Naiza Khan (b. 1968, Pakistan; based in London and Karachi) creates work built on a process of critical research, documentation and mapping-based exploration. Working across different forms of media, from drawing to sculpture and film work, Khan draws upon her extensive archive of photographs and recorded observations to trace the slow erasure of architecture and the ecology of the land.
This year Khan was chosen to represent Pakistan at the country’s inaugural pavilion at the 58th Venice Biennale. The critically acclaimed exhibition, titled Manora Field Notes, is an iteration of the artist’s long-standing engagement with Manora Island and the urban landscape of Karachi. Featuring an installation of brass objects and video works, the project offers a complex alternative geography that conveys larger concerns of climate justice, post-colonial histories and its entanglement with ecology.
At Artissima, we present works that are a continuation of her project at this year Venice Biennale which are explored through drawings and watercolour, in relationship to the map. We are also exhibiting part of Khan’s ongoing project, Two Oceans, which examines the cultural implications of the ocean and how this relates to histories of migration. Earlier this year the series was shown as part of The Sea is History, curated by Selene Wendt at the Museum of Cultural History, Oslo.