The impact of "Galliyon Ke Rang" extended beyond the festival grounds, leaving an indelible mark on the collective memory of the city, Karachi. As
The impact of “Galliyon Ke Rang” extended beyond the festival grounds, leaving an indelible mark on the collective memory of the city, Karachi.
As the sun dipped below the horizon on the evening of January 11th, Karachi witnessed a spectacular convergence of art and culture at The Port Grand. Organized by the visionary Pomme Afzal, the “Galliyon Ke Rang” street art festival, presented by Phenomena, unfolded over four enchanting days, creating a kaleidoscopic celebration of Karachi’s vibrant spirit. Immersive and captivating, the festival beckoned attendees to embark on a journey where art seamlessly intertwined with the bustling streets, transcending boundaries and sparking the imagination.
The festival, known as the Grand Art Festival, was more than just an event; it was a testament to the city’s rich diversity and the profound impact of creativity in fostering unity, understanding, and appreciation. The artistic odyssey commenced with a grand opening, setting the stage for an unforgettable experience. Visual art installations adorned the landscape, turning the streets of Port Grand into a canvas where creativity knew no limits. The curated selection of installations showcased not only the talent of the artists but also their deep connection to the pulse of Karachi. The festival’s heartbeat echoed through live performances that captivated audiences, bringing the streets to life with the rhythm of Karachi’s cultural heartbeat. The live performances by added a layer to the city’s cultural narrative. One of the festival’s highlights was the diverse array of creative expressions that unfolded before the attendees’ eyes. Visual art, in all its forms, took center stage, showcasing the city’s soul through paintings, sculptures, and graffiti. Each piece was a brushstroke on the canvas of the city of lights, revealing the stories, struggles, and triumphs embedded in its fabric.
Pomme Afzal’s curation demonstrated a keen understanding of the power of art to inspire, uplift, and unite. “Galliyon Ke Rang” was not just about creating a spectacle; it was about creating a space where the community could come together, share in the experience, and find common ground through the universal language of art. The festival’s name resonated deeply with the essence of Karachi – the colors of its streets, the hues of its people, and the vibrant palette of its cultures. The event was a celebration of the very fabric that makes Karachi unique, and the careful curation ensured that every shade of the city was represented. From the bustling streets to the serene corners, the festival transformed Port Grand into an immersive art gallery. Attendees found themselves surrounded by thought-provoking installations, each telling a story of resilience, creativity, and the indomitable spirit of Karachi.
Rameez Abdul’s live performance, a mesmerizing showcase of glass molding expertise, unfolded with artistic grace as it took center stage at the festival. The intricate dance of molten glass beneath skilled hands was not confined to the traditional canvas; instead, it gracefully adorned the floor. Abdul’s fusion of craftsmanship and live artistry was a tactile experience, inviting attendees to witness the transformation of a fragile material into a masterpiece right at their feet. The floor became a canvas of fluidity and precision, capturing the essence of Abdul’s mastery in a medium that, though delicate, held the potential for extraordinary beauty.
Umaina Khan’s artistic narrative took a poignant stance against the persistent issue of the male gaze, delicately encapsulated in her creation of small, endearing toys and miniature Barbies. In “The Play Date,” these seemingly innocent pieces collectively formed a towering sculpture that served as a commentary on the routine and ongoing male gaze attacks on females, reducing them to mere objects of pleasure through the eyes. Each carefully placed piece in the artwork, magnetically drawn toward the central female figure, portrayed the objectification that women endure daily, bringing to light the often-overlooked details that construct the female experience.
Hina Tabassum, through her work titled “We Are All The Same,” used tiny, adorable bears made of fiber glass as expressive symbols to reflect on her personal observations of societal influences shaping individual personalities. The small bears, each unique in its own way, mirrored the diverse roles society plays in molding individuals. Syeda Sheeza Ali’s “Fallen Cone” embarked on a celebration of happiness, a visual reminder that the ephemeral nature of joy requires acknowledgment. Her creation became a metaphorical journey through the unpredictable passages of human life, capturing both the exuberance and the fragility inherent in our pursuit of happiness.
Sheema Khan, with her engraved drawings in the series “Untitled,” embarked on a mission to record the heritage and historical sites of the city. Her intricate depictions served as visual chronicles, preserving the stories and architectural vision of the city for generations to come. Jawwad Hassan’s “Protect” took the form of a hand in a protective gesture, symbolizing the passing down of the old tales and heritage of the city to future generations. This installation encapsulated the essence of safeguarding the stories and vision that define the city’s cultural identity.
Zahra Arif’s “Prism of the Past” offered a holographic representation, providing a serene and harmonious insight into the intricate patterns of life. Her artwork acted as a peaceful gaze into the beauty she found in the historical tapestry of existence, a prism reflecting the richness of the past.
The artists deliberately crafted accessible art, mindful that these installations were not destined for the exclusive walls of a luxury gallery. Instead, they were tailored for the public, offering a chance for everyone to comprehend and engage with the art on a personal level. The event stands as a shining example of how art has the power to transcend boundaries, fostering unity and appreciation for the diverse colors that paint the canvas of Karachi’s identity.
