Contemporary Art from India, UAE, Qatar, Bahrain, Syria, Pakistan and Germany. 09Th January 2010 Grand Hyatt, Doha Introduction

Total Page:16

File Type:pdf, Size:1020Kb

Contemporary Art from India, UAE, Qatar, Bahrain, Syria, Pakistan and Germany. 09Th January 2010 Grand Hyatt, Doha Introduction Contemporary Art from India, UAE, Qatar, Bahrain, Syria, Pakistan and Germany. 09th January 2010 Grand Hyatt, Doha Introduction Art Select is a unique initiative launched on the strength of a private passion which today is a strong and successful international business format. The module is based on establishing alliances internationally with established and recognized entities, sharing values and together showcasing contemporary art and the culture, representing it in its best form. Hosting high calibre exhibitions together with providing a platform for emerging artists has given 2ceDV]VTeRUV _ZeVVUXVZ_^R\Z_XRce^`cVRTTVddZS]VeYVcVSjdecV_XeYV_Z_XZedRdd`TZReZ`_hZeY clients from various cities including Dubai, Muscat, London and Bahrain. The art exhibited ranges Wc`^eYV^RdeVcde`V^VcXZ_XeR]V_eWc`^:_UZRAR\ZdeR_R_UeYV>ZUU]V6Rde It is the endeavour of Art Select to position itself as a valuable resource for a substantial range of bfR]ZejRce2_U _R]]je`RUgZdVT`_df]eR_URddZdeT]ZV_edZ_f_UVcdeR_UZ_XRceRdR_Z_gVde^V_eR_U eYVdZX_Z TR_TV`WSfZ]UZ_XacZgReVR_UT`ca`cReVT`]]VTeZ`_d Amitabh Subberwal Kanika Subberwal Karin Adrian von Roques 5ZgVcdZej4`_eV^a`cRcj2ceWc`^:_UZRF26BReRc3RYcRZ_DjcZRAR\ZdeR_R_U8Vc^R_j 2ceZdRa`hVcWf]gZdfR]]R_XfRXVhYZTYdaVR\dUZcVTe]je`eYVYVRceR_Ud`f]`WaV`a]V:eecR_dTV_UdS`cUVcddaRTVR_UeZ^V:eR]d` contributes to a better understanding between cultures and nations. EYVViYZSZeZ`_5ZgVcdZejacVdV_ed#$RceZdedWc`^(T`f_ecZVd+:_UZRF26BReRc3RYcRZ_DjcZRAR\ZdeR_R_U8Vc^R_j 6RTY`WeYVRceZdedUVR]dhZeYRUZWWVcV_ee`aZTZ_YZdh`c\R_UUVaZTedZeZ_RUZWWVcV_ehRjeYfdTcVReZ_XR_Rfe`_`^`fdgZdfR]h`c]U They deal with their social, cultural, political and religious topics as well as with the experiences, feelings and emotions of their lives. The thematic context plays a role in the choice of the means, the composition of a picture, and the aesthetic criteria the artist is using. HYZ]VeYVjR]]T`^VWc`^UZWWVcV_eTf]efcR]SRT\Xc`f_UdeYVZcdYRcVUecRUZeZ`_dYRSZedR_UcZefR]ddYZ_VeYc`fXYZ_eYVZch`c\R_U cV VTeRdZ^Z]RcZejhZeYeYVV_eZcVh`c]U`WRceEYVZcRceUV^`_decReVdeYReeYVZcV_XRXV^V_e_`e`_]jhZeYeYVZc`h_Tf]efcVSfehZeY W`cVZX_Tf]efcVdYRdX`_VR_Z_UVaV_UV_ehRjE`SVeeVcf_UVcdeR_UeYVdV]VTeVUh`c\d`WRceZ_eYZdViYZSZeZ`_ZeZdYV]aWf]e`Rd\hYRe eYVRceZdeZdW`c^R]]jR_UeYV^ReZTR]]jf_UVceR\Z_XEYVcVW`cVZeZdZ]]f^Z_ReZ_Xe`_`e[fde]``\RehYReZdSVZ_XUVaZTeVUSfeY`hZeZd SVZ_XdY`h_:_eYZdViYZSZeZ`_eYVgZdZe`chZ]] _UR_f^SVc`WUZWWVcV_e\Z_Ud`Wh`c\d+TR]]ZXcRaYjRSdecRTeT`^a`dZeZ`_ddeZ]]]ZWVRd hV]]Rd XfcReZgVh`c\d EYVhV]]\_`h_RceZdeWc`^BReRc7RcR[5RYR^ZdViYZSZeZ_XRdV]VTeZ`_`WYZdh`c\dRUUZ_XRdaVTZR]UZ^V_dZ`_e`eYVdY`h5RYR^ YRdZ_eYVaRdeViYZSZeVUYZdh`c\dX]`SR]]jZ_T]fUZ_X=`_U`_7cR_TV8Vc^R_jFD2DhZekVc]R_U<`cVR=VSR_`_6XjaeR_U>`c`TT` to name a few. 5c?RXRe>R\\Z`_V`WeYV^`deac`^Z_V_eWV^R]VRceZded`WF26ZdR]d`dY`hTRdZ_XYVch`c\RSdecRTeZ`_deYReUVR]hZeYadjTY`]`Xj and human relationships. A self -taught artist, Jaideep Mehrotra has a unique style, developed from introspection and mystical exploration. A style that could be UVdTcZSVURddfccVR]ZT`_ZT`cYjaVccVR]Zd^EYVTcVReZgVbfVde`W_`eT`_ _Z_Xe`aRcR^VeVcdYRdUcZgV_YZ^e`ViaVcZV^V_ehZeY