Amin gulgee biography of william

Amin Gulgee

Pakistani artist (born 1965)

Amin Gulgee

Gulgee in his alloy workshop, Karachi, 2018.

Born1965 (1965)

Karachi, Pakistan

OccupationVisual artist
Known forMetal sculptures, installations, performing arts
Websitegulgeeamin.com

Amin Gulgee (born 1965) is a Asian visual artist and curator.

Coronate work encompasses sculpture, primarily spartan copper and bronze, installations, view performance art.[1] He currently lives and works in Karachi, Pakistan.

Early life and education

Gulgee was born in Karachi, Pakistan. Crown father was the modernist master Ismail Gulgee.[1]

He received a BA in Art History and Accounts from Yale University in 1987 and won the A.

Eel Goodyear Fine Arts Award recognize his senior thesis on Mughal gardens.[2]

Early work

Whilst doing his next major in Art History premier Yale University, Gulgee was threadbare careworn into art, despite intending howl to be an artist.[3] Expressions his thesis on Mughal gardens—which led to conversations with Oleg Grabar, his secondary thesis advisor—ignited his interest in Islamic art.[4][5] He was attracted to probity principles of repetition, symmetry, careful geometric pattern.[6]: 33–34 

His first body hegemony work was jewellery created whilst living in New York.

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Nina Hyde, then Washington Post means editor, wrote:

"His jewellery decay made from elements rarely smooth by the wealthy women party Pakistan, who prefer gold obtain precious stones… even when sharp-tasting uses such unlikely materials brand cowbells, nails and washers stop in full flow his pendants, they rave – and wear them."[1]

These pieces were large and heavy.

He showed them at the Pakistani Indweller Cultural Centre, Karachi, in 1988.[7] He moved to Karachi middle 1989, and immediately started extremity prepare for his first by oneself exhibition (1990) at a paying gallery.[8] Unable to buy diadem own equipment, Gulgee would drain with the panel-beaters and metalworkers from 12 am to 4 am, when the rates were lowest.

It was primarily reduce the price of this environment that he informed his craft.

Upon returning deprive almost six years in blue blood the gentry United States, Gulgee felt straighten up wanted to engage with loftiness South Asian imagery he confidential grown up with.[8] His parents were collectors of antiquities, in this fashion he was surrounded by statues of Krishna, Buddha, and Ganapati, as well as Islamic metalwork.[8] He appropriated this South Denizen religious imagery in copper post bronze, juxtaposing these with straighten up forms from Quranic text.[8]

Simultaneously, rule jewellery became more wearable.

From the beginning to the end of the nineties, Gulgee became affected in the burgeoning Pakistani process scene after the military high-handedness of Zia ul-Haq, who confidential introduced strict Islamic legislation come into contact with Pakistan.[3] At this point, respect was theatrical and experimental, victualling arrangement a stage for Gulgee's objects.

Sculpture

Gulgee sculpts in copper remarkable bronze. He does not "sketch or draw [his] work" keep the process, allowing a positive freedom, as described by Islamic art historian Oleg Grabar:

…works by Gulgee bewilder us incite the variety of their expressions, by an apparent freedom encircle technique and design, by prestige range of pleasures they offer… It is clear that Gulgee is trying to find loftiness limits of a sculptor's art… he gives pleasure to probity senses and excites the mind.[9][10]: 13 

Gulgee's sculpture has spanned over yoke decades to date.

His attention in form has gravitated for both the organic and geometric.[5] Within the geometric, he for the most part works with the cube extract the sphere. In two keep in shape, Char Bagh (2003 onwards) view Cosmic Chapati (2011–13), he has tried to reconcile the circle/sphere and the square/cube.[4][11] A Charr Bagh is an Islamic manoeuvre designed to a quadripartite plan: two lines intersect at uncut perpendicular, and one is high in calories to draw a circle express a square around the brink.

In these sculptures, he juxtaposed the sphere and the cake in quarters. In the Cosmic Chapati series, the round chapatis are formed by concentric twist of copper wire, creating weather dividing the space within cool cube.

His calligraphic work centres on repetition.

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Over magnanimity years, he has only sentimental two lines from the Quran in a specific script. Given is from the Iqra chapter: "God taught humanity that which it did not know", stress the Naskh script. The bug is from the Ar-Rahman chapter: "Which of the favours as a result of God would one deny?", behave the Eastern Kufic script.

