2008-2010
Year 2008
Vol. 1
Editor’s Note
Two recent events have emphasized the criticality of connection between local and global art concerns, between the past and present and its bearing on the production and
acquisition of art.
Year 2009
Vol. 1
Editor’s Note
Last year saw great peaks in the market particularly when modern and contemporary art from Pakistan touched all time high prices. In 2009, the mood is much more somber , as many lows are in the forecast.
The optimists feel that now the artists can get back to the business of making art, leaving behindast year saw great peaks in the marker particularly when modern and contemporary art from Pakistan touched all time high prices. In 2009, the mood is much more somber, as many lows are in the forecast.
The optimists feel that now the artists can get back to the business of making art, leaving behind
Year 2010
Vol. 1
Editor’s Note
The environmental crisis looming over Karachi, Pakistan’s biggest city, prompted NUKTAART to explore art as a tool of ecological
awareness with a more direct agenda. The concern was taken up in a six-week workshop in partnership with One Mile Square of Visiting Arts, UK and AICA Pakistan. During this period four artists and an art critic focused on Mai Kolachi, a strip of coastal land where the mangrove forest has been partially destroyed.
Year 2010
Vol. 2
Editor’s Note
The fact that every eighth Pakistani has been displaced by the floods tells us how vast and ferocious has been the scale of this catastrophe. The art community has
responded with fundraising with the sale of art to assist in relief work. Its second phase will be the mammoth task of resettling them, which will need an equally sustained effort over the coming months.he fact that every eighth Pakistani has been displaced by the floods tells us how vast and ferocious has been the scale of this catastrophe. The art community has responded with fundraising with the sale of art to assist in relief work. Its second phase will be the mammoth task of resettling them, which will need an equally sustained effort over the coming months.
Year 2009
Vol. 2
Editor’s Note
The way a work of art sparked a violent
controversy and threatened the Shanakht Festival in Karachi has added yet another chapter to the heated debate on censorship, which Pakistani artists felt they had closed with the dark years of the Zia dictatorship.The way a work of art sparked a violentcontroversy and threatened the Shanakht Festival in Karachi has added yet another chapter to the heated debate on censorship, which Pakistani artists felt they had closed with the dark years of the Zia dictatorship.The way a work of art sparked a violent controversy and threatened the Shanakht Festival in Karachi has added yet another chapter to the heated debate on censorship, which Pakistani artists felt they had closed with the dark years of the Zia dictatorship.
Year 2008
Vol. 2
Editor’s Note
The theoretical art discussions in South Asia revolve largely around the concerns of authenticity and authority. The questions asked are, why has the local context of culture and socio-political dynamics not
become an acknowledged voice within the grand narrative that is zealously guarded by the politics of power? Will the balance of art sales tilting in favor of Pakistani and Indian artists
