Its all the Rage @ Another Year in LA

Its all the Rage @ Another Year in LA

It’s all the rage…

Between East and West seemingly lies… conflict or maybe more accurately the conflicted. The exhibition It’s all the rage sits between reflection and action to address the concerns of newly emerging Muslim (and more specifically hyphenated Pakistani) identity and the political, cultural and aesthetic repercussions of this experience.

The title of the exhibition alludes to the overwrought and hostile sensationalism of the September 2012 Newsweek Muslim Rage cover story and rebrands its confrontational stance into the nuanced reality of the exhibition’s double entendre pun; 200 plus years of colonialism, cold war manipulations, political double standards, IMF strong-arming, drone strikes, media misrepresentations on the one hand have led to systemic suspicion and anger at western interference, fermenting internalized desires for the Muslim world to enter the modern world in its own terms, it’s our party and you are not invited! Internally the party is a rager! Mullahs and MCs, Islamist and secularist, police and polis, mosque and disco and everyone in-between all vie with blood or ballot, the right to define a people.

The Exhibition itself unfolds in multiple parts. Via truck, transport and installation, each in their own manner addressing the ambiguities of this condition, externalized conflict vs. internalized uncertainty, fabricated realities vs. constructed mythologies, East vs. West, Aesthetics with politics, all vying for a renegotiation of this fractured identity.

Going my way:

The exhibition is initiated with the purchase and conversion of a box truck that transfers the familiar iconography of one culture (the colorful and exquisite Pakistani Trucks painted with folk patterns and aspirational, historical, pop and mythical iconography) to another (the arguable blander American cousin, where graphical content usually is limited to corporate advertising).

The truck, driven by the artist will transport the installation from Detroit to Los Angeles and back to Detroit.

This aspect of the project proposes to address the lopsided expanse of globalization, where Western, in particular American cultural hegemony dominates the global landscape. With many post colonial nations still struggling to establish their own national identities (especially in the aftermaths of post colonial and post cold war politics) and finding their cultural identity framed within the dominant western lens are often seen as exotic and alterior. The modality of the project's gesture, the placing of unfamiliar iconography onto US trucks, asserts to introduce these images into the everyday, allowing them to become just another part of the saturated visual landscape as the truck crisscrosses the nation, and thus subversively insert aspects of this "other" into the American vernacular. As such the gesture also addresses ideas of cultural loss to minority immigrant communities (in this case Pakistani-American, whereas the decorated trucks, a ubiquitous site in Pakistan is lost to its migrated communities), who must negotiate what cultural heritages they need to preserve and what aspects they must let go within their new, albeit foreign, homeland.

Two subsequent and ongoing services are to be created, a truck decorating company offering similar conversions for client trucks (Indus Truck Décor Corporation), as well as the availability of the current truck to be rented for any transport need (Indus Truck Works Ltd.)

Another Year in LA

The installation at Another Year in LA, grounded in current Muslim and Pakistani identity politics vis-a-vis the world (and the artist), literally finds the spatial condition of the gallery divided into two: the aggrieved external and the ambiguous internal. The overarching stance of the works presented blurs aesthetic gestures within the contexts of current political repercussions. Where the benign gesture of drawn lines reverberate the traumas of colonial partitions. Where minimalist structures give sway to political overlay. Where jokes and terror intermingle. Where want of polemics give way to hazy poetics. The works presented reflect on the afflictions, ambiguity and aspirations currently at play, embracing uncertainty and providing no resolution. It is the current condition. It’s what is going on. It’s all the rage…


(In)Habitaion @ MOCAD

(In)Habitaion @ MOCAD

June 7 – July 28, 2013

Curated by Gregory Tom and featuring the work of Jason Ferguson, Osman Khan and Matt Kenyon, (in)Habitation aims to consider (and reconsider) the concept of "domesticity". Ubiquitous elements of the home — for instance, a table and chairs, a houseplant or a simple beam — are altered or subverted by complex ideas about faith, the current mortgage crisis, globalization and even classic American representations of family fun. The sculptural works featured are both serious and playful. They engage through movement, flashing lights and the spectacular, but ultimately lead us to question our existing biases and assumptions about what the idea of "home" really means.

