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 (Ken DeSouza, 7:42pm, 25th August 2008, Ramadan, Karachi) (2009), a man in a white shirt polishes his shoes without further revealing anything else about his identity. Presented in lightboxes, the pictures’ backlit luminosity exaggerates their absurdity and strangeness.
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...
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...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
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 ...
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...
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television...
The mines at Potosí are both the site and subject of this work, also titled Potosí, by Antonio Vega Macotela...
The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023 | KQED Skip to Nav Skip to Main Skip to Footer Arts & Culture The Bay Area's Hottest, Weirdest, Worst and Funniest Trends of 2023 Rae Alexandra Alan Chazaro Ugur Dursun Sarah Hotchkiss Olivia Cruz Mayeda Gabe Meline Emma Silvers Luke Tsai Nastia Voynovskaya Dec 8 Save Article Save Article Failed to save article Please try again Facebook Share-FB Twitter Share-Twitter Email Share-Email Copy Link Copy Link Elisheva Samson, 16, shows off her carabiner of friendship bracelets to trade while waiting in line for merch before seeing “Taylor Swift The Eras Tour” at AMC Kabuki in Japantown, San Francisco on Friday, Oct...
The Desi Boys will show you Kolkata from the streets - 1854 Photography Subscribe latest Agenda Bookshelf Projects Industry Insights magazine Explore ANY ANSWERS FINE ART IN THE STUDIO PARENTHOOD ART & ACTIVISM FOR THE RECORD LANDSCAPE PICTURE THIS CREATIVE BRIEF GENDER & SEXUALITY MIXED MEDIA POWER & EMPOWERMENT DOCUMENTARY HOME & BELONGING ON LOCATION PORTRAITURE DECADE OF CHANGE HUMANITY & TECHNOLOGY OPINION THEN & NOW Explore Stories latest agenda bookshelf projects theme in focus industry insights magazine ANY ANSWERS FINE ART IN THE STUDIO PARENTHOOD ART & ACTIVISM FOR THE RECORD LANDSCAPE PICTURE THIS CREATIVE BRIEF GENDER & SEXUALITY MIXED MEDIA POWER & EMPOWERMENT DOCUMENTARY HOME & BELONGING ON LOCATION PORTRAITURE DECADE OF CHANGE HUMANITY & TECHNOLOGY OPINION THEN & NOW All images from Desi Boys © Soham Gupta Soham Gupta made his name capturing Kolkata’s unseen poor...
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 ...
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...
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...
These hand drawn maps are part of an ongoing series begun in 2008 in which Gupta asks ordinary people to sketch outlines of their home countries by memory...
In the seminal video Workout , Kanis looks at the phenomenon of exercise in public space—specifically aerobics exercises in parks around Moscow today—as a broader lens for thinking about generational change...