Interview for Candid Magazine: "Speaking About Cultivating Wastelands At Rossi & Rossi Gallery, London"

Suleman Aqeel Khilji, Cultivating Wastelands, 2018

Published in Candid Magazine, 04 August 2018

Exhibiting artworks by eight emerging Pakistani artists, Cultivating Wastelands is the second collaborative project between Project Art Divvy and Rossi & Rossi gallery in London. Currently on view until August 17that Rossi & Rossi in the art hub St. James’s, the show highlights the widespread effects of rapid industrialization and urbanization. Candid Magazine’s Ariane Belisle sat down with the curator of the exhibition and founder of Art Divvy, Zahra Khan, to discuss the exhibition.

Exhibiting artworks by eight emerging Pakistani artists, Cultivating Wastelands is the second collaborative project between Project Art Divvy and Rossi & Rossi gallery in London. Currently on view until August 17that Rossi & Rossi in the art hub St. James’s, the show highlights the widespread effects of rapid industrialization and urbanization. Candid Magazine’s Ariane Belisle sat down with the curator of the exhibition and founder of Art Divvy, Zahra Khan, to discuss the exhibition.

Ariane Belisle: ‘While the exhibition is grounded in Pakistan, the themes explored – namely, land reclamation, indiscriminate development and a disregard for the environment – are global issues. Why do you feel it’s important to explore these subjects now?’

‘Zahra Khan: The idea behind Cultivating Wastelands was to highlight how artists are responding to and reacting within their urban and rural surroundings. Specifically, how artists are delving into swiftly growing environmental issues, like altering landforms, caused by human interventions. I think it was always important to explore these changes, but now it is absolutely imperative. Global warming and environmental transformations are exceedingly apparent. Unfortunately, many nations are continuing to pursue policies that are detrimental, and it is important to speak out against these activities.’

AB: ‘In the first room, Omer Wasim and Saira Sheikh’s photographs Studies for a Failed Monument, 2017 are displayed alongside their two-channel video installation MVI_4437 & MVI_5037 (from The Impossibility of Loving a Stone), 2017 and Zahra Malkani and Shahana Rajani’s digital video Jinnah Avenue, 2018. These mediums have traditionally been seen as the most reliable forms of documentation. How are they used here to drive awareness?’

ZK: ‘Although both works are videos, they couldn’t be more different. That is the beauty of video art, it can be as quiet and subtle as needed, or as informative, but it is an art form, not a documentary.’

‘Zahra and Shahana are mapping out portions of Karachi, through the construction of a road called Jinnah Avenue. Their video has a clear story that is organized through a spoken narrative and moving imagery ecological transformations resulting from human action.’

‘Omer and Saira’s two channel piece focuses on a single frame – an image of a rock. In this exhibition, the video is accompanied by a beautiful publication. The piece encourages viewers to consider the history and the constitution of the rock. Slow down and pay attention.’

AB: ‘Seher Naveed’s gate illustrations explore the temporary barricades and obstructions within urban areas Tough Gates – House, 2018. How do these works further the exhibition’s narrative?’

ZK: ‘Cultivating Wastelands conveys the artists’ interactions with their surrounding urban neighbourhoods or landscapes. Seher’s gate series highlights the effects of urban construction upon the unity of a community and the psychology of its society. These individual gates serve as a means to guarantee safety. However, these increasingly elaborate barriers are primarily separating communities and intensifying the gaps in society. Leading to increased suspicion.’

AB: ‘Mamoona Riaz’s works on paper – namely, Lifelike, 2018 and Like Clockwork, 2018 – are beautifully intricate. Could you tell us a bit more about her artistic process?’

ZK: ‘Mamoona Riaz trained in the miniature painting tradition. Her work has retained the delicate, fine quality that miniature art is renowned for, but Mamoona, like many contemporary miniature artists in Pakistan, has expanded her repertoire and process. Her art is influenced by the cities within which she has lived. Like other artists in this show, Mamoona is working within the sphere of geographical mapping. She overlays finely drawn city grids, creating overlapping layers, replicating a city’s urban plan, thereby emphasizing oneness with the city. The need to match your own internal rhythm with that of your city.’

AB: ‘The theme of the exhibition culminates in the final room where four works by Suleman Aqeel Khilji illustrate the perpetual damage caused by manmade interventions, while simultaneously highlighting its beauty. How does this dichotomy manifest itself here?’

