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51 Ways of Looking
The construct is conceptual.
The dialogue is open-ended.
The narrative is unpredictable.
The suggestion is subjective.
The structure is infinite.
The rhetoric is suspended.
The memory is regurgitated.
The ownership is continuous.
-Shahzia Sikander, 2004
51_Ways
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IRISH MUSEUM BOOK DESIGN
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GULF TODAY: ODE TO SHARJAH
REVIEW PDF
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RENAISSANCE SOCIETY, UNIVERSITY OF CHICAGO, 1998.
HOMI BHABHA AND FAISAL DEVJI WRITINGS, PHOTOGRAPHIC PLATES, MONOGRAPH DESIGN BY KATY HOMANS
MONOGRAPH
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SIKANDER’s PROJECT FOR THE 2013 SHARJAH BIENNIAL 11
Re:emerge Towards a New Cultural Cartography- Curatorial Statement
Engaging interdisciplinary responses and multiple perspectives, Sikander’s work for the Sharjah Biennial links a variety of disciplines to propose a unique vision. Drawing, animation, photography, poetry, collaboration and performance come together to create a space that is experiential, imaginative and poetic.
Part 1
PARALLAX
Abstract
Installation Photo Credits Ian Forster
PARALLAX: 3-Channel HD ANIMATION 5760 X 1080 pixels, 24p with 5.1 Surround Sound, Music by Du Yun. 15min and 30 sec. - Copyright 2013 Shahzia Sikander All Rights Reserved
REVIEW
Part 2
The cypress, despite its freedom, remains captive to the garden.
HD-Digital Projections, Khor Fakkan Cinema, Sharjah, UAE, DEC 2012
Abstract
Harpers Bazaar Art Arabia, Issue 6, 2013, Cover Image.
The cypress, despite its freedom, remains captive to the garden. Excerpts from the series of 15 C-Prints, Copyright 2013 Shahzia Sikander All Rights Reserved
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Work in Progress, The Garden, Video still, 2013, Copyright 2013 Shahzia Sikander All Rights Reserved
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ARTnews April 2013.
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Parallax - HD Animation still, 2013 Sharjah Biennial 11
EVERYTHING IS ILLUMINATED-Deutsche Bank Interview in DB ArtMag, Issue 75 March 13 2013
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FROM THE ARCHIVES
Shahzia Sikander works in a time of great geopolitical change. Recent events in the Middle East, for example, have helped to break down clichéd cultural and political boundaries and open up new frameworks for contemporary visual art. Working in painting, drawing, animation, installation, video, and film, and employing ideas that are often subversive and polemical in nature, Sikander creates artworks that are physical manifestations of the momentum of our globalized world.
Born in Pakistan and now based in New York, Sikander studied miniature painting in the late 1980s at the National College of Art in Lahore, Pakistan. Instrumental in the re-contextualization of Indo-Persian miniature painting, Sikander’s work launched a major following in Lahore at the National College of Arts in the 1990’s inspiring many others to examine the miniature tradition.
Since then, she has developed an original artistic practice that creates a new dialogue with this historical painting style. Inspired by Indo-Persian schools of miniature painting, Sikander incorporates aesthetic debates of popular iconography and contemporary cultural theory into her work. By referring to the traditional forms of miniatures, she conjures associations with imperialism, as well as storytelling and popular mythology. Yet by unraveling the conventions of miniaturist paintings, she also deconstructs the post-colonial legacy of the Pakistan region. Her work confronts and interrogates the perceptual distances between the cultures designated as ‘East’ and ‘West,’ an area of poignancy and difficulty in the current political climate.
Throughout her practice, Sikander interweaves references to the past with reflections on everyday life and its forms, and these visual motifs, drawn from a rich ‘mental archive of imagery,’ repeat and reinvent themselves across various media. Sikander’s primary materials include graphite, ink, and gouache on paper, and in 2001 she began working in digital animation, setting her miniatures into motion. This use of animation, as well as her layered images and the play between representational and abstract forms, de-stabilizes Sikander’s representations and visually embodies her central concerns of transformation, societies in flux, and disruption as a means to cultivate new associations.
- from Exhibition Publication, Shahzia Sikander: The Exploding Company Man and Other Abstractions at San Francisco Art Institute, 2011, Curated by Hou Hanru LINK
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SIKANDER TO PARTICIPATE IN 5th AUKLAND TRIENNIAL 2013, May 10-August 11, 2013
'If You Were to Live Here...' Curated by Hou Hanru
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FROM THE ARCHIVES
1998 - FAISAL DEVJI on Sikander. From the catalog published by the Renaissance Society at the University of Chicago on Shahzia Sikander, LINK
2007 - HOMI BHABHA on Sikander’s Practice. From the catalog published by The Irish Museum of Modern Art and Charta on Shahzia Sikander, LINK
2008 - FERESHTEH DAFTARI on Sikander DAAD Berlin Catalog Interview, LINK
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SIKANDER TO PARTICIPATE IN ISTANBUL BIENNIAL 2013
'Mom, am I barbarian?' Curated by Fulya Erdemci
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SHAHZIA SIKANDER SELECTED TO BE ON MASTER JURY
FOR AGA KHAN AWARD FOR ARCHITECTURE 2013
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FROM THE ARCHIVES
Museum of Contemporary Art MOT Interview with Yuko Hasegawa LINK
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SHAHZIA SIKANDER:
RECEIVES INAUGURAL U.S. STATE DEPARTMENT MEDAL OF ARTS
FROM SECRETARY OF STATE HILLARY CLINTON
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SHAHZIA SIKANDER: THE NEW CENTURY
September 5, 2012 - October 20, 2013
Crown Point Press, San Francisco, California
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ART IN EMBASSIES AWARD 2012
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SHAHZIA SIKANDER: THE LAST POST
September 14, 2012 - June 1, 2013
Linda Pace Foundation, San Antonio, Texas
Interview with Anjali Gupta
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DORIS DUKE'S SHANGRI LA: Architecture, Landscape, and Islamic Art
September 7, 2012 - January 6, 2013
Museum of Design New York 2 Columbus Circle, NY, NY
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March 21, 2013 - July 14, 2013
Norton Museum of Art, West Palm Beach Florida
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Projection Work done at night at Shangri La, the Doris Duke Foundation for Islamic Art, Honolulu, Hawaii, 2011
"The large-scale projections done at night were an attempt to engage with the site itself. My own ongoing interest in the colonial history of the sub-continent functioned as a portal into the space. Some of the projections work as framing devices that expose elements of landscape hidden at night while also extending the architecture itself. Like the wall of the living room that descends to open the house to the environment, the projections erect an invisible wall rising high above the architecture hoisted by the density of the trees. While transforming the space, the projections also re-contextualize my own images by shifting the scale of the drawings and re-rendering them in foliage and architecture. Abstract, representational and textual forms coexist and jostle for domination. Light and shadow take center stage, highlighting the textures, colors and geometry of the space into a theater of light, evolving into a dimension that is sculptural, illusionistic and temporary; fleeting like the movement of wind and stars captured in the slow exposures.
