The 2012 exhibitor list features a global roster of leading galleries such as Lisson Gallery (London), Sean Kelly (New York), Victoria Miro (London), David Zwirner (New York), Sprüth Magers (Berlin), Gallery Hyundai (Seoul), Galerie EIGEN + ART (Berlin), Marianne Boeksy (New York), Peter Blum (New York), Andrew Kreps Gallery (New York), Galleria Continua (San Gimignano, Beijing, Le Moulin), Sies + Höke (Düsseldorf), Massimo de Carlo (Milan), Galerie Thomas (Munich), Marlborough Gallery (New York), James Goodman Gallery (New York), G.A.M. Galleria d’Arte Maggiore (Bologna), Galerie Krinzinger (Vienna), Susanne Vielmetter Los Angeles Projects (Culver City), Kukje Gallery/Tina Kim Gallery (Seoul, New York), Greene Naftali (New York), and Galerie Guido W. Baudach (Berlin).  The outstanding exhibitor list is a testament to the exciting changes the fair has undertaken this year including a re-designed floor plan by the award-winning, New York City-based, architectural firm Bade Stageberg Cox and an enhanced programmatic schedule.

“This year’s Armory Show is sure to stand out from our past editions, as well as other fairs from around the world,” notes Paul Morris, Founding Director of The Armory Show. “For the 2012 edition, we have taken a new direction for the fair. Most notable is that The Armory Show is now a smaller, more curated fair that enriches every experience for the many collectors, curators and guests who come to The Armory Show to see the greatest art from around the world. We’ve engaged Bade Stageberg Cox to relay our floor plan with an intrinsic New York flavor, and have improved our amenities—from a top-notch gourmet restaurant and café to comfortable lounges throughout the fair.”

The Armory Show’s third edition of Armory Focus has turned its attention to the dynamic art community of the Nordic countries. This invitation-only component of The Armory Show, Armory Focus: The Nordic Countries is curated by the esteemed Malmö Konsthall director Jacob Fabricius and features galleries from Denmark, Norway, Sweden, Finland and Iceland. “The artists and galleries that work in this region deserve our full attention and I am happy to be able to present them in New York and at The Armory Show as part of the focus on the Nordic Region,” remarks Fabricius. Additional features of The Armory Show 2012 include the work of The Armory Show 2012 commissioned artist Theaster Gates who will be be featured at Kavi Gupta (Chicago); the eclectic and engaging Open Forum talk series curated by Amanda Parmer of the Whitney Independent Studies Program; the inaugural edition of Armory Film; an acclaimed VIP program; and a lively opening night party benefiting The Museum of Modern Art.

Please visit www.thearmoryshow.com for the complete list of exhibitors, the upcoming Open Forum schedule, travel and accommodations, Armory Arts Week and visiting information.

The Armory Show is located on Piers 92 and 94 on the Hudson River, Twelfth Avenue at West 55th Street in the Passenger Ship Terminal complex, conveniently located 20 blocks north of the Chelsea Gallery district and just west of Columbus Circle. The piers are easily accessible by public transportation, taxi, and private vehicle.

Piers 92 and 94
Twelfth Avenue at 55th Street
New York City

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A Continuous Dialogue
by
TARIQ GILL

on Thursday 23 February, 2012 at 5:00 pm to 7:30 pm
the Exhibition will countinue till 5 March, 2012
Daily 11:00 am to 6:00 pm  (Closed Sundays)

Khaas Art Gallery
House 1, Street 2, F-6\3, Margalla Road,
Islamabad-Pakistan.

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Kuch Geet Bhi Tuo Shehar Ki KHamooshiyon Mein Hein
Exhibition of Paintings
by
ARJUMAND AWAN

on Saturday 25 February, 2012 at 4:30 pm
the Exhibition will countinue till 5 March, 2012

Nomad Art Gallery
H. # 22, Justice Abdul Rasheed Avenue, F-6/1,
Islamabad-Pakistan.

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National Defence University (NDU), Pakistan Military Academy (PMA), Pakistan Naval Academy, King Edward Medical University, Lahore University of Medical Sciences (Lums), Muhammad Ali Jinnah University (Maju), Quaid-i-Azam University (QAU), Allama Iqbal Open University (AIOU) and Ghulam Ishaq Khan Institute of Engineering Sciences and Technology were in the list of those who did not implement HEC’s instructions.

ISLAMABAD, Feb 19: Little is known about the man who gave away more than $800 million worth of his art works. This too was a jaw dropping fact for art lovers who attended a ceremony held at a local hotel on Sadequain’s 25th death anniversary.

“That’s how it is every time we hold such events to pay tribute to the legend that is Sadequain that people walk away knowing him better,” said Dr Salman Ahmad, author of the book ‘The Saga of Sadequain’ that was launched Sunday night.

