• Archival image from India Weather Review 1939, Annual Summary Part C, Storms and Depressions. From the archive of Naiza Khan. Photo- Naiza Khan.

  • Digital map of Siliguri, a city in West Bengal, India © Naiza Khan and Patrick Harvey

  • 4. Naiza Khan, Hundreds of Birds Killed (detail), 2019, Soundscape with installation of brass objects. Courtesy of the artist

  • Naiza Khan, Doorbeen (Telescope), 2019, Video, steel telescope. Courtesy Naiza Khan

  • Naiza Khan, Drawings toward a moving image installation, 2014, graphite on paper, 21 x 26 cm. Courtesy the artist and Rossi & Rossi. Photo- Mahmood Ali.

  • Naiza Khan, Building Terrain III, 2013, Giclée print, 93 x 129.5 cm. Courtesy the artist and Rossi & Rossi.

  • Pavilion of Pakistan, Installation view. Credit Riccardo Tosetto Photography

  • Pavilion-of-Pakistan-Detail-of-Hundreds-of-Birds-Killed-Naiza-Khan-2019.-Credit-Riccardo-Tosetto-Photography

  • Pavilion-of-Pakistan-Dorbeen-Telescope-Naiza-Khan-2019.-Credit-Riccardo-Tosetto-Photography

  • Pavilion-of-Pakistan-Dorbeen-Telescope-Naiza-Khan-2019.-Credit-Riccardo-Tosetto-Photography

12. Naiza Khan, Hundreds of Birds Killed (detail), 2019, Soundscape with installation of brass objects. Courtesy of the artist (4) Dynamic Featured Image

Manora Field Notes, Naiza Khan


Works in the first gallery respond to an archival weather report from 1939 – The India Weather Review – which Khan retrieved from the dilapidated Manora Weather Observatory, a nineteenth-century British colonial structure. The review is a factual record of the aftermath of storms across British India, with the cities listed now spread across three nations, the socio-politics of which are often in a state of flux.


The artist selected particular cities listed in the report to extract and digitally map via research engines and imaging software. Combining modern technologies and traditional artistry, these contemporary maps were laser cut into Plexiglas and hand-cast into brass by artisans in Golimar, Karachi.


In the pavilion’s courtyard The Doorbeen – a sculptural installation in the form of a telescope – encourages visitors to consider different points of view. Taking as its reference the telescopes set up for local tourists on Manora’s beach – the apparatus is a symbol of the artist as mediator, and provides a space for critical reflection.


The exhibition concludes with Sticky Rice and Other Stories, a four-channel film installation created using footage taken by Khan on Manora Island over a decade. The film’s conversations reveal local histories and modern methods of commerce, reiterating the frictions between labour and production and between slow and fast technologies.



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