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SABA KHAN

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BIO
Saba Khan (b. 1982) completed her BFA from National College of Arts (2005), with
a Distinction and MFA from Boston University, (2010), on Fulbright Scholarship.
Residencies attended include: Civitella Ranieri Foundation, UNESCO Aschberg
Bursary, Italy; SEHER, Jaisalmer, India; Vermont Studio Center, USA; Indus
Valley School, Karachi, Pakistan; 11th Gwangju Biennale International Curator
Course, South Korea. She was a juror for UNESCO Aschberg Bursary. Solo shows:
Canvas Art Gallery, Karachi; Rohtas 2, Taseer Gallery, Lahore. Group shows:
Monitor 4, SAVAC, Toronto; Kara Film Festival, Karachi; Inter-national Art
Festival, Kathmandu; Lawrie Shabibi Gallery, Dubai; Bangkok Art and Culture
Center, Thai-land; Affordable Art Fair, New York; India Art Fair; Aicon Gallery,
New York. Shortlisted for The Future Generation Art Prize, Victor Pinchuk
Foundation. Published in n.paradoxa International Feminist Art Journal,
Tran-Asia; The Eye Still Seeks by Salima Hashmi.

She lives in Lahore and teaches at the National College of Arts and founded
Murree Museum Artists’ Residency, Murree, an artist-led initiative to support
artists/writers, in 2014.


Khan’s work is pumped with humour and satire; it looks at the class divides
through layers of local aes-thetics. Glitter, paint and crystals are used as
tropes to comment on the emerging affluent-class, along with the ‘bad-tastes’
exhibited through religious ceremonies, homes and the bazaar.

The works also make acerbic commentary on political and social conditions with
inside-jokes and symbols while not preaching on a particular stance.

ARTIST STATEMENT

The female body becomes territorialized during war, civic unrest, in the public
space and in the work-space; territories traditionally marked as the male
domain. While we women step outside, fric-tion/resistance between the genders
prevails. Where women’s bodies are violated, damaged and en-croached. The works
look at silenced stories, silenced harassment and silenced witnessing that are
fearfully not exchanged, becoming coded messages to save face, a cry for help
and also to uncover dusted problems. While in conversation and recording my
grand-aunt’s Partition experiences, she disclosed harrowing tales that she had
silenced herself from for 70 years, where the woman’s body also becomes
collateral damage and source of pleasure during communal riots.

Courtesy of the artist

Saba Khan
The 1st International Show, 2018
Sequins and beads on canvas
12 x 18 inches


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