The.Movie Where The Black Man Gets Raped And Says Hes.Not.Ok An Artist, An Agitator

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An Artist, An Agitator

Some called him a ‘free thinker’, others suggested that he was a pioneer of socio-political art in Pakistan. Critics thought he was too radical and drastic, while few called him a legend!

Among those voices, someone called him a man of no sense.

Whatever the comment, but the reality is that he is another Pakistani artist that we have lost forever! Abdul Rahim Nagori.

A student of Ana Molka Ahmad and a graduate of the Department of Fine Arts, University of the Punjab Lahore, Nagori is often tagged as a colorful painter of dark subjects!

Born from the land of colors and thirst, Rajasthan; Nagori personified the abandoned way of the lush panoramic view of that land, within her style and through the fabrics, as colorful as the rainbow and as thirsty as the sand!

His frames are as vivid as Rajasthani dances; he was born there in 1938. Although his issues are as dark as the nights in Pakistan today, he breathed his last on January 14, 2011.

As the son of a forest officer, his connection to the darkness and mysteries of the jungle continued to haunt him throughout his life and permeated through his paintings.

His paintings, on the other hand, were as superficial as the beauty of an Apsara or an Aphrodite, and sometimes as deep and deadly as Vishkanneya (the poisonous girl). Nagori always showed a precise and dogmatic approach to the fragile half of humanity, and to its beauty!

Once in an interview, with a hint of mischief, he said:

“They (sadhus) told me about the beautiful women – Apsaras – who came down from heaven to take men to paradise, rewarding the afterlife for their sufferings on earth. The Apsaras were a mystery to me as a child, and they remain a mystery to me now that I am over sixty years old!”

But this mischievous artist was very loud and bold in his comments on society and politics.

He could be found as instinctive in his palette as a Fauve, and as direct in his style as a realist should be.

This combination of Realism, Modernity and Politics I. and II. It reminds us of the turmoil of the World War. This is the same madness that forced artists to become Dadaists or to turn artistic thought into action art.

Socially conscious art and artists have never been rare in any era, weather it was Francisco de Goya (1746-1828) who was moved by the May 3 shootings, or Eugene Delacroix (1798-1863) who expressed his deep nationalism. Freedom leading the people in the painting. Later, Gustave Courbet (1819-1877) and Jean-Francois Millet (1814-1875) were tried with the great power of realism for the same crime! Édouard Manet’s (1832-1883) Lunch on the Grass and Vincent Van Gogh’s Potato Eaters (1853-1890) reflected the dichotomy, discrimination and scarcity of society in relation to humanism and individuality.

Nagori is among those who were inspired by the changing social and political scene in their country. When the homeland lost its sovereignty after being placed under Martial Law, almost all thinkers, writers, poets and artists protested against it, but there were not many who raised their voices through their statement. There were few poets and writers who burned their pens to create lyrical themes and bold concepts, even less painters who could escape the power and authority of the dictatorship. At a time when many figurative painters were turning their brushwork and style towards calligraphic or nationalistic (instead of nationalizing) portrait painting, Nagori was stirring things up with all his colors, concepts and themes! He screamed, and screamed out of his frames.

Nagori’s socio-political paintings during the regime of Zia ul-Haq clearly show the attitude of a slogan within an artist. Even Bashir Mirza was also commenting on this situation in his own way, but Nagori’s voice was loud and strong. The rebellious exhibitions held between 1982 and 1988 resonated with energy and clarity.

In 1982 Nagori created the ‘Anti Militarism and Violence Exhibition’, which was censored and banned by the martial law regime. In this exhibition he also commented on the massacres of Sabra and Shatila: Palestinian Refugee Camps in Lebanon.

In 1983 “Anti Martial Law Exhibition” was sponsored by Pakistan Federal Union of Journalists (PFUJ); this show was unique in its bold theme and connotations.

The year 1986 forced Nago to paint against the autocracy. The “Anti-Dictatorship Exhibition” was held at the Indus Gallery, Karachi, which was known as the most powerful exhibition of his career, where he displayed sixty-two horrific national events to raise the consciousness of the nation.

“Road to Democracy” was an anti-dictatorship exhibition held in 1988 at the Indus Gallery Karachi. That show was reviewed by Mark Fineman of the Los Angeles Times. In this show, Nagori showed the ills of society by developing new alphabet symbols for children based on the events of the previous two years; bomb blasts, crimes, dacoities, guns, heroin, Ojhri Blast, Kalashnikov, rapes etc. became the new symbols of the alphabet.

In the last decade of the 20th century, his work was more focused on humanity, individuality and identity.

In 1990, he exhibited the anti-violence exhibition “Ni naiz zu”; International Artists also participated in this show. In the same year, the exhibition “Women of Myth and Reality” at the Indus Gallery Karachi objected to the treatment of women.

In 1992, a series of 40 paintings titled ‘Exhibition on Minorities’ was once again a process of social and political protest for a mute, confused and confused society full of tears, shame, anguish and anger. This exhibition was held at Chawkhandi Art Gallery, Karachi.

Black among Blacks was another exhibition in 1994 that gained considerable attention from audiences and critics. This exhibition was held at Lahore Art Gallery and its main focus was Feudalism and its consequences.

One of his last major appearances was the exhibition “Return to Sphinx” at VM Art Gallery Karachi in 2004. Since then, Nagori was not seen in the light.

Nagori may have been the only artist to attack the government’s stance on its nuclear policy. His paintings “Nuke Nights” and “Nuke Delivery” are a paradoxical expression of his sarcastic agitation, which he also applied to criticize the government’s education strategy, symbolically painting the intellectuals of this country as “proverbial monkeys” who were not seen. , listen or talk about any evil of society!

Apart from the socio-political scene, Nagori’s interest in ancient history and mythology remained his specific doctrine in the process of putting his seditious ideas on canvas.

As the titles of the exhibitions say; Nagori was a thematic and dogmatic artist, very sensitive to his surroundings and never silent. In Pakistan, even established artists sought government patronage by condemning figurative or conceptual art and promoting calligraphic or decorative art, Nagori painted the way he always wanted!

Many critics accuse him of being inspired by the Fauves! In a way, it could be in his palette and expression, his clear subject matter and his seriousness. I think he was also a realist, expressionist, impressionist, abstract or surrealist painter; whenever it was a matter of expression. But above all he was a patriot!

A Pakistani painter!

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