UZWWVcV_e^VUZf^dfS[VTedS`eYhZeYZ_R_UhZeY`feeYVeh`UZ^V_dZ`_R] 4R]]ZXcRaYjYRdR]hRjdSVV_R_Z^a`ceR_eV]V^V_e`W6RdeVc_ecRUZeZ`_ER\Z_XeYZdRXV`]UW`c^RdeYVZca`Z_e`WUVaRcefcV^R_j RceZded _UeYVZchRje`^`UVc_ZejR_UTcVReVRXcVReUZgVcdZej`Wh`c\dEcRUZeZ`_cV^RZ_dRdZedVdeVV^VUSRT\Xc`f_U EYVh`c]UcV\_`h_VU]ReVAR\ZdeR_ZRceZde:d^RZ]8f]XVVW`cViR^a]VYRdSVV_TV]VScReVUW`cYZda`hVcWf]RSdecRTeaRZ_eZ_XdR_U a`cecRZed2\VjZ_ fV_TV`WYZdRceZdeZTTRcVVcYRdSVV_ecRUZeZ`_R]:d]R^ZTTR]]ZXcRaYjRdhV]]Rd2^VcZTR_2TeZ`_ARZ_eZ_X9VUVgV]`aVU RUj_R^ZTaRZ_eZ_XeVTY_ZbfVhYZTYYVfdVUe`TcVReVa`hVcWf]h`c\d`WTR]]ZXcRaYZTViacVddZ`_9VT`^SZ_VU:d]R^ZTTR]]ZXcRaYj hYVcVeYVhcZeeV_eViehRd_`e`_]jcV]ZXZ`fdSfeUVT`cReVUeYVaRXVR_UeYVHVdeVc_dej]V`W2SdecRTe6iacVddZ`_Zd^hZeYZedgZgUR_U Uj_R^ZTScfdYdec`\VdR_UReeYVdR^VeZ^VYV^R_RXVUe`ecR_dTV_UeYV^8f]XVVYZ^dV]WdRZU+}>jVRc]ZVcTR]]ZXcRaYjhRdT]RddZTR] :_TR]]ZXcRaYjj`fYRgVe`X`SRT\e`j`fcc``ed:TR_hcZeVZ_R_j`WeYVdej]Vd`WeYV`]U^RdeVcd3fe:YRgVXZgV_ZeR_VhUZcVTeZ`_~EYV dVTcVe`WeYV^RXZTa`hVc`WYZdh`c\d]ZVdZ_YZdZUVRRS`feU`Z_XTR]]ZXcRaYjZ_YZdUVg`eZ`_}J`fYRgVe`^VcXVj`fcdV]WZ_eYVSVRfej `WeYVhcZeZ_XR_UZ_eYRedeReVj`fhcZeV:_eYVdVh`c\dj`f_VVURT`__VTeZ`_SVj`_UsTR]]Ze_RefcV8`Us~YV`_TVdRZU 2Y^VU<YR_ZdR_`eYVcWR^`fdRceZdehY`fdVdTR]]ZXcRaYjRdYZdViacVddZ`_R_UUVg`eZ`_e`eYV@_VR_U@_]jFdZ_XdZ]gVcR_UX`]U]VRW on canvas, and treating them chemically in a repeating process he paints his calligraphic writings and abstract forms on to the colored dfcWRTV:_T`_ecRdee`8f]XVV|dh`c\dYZdTR]]ZXcRaYZVdRcV`WeV_`W^VUZeReZgVdZ]V_TV 4`^a]ViTR]]ZXcRaYZTZ^RXVd`W^jdeZTR]R_Ua`VeZTa`hVcRcVeYVh`c\d`W2cZW<YR_9V^ZiVdT`]`cdW`c^dR_UTR]]ZXcRaYjZ_R_ unexpected way. DjcZR_S`c_RceZde?RdcHRc`fcR]d`Z_T`ca`cReVdeVieZ_e`YZdh`c\dHYV_YVhRdRS`jaV`a]VRaaVRcVUe`YZ^RddYRaVdR_Ud`^VeZ^Vd YVWV]eRdeY`fXYYVT`f]U]``\eYc`fXYeYV^2dYVX`e`]UVcYZdRSZ]Zeje`TReTYWVV]Z_XdR_UV^`eZ`_dVgV_eY`fXYed`WaVcd`_dYV^Ve or who crossed his path grew stronger. This sensitivity came into play when he started his career as an artist and became his source of Z_daZcReZ`_:_dTcZSZ_Xh`cUdZ_e`YZdaRZ_eZ_Xd^VR_d^R\Z_XgZdZS]VeYVeY`fXYedR_UV^`eZ`_dYVZ^RXZ_Vd`WaV`a]V >VcVRSdecRTeaRZ_eZ_XdRcVeY`dV`WAcReZSYRDZ_XYWc`^:_UZR`ceY`dV`WFdTYZWc`^8Vc^R_j2]eY`fXYS`eYTcVReVT`]`cT`^a`dZeZ`_d T`^a`dZeZ`_d`Wdec`_X`WeV_[`jWf]T`]`cdR_UfdVRTcj]`_TR_gRdeYVcVdf]eT`f]U_`eSV^`cVUZWWVcV_eAcReZSYR|dT`]`cdRcVViacVddZgV brought on the canvas in dynamic form, Uschis colors however are of a mystical and meditative power. 2SVRfeZWf]a`cecRZeZd`_VhZeYeYVS]fVYRZcVU]RUj`WeYVAR\ZdeR_ZRceZde;R^Z]?RbdY?RbdY^`de]jaRZ_edh`^V_R_U`gVcR]`_X aVcZ`U`WYZ^YZdWRg`cZeVdfS[VTeYRdSVV_YZdT`^aR_Z`_?R[^RDfcR@WeV_YVT`^SZ_VdeYVh`^V_hZeYaZXV`_dRSZcUhYZTYYRdR_ Z^a`ceR_e^VR_Z_XZ_YZdaVcd`_R]]ZWV9Zdh`c\dRcVR^ZiefcVSVehVV_^`gV^V_eR_UdeZ]]_VddhYZTYe`fTYeYVd`f] EYVdVWVhViR^a]VdUV^`_decReVeYReVRTY`WeYVRceZdeZ_eYZddY`hYRdYZdgVcj`h_]R_XfRXVR_UTcVReVdf_ZbfVh`c\dZ_RUZdeZ_TeZgV style. The result is an amazing display of diversity. 4`ajcZXYe<RcZ_2UcZR_g`_C`bfVd#!"