Iftikhar Dadi
Datos Biográficos
| ID | 645522 |
|---|---|
| NOMBRE | Iftikhar Dadi |
| NOMBRES | Iftikhar |
| APELLIDO | Dadi |
| FIRMA | DADI I |
| AFILIACIONES | Cornell University |
| VERIFICADO | No |
| TOTAL DE OBRAS | 12 |
| TOTAL DE CITAS | 8 |
| TOTAL COMO AUTOR | 12 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 2007 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2025 |
| ÍNDICE H | 2 |
Lahore Cinema
Decolonization and Calligraphic Abstraction
Postwar decolonization engendered the rise of modernist calligraphic abstraction in the Middle East, North Africa, and South Asia. An intensive search for new artistic languages began at that time, which would seek to recover expressivity that had been repressed under colonialism and that would also actively produce a new modern culture. Modernist experiments in calligraphic abstraction, by artists such as Ibrahim El-Salahi (Sudan) and Anwar Jala…
On-Site in the City
Compelled by dramatic urban transformations in cities across Asia that have been ongoing since the late 20th and into the 21st century, artists in this region have engaged the built environment in innovative new ways. These artists move beyond simply depicting the city in earlier photojournalist, documentary, and modernist approaches to incorporate the effects of the specific sites they investigate into their modes and processes, and often even i…
Installation
Affiliations of Postcolonial Art History
Quite unlike any other study on the art of modern and contemporary South Asia, A Fragile Inheritance is a deeply informative work that stresses the intellectual and political stakes of modern art practice and its discourse in India and the Global South. The book’s sole focus is on the life and work of a New Delhi-based couple, the renowned writer, critic, and curator Geeta Kapur, and the major artist Vivan Sundaram. Sundaram and Kapur were both b…
Jugaad
Jugaad continues Iftikhar and Elizabeth Dadi's extended artistic investigation of informality in the Global South, which arguably constitutes the majority experience of this vast region. Development became a central problematic for Africa and Asia in the wake of political decolonization of the mid twentieth century, encompassing the ambition for formal planning of large-scale infrastructure and state intervention in human development. But this pr…
Reflections on the Havana Biennial at Matanzas (2019)
This article is a personal observation of my experience participating as an artist in the 2019 Havana Biennial (“Bienal de La Habana”) in the city of Matanzas, Cuba. As an artist, I work in collabo
Lineages of Pakistan’s ‘Urdu’ cinema
The impossibility of fully disentangling cinemas identified as ‘Hindi’ from those designated ‘Urdu’ presents very specific challenges to the task of situating Pakistani Urdu cinema as an object of scholarly study. Although my intention is to address cinema from Pakistan after 1947, the persistence of intimate connections between Pakistani ‘Urdu’ cinema and Indian ‘Hindi’ cinema means linguistic labels tend to obscure important aspects of mutual i…
"Iftikhar Dadi. Review of "Refracted Visions
Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective
Ibrahim El Salahi's art, situated between Islamic textuality, African plastic forms, and transnational modernism, is distinctive in developing an aesthetic of decolonization for the Sudan and much of Africa. However, it can be usefully compared with other modernist artists from the Muslim world, who, working in the diverse region that encompasses North Africa, the Middle East, and western and southern Asia between 1955 and 1975, contributed to a …
Shirin Neshat’s Photographs as Postcolonial Allegories
Political Posters in Karachi, 1988–1999
This article examines the circulation of political posters and painted images in Karachi, Pakistan during the democratic interlude of 1988–1999 by reading images of key political players – General Zia, Nawaz Sharif, Benazir Bhutto, and Altaf Hussain. Popular imagery in part drew upon existing nationalist visual tropes, but activities of diverse non‐state actors gathered significant momentum during this crisis‐laden period, and political images al…
Lineages of Pakistan’s ‘Urdu’ cinema
The impossibility of fully disentangling cinemas identified as ‘Hindi’ from those designated ‘Urdu’ presents very specific challenges to the task of situating Pakistani Urdu cinema as an object of scholarly study. Although my intention is to address cinema from Pakistan after 1947, the persistence of intimate connections between Pakistani ‘Urdu’ cinema and Indian ‘Hindi’ cinema means linguistic labels tend to obscure important aspects of mutual i…
Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective
Ibrahim El Salahi's art, situated between Islamic textuality, African plastic forms, and transnational modernism, is distinctive in developing an aesthetic of decolonization for the Sudan and much of Africa. However, it can be usefully compared with other modernist artists from the Muslim world, who, working in the diverse region that encompasses North Africa, the Middle East, and western and southern Asia between 1955 and 1975, contributed to a …
