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Category: Performance
Home / A Collective Dream: One Night Stand/Coup d’un soir /
One Night Stand - Coup d’un soir - Amin Gulgee
A Collective Dream: One Night Stand/Coup d’un soir, A Collective Dream: One Night Stand/Coup d’un soir, Curatorial, Paris, Performance

A Collective Dream: One Night Stand/Coup d’un soir by John McCarry

  • Posted By Amin Gulgee
  • on May 13,2019

On May 13, 2019, Amin Gulgee curated an exhibition of performance art featuring 32 international artists at the Cité internationale des arts in the Marais district of Paris. This was part of his two-month residency at the venerable art institution, established in 1965, with one campus in the Marais and the other in Montmartre. Some of the artists were fellow residents at the Cité internationale des arts, while others were people Amin had met during his regular visits to Paris over the past decade.

Amin, of course, is no stranger to performance art. Over the past two decades, he has presented his own performance works in Karachi, Lahore, Dubai, Kula Lumpur, Nagoya, London and Rome. He has also curated and co-curated performance at his own noncommercial space in Karachi and included a strong performance element in the Karachi Biennale 2017, of which he was Chief Curator as well as in “The Quantuam City: Territory/Space/Place,” which he co-curated with Zarmeene Shah and Sara Pagganwala for the International Public Art Festival in Karachi in March 2019.

A Collective Dream - One Night Stand - Coup d’un soirAida - Amin Gulgee and Nosrat

Amin’s group exhibition of performance in Paris was his first major curatorial effort outside of Pakistan. Amin titled the exhibition “One Night Stand/Coup d’un Soir” in a nod to “Riwhyti: One Night Stand,” which he had curated at his own gallery in 2013, in which over 20 Karachi-based artists simultaneously enacted performance works over the course of a single evening. For the Paris exhibition, as in most of Amin’s curatorial projects, the approach was multidisciplinary. The artists he invited to participate included not just those who dedicate their practice to performance but also photographers, painters, sculptors, actors, musicians, fashion designers and writers. Some who performed had no direct relation to the world of art. Yohan Kim, a native of South Korea who owns a pastry shop in the 18tharrondissement of Paris called Monsieur Caramel, made caramel in a Proustian attempt to trigger memory through taste/smell. Similarly, Benjamin Daman, a student of philosophy at the Sorbonne, ground spices with a mortar and pestle, taking him back to his childhood on the French island of Réunion in the Indian Ocean. Saad Zeroual, a Frenchman of Algerian descent who works as a security guard at Amin’s favorite café in the Marais, agreed to perform a work he called Le physionomiste, in which he moved through the milling crowd of the show studying their faces. Just as in his Karachi exhibitions, the idea was to get people at large—both as participants as well as those who came to watch them—to not only engage with performance art, but to briefly enter a collective consciousness.

The show, which took place over the course of 70 minutes, began at the main entrance of the Cité internationale des arts on the rue de l’Hôtel de Ville, facing the Seine, and led to its auditorium and back again. Walking through the gates the visitor was greeted by electronic sound that the Saudi musician Muhanned E. Nassar played from the courtyard. The British artist Stephen Sheehan stood on a ledge facing the gate, recreating a work called We Are Giants Standing on Mountains that he had performed at the Tate Modern in London in which he urinated inside his jeans for an hour. Moving inside, two performative videos played. In one, called What Is He Doing Here? the Indian artist Baptist Coelho, dressed in army khakis, marched through a London park. In the other, called Set Free, the Finnish artist Salla Myllylä painted in white on windowpanes in a dialogue with the landscape she viewed through them. Juxtaposed with the videos, the French singer and composer André Fernandez, wearing a red kerchief over his eyes, improvised lyrics for his work Pentacost/Glossalalia. Nearby the Lebanese actor Raymond Hosny wore and spoke to a bronze mask titled Pain that Amin had made in the 1990s. Positioned behind a nearby staircase, Yohan Kim made his caramels while opposite him Tatyana Jinto Rutherston, who is of mixed Japanese and English parentage, kneeled and repeatedly wrote the word “token” on pieces of paper while dressed as a Japanese schoolgirl.

