PROGRAMS

Performing an Identity: A Discussion with Rabbya Naseer and Saadia Toor

Bani Abidi, The News, 2001, video still, video duration 4:24 mins. Courtesy of Rabbya Naseer

Asia Art Archive in America
June 15, 2017
Video documentation courtesy of apexart

Artist and curator Rabbya Naseer and scholar Saadia Toor discuss how memory, history, gender, and socio-political/cultural constructs cross paths within the work of many female performance artists from Pakistan.

Artist and curator Rabbya Naseer and scholar Saadia Toor discuss how memory, history, gender, and socio-political/cultural constructs cross paths within the work of many female performance artists from Pakistan. Naseer will present on the close relationship between self-portraiture and performance in the construction and (re)presentation of “identity” in her exhibition at apexart, Promises to Keep, featuring twelve female Pakistani artists (on view June 8-July 29, 2017). Building on Dr. Toor’s research into culture, nationalism, and gender/sexuality, the two will explore the political and personal act of performing identity during everyday life. Naseer will also introduce her developing archive on performance art practice from Pakistan across genders and mediums.

This program is co-organized by apexart and Asia Art Archive in America in conjunction with the exhibition Promises to Keep at apexart.

_____________________________________________
Rabbya Naseer is engaged in making, curating, writing and teaching art. Her practice is broadly concerned with exploring the parallels between art and everyday life and highlighting their similarities in production, representation, reception, and interpretation. Naseer has an undergraduate degree in Fine Arts from NCA, Lahore (2006) and is a recipient of a Fulbright scholarship for Masters in Art Theory and Criticism from SAIC, Chicago (2008-2010). Her installations and performance works have also been exhibited at Today Art Museum, Beijing; Devi Art Foundation, Delhi; Ikon Gallery, Birmingham, re.act.feminism traveling (across Europe) performance archive, Hedah Gallery, Maastricht; Fitz Theater, Stuttgart; thejamjar, Dubai; Fukuoka, Japan. Alongside her ongoing artistic practice, Naseer is currently working on compiling an archive of performance art from Pakistan.

Dr. Saadia Toor’s scholarship revolves around issues of culture, nationalism, gender/sexuality, state formation, and international political economy. Her book, The State of Islam: Culture and Cold War Politics in Pakistan was published by Pluto Press in 2011. A special issue of Women’s Studies Quarterly on the theme of Solidarity co-edited by Dr Toor was published in November 2014.

This program is supported, in part, by public funds from the New York City Department of Cultural Affairs, in partnership with the City Council.

