The exhibition ‘You Don’t Belong Here’, curated by Safia Mahmood at the Koel Gallery, Karachi was a testament to the boundless creativity and vision of contemporary artists in Pakistan. Each artist featured in this group show offered a unique perspective, drawing inspiration from diverse sources and, in the process, challenging societal norms and conventions.

The artists whose work was on display at this exhibition included Alina Mehta, Areeb Tariq, Aswad Anees, Haris Hidayat Ullah, Inshal Tahir, Mohsin Shafi, Samya Arif and Umaina Khan.

Throughout the history of art, there have been moments that have pushed the boundaries of convention. From the Renaissance masters who used portraiture to delve into the complexities of human emotion, to the urban photographers and street artists who capture the pulse of city life, artists have consistently sought to explore the human experience. In many ways, this exhibition was a continuation of that tradition.

Tariq’s work, with its emotional depth and textured playfulness, invites viewers to peer into the souls of his subjects, transcending mere representation. These works might look like fun to some, while others might relate to the works on more emotional and intellectual levels. His deeply innovative and symbolic pieces, such as Captain Bail and Captainess Bail, were the centre of attention at the show.

The artworks at a recent exhibition in Karachi aimed to create a ‘sense of un-belonging’

Anees draws from the visual language of urban photographers and street artists, echoing the urgency of artists like Edward Hopper and Jackson Pollock. Like these greats, Anees’ work captures the energy and chaos of city life, reflecting the dynamism of modern urban existence.

From modern to post-modern symbolism, Haris Hidayat Ullah’s Gaajar Ka Hal was reminiscent of satirical and dystopian art, echoing the spirit of social commentary seen in the works of George Orwell. In this piece, Hidayat Ullah invites us to confront the consequences of wealth disparity and the stark reality of a world divided by economic power.

Inshal Tahir’s exploration of the Indian Chipko movement draws parallels to iconic protest art, much like the posters of the Black Panther organisation or the images from the American civil rights movement. Her work was a powerful reminder of the enduring power of protest and unity.

Through the lens of femininity, Samya Arif provided us with a sanctuary of escape, echoing the sentiments of feminist art pioneers. Her art empowers women and challenges societal norms, emphasising the individuality and strength of women. Her work, Ghoorti Nazar I and II in particular, reminded us that art is a potent tool for social commentary and change.

Khan’s art continues this tradition of feminist art, critiquing the dehumanisation of female bodies. Her work is a powerful commentary on the objectification of women and a reminder of the strength and resilience of women. Her artwork takes a critical stance against the romanticised dehumanisation of female bodies. Through her work, Khan challenges the objectification of women, emphasising their identity, sexuality and individuality. Her creations echo the sentiments of artists such as Cindy Sherman, who used self-portraiture to critique societal expectations of women.

Her use of candies, desserts and manipulated dolls as symbolic representations of women reinforce the notion that women are often viewed as mere ‘objects’. Khan’s Barbie Enough? series served as a reminder that women are not defined by their appearance but instead by their strength, individuality, resilience and diversity of choices. This is something which, as this exhibition reminds us, Pakistan desperately needs to understand.

‘You Don’t Belong Here’ was on display at the Koel Gallery, Karachi from September 16-27, 2023

The writer is a Karachi-based journalist who writes about art and entertainment. She is also a media coordinator for the International Watercolour Society

Published in Dawn, EOS, October 1st, 2023