A Collective Dream - One Night Stand - Coup d’un soir - Amber-Arifeen

Climbing down the staircase, the audience jostled with performers, some stationary, others moving along a narrow corridor that led to an auditorium. Florencio Botas Verdes, an artist from Venezuela, sonorously blew into a conch shell before an installation of Christian and personal imagery. The Colombian artist, Chéo Cruz, his seemingly nude body covered in yellow and black paint, stood in a circle of wire mesh rimmed with fairy lights and turmeric performing a shamanistic dance. The Pakistani artist Amber Arifeen, wearing a hijab, knelt upon an installation of posters from 1950s French-controlled Algeria, urging women to take off the veil, while she scribbled, over and over again, on the reproduced posters, “Dévoilez,” (sic) or, Unveil Yourself. Next to her the Paris-based Pakistani artist Abi Tariq, his back to the passing crowd, intoned into a sampler for his work Hexentanz II, referencing the original work, choreographed by Mary Wigman circa 1914.

Opposite him, the French artist Alex Ayivi sat behind a desk piled high with a currency that he had created and called the MUA (Monnaie Unique Africaine), “a utopian device,” in his words, that he imagines as an alternative to the CFA franc, a currency whose origins date to colonial days that is still in circulation in many parts of Africa. He signed and gave away his handmade banknotes because, as he said, “I have too many.” Nearby, in a similar gesture of magnanimity, the Brazilian artist Otiniel Lins, covered head to foot in roses, plucked petals from himself and distributed them to the audience, “as a part of me, of my memories…fragile scales of my own skin, blood, tears,” he stated. Roses also appeared in the British artist Amy Kingsmill’s work, Fairy Tale, which she had previously performed at the Karachi Biennale 2017, in which she bled over a bouquet of white roses.

The French writer and filmmaker Laurence Hugues read from the recently unearthed diaries of a woman who had been her neighbor during the artist’s childhood in a village in Forez, a former province of France that is now part of the Loire department. Pas vu Maurice, chroniques de l’infraordinaire, a text based on the diaries, including photographs by Claude Benoit à la Guillaume, will be published by Creaphis Éditions in July 2019. Just around the corner from where Hugues sat reading the original diaries, the Paris-based American James Carlson photographed visitors’ eyes for an ongoing project he calls Eyes of Gaia. For this, he proposes to create a mosaic of the planet Earth from the reliefs and contrasts of 10,000 human irises. Situated next to him was a performance/installation by the Mauritian Nirveda Alleck, called Insular Variations III, in which the artist enacted, in her words, “an imagined ritual around a fictional landmass.” Next to her, the Egyptian artist Therese Antoine Louis obsessively taped together small cardboard boxes for a work she called Repetitive Forms while, at the entrance of the auditorium, the Berlin-based Australian artist Honi Ryan presented LISTEN in, an installation where participants were invited, two at a time, to sit side by side and listen to one another’s heartbeats through a stethoscope for a minimum of four minutes.

Entering the darkened auditorium, the visitor came upon Guillaume Pecquet, a Parisian computer programmer, lying crosswise upon its seats watching videos from YouTube depicting aerial bombing over Syria. On the stage, the Brazilian composer Mateus Araujo improvised his own arrangements on a piano while, accompanying him, the Iranian musician Aida Nosrat moved about the stage, singing incomprehensible phrases in a style influenced by her classical Persian training. Also on the stage, Amin Gulgee performed his own work, Ablution. For this, he sat before a ring of unlit white candles and pantomimed washing his face from an empty white bowl. Behind him, a projection of his algorithm/computer program 7 randomly rearranged elements of Arabic text.