Print this Page

ALL KEYWORDS

20th century, abstract, abstract art, Abstraction, Access, acrylic, acrylic painting, aethetics, Afghanistan, Africa, AIDS, Alternative Space, American History, american revolution, Animation, Anthology, anthropology, Architecture, Archive, art, Art Administration, art and society, art criticism, art history, Art Schools, art space, art writing, Artificial Intelligence, artist book, Artist Books, artist monograph, artist writing, artist's book, Artist-run Space, Artists Books, asia, Asia Art Archive, Asia-Pacific Triennale, Asian, Asian American, asian politics, Auction, Auctions, Australia, autobiography, Automation, Autonomy, avant-garde, Bangladesh, Beijing, Bhutan, Biennale, Biennial, Big Tail Elephant, Bookbinding, Books, Brooklyn, Brunei, Buddhism, Burma, Butoh, Cambodia, Canton Express, care-giving, cartography, Catalogue, Censorship, Central Asia, ceramic art, ceramics, Chance, charcoal, Chengdu, China, Chinatown, chinese, chinese artist, Chinese-American, cities, civil rights movement, climate, collage, Collecting, collection, Collections, Collective, collective art, Collectivity, colonialism, commercial art, Communism, community, Community Art, Composition, conceptual art, conceptual photography, Conceptualism, Conservation, contemporary, contemporary art, critical theory, culinary arts, cultural criticism, cultural heritage, cultural identity, cultural nationalism, Cultural Revolution, cultural studies, cultural theory, culture, Curating, Cutlural Revolution, cynical realism, Dance, Design, desire, developing countries, Dhaka Art Summit, Diaspora, digital, Digital Archives, digital art, digital poetics, digital print, Displacement, DNA, Documentary, Documentation, Domestic Labor, Drawing, east asia, Economics, Education, Emigration & Immigration Studies, encyclopedia, environment crisis, environmental art, EPOXY, essay, essays, etching, ethnic group, ethnic violence, ethnicity, ethnogenesis, ethnography, exhibition, exhibition histories, Exhibition History, Experimental Music, family, Family Archives, Family Images, Feminism, feminist theory, Festivals, fiber, fibre art, Fiction, Field-recording, Film, Fluxus, Folklore, food, Form, Foundations, Fukuoka Triennial, Gender, Genetics, Geography, ghosts, global capitalism, globalization, Godzilla, Graphic Design, Graphic Novel, group exhibition, Guangzhou, guide, Gutai, Gwangju Biennale, heneng, histories, history, Hong Kong, hong kong S.A.R., humanities, Identity, identity politics, imagined realities, Imaging, Imitation, immigrant, in situ, independent art space, Independent Publisher, independent publishing, Index, India, indian, indian art, indigenism, Indonesia, Infrastructure, ink, ink and colors, ink painting, ink-painting, Installation, installation art, Institution, interactive art, Internet, internet art, interview, Iran, iranian, islam, Island, italy, Japan, Japanese American, jiang tiefeng, journalism, keywords, Khmer Rouge, Korea, korean, Labor, Land, Land Art, Language, laos, late imperial china, Leadership Camp, Lecture, Lhasa, Li Zhensheng, liberalism, Libraries, Library, life, literary criticism, literature, liu shaohui, Live Art, Live Performance, Locality, Madagascar, Malaysia, Manananggal, Map, mapping, maps, media, Memory, Mexico, Middle East, Migrant Workers, Migration, Miniature Painting, Minimalism, minjung movement, Minority Demographic Studies, mixed media, mixed-media, MOCA, Model Opera, modern art, Modernism, modernity, mongolia, Monuments, mourning, movement, Moving Image, multi-media art, multiculturalism, multimedia, multimedia art, multiple artists, Murals, museum education, Museum studies, Museums, Music, muslim, Myanmar, Myanmar (Burma), mythology, nationalism, Nations, nativism, nature, Nepal, net art, New Enlightenment Movement, new media, New Media Art, New York City, North Africa, nostalgia, oil, oil painting, Oral Histories, Organization, orientalism, painting, paintings, Pakistan, Pakistani, participatory, pattern, Pearl River Delta, peasant painting, Pedagogy, people, Perennial exhibition, Performa, Performance, performance art, Persia, Philippines, photo installation, photograph, photographs, Photography, Pidouhui, political pop, politics, Pond Society, Pop Culture, Pop Music, Portraiture, post colonialism, post-feminism, post-modernism, postcolonialism, postmodernism, Preservation, print, printmaking, prints, Propaganda, Protest, Public Art, Public Space, Publication, Publishing, queer, Queer Art, race, Realism, religion, Research, Residencies, Revolution, risograph, Saudi Arabia, Sci-Fi, Science, Sculpture, Secrets, Shamanism, shanghai, Singapore, Site Specific, slavery, Small Press, social histories, social realism, social sciences, social stratification, social theory, socialism, Socialist Realism, socially engaged art, sociology, sociopolitical, solo exhibition, Song Ling, Sonic Art, sound, Sound Art, sound installation, South Asia, South East Asia, south korea, Southeast Asia, space, spirituality, Sri Lanka, stereotypes, structural film, Sungari Auctions, Surveillance, System, Taiwan, technology, technology and spectatorship, Television, text, textile, Thailand, thangka, The, the Middle East, The Philippines, Theater, theatre, Tibet, Tibetan art, Time, Time-Based Media, Tomato Grey, trade, Tradition, traditional art, trama, Translation, trauma, triennial, Tunisia, turkish, uncertainty, Under the Influence, United States, united states of america, Unity, urban planning, Urbanism, USA, Utopian, Uyghur, Vampires, venice, venice biennale, venice biennial, Video, Video Art, Video Game, Vietnam, Violence, Virtual Reality, visual arts, visual culture, VR, War, water color, Water Rights, watercolor, watercolour painting, West Asia, Wikipedia, woman artist, women, women artist, women artists, women's studies, wood, woodcut, woodcuts, worker, Workshop, writing, WWII, Xinjiang, yunnan school of painting, Zhang Peili, Zhejiang Academy, Zine

