Written by: Shameen Arshad
Posted on: November 27, 2023 | 
| 中文
Aankhoon ki Ghustakhiyan Maaf
Fatima Aamer Mustafa’s solo exhibition, "Flaneuse," unveiled at Khaas Contemporary on the 23rd of November 2023, presents a compelling exploration of the female experience within public spaces. Drawing an engaged audience from Islamabad, the gallery became a hub of conversations ranging from the rich heritage of Lahore's Walled City to the dynamics of gender and women's roles in public spaces.
The exhibition, encapsulated by the title "Flaneuse," delves into the denied luxury for women in patriarchal societies like Pakistan, like the simple act of freely walking the streets. Mustafa's work reflects on the joy and freedom of inhabiting spaces on one's terms, a privilege primarily enjoyed by men. The title encourages viewers to contemplate an alternative reality, and challenges predefined gender roles. With nuance, the artist addresses prevailing patriarchal paradigms, using satire to approach intense subjects in a more digestible manner.
Mast Kalandar
Mustafa's art takes on the form of rebellion or satirical commentary on equal rights for men and women based on the viewer’s personal life experiences, sparking diverse conversations and interpretations. Her artistic practice aims to broaden the understanding of social inclusivity and coexistence while lamenting the loss of an alternative way of life and experience in urban settings, a unique perspective lost due to the strained relationship between an entire gender and various spaces, resulting in the loss of diverse habitats.
The depictions of women in Mustafa's art defy conventions, presenting a reality free from the intimidating male gaze. The confident and relaxed women portrayed invite viewers to share in their sense of liberation, transforming public spaces into witnesses of the female narrative. In a bold move, Mustafa introduces the concept of a "female gaze" through satire, imagining a reversal of power dynamics. For example, in Mera Piya Ghar Aya (My Beloved is Coming Home), she shifts the narrative by outnumbering the male figure with women, emphasizing comfort rather than malice or vulnerability. This challenges the notion that increased visibility for one gender diminishes the presence of the other, fostering harmonious coexistence.
The artist strategically places the narrative within the Walled City of Lahore, using it as a microcosm to talk about a larger problem. The artist is seen as using its rich heritage and otherworldly ambiance as a backdrop for conceptualizing alternative public spaces. This choice adds palatability to the reimagined narratives, set in a space perceived as distinct from the sprawling urban setting.
Mera Piya Ghar Aya
The artist also argues that the idea of an alternative reality is not as sinister and scary as it is built up to be, urging us to question our predetermined notions. Mustafa inculcates self-portraiture to further talk about her familiarity and affinity with the space. Also, it suggests that it might be a personal narrative, yet talks about a collective female experience.
The unconventional compositions, unlike female representation in traditional art, prominently feature women at the centre of the artistic narrative. However, despite dedicating over two-thirds of the frame to women and positioning the male figure to the side, there is a notable absence of hostility or intimidation towards the men depicted, emphasizing the possibility of coexistence. The artwork emanates a tangible sense of freedom, manifested in the carefree laughter and relaxed postures of the women, fostering an atmosphere of joy that transcends gender and resonates with both female and male viewers.
GT Road te Breakan Lageyan
The multi-layered nature of Mustafa's work captures different temporal dimensions, portraying vibrant spaces pulsating with life. Beyond literal layers of print on canvas, the conceptual richness of layering enhances the depth and complexity of the artistic narrative, revealing intricate details upon closer inspection.
Mustafa's central figures traverse a spectrum of forms, portraying women of various ages, body types, and personalities, celebrating the differences and individualism often concealed to evade unnecessary attention. The exhibition disrupts this norm, enabling the emergence of hidden individuality and diversity, typically obscured in male-dominated spaces. The image Char Dewari (Sanctity of one’s Home) emphasizes diversity, encapsulating layers of time and aging within a single frame. It speaks to a more comprehensive and inclusive female experience, highlighting the significance of each moment in time that shapes the identity of women. Furthermore, the image Ankhoon ki Ghustakhiyan Maaf (Unwelcome Gaze) exemplifies inclusivity by portraying the female experience across diverse ages and levels of modesty, featuring a burka-clad lady, one wrapped in a chador, and another clad in jeans and a top. This challenges societal norms that link women's dressing choices to vulnerability, contesting the perception of provocativeness.
Char Dewari
The choice of titles such as Gali Mein aj Chand Nikla (Today my Beloved Emerged on the Street) or Ankhoon ki Ghustakhiyan Maaf (Unwelcome Gaze) evoke the familiar experiences of serenading and catcalling that many Pakistani women encounter. These titles, standing alone, prompt viewers to recall their personal experiences with those phrases. However, within Mustafa's illustrations, the impact and threatening nature of these words are subverted. Instead of maintaining their power, the titles lose their menacing quality. This intentional transformation gives the viewer a sense of elation and empowerment, while also highlighting the impactful use of simple words to create friction.
Sughraan Shinwari
Mustafa's women exude wholehearted laughter, embody dreams in their lives and radiate vitality seldom witnessed in everyday encounters, evoking a sense of nostalgia for the possibilities that could exist. The exhibition is up for view until the 5th of December 2023.
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