Since their first meting in Shanghai they have organised successful exhibitions of Chinese and Pakistani art in New Delhi under the title ‘Transcending borders’ and an exhibition of Pakistani artists in Hong Kong called ‘Passage to Pakistan’.Having made several trips to Pakistan to familiarise themselves with the art scene here they also make a point of staying constantly in touch with the artists they represent. The duo declares, “We want to give Pakistani artists an opportunity to get recognised and to create a niche in the international art market. Our endeavour is to represent the works of well established artists of Pakistan — masters as well as some upcoming talent. With contemporary Pakistani art now making an appearance in the top auction houses of the world, we feel we are in a position to give these artists the required platform to be able to showcase their work globally. We also feel strongly about our responsibility towards our buyers.” Pakistani art long subsisting on the whims of a local clientele is now quantified in terms of its growing international presence. No longer a marginal activity, fine arts is now moving forward to claim its space in the central social structure. Globe trotting, radical, new generation artists and a market savvy investor clientele are augmenting the breadth and scope of art by spotlighting the genre from new vantage positions. What began with an occasional international exposition, like the thematically curated exhibition ‘An intelligent rebellion’ decades ago, has now snowballed into a repertoire of eclectic art showings in multiple genres focusing on gender constraints, political satire, social critique, identity issues and diaspora art as well as staples like calligraphy, landscape, cubist oriented abstraction, Mughal inspired stylisations and shades of fantasy, surreal and symbolist art. Unlike home grown curators, Ishi and Ritu, being foreign nationals, bring another sensibility to their art selection. Explaining this ‘outsider’ viewpoint they opine, “As expats, we find that very little is known about contemporary Pakistani art in the international circles...we find people are surprised to see f i g u r a t ive s , abs t r a c t s etc....basically that it’s not ‘Islamic Art’. We feel that this art has not received enough exposure by the big corporate houses of Pakistan a n d t h e P a k i s t a n i expats...unlike the art from India, which has reached spiraling heights.”

Amazing quality of work
To this Ritu further adds, “The fact that I’m an Indian does not stop me from promoting art from Pakistan. I have seen the progression of Indian art over the years. When I was introduced to art from Pakistan I was fascinated and felt that the quality of work being produced was amazing. All this encouraged me even more.” With two successful exhibitions behind them and certain about the art they are handling and the clientele they are catering for, the two feel confident about the response they will receive in London, the venue of their latest exhibition. “We have partnered with a gallery who are reputed for their dealing with Indian art and have convinced them to venture into Pakistani art,” they disclose, and add, “London is the hub for cultural activities, comprising of a multi-ethnic population and our audience includes art lovers from all nationalities.” The current Ishi-Ritu collaboration titled ‘Winds of Change’ was inaugurated at Gallery Pratidev by Her Excellancy Dr. Maliha Lodhi on 15th June. This three day exhibition was built around works by Mehr Afroz, Abrar Ahmed, Changez Sultan, AQ Arif, Ismail Gulgee, M. Kazim, Iqbal Mehdi, Hajra and Mansur Rahi, Tassadaq Sohail and Ahmed Zoay. Unlike other specialist exhibitions that have a particular theme weaving through their collections, this grouping of artists is representative of the diversity that exists in Pakistani art. The established status of assorted artists like Gulgee, Tassadaq Sohail, Mehr Afroz, Hajra Mansur, Mansur Rahi, Changez Sultan and Ahmed Zoay accords strength and substance to the show as their work is frequently exhibited internationally and sought after by collectors. However, it is the paintings of artists like Abrar Ahmed, AQ Arif, Farrukh Shahab and M. Kazim that gain another life on such platforms. Abrar Ahmed is a prolific painter and there is a demand for his art but local galleries generally sell his work from the floor. Why is he denied wall space? In spite of regular sales he has yet to have a solo exhibition in a prestigious gallery. His style is well accepted by general buyers but popular showings abroad augment his stature and call for a re- assessment of his work. Similarly others like Arif and Kazim are also gaining added leverage by this timely exposure. Moreover Ishi and Ritu as curators exude confidence that comes from faith in their undertaking. They assert, “We have done a lot of research and have established direct contacts with the artists and it is our endeavour to build on this relationship and trust. We want them to know that we are totally committed to our cause and will do everything we can to give them the right opportunities.” Such statements auger well for the art and artists of Pakistan. Their talent and worth is now being measured by a fresh set of art enthusiasts who have dealt with art from other Asian countries as well and are in a position to make comparative studies. This recognition and appreciation far beyond the home ground should energise the art community and spur the artists’ innovative abilities. It should also augment art awareness among the average viewer/buyer here and invigorate the local art market. Do we need foreign curators to make us realise the worth of our art? Ishi and Ritu enthuse, “The artists deserve (appreciation) it for their constant and tireless contribution to the cultural heritage of Pakistan.” This they surely do.— KT Dawn service