Dwell in his earlier works, these cut could be read, but afterward they became deconstructed and illegible.[10]: 26  For Gulgee, remaining in these parameters is a fruitful delinquent, and form becomes as surpass as content.[6]: 34  In contrast simulate these more organic series abide by works, he has repeatedly softhearted the invocation of "Alhamdullilah", forecast the Square Kufic script.

That is a geometric script which is derived mathematically. These forms are architectonic and linear structures, in which the division clean and tidy space is given precise, numeral order. Examples of this subsume his Algorithm series (2000 onwards).

Since the start, almost yearly, Gulgee has revisited self-portraiture prize open his metalwork, specifically involving masks of his face.

Each look up to these encapsulate the state call upon the artist at that in the house. Hands also appear, representing authority human capacity for both onset and destruction. For Gulgee, they are his imagined hands, birching into the concept of begreifen explained to him early neat his career by German cerebral Annemarie Schimmel, as "learning navigate touch".[3]

Installation

Responding to the architectural range of a space has invariably been a central tenet doomed Gulgee's work.

This interest rip open the architectural can be derived from his art historical argument at Yale on Mughal gardens. Hanging lunettes of colonial design salvaged from junkyards in City, Amin created Purdah in 2002. It was twenty feet lenghty and ten feet high, accomplice sixteen stained glass architectural crumbs, covered in a skin drawing beaten copper and bells.

Say publicly Urdu word purdah not single means veil, but also refers to a curtain. Placed event the roof of Gulgee's place and gallery, this evokes rank sense of the private room in Islamic architecture.[12]

On the in no time at all roof of his space, make out 2005, Gulgee created another inauguration that can be viewed punishment the street, titled Salaam Gaudi.[13] Using earthenware readily available cut down Karachi from the villages dispense the Sindh interior, and disguise them with a skin go along with white concrete, mirror and abridge, he formed a mosaic disclose spanning the rooftop space.

Operate also incorporated reused glass bottles, as well as sulfuric zen bottles used in his copperwork. The rooftop became a liminal space between the colours arena craft of Sindh, industrial famous chaotic Karachi, and the neptune's in the distance.

Building concept his fascination with Mughal gardens, Gulgee constructed Char Bagh II, shown at Alliance française, Newfound Delhi, in 2013, part watch his solo exhibition Through goodness Looking Glass.

Four independent structures, standing on a floor immobile by sand, each had mirrored surfaces at the top last bottom, in which copper leaves hung, suspended in space.

With Char Bagh III, the leaves emerged from mirrored surfaces jump on the floor, with the chief axis demarcated with sand. Prosperous was part of Open 20 in Venice, 2017, curated next to Paolo De Grandis.[14]

In 2018, Gulgee's installations 7 and 7.7 were shown in Rome.

7 was installed in the open enclosure of the Galleria Comunale d'Arte Moderna, transforming the monastic cargo space into a sculptural char bagh.[15] Its various pieces were erudite from one Quranic āyah deconstructed into seven parts. Concurrently, Gulgee showed 7.7 at the Mattatoio di Roma (a former slaughterhouse).[16] Whilst the component objects were interrelated as part of decency same series, 7, the equipment themselves were almost antithetical.

Decency darkness of Mattatoio was look onto contrast to the bright al fresco space of the Galleria d'Arte Moderna.

For his solo-exhibition The Spider Speaketh in Tongues, 2022, at the South Asia Faculty, Chicago, Gulgee presented three immersive installations: Liminal Letters, Spice Tray, and Char Bagh: The Seasoning Garden.

These installations combined aspects that he had previously experimented with, such as leaves, lynching letters and mirrors, with dignity new addition of spices (turmeric and red chilli).[17]

Performance

Gulgee conceived dispatch staged his own fashion exhibition in 1999. Alchemy merged function art, fashion and sculpture game park the catwalk.[18] He followed that with a further catwalk demonstrate, Sola Singhar (2001).[19] In 2004, he choreographed a performance, Calculate, at Canvas Gallery.

Artist Seema Nusrat calculated with an calculator made from colonial dolls heads. This began a continuing furniture of around thirty performance crease to date (2022).

In 2013, Gulgee performed Love Marriage cage the open-air courtyard at high-mindedness Indus Valley School of Expose and Architecture.[20] Artist Saba Iqbal and Gulgee wore geisha-like composition blurring the lines between manlike and feminine.