Jason J. Ferguson's work reflects on the relationship between art, science and experience, juxtaposing seemingly unrelated subjects to create performance, video and sculptural work. Ferguson is an assistant professor in the Art Department of Eastern Michigan University, where he teaches sculpture and 3-D design.

Matt Kenyon is interested in the convergence of art, emerging technologies and popular culture. His recent works often feature wearable computing technologies or robotics to express a cultural critique. He is an associate professor in the Penny W. Stamps School of Art & Design at the University of Michigan, where he teaches physical computing, video and 3D animation.

Osman Khan's constructed artifacts, interactive installations and site-specific interventions convey the way in which technology shapes our understanding of identity, communication and public space. Khan is an assistant professor at the Penny W. Stamps School of Art & Design at the University of Michigan, where he teaches computational media, sculpture and social practice.


Out of Rubble


9/7/12 - 10/3/12
Fine Arts Center Galleries
1303 Fine Arts Building
Bowling Green State University
Bowling Green, OH 43403

OUT OF RUBBLE reacts to the wake of war — its realities and its representations. The rubble that each war leaves behind shapes today and tomorrow — physically, psychologically and spiritually. OUT OF RUBBLE presents works by international artists and architects who consider its causes and consequences, its finality and future, moving from decimation and disintegration to the possibilities of regeneration and recovery. As the USA has just marked ten years of war in Afghanistan, the longest war in this country’s history, OUT OF RUBBLE is all too timely.

Facing the failure and wreckage of war, the poet Wislawa Szymborska wrote: “Reality demands that we mention this: Life goes on.” Artists meet this demand through responses that are invariably somber, both tender and unflinching. Through images and narratives bound up in the crises of truth, they acknowledge, yet strive toward the impossible task of comprehending the incomprehensible.

OUT OF RUBBLE (Charta, 2011), is an anthology of art works by contemporary artists addressing the aftermath of current and past wars. The book includes texts by Susanne Slavick and Holly Edwards and works by international artists and architects from Diana Al-Hadid to Xu Zhen. A selection of these artists for the OUT OF RUBBLE exhibit include: Taysir Batniji, Wafaa Bilal, Enrique Castrejon, Lenka Clayton, Jane Dixon, Hirokazu Fukawa, Monica Haller, Andrew Ellis Johnson, Jennifer Karady, Osman Khan, Samina Mansuri, Simon Norfolk, Rocio Rodriguez, elin o’Hara slavick, Susanne Slavick, and Elaine Spatz-Rabinowitz.

Osman Khan will be exhibiting: The destruction of the house of Abu al-Aish


Semester in Paris, France

Currently residing in Paris, Teaching for a semester in Paris and doing research for a new project.


Art Gallery Chair for Siggraph 2012

Siggraph 2012 Art Exhibition opens 08/2012 in Los Angeles. As Art Chair for the 2012 Exhibition, I hope that you can join me for this year's exhibition titled, In Search of the Miraculous.


For whom mourn the passing of monsters @

5c5c Rome, Centro Internazionale per l’Arte Contemporanea, Rome, Italy


The destruction of the house of Abu Al-Aish @

Out of Rubble, Space Gallery Pittsburgh, PA


There are times I lose faith and House debut

Call & Response, 570 Broad Street, Newark, NJ


Going my way @ 5c5c Seoul

5c5c Seoul, Sangsangmadang, Seoul, South Korea


Ceil debuts at Northern Spark

Northern Spark, St. Anthony Falls, Minneapolis, USA


2011 Changwon Asian Art Festival

Going my Way debuts at 2011 Changwon Asian Art Festival, Chongwon, South Korea