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    Group Show 'Configuration' opens at Tanzara Art Gallery, Islamabad

    Group Show Configuration at Tanzara Art Gallery Islamabad

    Written by: Staff Report
    Posted on: September 15, 2017 | | 中文

    'The Northern Encounter II' by R.M. Naeem

    Visitors flocked to Tanzara Art Gallery yesterday for the opening of the group exhibition, ‘Configuration’. Curated by Aasim Akhtar and featuring 14 different artists, of varied age-groups and diverse artistic style, the human figure is the central theme of the show. Noshi Qadir, the gallery owner, says that she hopes, “by connecting with these works we may gain new knowledge about ourselves, and revive our fascination with the human form.”

    Some works explore the distance or lack thereof between life and the physical vessel which contains it: the body. Others focus on the body’s interactions with what lies outside of itself. All approach the subject and render it differently. Well-known artists whose work is being displayed include R.M. Naeem, Aqeel Solangi and Moeen Faruqi. The rest happen to be relatively young artists, with a number of exhibitions to their credit.

    From left to right (above) - Aziz Meer, Aqeel Solangi, Abdul Ali Hyder, Noshi Qadir, R.M. Naeem, Aasim Akhtar, Sumera Jawad and Saddam Murad. (below) Imran Ali Kazmi, Shamsuddin Tanwri and Javed Mughal

    From left to right (above) - Aziz Meer, Aqeel Solangi, Abdul Ali Hyder, Noshi Qadir, R.M. Naeem, Aasim Akhtar, Sumera Jawad and Saddam Murad. (below) Imran Ali Kazmi, Shamsuddin Tanwri and Javed Mughal

    The gray hues of R.M. Naeem’s work convey a serene mood, while an intricately drawn Buddha head reveals his mastery. Naeem explained that the physical connection between body and land in the paintings reflects their spiritual ties. Where the Buddha head sprouts out of a cliff in one work, it has been severed off in the other. The disjunction, thus created, reflects the artist’s distress regarding the situation in Burma. While shying away from confining his paintings to a socio-political statement, Naeem shared that Burma is defying the symbolic spirituality and harmony of Buddha.

    While studying last year for an MFA in Bath, England, Aqeel Solangi’s work drastically changed. A new geographical space allowed him to reflect upon the alien landscape and its inhabitants. His massive paintings faithfully conjure up the mood of England, as he has effectively situated human figures within their vast surroundings. Moreover, in his own words, he “enjoyed playing around with paint application, using it thickly at times, and letting it drip onto the canvas at others.”

    'The Frisbee Players' by Aqeel Solangi

    'The Frisbee Players' by Aqeel Solangi

    Moeen Faruqi’s yellow, orange, red and white palette was used to create figures with flipped hand colours. Perhaps, the deep impressions we leave on other bodies, and the absurdist nature of our relationships is implied.

    Zahid Mayo, while discussing his artistic methods, said he loses himself in crowds until an arresting face worthy of being painted catches him off-guard. The figures in his work are surrounded by dark, rural backdrops. ‘Titly Jae’ (Like a Butterfly) depicts how we drag our inner-selves along, to chase after what attracts our external self, while ‘Chan di Chhan’ (In the Shadow of the Moon) is the attention grabbing portrait of a young wandering boy. Mayo explained that his inspiration for the prior were two young girls playing at a wedding, while his own childhood inspired the latter. 

    'Chan di Chhan (In the Shadow of the Moon)' by Zahid Mayo

    'Chan di Chhan (In the Shadow of the Moon)' by Zahid Mayo

    Abdullah Qureshi’s large canvases, painted in bright colours, reduce the human body to its most basic form. The rather interesting titles, such as ‘The Headless Unicorn’ and ‘Rabih Alameddine's Evil Twin’ create curiosity about the stories of the figures he has painted.