ARTISTS, CRITICS, CURATORS, AND OTHER CONTRIBUTORS

Aisha Khalid, Aki Onda, Aki Sasamoto, Alexander Keefe, Alexandra Chang, Alexandra Munroe, Alf Chang, Ali Van, Amy Lien, Amy WOOD, Annysa Ng, Anthony Tino, Anthony Yung, Arin Rungjang, art history, art institutions, artist interviews, Ashley Billingsley, Ashok Sukumaran, Bahar Behbahani, Bahar Behbani, Bani Abadi, Bani Abidi, Barbara London, Beatrix Pang, Belinda Q. He, Benjamin Moskowitz, Beth Citron, Betsy Damon, Bing Lee, Birgit DONKER, Boon Hui Tan, Boris Groys, Brinda Kumar, Cai Guoqiang, CAMP, Cao Fei, Casey Tang, Chang Chao Tang, Chang Yuchen, Chen Chieh-jen, Chen Tong, Chen Wei-ching, Chen Xiaomei, Chihoi, China, Chitra Ganesh, Chris Wu, Christoph NOE, Christopher Ho, Christopher K. Ho, Christopher Phillips, Chương-Đài Võ, Cici Wu, contemporary art, Cooperativa Cráter Invertido, Cosmin Costinas, David Smith, Desire Machine Collective, Diana Campbell Betancourt, Dinh Q Le, dmp editions, Dooeun Choi, DREAMER FTY, Ei Arakawa, Elaine W. Ho, Eleanor Heartney, Elizabeth W. Giorgis, Enzo Camacho, EPOXY Art Group, Erin Gleeson, Eugene Wang, exhibition history, Fang Lu, Farah Wardani, Fei Dawei, FENG Yuan(馮原), Franklin Furnace, Frédéric Dialynas Sanchez, Fully Booked, Furen Dai, fwf, Gaku Tsutaja, Gao Shiming, Gianni Jetzer, Glenn Phillips, Go Hirasawa, Guan Xiao, Hajra Waheed, Hamid Rahmanian, Hammad Nasar, Heman Chong, Herb Tam, Hiroko Tasaka, Hitomi Iwasaki, Ho Tzu Nyen, Hồng-Ân Trương, Hou Hanru, Howie Chen, Hsu Chia-Wei, Huang Chien-Hung, Huang Hua-Chen, Huang Po-chih, HUANG Xiaopeng, I-Hua Lee, Iftikhar Dadi, Il Lee, Ingrid Chu, Interference Archive, Jaeyong Park, Jaishri Abichandani, Jane DeBevoise, Jean Shin, Jean-Hubert Martin, Jen Hoyer, Jen Liu, Jennifer Davis, Jewyo Rhii, Joan Lebold Cohen, Joanne, John Pirozzi, John Tain, José Maceda, Julian Ross, Jun Yang, June Yap, Kaho Albert Yu, Karen Strassler, kate-hers RHEE, Katherine Grube, Ken Lum, Kim Yong-Ik, Kimia Maleki, Kit Yi Wong, Koki Tanaka, Korakrit Arunanondchai, Laurel Ptak, Lê Thuận Uyên, Lee Kit, Lee Mingwei, Lee Weng Choy, Lesley Ma, Levi Easterbrooks, Li Ming, Li Ran, Li Shi, Li Xiaofei, Liang Jianhua, Lin Yilin, Linda Huang, LinDa Saphan, Lisa Ross, Liu Ding, Liu Shiyuan, Louiza Ho, Lynn Gumpert, Lyno Vuth, Maika