HERE: Locating Canadian Contemporary Art
Aga Khan Museum, Toronto
July to December 2017
Derya Akay, Sharlene Bamboat, George Elliott Clarke, Sameer Farooq, Brette Gabel, Babak Golkar, Osheen Harruthoonyan, Jamelie Hassan, Sukaina Kubba, Khan Lee, Harkeerat Mangat, Nahed Mansour, Nadia Myre, Dawit L. Petros, Nujalia Quvianaqtuliaq, Dorothea Rockburne, Nep Sidhu, Shaan Syed, Jaret Vadera, Zadie Xa, and Elizabeth Zvonar
This exhibition metaphorically centred around an artifact that belongs to the permanent collection of the Aga Khan Museum: a marble spoila from the Roman period that was used as a funerary stele in 987. This 20-inch high piece of marble, repurposed from an architectural section, has scrolling acanthus leaves on one side and Kufic script on the other that details the life of a leather merchant. What is remarkable about this spoila/stele, when considered in a contemporary way, is that it represents a narrative of how an object can hold many lives, many moments, and indeed multiple histories. It also speaks to how contemporary artists use found material, recycle, or repurpose one material for another to meet another means or to form another meaning altogether.
This exhibition brought artists together who themselves have layered cultural histories. The intent was to open up dialogues around failures of multiculturalism, nuances of identity, conceptual practices, rigorous thought, and work by artists who live both in Canada and abroad.
This, That, and the Third, 2017
Courtesy the artist
Jamelie Hassan, Bench for Córdoba, 1981 and Untitled, 1966-2017
Courtesy Museum of London, ON
Sameer Farooq, Pouf, Sausage, Weight, Arc, 2017
A History of the Defeated, 2017
Courtesy the artist
Catalogue (available at the Aga Khan Museum bookstore), published by AKM, designed by Chris Lee
IN ORDER TO JOIN – The Political in a Historical Moment, 2013-2015, curated with Susanne Titz
Städtisches Museum Abteiberg Mönchengladbach, Germany
Gallery Max Mueller Bhavan and
Chhatrapati Shivaji Maharaj Vastu Sangrahalaya, Mumbai, India
Angela Grauerholz, Rummana Hussain, Mona Hatoum, Chohreh Feyzdjou, Astrid Klein, Helen Chadwick, Sheela Gowda, Adrian Piper, Rosemarie Trockel, Pushpamala N., Shelagh Keeley, Ana Mendieta, Jamelie Hassan, and Lala Rukh
This group exhibition brings together women artists born between 1947 and 1957. This frame or bracket of time has been intentionally selected to study the work of artists who were born in a postwar, post-Partition era. We have invited artists that work within a political framework that address nationalism, institutions, and question their own position by creating complicated interpretations that evade easy tropes of legibility. These artists have practices that enter and depart from dialogues with larger encompassing historical movements, yet are not positioned within any. This ‘instability’ is due to the nature of their work or their choice of media and the concerns that have run through their practices; there is the dominance of conceptual strategies and thinking, and ultimately, they are both working with and against the possibility of ‘joining’. We have taken the work of Rummana Hussain (1952-99) as an opening position in order to consider how one responds to a rapid moment of political change. Hussain’s work emblematizes the effect that globalization created in Bombay/Mumbai in the 1990s, leading to a re-establishment of conservative values, traditions and an artificial nationalism with a need to identify an “Indian-ness” to which she could not belong. The title of the exhibition is taken from a residency/exhibition that Hussain held at Art in General, New York, in 1998.
In creating a historical discourse for histories that are neglected, our exhibition considers the work these artists made in the early part of their career, or the work that represents a turning point. This exhibition touches upon feminism whilst looking at artists’ works that represent a certain social liberalization, emancipation, and the beginnings of global identities. Whether their work can be read as overtly activist or poetic, the positions they begin with are founded in a political stance and space.