Last year was long, unsettling and transitional. I have always welcomed change but being unsure about one’s future path is not too exciting.Have been a nomad for the past eighteen months. But I don’t want to start 2016 with complaints or regrets. During 2015, I finished two fellowships in Washington D.C. and then moved to Ithaca College […]
Komail Aijazuddin’s artwork marks a step beyond the earlier explorations of the baroque symbolism
Komail Aijazuddin is a representative of Pakistan’s younger generation of artists that is renegotiating the possibilities of artistic expression. In a sense, the works of Komail and many others have helped to create a new aesthetic that draws from the ‘tradition’ but reinterprets and subverts it with much flair.
Komail does not belong to a traditional school – or the cabals created across the country – that usually sets the styles of art practices in the country. Trained in New York (at New York University and the Pratt Institute), Komail Aijazuddin brings the Western traditions into his artistic experience and fuses them with the Pakistani traditions of religious symbolism and devotional narratives.
In Saint in Silver, the division between the sacred and the common is a border
In his early works, Komail ventured into a forbidden arena – of imagining the range of figurative within the Islamic traditions. Thus the Shia and the Catholic motifs found echo, and continues to speak, in the growing corpus of work. He did not stop there but added other traditions into his oeuvre, such as Buddhism, which were once native to regions comprising Pakistan. Given the nature of contestations and violence that surrounds ‘religion’ in Pakistan, Komail’s work goes beyond the formalism of the motif and has been turning overtly political. The intersections of personal faith and the cultural milieu – littered with the notions of blasphemy, purity and public religiosity – have defined the various and prolific phases of his art practice.
A Pakistani theater group uses satire to question the national anti-American narrative.
e U.S.-Pakistan relationship remains an enigmatic story of converging and competing interests, and above all, magnificent delusions that the former Pakistani Ambassador Haqqani elaborated in his recent book, Pakistan, the United States, and an Epic History of Misunderstanding, about the mismatched expectations of both countries. The primary focus of this relationship remains security-focused for both sides — from the Cold War to the recent U.S. withdrawal in Afghanistan. The large security apparatuses of the two states define how to view the other at any given moment — more so in Pakistan where anti-Americanism is an article of policy for populist politics.
However, there is also a people’s story that accompanies this relationship. There are nearly 1 million Americans of Pakistani descent, and many more Pakistanis who wish to study, work, or migrate to the United States. Things are not the same after 9/11, many complain, and the Pakistani government’s complex, almost schizophrenic, perspective on the United States continues to delineate the Pakistani public’s imagination. […]
The tragedy of this first-ever visit to Bangalore was its short duration. Having said that, it is always better to have seen a city than never to have visited it. From Bangalore we were going back to Delhi to meet our High Commissioner ... Unfortunately, while the monsoons had started there were no signs or preparation for a disaster in the making – the floods of July-August
Quite a readable piece published by CARAVAN- thanks to Fizza Ishaq for sending me the link
AS MUCH AS SHE MAY HAVE wanted to, Bani Abidi couldn’t be there for the opening of Resemble Reassemble, the exhibition of contemporary Pakistani art on display at the Devi Art Foundation in Gurgaon. In fact, the Delhi-based Pakistani artist could possibly be arrested if she were caught entering the region. Though barely a 40-minute ride from Delhi, Gurgaon is in Haryana, forbidden territory for many like Abidi. Current visa regulations grant her entry into only one state. […]