    'Facing Background' by Imran Ali Kazmi

    'Facing Background' by Imran Ali Kazmi

    Imran Ali Kazmi’s traditional female figures are painted in a photorealistic manner, with repetitive motifs of motiya and rose, meant to reveal South-Asian customs. Javed Mughal, in his ‘Borrowed Identity’ series, chopped away human faces to leave behind hats, piercings and necklaces on the canvas. For him, “external objects often become markers of our identity and yet are futile in capturing our reality the way our bodies can.” Saddam Murad intended to highlight the forgotten, suppressed bodies of women in patriarchal societies, while Kashif Mangi’s canvases emanate the nostalgia of faded black and white posters.

    'Untitled' by Kashif Mangi

    'Untitled' by Kashif Mangi

    'Insinuation I' by Sumera Jawad

    'Insinuation I' by Sumera Jawad

    Shamsuddin Tanwari’s work – blue and white nude figures with leafy heads - intends to represent suffocating human beings. Aziz Meer has taken impressions of his own figure for his work, and shared that the distortions were a comment on our convoluted national condition. Saqiba Suleman’s women are painted on backgrounds of extremely intricate floral patterns, while Sumera Jawad’s work seems to be a comment on the intersection of race and gender in relationships. Abdul Ali Hyder’s paintings explore the affiliation between humans and animals; not only as companions but also as reflections of each other.

    'Baba Aur Billi' by Abdul Ali Hyder

    'Baba Aur Billi' by Abdul Ali Hyder

    The curator, Aasim Akhtar, spoke to us about his vision of bringing together artists who had an off-beat approach to representations of the human figure. With a wide spectrum of artistic styles to choose from, Akhtar did not opt for likeness. To break the mould of traditional group exhibitions, if any two artists shared a similar vision, he chose not to place them together. However, he faced the challenge of giving every work its due space, without cluttering the gallery.

    As Akhtar said, considering the positive response at the opening, it was “a challenge successfully met.” A visit to the exhibition, which ends on 28th September, reveals the expanding horizons of contemporary Pakistani artists.


    As the new year begins, let us also start anew. I’m delighted to extend, on behalf of the Embassy of the People’s Republic of China in the Islamic Republic of Pakistan and in my own name, new year’s greeting and sincere wishes to YOULIN magazine’s staff and readers.

    Only in hard times can courage and perseverance be manifested. Only with courage can we live to the fullest. 2020 was an extraordinary year. Confronted by the COVID-19 pandemic, China and Pakistan supported each other and took on the challenge in solidarity. The ironclad China-Pakistan friendship grew stronger as time went by. The China Pakistan Economic Corridor projects advanced steadily in difficult times, become a standard-bearer project of the Belt and Road Initiative in balancing pandemic prevention and project achievement. The handling capacity of the Gwadar Port has continued to rise and Afghanistan transit trade through the port has officially been launched. The Karakoram Highway Phase II upgrade project is fully open to traffic. The Lahore Orange Line project has been put into operation. The construction of Matiari-Lahore HVDC project was fully completed. A batch of green and clean energy projects, such as the Kohala and Azad Pattan hydropower plants have been substantially promoted. Development agreement for the Rashakai SEZ has been signed. The China-Pakistan Community of Shared Future has become closer and closer.

    Reviewing the past and looking to the future, we are confident to write a brilliant new chapter. The year 2021 is the 100th birthday of the Communist Party of China (CPC) and the 70th anniversary of the establishment of diplomatic relations between China and Pakistan. The 100-year journey of CPC surges forward with great momentum and China-Pakistan relationship has flourished in the past 70 years. Standing at a new historic point, China is willing to work together with Pakistan to further implement the consensus reached by the leaders of the two countries, connect the CPEC cooperation with the vision of the “Naya Pakistan”, promote the long-term development of the China-Pakistan All-weather Strategic Cooperative Partnership with love, dedication and commitment. Mohammad Ali Jinnah, the founding father of Pakistan said, “We are going through fire. The sunshine has yet to come.” Yes, Pakistan’s best days are ahead, China will stand with Pakistan firmly all the way.

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    Last but not least, I would like to wish all the staff and readers of YOULIN a warm and prosper year in 2021.

    Nong Rong Ambassador Extraordinary and Plenipotentiary of
    The People’s Republic of China to the Islamic Republic of Pakistan
    January 2021