Among all the installations and works that swept across Port Grand, the one mural that sought attention was small canvases painted by over 70 artists from Liyari. These small canvases were painted and stitched together under the supervision of another maestro and art activist Munawwar Ali Syed. they did more than just paint a picturesque scene – they scrubbed away the invisible lines that once separated the rich artists from the poor, the contemporary from the traditional. In a twist of irony, the Grand Art Festival emerged as the great equalizer, proving that art, like a rebellious muse, cares not for the boundaries set by society.
Each small canvas armed with their palettes of imagination, converged to create a mural that stole the limelight. This piece and the other sculptures and installations placed at a distance worked as a cultural awakening for those who thought art only resided within the polished confines of established neighborhoods. “Lyari,” previously just a word in the city’s vocabulary, took center stage as a district brimming with unexplored talent.
Beyond that, the spotlight at the festival gracefully embraced works that, in various ways, connected with the ordinary attendees and provided a nuanced commentary on the prevailing circumstances. Behram Farooqui’s installation, a poignant response to the ongoing war in Gaza, served as a powerful expression of solidarity, using art as a voice against the brutality unfolding.
Bilal Jabbar’s “City of Hearts” took the audience on a mesmerizing journey with its intricately twisted sculpture, offering a unique commentary on the chowk culture in Pakistan, particularly in Karachi. In a city where people navigate their way overlooked, Bilal Jabbar’s sculpture became a visual anthem, unraveling the layers of Karachi’s history through the lens of its cherished chowks.
A captivating twist awaited those who ventured closer to Fatima’s creation – a cityscape composed of wonderfully arranged cameras, varying in shapes and sizes. From a distance, they appeared as inconspicuous blocks, but upon closer inspection, the truth unfolded. Surveillance cameras, meticulously placed, symbolized “The Watchful Gaze,” an installation by Fatima Khalid. Deceptively simple yet undeniably powerful, Khalid’s creation delved into multifaceted concepts.
“The Watchful Gaze” questioned the intricate dance between religious and social manipulation. It provocatively examined the paradox of individuals who professed fear of God’s presence while, in reality, harboring a greater dread of surveillance cameras. The installation suggested that the cautious acts of these individuals were not born out of reverence for the divine but rather out of a profound fear of the watchful lenses observing their every move.
A S Rind’s signature black crows, strategically placed at a corner of the entrance, cast an eerie and intriguing aura. Rind’s artistic vision manifested in both sketch and sculpture, with the black crows not only rendered on canvas but also sculpted and suspended in mid-air. This eerie installation invited attendees to confront the mystique of the black crows, their stark presence creating a visual spectacle that played on the boundaries between reality and the macabre. The haunting elegance of Rind’s creation stood as a unique and thought-provoking welcome to all who dared to enter the artistic realm of the festival.
Pomme devoted a dedicated space to art called the Memory Museum, where numerous artists showcased their works. This room, a poignant tribute to her father, stood as a testament to love and remembrance. Once again, Pomme’s curation was both meticulous and thoughtful, transforming the space into a gallery that resonated with a heartfelt connection to the past. Many artists including Abdul Jabbar Gul, Gabriella Brinsmead, Sanki King, Sajjad Uddin, Nimra Shoaib, Zainab Hassan, and Madiha Hyder displayed their paintings on huge as well as small canvases recalling their connections with the past following the theme.
Amin Gulgee’s rickshaw, taking center stage after the mural crafted by the students of Lyari, stood as a testament to the diversity of expressions within the festival. The juxtaposition of Gulgee’s contemporary creation against the backdrop of traditional street art highlighted the rich tapestry of artistic voices converging at “Galliyon Ke Rang.”
In this kaleidoscope of creativity, the festival proved to be a melting pot of perspectives, bridging the gap between the familiar and the overlooked, the traditional and the avant-garde. Each installation not only contributed to the visual feast but also invited attendees to ponder, question, and engage with the dynamic narratives unfolding within the artistic realm of Port Grand. The closing day, on January 14th, marked the culmination of this artistic journey. As the sun set on the final day, attendees were left with a sense of awe and appreciation for the cultural tapestry that had unfolded before them. The impact of “Galliyon Ke Rang” extended beyond the festival grounds, leaving an indelible mark on the collective memory of the city. The show was nothing short of a masterpiece. It breathed life into the city’s streets, creating a harmonious blend of art, culture, and community. The festival will be remembered as a transformative experience that celebrated the very essence of Karachi – a city where every alley, every street, and every corner tells a unique story waiting to be discovered.
The participating artists were Amin Gulgee, Abdul Jabbar Gul, A.S Rind, Jimmy Engineer, Yousuf Bashir Qureshi, Muna Siddiqui, Madhia Hyder, Sanki King, Munawwar Ali, Sheema Khan, Fatima Khalid, Aliya Faizi, Obaid Ur Rehman, Umaina Khan, Affan Tariq, Bilal Jabbar, Syed Sajjad Uddin, Syeda Sheeza Ali, Talha Ansari, Behram Farooqui, Aswad Anees, Nimra Shoaib, Zahra Arif, Zainab Hassan, M. Jawad Hassan, Gabriella Brinsmead, Hina Tabassum, Rameez Abdul
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