Written by: Jovita Alvares
Posted on: March 19, 2019 | 
| 中文
Mural on the GSA Building by Giuseppe Percivati
The first International Public Art Festival (IPAF) opened on Thursday, 14th March 2019 at the Karachi Port Trust Head (KPT) Office. This magnificent event displayed the works of a blend of over 50 international and local artists. Titled, ‘The Quantum City: Territory, Space, Place,’ the exhibition came about as a result of the curatorial efforts of Amin Gulgee, Zarmeene Shah and Sara Pagganwala, and the architectural consulting expertise of Marvi Mazhar and Associates. The event was part of an initiative by I AM KARACHI (IAK), in collaboration with KPT and Martin Dow Group.
IPAF aims at celebrating the essence of Karachi, by bringing back the notion of public spaces to a politically struggling city. Strategically, the project targets two specific aspects of the city: unused public spaces and streets of Karachi, which they aim to revitalise through providing art, be it local or international, to the people of the city in a more public setting.
During her speech at the opening of the festival, Masooma Halai described art as a medium that transcends all forms of understanding, and is therefore the ideal form through which communities can be brought together. She went on to speak of the massive 2300 square feet mural painted on the GSA building last December. Initiated by IAK, this mural painted by Italian artist, Giuseppe Percivati, was meant to inaugurate the opening of IPAF. Chairman KPT Jamil Akhtar relayed the importance of Karachi Port Trust, dating its importance right back to the year of Independence. Akhtar explained that for the first time in 103 years, the KPT was open to the public; an ideal space to begin reclaiming spaces for the people. Gulgee defined his curatorial team as a love triangle, filled with tears, laughter and dedication, and spoke of the exhibition as one that encapsulates Karachi’s diversity and vitality.
As the title suggests, the exhibition appeared much like a miniaturised figurine of the actual city. In Karachi, one is perhaps too comfortable with the sight of shipping containers, used for purposes other than its original intention; in the city’s case, as barricades in times of turmoil. The container becomes a symbol, describing Karachi as a port city and unfortunately, associating itself to the constant upheaval. However, through this display, the festival has shed new light on the use of the container, thereby bracketing it to a new and positive movement.
Several containers were placed on the compound of the KPT head office, and each one housed a collection of artworks that told a different story. Upon entering, one of the first works the audience came in contact with was that of Syed Ammad Tahir. Standing at a podium on top of one of the containers, Tahir enticed the audience with speeches much like a politician. A vehement performance, the artist spoke throughout the duration of the exhibition, using excerpts from famous speeches, such as Charlie Chaplin’s performance in The Dictator. All throughout the show, his voice commanded the audience’s attention, and frequent applause and raised fists in support of his powerful words were observed.
Artists such as Omer Wasim and Zeerak Ahmed transformed the interior of the container into engaging the sensory system. Wasim’s recordings hung within a blackened space, created a cinematic experience, while Ahmed’s self-recordings reverberated within the empty container, filling it with a lilting sound. An interesting duo of architect and laser light expert, created a mesmerising experience. Using multi-coloured lights that responded to music, a haze machine and mirrors, the pair created a mini laser show that enveloped the entire container. Through the refraction of light, the lines of the lasers created an imaginary architectural façade that stretched onto the surrounding mirrors. Artist Muhammad Zeeshan used LED scrolling signs for his installation, and detailed his narrative as an artist thus far; from billboard painter to internationally renowned artist.
A neon sign had been put up to honour the late artist and photographer Madiha Aijaz, along with a series of her works. In front of one of her videos, Maha Minhaj’s performance, titled ‘Lover’ seemed poignant. With closed eyes and covered ears, Minhaj, dressed in a sari, sat calmly tracing the lines of her palm, almost as if in search, or perhaps in conversation with someone the audience could not see.
Seher Naveed reproduced a painted container within the actual one, highlighting, perhaps, the hindrance it has caused in the past. Noor Ahmed captured the audience’s attention with her strong gaze, seen only through the reflection of a mirror. Sophia Balagamwala’s video spoke of politicians, through her whimsical and iconic imagery. Munawar Ali Syed, masked in the bull’s head, was entrapped in plastic while systematically tearing pages from a book.
Muzzamil Ruheel’s performance included several ‘umbrella holders’ following unsuspecting individuals throughout the exhibition. It was one of the most interesting ones to watch, as few believed them to be private escorts, while others ran in circles trying to avoid them, highlighting the dichotomies of class.
Besides the installation, KPT opened their own permanent display of ship-figurines and photographs to the public, and had volunteers ready to relate each one’s exciting history.
While talking about the challenges, Ambareen Kazim Thompson, the Executive Director of I AM KARACHI said that there are no public spaces in Karachi to hold such events, “According to a World Bank Report, a habitable city has public spaces in 10% of its area. In Karachi, as of 2016, just 2.3% space is available.” She further elaborated that acquiring the funding for an “art festival” in Pakistan, is also difficult since very few organizations are willing to support such initiatives. However, she thanked the Chairman of KPT, Rear Admiral Jamil Akhtar who gave them the permission to utilize the KPT space.
Initiatives such as the International Public Art Festival are extremely important for introducing art to the larger society; it broke through class barriers and brought art out of the gallery space. Through spatial interventions or temporary art installations, the goal of the festival was to create bridges of discourse, unity and critical thinking between young and contemporary artists, and the public of Karachi. It was a reminder that Karachi is our home, and it is time we experience it for all it has to offer.
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