At first glance, Cityscapes (2010) seems to be a collection of panoramic photographs of the city of Istanbul—the kind that are found on postcards in souvenir shops. A closer examination, however, reveals that a key element—the minaret—has been systematically removed, thereby changing profoundly the history and religious character of the city. The work is a response to a November 2009 referendum in Switzerland that approved a ban on the construction of new minarets in that country. It was also a crucial time in Turkey’s negotiation for entrance into the European Union. Instead of making a direct, didactic comment on the controversy, however, Abbas offers up a clever question regarding how landmarks are interpreted in vastly different ways depending on their cultural context. In the Western imagination, minarets are political symbols as much as they are religious architecture. In the Muslim world, they serve as mnemonic devices that enable residents to recognize their own city.
Hamra Abbas, who lives and works in Boston and Islamabad, Pakistan, makes work that has a profound connection to her own cultural context. She asks probing questions about the everyday and its complex relationship with history and ideology; her subject matter ranges from religious rituals to war and the sexual iconography of the Kama Sutra. Working with a diverse range of materials and media, Abbas frequently intertwines the contemporary with the classic to offer up a critique of both modern Western and Islamic cultures.
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...
Hill of Poisonous Trees (three men) (2008) exemplifies the artist’s signature photo-weaving technique, in which he collects diverse found photographs—portraits of anonymous people, stills from blockbuster films, or journalistic images—cuts them into strips, and weaves them into new composition...
The Damaged series by Lisa Oppenheim takes a series of selected photographs from the Chicago Daily News (1902 – 1933) as its source material...
Kwan Sheung Chi’s work One Million is a video work depicting the counting of bills...
DADYAA: The Woodpeckers of Rotha by Pooja Gurung and Bibhusan Basnet illuminates a unique and seldom seen international perspective on indigenous cultures and contemporary social issues in the Nepali context...
The Royal House of Allure is a name of a safe house on mainland Lagos where members of the queer community in need of boarding, due to various circumstances, live together...
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...
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 ...
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Ventana indiscreta (Rear Window) by Karen Lamassonne takes its title from Hitchcock’s renowned 1954 classic...