Saira Ansari (b. 1982, Sao Paulo, Brazil); BFA (Painting), National College of Arts (NCA), Lahore, Pakistan; MA (Hons.) Visual Arts, National College of Arts (NCA), Lahore, Pakistan.
Read MorePublications and Research at the Sharjah Art Foundation, UAE; Contributing Editor (Art) at the South Asian bi-annual literary journal Papercuts; Managing Editor on monographs on Abbas Akhavan (SKIRA / Works on Paper, 2017-18) and Pouran Jinchi (Akkadia Press / Works on Paper, 2018); Recipient of Lahore Biennale Foundation Research Fellowship (2016), granted in conjunction with Asia Art Archive (Hong Kong)—developing a digital archive of Zubeida Agha (1922-1997). Previously, Director of Communications at The Third Line, Dubai.
Independent researcher and writer with contributions to art and culture publications across Pakistan, India, UAE, USA, UK and Brazil. Focus includes South Asian art history, global modernity, transnational discourse, publishing and science fiction. Curatorial projects include The importance of staying quiet (Hong Kong, 2014), a collaborative project with Umer Butt (Director, Grey Noise). Most recent research work includes the paper Temporal Exchanges: East and West Pakistan Exhibition Programs, 1947-71, presented at the 'Displays of Internationalism' symposium hosted by the Dhaka Art Summit (2018).
Essays in: Everything we do is Music, Drawing Room and Cornerhouse Publications (UK, 2017); Rupak / 2016-2017, Documenta 14 and Grey Noise (Greece/UAE, 2017); Syntax Freezone: Anthology of Essays on Language and Accent, THE STATE and Maraya Art Centre (UAE, 2015); PIX: The Pakistan Issue (India, 2015); and Sohbet: Journal of Contemporary Arts and Culture, Vol. 2 (Pakistan, 2011). Contributed articles to: Art Asia Pacific, The Rio Times, The State, Canvas, Harper's Bazaar Art Arabia, ArtNow Pakistan, Herald Magazine, The Friday Times, Tribe, Khaleej Times, FOLIO, Libas International, and Art Dubai Blog.
Currently residing between Lahore, Pakistan and Dubai, UAE.
