Faraz Siddiqui Karachiwala, curator, Spiritual Reflections, speaks on art
DUBAI: A group exhibition titled Spiritual Reflections that is taking place at Conrad Dubai, is showcasing the best efforts of 19 artists from Pakistan, UAE and Saudi Arabia. Opened April 4 and to last till April 24, it is the fruit of a collaboration between award-winning, globally accredited art curator and consultant Faraz Siddiqui Karachiwala and Uae-based Pakistani artist Maria Lari, founder of Social Arts. Karachiwala is the first Pakistani to be accredited by Dubai government as art curator. Spiritual Reflections, since it spans the Ramadan and post-ramadan periods, is an acknowledgement of the cathartic features of the Holy Month, enclosing themes such as steadfastness and well-being. Karachiwala, who works between Dubai and Karachi, took time off from the inevitable hustle and bustle of inaugural day, to speak to Gulf Today
How is art connected to spirituality?
Art serves as a means of communication, much like spirituality does with the divine.
How did you prepare for your debut curatorial show in the UAE?
Last year, upon receiving accreditation from the Dubai Culture & Arts Authority as a Curator, I began planning my debut show. However, due to unforeseen circumstances, it could not proceed. Meanwhile, I had known Maria Lari for some time. She approached me for a collaboration with her plaform Social Arts website and embraced the idea of holding an exhibition during Ramadan. This collaboration with her has proved pivotal, since without her support, Spiritual Reflections would not have come about.
How is the Emirati art scene different or similar to the Pakistani art scene?
Drawing parallels between the Emirati and Pakistani art scenes is similar to contrasting oranges with apples. The UAE, and Dubai in particular, is a vibrant hub of multiculturalism, a varied mix of artistic variations and cultural diversity. On the other hand, the Pakistani art scene commands a unique stature within South Asia, consistently nurturing illustrious artists who have achieved global recognition. While both are esteemed in their own right, they are distinct and incomparable in terms of their artistic landscapes.
How do you plan to contribute to the UAE’S cultural landscape?
I aim to explore various opportunities and support the profound cultural legacy shared by our nations. By curating events, exhibitions, and initiatives that celebrate the rich Emirati culture while also embracing global influences, I hope to create spaces that inspire dialogue, provoke thought, and resound with creativity. This may involve supporting emerging artists, or implementing educational programmes that promote cross-cultural understanding.
What are the values an artist should bring to an exhibition curated by you?
I believe that artists should bring several important values to the table. Foremost among these is the commitment to a thought. Each artwork presented in the exhibition should reflect a deep and deliberate process of creation. Thoughful observation suggests more than just the physical act of making art; it involves a profound engagement with ideas, emotions, and experiences. Artists should invest time and energy in exploring their concepts, experimenting with different techniques, and refining their expression. This depth of consideration results in artwork that is not only visually appealing but also intellectually stimulating and emotionally deep. By prioritising thoughful observation, artists elevate their work beyond aesthetic appeal, inviting viewers to engage in a deeper exploration of ideas and emotions. This value enriches the exhibition experience, nurturing a sense of connection and resonance that remains long ater visitors have let the space.
If Pakistani art is not marketed in the Emirates optimally, what should be done to set it right?
Indeed, it is evident that there is a lack of sufficient exposure for Pakistani art within the Emirates — which is regretable. To address this issue, it is important for the Pakistani government, especially its embassy and consulates, to extend support to artists and exhibitions, particularly those based in Pakistan, who seek to showcase their work in the UAE. This support could take various forms, such as facilitating exchange programmes whereby Uae-based artists exhibit in Pakistan and vice versa, or organising travelling exhibitions. The potential avenues for collaboration are numerous; but they all centre on the crucial element of support, which is currently lacking.
Who are the Pakistani artists who inspire you?
Numerous Pakistani artists have been a source of inspiration for me. Among them Sadequain, Anwar Jalal Shemza and Ana Molka stand out. In terms of contemporary artists, the works of Jamil Baloch, Aisha Khalid, and Mohammad Ali Talpur, resonate with me profoundly.
Can you give us your opinion on the many expat-led art promotion bodies in the UAE?