Political Posters in Karachi, 1988–1999
This article examines the circulation of political posters and painted images in Karachi, Pakistan during the democratic interlude of 1988–1999 by reading images of key political players – General Zia, Nawaz Sharif, Benazir Bhutto, and Altaf Hussain. Popular imagery in part drew upon existing nationalist visual tropes, but activities of diverse non‐state actors gathered significant momentum during this crisis‐laden period, and political images al…
Reflections on the Havana Biennial at Matanzas (2019)
This article is a personal observation of my experience participating as an artist in the 2019 Havana Biennial (“Bienal de La Habana”) in the city of Matanzas, Cuba. As an artist, I work in collabo
Political Posters in Karachi, 1988–1999
This article examines the circulation of political posters and painted images in Karachi, Pakistan during the democratic interlude of 1988–1999 by reading images of key political players – General Zia, Nawaz Sharif, Benazir Bhutto, and Altaf Hussain. Popular imagery in part drew upon existing nationalist visual tropes, but activities of diverse non‐state actors gathered significant momentum during this crisis‐laden period, and political images al…
Shirin Neshat’s Photographs as Postcolonial Allegories
Ibrahim El Salahi and Calligraphic Modernism in a Comparative Perspective
Ibrahim El Salahi's art, situated between Islamic textuality, African plastic forms, and transnational modernism, is distinctive in developing an aesthetic of decolonization for the Sudan and much of Africa. However, it can be usefully compared with other modernist artists from the Muslim world, who, working in the diverse region that encompasses North Africa, the Middle East, and western and southern Asia between 1955 and 1975, contributed to a …
"Iftikhar Dadi. Review of "Refracted Visions
Lineages of Pakistan’s ‘Urdu’ cinema
The impossibility of fully disentangling cinemas identified as ‘Hindi’ from those designated ‘Urdu’ presents very specific challenges to the task of situating Pakistani Urdu cinema as an object of scholarly study. Although my intention is to address cinema from Pakistan after 1947, the persistence of intimate connections between Pakistani ‘Urdu’ cinema and Indian ‘Hindi’ cinema means linguistic labels tend to obscure important aspects of mutual i…
Reflections on the Havana Biennial at Matanzas (2019)
This article is a personal observation of my experience participating as an artist in the 2019 Havana Biennial (“Bienal de La Habana”) in the city of Matanzas, Cuba. As an artist, I work in collabo
Jugaad
Jugaad continues Iftikhar and Elizabeth Dadi's extended artistic investigation of informality in the Global South, which arguably constitutes the majority experience of this vast region. Development became a central problematic for Africa and Asia in the wake of political decolonization of the mid twentieth century, encompassing the ambition for formal planning of large-scale infrastructure and state intervention in human development. But this pr…
Installation
Affiliations of Postcolonial Art History
Quite unlike any other study on the art of modern and contemporary South Asia, A Fragile Inheritance is a deeply informative work that stresses the intellectual and political stakes of modern art practice and its discourse in India and the Global South. The book’s sole focus is on the life and work of a New Delhi-based couple, the renowned writer, critic, and curator Geeta Kapur, and the major artist Vivan Sundaram. Sundaram and Kapur were both b…
On-Site in the City
Compelled by dramatic urban transformations in cities across Asia that have been ongoing since the late 20th and into the 21st century, artists in this region have engaged the built environment in innovative new ways. These artists move beyond simply depicting the city in earlier photojournalist, documentary, and modernist approaches to incorporate the effects of the specific sites they investigate into their modes and processes, and often even i…
Lahore Cinema
Decolonization and Calligraphic Abstraction
Postwar decolonization engendered the rise of modernist calligraphic abstraction in the Middle East, North Africa, and South Asia. An intensive search for new artistic languages began at that time, which would seek to recover expressivity that had been repressed under colonialism and that would also actively produce a new modern culture. Modernist experiments in calligraphic abstraction, by artists such as Ibrahim El-Salahi (Sudan) and Anwar Jala…
Art (8 obras) · Sociology (6 obras) · Aesthetics (5 obras) · Law (5 obras) · Political science (5 obras) · Politics (5 obras) · History (4 obras) · Decolonization (3 obras) · Literature (3 obras) · Philosophy (3 obras)