Huma Mulji

Huma Mulji (born 1970 in Karachi) is a Pakistani contemporary artist.[1] Her works are in the collections of the Saatchi Gallery, London and the Asia Society Museum.[2][3][4] She received the Abraaj Capital Art Prize in 2013.[5]

Huma Mulji
Born
Karachi, Pakistan
NationalityPakistani
OccupationVisual artist
AwardsAbraaj Capital Art Prize (2013)

Life

Huma Mulji was born in 1970 in Karachi, Pakistan.[1] In 1995, she completed a BFA at the Indus Valley School of Art and Architecture in Karachi, Pakistan, and in 2010, received an MFA from Transart Institute in Berlin, Germany.[6][7][8]

From 2003 to 2015, she was an associate professor at the School of Visual Arts, Beaconhouse National University in Lahore, Pakistan.[9] In 2016, she was a fellow at the Terra Foundation for American Art.[10] She was Visiting Artist at the Goldsmiths' College, London, UK in 2015 to 2017.[9] In 2017, Mulji received the Nigaah Art Award.[11]

She is currently Lecturer at the University of West of England, Bristol, UK,[12] and Lecturer, BA (Hons) Fine Art, at the Plymouth College of Art, UK.[8]

Works

Mulji's artworks were exhibited at Art Dubai in UAE,[13][14] 10th Gwangju Biennale in Gwangju, South Korea,[15][16] 56th Venice Biennale in Italy,[15] Karachi Biennale 2017,[17] in Barcelona Museum of Contemporary Art in Spain,[18] Asia Society Museum in New York,[19] Saatchi Gallery in UK[20] and Project 88 in Mumbai, India.[21] Her solo exhibitions include High Rise, in Elementa Gallery, Dubai, UAE in 2009,[14] Crystal Pallace and Other Follies in Rothas Gallery, Lahore, Pakistan in 2010,[22] Twilight in Project 88, Mumbai, India in 2011,[23] and A Country of Last Things in Koel Gallery, Karachi, Pakistan in 2016.[22]

Mulji's work characterizes how interpretations of culture, context, and cognition are held in creative tension. Drawing on the geography of visual culture that is part of her South Asian heritage, she opens up the politics of place,[24] engaging with the absurdities of existence and our casual acceptance of all that surrounds us.[25] The state between two things is continuously played out in Mulji’s work, which places itself somewhere between sculpture and painting, photography and installation.[26] The city, the everyday and the overlooked all serve as subjects in these deliberately awkward artworks.[27]

Her scultptural installation Arabian Delight (2008) refers to the aspects of economic migration, to the anticipations of the migrants and corresponding reality.[14] The piece consists of a taxidermy camel stuffed into a suitcase and addresses also the Arabization of Pakistan.[28] It was presented at Art Dubai in 2008, but was removed after a few days to avoid controversal topic. The removal, however, brought even more publicity to the artwork.[29] The piece was bought by Charles Saatchi[2] and became part of the collection of the Saatchi Gallery.[3]

The title of her installation Ode to a Lamppost That Got Accidentally Destroyed in the Enthusiastic Widening of Canal Bank Road (2011–2017), exhibited at the Karachi Biennale 2017 (at Pioneer Book Store),[22] refers to a central road in Lahore where Mulji lived. Its widening caused protests. This artwork comments heavy development that becomes obsolete when the priorities shift.[30] During the Biennale, this work raised controversy.[31] Mulji placed the pole so that it was difficult to navigate in the space. Aziz Sohail noted that it was Mulji’s point to make a parallel to social inequality and to how the life of people is affected during the developmental projects.[30] Hamna Zubair wrote:

In this way, the lamppost at Pioneer Book Store may just turn out to be the most authentic work at KB17, in that it organically sparked a much-need conversation about the privilege and social stratification the art world must navigate.[31]

