Pakistani artist Imran Qureshi (b.1972) was announced the winner of the award in Berlin, where his works will be shown in a major solo presentation at the Deutsche Bank KunstHalle in spring 2013. The award is based on recommendations of the Deutsche Bank Global Art Advisory Council, which includes internationally renowned curators Okwui Enwezor, Hou Hanru, Udo Kittelmann, and Victoria Noorthoorn and honors artists whose work “addresses social issues in an individual way and has created an outstanding oeuvre that concentrates on the two focal points of the Deutsche Bank Collection: works on paper and photography”. Qureshi follows previous winners Wangechi Mutu in 2010, Yto Barrada in 2011, and Roman Ondák in 2012. Trained in miniature painting, Qureshi works from the motifs, symbolism, and ornaments of the Moghul tradition that flourished in the 16th and 17th centuries in the north of the Indian subcontinent.
Imran Qureshi is Assistant Professor at the Department of Fine Art, National College of Arts, Lahore, Pakistan, where he teaches miniature painting. His works have been shown in solo and group exhibitions and collected across Japan, India, the UK, the US, Australia and Pakistan. Qureshi has been involved in international contemporary art surveys on South Asia, notably the exhibition East–West Divan: Contemporary Art from Afghanistan, Iran & Pakistan at the Venice Biennale 2009. He has created large scale installations in architectural spaces at the Singapore Biennial, the Asia Society Museum in New York and most recently on Cockatoo Island as part of the Biennale of Sydney 2012. Qureshi won the Artists Prize for his site-specific installation Blessings upon the Land of My Love at the 2011 Sharjah Biennale, United Arab Emirates.
Saturday, November 17, 2012
Wednesday, November 14, 2012
Tuesday, November 13, 2012
Courtesy: Art Mag.
He’s considered one of Pakistan’s most important artists. Imran Qureshi will be presented in spring of 2013 with a large solo exhibition at the “Deutsche Bank KunstHalle”. The KunstHalle will also open with this show. Oliver Koerner von Gustorf on Qureshi’s unique work, which has radically renewed the centuries-old tradition of miniature painting while addressing highly relevant social themes.
|Like beads strung on invisible threads, rain falls in precise lines from golden-hued clouds which part to reveal a patch of deep blue sky: Moderate Enlightenment, Imran Qureshi’sseries of miniature paintings made between 2006 and 2009, presents an infinitely detailed, wondrous world. Everything in it seems delicate to the point of fragility—the blades of grass poking out of the earth, the ornamental branches and vines of the bushes and trees that intertwine to create frames and patterns. The young men and women in this microcosm also seem tender and introverted, dreamily blowing soap bubbles and flower petals into the air, opening their umbrellas, or taking walks, immersed in their solitude. Their style of clothing indicates that they are of the Muslim faith. The watercolor scenes seem so light and carefree that they have to be contained in gold leaf and ornamentation in order not to fly away. A lost paradise, one might say; a look at the spiritual unity of man and nature, a traditional, comprehensible world in which everything is intact and in its place.|
But this nostalgic sentiment is far too simple, as becomes clear at second glance. Qureshi counters the initial impression of the sublime and near-antiquity with the insignia of a global leisure culture: his protagonists carry messenger bags, wear cargo shorts and camouflage T-shirts. The practical military look is a clear fashion statement. In combination with religion and spirituality, however, it quickly brings fanaticism to mind. Taking these “modern” signs into consideration when looking at Qureshi’s paintings, they are no longer as formally clear. Abstraction lies hidden beneath the ornament. The gold, which quickly evokes associations to religion, could also be the gold that western artists like Yves Klein, James Lee Byars, and Andy Warhol brought back into vogue in the second half of the 20th century.
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Monday, November 12, 2012
CONGRATULATIONS to Imran Qureshi on becoming not only the first Pakistani but also the first Asian artist selected for this prestigious award. Way to go Imran Qureshi !!!!
Following the end of its 15-year collaboration with the Solomon R. Guggenheim Foundation, the Deutsche Bank KunstHalle continues to develop the original format of the space together with various different cooperation partners to introduce new international positions that have not previously been offered a platform in Berlin. The Deutsche Bank Collection will be also be present in thematic exhibitions.
Following Wangechi Mutu in 2010, Yto Barrada in 2011, and Roman Ondák in 2012, the Deutsche Bank Global Art Advisory Council chose Imran Qureshi as one of the most important figures on Pakistan’s art scene today. Trained in miniature painting, the 1972-born artist works from the motifs, symbolism, and ornaments of the Moghul tradition that flourished in the 16th and 17th centuries in the north of the Indian subcontinent. Qureshi utilizes old Islamic forms of art and expands them to become a contemporary means of expression, combining traditional motifs and techniques with conceptual thought and contemporary abstract painting in unique ways. Qureshi includes his own observations on the reality of today’s Pakistan into his work—reflections on the relationship between the West and the Islamic world.
