SAHA provides support for Hera Büyüktaşçıyan’s new work for the Lahore Biennale, curated by Hoor Al Qasimi and held on 26 January – 29 February 2020.
Infinite Nectar derives from poetics of space focusing on Sikh heritage that carries traces of the 1947 Partition. These spaces have been resilient in the face of adversity, power shifts and urban transformations throughout history. The project invokes the cyclical movement of time, memory and human presence in these spatial palimpsests. It refers to the representation of memory by creating a series of mirrorings through the lost and found elements of spaces that have become the embodiment of the invisible. By attempting to trace the invisible, the work reflects upon the Notion of recording time through layers of history and a reading of topographic memory.
Participating artists: Abdullah Al Saadi, Adrian Villar Rojas, Afrah Shafiq, Ajam Media Collective, Ali Kazim, Alia Farid, Almagul Menlibayeva with Inna Artemova and German Popov, Amar Kanwar, Amina Menia, Amina Zoubir, Anwar Saeed, Ayesha Zulfiqar, Ayman Zedani and Ahmad Makia, Bahar Behbahani, Barbara Walker, Basir Mahmood, Bernie Searle, Basma Al Sharif, Bouchra Khalili, Christodoulos Panayiotou, Diana Al-Hadid, Eyob Kitaba, Farah Al Qasimi, Farideh Lashai, Farkhanda Ashraf Khilji, Gary Simmons, Hajra Waheed, Halil Altindere, Henok Melkamzer, Haris Epaminonda, Haroon Mirza, Hassan Hajjaj, Hera Büyüktaşcıyan and Hajra Haider Karrar, Hoda Afshar, Hrair Sarkissian, Imran Ahmad Khan, Jeanno Gaussi, John Akomfrah, Kader Attia, Kamala Ibrahim Ishaq, Khalil Rabbah, Khadim Ali, Lida Abdul, Madiha Aijaz, Mariam Ghani, Mark Salvatus, Marwa Arsanios, Michael Rakowitz, Moza Al Matrooshi, Mudasar Rashdi, Muhammad Ali Talpur, Munem Wasif, Muzzumil Ruheel, Nasrin Tabatabai and Babak Afrassiabi, Naiza Khan, Nalini Malini, Nedko Solakov, Pak Khawateen Painting Club, Rabbya Naseer & Hurmat ul Ain, Rachid Koraichi, Rahat Ali, Rasheed Araeen, Rayanne Tabet, Reem Falaknaz, Roman Zakharov Lakhor, Saule Suleimanov, Simone Fattal, Shezad Dawood, Slavs and Tatars, Syrlybek Bekbotayev, Taus Makhacheva, Tentative Collective, The Otolith Group, Vivan Sundaram, Wael Shawky, Waseem Akram, Yaminay Chaudhri, Younus Nomani, Yto Barrada, Zarina Bhimji, Zitta Sultanbayeva, Zulfiqar Rind.
Hera Büyüktaşçıyan (1984, Istanbul) graduated from Marmara University, Faculty of Fine Arts, Painting Department in 2006. The artist uses the notion of the other and combines it with the concepts of absence and invisibility, in order to compose an imaginary connection between identity, memory, space and time through the other. By using metaphors from local myths, historic and iconographic elements, she opens a new narrative scope for the other. Some of the selected shows she has participated in are Underneath the Arches, Naples, Italy (2018); Dhaka Art Summit, Dhaka, Bangladesh (2018); FIAC, Hors les Murs, Jardin des Tuileries, Paris, France (2017); Write Injuries on Sand and Kindness in Marble, Green Art Gallery, Dubai, UAE (2017); Freundschaftsspiel Istanbul: Freiburg, Musum fur Neue Kunst, Germany (2016); A Particular Scenario, Scenario II, The Optometry Room, Corridor Project Space, Amsterdam, Hollanda (2016); Once There was a Country, Heidelberger Kunstverein, Germany (2015); Istanbul: Passion, Joy, Fury, MAXXI, Rome, Italy (2015); Tuzlu Su, 14th Istanbul Biennial, Turkey (2015); Armenity, Armenian Pavillion, 56th Venice Biennial, Italy (2015).
The Lahore Biennale Foundation (LBF) is a non-profit organization that seeks to provide critical sites for experimentation in visual expression and experience, hoping to challenge and expand the scope of both. Lahore Biennale Foundation endeavors to actively support art related projects across Pakistan, and will also host the Lahore Biennale every two years.