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Net Art's Archival Poetics at the New Museum Ocula Report Net Art's Archival Poetics at the New Museum 23 Feb 2019 : Banyi Huang for Ocula

How should net art be classified, historicised, and exhibited, when time has elapsed between its initial production and its latter presentation? On view at the New Museum from 22 January to 26 May 2019, The Art Happens Here: Net Art's Archival Poetics presents 16 seminal artworks from Net Art Anthology, an ambitious two-year initiative undertaken...

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Xi Bei Ocula Conversation Xi Bei Artistic Director, Times Art Center Berlin

Times Art Center Berlin is a non-profit art institution located in the Potsdamer Strasse Art District of Berlin. It was founded in July 2018 by the Guangdong Times Museum, a non-profit private art museum in the Pearl River Delta (PRD) region of China, making this the first parallel institution founded overseas by an Asia-based art museum. Its...

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4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life Ocula Report 4th Kochi-Muziris Biennale: Possibilities for a Non-Alienated Life 15 Feb 2019 : Natalie King for Ocula

'Poems are like sentences that have taken their clothes off.' Marlene Dumas' poetic and sensual refrain accompanies her figurative watercolours on view in Possibilities for a Non-Alienated Life, the fourth edition of the Kochi-Muziris Biennale (KMB) in the southern state of Kerala, India (12 December 2018–29 March 2019).Dumas' new series...

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Bani Abidi

b. 1971, Pakistan

Bani Abidi was born in Karachi, Pakistan, in 1971. She studied painting and printmaking, earning a BFA from the National College of Arts, Lahore, Pakistan, in 1994. She later attended the School of the Art Institute of Chicago, earning an MFA in 1999. She completed residencies with the Skowhegan School of Painting and Sculpture, Maine (2000), Fukuoka Art Exchange Program, Japan (2005), and DAAD Artists-in-Berlin Program (2011–12). Her early engagement with video, beginning at the Art Institute, led to the incorporation of performance and photography into her work. These mediums have provided Abidi with potent, sometimes subversive means to address problems of nationalism—specifically those surrounding the Indian-Pakistani conflict and the violent legacy of the 1947 partition dividing the two countries—and their uneven representation in the mass media. She is particularly interested in how these issues affect everyday life and individual experience.

One of Abidi’s earliest videos, Mangoes (1999), reveals her barbed sense of humor. Two women—one Indian, one Pakistani, both played by the artist—eat mangoes and reminisce about their childhoods. Soon, however, their amiable chatter escalates into competitive boasting about the fruit grown in their respective homelands, which they reference from memory as expatriates. The artist uses a similar tactic in the two-channel video The News (2001). Here, a Pakistani and an Indian newscaster, again both performed by Abidi, issue divergent reports of the same event, based on a familiar joke. In addition to video, Abidi also works with photography, digital imaging, and installation. For Karachi—Series 1 (2009), she photographed non-Muslim Pakistanis in the street at dusk during the holy month of Ramadan, when the metropolis is quiet as Muslims sit down to break their fast. Abidi renders visible the Hindu and Christian minorities, which together constitute less than five per cent of the population, acknowledging that the city is their home too by inviting them to carry out mundane domestic activities—reading a newspaper, ironing, arranging flowers—in public space. These are ambivalent portraits, each labeled with the subject’s name, time, and date, as if they were documents of surveillance. The figures are shot from behind at a wide angle, the light of the setting sun heightening the oddity of their interpolation into the streetscape—as does the images’ lightbox presentation. But while politics and cultural critique pervade Abidi’s oeuvre, aesthetics remain her primary concern; these works may act as catalysts, but the responsibility for real change ultimately resides with the viewer.

Solo exhibitions of Abidi’s work have been presented at V. M. Art Gallery, Karachi (2006 and 2010); Oberwelt, Stuttgart (2006); Gallery TPW, Toronto (2007); Gallery SKE, Bangalore (2008); Green Cardamom, London (2008 and 2010); Project 88, Mumbai (2010); Baltic Center for Contemporary Art, Gateshead, United Kingdom (2011); and Experimenter, Kolkata (2012–13). Important group exhibitions include: Fukuoka Asian Art Triennial (2005); Thermocline of Art: New Asian Waves, ZKM Center for Art and Media, Karlsruhe (2007); Annual Report: A Year in Exhibitions, Gwangju Biennial, South Korea (2008); Hanging Fire: Contemporary Art from Pakistan, Asia Society, New York (2009); The Spectacle of the Everyday, Lyon Biennial, France (2009); Where Three Dreams Cross: 150 Years of Photography from India, Pakistan and Bangladesh, Whitechapel Art Gallery, London, and Fotomuseum Winterthur, Switzerland (2010); The Global Contemporary: Art Worlds After 1989, ZKM Center for Art and Media, Karlsruhe (2011); Making Normative Orders: Demonstrations of Power, Doubt and Protest, Frankfurter Kunstverein, Frankfurt (2012); and Documenta 13 (2012). Abidi lives and works between Karachi and New Delhi.

Source: Solomon R. Guggenheim Museum, New York.

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Featured Artworks

Memorial to Lost Words by Bani Abidi contemporary artwork Bani AbidiMemorial to Lost Words, 2017–2018 Sound and sculptural installation, 8 channel audio, 25 marble slabs with engraved text, installation dimensions variable
Experimenter

Represented By

In Related Press

“I Wish to Let You Fall Out of My Hands (Chapter I)”: Bangladeshi filmmaker Naeem Mohaiemen and Pakistani artist Bani Abidi – in conversation Related Press “I Wish to Let You Fall Out of My Hands (Chapter I)”: Bangladeshi filmmaker Naeem Mohaiemen and Pakistani artist Bani Abidi – in conversation Art Radar : 26 February 2018

I wish to let you fall out of my hands (Chapter I) at Experimenter presents the works of Bangladeshi visual artist, writer and filmmaker Naeem Mohaiemen and Pakistani artist Bani Abidi in an exhibition that seeks to decode the meanings behind structures. The artists use film and photography to explore the complexity of peoples' relationships with...

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'Enactments and each passing day': South Asian moving image art at Kiran Nader Museum of Art Related Press 'Enactments and each passing day': South Asian moving image art at Kiran Nader Museum of Art Art Radar Journal : 17 November 2016

The Kiran Nadar Museum of Art (KNMA) has come up with their first exhibition Enactments and each passing day: An exhibition of moving images solely dedicated to the challenging and powerful medium of video art. A compilation of works by 15 contemporary artists ranging from young and dynamic practitioners like Shilpa Gupta, Rohini Devasher and...

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'The Man Who Clapped for 97 hours': Pakistani artist Bani Abidi - interview Related Press 'The Man Who Clapped for 97 hours': Pakistani artist Bani Abidi - interview Art Radar : 19 February 2016

Pakistani artist Bani Abidi’s second solo exhibition at Experimenter, Kolkata, opened on 15 January and is running until 27 February 2016. The artist talks about her practice, based on her belief that “Life is infinitely more interesting than the best of what art can conjure up”, as she tells Art Radar in an exclusive interview.

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