! Amiya Bhattacharya 2Y^VU<YR_ 2_XV]]Z\R7f]e`_ 5c2]\RCRXYfgR_dYZ 2dRU7Rcf\Z 2cZW<YR_ 7RcR[5RYR^ :d^RZ]8f]XVV Jamil Naqsh Jan Jacobs Mulder Jaideep Mehrotra <ZdY`cVC`j Mobina Zuberi >`YdV_8YRcVVS Nasr Warour 5c?RXRe>R\\Z Pratibha Singh AcZjR_\RG`YcR2_R_U CVgReZ8R_XR] Saurav Bhattacharya DVV^ZeRC`j Sunil Das Uschi Amiya Bhattacharya I India 3`c_Z_"*%*2^ZjR3YReeRTYRcjRdefUZVUReeYV:_UZR_4`]]VXV`W2cedR_U5cRWed^R_dYZaZ_4R]TfeeRR_UeYVcVRWeVc[`Z_VUeYV2_R_UR 3RkRcARecZ\R8c`fa`WAfS]ZTReZ`_hYVcVe`URjYVZdeYVDV_Z`c2ce5ZcVTe`cR_UR]d`UVdZX_dW`cAV_XfZ_:_UZR2^ZjR|ddeReV^V_eZd found in social reality. He is an artist of rare emotion and sensitivity. And his statements focus on social realities, often powerful and Vg`TReZgV`WeYVecfeYRdYVaVcTVZgVdZeDZ_TVYZd_RefcR]UZW UV_TVacVgV_edYZ^Wc`^g`ZTZ_XYZdZ__Vc^`deeY`fXYedR_UWVV]Z_XdYV efc_d]Z\Vd`^R_jd`TZR]]jcVeZTV_eaV`a]VZ_e`SVZ_Xac`W`f_U]jRceZTf]ReVZ_YZdRce7`c2^ZjRZeZdYZdW`c^`WV]`bfV_TV Group Shows: "**#+6iYZSZeZ`_ReER[2ce8R]]Vcj>f^SRZ "**&+6iYZSZeZ`_Re;VYR_XZc2ce8R]]Vcj>f^SRZ #!!"+DY`hZ_9`_X<`_XReeYVGZdfR]2ced4V_ecV #!!%8c`faDY`h{:_UZR_2ceF_S`f_U|=`_U`_ #!!&8c`faDY`h{:_UZR_2ceF_S`f_U::|8cR_U9jRee5fSRZ #!!'8c`faDY`h{6faY`_ZTAR]VeeVd|:E48cR_U4V_ecR]>f^SRZ #!!'8c`faDY`h{6faY`_ZTAR]VeeVd|2]]ZR_TV7cR_TRZdV?Vh5V]YZda`_d`cVUSj5VfedTYV3R_\ #!!'8c`faDY`h{5ZR]`XfV|6[Rk2ce8R]]Vcj=RY`cV #!!'8c`faDY`h{6faY`_ZTAR]VeeVd5fSRZ|8cR_U9jRee5fSRZ #!!(8c`faDY`h{F_Z_eVccfaeVU;`fc_Vj|:E48cR_U4V_ecR]>f^SRZ #!!)8c`faDY`h>V]]Z f`fd>ceRaY`cdZ_>R]RjRdZ]RReHVZ=Z_X8R]]Vcj #!!)8c`faDY`h}2Tc`dd3`f_URcZVd~ReeYV8cR_U9jRee5fSRZ2ceDV]VTe #!!)8c`faDY`h}2Tc`dd3`f_URcZVd~ReeYV=V`_RcU9`eV]=`_U`_2ceDV]VTe #!!)8c`faDY`h{|5ZWWVcV_eDec`\Vd~ReeYV8cR_U9jRee5fSRZ2ceDV]VTe #!!)8c`fadY`h}5ZWWVcV_eDec`\Vd~ReDYR_XcZ=R3Rc2];ZddR@^R_ #!!)8c`faDY`h4cVReZgVDaZcZeZ_D`feY2WcZTRReDeVhRce8R]]Vcj #!!)4YRcZejDY`h:_UZR_Dec`\VdW`c<YfdYZZ_3R_XR]`cV WorkShop: "*)#+ARceZTZaReVUZ_RdaVTZR]h`c\dY`a`_?VhdaRaVc5VdZX_`cXR_ZdVUSj:7C2Z_8Vc^R_j Title: BEHIND THE MUSK I Medium: MIX MEDIA ON CANVAS I Size: 46” X 40” Ahmed Khan I Pakistan 3`c_Z_"*$* 2Y^VU <YR_ Zd hZUV]j RTTVaeVU Rd eYV XcVReVde ]ZgZ_X TR]]ZXcRaYZT RceZde Z_ AR\ZdeR_ 9V UZda]Rjd a splendid and natural talent in the genres of sculpture, designing and painting. He has designed several monuments in Lahore and Islamabad. His philosophy of art is described through his palette in a masterly fashion. Silver and gold leaf pasted on canvas, stretched on board is the base of his paintings. He has perfected a unique and intricate process which gives his paintings a mystical, magical quality. Chemicals are sprayed out on the foiled surface to extract immediate colour changes and give them sheen. He then deftly paints calligraphic forms and abstract patterns onto eYVT`]`fcVUdfcWRTVdEYZdac`TVddZdcVaVReVUdVgVcR]eZ^VddecVeTYZ_X`gVchVV\dEYZdecVRe^V_e gives his paintings a luminosity and transparency that is unchallenged. 6RTY}<YR_|ZdRecZSfeVe`eYZd^R_|dXV_ZfdR_USVT`^VdRTV_eVcaZVTVZ_R_jT`]]VTeZ`_9VYRd ViYZSZeVURSc`RU`_dVgVcR]`TTRdZ`_dZ_T]fUZ_XRdV]]`fedY`hZ_eYVFD2Z_"**'Z_4R]ZW`c_ZR9Zd TR]]ZXcRaYZTeYV^VdUVR]hZeYeYV@_V_Vdd`W8`UR_UUVdZcVW`caVRTV Title: CALLIGRAPHIC COMPOSITION I Medium:@:=PIGMENT ON CANVAS BOARD I Size: 24” X 24” Angellika Fulton I Germany 3`c_Z_9RfV_deVZ_8Vc^R_j2_XV]Z\R<V]]Vc7f]e`_|dRaacVTZReZ`_W`ceYVRcedSVXR_ReRj`f_X age. After completing her education in hotel management she moved to London where she met her YfdSR_UAVeVcR]d`RY`eV]ZVcEYVZc[`fc_VjYRdeR\V_eYV^R]]`gVceYVh`c]Ue`DhZekVc]R_U?Vh KVR]R_U5fSRZ2fdecR]ZR>RTRf>ViZT`:_UZRR_USRT\e`5fSRZhZeYeYVZceh`\ZUdhYVcVeYVj have now lived for nearly seven years. :_5fSRZdYVhRdW`cef_ReVV_`fXYe`^VVeR8Vc^R_RceZde6gR6_X]ZdTYhY`YRddZ_TVSVT`^VR
Recommended publications
  • 64 Pakistani Artists, 30 and Under
