Lines of Control: Partition as a Productive Space explores the creation and maintenance of borders, both physical as well as psychological, through the works of artists primarily from South Asia. These artists focus on the idea of partition as a productive space–where nations are made through forging new identities and relationships; reconfiguring memory and creative forgetting; re-writing history and the making of myths; and through the creation and patrolling of borders. Developed by the nonprofit arts organization Green Cardamom, Lines of Control: Partition as a Productive Space originated in London in 2009 as an exhibition focused on South Asian artists and the division of India in 1947. The project later expanded to a larger exhibition at the Herbert F. Johnson Museum of Art at Cornell University and the Nasher Museum of Art at Duke University, incorporating works by artists from countries such as Mexico, Lebanon, and Ireland.
The artists are Bani Abidi, Roohi Ahmed, Francis Alÿs, Farida Batool, Adam Broomberg and Oliver Chanarin, Muhanned Cader, DAAR (Decolonizing Architecture/Art Residency), Iftikhar Dadi, Anita Dube, Taghreed Elsanhouri, Sophie Ernst, Gauri Gill, Shilpa Gupta, Zarina Hashmi, Mona Hatoum, Ahsan Jamal, Amar Kanwar, Nalini Malani, Naeem Mohaiemen, Tom Molloy, Rashid Rana, Raqs Media Collective, Jolene Rickard, Seher Shah, Surekha, Hajra Waheed and Muhammad Zeeshan.
This exhibition is co-curated by Hammad Nasar (curator and co-founder of Green Cardamom) and Iftikhar Dadi (Associate Professor of Art History and Department Chair Art at Cornell University).
Lines of Control is a Green Cardamom Project. Its presentation at the Nasher Museum of Art at Duke University has been jointly organized by Green Cardamom and the Herbert F. Johnson Museum of Art, Cornell University. Major support for the exhibition and catalogue was provided by the E. Rhodes and Leona B. Carpenter Foundation, the Jarett F. and Younghee Kim-Wait Fund for Contemporary Islamic and Middle Eastern Arts, Gandhara-Art, the Mondriaan Fund, and Ali and Amna Naqvi.
Lines of Control is made possible by the William R. Kenan, Jr. Charitable Trust, the Fenwick Foundation, and Barbara Nicholson McFadyen. Additional support is provided by the BorderWork(s) Humanities Lab at the Franklin Humanities Institute, Duke University, supported by the Humanities Writ Large grant from the Andrew W. Mellon Foundation.
Free programs that complement Lines of Control include gallery talks, panel discussions, Family Day events, films, book discussions and more. Visit the calendar for details.
Click slideshow below to view uncropped images.
The Sahmat Collective: Art and Activism in India since 1989
Ackland Art Museum, The University of North Carolina at Chapel Hill
September 13, 2013 –January 5, 2014
Sahmat is an expansive network of Indian artists and intellectuals—painters, sculptors, writers, poets, musicians, actors and activists—who create powerful and vibrant works of art in defense of freedom of expression and in celebration of secular, egalitarian values. The network was formed in 1989 in the weeks after playwright, actor and activist Safdar Hashmi was fatally attacked by political thugs while performing a street play. In the first major exhibition organized for U.S. audiences, The Sahmat Collective includes more than 60 artists. With paintings, sculpture, prints and photographs alongside ephemera, collaborative works, performances and rich interpretive materials, the exhibition encourages a thoughtful assessment of the impact of this unique—and sometimes controversial—collective on contemporary Indian society.
The Sahmat Collective at the Ackland Art Museum is presented in parallel with the exhibition at the Nasher Museum, Lines of Control: Partition as a Productive Space. Two contemporary artists, Iftikhar Dadi and Zarina Hashmi, are represented in both exhibitions. Visit ackland.org to learn more.
Collaborative programs between the Nasher Museum and Ackland Art Museum are made possible by the William R. Kenan, Jr. Charitable Trust, the Fenwick Foundation, and Barbara Nicholson McFadyen.
IMAGE: Pushpamala N., Motherland with Om Flag and Trishul (detail), 2009.