An art exhibition that can only be viewed over the course of 24 hours seems like an odd idea. Surely one would want a more extended timeframe in order to ensure that the artworks on display receive as much viewership over a period of days as possible.

However, the ’24 Hours Show’ at Koel Gallery, which featured works by 11 artists, as the name suggests, did precisely this.

As the curator Robella Ahmed explains, the concept of this show was more in keeping with how we consume media in today’s day and age than we might want to admit: “The most common storytellers nowadays are the 9:16 digital screens...The ephemeral here is not only about the creation of content that can be consumed in seconds or minutes, but it is also about content that can only be viewed for a specific amount of time, which is 24 hours. Artists in this show have narrated stories around the aspect ratio of 9:16, enlarging the screen size to 13.5x24 inches.”

Take Marium Agha for instance, whose contribution to the exhibition is a series of reconstructed tapestries that challenge conventional notions of love and romance. Agha employs thread and fabric to create complex, multi-layered artworks. Artworks such as Landscape, Symphony, Memory and Reconsidered deconstruct idealised depictions of love and reconstruct them to reflect a more nuanced reality.

Mirroring how rapidly we consume information on social media before scrolling on to the next piece of content, an exhibition tried to capture the ephemeral nature of modern consumption of media

In Symphony and Memory, Agha uses reconstructed tapestries to explore the fragmented nature of memory and desire. The meticulous stitching and deconstruction techniques she employs serve as metaphors for the intricate and often fragile nature of relationships. Agha seeks to expose the saccharine, unrealistic portrayals of love prevalent in popular culture and fed to us through the artifice of social media, offering instead a more authentic and multifaceted narrative.

Abid Aslam’s series, To Be Continued I, II and III, is a masterful exploration of the beauty inherent in the ordinary. Aslam’s ability to find solace in the mundane and transform it into something extraordinary is evident in his choice of subject matter and his meticulous execution. To Be Continued I features a portrait partially obscured by a lavish overlay of gold leaf, creating a striking juxtaposition between the simplicity of the human form and the opulence of the gilded surface.

In To Be Continued II, Aslam continues this exploration with another portrait, this time with the subject’s eyes peering over the gold leaf, suggesting a sense of curiosity and introspection. The delicate use of gouache and punching techniques on wasli showcases Aslam’s commitment to blending contemporary themes with classical methods.

Ahsan Javaid’s artworks were shaped through the collective imagination of various individuals from different walks of life. By inviting them to provide references from their social media archives, he not only democratises the creative process, but also embeds contemporary cultural narratives into his work. In Oh I Cee (OIC), Javaid presents a visually compelling piece that reflects a blend of personal, historical and political influences. The painting is a mosaic of references, with each fragment contributing to the larger narrative.

The exhibition also features a painting by Kiran Saleem, who investigates “the ephemeral glow of a vanishing image.” Saleem’s Echoes in the Dark uses oil and acrylic on canvas to depict scenes that linger with a sense of devastation that is similar to the images we are seeing come out of Gaza on a daily basis. However, her work serves as a commentary on the transient nature of these images that we share on social media and how, after they vanish from our stories online after a 24-hour span, they also might vanish from our memories. But, according to Saleem, their inherent truth must endure.

Irfan Gul Dahri’s contributions explore themes of mythology, folktales and fantasy. Love Story I and II from his ‘Paradise and Other Fairytales’ series use acrylic on canvas to create whimsical yet thought-provoking pieces that delve into the realm of perceived existence and imagination — thus looking like pictures out of Lewis Carroll’s Alice in Wonderland.

Past, Present, Future I is a captivating piece that encapsulates Muhammad Atif Khan’s signature style of juxtaposing eclectic images in contrasting environments. The painting draws heavily from Mughal miniature paintings, but he sets his scene against a backdrop of electric cable lines and transmission towers. This amalgamation not only pays tribute to the artworks that inspired Khan but also subverts their original contexts. The contrast between the historical references and the contemporary setting speaks to the fluidity of time and the interconnectedness of past, present and future.

The exhibition also features equally captivating works by Farhat Ali, Karim Ahmed, Muhammad Zeeshan, Abida Dahri and Sana Arjumand, all of whom explore the fleeting nature of digital interactions and the enduring impact of art.

‘24 Hours Show’ was on display at the Koel Gallery in Karachi from 5:38 pm on June 28 till 5:38 pm on July 29, 2024

The writer is an artist and educator

Published in Dawn, EOS, July 28th, 2024