A Visit...

by Yaminay Chaudhri

Feb 4th to 9th, 2016. I prepare for my first visit to Bangladesh to attend …

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From Another Perspective...

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In its third edition, the Dhaka Art Summit challenged itself by producing a four day …

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The Body is Present...

by Natasha Jozi

The body is in the eye, the body is in the sound, the body is …

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Performance Art...

by Sara Pagganwala

In the discovery of the self, you adhere to commonsense social semantics of the self …

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On Performing: Re-telling of t...

by Saira Ansari

Many years ago in Lahore, in an unassuming backwater spread of the city a little …

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Questions of Scale...

by Zarmeené Shah

With artworks getting bigger and new, huge spaces for the showing of works becoming more …

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Does Scale Matter?...

by Natasha Jozi

Let’s talk about scale. One hundred and seventy-five pounds of candy in Untitled (Portrait of …

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On the Need for a Public Art C...

by Aziz Sohail

A 2013 visit to the National Museum of Pakistan in Karachi revealed an uncomfortable sight. …

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Collecting, Destroying,Acceler...

by Adnan Madani

Collecting, Destroying, Accelerating 1. In a famous early work, the Chinese artist and dissident Ai …

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Is It Art?...

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“For, while the authority of the doctor or plumber is never questioned, everyone deems himself …

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Conversations about Public Art...

by Yaminay Chaudhri

A few weeks ago I was asked to write about public art, possibly because of …

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Believing is Seeing...

by Aasim Akhtar

“Photography cannot record abstract ideas.” – Encyclopaedia Britannica The use of a photograph determines its …

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Shafqat, Shama, Shahzad and Br...

by Madyha Leghari

On 4th August, 2015, at 4:30 am, Shafqat Hussain was quietly led to the gallows …

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Broken Integrity – Khat-e Ma...

by Musharraf Ali Farooqi

history of Nastaliq and its inventor, the fourteenth century calligrapher Mir Ali Tabrizi, I realized …

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Politics of Language, Colonisa...

by Shahana Rajani

THE COMMAND OF LANGUAGE AND THE LANGUAGE OF COMMAND Johannes Fabian, in Language and Colonial …

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Art and Text: A Cursory Overvi...

by Madyha Leghari

In contrast to the Enlightenment, during which ideas were coalescing and crystallizing into relative clarity …

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The Voice of the Artist...

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If someday you have a few months to spare, come to Barbary…you will feel the …

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A Portrait of the Artist as a ...

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There are many things that can prompt an artist to put aside the usual apparatus …

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Women and Recent Art: Some Tho...

by Amra Ali

The contribution of women artists or the nature of women’s art, in a broad discussion, …

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Guerrilla Girls: Feminist Art,...

by Salima Hashmi

It seems like a hundred years ago that the question “Why have there been no …

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Art Market Trends: Art Affairs...

by Ambereen Karamat

It’s simple: artworks needs to engender in the receptive viewer an aesthetic experience. The art …

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Art Crossing Borders...

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“But what has this to do with me?” gasped a middle-aged financial advisor, struggling hard …

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The Functions of Form...

by Quddus Mirza

A character in one of the books by Mushtaq Ahmed Yusufi observes that in Pakistan, …

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Territorial Re-Arrangements: A...

by Zahra Hussain

This essay is an attempt to reflect upon the territorial challenges that are faced by …

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City as Art – Art in a C...

by Farida Batool

When I was asked to write about ‘the city as art’, I thought of the …

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Two Paradoxes of Origin and Or...

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The question of origins seems to have receded into the background over the last decade …

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The Critique of Institutions: ...

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The discussion often arises, particularly at this time of the year where colleges and universities …

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On Art and Labour: Dilemmas of...

by Shahana Rajani

From the very beginning, artists are trained and expected to sacrifice everything for their art, …

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History of the History of Art...

by Quddus Mirza

The standard book of art history used in many art institutions across Pakistan is Art …

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First Europe, Then Elsewhere?...

by Gemma Sharpe

[I]nsofar as the academic discourse of history—that is, “history” as a discourse produced at the …

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Inspiration: A Means to an End...

by Dua Abbas Rizvi

In the contemporary context, inspiration or the phenomenon of being inspired has become linked with …

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Inspiration...

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The following essay takes form in small short linked vignettes that trace this rather muddled …

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The Collector Calling...

by Madyha Leghari

Collecting is perhaps an inherently normative process. Often cited within the discourse on taste, the …

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The Lens of An Assured Eye...

by Aasim Akhtar

“Money creates taste.” – Jenny Holzer “What you really collect is always yourself.” – Jean …

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Encounters with the Miniature ...

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It was 2009 when I was first introduced to the Neo-Miniature in Pakistan. I was …

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No Exit from Pakistan...

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In May 2013, The Roof Garden Commission: Imran Qureshi, opened on The Iris and B. …

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It Would Rain Anyway: A Case f...

by Adnan Madani

In plain usage, ‘myth’ used to refer to a mistaken belief held as fact, especially …

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The Nation and the Modern Myth...

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When one reflects on the concept of the modern mythology in itself, one must turn …

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Disparate Strokes...

