2011-2014

Year 2011
Vol. 1

Editor’s Note

It was a historic art moment for Pakistan as artists won awards both at Dubai and Sharjah in March 2011. Imran Qureshi’s spectacular site-specific work, Blessings upon the land of my love, made him the winner of the highest award at the Sharjah Biennial 2011. Aisha Khalid’s Kashmiri Shawl enjoyed a place of prominence in the foyer of the Sharjah Art Museum. Among the five winners of the Abraaj Capital Art Prize 2011 at Art Dubai,
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Year 2012
Vol. 1

Editor’s Note

The art practice of a group of young artists focuses on helping children to deal with inner aggression in strife torn Karachi, to avoid criminalization. This grassroots intervention is diametrically opposite to practices that regurgitate formulaic frameworks in white cube sterility. A handful of lone exponents strive to fuse the physical and spiritual, imbibed from their location to access the universal (not to be confused
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Year 2013
Vol. 1

Editor’s Note

Pakistani artists recently bagged two premier art prizes on two different continents; The Deutche Bank Prize, won by Imran Qureshi and the Abraaj Group Art Prize, awarded to Huma Mulji. This institutional success is a matter of pride for the entire art community. In the last year the demand for art from Pakistan was visible in its expanded presence at many new galleries
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ESSAY

sharing A metaphor with faiz

By Niilofur Farrukh

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ESSAY

entering the muqaam

By Niilofur Farrukh

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ESSAY

resisting with clay & glass

By Niilofur Farrukh

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Year 2011
Vol. 2

Editor’s Note

In the last ten months Faiz Art Prize has been a catalyst in creating a link between a literary philosophy and visual arts, and NUKTAART
is privileged to be a partner in such an initiative. A large section within this special issue brings to its readers a catalogue of the works competing for the awards.n the last ten months Faiz Art Prize has been a catalyst in creating a link between a literary philosophy and visual arts, and NUKTAART is privileged to be a partner in such an initiative. A large section within this special issue brings to its readers a catalogue of the works competing for the awards.

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Year 2012
Vol. 2

Editor’s Note

International art events like the Documenta serve as a reminder that all contexts are subordinated by the dominant discourse, which leads to misrepresentation of non-Western art. This is a concern addressed by two essays in this issue. ‘The Incomplete as a Strategy of Misrepresentation’ reflects on Documenta 13 and the unchanging theoretical prism that did not allow the original voice behind the art from Kabul to be heard.
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Year 2013
Vol. 2

Editor’s Note

Shafi Aqeel who shared his ardor for art with thousands of readers through his column in Jang, the most widely circulated Urdu daily in Pakistan, passed away recently in Karachi after a prolonged illness. His legacy stands as a collective challenge to bring art critique in Urdu closer to the conversations in English. will be bringing translations of his work to its readers.
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BOOK REVIEW

venice biennale 2011

By Niilofur Farrukh

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essay

Documenta 13

By Niilofur Farrukh

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Editor’s Note

“Meanwhile…History” the title of the Global
Art Forum, Art Dubai 2014 suggested the incompleteness of history…almost as if historical events await reclamation from distortions and erasure to restore authenticity to the present.
too has been foregrounding cultural and social narratives to create a new circuitry of ideas from the past and present to re-imagine the future.

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essay

Images in My Mirror

By Niilofur Farrukh

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essay

making contradictions coherent

By Niilofur Farrukh

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