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P Ainfers of the Time MULTIPLE PERSPECTIVES, ARTSOUTHASlA An international conference on the visual culturn of Bangladesh, India, Pakistan and Sri Lanka 2 - 13 July 2002, Manchester Art Gallery Pragram me We have planned the programme so that there is time for discussion. Speakers will speak for 30 minutes followed by 15 minutes discussion. There are also panels of the day's speakers at the end of the day. Friday 12 July 09.00 - 9.30 Registration and COW Chairperson Dr Jacques Rangasamy (Chair of the board of Shisha) Welcome and introduction to the mnference Virginia Tandy (Director, Manchester City Galleries) Dr Jacques Rangasamy Professor Gulammohammed Sheikh (artist, curator, writer, India) Sites of art: other sites, other locations. Some aspects of Indian visual cutture' Professor Salima Hashmi (artist, wrator, Pakistan) Imagery in women's art, with re-m to Pakistani painten Professor Syed Manzoorul Islam (University of Dhaka, Bangladesh) Contemporary visual cuRure in &ngla&sh 12.45- 14.15 Lunch Chairperson John Holt (Shisha board member) 14.15 - 15.00 Pooja Sood (independent curator, co-ordinator KHOJ International Artists Association, India) A South Asian arts netwrk Shishir Bhattacharjee (artist, Bangladesh) Painfers of the time Tea Panel of the day's speakers Lord Mayor's Reception at Manchester Town Hall Dinner at Manchester AR Gallery 1 Saturday 13 July Chairperson Professor Griselda Pollock (Director AHRB Centre for Cultural Analysis, Theory and History, University of Leeds, UK) Huma Mulji (artist, Pakistan) Zero down payment: the aesthetics of sunrivar Professor Jyotindra Jain (Jawaharlal Nehru University, India) The New Hindu Icons: Between the CuRic and the Exhibitory SP- lftikhar Dadi (artist, curator, Comell University, USA) Cmft and udanism in contempwary South Asia Anoli Perera (artist, curator, Sri Lanka) Contemporary trends in Sn' Lankan art 12.45- 14.00 Lunch Chairperson Naseem Khan (Senior meer: Cultural Diversity, Arts Council of England) Sudha Daniel (artist, curator, senior fine art ledurer, University of Derby, UK) British South Asian artists and inte~cuIturaIism Dr Nima Poovaya-Smith (Head of Special Projects, National Museum of Photography, Film and Television, UK) Meaning Making in the works of Loretta Braganza and Mah Rana Tea Panel of the day's speakers and conclusion MuLnPtE PERSPECTIVES - ARTSOUTHASA CONFERENCE (12-13 JULY 2002) SYNOPSES OF PAPERS Professor Salima Hashmi It was in 1940 that Anna Molka AhW, the Founder of the Fine Arts Department of the Punjab Univlersity in Lahore was told by the then V~neelbrthat, The Fine Arb Department is lo admit only hmle ~Wents,so that they do not 'dutter up' the mmimportant Departments of Physics, Chemisby, and Botanfl Since then, mrmen have played a pivotal mle in PaWstarJ art and culbrm - their work reRecting some of the oontmdictkns of the Wantstate and society. The imagery in the wrk of mmen arbisls has moved hmndmidcing the Meabulary of their male ecrUeagues to a pamllel repertoire, which is doserbo the Wman's The paradox of women's Visibility and imrisibiw, to quote htstorian Ayesha Jalal, mngdly together has nurtured mflecth and Minsumcbns In women's art practice. Women have evdved an wkth path of rfch hytwklity and unusual insight The talk will attempt to anam the anpukbns whkh have shaped this Imagery and attempt to make eonnectbns with the wider issues and coneems in the Pakistani art mov;ement. I shall begin by examining how visual wttum of localities in ml Bangladesh kept their distinctive style and character even during the British oobnial times, and combined aesthetic and utilitarian values without consdoltsly aspiring to the conditions of art. But then a dedsk fmdum was established when elite visual cuhm consigned rural cuftuml pmdlcetions to the category.of 'I& art, while privileging its modern (or modernizing) art done by edmted artists in keeping with artistic (mostly painterly) eonventions of the west as 'high' art. (This happened in the '40s and '50s.) This distindion persisted and developed eventually into the cumnt stemtype of art vs. mft. However, within this division, artists who created 'art' nevertheless inaugurated an intensely active and fruitful phase of our history of art. Labelled simply as 'madm art', the works reflect a desire on the part of the artists to respond to the varid experiences of living, with styles and techniques that were fundamentally dimnt from the realist-rumantic practices of the past. I shall discuss the achievements of our modem artists, and how, Cw many artists (except for those who pursue pumly modernist forms-abstrad expssbnist, for example) 'p modem' and folk Comw were a kind of staple in their search for meaning. The art vs. crafl dewexisted in the academies asld in elii arch, but many artists ignored it while many others achraHy expbbd cmft ~Wfflonsand incorporated them in their work. I shall then describe how mff and &-based art Mwdand diversified in the villages, and created their own traditions, and how some naive art forms (transport art, for example) actually