Other performers were itinerant. Some encroached upon the stage, including the Iranian Hura Mirshekari, who confronted the audience and other performers with multiple masks created by her sculptor husband Mehdi Yamohammadi for their work Changing the Face. Tijana Todovic, a native of Montenegro, who is writing her Ph.D. thesis for the University of Ljubljana on clothes as visual symbols in the contemporary arts and practices of the former Yugoslavia, wore a coat that she had made of compressed wool that onlookers could stitch upon with red thread for an interactive word she called Omnia Mea Mecum Porto (My Body is My House I Am My Home.) Thierry Lo Shung Line, who grew up on the island of Réunion, performed objects, including a Buddha, a Ganesh, a cross, a compass, feathers and a crystal, attached to himself, also with red thread, while Paris-based journalist Eliane Volang distributed cakes that she had baked for a work called Epices and Love. Omar Didi, an LGBT activist from Tunisia who is pursuing his Master’s degree in International Studies at the Sorbonne, engaged random members of the audience in conversation in an attempt to make them question and deconstruct stereotypes in a piece he called One Sentence to Love Like Thunder. And the Congolese sculptor/performance artist Precy Numbi presented his work Kimabalambala, whose title borrows a Lingala word that refers to old cars exported to Africa from Europe. Numbi created a 23-kilo suit made of scrap metal and plastic from the carcases of these cars, which he wore as he ambled, robot-like, throughout the exhibition space in a political and ecological commentary.

Although the last of the performances unfolded in the auditorium, there was no ultimate destination in One Night Stand/Coup d’un soir. The viewer had to traverse, then re-traverse, the same constrained terrain upon which he/she had arrived, requiring him/her to make intuitive connections about the works on view. Sound changed as one journeyed back and forth through the exhibition, from Muhanned N. Naseer’s electronic beats in the courtyard, to André Fernandez’s fervent refrains in the reception area, to Florencio Botas Verdes’ soulful plaints at the foot of the stairwell, to Abi Tariq’s transmogrified voice in the corridor, to Aida Nosrat’s mysterious vocals projected from the stage of the auditorium. Smell/taste as a trigger for memory was also present throughout the exhibition, from Yohan Kim’s making of caramels, to Benjamin Daman’s mixing of spices, to Eliane Volang’s distribution of cakes that she had baked. Many performers enacted rituals, both personal and spiritual, including Chéo Cruz’s shamanistic movements, Otiniel Lins’ giving away of the flowers that he wore, Thierry Lo Shung Line’s performing of personalized talismans, Nivreda Alkleck’s interaction with the island-like installation that she had created, and Amy Kingsmill bleeding upon a bouquet of roses. Political concerns also emerged, especially those dealing with legacies of colonialism: Amber Arifeen commented upon a French colonial preoccupation with women unveiling themselves, while Alex Ayivi’s creation then dispersion of his own currency addressed legacies of Northern monetary control over the South, while Percy Numbi’s mutant robot spoke of Africa as a dumping ground for Europe’s unwanted cars.

Amin, as curator, wished the happening to be an immersive one. Sight, hearing, touch, smell and taste were all called upon to comprehend the totality of his intent, which was to invite both the performers and the audience into a collective dreamlike state. For this exhibition of group performance in Paris, as for those he has curated in Karachi, Amin referenced a quote by Yoko Ono: “A dream you dream alone is only a dream. A dream you dream together is a reality.”

Author: John McCarry

Source: Art Now Pakistan


Group Show, Karachi, Karachi Art Summit, Performance, Play Me

Karachi Art Summit begins with a bang

  • Posted By Amin Gulgee
  • on March 24,2017

The opening ceremony for Karachi Art Summit was held at National Museum on 21st March featuring artisans and performers across the country.

The main aim of the Karachi Art Summit is to bring visual art into public spaces to invite, encourage, and even impose public engagement on the audience. Projects will be created to interact with the viewers to create a stage that is autonomous and reachable.

The inaugural’s main attraction was a mesmerizing performance by the iconic Amin Gulgee. His performance named ‘Play Me’, which is themed around ‘confrontation’, was co-performed by Sara Pagganwala. The performance consisted of cast bronze images of Gulgee’s face, which kept the audience in awe throughout.

In Karachi Art Summit, besides various site-specific installations and sculptures, there are two curatorial projects, more than 80 artists including 34 international artists, three talks and five performances.

Artists from other countries are also participating in their curatorial projects. Few artists are travelling from Lahore as well as Hyderabad in order to install their work on the sites. All the sites are outdoors and will encourage public to interact and experience contemporary art.