Imagining Doris Duke was how I grasped the stunning site. Her presence was everywhere, permeating her collections, her house and its extension into nature. The projection of the multi-armed female form is a metaphor for Doris Duke herself. Mythical, majestic, monumental, rising from the Mughal suite, looming over Shangri La, overlooking the formidable pacific, where her ashes were sprinkled. The paradox of Shangri La is omnipresent. With its American orientalism, stunning craftwork and collections from many Muslim cultures, it is engaging while full of contradiction." SS
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SHAHZIA SIKANDER art:21
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SHAHZIA SIKANDER CURATES EXHIBITION AT IPCNY
May 24 - July 27, 2012
International Print Center New York 508 W. 26 ST, NY, NY
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CONTEMPORARY ASIAN ART - TEXAS CONNECTIONS
April 14 - September 16, 2012
The inagural exhibition at Asia Society Houston showcases work by Asian and Asian American Artists who have lived in Texas or whose work is held in private or public collections in the state.
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POWER OF DOUBT, CURATED BY HOU HANRU
Guangdong Times Museum, Guangzhou, China
Dec, 30, 2011 - Feb, 6, 2012
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BY DAY BY NIGHT
Rockbund Art Museum, Shanghai. China
Oct 25, 2010 - Jan, 03, 2011
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FUTURE PASS - FROM ASIA TO THE WORLD
54TH VENICE BIENNALE
June 4 - November 6, 2011
Abbazia di San Gregorio
Dorsoduro 172
30123 Venice
Palazzo Mangilli-Valmarana
Cannaregio 4392
30121 Venice
MORE INFO HERE
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SHAHZIA SIKANDER: THE EXPLODING COMPANY MAN
AND OTHER ABSTRACTIONS
SAN FRANCISCO ART INSTITUTE
Walter and McBean Galleries, 800 Chestnut Street
April 23 - June 25, 2011
REVIEW: ART FORUM
REVIEW: SQUARE CYLINDER
REVIEW: ART PRACTICAL
Shahzia Sikander, Gossamer, 2010, still taken from a HD video, 11 minutes, 21 seconds.
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RECENT ARTICLE: THE END OF SOMETHING
by Aditya Dev Sood
READ ARTICLE HERE
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SHAHZIA SIKANDER: AUTHORITY AS APPROXIMATION
PARA/SITE ART SPACE, HONG KONG
Sept 3- Sept 30, 2009
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COOPER-HEWITT NATIONAL DESIGN MUSEUM
SHAHZIA SIKANDER SELECTS: WORKS FROM THE PERMANENT COLLECTION
March 6 – September 7, 2009
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Shahzia Sikander and Glenn Lowry in conversation
Thursday, March 26, 2009
6:30PM lecture at Cooper-Hewitt
LINK
Internationally acclaimed artist Shahzia Sikander will serve as the ninth guest curator of the “Selects” exhibition series in the Nancy and Edwin Marks Gallery, devoted to showing the museum’s permanent collection. Sikander will mine and interpret the museum’s collection and produce an installation of selected work. This exhibition will include a new work created by Sikander, inspired by Cooper-Hewitt’s collection.
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SIGNIFICANT AND INSIGNIFICANT EVENTS
ISTANBUL MODERN, ISTANBUL, TURKEY
May 26– Aug 16, 2009
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IT'S FINE AS LONG AS YOU DRAW BUT DON'T FILM
PILAR CORRIAS GALLERY, LONDON, UK
May 22 – July 4, 2009
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A DECADE OF CONTEMPORARY AMERICAN PRINTMAKING: 1999-2009
TSINGHUA UNIVERSITY, BEIJING, CHINA
May 29 – June 13, 2009
TODAY ART MUSEUM, BEIJING, CHINA
July 5 – July 24, 2009
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DAAD GALERIE
INTERSTITIAL: 24 FACES AND THE 25th FRAME
Oct 10 - Dec 6, 2008
Berlin, Germany
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THE
MUSEUM OF CONTEMPORARY ART (SYDNEY)
Nov 27 - Feb 17, 2008
Sydney, Australia
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PRESS RELEASE
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SHAHZIA SIKANDER NAMED A MACARTHUR FELLOW
The John D. and Catherine T. MacArthur Foundation's Fellows Program awards unrestricted fellowships to talented individuals who have shown extraordinary originality and dedication in their creative pursuits and a marked capacity for self-direction.
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