Art Roundup – 2009 Fresh Inquiries and New Definitions
Text: Salwat Ali
Photography: Courtesy Salwat Ali
In a postcolonial politically chaotic Asia a search for a new artistic language and dialogue has driven young generation art¬ists in pursuit of multiple lines of enquiry and the post modern western construct of new media arts has surfaced as the most favoured vehicle for articulation of these diverse concerns. In Pakistan it was deconstruction of the Mughal Miniature that initiated the new discourse phase while the digital arts, installation, assemblage and video came later but are now gaining ground.
Other than the compelling inner circumstances that gave birth to new metaphors it is the outer interventionist forces that have given Asian art its peculiar, profile. Postcolonial Asian artists are articulating their identities in a situation where an outside power has interrupted and redefined their culture and altered their means of expression. Old boundaries are continuing to crumble but recent Asian art is still under the shadow of Eurocentrism. It is still unable to interpret its complex existence. This inability is the real crux of the identity crisis most third world artists are facing. Instead of undertaking the daunting task of re-building their independent ability to interpret contemporary cultural reality the urge to identify with the West or to gain the recognition of the West dominates artmaking strategies.
New art in Pakistan is a product of the times. It is courting the art market; it mirrors societal apprehensions, aims and aspirations and strangely enough, in many ways, is still faithful to the dominant western discourse. Can any clear signals or messages emerge from this confusing array of influences and motivations?
Today as we move onto 2010 a recap of trends and directions in ’09 reveals that disorder still prevails but fortunately critical voices that question existing systems and aspire for a new reality are gaining strength.
Photography: Courtesy Salwat Ali
In a postcolonial politically chaotic Asia a search for a new artistic language and dialogue has driven young generation art¬ists in pursuit of multiple lines of enquiry and the post modern western construct of new media arts has surfaced as the most favoured vehicle for articulation of these diverse concerns. In Pakistan it was deconstruction of the Mughal Miniature that initiated the new discourse phase while the digital arts, installation, assemblage and video came later but are now gaining ground.
Other than the compelling inner circumstances that gave birth to new metaphors it is the outer interventionist forces that have given Asian art its peculiar, profile. Postcolonial Asian artists are articulating their identities in a situation where an outside power has interrupted and redefined their culture and altered their means of expression. Old boundaries are continuing to crumble but recent Asian art is still under the shadow of Eurocentrism. It is still unable to interpret its complex existence. This inability is the real crux of the identity crisis most third world artists are facing. Instead of undertaking the daunting task of re-building their independent ability to interpret contemporary cultural reality the urge to identify with the West or to gain the recognition of the West dominates artmaking strategies.
New art in Pakistan is a product of the times. It is courting the art market; it mirrors societal apprehensions, aims and aspirations and strangely enough, in many ways, is still faithful to the dominant western discourse. Can any clear signals or messages emerge from this confusing array of influences and motivations?
Today as we move onto 2010 a recap of trends and directions in ’09 reveals that disorder still prevails but fortunately critical voices that question existing systems and aspire for a new reality are gaining strength.
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