Cultural Practitioners

Archiving the Living: Memory and Ecology in Sara Aslam’s Practice

In a world preoccupied with certainty, Sara Aslam’s work offers something quietly radical: permission to remain in flux. Across the globe, cities are growing at unprecedented rates, with over 56% of the world’s population now living in urban areas, a…

The Power to Connect and Reflect for Change

The millions who live in the cities of today are often polarized by economic stratification and ideological differences; the social rupture can be further exacerbated by heavy state policing of public spaces. In a tense cityscape like this, public art…

How a Museum Can Silence / Un- silence an Object

An art museum can serve as a powerful monument, a place where histories can be revisited, reclaimed, and given a new voice. The oldest museums in our country are archaeological in nature, framed by perspectives constructed by outsiders. The narratives…

Placemaking for the Subaltern

Shahzia Sikander’s recent installation of sculptures titled Hawah …to breathe, air, life, stands in Madison Square Park (Witness) and the Supreme Court (NOW) in New York— with this comes the honor of being the first artist of Pakistani origin to…

Between Erasure and Nostalgia

Many questions about Karachi were left unanswered as I grew up between erasure and nostalgia in this city. The colonial built heritage with its linear history echoed the imperialist narrative which for decades became the only truth we knew. It…

A Bankable Force, Not Dead Capital of Art

When Hernando de Soto came up with the term ‘Dead Capital’, it was mainly referring to the economic activity outside the formal structure. A people’s economy that is often bigger, more resilient and embedded in its context but is never…

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