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Humour, wisdom and scepticism.

 

The order of incredulity for illusive and impulsive acts of mimicking intelligence and roaming around the ideas of domestication and the commoditised, aesthetics tended to tale upon the fundamental sub-liminal ideas that exhaust the ideological postures for the witness. Marginalised suspensions of the soil-embedded imagery and provoking the committed position for the power and the supposed, Muhammad Zeeshan exposed a comparable solo at the O art space, “don’t fight , be a donkey”

 

The podium disposed in the exercised models of the symbolical layers of paint and print stood a moderately authoritative pulverised training; the barrier collaged was meant to de-mark a rather sovereign territory, almost preserving the goodwill of and for the artist. Given the title, the benevolence was a discretion in favour of the animal, hence the viewers were kept at a circumspection level when looking at the artworks.

 

Literature has been unfair to the symbolical use of the donkey as the regardless – lesser for any regard; provoked for blurred intelligence and an object of mockery. Always been a being of great fool-ism. Zeeshan’s metaphorical adaption to the lesser regarded – a plea, – to converse a debate for a lingual that has the capacity to be far spread then what it has been kept as- adopting the animal as a spectator .

 

The four legged has the submissive insolence that attracts and unfolds the supremacy in the hands of an establishment, a dictatorship governed in its playground. The diplomatic role of serenading “don’t fight, be a donkey” holds for the wiser to acquire aesthetics and attitudes that challenge the flagship of any profession that it has to come in terms with – to be a cultural donkey and a spectator of events. Zeeshan’s demeanour of causing friction between subjects, metaphors, and narratives not only challenges his stance as a contemporary within a traditionalist thought but also makes for politically correct conversations.  Within these authoritative figures and the historically imperative ,lied an abrasion between the wise and the fool, the known and the forgotten, where the ratio of either one’s power, intelligence, wisdom and authority was highlighted , calculated and then proposed with layers in a altered timeline altogether. The delayering of the animals and the humans had a bizarre hierarchal order of awareness; mimicry. The visual communication is introduced and guided by the cultural background of the area of where the art belongs to, for the artist, his practice and the audience. All three exist in the periphery of the bondage that might not entertain any timelines but a contextual belonging holding all three together. These mutual constructions are what make the construction of these manners possible- thus to art is to outsource.

 

Organising movements for the order and symbolism, painting with the universal agendas pertaining to conjunctions of making and holding onto political ethics, Zeeshan’s ambitious provoke made one dwell in the idea of mind as medium. His arrangements were an effort for a curious claim regarding the nature of the mind and the possibilities of exercising the control over the human as the collective truth. Tracing through suggestions the illustration of violence and power is a constant thread throughout the history of art, mythology and religion. The training of imitating the imitation by which techniques are formed rather than the technique itself is an attempt to illustrate the comatose. The idiosyncrasies of his medium went to illustrate and guide the reader through the narrative only to reveal a situation by a controlled sequence.

 

The pairing of the donkey with the charged charisma of the horse brings together and unfolds a more complex analogy, both conveying a presence in regard to their own cultural, historical, political and socially oriented ideas , making it for an intriguing artistic interpretation . Inflicting multiple inter and intra social placements and talking about past in/ as future – stimulating timelines of art through human history, the duet resonate the umbilical pivot required to harmonise the demographic and democratic arenas of sustaining the order in the politics of art making and “art” itself. The agreement between the two and the role each metaphorically classified creatures attain for the authoritative figures facades a formulated playground of unfair love and war. Ornamented with much love and kitsch, the paper, print and paint come across a practice that invites the viewers to encircle within a classified and quantified realm of identifications. The artist shifts and engages in dismantling the meanings of his palette and making buoyant frameworks for the spectator. Art making is a responsibility upon the artists in creating different strategies for interpretation, yet to the trained and scholarly taste, interpretation and validity is found on a different conviction altogether then for the general public.

 

The theatrical and the trained, the hierarchy of audience becomes less challenging , referencing their share of historical product through a certain visual rhetoric enlisting , each prolifically bearing and baring –a sort of digression that only culture could afford, as a medium on its own. The two-legged being with the four legged creature becomes an absolute, an understanding in all its wisdom. Composed with satire and adorned with the innocent overlay of generalisation, it becomes necessary to look in to the values of flamboyant – imitating the striking heart and flowers. By selecting a few significant elements through the age of history, art, literature, human race the artist attempts to emphasise upon the two-dimensional or three-dimensional visual with one-dimensional medium of language. The language forces the visual plane to limit itself to a certain timeline and point and then vanish into seen templates. The efforts to contextualise the language into a concept making eventually offers no guarantee that it will have the stability to stimulate , but to dismantle the intellectual thinking into linear equations. There was an evident reflection of a dysfunctional symmetry between the two entities of force within nature.

 

Resentment towards culture of any appropriation is to be found where the disappointment with society is a reactionary dissatisfaction which expresses itself in subjected revivalism and existence of visionary fascism. The Grander culture is one of the most unnatural of all human establishments, an impression that has left the best of our species in hindrance of false philosophies that continue to dismantle and overlap the very idea of authenticity with authority. The need to create and the impulsive character requires intellectual contortion to deviate from the culture, of the popular- of the masses and of the awe- for art making isn’t a culture, it isn’t an occupational idea , it’s a sensory behaviour devised upon the humans that should not come in contact with the well-normed. Artists are called upon to critically perform other imaginative actions and procedures, almost asking artists to reproduce their novelty or present-day methodologies for the demands of challenging the definition of art with every passing day.

 

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