    FRESH! 64 Pakistani Artists, 30 and Under Amin Gulgee Gallery Karachi March 2014 Curated by Raania Azam Khan Durrani Saba Iqbal Amin Gulgee Amin Gulgee Gallery Amin Gulgee launched the Amin Gulgee Gallery in the spring of 2002, was titled Uraan and in 2000 with an exhibition of his own sculpture, was co-curated by art historian and founding Open Studio III. The artist continues to display editor of NuktaArt Niilofur Farrukh and gallerist his work in the Gallery, but he also sees the Saira Irshad. A thoughtful, catalogued survey need to provide a space for large-scale and of current trends in Pakistani art, this was an thematic exhibitions of both Pakistani and exhibition of 100 paintings, sculptures and foreign artists. The Amin Gulgee Gallery is a ceramic pieces by 33 national artists. space open to new ideas and different points of view. Later that year, Amin Gulgee himself took up the curatorial baton with Dish Dhamaka, The Gallery’s second show took place in an exhibition of works by 22 Karachi-based January 2001. It represented the work created artists focusing on that ubiquitous symbol by 12 artists from Pakistan and 10 artists of globalization: the satellite dish. This show from abroad during a two-week workshop in highlighted the complexities, hopes, intrusions Baluchistan. The local artists came from all and sheer vexing power inherent in the over Pakistan; the foreign artists came from production and use of new technologies. countries as diverse as Nigeria, Holland, the US, China and Egypt. This was the inaugural In 2003, Amin Gulgee presented another major show of Vasl, an artist-led initiative that is part exhibition of his sculpture at the Gallery, titled of a network of workshops under the umbrella Charbagh: Open Studio IV.
    [Show full text]
  • Showcase for Pakistani
    http://archive.gulfnews.com/supplements/pakistan/more_stories/10027366.html Showcase for Pakistani art By Saima Tariq Khan, Gulf News Report Published: March 22, 2006, 00:00 The Mohatta Palace Museum in Karachi has hosted some of the finest art exhibitions. Cities are like people - each with its own character and idiosyncrasies. The port city of Karachi is like a youngster bursting with energy and life, with mood swings tempered by the ocean that washes its shores. Wild and passionate, grey and foaming or calm turquoise glass, the ocean defines the city's outer limit, while culture and history defines its centre - embodied in one of the city's major attractions, the Mohatta Palace. The founder of the nation Quaid-i-Azam Mohammad Ali Jinnah, upon his death, left most of his assets to the government. He did, however, leave one of the residences to his younger sister Fatima Jinnah. Her twilight years were spent in this palatial red brick building. After her death, the mansion fell into disarray until a few philanthropists restored it to its present glory. The Mohatta Palace could have become just another museum. Instead, it is now a spectacular venue for some of the country's most interesting exhibitions. A craftsman's dedication to his work is always reflected in his creations. This is certainly true with the Mohatta Palace Museum. Surrounded by large lawns, the contrast of red brick and green plants is refreshing. The building has large halls and rooms and a gallery upstairs. Many famous personalities have visited the museum, including the popular Indian writer Arundhati Roy.