Spread on 850 plus pages with 500 illustrations, the book that documents history that was Sadequain was the largest book to come out on any subject according to the Sadequain Foundation based in the US. The foundation has collected roughly 2,500 images created by Sadequain spread across three continents.

Dr. Salman Ahmad had spent four years collecting facts on Sadequain’s development as an artist and the impact of his lifestyle on his works. This was the ninth book to come out on the painter.

The atmosphere in the hall was gentle and composed and high-quality prints, specially brought from the US, of Sadequain’s paintings and calligraphy were hung around on the walls.

Audience sat attentive as Dr. Salman Ahmad walked his listeners through the artist’s life who had produced an estimated 15,000 serious paintings, drawings and calligraphy – 375 per year and nearly one artistic masterpiece each day.

“European art critics have compared Sadequain to Picasso. He has produced more murals than the Italian Renaissance Michael Angelo and Mexican Diego Rivera whose large wall works in fresco helped establish the Mexican Mural Movement,” said Salman Ahmad who hoped that people would have more to describe Sadequain whom the world knew little of.

He lamented how three galleries that had come up in Sadequain’s name had gradually vanished. “We are planning to establish a museum in the name of the man who is the subject of several books and focus of many doctoral theses,” he said and described Sadequain as artist operating at a different stratosphere.

Dr Faisal Arjumand, an artist and owner of Gallery 6 in federal capital who collaborated with the Sadequain Foundation to commemorate the death anniversary, explained his audience how Sadequain transformed calligraphy into mainstream art.

“His largest mural is 260 feet long that was completed in 72 hours in a stretch,” said Faisal who described Sadequain as a symbol of Islamic renaissance in calligraphy.

Dr Faisal narrated his experiences with the late painter about how he would give away his art works to whoever admired it.

(Dawn News)

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Abdullah Syed
Show Art Reserves Curated by Eminent Art Critic
Nafisa Rizvi

on Tuesday 21 February, 2012 at 5:00 pm to 8:00 pm
the Exhibition will countinue till 1st March, 2012
Daily 11:00 am to 8:00 pm (excluding Sunday)

Canvas Art Gallery
F 50/A, Block 4, Clifton,
Karachi-Pakistan

ART RESERVES, ART = CAPITAL , IS PART OF ABDULLAH SYED ‘S ONGOING INVESTIGATION OF THE RELATIONSHIP BETWEEN ART, CAPITAL AND CONSUMPTION BOTH GLOBALLY AND LOCALLY. THE SHOW FEATURES MIXED MEDIA DRAWINGS , PRINTS , SCULPTURES AND INSTALLATIONS.

ABDULLAH, WITH NUMEROUS SUCCESSFUL SHOWS WORLDWIDE TO HIS CREDIT , IS AN INTERNATIONALLY ACCLAIMED ARTIST. HE HAS LIVED IN PAKISTAN AND USA AND IS CURRENTLY ENROLLED IN THE PH.D PROGRAMME IN FINE ART AT THE UNIVERSITY OF NEW SOUTH WALES, SYDNEY, AUSTRALIA AND IS SIMULTANEOUSLY TEACHING IN THE MASTERS PROGRAMME.

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Sadequain's mural has been affected by discolouration in certain patches and requires attention. File photo

There is discolouration in certain patches where rainwater has seeped through the roof onto the hardboard on which the mural has been painted. The work is a composite of over 100 hardboard panels mounted on wooden frames attached to the ceiling.

Some of the panels have come loose from the frames and could potentially crash to the ground.

The “Arz-o-Samawat” (earth and the heavens) mural, painted in oils and markers, is Sadequain’s last work. He died in 1987 before he could complete it, leaving several of the canvases blank, testimony to an interrupted masterpiece.

The moisture-related damage goes back some three or four years. According to conservationists, the outer shell of the ceiling is made of metal sheets which have corroded over time, allowing rainwater to slowly seep into the peripheries of the gallery housing the mural. However, it was not until the rains last summer that the water made inroads into the central part of the mural itself.

Dr Kaleem Lashari, chairman of the heritage board instituted by the Sindh government to advise the department of antiquities, explains that the conservation of Frere Hall falls under the said department, which initiated documentation of the site two years back. “The studies were completed six months ago, and form the basis of a working strategy according to which the identification of suitable workers and artisans is under way,” he says.

Insisting that the mural is not in imminent danger, he adds: “In seven to eight months, we will be replacing the metal sheets with new ones that will secure the mural for 100 years.” He says that the damage does not warrant retouching of the mural. “We’ll allow it to dry; at the moment further intervention is not needed,” maintains Dr Lashari, comparing it with another mural by Sadequain in the Lahore museum which according to him is in far worse condition and requires more intensive treatment.

