Hammad Nasar’s piece for the Guggenheim site.http://blogs.guggenheim.org/2013/02/11/karachi-pop-vernacular-visualities-in-…
…and part of another
Some details of the finer piece.
The blue Persian is a much finer piece but totally threadbare, worn right down to the structural weft and weave of its base, from a distance it’s almost monochrome. They are both also full of dust despite several previous washings. The motifs are of course all plant and garden based. These rugs would seem a viable visual metaphor a cultural reading of “the garden”. Here it is played out as as paradise itself. A contained garden of fountains, bird song, fruit bearing trees within in an ordered orchard. An oasis of sorts.
I decided to cut out the still intact central portion today, and have kept the borders to experiment on as well. I’m intending to somehow work into and onto these rugs. At present it seems to me that the only authentic way to do that is to actually stitch another layer right into their very fabric, perhaps this should read from both sides as in fact this threadbare one does. Now there is no hierarchy of front or back, its much the same.
I will have to have to stitch the edges to prevent this one disintegrating. It felt sacrilegious to be cutting into this once magnificent rug but if I can use it in my work it will have another lease of life.
William Glover’s new book “Making Lahore Modern” Constructing and imagining a colonial City, just arrived. Its only been a week or so since I ordered though Amazon’s express delivery cost me as much as the book itself!
A work by Berlin based Alex Fleming shown at Art Dubai a few years ago. I instantly recognized it as a work I should have, could have made! (don’t you hate it when that happens?) We became friends and I sent him an Afghani War rug subsequently.
This is the most recent completed project. Participating in the current group exhibition (curated by Mehreen Murtaza and Umer Butt) at Greynoise Gallery, Lahore.
In the show entitled “Patrons of Oh! My God i can buy Art!” opens 25th October 2009.
Our work is entitled:
<meta name=”Title” content=””> <meta name=”Keywords” content=””> <meta equiv=”Content-Type” content=”text/html; charset=utf-8″> <meta name=”ProgId” content=”Word.Document”> <meta name=”Generator” content=”Microsoft Word 2008″> <meta name=”Originator” content=”Microsoft Word 2008″> <link style=”font-weight: bold;” rel=”File-List” href=”file://localhost/Users/davidalesworth/Library/Caches/TemporaryItems/msoclip/0/clip_filelist.xml”> <style> </style> “People’s Art Historical Garden Centre”
A project of P.A.H.P.
(People’s Art and Historical Project)
David Chalmers Alesworth and Adnan Madani
Recycled paper and live seeds.
“The P.A.H.G.C. aims to create a new and green space for supra-critical reappraisal of the use-value of art history (as written from the point of view of colonial and post-colonial
govern-mentality), by converting the plastic objects of art history into objects of everyday fetish use for the subjects of history. The dissemination of alter-knowledge and the insemination of alter-culture are the short, medium and long term goals of this project, which conforms closely to the will of the people while correspondingly attempting to shape the contours of that will and its future forms.”
Oct. 2009 Video documentation and context for “P.A.H.G.C.P”
Mahmood with a collection of raw material.
Oxford University Press’s “Image and Identity” by Akbar Naquvi.
In this book he describes my practice in the mid 1990’s as being more orientated towards
horticulture than art making.
Iqbal Geoffrey to whom this work is in part homage.
Mahmood at work with editioned works behind him.
In the gallery prior to the opening.
The rosta of participating artists in this group show.
Gallery goers and Mahmood at work producing useful paper bags from this troubled text.
Gallery visitors were encourgaded to take away free art-historical bags containing live vegetable seeds.
The work place, finished bags to the right.
The seeds in the foreground are added to each bag.
They are egg plant, melons, cabbage and chillies.
The twelve editioned works, each bag contains some live seeds,
the local seed packets are inserted into each art-historical bag.
Each bag/seed packet combination is mounted on a facsimile herbarium sheet
and framed with acid free archival materials.
How to make work from incidental encounters such as this?
Old roti’s being stored in a disused bird-cage on top of a broken dolls push-chair.
I’m going to set it up on a plinth under studio lights and see what happens.
Maybe track around it with a video camera. recently got a Nikon 35mm adapter for the XL-1.
Research Synopsis 2009
February 16-March 4, 2009
David Alesworth | Huma Mulji
Zahoor ul Akhlaq Gallery
National College of Arts | Lahore | Pakistan
“The Garden of Babel”