When Urdu Becomes Image

The British philosopher Ludwig Wittgenstein once wrote that “the logical picture of a fact is a Gedanke”.1 Simply put, Wittgenstein…

Curation as Creative Disruption

Ludwig Wittgenstein, Tractatus Logico-Philosophicus (London: Anthem Press, 2021), 41. Wittgenstein, Philosophicus, 41. Hammad Nasar, “‘From Z to A: Zarina and…

Punjab Panorama: A stylistic diversity in Painting and Graphics

Punjab Panorama: A stylistic diversity in Painting and Graphics Author: Miriam Habib Originally published in NuktaArt, Vol 2, ONE, 2007…

From Slow Craft to Fast Consumerism: How Social Behaviours Affect Textile Handicrafts

The cultural and economic value of textile craft micro-enterprises is often visible in present-day urban centres, projects led by non-profits,…

The Karachi Collective

Critical Dialogue on Art, Design & Culture

The Karachi Collective (TKC), established in 2020 as a digital platform, aims to foster creative research and meaningful documentation rooted in Karachi’s vibrant cultural landscape.

While initially centered on this dynamic city—renowned for its layered histories, diverse languages, and artistic expressions—TKC’s scope has progressively extended beyond Karachi to encompass South Asia and its diaspora. This expansion reflects a commitment to forging connections across regional histories, traditions, and contemporary practices.

By inviting artists, writers, designers, and researchers from varied disciplines, TKC cultivates an interdisciplinary dialogue that explores material culture, memory, and identity.

Emphasizing both critical inquiry and creative experimentation, the platform champions diverse methodologies such as autoethnography and embodied knowledge. The Karachi Collective aspires to be a space where regional voices converge, inspiring new perspectives and fostering collaborations that challenge boundaries and enrich understanding across cultural and geographical boundaries.

nukta art logo, magzine of Pakistan

  1. Cathy Lyne Costin, “Why Craft and Social Identity” in Introduction: Craft and Social Identity (Archaeological Papers of the American Anthropological Association, 1998), 4.
  2. Rosalind Corieri Paige, “Definitions” in Craft retail entrepreneurs' perceptions of success

    and factors affecting success (Ames, Iowa State University, 1999), 10.

  3. Anna Kouhia, “Experiential meanings” in Categorizing the meanings of craft: A multi-perspectival framework for eight interrelated meaning categories, (Techne Series A: Vol 19, No 1, 2012), 32.
  4. Tereza Kuldova, “Intense Encounters with the World of Luxury Fashion and the Rich” in Fatalist Luxuries Of Inequality, Wasting, and the Antiwork Ethic in India (Cultural Politics, 2016), 116.
  5. David Harvey, “Modernization” in The Condition of Postmodernity: An Enquiry into the Origins of Cultural Change. (UK: Blackwell Publishers, 1990), 100
  6. Paul Greenhalg, in Persistence of Craft: The Applied Arts Today. (Rutgers University Press, 2003)
  7. Erik Cohen, Commercialization of Ethnic Crafts (Journal of Design History, 1989), 161.
  8. David Pye, The Nature and Art of Workmanship. Cambridge University Press 1968.
  9. “What we do,” CWSA, accessed April 5th, 2026, https://communityworldservice.asia/what-we-do/livelihoods/
  10. “About Us,” Thardeep Rural Development Program, accessed April 5th, 2026, https://thardeep.org/about-us/
  11. “Completed Projects, Projects Menu,” SMEDA, accessed April 5th, 2026, https://smeda.org/index.php?option=com_content&view=article&id=678&Itemid=1605
  12. Seher Mirza, “Standardisation and Commoditization” in Threads of the Indus: the subtle forms of power in craft development in Sindh, Pakistan (UK: Royal College of Art, 2020), 52.

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