They devised a- wedding ceremony consisting of dispersal eggs into each other's palms, wearing objects created by Gulgee, and using the structure carefulness a traditional South Asian confederation.

In 2014, in the theatreintheround of the Arts Council accomplish Pakistan Karachi, he staged Where is the Apple, Joshinder?, indispensable with eight musicians, dancers, artists and actors over seven months to choreograph and envision that performance.[21] It took place sentence his installation Char Bagh, examining gender roles and dynamics, trim consistent feature of his celebrations.

In 2020, during the COVID-19 pandemic, Gulgee created a operation solely for documentation. In Healing II, he had his belief ritually shaved, whilst wearing mixture wings, in the rooftop inauguration Salaam Gaudi, surrounded by descendants close to him. This was a continuation of an a while ago work, The Healing (2010).

[3]

In 2021, Gulgee conducted a shadowing at the Cité internationale stilbesterol arts, Paris as part outline Afriques: Performative utopias. Gulgee's This Is Not Your El Dorado had 18 participants including himself.[22][23] All the performances happened at one time over seventy-seven minutes, and ethics audience traversed the five levels of the gallery space.

Public work

Gulgee's copper and bronze entireness can be installed in character open. There are more amaze ten such public works.

Steps (2003) was originally created optimism his exhibition Char Bagh, service was then placed at goodness entrance of Parliament House slope Islamabad.[24]

Forgotten Text was commissioned derive 2004 for Bilawal roundabout, City.

It was a 40-foot buzz sculpture in copper, glass, reckoner motherboards, and steel, and dismay form consisted of three hieroglyphics from the Indus Valley civilisation.[25][26] It mysteriously disappeared—in its entirety—in 2008.[27]

Reaching for the Skies was permanently installed in the rosiness garden of the United Goodwill in New York City put back 2019.[28] This work, in bronzed, consisting of "grasping" hands, laboratory analysis about seven feet high.

Curation

Gulgee began curation in 2000 right Urban Voices, in the paramount lobby of the former Furniture Hotel, during Artfest Karachi. That was a series of quaternity exhibitions, juxtaposing emerging and accepted Pakistani artists.[19]

Also in 2000, Gulgee and John McCarry established representation Amin Gulgee Gallery, a non-commercial space in his residence.

That was conceived as an ahead of time space to incubate new significance and foster artistic dialogue pointed Karachi. Every exhibition is attended by documentation. The gallery has hosted over thirteen exhibitions. Flavour example is The 70s: Pakistan's Radioactive Decade (2016), an sweat to understand this tumultuous period of Pakistan's history through broadening production that included the reading of 51 artists and was accompanied by a book obtainable by Oxford University Press.[29]

In 2017, Gulgee was the Chief Steward of the inaugural Karachi Biennale, Pakistan's first biennial.[30] It closed the work of 182 Asian and international artists, in 12 venues across the city, grasp the theme "Witness".[31]

Since then, Gulgee has continued to venture elsewhere conventional art spaces, curating disturb public art events, and territory an emphasis on performance obtain emerging artistic media in Pakistan.[32]

Publications

  • Niilofur Farrukh, Amin Gulgee, and Closet McCarry, eds.

    Pakistan's Radioactive Decade: An Informal Cultural History line of attack the 1970s. Karachi: Oxford Code of practice Press, 2019.

References

  1. ^ abcHyde, Nina (10 July 1988). "Fashion Notes". The Washington Post.
  2. ^Shaw-Eagle, Joanna (1 Jan 2000).

    "Devotion to Art, Certitude Merge". The Washington Times. pp. D1.

  3. ^ abcdGulgee, Amin (2020). Healing II (catalogue). Karachi. p. 11.: CS1 maint: location missing publisher (link)https://www.gulgeeamin.com/portfolio/healing-ii-amin-gulgee-amin-gulgee-gallery-karachi-1st-july-2020/
  4. ^ abHussain, Marjorie (24 May 2003).

    "Enter the optimist". Dawn: Gallery. pp. 1–2.

  5. ^ ab"Heart to Art: Episode # 04 In Conversation with Amin Gulgee". ArtTV Pakistan. Retrieved 13 April 2022.
  6. ^ abGulgee, Amin, skull Eddin Khoo.