The sites include National Museum, Art Council, Kothari Parade, State Bank Museum, Commune Artist colony, Fomma Art Trust, Goethe Institut, Alliance Francaise de Karachi, Karachi University, Iqra University, Frere Hall, Quaid-e-Azam House, Free Mason’s Lodge and Mohatta Palace Museum.

These venues are main historical buildings of Karachi and are open for general public. Site-specific installations and few monumental pieces of the sculpture will engage the public who are not familiar with contemporary art and role of art in general.

These majorly crowded public spaces in all over Karachi will create a new trend of visiting art galleries and learn to understand art in future.

The Summit will bring together modernism, distinction and criticality through a multiplicity of curatorial strategies in order to showcase artists from Pakistan to the world while also strengthening a regional art exchange that benefits communities on a larger scale.

Pakistan has begun to feature prominently on the global map with the many ingenious interests that arise with the international accomplishments of its artists. These achievements reflect the depth and vitality of art production in the country that is garnering the attention of the entire world.

BY WEB DESK – MARCH 24, 2017

Source: pakistantoday.com.pk


Group Show, Karachi, Karachi Art Summit, Performance, Play Me

Art lovers meet artisans and performers

  • Posted By Amin Gulgee
  • on March 23,2017

The Karachi Art Summit was inaugurated on Tuesday, which will continue until April 8. The opening ceremony was held at the National Museum, where art lovers met artisans and performers from across the country.

The inaugural’s main attraction was a mesmerising performance by the iconic Amin Gulgee. His performance was called “Play Me”, which is themed around confrontation. It was co-performed by Sara Pagganwala. The performance consisted of cast bronze images of Gulgee’s face, which kept the audience in awe throughout.

The main aim of the Karachi Art Summit is to bring visual art into public spaces to invite, encourage, and even impose public engagement on the audience. Projects will be created to interact with the viewers to create a stage that is autonomous and reachable. In Karachi Art Summit, besides various site-specific installations and sculptures, there are two curatorial projects, more than 80 artists including 34 international artists, three talks and five performances. Artists from other countries are also participating with their curatorial projects. Few artists are travelling from Lahore as well as Hyderabad in order to install their work on the sites. All the sites are outdoors and will encourage public to interact and experience contemporary art.

These venues are mostly main historical buildings of Karachi and are open for general public. Site-specific installations and few monumental pieces of sculpture will engage the public who are not familiar with contemporary art and role of art in general. These majorly crowded public spaces all over Karachi will create a new trend of visiting art galleries and learn to understand art in future.

Press Release – MARCH 23, 2017

Source: dailytimes.com.pk


Amin Gulgee Gallery, Karachi, Love Marriage, Print Media

Putting On An Act – Herald

  • Posted By Amin Gulgee
  • on April 1,2014

View: Putting on an act – Herald Page – 1

View: Putting on an act – Herald Page – 2

Source: Herald


Amin Gulgee Gallery, Karachi, Print Media, Where Is The Apple Joshinder

And the apple drops

  • Posted By Amin Gulgee
  • on February 26,2014

 

View:  And the apple drops

 

 

Source: Metro


Amin Gulgee Gallery, Karachi, Print Media, Where Is The Apple Joshinder

An uncoventional but riveting performance

  • Posted By Amin Gulgee
  • on February 26,2014

 

View:  An uncoventional but riveting performance

 

 

Source: City News


Art Fest 2014, Group Show, Performance

On buffalos and books

  • Posted By Amin Gulgee
  • on February 16,2014

Art Fest 2014 challenges the boundaries between high art and popular taste

A few days after the opening of ‘Art Fest 2014’ as part of the Sindh Festival, the role of gallery as a public or private space was discussed in the session Challenges Faced by the Art Galleries at the Karachi Literature Festival. Participants on the panel talked about art being an exclusive activity, the high prices, common people finding it hard to reach the major galleries situated in posh areas and the lack of public venues and art museums.

One can categorise this as a cynical response (a useful term to deny something we disagree with!) but the select art circle is a reality. The discourse on art is also predominantly conducted in a language that is not widely spoken or understood. Yet, there is a yearning for the inclusion of general public into art and lamenting its absence. More so because artists are addressing issues which are connected to a silent (or blind?) majority. But their chosen language of expression sometimes eludes an ordinary viewer.

