Written by: Varda Nisar
Posted on: March 06, 2018 | 
| 中文
Daaniya Aftab's painting
The Nomad Art and Cultural Centre, opened their newly installed green doors to the citizens of Islamabad on 3rd March, with an exhibition titled “Safar II – The Journey.” Their new venue, rented from Theatre Walley’s ‘The Farm’ in Bani Gala, marks not only the re-launch of ‘The Nomad Gallery,’ but also adds a new aspect to this space in Bani Gala. Majority of the residents of the capital, if not all, are well aware of Nomad Gallery and the work they do in the form of their many initiatives, including the famous Weekly Farmers Market.
Exhibitions of such nature, meant to mark a certain achievement of an establishment, have a lot of expectations attached to them – not only of the concerned parties but also of the patrons, both old and new. The current exhibition, Safar II, as the name suggests, is intended to give an idea of the 34 years journey that Nomad has undertaken. The artist lineup is extremely impressive and as one walks into the space, one may recognize the works of many a legend. It is quite an experience to see, study and compare such works alongside each other.
With 82 artworks by 40 artists on display, the exhibition is an exploration of various artistic styles, concepts, ideas and techniques. This broad spectrum means that you can find works from the likes of experienced artists like Noor Jehan Bilgrami, Syed Faraz Ali, Mohsin Shafi, Nahid Raza to young emerging artists such as Iram Wani, Daaniya Aftab and Fizza Siddiqui.
Ayesha Siddiqui’s works are an abstract wonderment. The sheer size of the canvas and the flow of the strokes and lines induce in one a feeling of controlled chaos; a contradiction yes, but therein lies the brilliance of the artist.
Akram Dost Baloch’s work jumps out at you from the line-up due to the familiar subject matter: that of the Baloch people, their identity and struggle, and also due to his wood engraving technique, which he has mastered beyond perfection.
Meher Afroz’s works induce their characteristic calm in the viewer, while at the same time provokes a million questions in their mind. Meher’s work titled, “Reminiscences of a Dream I” stands out for the duality that it presents, between the main black and white figures in the work, and a delicate rose hovering above. This contrast, exemplified by the colors and technique, the puppet like figures and the probing eyes, all leave one utterly mystified.
Kamal Hyat’s two pieces differ from the rest of the work on display, due to their sheer uncomplicatedness and the color palette that they explore. The works titled “Treespace” and “Road Side Barber,” have been rendered with a childlike freshness, and in bright colors with neat lines. An effect is created whereby these everyday scenes are presented in all their simplicity.
Mohsin Shafi’s name has become synonymous with colorful collages that seem to shift the narrative through the simple trick of changing context. This is attained by placing subjects in front of backgrounds far different from their own realities. His work “Bay Nazeer Kahlo” is one such example on display, reflective of the colorful and commentative nature of his work.
“Moseeqi” by Masood A. Khan, is a beautiful watercolor rendition of a group of musicians engrossed in their craft, as a small audience plus a cat watch. This work, with its street life, captures the light and the moment with great sharpness, while the faces of the musicians are left hazy. Their features are less pronounced, and the faces are shrouded in darkness. A deliberate move? Perhaps.
With regards to the show, one thing seemed to have been overlooked. While the idea of Nomad’s journey being presented in a visual manner amounts to a curatorial concept, the execution of it was lacking in terms of an overall curatorial experience. One hopes that a regular exhibition schedule would not only add to Nomad’s achievement, but also help in developing Bani Gala as a new center for cultural activities. The show will continue till the 22nd of March.
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