Expatriate-led art bodies in the UAE have emerged as vibrant hubs of creativity, driving significant cultural exchange and artistic expression within the region. Their remarkable contributions extend beyond promotion; they serve as catalysts for dialogue, understanding, and appreciation for art in diverse communities. They are not only promoting art, but also shaping a more vibrant, interconnected, and culturally enriched society.
Tell us a secret. What were the qualities that won you government accreditation as a curator?
Becoming the first Pakistani to receive accreditation as an Art Curator in the UAE is an achievement that fills me with immense pride. I am deeply grateful to Dubai Culture & Arts Authority and its forward-thinking leadership, for this honour. But receiving accreditation as curator is not just about the honour itself; it’s about being part of a larger mission to enrich lives through art and culture.
NEW YORK: Faith Ringgold, an award-winning author and artist who broke down barriers for Black female artists and became famous for her richly coloured and detailed quilts combining painting, textiles and storytelling, has died. She was 93. The artist’s assistant, Grace Mathews, told The Associated Press that Ringgold died on Friday night at her home in Englewood, New Jersey. Mathews said Ringgold had been in failing health. Ringgold’s highly personal works of art can be found in private and public collections around the country and beyond, from the Smithsonian’s National Museum of American Art to New York’s Museum of Modern Art and Atlanta’s High Museum of Fine Art. But her rise to prominence as a Black artist wasn’t easy in an art world dominated by white males and in a political cultural where Black men were the leading voices for civil rights. A founder in 1971 of the Where We At artists collective for Black women, Ringgold became a social activist, frequently protesting the lack of representation of Black and female artists in American museums.
“I became a feminist out of disgust for the manner in which women were marginalised in the art world,” she told The New York Times in 2019. “I began to incorporate this perspective into my work, with a particular focus on Black women as slaves and their sexual exploitation.”
In her first illustrated children’s book, “Tar Beach,” the spirited heroine takes flight over the George Washington Bridge. The story symbolised women’s self-realisation and freedom to confront “this huge masculine icon — the bridge,” she explained. The story is based on her narrative quilt of the same name now in the permanent collection of the Solomon R. Guggenheim Museum in New York.
While her works oten deal with issues of race and gender, their folk-like style is vibrant, optimistic and lighthearted and oten reminiscent of her warm memories of her life in Harlem.
Ringgold introduced quilting into her work in the 1970s ater seeing brocaded Tibetan paintings called thangkas. They inspired her
to create patchwork fabric borders, or frames, with handwriten narrative around her canvas acrylic paintings. For her 1982 story quilt, “Who’s Afraid of Aunt Jemina,” Ringgold confronted the struggles of women by undermining the Black “mammy” stereotype and telling the story of a successful African American businesswoman called Jemima Blakey. “Aunt Jemima conveys the same negative connotation as Uncle Tom, simply because of her looks,’’ she told The New York Times in a 1990 interview.
Soon ater, Ringgold produced a series of 12 quilt paintings titled “The French Collection,” again weaving narrative, biographical and African Ameri can cultural references and Western art. One of the works in the series, “Dancing at the Louvre,” depicts Ringgold’s daughters dancing in the Paris museum, seemingly oblivious to the “Mona Lisa” and other European masterpieces on the walls. In other works in the series Ringgold depicts giants of Black culture like poet Langston Hughes alongside Pablo Picasso and other European masters.
In 2014, her “Groovin High,” a depiction of a crowded energetic dance hall evocative of Harlem’s famous Savoy Ballroom, was featured on a billboard along New York City’s High Line park.
Ringgold also created a number of public works. “People Portraits,” comprised of 52 individual glass mosaics representing figures in sports, performance and music, adorns the Los Angeles Civic Center subway station. “Flying Home: Harlem Heroes and Heroines” are two mosaic murals in a Harlem subway station that feature figures like Dinah Washington, Sugar Ray Robinson and Malcolm X.
In one of her recent books, “Harlem Renaissance Party,” Ringgold introduces young readers to Hughes and other Black artists of the 1920s. Other children’s books have featured Rosa Parks, the Rev. Martin Luther King Jr. and the Underground Railroad. Born in Harlem in 1930, Ringgold was the daughter of a seamstress and dress designer with whom she collaborated oten. She atended City College of New York where she earned bachelor and master’s degrees in art. She was a professor of art at the University of California in San Diego from 1987 until 2002.