A recent event, the ‘Art Fest’ at the Frere Hall Karachi (Feb 2-15, 2014) turned into an attempt to bring art and people closer to each other. The ‘Art Fest’ was curated by the Canvas Gallery and Vasl Artists’ Collective, and included art pieces from Shaheed Benazir Bhutto’s personal collection as well as modern and contemporary works by 63 artists, all belonging to the province of Sindh. Common people kept visiting the venue, so the event became a means to challenge, bridge and even break the boundaries between high art and popular taste.

Even though it was only artists from Sindh who were selected or invited for the ‘Art Fest’, one realised it was merely a mechanical or technical detail; in majority of these works, one failed to find a connection between the domicile of the artists and their artistic concerns or imagery. This was primarily because most artists had been moving from one location/province to the other. Like other spheres of society, the small art world of Pakistan can not be contained into one ethnical, racial or spatial identity. Here, the differences in artists’ places of origin or their adopted cities are diffused.

Asif Ali Zardari’s portrait by Gulgee from Benazir’s private collection.

Asif Ali Zardari’s portrait by Gulgee from Benazir’s private collection.

So more than the divide between Sindh and other provinces, in terms of art it was the distinction between modern and contemporary that became more obvious. One noticed modern works by artists such as Sadequain, Jamil Naqsh, Gulgee, Ahmed Pervaiz and several others, which presented a specific idea of art and its association with certain mediums (oil etc.), scale (suited for homes) as well as content (stylized, figurative or abstract surfaces).

On the other hand, the works of contemporary art displayed mostly in the curated section of the exhibition reflected how the new forms of expressions are turning into viable voices. Images, techniques and mediums — considered remote from the ordinary audience — were displayed in public and invited a response. This response could not have been measured or grasped but the mere fact these pieces were occupying public domain was a step in bringing the works of major artists to a layperson.

Perhaps the most exciting exhibit in this show was ‘I Saw it Once at the Indus Valley Civilization’, a fiberglass and found books installation that comprised a large buffalo sitting on a block of books. The work invited a viewer’s interest not only in the way the domestic and familiar creature was constructed (lifelike) but in how both parts of the work were composed and completed the narrative. The relationship of a local animal with books, mostly imported from the West and in English language, was intriguing; it indicated the connection and tension between the two modes of existence and different world views.

Due to its quixotic theme and unusual treatment, the work attracted a number of people and their admiration both from informed individuals and the ordinary crowd. A significant statement into popularity and quality — that if a work manages to break conventional limits and existing classifications, it appeals to masses and specialists, equally. This phenomenon is seen in the innumerable reprints of books by Nobel Prize winning authors.

‘99 Self Portraits’ by Ayaz Jhokio.

‘99 Self Portraits’ by Ayaz Jhokio.

The extension of art from a few to a vast number was witnessed in the work of Ayaz Jokhio too, though with a separate strategy. His self portraits (99 in numbers) were given to various people for adding colour in these identical images. Each person chose to use a different palette; so all the frames showed the same face in multiple hues. A usual exercise in colour perhaps could be read as locating similarity among differences, or accepting diversity in an apparent and accepted unity. However, the political content of the installation was not pronounced due to its alluring formal aspects.

In this regard, one could compare it to the canvas of Muhammad Ali Talpur in which the artist, after inscribing lines of a national song, filled the letters with more ink so the actual/initial words seemed as spots, instead of a readable text. The work, in our present conditions, served as a comment on the fervour of nationalism and patriotic pride.

Many artists, including Naiza Khan, Adeela Suleman, Mehr Afroz, Seema Nusrat, Adeel uz Zafar, Muhammad Zeeshan, Imran Channa, Irfan Hassan, Amin Gulgee, Mussarat Mirza and others displayed their works which expanded the notion of art. But more than that, the idea of taking art out of private galleries and homes of collectors into a shared space and inviting the public to look, like and love it is a matter of celebration for all.