References
  1. Hashmi, Salima, ed. (2009). Hanging fire : Contemporary Art from Pakistan. New York: Asia Society Museum. p. 108. ISBN 978-0-300-15418-4. OCLC 317471831.
  2. Eid, Diana. "Taxidermy Camel + Oversized Suitcase = Controversial Art". Inventorspot.com. Retrieved 13 July 2020.
  3. "Saatchi Gallery". Artnet.com. Retrieved 13 July 2020.
  4. "Huma Mulji". museum.asiasociety.org. Asia Society. Retrieved 13 July 2020.
  5. "The Abraaj Capital Art Prize 2013 winners announced". e-flux.com. 29 August 2012. Retrieved 7 July 2020.
  6. Mirza, Quddus (13 October 2019). "Between artists and their artwork". The News on Sunday. Retrieved 27 April 2020.
  7. "Huma Mulji". Vaslart.org. Vasl Artists' Association. Retrieved 7 July 2020.
  8. "Huma Mulji". Plymouthart.ac.uk. Retrieved 13 July 2020.
  9. "Discussion: International Artist Residencies at Spikes Island in Bristol on 9 February 2017". 365bristol.com. 9 February 2017. Retrieved 18 July 2020.
  10. "Terra Foundation Fellows". Terra Foundation for American Art. Retrieved 13 July 2020.
  11. "Nigaah Art Awards – Celebrating Pakistani art". Aurora. 12 September 2017. Retrieved 13 July 2020.
  12. "Ms Huma Mulji". UWE Bristol. Retrieved 13 July 2020.
  13. Baler, Pablo (2015). The Next Thing Art in the Twenty-First Century. Fairleigh Dickinson University Press. pp. 53–66. ISBN 978-1611478112.
  14. "Huma Mulji: High Rise". Universes.art. Universes in Universe. June 2009. Retrieved 8 July 2020.
  15. "Huma Mulji". Kunstaspekte.art. Retrieved 8 July 2020.
  16. Farago, Jason (9 September 2014). "Gwangju Biennale: an aggressive exhibition that electrifies South Korea". Theguardian.com. The Guardian. Retrieved 8 July 2020.
  17. "Witnessing from afar: making sense of the Karachi Biennale". 4A Centre for Contemporary Asian Art. Retrieved 25 June 2020.
  18. "In the Open or in Stealth : The Unruly Presence of an Intimate Future". Macba.cat. Museu d'Art Contemporani de Barcelona. Retrieved 8 July 2020.
  19. Kennedy, Randy (2 September 2009). "Contradictions Remains Vital to Pakistan and Its Art". Nytimes.com. The New York Times. Retrieved 18 July 2020.
  20. "Huma Mulji Exhibite dat the Saatchi Gallery". Saatchigallery.com. Saatchi Gallery. Retrieved 18 July 2020.
  21. "Huma Mulji : Project 88 Exhibition". Project88.in. Project 88. Retrieved 18 July 2020.
  22. "Huma Mulji". Kbcuratorial.com. Karachi Biennale 2017. Retrieved 8 July 2020.
  23. Murray, Rachel (19 December 2011). "Huma Mulji's Suspension in Twilight". Retrieved 7 July 2020.
  24. Sullivan, Graeme, 1951- (2010). Art practice as research : inquiry in visual arts (2nd ed.). Thousand Oaks [Calif.]: Sage Publications. ISBN 978-1-4129-7451-6. OCLC 351322811.CS1 maint: multiple names: authors list (link)
  25. Schonfeld, Roger C., 1977- (2003). JSTOR : a history. Princeton: Princeton University Press. ISBN 978-1-4008-4311-4. OCLC 777375664.CS1 maint: multiple names: authors list (link)
  26. "Sneden, Eleanor Antoinette". Benezit Dictionary of Artists. Oxford University Press. 2011-10-31. doi:10.1093/benz/9780199773787.article.b00171338. Cite journal requires |journal= (help)
  27. "Huma Mulji". Karachi Biennale 2017. Retrieved 2020-08-04.
  28. "HUMA MULJI, Arabian Delight (and details)". Retrieved 13 July 2020.
  29. Sullivan, Graeme, ed. (2010). Art Practice as Research: Inquiry in Visual Arts. SAGE. p. 19. ISBN 9781412974516. OCLC 351322811.
  30. Sohail, Aziz. "Witnessing from afar: making sense of the Karachi Biennale". 4a.com.au. Centre for Contemporary Asian Art. Retrieved 8 July 2020.
  31. Zubair, Hamna (6 November 2017). "An exhibit at the Karachi Biennale has sparked an intense debate about art and elitism". scoll.in. Retrieved 8 July 2020.

Bibliography
  • Chiu, Melissa; Genoschio, Benjamin (2010). Contemporary Asian Art. London: Thames & Hudson. ISBN 9780500238745. OCLC 901248255.
  • Baler, Pablo (2013). The next thing : art in the twenty-first century. Madison: Fairleigh Dickinson University Press. ISBN 9781611474510. OCLC 828884554.
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