Pollack, malaysia, Maline Yim, Mao Chenyu, MAP Office, Margaret Lee, Margo Machida, Mariam Ghani, Martha Wilson, Marvin Taylor, media art, Meghan Forbes, Meiya Cheng, Mel Bochner, Miao Ying, Michelle Wong, Michelle Yun, Midori Yoshimoto, Ming Fay, Minoru Yoshida, Miwako Tezuka, Moe Satt, Morgan Wong, Mukaddas Mijit, Murtaza Vali, Museum of Unknown, Nadim Abbas, Naeem Mohaiemen, Nate Hun, new media, Nico Baumbach, Nikhil Raunak, Nonny de la Peña, Nora Taylor, Norberto "Peewee" Roldan, nos:books, Ocean Leung, Onejoon Che, Ou Ning, Pad.ma, Pak Sheung Chuen, Pan An-yi, Park Chankyong, Passenger Pigeon Press, Patty Chang, Pauline J. Yao, photography, Pi Li, Polit-Sheer-Form Office, Prem Krishnamurthy, Qiu Anxiong, Qiu Deshu, Qiu Zhijie, Rabbya Naseer, Rania Ho, Raqs Media Collective, Rattanamol Singh Johal, Rebecca Karl, regionalism, Reiko Tomii, Richard Vine, Rina Banerjee, Ringo Bunoan, Risha Lee, Rob Smith, Roslisham Ismail a.k.a. Ise, Ruijun Shen, Ryan Lee Wong, Saadia Toor, Sabih Mohd Ahmed, Sadya Mizan, Sam Hart, Samita Sinha, Samsom Young, Samson Young, Sarena Abdullah, Sareth Svay, Sean Anderson, Sen Uesaki, Shaina Anand, Shanta Rao, Sharmini Pereira, Shauba Chang, Shen Xin, Shiraga Kazuo, Shuddhabrata Sengupta, Simon Arizpe, Simon Leung (梁碩恩), Simon Wu, singapore, Sming Sming Books, Sohl Lee, Son Ni, Song Dong, Sopheap Pich, southeast asia, Stephanie Comilang, Stephanie H. Tung, Stephen Teiser, Steve Locke, Su Hui-Yu, Su Yu-Hsien, Sung Hwan Kim, Sunghee Lee, Svetlana Kharchenkova, Tabaimo, Takahiko Iimura, Takako Tanabe, Takeshi Ikeda, Tammy Nguyen, Tang Kwok Hin, Taro Hanaga, Teresa Kwong, The Dunhuang Foundation, The Otolith Group, Theresa Hak Kyung Cha, Tianyuan Deng, Tiffany Chung, Tintin Wulia, Tishan Hsu, Tobias Madison, Tom Eccles, Tom Looser, Trần Minh Đức, Tsherin Sherpa, Uli Sigg, Umber Majeed, video art, Việt Lê, Vivian Sming, Wang Gongyi, Wang Jianwei, Wang Jing, Wang Wei, Wang Xu, Waterfall, William LIM, Work on Work, Wu Shanzhuan, Xen Nhà, Xiaoyu Weng, Xie Xiaoze, Xin Wang, Xu Bing, Xu Tan, YANG Jiechang, Yang Wang, Yang Zhenzhong, Yayoi Shionara, Yenting Hsu, Yin Xiuzhen, Ying Kwok, Yoon Hwan Bae, YOUNG-HAE CHANG HEAVY INDUSTRIES, Yu Cheng-Ta, Yung MA, Zhang Hongtu, Zhang Peili, Zheng Shengtian, Zhenzhen Qi, Zhou Tao, Ziying Duan, Zoe Butt