The gallery, as well as Frere Hall itself, sustained damage from the bomb attack in 2002 on the US consulate that was, until recently, located across the road. There are cracks visible in several places in the structure as well as in the doors and windows.

The ceiling of the hall adjoining the space with the mural, which is also used for art exhibitions, has a number of tiles missing, and the remaining ones appear precariously suspended.

The nearly decade-long closure of the building that followed the bombing allowed it to fall further into disrepair.

“In heritage conservation, maintenance and proper utilisation is very important,” says Dr Anila Naeem, member of the technical sub-committee of the Sindh government’s heritage advisory committee. “One of the primary reasons for deterioration of heritage buildings is disuse because regular maintenance is not carried out.”

(Dawn News)

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The 7th Dubai International Exhibition for Arabic Calligraphy welcomed visitors on Thursday as world-renowned artists presented their works at the Scientific and Cultural Association in Al Mamzar in Dubai.

Mohammed Al Murr, Speaker of Federal National Council (FNC) and Deputy Chairman of the Dubai Culture and Arts Authority, inaugurated the exhibition. He said, “UAE leaders have been highly supportive of the initiatives designed to develop and promote the art whose beauty appeals to a global audience.”

Al Murr, whose Arabic calligraphy works are being displayed in a special wing at the eight-day exhibition, said the successful hosting of Arabic calligraphy shows in the UAE, especially Dubai, Abu Dhabi and Sharjah, reflects the significance attached to this art form by the people and Rulers of the UAE. The strong desire among Emiratis to preserve their unique Arab identity and their pride in Islamic and Arab heritage behind the popularity of Arabic calligraphy has helped the art prosper, he added.

Participating calligraphers explained their works to the visitors. The exhibition has been organised by the Dubai Department of Tourism and Commerce Marketing (DTCM).

Running until February 23 and open to public, the exhibition features 42 selected works of 22 calligraphers from 12 countries, including  the UK, Saudi Arabia, Kuwait, Jordan, Iraq, Syria, Egypt, Tunisia, Algeria, Turkey and Iran.

The exhibition is being organised under the patronage of Shaikh Hamdan bin Mohammed bin Rashid Al Maktoum, Crown Prince of Dubai and Chairman of the Dubai Executive Council, and with the cooperation of the Research Centre for Islamic History, Art and Culture (IRCICA), the Istanbul-based cultural arm of Organisation of Islamic Countries (OIC).

The educational seminars and technical workshops will deal with the history and evolution of Arabic calligraphy and different schools of Arabic calligraphy in the Islamic and Muslim communities around the world.

(www.khaleejtimes.com)

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Exhibition of Paintings

by

MOIN H SHAH

on Saturday, 18 Fabruary, 2012, at 5:30 pm

the Exhibition will countinue till 24 Fabruary, 2012

Daily 11:00 am to 7:00 pm

Citi Art Gallery

M-19,20, Sahil Promenade Apartments, Block-3, Clifton,

Karachi, Pakistan.

Ardor, elation, radiance

Masterly strokes of upbeat, vibrant colours and a rhythmic mingling of anonymous-yet-recognizable urban dwellers is what populates the Moin H Shah imagery; even his darkest canvasses are aglow with sparkling optimism and a passionate belief in the glory of Man as a social being; an integral, inseparable part of the entire human experience. His work is always on the bright side of brightness, and his luminous flowers are a gift from Nature to this celebration of life.

Over the years, this autodidact’s transformation from an inquisitive onlooker, a novice in the creative wilderness, to a connoisseur of all things beautiful, to a passionate initiate in the realm of lines-and- forms, to a familiar name on the local and global art scene — acknowledged, respected and sought-after by admirers, collectors, purveyors, writers and critics alike — has been awe-inspiring.

A modern expressionist, Moin Shah, utilizes acrylic as his medium with his ‘own mixing and application techniques to enrich and produce multi-layers and a sense of depth or a 3-D effect’. Togetherness (his skyscrapers, humans, flowers — all reflect a strong bonding), coupled with an insatiable desire to taste the nectar of existence, has been the consistently dominant theme in Moin Shah’s work.

His artistic exuberance has endeared Moin Shah to art lovers translating into a following that has reached a place this side of a fad. His latest collection goes on display at the Citi Art Gallery, Clifton, from Saturday, February 18, 2012.

