Written by: Hamad Ali
Posted on: November 14, 2019 | 
(L & R) Art by Maria Khan and (Centre) Art by Ali Kazim
“The beginnings of Dada were not the beginnings of art, but of disgust,” explained poet and first-wave Dadaist, Tristan Tzara. From 1914 through 1918, World War I was responsible for death and devastation on an unprecedented scale, due to technological advances that exponentially increased the conflict’s brutality. Disillusioned by society’s barbaric state, a group of like-minded intellectuals banded together to declare a war on modernity and the new 20th Century society. A century later, exasperated by the exclusionary art circle of Karachi, a mysterious figure named Champa assembled a group of intellectuals in an attempt to dissect and satirize the conventional, often elitist practices within the city’s art scene.
‘Drawing Room Diamonds’, curated by Emaan Mahmud (Champa), opened at Sanat Initiative on November 8th. The observations and overheard conversations that Mahmud encountered during her art school juries and career has resulted in a series of faceless characters, that are as vain as they are wealthy. These ‘socially conscious socialites’ discuss whether the artworks are pretty enough to be a part of their drawing rooms. Every now and then, they would use terms like ‘revolution’, ‘open-minded’, and ‘gaze’ without taking into account their meanings and terminologies.
Mahmud’s show attempts institutional critique that breaks away from the conventions of curation, pretty art, and exhibition etiquette. One could call it anti-curation, anti-art, and anti-exhibition. 20 artists, emerging and established, joined forces and wits to dismantle themselves and the politics of their practice.
The scale of Muhammad Zeeshan's piece, titled “Biennale Friendly Art”, was massive. It was just enough to fit Mazhar Fakhar (one of the socially conscious socialite)’s drawing room. One couldn't have missed the presence and humor of the work. Using his expertise in laser cutting and butterfly motifs, Zeeshan used the same technique to make a beautiful formation of butterflies. Beautiful, isn't it?
Biennale Friendly Art by Muhammad Zeeshan
While the gold and glitter adds luster and wealth to the piece, Zeeshan’s work is never just shallow and pretty. His octaptych formation of frames is disordered, and one feels uneasy looking at it for a long period of time. This offers an interesting idea that only the superficial would want to keep something as uncomfortable as this piece in their drawing rooms.
Mohsin Shafi made pretty art for Dr. Molly's drawing room. His art used luster and prints, gold and repeat patterns, to placate the collector's gaze, whilst also making a statement. “Where in Your Mind” asks a very valid question, “Where in your mind do you hang art pieces that you can’t buy?” Anti-art in its essence and anti-collector in its parlance, this piece appealed to a mass audience who did not belong to the niche circle of collectors, nor have any interest in doing so.
Where in Your Mind by Mohsin Shafi
Similarly, “Wish to Be a Miniaturist” satirizes the production, reception, and romanticization of miniature art. This piece aspires to be a collector’s item, but since it’s not from the 15th century, no one wants to buy it to adorn their drawing room walls, despite its use of similar techniques. Atif Khan’s miniature prints raise questions around replication of this skillful art form, taking away the skill and feeling of a collector’s item from them, leaving the collectors to ponder over its value.
Art by Cyra Ali
Cyra Ali’s not so apparent explicit forms appeal to a wide array of audience, but one can’t un-see explicit images and sexually charged images in the leaf forms. It makes the socially conscious socialites question the lack of reproductive healthcare for sexually active women. But does this qualify as a drawing room diamond? Maria Khan’s wrinkled woman in torn undergarments doesn’t look pretty, neither does Munawar Ali Syed’s manipulation of magazine covers. This makes the show a successful attempt at anti-art, through the act of using popular techniques and symbols to challenge ideas of beauty and aesthetics.
New Story by Munawar Ali Syed
Mahmud’s curatorial debut is her attempt at practicing neo-Dadaism in modern day. The show gathered 75 works from some of the best artists in the country, and clustered them together on the walls, so as to take away the liberty for each work to breathe. They were in-your-face, overwhelming and thoroughly entertaining. The show is open till 28th November.
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