ZK: ‘Suleman’s paintings and drawings are particularly beautiful. He has presented iconic scenes of the rugged landscapes and mountains of Quetta and the canal of Lahore, iconic imagery of the two cities within which he grew up, and that have influenced his identity and artistic practice. Suleman presents these natural landscapes in muted blacks and greys, but the works are punctuated by vibrantly painted floating objects, representing the masses of plastic that is carelessly flung, marring the beauty of these views.’

AB: ‘Cultivating Wastelands is the second of a series of collaborative projects between Project Art Divvy and Rossi & Rossi, a partnership geared towards extending support and promoting a new generation of Pakistani artists. How has Art Divvy developed since its inception and what is your long-term strategy in regards to its development?’

ZK: ‘Art Divvy is a platform to promote contemporary Pakistani art within the country and internationally. In Pakistan, I am engaging with museums in order to increase the public interaction with contemporary art. Last year, Art Divvy organized Imran Qureshi and Aisha Khalid’s first museum show in Pakistan at the National Art Gallery, Islamabad, and this year we held the first contemporary art exhibition at the Fakir Khana Museum & Haveli, Lahore’s only private museum.’

‘In London, Art Divvy and Rossi & Rossi are partnering on a series of five exhibitions to promote artists from Pakistan and engage with a completely new audience. It is going quite well – I am already planning the third in the series.’

Words by Ariane Belisle

Cultivating Wastelands at Rossi & Rossi, 21 Georgian House, 10 Bury Street, London SW1Y 6AA, 12 July to 17 August 2018

Interview for Candid Magazine: "An Interview with the Curator Marine Tanguy Ahead of Art Night London"

Marine Hardeman, Art Night , 2017

Published in Candid Magazine, 27 June 2017

On July 1st 2017, the streets of East London will be transformed with art, performance and music. Encouraging the public to view art and the city through a new lens, Art Night focuses on a specific area of London to explore its distinctive identity, culture and architecture. Few artists are better equipped than Marine Hardeman to create a dialogue between the city and visual arts. For this particular project, she will be spotlighting sewer drains with a ballet of lights. Candid Magazine’s Ariane Belisle sat down with the curator of the installation and CEO of MTArt, Marine Tanguy, to discuss the project.

Ariane Belisle: Marine Hardeman seeks to create a dialogue between the visual arts and architecture. How does this manifest itself in this project?  

Marine Tanguy: I always felt it was such a waste to continuously create new exhibition stages when the city itself is one enormous (and exciting) stage. Creating a dialogue between art and architecture, our MTArt artist Marine Hardeman aims to do just this, as she responds to functional architectural features like sewer drains. I love to think of art as a bridge into reality and a way to enhance our reality. By creating this ballet of lights, I hope it gets people smiling and engaging with their environment.

AB: Hardeman’s public light installations will no doubt lend themselves well to diffusion on social media – namely, Instagram. How do you feel about this kind of fast consumption of artworks?

MT: In this day and age, it’s necessary to help bring awareness to the value of art and artists. Social media is, after all, the best way to engage with people outside our curated group of acquaintances. The visual language has always been the best way to communicate with people who think differently or are from different cultures. Art does this well and whether it’s shared via social media or elsewhere, it should continue to do so. I hope that, through social media, Marine Hardeman will inspire more artists to use their urban environment as a creative platform.

AB: You filled out countless Health & Safety forms, called the Council and Thames Water 65 times, and sent a total of 80 emails to secure this public art project. Can you talk us through the logistics involved?

MT: Sadly to get a public art installation approved is still a very challenging process. This project is part of a wider festival, Art Night and I cannot begin to imagine the amount of administration that these amazing ladies must have to go through! I am currently in the process of writing an academic paper on how to implement cultural projects within the urban realm; I truly believe (and hope) this will get easier over the next few years. Art is still marginalised; public art is a key element that will allow us to shift this perception. The more people get exposed to art, the more they will benefit from it and appreciate creativity.

