Advertisement

Reframing the Contexts for Pakistani Contemporary Art

  • Salima Hashmi
  • Farida Batool
Chapter

Abstract

Art, in our present understanding of the term, is always borne out of the desire to respond, articulate, and negotiate within religious and ritualistic practices and is an extension of daily life. The overall aesthetics was dictated by the essence of the region, and the need to be connected to the Greater Being through creativity. In the context of Pakistan, the discursive formations of art history were arrested by the state’s idea of modernising the nation soon after its inception and that dream could only be fulfilled if one was connected with the ‘linear’ history and development of the west. The questions that should have been part of the discourse remain unanswered even today in the face of much stronger and powerful art practices that have evolved over the last seven decades. The visually and materially innovative imagery continued to serve as defiance of the mainstream. The rich repository of the images became the documents of the time, recording what people did not dare to speak in public under many oppressive regimes. These are among the issues that this chapter attempts to address in a situation where contemporary art practices continue to evade a comprehensive scholarly study or even discursive articulation.

References

  1. Barker, Chris. 2002. Making Sense of Cultural Studies: Central Problems and Critical Debates. London: Sage.Google Scholar
  2. Batool, Farida. 2004. Figure: The Popular and the Political in Pakistan. Lahore: ASR.Google Scholar
  3. Bird, Jon. 1996. Art History and Hegemony. In The Block Reader in Visual Culture. New York: Routledge.Google Scholar
  4. Dadi, Iftikhar. 2010. Modernism and the Art of Muslim South Asia. Chapel Hill: University of North Carolina Press.Google Scholar
  5. Faiz, Ahmed Faiz. 2009. Pabajaulan. Trans. S. Hashmi. In A Song for This Day. Lahore: Sang-e-Meel.Google Scholar
  6. Foucault, Michel. 1980. Selected Interviews and Other Writings. Ed. Colin Gordan and Trans. Colin Gordan, Leo Marshall, John Mephan, and Kate Soper. New York: Vintage Books.Google Scholar
  7. Hashmi, Salima. 2005a. Tracing the Image – Contemporary Art in Pakistan. In Art & Social Change: Contemporary Art in Asia and the Pacific, ed. Caroline Turner, 164–179. Canberra: Pandanus Books.Google Scholar
  8. ———. 2005b. Unveiling the Visible: Women Artists of Pakistan. Lahore: Sang-e-Meel.Google Scholar
  9. Hyder, Qurratulain. 2000. River of Fire. New York: New Directions Books.Google Scholar
  10. Jones, Dorothy. 1997. The Floating Web. In Craft & Contemporary Theory, ed. Sue Rowley, 87. St Leonards: Allen & Unwin.Google Scholar
  11. Mendolicchio, Herman Bashiron. 2018. Interview with Adeela Suleman, January. https://culture360.asef.org/magazine/interview-adeela-suleman-vasl-artists-collective-karachi-pakistan
  12. Mulvey, Laura. 1999. Visual Pleasure and Narrative Cinema. In Film Theory and Criticism: Introductory Readings, ed. Leo Braudy and Marshall Cohen, 833–844. New York: Oxford University Press.Google Scholar
  13. Naheed, Kishwar. 1998. I Was a Night When Last Born. Lahore: Sang-e-Meel.Google Scholar
  14. ———. 2008. Malala. Lahore: Sang-e-Meel.Google Scholar
  15. Rizvi, Nafisa. 2015. The Feminine Construct. In The Eye Still Seeks: Pakistani Contemporary Art, ed. Salima Hashmi. New Delhi: Penguin Books.Google Scholar
  16. Whiles, Virginia. 2010. Art and Polemic in Pakistan: Cultural Politics and Tradition in Contemporary Miniature Painting. London: I.B. Tauris & Co.Google Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  • Salima Hashmi
    • 1
  • Farida Batool
    • 1
  1. 1.LahorePakistan

Personalised recommendations