May 25, 2002

Group exhibitions flashing renowned artists’ names in bold and displaying their signature works are fast becoming the trend. That is not to say that they are falling into a stereotypical mould trap, but the fear of their becoming so is being felt in the art circles.

The advantages of a group show in relation to a solo display are obvious. They not only draw larger crowds but also a varied audience, as different kinds of people flock to view different kinds of artworks by the big names. If one wants to get an idea of the popular artistic taste, one should certainly attend the inauguration of a group show. Since the turnover of crowds is likely to be larger, sales are also expected accordingly, which makes group displays every commercial gallery’s undisputed preference.

Perhaps one should not compare group shows them with solos at all, as the two offer two separate experiences altogether. A solo, usually presenting the exploration of one subject and the energies of one exhausted artist, who has given free rein to his focus, evoke a much deeper emotional response. The artist, in his/her indulgence with his/her realm of thought, exposes himself/herself in full vulnerability. He/she hangs on the walls in the vast body of works, to be ‘judged’ by an audience. The prospective glory is then as absolutely the artist’s alone, as the shame of a failure.

Bearing in mind the predictability of group shows being organized lately, in which a potpourri of famous names along with their standard signature styles are presented together in a formula fashion, there is no denying that pains are taken to curate a decent display.

Chowkandi hosted a colourful group show this month. Participation of established artists promised something to look forward to for buyers and art lovers of all tastes. The emergence of the Lahore-based Ijazul Hasan after a long time in a Karachi gallery also caused excitement.

The quality of work and a variety of selected themes contributed to a pleasurable view altogether. Riffat Alvi’s stance on the ecological and political climate of our times, Mehr Afroz’s childhood reminiscences and Anwar Saeed’s symbolically entrenched narrative pieces were the hallmarks of the show. Ghalib Baqar’s seascapes and Ijaz’s garden-scapes counteracted the figurative paintings by Raja Changez Sultan, Shakil and Saeed Akhtar.

From oil to acrylic, to collage to watercolour, the works employed a range of media. However, a feeling of deja-vu at first glance robbed the exhibition of some of its vibrant energy. Even if the works had been displayed without names, one could have simply looked at them and known who had sent what to be included in the show — signature paintings, again.

The only good coming out of such a group show by renowned artists is that in the absence of a contemporary art museum in the country one can get to see the works of today’s well known painters under one roof. Of course, the commercial aspect of the show is another reason, perhaps a stronger one for the galleries to keep putting up such shows.