Art and culture lost in translation.


Soft giants.

A.After a long hiatus, the Choukandi Art Gallery opened its doors to visitors. Exhibitions, poor translations, included modern miniature paintings by Mughal Khan and Hamad Gilani.

Khan’s love of animals informed him of his current series. The title of his work, A Congress of Cruises, depicts the ducks sitting, drinking water from a pot, and flying. Crows are considered winged creatures, but Malagalara sees them differently. The crows interpret it differently. She sees them as a symbol of unity. “When a crow dies, the whole pack gathers to mourn the body. That’s how I see crows. They show unity in grief.

In his overview, one could see horses and elephants taking pictures in the mirror. This is what you see at a glance, but the artist categorizes them through different lenses. He has painted a story of two elephants in two wars using a red rope. They look alike, yet they are moving in opposite directions. In the piece, The Gentlemen Gentle, its soft strokes add to the smoothness and reflect the transmission process she seeks in her work. She retains the beauty of the traditional little one but adds a touch of her own words.

Fragments of it appear to change the way animals are viewed in small paintings – as a symbol of war (horse) or royal (elephant). When the tongue moves from one interesting piece to another, the language expands.

The pride of the Kings. He showed two horses walking in different directions. Here, Malagalara uses her medium to share the transition journey. She sets a theme under two microscopes, capturing a variety of inspiring concepts. The old and the new are combined together to express the contemporary or modern meaning.

Malagalara’s work seems to be inspired by the Mughal’s small technique. However, it has styled it in its own unique way to make it look more dramatic due to its color scheme. Fearless and full use of colors, contrasts and layers. Combining traditional techniques with modern style makes his work attractive, detailed and comprehensive.

Poor translation 2021.

The two walls of the gallery were painted in a way that was offensive, painful and hasty from a distance.

Hamad Gilani’s work is in progress. Weapons The paper spoke of chaos. The pictures were very thoughtful and open to much discussion. Manicure was based on Hammad’s daily observations. In one of his photos, he used a red marker to sketch a crowd. Red saw the crowd making noise, angry and furious, demanding ‘justice’ by hanging one person.

A few of his pictures had a thick gold border around them. He pointed to peace, harmony and tranquility. These boundaries show the two sides of life where happiness is temporary. People who are placed in different settings and face different emotions represent how happiness is temporary and is hindered by external noise and chaos.

Gilani used calligraphy, which is usually a symbol of harmony and understanding, to echo the various impressions: anger, whispers, violence. The thoughts that appear on the paper show how nervous, angry and noisy it is for the artist.

Colors were the strongest means of communication in his work. Once this was understood, it became the language of his narrative, which focused on epidemics, evil and the unexpected. The artist used traditional painting techniques but created his own vocabulary. “Apparently my gestures are pictures of people in different currencies and movements. The writings in my works are meaningless and illegitimate. I want it to go beyond the idea of ​​direct communication.”

The author is an art, culture and entertainment journalist from Karachi. He can be contacted at

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