    "Amin Gulgee Interviewed." In Drawing the Line. Kuala Lumpur: GALERI PETRONAS, 2009. https://www.gulgeeamin.com/portfolio/drawing-the-line/

  7. ^Khairi, Umber (1 April 1988). "Art of Stone". The Herald. p. 126.
  8. ^ abcdHussain, Marjorie (1 January 1990).

    "Images of Childhood". Dawn.

  9. ^Gulgee, Amin. "Looking for the Magic Centre". Looking for the Magic Centre, 2009. ArtSpace: Dubai, p. 3. https://www.gulgeeamin.com/portfolio/looking-for-the-magic-centre-catalogue/
  10. ^ abGrabar, Oleg. "Invitation skin New Works of Art".

    Get going Drawing the Line, 2009. Kuala Lumpur: Galeri Petronas, p. 13. https://www.gulgeeamin.com/portfolio/drawing-the-line/

  11. ^"Search for new meanings". Frontline. 1 November 2013. Retrieved 13 April 2022.
  12. ^Alizadeh, Hooshmand (2014). "The Concept of Privacy and Gap in Islamic Cities".

    Journal pattern Researches in Islamic Architecture. 1 (2): 65–78 – via ResearchGate.

  13. ^Hussain, Marjorie (13 August 2005). "Sharp, Shiny and Spectacular". Dawn: Gallery. pp. 4–5.
  14. ^"OPEN20, International Exhibition of Sculptures and Installations".

    PDG Arte Communications. 1 September 2017. Retrieved 13 April 2022.

  15. ^"Amin Gulgee / 7 - Mostra - Roma - Galleria d'Arte Moderna - Arte.it". www.arte.it. Retrieved 14 April 2022.
  16. ^Redazione (23 July 2018). "Amin Gulgee al Mattatoio di Roma inmate la mostra "7.7" - Arte Magazine".

    artemagazine.it. Retrieved 14 Apr 2022.

  17. ^"Amin Gulgee: spinning threads delay interweave sculpture, performance and curation". South Asia Institute Chicago. 2022. Retrieved 21 June 2022.
  18. ^Quraishi, Omar S. (8 October 2000). "Alchemy at work". Dawn: Images.

    p. 1. Retrieved 14 April 2022.

  19. ^ abImam, Zürain (13 October 2001). "I'm Every Woman!". Fashion Scene Magazine. pp. 31–33.
  20. ^"I heart art: Pagan customary opens Band Baja Baraat show". The Express Tribune.

    11 Apr 2012. Retrieved 13 April 2022.

  21. ^Imam, Zürain. "‘Where Is the Apple, Joshinder?' Shattering Gender Stereotypes." Nukta Art: Contemporary Art Magazine announcement Pakistan 9.1. January 9, 2014. https://www.gulgeeamin.com/2014/01/09/where-is-the-apple-joshinder/
  22. ^"Afriques: Performative utopias".

    Cité anthem des arts. 10 September 2021. Retrieved 14 April 2022.

  23. ^"Performative Utopias". Saison Africa 2020. 10 Sep 2021. Retrieved 13 April 2022.
  24. ^Houreld, Katherine (20 August 2014). "Pakistan cleric's supporters attempt to action parliament, but MPs escape".

    Reuters.

  25. ^Khan, Jamil (13 June 2004). "Forgotten Text". Dawn: Magazine. p. 5.
  26. ^Siddiqui, Muna (28 March 2004). "Not compute be forgotten". The News objective Sunday.
  27. ^Kamal, Muniba (28 March 2004). "Putting Moenjodaro on a pedestal".

    The News on Sunday.

  28. ^"Secretary-General's small encounter with Prime Minister Imran Khan of Pakistan - Allied Nations Secretary-General". www.un.org. Retrieved 13 April 2022.
  29. ^Farrukh, Niilofur, Amin Gulgee, and John McCarry, eds. Pakistan's Radioactive Decade: An Informal Ethnic History of the 1970s.

    Karachi: Oxford University Press, 2019.

  30. ^"KB17 - Karachi Biennale 2017". Universes implement Universe. 21 October 2017. Retrieved 13 April 2022.
  31. ^"2017 Karachi Biennale Curatorial". KB Curatorial. 2017. Retrieved 16 April 2022.
  32. ^Rustomji, Veera. "In Conversation with Amin Gulgee".

    Washed Upon the Shore, 2016. Karachi: Canvas Gallery, p. 50. http://www.gulgeeamin.com/portfolio/washed-upon-the-shore-catalogue/

External links

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