Art fiend: Negotiating identity
When it comes to video, there are not many who understand its relevance in the art world. It may be a well-established art form, but does not carry the same commercial value as a painting or sculpture. Thus, becoming a video artist in Pakistan takes a certain amount of passion, drive and daring in addition to talent; all of which Bani Abidi possesses in abundance.
Abidi is a Karachi-born artist currently based in Berlin. She is primarily a video artist and has exhibited her work extensively in international solo and group exhibitions and been part of various biennials and triennials. Her works are also part of prominent museum collections including the Museum of Modern Art, the Guggenheim Museum, and Tate Modern.
However, due to the technicalities of displaying video art in Pakistan, and the reluctance of art collectors and patrons in buying video art, her shows in Karachi have been sparse. Her latest solo show at Gandhara Art Space, The Most Amount of People Standing Still, Screaming and Laughing, is the first in six years, and some of the works have never before been shown in Pakistan. Abidi acknowledges Gandhara’s director, Amna Naqvi’s support in making the show possible.
Bani Abidi presents her video installations as satires about the idiosyncrasies of ordinary people and provides insights into larger themes
The artist was always interested in art and drawing, and wanted to attend the National College of Art in Lahore. She was the youngest of her siblings and her father was very supportive of her career choice. She did her Masters from the University of Chicago, where she spent six years. It was only after graduation that she became interested in video; the idea of being able to work with multiple images, narratives and sound excited her, as compared to the singular image of a painting.
Abidi feels that living in Berlin is cleaner and simpler, but can also get a bit boring. “Living [in Karachi] and understanding things here is phenomenally more complex and exciting and troubling and saddening. So it’s all levels of emotions; positive and negative. It’s much more evocative.” She produces all her work in Karachi and is always involved with local artists and friends on various projects.
Her work consists mainly of short video vignettes that are based around the city, focusing on the socio-political and cultural environment. However, she seems to have an inherent interest in its people, their actions, reactions, differences, shared experiences, emotions and idiosyncrasies. She talks about ordinary people and situations, rather than making grand overarching statements. The dark humour and satire in her work allows us to laugh at ourselves, and for her to laugh with her audience, like two friends exchanging smirks at an inside joke.