btidgd the gap. And now,with wng pempihs of art (one development being the mwgence of postmodem pmctkes that valorize bcal wttures, aim la obMthe distindion betwen high and kw art and pmrnote dddsm)the twai~rtand walkam finally near meeting each other. The art vs. uaft debate is thus bsing its steam, but som new pmblemtk are being intmduced as the mass proddon of crafts. I shall end my lecture by mlsing some of the new Issues of the debate. The use of#aff-baSBdMn~~~sbyIine~stsinSrilanh A mewd role for craff based technhues and matefials wwcentm and surrounds the work of a numbof fine arbists in Srl Lanka. My paper examines the wttural, economic and political contexts whkh have brought this situatbn into being and lo- it within the wider pichrm of contemporary pmctice in Sri Lanka. The paper concludes with remarks about why notions of 'erafY may have been appropriated by fine artists within eumnt progmsh art practice and how aafl in turn has been conceptualiied as an effective means for radical commentary on art and the everyday. PooJaSood A South Asian arts nem I am invofved in establishing a South Asian network fior the arts. I would like to addmss the notion of 'networking', its smpe and limitations within the South Asian context. I will enumerate on the workshop model which is central to our network and which currently includes artists in Pakistan, Sri Lanka, Nepal and Bangladesh. Zero down payment: the aesthetics ofwwhd An u~ofkialfyestimated population of 15 milCion, the life line of our country's emmmy, the lam contributor to the state treaswy, the habitat of the poorest and the richest, visually opulent, paradoxid, and ~xcessh,the sprawling dty of Karachi Is Mayone of the few megadties of the m. This vast eity is organically and offen inddentaiy dMded by sevetal Ibm: The hahour depictiq otd industry; the dmoomrmnbs that inh- pre and pst-partition Kamehi; gmwing emnomie ambition which divides its resldentSal areas as well as the newer, high end; and %spiring" consumer markets. Alongside expensive five-star hotels, the most imxpenshre biryani is atso . available. These dhrisbns seep into eaeh other, samkms through ambition w imhathn, someffm thmugh unintsnded omlaps whlch are fluidly absorbed and happfly adopted. Mngwithin Ws ~IWWare tradltknal markets, gbbal fmmthes, brand name stores and sibthat are imbetween. In mcmt years, Karachi's gmngcapitalist eubhas spmd thmugh the city, airmditloning bdMithai shops, eompeling 'gola gma' to be W In Styrofoam cups and gMng birth to 3Way Bazaaf. This was'tmlitknatty 'Itwaar Bazaaf, a lowprieed w#M market selling food and some household products, which has ewhfed Mo a high end fleamarket, empbyhg hundmds of Afghan mhgws as portmt and mhhg to rich ho- need for everything hmHlestem style home deoorabkn, to peeudo 4hnk aafts, pirated VCDs and Dm, smuggled Amantiques, eheap eeraunie potby, and charrffeuts and servslnts. Amldst all the aaos, one glimpses popular urban a&Mks, the notions of window deccNation, hybrid consum strategies, incidentalty beautiful oompo&hns of colour and form, traditional hosphlhy and economk competltfon, detwmined by demand, as Hlell as inhwtbn throrrgtr the media, theinRuxofrefugees,andexodexodusof~. Gmwing consumerism in mmt years has seen battles between cowrate giants fought owthe city. Coke and Pep4 consume old tea houses with aggm'he marketing stmtegies and htrge swns of money buy brge chunks of our visual space and brand our minds with their logos. Mdlonalds and Kentucky Fried Chkken artificially create rnarkeb to fed their products. All protests from the inhabitants are gunned down with smarter adverbidng. Colonel Saunders of KFC competes for attenlion with Bandu Khan Kabab house and Shell, PSO and Calkex construct imposing filling stations, taking up more and mom space and mplacing old, loved, unpredictable landmarks, by their global colours, robbing the city of its memory. Pakistani society is not homogenous, but distinctly divided into economic strata, which determine notions of "tasteu, value system, education and cukural position. To those living on the higher end of bhe monetary scale, the soul of the dty i.e. its popufar culturn and all activity associated with it, is the a~thef,something that was not engaged with urrtil a 'nouveau ethnw became fashionable and accepted. This kind of irrtemal imperialism makes us tourists in our homeland. The complexity of multiple culhrres -'sting where everyone does not exist in the same time scale, whm the frame of reference differs drastically, gives rise to cultural misunderstandings. Contemporary lii hence defies categorization, slips away from every delinition and them Is ahysanother story. Professor Jydndra Jain The paper will deal with the transformation of Hindu worship thmgh its new cum imagery mdtlng fFom the demicmaism of the colonial art s~KKIIs, theatrteal performamas on the proscenium stage and phoQography in the age of mechsnfeal mpmducbn and the new mgdk Onoe mutedand widely drwlated, the Hindu image beoomes -le b polilpractices and a vehide lor marketing pmd-.
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