Abid Ali Syed
Sr. Journalist /Art Critic

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Architecture, they say, is an art form. This is the reason why many artists, painters and sculptors in history chose, and are still doing so, buildings as their motif or leitmotif, particularly if the buildings are made of stone. Man and stone, for some reason, have had an inexplicably symbiotic relationship. In this context, an exhibition of pen-and-ink work by French artist Henri Souffay titled ‘Reves de pierres: Dreams of Stones’, which opened at the Art Chowk Gallery on Wednesday, is an interesting study of the aforementioned observation. The most noticeable feature of the exhibits on display, even in the rather conceptual ‘Deep Inside’ series (pen and ink on paper), is an element of softness in the air and eerie quietude. Perhaps it is indicative of the artist’s own disposition.

However, the show begins, that is the initial 10 pieces, on a rather unusual note — unusual in the sense that they are a little different from the rest of the 20-odd drawings. The first exhibit, ‘The River’ (pen and ink on paper), provides a fair idea of Souffay’s firm, surgeon-like grasp on the pen. The precision, despite the conceptual theme, is worth appreciating for itself. The content: well, it transports you back in time that is a little foreign for local viewers. ‘Deep Inside I, II, III’ emits an uneasy vibe primarily because of the chains that hang off the walls. The most visually striking example in this series is ‘The Anchor’. Not the building but the moon, the stars (smaller moons) seen from the open space and the anchor which dangles from the top makes the drawing partly surreal, partly real. And, again, the precision of Souffay’s pen-and-ink control is pleasantly surprising.

Then comes the sudden transformation where the viewer sees Mohatta Palace (pen and ink on paper), jali (pen and ink with soft
pastels on paper), filigrees, mundra and marble flowers (pen and ink on paper) — readily identifiable and easy to get. However, Souffay does not indulge in detail, mind you. He creates an effect. Even here though, exhibits like ‘Lost in Time, Lost in Space’ (pen and ink with soft pastels on paper) symbolise, albeit subtly, the need for preserving heritage.

According to the invite to the show, ‘Henri Souffay came to Pakistan for the woman he loves and fell in love with the land’.

Looking at the exhibition, which will run till Feb 28, there is hardly any evidence to doubt that.

(Dawn News)

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When I was a child my favourite bedtime story was not Hansel and Gretel or Little Red Riding Hood, instead it was about a man who had painted over the white washed walls of his house the night before a family member’s wedding – that man was Sadequain Ahmed Naqvi.

As I grew older, he became one of those people everyone had read about and if you hadn’t seen the mural in Frere Hall or Lahore Museum, you were considered uncultured.  While attending the book launch ceremony for a two-volume book on his life and artwork, ‘The Saga of Sadequain,’ I realised on Tuesday that everyone shared a special bond with this artist. In the short documentary that was projected on stage, it showed him with a crazed, absorbed madness of intensity drawing charcoal lines on a canvas that came to life in minutes. He took only an occasional break to roll up his sleeves and rub his nose. A cigarette dangled from his left hand as if it was another finger.

The event was organised at the Indus Valley School of Art and Architecture in the corridor in front of the gallery. Large blown-up posters of the artist painting and signing autographs and posing with ZA Bokhari dazzled under the orange-yellow lighting. At a small stall nearby the Sadequain Foundation sold copies of the book. The Sadequain Foundation is a non-profit organisation spearheaded by engineer Salman Ahmed, Sadequain’s nephew, who gave up his career to write, research and talk about Sadequain.

The guests started to pile in by 6:45 pm and the event kicked off with a short introduction by the gallery curator, Anbrin Naz. The director of the art school came up on stage and introduced the curator of Gallery 6, Islamabad, the official partner of the Sadequain Foundation in Pakistan.

Gallery 6 curator, Arjumand Faisal gave a rather emotional speech on Sadequain, his mentor. He remembered the artist’s giving spirit and said that when he returned from Paris in the 1970s, he didn’t sell anything, he only gave them away – except the two times he was commissioned to work on the mural for the State Bank of Pakistan and the Mangla Dam. Faisal added that Sadequain was also an ambassador of peace as when he went to India for 14 months he painted three murals and more than a hundred paintings and just gave them away. “Sadequain spent 40 years of his life as a painter,” said Faisal. “He painted more than 15,000 paintings, calligraphy… this shows a creative genius and commitment to art which often made me wonder if he was human.” There were times when Sadequain would start painting on Monday evenings and continue non-stop for the next 16 hours.

According to Faisal, Sadequain had gifted 250 painting to the Pakistan National Council of Arts in Islamabad. Once, when a sheikh had offered him over 20,000 dirhams for a painting, he had refused to sell it but asked him to drop by later and take the painting as a present. He did the same when General Ziaul Haq wanted to buy one of his paintings and take it as a present on an official trip.

After a series of speeches, the audience was rewarded by a 12-minute documentary made by PTV on the artist in 1977. This was part of a television series which ran over a couple of weeks.

(The Express Tribune)

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