In Qureshi’s work, an investigation into ornamentation is both a reference to tradition and a vehicle for criticism: of constricting role models, violent political and religious systems, stereotypes, and conventions. He also transposes the form of miniature painting into site-specific installations in architectural space, addressing both the building itself and its historical and political connotations. His art delves into the constant alternation between violence and hope, destruction and creation, and calls for peaceful resistance and optimism in difficult times.
Saturday, November 10, 2012
Saffronart Blog : The Art of Imran Qureshi
New York: As contemporary art hurtles further into its characteristic world of postmodern diffusion – where national categories give way to dissolving borders and trans-regional connections – potent markers of heritage serve as reminders of mooring and place.
Imran Qureshi has stated the importance belonging plays in his art and his Moderate Enlightenment series reveals a keen interest in re-pitching a distinctly South Asian artistic vernacular, paying homage to tradition and the importance of history in visual storytelling. The miniature – an art form that has been devoted exclusively to portraiture and the human form – is an encounter with an individual. In its historical use, important imperial or divine figureheads would be richly painted and ornamented with gold leaf, allowing inquisitive eyes a point of access into the court or the heavens.
Qureshi paints intimate portraits of religious men and finds a quiet anxiety with contemporary Pakistan therein: seemingly mundane images of men turn into hidden symbols of social unrest. These post-9/11 treatises search to understand how perceptions of zealotry can be influenced by fashion and posture. In his use of the miniature, he highlights the issue as a South Asian one, fixed at once to geography and culture, but also one that is fiercely contemporary. Here, Orientalist fantasies of Pakistan cede to modern concerns and pressing international affairs.
Qureshi’s dexterous mastery over the miniature is a testament to his need to find a global voice laden with legacy. In a painstaking process that requires deft use of fine brushes, miniatures must be held close to the artist’s eyes to ensure accurate detailing. The artist’s inestimable skill earned him a place in the Asia Society’s iconic exhibit of contemporary Pakistani art, “Hanging Fire,” in 2009/10. He later went on to win the Sharjah Art Prize in 2011, establishing him as one of Pakistan’s most important stars today. Refusing to be titled reductively as a ‘Miniature Painter,’ he has shown himself to be a versatile artist, his large-scale installation pieces proving him comfortable with media either big or small. An artist to watch and to follow, Qureshi lets us catch glimpses of a Pakistan through visions grounded there but equally aware of the world at large.
Pakistan art makes a good debut at the first dedicated art auction
Total lots in auction
Total Winning Value (inclusive of buyer's premium)
The top lots by value were dominated by the known names like Jamil Naqsh, Imran Qureshi and Rashid Rana. A number of new artists made it into the most expensive list, like Ali Kazim, Saira Wasim and Bani Abdi.
There were also a number of artists who made their auction records by achieving the highest selling price ever for their work in this auction. These artists include Imran Qureshi, Ali Kazim, Bani Abidi and Saira Wasim.
Top 10 Lots by Value
Winning Value (US$)
Ommatidia II (Salman Khan)
Anwar Jalal Shemza
Male + Female
Let It Ride # 3
We hope to see this auction becoming a regular feature. To Saffronart, our recommendation will be to focus on a smaller number of works (30-40), more focused artist pool, add approximately 10% items with a substantially higher ticket per item and a little of the Masters too (but staying away from the fake factory!).
While the results of tihs auction can be best described as mixed, we see the glass half full rather than half empty. We view the start of this auction as another another push towards the slow but positive momentum of Pakistan's art development at the global stage. Christies now gives a much broader space to Pakistan art, Bonhams has been pushing Paksitan art for year, Yamini Mehta's move to Sothebys is sure to provide more filip to Pakistan art presence at their auctions. slowly, there is critical mass being developed. Pakistan art space in 2015 will look very different from now. We hope to enjoy that journey together with you !
Tuesday, November 6, 2012
6 October 2012 – 27 January 2013Lahore-based Aisha Khalid is one of Pakistan’s leading contemporary artists. She is part of a generation that has revitalised the traditional medium of miniature painting by juxtaposing decorative surfaces with deep socio-political subtexts around ideas about cultural expectations and stereotyping, the oppression of women and global politics in the aftermath of 9/11.
Embroidery is also a recurring theme in Khalid’s work, reflecting her familiarity with the embroidery traditions of regions such as Sind and Punjab. At the Whitworth the artist will be working on a large site-specific project examining the relationship between hand and machine embroidery. She will ‘embroider’ the bricks and mortar of one of the Gallery’s double height walls with a repeating pattern of roses, and display a new body of large paintings that explore the artist’s experiences of life and spirituality.