    [Show full text]
  • Jahangir Siddiqui & Co. Ltd. List of Shareholders (Unclaimed Dividend
    Page 1 of 83 Jahangir Siddiqui & Co. Ltd. List of Shareholders (Unclaimed Dividend) Unclaimed S. No. Name of Shareholder Address Dividend (PKR) 1 (1081) MRS. LAILA NUSRAT 17-B, JUSTICE SARDAR IQBALROAD, GULBERG-III, LAHORE. 56 2 (1329) BURHAN ALI 341/B,NEW CHOUBURJI PARK,LAHORE. 90 3 (1350) MUBARIK ALI C/O ROOM#509, LAHORE STOCKEXCHANGE BUILDING, LAHORE. 450 4 (1538) MALIK MUHAMMAD ALEEM HOUSE#12, MAIN BAZAR QILLAGUJAR SINGH, LAHORE. 425 5 (1746) MUHAMAMD SALEEM BASHIR H.#17, S.#3, D-BLOCK MALIKMUNIR ROAD GULSHAN RAVILAHORE. LAHORE 650 6 (1746) MUHAMAMD SALEEM BASHIR H.#17, S.#3, D-BLOCK MALIKMUNIR ROAD GULSHAN RAVILAHORE. LAHORE 425 7 (1832) QAZI ZUBAIR GILL H.#26, S.#2, NADEEM PARK,NEW SHALIMAR TOWN, LAHORE. 340 8 (1882) MUHAMMAD AKRAM KHAN 185-KAMRAN BLOCK ALLAMAIQBAL TOWN, LAHORE. 128 9 (1944) MAZHAR MUNIR H.#94, ALALH RAKHA STREETSAIF ROAD,BHAGAT PURA SHADBAGHLAHORE. LAHORE 425 10 (2056) WAQAS AHMAD KALEEM 202-G/1, JOHAR TOWN,LAHORE 657 11 (2064)SANA UD DIN QURESHI HOUSE#1-1016, KUCHA KAMANGARAN RANG MAHAL, LAHORE. 650 12 (2067) MRS.RAFIA JAMAL AMJID HUSSAIN MUGHAL,QYARTER#10/61 SODEEWAL COLONY,MULTAN ROAD LAHORE 65 13 (2159) MUHAMMAD ALTAF BURJ ATTARI FEROZ WALADISTRICT SHEIKHUPURA 292 14 (2178) ZEESHAN MUSTAQ HOUSE# 279/A STREET#01,TAYYABA COLONY BHAGATPURASHAD BAGH LAHORE 353 15 (2244) GHAZANFAR ABBAS CHUGHTAI C/O MAQBOOL AHMAD STREET#05,QUAD-E-MILLAT COLONY GHUNGI AMAR 1,560 16 (2331) DILAWER HUSSAIN E-361 RAJAB ABAD BEDIAN ROAD,LAHORE CANTT 325 17 (2346) MUHAMMAD IMRAN AFZAL GOLDEN NUSERY, 9-SHALIMAR LINKROAD OPP.BOC GAS FACTORY,MUGHALPURA LAHORE 85 18 (786) M.
    [Show full text]
  • Queer Masculinities and Spaces of Intimacy in the Work of Anwar Saeed
    Queer Masculinities and Spaces of Intimacy in the Work of Anwar Saeed Noor Alainah Asif A thesis submitted in partial fulfillment of the requirements for the degree of Master of Art University of Washington 2019 Committee: Sonal Khullar Adair Rounthwaite Christian Novetzke Program Authorized to Offer Degree: Art History ©Copyright 2019 Noor Alainah Asif University of Washington Abstract Queer Masculinities and Spaces of Intimacy in the Work of Anwar Saeed Noor Alainah Asif Chair of the Supervisory Committee: Sonal Khullar Department of Art History The bodies of same-sex loving men and women have been subject to state-sponsored oppression, censorship, and brutalities since Pakistan’s inception. These violences have been increasingly aggravated since the 1980s. This paper examines the work of contemporary Pakistani artist Anwar Saeed. In his paintings, Saeed interrogates conflictual intersections between sexuality, religion, love, violence, and the nation-state through representations of queer male bodies. By way of his references to sexuality and queerness, Saeed forges artistic intimacies between his practice, other Pakistani artists, and local religious and cultural histories. This paper suggests that Saeed's practice, then, works within the parameters of the Pakistani nation-state as a means of working against it. This is to say that Saeed’s work has developed through the subversive concept of disidentification, as informed by queer theorist José Esteban Muñoz. Keeping in mind the theory’s US based context, this paper seeks to consider disidentifications in the context of Saeed's practice; an analysis of this kind can possibly create an opening for a cross-border analysis of the effects of power on gender, sexuality, and queerness that departs from generalizing, Eurocentric accounts of inequality, patriarchy, and oppression.
