It may be a matter of opinion, even bias, that how ‘truth’ is to be viewed. In the case of a current show of contemporary art titled “And Nothing but the Truth: Parrhesia 11” at Koel Gallery, Karachi, it is presented as a construct of artistic practice. The curator of the show Zarmeene Shah chooses a particularly difficult position with what she assumes in the exhibition statement of “bringing together 21 prominent national artists who explore the questions and potentials raised by this notion, not least of which are those of the ‘truth’, of one’s relationship to and belief in it, and of the freedom to be able to express and stand by it”.

Thereby, the curatorial premise attempts to frame the 21 invited artists within Michel Foucault’s ideas on “frankness instead of flattery, the risk of death instead of life and security, criticism instead of flattery, and moral duty instead of self interest and moral apathy” published in 1983. Such a sweeping gesture by a critic / artist / curator, even if it is driven by the admiration of the artists chosen, is very much an assumption on the nature of truth that she addresses in this context, seemingly reflecting a closely guarded body of work in an equally guarded space, in admiration if not flattery.

“Contemporary art,” as Shah states, “stands at the ‘critical juncture’ that explore(s) the questions and potentials raised by this notion / of the truth.” Does each artist regard Foucault’s notion of adhering to a moral code of harmony in his or her practical life as has been prescribed by him? The participating artists are Hamra Abbas, Bani Abidi, Meher Afroz, Roohi Ahmed, Nurjahan Akhlaq, Naazish Ataullah, Noorjehan Bilgrami, Imran Channa, Yaminay Chaudhri, Amin Gulgee, Aamir Habib, Salima Hashmi, Shalalae Jamil, Naiza Khan, Quddus Mirza, Seher Naveed, Seema Nusrat, Mohsin Shafi, Madiha Sikander, Abdullah M.I. Syed, Noor Yousof and Adeel uz Zafar.

The show explores the links between Michel Foucault’s notion of truth and moral ethics, and contemporary Pakistani art

These are varied narratives, uneven in their concerns and practice that may not have otherwise found a space to connect as they have in this show. One enters the gallery to view a book opened to a page with a contemplative poem on which artist Madiha Sikander paints the miniaturists’ gadrung tradition, a parking receipt.

Mangled logic, 2015, Nurjahan Akhlaq

At the back of the gallery, Bani Abidi’s text / photograph based cards narrate the concerns of a speech writer. The text that is in the form of a diary or notes to himself, the writer addresses how his creative contribution and idealism expressed in his words for others’ speeches, is negated or ignored. In both cases, the artists look towards the ‘honesty’ of ‘another’, by conversing with and bringing it in their own aesthetics.

Yaminay Chaudhri plays the sound of water to a video installation of a dock, and provides an entry to a landscape and environment as it exists in its natural space. The embellishment, if any, is in the transportation through the artistic process, to accommodate the same as a visual / sound in the gallery, window to a lived experience.

Kun Fayakun, Quddus Mirza

There are other works such as Nazish Attaullah’s ‘Perpetual disarray’, a digital print of a large woman’s back in the nude. Presumably her own, the artist is in reflection of her body, in admission, revelation and celebration.

The body surfaces as a series of photo clips in Noorjehan Akhlaque’s work ‘Mangled logic’. What appear to be fragmented clips of a woman’s lips with red lipstick could also be the underlying colour of violence as it might reside in the painful memory of her own loss at the brutal murder of her sister and father some years ago.

Whispers in the darkness, Imran Channa

There are connections to very personal spaces where the nature of existence might be contemplated such as in Meher Afoze’s ‘Zahir Batin’, in Amin Gulgee’s sculptural work ‘Speaking in tongues’ or in Noorjehan Bilgrami’s work on paper titled ‘The truth remains’, and other works. So, the curator creates layers with narratives that offer introspection and visual tactility, such as the way Afroz weaves into the paper, or Gulgee breaks into the mould of copper; or how Noor Yousof plays with fabric and casts a shadow with the subtle connections of line and texture in her work with textiles ‘Against time’. This depth provides a considerable body of art a strong anchor and ample space to breathe in the two galleries at Koel.

Blind eye, Aamir Habib

One meanders into more sensitive and unexpected spaces in Aamir Habib’s digital light work ‘Blind eye’, that recedes into the monochromatic demeanour of the overall show but at the same time brings us to the physical space of the gallery by the sound of the electronic blinking eye.

The Speech Writer, Bani Abidi (front)

Imran Channa’s locked wooden crates titled ‘Whispers in darkness’, however, are a more direct critique on the making and censoring of history. In the context of this particular show, it seems to allude to histories and narratives that have been effaced or sidelined due to the politics of control and power by the very milieu represented here.

Speaking in tongues 2015, Amin Guljee

The question to ponder would be: if this very frame aligned by the curator to Focault’s premise of a moral ethics and self criticism is open to criticism at all, or does it represent a power hierarchy not to be questioned? Like Channa’s boxes, the truth lies in whispers, and like his earlier paintings partially concealed by the crates, this show too tells half the truth.

Published in Dawn, Sunday Magazine, July 19th, 2015

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