When I was down on my knees measuring the sewer hole, some locals came up to me and said: ‘Oh you are implementing an art project, it’s cool, you just come, do it and leave, right?’. Well… no. The process is a little more convoluted than that. You need to start six months in advance, fill out countless Health & Safety forms (this includes lighting prolusion and air ambulances concerns… as if the tiny LED lighting would ever reach a helicopter!). Then, as you work with artists, they send you back to measure the drain (and open it) five times as new details come to light and the creative process unveils. Finally, you also need to clean the drain… oh yes, working in the arts is very glamourous!

AB: Could you tell us about any illustrative (or amusing) anecdotes or conversations you had with the Council?

MT: I guess the main anecdote for this project is that I spent two months liaising with Thames Water on every health and safety issue they were concerned about and a few days before launching the PR, they realised that they didn’t own these drains and that I should have talked to the council directly (who put me in touch with Thames Water in the first place). The real issue is that there is no dedicated department for cultural projects and when there is an ”arts and events” department, they don’t have they authority to grant approval for projects like this. You feel a little like Sherlock trying to understand who is in charge!

AB: How would you reframe the conversation around art to get more people involved?

MT: Art is life. It sounds very cliché but we all need to be exposed to inspiring visuals, content and creativity daily. You cannot behave like a robot, setting your alarm at the same time, working, drinking and sleeping. This does not benefit society. Art gives you empathy; it opens your mind to other cultures and people. It inspires you: for a few minutes, you may forget that you are a hamster turning madly in your tiny cage. We need to change our perception towards art and view it as a necessity and not a luxury. Everyone should be involved – the councils, the corporates, the investment structures, etc. While we may think that critical thinking is a necessity, visually understanding our reality is also key. I want people to start looking at things so drop your phone right now!

AB: What sector would you see benefiting the most from the arts?

MT: All of them – without a single preference. Art can massively benefit sustainability through its exploration of complex themes like climate change and make these conversations more accessible/engaging. I also feel that art and creativity can truly further the conversation on mental health. The arts teach you to think differently which is a key skill when it comes to creative thinking for your own business and coming up with solutions.

AB: In 2015, you established MTArt, the first agency and fund for artists. What was the impetus behind creating the company?

MT: I never imagined how fascinating the journey would be when I started the business. I actually failed my first venture and having a French analytical character, I got to the bottom of why I didn’t succeed. That’s why MTArt is so solid today (without sounding too American about it). Early failure is amazing when you are an entrepreneur as it gets you to ask yourself the real questions: why do you want to do the things that you are doing? What are your values? How can I accomplish my goals? I guess MTArt is just that: I wanted to support artists, not within a pretty shop but being entirely behind them to give to these talented individuals a chance to excel in the field. My boyfriend always compares me jokingly to Jerry Mcguire which is true in a sense: MTArt is a full accelerator supporting a small group of artists whom we believe are incredible. The influence that we are establishing is within but also beyond the art world. After I failed I realised how important it was to me, my mother being a teacher, to support artists and projects that engage wider demographics.

AB: What does the future hold for MTArt? Is there anything new and exciting in the pipeline you would like to tell us about?

MT: So much! We are currently working on a walk with Euston Town commissioning a set of artworks to get people off the main roads and onto the ones full of character. We are also launching a fashion collection with our artist Jennifer Abessira and The Central Square, an art advisory service with AIB Art Advisory, an art festival with Subject Matter & Predella House called Unfold and a TV show! That’s all I can reveal for now! It’s a quirky thing that as you do what you love in the exact way that you love time starts stretching and you can fit everything in! I am literally living my five year old self’s dream and I can’t let this little person down.

Interview for Candid Magazine: "Procedures & Materials: An Interview With Artist Scarlett Bowman"

Candid Magazine, Issue 15, The Luxury Issue

Published in Candid Magazine, 05 June 2017

Repurposing the recycled waste of contemporary culture, Scarlett Bowman’s artworks revisit the Duchampian readymade. Brightly hued fragments of discarded materials appear to hover over the off-white composite, as the semi-abstract forms they create develop an autonomous and distinctive visual language. Eschewing their preconceived utilitarian value, the pieces transcend into the symbolic realm. Through the artist’s re-appropriation of humdrum objects, the compositions simultaneously convey familiarity and strangeness, as well as completeness and provisionality. Candid Magazine’s Ariane Belisle sat down with Scarlett to talk about her practice, in light of the Procedures & Materials exhibition at Collectionair, until 24th July 2017.

Continue reading at Candid Magazine