    [Show full text]
  • Year Book 2018-19
    YEAR BOOK 2018-19 GOVERNMENT OF PAKISTAN NATIONAL HERITAGE & CULTURE DIVISION Page | 1 TABLE OF CONTENTS S.No. Contents Page 1 Foreword 03 2 National History and Literary Heritage Division 04 – 06 3 Department of Archaeology and Museums 07 – 09 4 National Language Promotion Department 10 –11 5 Pakistan Academy of Letters 12 –15 6 Iqbal Academy Pakistan 16 –22 7 Urdu Science Board 23 – 30 8 National Library of Pakistan 31 – 46 9 Quaid-i-Azam Academy 47 – 55 10 Urdu Dictionary Board 56 – 59 11 Aiwan-e-Iqbal Complex 60 – 66 12 Quaid-i-Azam Mazar Management Board 67 – 69 13 Pakistan National Council of the Arts 70 – 96 National Institute of Folk & Traditional Heritage (NIFTH) 14 97 – 113 (Loke Virsa) Page | 2 FOREWORD Rule 25 of the Rules of Business 1973 requires every Division of the Federal Government to prepare a Year Book on its activities and achievements during the year. The Year Book is prepared for information of the Cabinet as well as general public. The annual publication of this Year Book is also recognition of the public’s right to information. In compliance with its responsibility under the above Rules, the National Heritage & Culture (NH&C) Division has prepared its Book for the year 2018-19. The objective of this book is to keep the public informed on the important activities undertaken by the NH&C Division and the organizations/bodies/departments under its administrative control. It is hoped that this publication will serve as a useful reference book for the public, scholars and researchers, etc.
    [Show full text]
  • Press Release Gallery
    Pontone PRESS RELEASE GALLERY Jamil Naqsh and the eternal feminine 28 July – 27 August 2017 Opening reception Thursday 27 July | 6–8 pm Jamil Naqsh’s new series of images reaffirms his reputation as a master draughtsman, with a sidelong glance at established Western traditions to which he both does and doesn’t belong. What he now offers are close-up portraits of beautiful young women, of a type familiar from the romantic dream world of classic Mughal miniature painting, but enlarged to life- size, or maybe a little beyond that and presented in warm sepia monochrome. The immediate impression one gets is that these are works on paper, subtly aged. It suggests a relationship with the drawings that have come down to us from the great masters of the Italian Renaissance – precarious survivors whose presence before us both emphasizes and denies their air of fragility. Yet this is an illusion. These are in fact works made in oil on canvas – triumphant examples of trompe l’oeil. By deceiving us, Naqsh emphasises both the essential contemporaneity of the work, and – simultaneously – its organic connection with the great art of the past. Harmony 2017 | Oil on Canvas | 101 x 76 cm (40 x 30 in) The subject matter of the series is deliberately restricted. Beautiful, isolated human creatures are seen accompanied by pigeons, which are traditional signifiers of love in the culture Naqsh comes from. This romantic love, however, is of a particular kind, whose expression is prompted by separation from, not union with, the love object. Sentiments of this sort are also pervasive in ghazal poetry, a literary form that has flourished in Urdu, just as also, somewhat previously, in Persian.
    [Show full text]
  • Cubism in Pakistan: “An Evolutionary Glance”1
    Sunway Academic Journal Volume 10 1 CUBISM IN PAKISTAN: “AN EVOLUTIONARY GLANCE”1 SHAHNILA MUGHEES Sunway University No. 5 Jalan Universiti, Bandar Sunway, 46150 Petaling Jaya, Selangor Darul Ehsan Tel: +60(3)74918622 Ext. 3541 Fax: +60(3)56358630 Email: [email protected] ABSTRACT This paper reviews the cubist movement and its impact on the young artists in Pakistan. This practice-led research project investigates from an evolutionary perspective, how the Pakistani art scenario started to take a leap forward after the independence. Starting from Abdul Rahman Chughtai, Allah Bux and Sheikh Shujaullah’s conventional style, the modernism of Shakir Ali was soon found dominating the art scene. No wonder Shakir Ali is regarded as the first daring artist, responsible for introducing cubism into Pakistan. This study thus proves that it was cubism, which proved a vital source of art propagation and acted as a pillar for initiating new trends in the art genre of Pakistan. In conclusion, cubism also served as a platform for those artists who were striving to get new vistas for self-expression. INTRODUCTION The 20th century witnessed a rapid series of artistic inventions in its first two decades which arose to mark a difference from the past: “The revolt against all form of naturalism was in full swing, new ideas and methods were put forward in painting, sculpture, architecture, in literature, music, philosophy and science as well and the radical inventions of these years underlie all later developments even today”2. These new artistic experimentations during 1905 to 1916 gave birth to several movements: the fauves, Die Bruke, Der blue Rieter, Futurism, Orphism, Suprematism, Constructivism, Votivism and Dadaism.
    [Show full text]
  • Iris April-To-June-2014.Pdf
    IRIS Art Magazine, a universal 4 Are art schools killing creativity? project with global outreach takes Aisha Shahnawaz says art education has been turned into a common profession. you over a wonderful odyssey, with support of artists, sculptors, collec- tors, art gallery and museum pro- 6 Paintings of small worlds by Mohsen Keiany Miniature painter and art critic discusses painting in the subcontinent. fessionals, litterateurs and academ- ics on all five continents. 12 Alexandra’s soul out to conquer new horizons www.irisartmag.com She uses contemporary surrealism, abstraction and narratives to create art Chief Editor Khalid Rahman 18 Aurora’s search for ways to express herself She creates good art and has a good business sense too. Art Editor Saira Khalid 24 Biddy Hodgkinson interprets imagery of nature Contributing Editors Her advice to artists: ‘Be original; you learn most from your mistakes.’ Maryam Rasul INTERVIEW Jamil Khan Amna Jafri 27 Miles Baker’s clowns come out of nowhere His clowns are a depiction of humorous side of a painful reality. International Contacts Chicago: Tabinda Sahar (Chicago +16306992785) 31 Nikki Park wants you to follow your heart [email protected] She can put her heart and be in her dreams rather than live to work. 1492 Calendula Ct, IL 60446, USA 34 Soraya Sikander’s work: ‘an ongoing monologue’ Studying art in Britan and observing other cultures has opened her mind. UAE: Jamil Khan (Dubai +971504856098) [email protected] 38 ‘The Gamcha Project’ by Elise Vazelkis 105 Liyali Building, She got intrigued with the colourful headwear of the laborers working in Dubai.
