Mujtaba Asif

Mujtaba Asif holds a master's degree in Contemporary Art Practice from the Royal College of Art, the United Kingdom, and a Bachelors degree in Fine Arts from the Department of Visual Studies at the University of Karachi, Pakistan. He was awarded the first Vasl year-long Research Grant for Emerging Artist in 2018. He has participated in residencies at Vasl TaazaTareen 10 and the Open Studio Ceramic Residency at Indus Valley School of Art and Architecture in Karachi, Pakistan.

In 2018, Asif held a solo show at Canvas Gallery (Pakistan) and has exhibited his works at various institutions including the National Museum of Pakistan (Pakistan), the Foundation for the Museum of Modern Art (Pakistan), VM Art Gallery (Pakistan), Aicon Gallery (United States) and The Truman Brewery (England). Recently, he performed at Tate Lates at Tate Modern London (England).

Asif's artistic exploration revolves around themes such as the fragility of peace, hierarchies in human suffering, and psychological and emotional loss. Asif has both voluntarily and non-voluntarily taught at various institutes in Pakistan. In 2017, he curated a public art project titled "I AM KARACHI – Walls of Peace."

He is currently based in London.

Contact

Degree Details

My artistic endeavors are dedicated to delving into the depths of human suffering and the profound impact of war and conflict. Central to my practice is an unwavering commitment to the pursuit and realization of human rights on a global scale. Text, as a widely encountered visual element and a medium of personal expression, serves as a fundamental pillar in my creative process. Drawing inspiration from my own experiences as a poet, I harness the power of language to convey narratives that resonate with profound emotion.

However, the relentless nature of ongoing warfare and conflicts disrupts my quest to create works that exude joy and tranquility. Instead, I am compelled to confront the realities of forced migration, the anguish of displaced populations, and the devastating loss of human life. Through my art, I aim to shed light on these pressing issues, fostering dialogue and encouraging reflection on the interconnectedness of our shared human experiences. By illuminating the inherent struggles and resilience of individuals affected by conflict, I strive to contribute to a greater understanding and empathy within our global society.

Displaced, yet not lost,

Voices of the uprooted,

Art embraces all.

Divided In Grief p-01 — Within this work, selected from the compilation of diverse articles written by various columnists, writers, and journalists for the Index on Censorship, a chapter titled "Divided In Grief" delves into the experiences of widowed women whose lives have been shattered by wars spanning the globe.

Divided In Grief p-02 — The inclusion of diacritical markings atop the book's text can be observed. what are theses marks for? Diacritical marks used as phonetic guides, including the short vowels and the grammatical markers for the non native Arabic speakers to pronounce the Arabic sound in a more precise and accurate manner.

Divided In Grief p-03 — In my recent body of work, these diacritical marks serve as a personal reminder of my upbringing reading the Quran, symbolising the sanctity.

Medium: Ink on paper

Size: Variable

(still image 01 of 04 from a video) In this series of work, the United Nation's thirty fundamental human rights were inscribed on ice-covered glass sheets at London bus stations.

Medium: Markings on ice

Size: Variable

A desiccated loaf of bread becomes the vessel for a narrative delivered by an Afghan doctor, shedding light on the prevailing crisis concerning wheat and healthcare infrastructure throughout the nation.

A withered national flower of Afghanistan is painted on a piece of bread and placed atop a newspaper that critically addresses the crises plaguing the wheat and health sectors. The profound significance lies in the urgent discourse surrounding the region, perpetuated by the ongoing crises.

Here a visual representation unfolds, depicting a dreamscape inhabited by an innocent child whose thoughts are confined to toys, games, and joyful experiences. However, this idyllic realm is juxtaposed with the harsh reality of warfare, compelling the child to confront its devastating consequences.

A droopy yet resilient national flower of Ukraine drawn on a piece of dried bread, placed atop a newspaper capturing the stories of Ukrainian families, their losses, and the hardships of migration.

Medium: Ink on bread

Size: Variable

The Holy Piece of Bread — In this report by BBC, the poignant struggle of acquiring a basic sustenance is narrated, accompanied by English subtitles adorned with diacritical marks. These marks serve as phonetic guides, encompass the short vowels and grammatical markers, aiding non-native Arabic speaker in articulating sounds with more precision and accuracy, symbolising the sanctity. The original BBC report can be found here: https://www.youtube.com/watch?v=18SmANbloJw

Medium: Video

Size: 04:21 minutes

Happy Faces For Sale — In this visual composition, I captured the essence of my digital exploration, where the recorded screen of my mobile device reveals my pursuit of happy face emoji stickers or akin embellishments. Engrossed in a quest for the optimal bargain, I meticulously toggled between multiple open tabs, among which a poignant article by Akmal Dawi on the intricate interplay of the wheat crisis among Afghanistan, Ukraine, and the US graced one corner of the digital realm. This artistic expression serves as my deliberate

Launch Project

Medium: Video

Size: 03:31 Minutes