In Agogic Accents, young artists tackle memories in myriad ways
It is always exciting to walk into a show without a clearly set out statement preemptively telling the viewer how to view it. A show where a group of young artists display their latest works, present diverse new ideas in diverse fashions and make you look at things from new perspectives.
Agogic Accents, which opened at Sanat Initiative on the 13th of May, was one such show. Curated by Muhammad Zeeshan, this is the second of two shows showcasing the works of fresh graduates from NCA and the Indus Valley School, the first being “Neon”, which also took place recently at Sanat Initiative.
While the works don’t have any obvious connection, the curator admits that he was looking at minute similarities or in some cases comparisons that struck him as ironic when deciding which works to include. He said, “I am not a curator, that is not my job”, but as an artist he knows what works well together and what interests him, such as parallels drawn between Anum Ashraf’s watercolor “landscapes” and Raazia Batool’s abstract pieces suggestive of landscapes.
The most intriguing pieces are probably by Affan Baghpati, whose work is presented as a negotiation of two very different aesthetics. According to Baghpati, he would always argue with his mother about appropriate drawing room décor, as they have very conflicting ideas of what is aesthetically pleasing. She would be vehemently opposed to depictions of any living creature, while the artist couldn’t see the point of displaying a regular item as is. The result is taxidermy animals fused with antique items of décor, such as an old metal lota with half a parrot attached in “Parrot on Lota”, or a goat's head growing out the side of a decorative surahi in “Goat of Surahi”. It seems a combination of the elegantly quaint and the modernly absurd, and the effect is pleasantly bizarre, with each piece radiating a completely new personality independent from the objects that form it.