    [Show full text]
  • Modern and Contemporary South Asian Art New Bond Street, London | 24 October 2018
    Modern and Contemporary South Asian Art New Bond Street, London | 24 October 2018 Bonhams 1793 Limited Bonhams International Board Bonhams UK Ltd Directors Registered No. 4326560 Robert Brooks Co-Chairman, Colin Sheaf Chairman, Gordon McFarlan, Andrew McKenzie, Registered Office: Montpelier Galleries Malcolm Barber Co-Chairman, Harvey Cammell Deputy Chairman, Simon Mitchell, Jeff Muse, Mike Neill, Montpelier Street, London SW7 1HH Colin Sheaf Deputy Chairman, Emily Barber, Antony Bennett, Charlie O’Brien, Giles Peppiatt, India Phillips, Matthew Girling CEO, Matthew Bradbury, Lucinda Bredin, Peter Rees, John Sandon, Tim Schofield, +44 (0) 20 7393 3900 Patrick Meade Group Vice Chairman, Simon Cottle, Andrew Currie, Veronique Scorer, Robert Smith, James Stratton, +44 (0) 20 7393 3905 fax Asaph Hyman, Caroline Oliphant, Charles Graham-Campbell, Matthew Haley, Ralph Taylor, Charlie Thomas, David Williams, Edward Wilkinson, Geoffrey Davies, James Knight, Richard Harvey, Robin Hereford, Michael Wynell-Mayow, Suzannah Yip. Jon Baddeley, Jonathan Fairhurst, Leslie Wright, Charles Lanning, Grant MacDougall, Rupert Banner, Shahin Virani, Simon Cottle. Modern and Contemporary South Asian Art New Bond Street, London | Wednesday 24 October 2018, 1pm VIEWING Please note: REGISTRATION ILLUSTRATIONS Sunday 21 October 11am to 3pm Telephone bidding is available only IMPORTANT NOTICE Front cover: lot 26 Monday 22 October 9am to 4.30pm on lots where the lower end Please note that all customers, Back cover: lot 121 Tuesday 23 October 9am to 4.30pm estimate is at £1000 or above. irrespective of any previous Inside front cover: lot 21 Opposite: lot 18 Wednesday 24 October 9am to 11am activity with Bonhams, are Inside back cover: lot 114 ENQUIRIES required to complete the Bidder Tahmina Ghaffar SALE NUMBER Registration Form in advance of 24941 +44 207 468 8382 [email protected] the sale.
    [Show full text]
  • Mughal Iron & Steel Industries Limited List of Unpaid Dividend (D-05) Sr. No. Folio No. Name of Shareholder Number of Shares
    MUGHAL IRON & STEEL INDUSTRIES LIMITED LIST OF UNPAID DIVIDEND (D-05) NUMBER NET SR. NO. FOLIO NO. NAME OF SHAREHOLDER OF SHARES AMOUNT LAST KNOWN ADDRESS HELD (Rs.) 1 4705087224 FEDERAL BOARD OF REVENUE 63623 139,971.00 CHIEF (INCOME TAX POLICY) CONSTITUITION AVENUE FBR ISLAMABAD 2 9900003 STAY ORDER CASES B-1 (5% TAX) 59451 104,634.00 . 3 4283020762 KHALID RAFIQ 40000 74,800.00 HOUSE NO.6-K, BLOCK - H, GULBERG - II, LAHORE 4 8307 SUSPENSE ACCOUNT (R-1) MCB & SUMMIT 32091 56,480.00 . 5 5264108279 MARIAM BAKAR GOKAL 25000 40,500.00 HOUSE NO.A-29, KDA SCHEME 1, KARACHI 6 4085093003 SYED FARHAT HUSSAIN 15500 24,257.00 367-6-D UNIT # 6 LATIFABAD HYDERABAD 7 10181010825 MIAN IQBAL BARKAT 14500 23,490.00 HOUSE NO 176/186, H BLOCK, MODEL TOWN, LAHORE 8 3038033559 IMRAN KHALIL 9000 15,840.00 WORLD NO. 12, MOHALLAH BILAL PURA SHAHKOT NEAR BILAL MOSQUE SHAHKOT NANKANA SAHIB 9 5264101696 SYED ASAD KAMRAN 8000 14,960.00 EFU GENERAL INSURANCE LTD.,2ND FLOOR, ROOM NO.201,KASHIF CENTER, SHAHRAH-E-FAISAL, KARACHI 10 7419005219 MUHAMMAD MANSOOR 8000 14,080.00 HOUSE # 80/ II STREET 9 KHYABAN-E-SEHR D.H.A VI KARACHI 11 3038037824 FAZAL AHMED 6500 12,155.00 H # 176,STREET # 14,FALCON COMPLEX, PAF SOCIETY,NEAR BALOCH COLONY BRIDGE, KARACHI 12 6684034788 KHAWAJA KASHAN AMIN 6000 11,220.00 MR-1/64 A-12 1ST FLOOR AZIZ MANSION MURAD KHAN ROAD KHORI GARDEN KARACHI 13 6684115926 KHURRAM SHAHZAD 6000 11,220.00 HOUSE NO.237/11 STREET NO.38 KHAYABAN-E-ROMI PHASE 8 KARACHI 14 307104244 ABDUL HAMEED KHAN 6000 10,560.00 HOUSE # 77 Q, FIRST FLOOR,, GHAZALI ROAD,BLOCK
