Bijli, Pani aur Gas

Taaza Tareen 10

March 4 – April 15, 2018

supported by Canvas Gallery, Samaa TV, Ahsan Siddiqui, Dr. Fehmida Arif,   Faizan Ajanee and Fatima Munir Amjad & Adnan Amjad

with Maryam Arslan, Mujtaba Asif, Rahman Zada, Sabeen Ahsan and Arsalan Isa (writer in Residence)

Taaza Tareen, Vasl’s flagship program for young graduates, aims to identify new talent from Pakistan; and to channelize, mentor and showcase their creative aptitude. Taaza Tareen Residencies, since 2005, have supported recent graduates from Pakistani art institutes at formative stages of their professions. Marking 10 cycles of successful Taaza Tareen Residencies, the 2018 Taaza Tareen includes 4 emerging artists and a writer who have responded to the theme ‘Bijli, Pani aur Gas’; electricity, water and gas. During the residency program, the artists and writer are given the opportunity to create their journey of investigation through curiosity and imagination.

Painting/Installation by Maryam Arslan, Karachi

Behold to be enticed by the usual temptations,

You may or may not deem worthy of your attention.

The bait may offer a brief, seeming zest,

For, collapsing back into reality, comes next.

Experience conventional material, matter and rummages,

Witness, irresistible feast of facts and images.

As it may perhaps wipe out,

Bijli, pani aur gas, is what it can’t do without.

Installation by  Mujtaba Asif, Karachi

My work investigates the multiple repercussions from the usage of bijli, pani and gas in the 21 st century. While these three fundamental resources provide sustenance for mankind to thrive on and make a convenient living, I have been considering the extent of destruction caused by acquiring these resources. After visiting various communities and neighborhoods in Karachi, I realized the concrete facts of the disparate distribution of power and authority between the privileged and the common man. The latter of whose daily survival is accelerated by spending most of their income in arranging electricity, water and gas for their family. In the process of this societal negligence, human rights are reduced to printed laws found in forgotten books. Moreover, through my research it has become apparent that human beings are not the sole victims of these sources as multiple living organisms suffer as well. In this body of work, I have considered the perspective and observations from these living organisms on human-developed societies. Amidst this never ending journey to equalize power, hope for a better future is the only feeling one can hang on to.

Painting/Installation by Rahman Zada, Lahore

My work is the about the ease of interaction between people through invisible connections which is a result of neo-technology.As an artist I perceive this transition from physical human communication to battery bowered devices as a conscious form of severing links. Additionally, these severed liaisons have brought me to question our position with nature and address the effects of our actions on our surroundings and why humans, conversely, have a desire to shield our environments.Consequently my work is to make the “invisible, visible”. I have illustrated the importance with technology through the usage of wires, which represents both high power and connection. While co-relating the invisible-connectivity (via waves) to the natural links present in our environment, my research in turn looks into the critical points in which electricity protects and disrupts human life.

Paintings by Sabeen Ahsan, Lahore

Fluid. These flowing hues of black and blue arrest me.

Residing beneath my closed eyes are whirlpools of converging layers that rise up from the deepest recesses. Hurtling through me, are conduits of my sensory experiences.

Surfacing to my mind are Karachi’s water sources; an equation yet to be solved, looked at microscopically and put on display as an ongoing inquiry.