60H x 76W x 8D cm
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi . These staged photographs were shot against the backdrop of the city’s empty streets at sundown during the holy month of Ramadan. During this time, Muslims fast and retreat indoors, leaving the city eerily empty. By portraying ordinary citizens from religious minorities, the photographs reclaim the occupation of public space. Domestic gestures are brought forward and presented in the streets. By being so specific about the times and locations where they were shot, Abidi tests the political potentials of these everyday gestures. In Karachi Series I (Chandra Acharya, 7:50pm, 30 August 2008, Ramadan, Karachi) (2009) a middle-aged woman sits in front of a dressing table plaiting her hair. The royal-blue sari suggests her identity as non-Muslim.
Bani Abidi’s practice deals heavily with political and cultural relations between India and Pakistan; she has a personal interest in this, as she lives and works in both New Delhi and Karachi. The artist’s subject matter ranges from border tensions to immigration conflicts, cultural diversity, and the relationship between private and public space. She works in the media of video, photography, and drawing.
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
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The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...
Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...
Taking archaeology as her departure point to examine the trajectories of replicated and displaced objects, “Who will measure the space, who will tell me the time?” was produced in Oaxaca for her exhibition of the same title at the Contemporary Museum of Oaxaca (MACO) in 2015...
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The video animation Falling Head 2 , hand-painted by Diego Marcon in 2015, consists of a close-up of a head caught on the threshold between sleep and wakefulness or maybe from wakefulness to sleep...
‘If I start thinking I hate making baubles that’s the time to retire’: Will Shakspeare’s craft – in pictures | Art and design | The Guardian Skip to main content The artisans ‘If I start thinking I hate making baubles that’s the time to retire’: Will Shakspeare’s craft – in pictures Will Shakspeare’s Christmas baubles...
In 2015, while in residence at the Jatiwangi Art Factory (JaF) located in the village of Jatisura in Jatiwangi, West Java, Indonesia, Togar initiated the Jatiwangi Cup in which the artist, together with communities in the area, established an annual bodybuilding contest...
The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...
The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...
KLAU MICH is a TV and performance project by Dora García with Ellen Blumenstein, Samir Kandil, Jan Mech, TheaterChaosium, and Offener Kanal Kassel, during the 100 days of dOCUMENTA (13)....
Nugroho’s installations and performances have their roots in the shadow puppet rituals in Indonesia, particularly the Javanese Wayang tradition whose essence is in the representation of the shadows...
In Untitled (Sword) , addressing histories of colonialism with abstraction, a large steel blade extends from the gallery wall...
The black-and-white projection, Araf by Didem Pekün, begins, as a lithe man stands high up in the middle of the grand, rebuilt 16th-century Ottoman bridge in Mostar, in Bosnia and Herzegovina...