    [Show full text]
  • Page 1 of 9 MUGHAL IRON & STEEL INDUSTRIES LIMITED LIST of UNPAID DIVIDEND (D-04)
    MUGHAL IRON & STEEL INDUSTRIES LIMITED LIST OF UNPAID DIVIDEND (D-04) NUMBER NET SR. NO. FOLIO NO. NAME OF SHAREHOLDER OF SHARES AMOUNT LAST KNOWN ADDRESS HELD (Rs.) 1 9 SYED SALMAN ALI SHAH 230 110.00 LAHORE 2 1020 NAKASH 142 68.00 FLAT NO.614, MARIUM APPARTMENT, NEAR NASHEMAN CINEMA, TIBET CENTER, M.A. JINNAH ROAD, KARACHI. 3 1022 RAJESH KUMAR 142 68.00 FLAT NO.614, MARIUM APPARTMNET, NEAR NASHEMAN CINEMA, TIBET CENTER, M.A. JINNAH ROAD, KARACHI. 4 1029 MUNIRA JABEEN 71 34.00 FLAT NO.01, ZAIN PLAZA, FATIMA JINNAH COLONY, JAMSHED ROAD NO.3, KARACHI. 5 1038 MUHAMMAD RAFIQ 71 34.00 QASR-E-SHAISTA, 1ST FLOOR, A-3/ST-51, SECTOR 7D-1, NORTH KARACHI, KARACHI. 6 1042 NAYYAR IQBAL 71 37.00 E-21, AL FALAH HOUSEING SOCIETY, MALIR HALT , KARACHI. 7 1079 BURHAN JAVED 1150 586.00 A-84, BLOCK A, KDA OFFICERS SOCIETY, KARACHI. 8 1102 SANA SOHAIL 1142 548.00 ROOM NO.208, BUSNES & FINANCE CENTRE, I.I. CHUNDRIGAR ROAD, 2ND FLOOR, OPPOSITE SBP KARACHI. 9 1124 ZEESHAN YAQOOB 571 274.00 FLAT NO.302, PLOT-304, ALMAS ARCADE, BMCHS, KARACHI. 10 1146 MUHAMMAD MOHSIN KHAN 1142 548.00 HOUSE NO.B-247, BLOCK-10, GULSHANE-E-IQBAL, KARACHI. 11 1154 SUBHASH CHANDER 1142 548.00 SAMI BROKERS OFFICE-705, 7TH FLOOR, KS TRADE TOWER, SHARAH-E-LIAQAT, NEW CHALLI, KARACHI. 12 1164 SHAMIM AZHAR 571 274.00 P-93, BLOCK-N, NORTH NAZIMABAD, KARACHI. 13 1165 SHABBIR AHMED 500 240.00 HJOUSE NO.658, GALI-18, WARESIA BALOCH COLONY, SECTOR-11/2, ORANGI TOWN, KARACHI.
    [Show full text]
  • Compositional Aesthetics of Sacred Text the Contribution of Pakistani Artists to Painterly Calligraphy
    القلم Al-Qalam p-ISSN: 2071-8683, e-ISSN: 2707-0077 Volume:25, Issue:2, 2020 ; pp. 427-444 Compositional Aesthetics of Sacred Text the Contribution of Pakistani Artists to Painterly Calligraphy Dr. Aqsa Malik Assistant Professor, College of Art & Design. (Corresponding Author) Dr. Naela Aamir Associate Professor, College of Art & Design ABSTRACT KEYWORDS: Calligraphy has been an expression of Muslim artistic CALLIGRAPHY, identity since the arrival of Islam. It primarily grew PAINTERLY out of the significance of Qur’an as sacred text and CALLIGRAPHY , was driven by the aesthetics of ornament central to SACRED TEXT , Islamic art. Since Pakistan sought a national identity ISLAMIC ART , after Partition, art forms of the Islamic world became PAKISTANI ART , one of the main frontiers of expressing a unique SOUTH ASIA , identity. However, as the first few decades of MODERNISM, Pakistan coincided with a greater interaction with QUR'AN TEXT , the West, a new visual idiom developed in calligraphy ART IN PAKISTAN as well; the Painterlys Calligraphy. This paper . describes how Pakistani Calligraphers, spearheaded by creative imagination, broke from tradition and infused aesthetics of modern art in indigenous sensibility. After establishing the significance of Calligraphy in Islam, the paper features the pioneers of Painterly Calligraphy in Pakistan and analyses some of their works. Date of Publication: 31-12-2020 Volume 25, Issue, 2, 2020 | 427 Al-Qalam Compositional Aesthetics of Sacred Text…... Introduction Calligraphy is undoubtedly the most characteristic expression of Islamic art to the extent that it, in many ways, symbolizes the essence of Islam itself. It is founded upon the idea that the text of the Qur’an and its meaning are sacred and they contain the ultimate truth about existence as well as the guideline for the believers.
    [Show full text]