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Artistry, in many ways, is akin to wizardry. It is exclusive to those naturally blessed …

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Double Entendre...

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For centuries, visual artists (painters, printmakers, sculptors, draughtsmen, architects) have been known to hold a …

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The Cloak of Culture...

by Ambereen Karamat

In this age information is accessible with just a few clicks, experiencing virtual 3-dimensional walks …

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Art Seminars and Conferences...

by Dua Abbas Rizvi

A question I am a little too frequently asked by my students is ‘Does art …

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The Return of the Diaspora: So...

by Adnan Madani

“Diasporist art is contradictory at its heart, being both internationalist and particularist. It can be …

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Lights, Camera, Smile!...

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it is a familiar scene. An exhibition is opening. Another in the turnover of exhibition …

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Parde Mein Rehne Do, Parda Na ...

by Zahra Malkani

opacity for everyone.” Edouard Glissant, Poetics of Relation “The veil was worn because tradition demanded …

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New Voices in Art...

by Saira Sheikh

[N.B. The following essay contains some assumptions, and many generalizations; it is based on my …

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Praise, Price and Prizes...

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Turner Prize 2013 Winner: Laure Prouvost. Installation view of Farfromwords: car mirrors eat raspberries when swimming through …

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On Awards and Prizes in Art...

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In 1993 during a trip to Sudan, Kevin Carter, a South African photojournalist, photographed a …

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Global Villagers: Three Commen...

by Adnan Madani

Is it possible to extricate contemporary art from the contemporary city? I do not mean, …

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Pondering the Problems and Pot...

by Dr. Razia I. Sadik

Pakistan has a powerful tradition of fine arts education that began more than a hundred …

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The Contemporary Practices of ...

by Imrana Tanveer

Since the beginning of the mankind on this world, his unusual and discontent nature was …

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Is Pakistani Art Secular?...

by Adnan Madani

Some years ago, as an art student and then a practicing artist, I felt attracted …

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The Writer on Art...

by Quddus Mirza

Just before my last visit to Karachi I was planning to do an interview of …

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Learning to See...

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Lahore, 2007. I had recently returned to Pakistan, after I passed over a PhD degree …

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Prague: The City As Art Space...

by Nazia Akram

True to its Bohemian antecedents, the city of Prague in the Czech Republic continues to …

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Shadows of The Box...

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In a contemporary art world, it is virtually impossible to hold a dialogue focusing on …

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From Palazzo to Piazza...

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Shelter, centre of social activity, gathering place for friends, spatial adventure, and status symbol: the …

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But It Looks Like Art!...

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A prominent British contemporary artist gave a seminar to my small Masters’ group at Goldsmiths …

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Imagine This...

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-An essay on art in the age of mechanical reproduction… imagine that. What can be …

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Rethinking Art Schools...

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Writing about art schools at the time when the national budget for the year 2013-14 …

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Nationalist Discourse on Tradi...

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Pahari painting—sometimes referred to as Hill painting (Pahārī, “of the hills”)—were made during 17th-19th century in …

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The Critique of Art as Commodi...

by Saira Sheikh

“Given two things that resemble one another to any chosen degree, but one of them …

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How the West was Won: Pakistan...

by Atteqa Ali

Some artists working now in Pakistan challenge the global art world. Theirs is a critique …

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National and Global...

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N. Rajyalakshmi, Chief Reporter of Ideal Times, Bangalore, interviews the artist Pushpamala N. about her …

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Standing, Sitting, Lying Down...

by Adnan Madani

Daniel Buren’s 1971 essay, The Function of the Studio, makes a series of bold declarations …

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A Strange and Sublime Address:...

by By Aasim Akhtar

Initially, the word studio was used to describe the work itself rather than the workplace. …

Nancy Adajania...

by

The Critical Importance of Pedagogy for Biennales in the Global South Nancy Adajania Having just …

'All the world going to see the Great Exhibition of 1851', George Cruikshank.1851

The Exhibitionary Complex, [re...

by Gemma Sharpe

In all their spectacular glory, art fairs and biennials are often cited interchangeably as the …

In Focus - Durriya - Greek fight_scene

Durriya...

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Curious to discover if there was a tradition of healing the human spirit in our …

In Focus Asma - 9-11 fire

The Role of the Artis...

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The Role of the Artist in Times of Terror As terror and violence have become …

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Globalism in the Wake of Conce...

by by Adnan Madani

The art history and art theory of the 20th century was dominated by a methodology that …

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Peeling the Proverbial Onion...

by by Samina Choonara

To address the relationship between art and language one must revisit the circular history of …

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Hamra Abbas...

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“As an artist I feel a sense of responsibility” says Hamra Abbas and she goes …

The Kitsch Factor...

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Defying easy categorization kitsch, prized or loathed, entertained or rejected, reflects mass-cultural values in a …

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Decorated Trucks of Pakistan...

by Durriya Kazi

Meaning is always in process, what has been called “a momentary stop in a continuing …

Art, Globalisation and Politic...

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With the globalisation of the art world, national differences among artists have grown increasingly marginal. …