… connecting internal and external time …
2025
Editors: Niilofur Farrukh
Designer: Sabiha Mohammed Imani
Publisher: Chawkhandi Gallery
… connecting internal and external time …
2025
Editors: Niilofur Farrukh
Designer: Sabiha Mohammed Imani
Publisher: Chawkhandi Gallery
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. This is accompanied with vibrant pictures of works and their installation. The extended foldout pages bring an additional pictorial richness to the publication.
All the exhibition photography has been done by Humayun Memon. The catalogue also includes an essay on Meher’s art by Niilofur Farrukh printed earlier in A Beautiful Despair, a book dedicated to the artist.
The catalogue is available at Chawkandi Art Gallery.
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
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
The catalogue covered the sixteen exhibitions held for the inaugural of the National Art Gallery Islamabad.
2007
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
‘Painting miniature is like expressing yourself in Urdu’ Imran Qureshi , the leading miniaturist tells Niilofur.
2000
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
Uraan (Flight) in this exhibition serves as an emblem of the spirit of change that imbued the creative mind in nascent Pakistan.
2002
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 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