Moving image exhibit opens at PNCA
Inaugurated by Federal Minister for National Heritage and Culture, Aurangzeb Khan Khichi, the opening ceremony included remarks by Muhammad Ayoub Jamali and curator Sarah Rajper, followed by an engaging artist panel discussion. Supported by the British Council and organised by LUX and Art South Asia Project, the exhibition presents innovative works by artists from Pakistan and the UK, exploring themes of language, identity, history and perception through video, film and animation.
In his address, Khichi praised the initiative, stating, "This wonderful exhibition, connecting Pakistani and UK-based artists, is a powerful example of cultural collaborationone that not only reflects our shared human experience but also strengthens the global standing of Pakistan's creative community."
In her address, curator Sarah Rajper emphasised the significance of fostering support for new media and experimental forms in the region: "Moving image is still vastly under-supported in Pakistan despite its immense potential to reflect and reshape our realities. With "Seeing, Seen" we're not just showcasing art, we're building infrastructure for dialogue, risk-taking, and critical inquiry. It's a call to invest in the future of storytelling."
The artist panel featured Kaiser Irfan, Mahnoor Ali Shah, M4HK, Ujala Khan and Rajper, who reflected on their practices and the role of moving image in Pakistan's cultural landscape. The exhibition features a wide range of mediums including video, animation, film, lenticular print, mixed media painting and stop-motion, as well as art from the British Council Collection. Participating artists include Abdul Haadi, Farida Batool, Kaiser Irfan, Mahnoor Ali Shah, M4HK, Rabeeha Adnan, Ujala Khan and UK-based duo John Wood and Paul Harrison.
Highlights include Kaiser Irfan's "Language of the Birds", a meditative video exploring asemic writing and myth, Mahnoor Ali Shah's "Memory Flashbacks", which reflects on neurodivergence and memory, Farida Batool's lenticular works on trauma and perception and Rabeeha Adnan's "Field Reset", which uses glitchy VHS textures to explore desire and dissonance.
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