Méré Humd(r)um—Contemporary Art from Pakistan
January 26—February 25, 2012
Opening Thursday evening, from 6–9
rsvp here: email@example.com
Facebook invite here.
This should be an interesting show. Some highlights:
Abdullah M. I. Syed, THE FLYING RUG IV, 2011, Folded U.S. one dollar bills and staple pins, 31.5 x 51 in.
Abdullah M. I. Syed, THE FLYING RUG OF DRONES (Ed. of 3), 2009, Box-cutter knife blades and stainless steel, 48 x 96 in. (above 2 images)
Seher Naveed, BETWEEN THE EVENT AND ITS INTERPRETATION, 2011, Paper cuts, 15 x 18 in.
Seher Naveed, THE NOTHING OF ‘THE EVERYDAY’, 2011, Paper cuts, 15 x 18 in.
Shoaib Mehmood, UNTITLED 1, Gouache on wasli, 3.5 x 8 in.
Iqra Tanveer, REALITY SCAPE FOR WEB, 2011, Inkjet on cotton rag, 24 x 36 in.
Ehsan ul Haq, FAN AND WATER, 2008, Pedestal fan, metal container and water, 52 x 42 x 42 in.
From Aicon Gallery‘s website:
Aicon Gallery New York is proud to present Méré Humd(r)um, a group exhibition of Contemporary art from a new wave of young Pakistani artists. The Urdu word Humdum, one syllable removed from its mundane English cousin, means someone who is so close that their breath and yours are one. The word Méré, with even less separating it from the minimal, almost pejorative, “mere” of the English language, is infused with belonging – it means mine. Together, Méré Humdum becomes a term of endearment for a mentor, a friend or a lover. But in a linguistic coincidence it is just a syllable away from the English “mere humdrum.” Today, more than sixty years after Pakistan’s independence, the ordinary, the everyday, the humdrum, remains an object of longing for most Pakistanis – the type of longing one might reserve for a lover. A day when there is no bombing, no violence on the streets – a day when the school bus is delayed only by traffic is a day of thanksgiving and celebration. The twelve artists in this exhibition have created work in direct response to the chaos and violence surrounding them, yet much of this work is imbued with an intrinsic and eternal optimism that stands in defiant contrast to the instability and uncertainty from which it has emerged.