Moving Ahead- Hasan Kuzagar Kay Naam
2007
Publisher: Pakistan National Council of the Arts, Islamabad
Editors: Naeem Tahir, Adam Nayyar, and Asim Akhtar
Designer: Asim Akhtar
Moving Ahead- Hasan Kuzagar Kay Naam
2007
Publisher: Pakistan National Council of the Arts, Islamabad
Editors: Naeem Tahir, Adam Nayyar, and Asim Akhtar
Designer: Asim Akhtar
Moving Ahead catalogues 16 exhibitions held to inaugurate the National Art Gallery, Islamabad. Hasan Kuzagar Kay Naam was one of the exhibitions that showcased the work of contemporary ceramists of Pakistan
Catalogue essay
Hasan Kuzagar Kay Naam
By Niilofur Farrukh
The sensuousness and malleability of clay embedded in the genetic
insights.
memory of humankind continues to attract artists and artisans alike. This affinity has made this humble material one of the oldest uninterrupted mediums of expression.
The show titled Hasan Kuzagar Kay Naam (Dedicated to Hasan, the pot maker) curated for the inauguration of The National Gallery, Islamabad, presents creative statements of contemporary ceramists which can be read as a part of the clay continuum.
In an attempt to come to terms with the irreplaceable loss, Sheherezade Alam on the first death anniversary of her husband and daughter launched efforts to conserve and document Zahoor’s work and in this process the Zahoorul Akhlaq Collective Trust was formed.
During her visit to Karachi she sought members of the art community urging them to join hands with the Trust. The Takhti Project evolved out of several such meetings with Sheherezade in which a project was envisaged
National Art Gallery, Islamabad
Exhibition view
Salman Ikram, 2005
SHEHREZADE ALAM
MIAN SALAHUDDUN
GHANIA ASAD
Arij Karim
Moving ahead – review
contribution to catalogues
The catalogue has been especially designed by Sabiha Imani to preserve the visual memory of the show. All the four sections of the show are highlighted with a bilingual contextual note.
2025
In the interview , Meher Afroz discusses the metaphysical experience , which is central to the show. Also highlighted is her process of transforming symbols to convey the quest for spiritual truth.
2012
The article maps the two distinct trajectories of the art practice of Amin Gulgee’s. His formal calligraphic sculpture and figurative iconography in metal and the experimental performances and installations that are time based and ephemeral.
2007
The article underlines how Amin Gulgee has been looking for the perfect balance between his formal sculptures and the spontaneous and asymmetrical creativity of his performative work, and impermanent installations.
2011
The article mapped the discursive sessions with artists, art critics and curators during the ArtFest Karachi.
2021
Postcolonial Theory explains how the concept of a ‘subaltern culture ‘ was built on the false assumption that, as Edward Saeed puts it ‘ the East was not capable of composing their own narrative’.
2010
As calligraphy changed from a symbol of identity to a component of a subversive strategy , its assimilation in visual arts continues to evolve
2006
‘Painting miniature is like expressing yourself in Urdu’ Imran Qureshi , the leading miniaturist tells Niilofur.
2000
Uraan (Flight) in this exhibition serves as an emblem of the spirit of change that imbued the creative mind in nascent Pakistan.
2002
Text for the catalogue of the show curated by Amin Gulgee and Sheherebano Hussain. The show addressed the nation’s ambivalent relationship with the representation of the body/ figure in visual culture.
2006
Niilofur as its curatorial lead , described the project as a moving caravan that brought together over 200 artists to pay tribute to the memory of Zahoorul Akhlaq, Pakistan ‘s major artist who became a victim of violent crime. The artists worked on the Takhti , the wooden tablet that was used by the late artist.
2001
Niilofur as its curatorial lead , described the project as a moving caravan that brought together over 200 artists to pay tribute to the memory of Zahoorul Akhlaq, Pakistan ‘s major artist who became a victim of violent crime. The artists worked on the Takhti , the wooden tablet that was used by the late artist.
2001
The catalogue covered the sixteen exhibitions held for the inaugural of the National Art Gallery Islamabad.
2007
Text for the catalogue of the show curated by Amin Gulgee and Sheherebano Hussain. The show addressed the nation’s ambivalent relationship with the representation of the body/ figure in visual culture.
2006
Uraan (Flight) in this exhibition serves as an emblem of the spirit of change that imbued the creative mind in nascent Pakistan.
2002
‘Painting miniature is like expressing yourself in Urdu’ Imran Qureshi , the leading miniaturist tells Niilofur.
2000
As calligraphy changed from a symbol of identity to a component of a subversive strategy , its assimilation in visual arts continues to evolve
2006
Postcolonial Theory explains how the concept of a ‘subaltern culture ‘ was built on the false assumption that, as Edward Saeed puts it ‘ the East was not capable of composing their own narrative’.
2010
The article mapped the discursive sessions with artists, art critics and curators during the ArtFest Karachi.
2021
The article underlines how Amin Gulgee has been looking for the perfect balance between his formal sculptures and the spontaneous and asymmetrical creativity of his performative work, and impermanent installations.
2011
The article maps the two distinct trajectories of the art practice of Amin Gulgee’s. His formal calligraphic sculpture and figurative iconography in metal and the experimental performances and installations that are time based and ephemeral.
2007
In the interview , Meher Afroz discusses the metaphysical experience , which is central to the show. Also highlighted is her process of transforming symbols to convey the quest for spiritual truth.
2012