By Quddus Mirza – February 16, 2014

Source: tns.thenews.com.pk


Amin Gulgee Gallery, Karachi, Print Media, Where Is The Apple Joshinder

Where is the apple Joshinder

  • Posted By Amin Gulgee
  • on January 9,2014

 

View:  Where is the apple Joshinder Page – 1

View:  Where is the apple Joshinder Page – 2

View:  Where is the apple Joshinder Page – 3

View:  Where is the apple Joshinder Page – 4

 

 

Source: Nukta Art


Band Baja Baraat, Group Show, Love Marriage, Performance

I heart art: Pagan ritual opens Band Baja Baraat show

  • Posted By Amin Gulgee
  • on April 12,2012

KARACHI:The cage is ringed with fire and lit with stringed ‘bars’ of fairy lights. At the centre is a ‘couple’, Amin Gulgee and Saba Iqbal who break eggs, the symbol of fertility, into each other’s palms before emptying their ‘meat’ into a bowl. Blood curdling screams from a ghostly Greek chorus gone wrong ricochet off the walls.

This performance art titled “love marriage” fascinated and repulsed its audience who turned up at the Indus Valley School of Art and Architecture for a show called Band Baja Baraat (BBB) that opened Wednesday night. BBB is a three-day exhibition to celebrate all that is good in life.

If Gulgee and Iqbal wanted to conjure the Chthonian or Dionysian in us, they succeeded. Their performance appeared to tap into the pagan forces that have been ignored. Iqbal’s golden corset (covering her heart) studded with nails implied that she would kill anyone who came to embrace her. Love is a double-edged sword. Nature (read mother, life-giving) will destroy you. Gulgee’s golden helmet perhaps protects the head, intellect, masculinity. And yet, their ghostly white faces and ruby red lips rendered them alike, androgynous almost. We hide behind masks and perhaps this is all an act.

Not one to miss on a pagan moment, Mohsin Sayeed sat beside Gulgee looking intently into his eyes. Gulgee stared back, and lifted one slimy finger to streak a mark across Sayeed’s forehead. In response, Sayeed circled his finger around the golden helmet.

Aside from this performance, plenty of art went up in the space as a result of the collaboration of 40 artists who worked in pairs.

Munawar Ali Syed’s “Life is Like a Bouncing Ball: So Maar Taali” invited interaction as it had to be smacked with both hands to light up. “People have been telling me that married people strike harder than those who are not,” Syed joked, as he told one of his friends to hit the ball harder. As BBB sought to challenge the way the country’s dismal conditions had seeped into Pakistani artwork, another of Syed’s pieces was a sculpture with Adeel uz Zafar made of a bowl filled with cotton candy. In “Love Art Eat Heart” by Sumaira Tazeen and Abdullah Syed, people were served heart-shaped barfi on a paper plate.

Art critic Marjorie Husain moved about the gallery. Her favourite seemed to be “Manzar” by Adeela Suleman and Asma Mundrawala. “I love the balance of colours,” said Husain. “I want to walk right into it.”

Umar Sayeed liked “Lawn Ad: Hide the Booze” by Komail Aijazuddin in which a worried woman sits on a sofa, her dupatta sprawled on its arm, as she reaches out for a bottle of wine.

Amid all this was “Zubaida”, a gramophone that played old songs like Jai Jai Shiv Shankar and Mera Piya Ghar Aya.

“Collaborative work is usually harder because the artists can’t see eye to eye,” remarked visitor Raheela Abro, a student of visual studies at Karachi University. “A title like Band Baja Baraat arouses curiosity. The exhibition also does just that, it celebrates the good in life instead of the depressing things we see in the media every day.”

Published in The Express Tribune, April 12th, 2012.

By Tehmina Qureshi – Published: April 12, 2012

Source: tribune.com.pk


Amin Gulgee Gallery, Karachi, Love Marriage, Print Media

Pagan ritual open Band Baja Baraat show

  • Posted By Amin Gulgee
  • on April 12,2012

View: Pagan ritual open Band Baja Baraat show Page – 1

View: Pagan ritual open Band Baja Baraat show Page – 2

Pagan ritual open Band Baja Baraat show Page – 3

Pagan ritual open Band Baja Baraat show Page – 4

Source: Tribune


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