In a thought-provoking solo exhibition titled “Kya Yeh Taraqqi Hai? Tumharey Liye Ya Humarey Liye” (Is this progress for you or for us?), artist Zahabia Khozema brings to the forefront the devastating impact of the Supreme Court-sanctioned demolition campaign along the Gujjar and Orangi nullahs in Karachi. The exhibition, hosted at VM Art Gallery, showcases Khozema’s multi-dimensional approach to art and activism, as she delves into the intricate narratives of the residents affected by the demolition.
The exhibition serves as a reminder of the immense human cost associated with the demolition campaign. Khozema’s background in Mass Communication and her artistic expertise blend seamlessly, enabling her to capture the essence of the Gujjar Nullah residents’ lives in a holistic and nuanced manner. Through a combination of poetry, narration, photography, film, printmaking, and installation, she examines the public policies that led to the demolition and focuses specifically on the devastation caused in Kauser Niazi Colony.
As visitors step into the dimly lit gallery, they are greeted by a somber environment illuminated by pale yellow halos of light. The predominantly dull color palette employed throughout the exhibition further accentuates the sense of gloom and ruination. Among the striking works are the large-scale mixed media pieces titled “At the Nullah I and II.” These artworks depict landscapes resembling landfill sites that have transformed into makeshift settlements, with two-dimensional buildings seemingly suffocating one another against the backdrop of the nullah.
Khozema’s enigmatic screen prints, “What Remains I, II, III, and IV,” employ a sharp contrast between red and white to depict disintegration. The absence of tonalities and the emphasis on linear elements in these works lay bare the fragmentation of Kauser Niazi Colony. Once a vibrant residential area, it now lies reduced to wooden anchors and plastic sheets serving as makeshift ceilings, walls, and curtains.
The artwork’s title, “What Remains,” poignantly captures the essence of the residents’ lives and the unimaginable losses they have endured. This echoes the long and tragic history of partition and fragmentation in Pakistan, where lives have often been uprooted and displaced. One visitor commented that the collaborative nature of Khozema’s works dispelled any suspicions of insensitivity, and instead intensified the emotional impact of the exhibition.
Photography plays a significant role in Khozema’s exhibition, with blown-up and scaled-down photographs serving as testament to her direct engagement with the residents of Kauser Niazi Colony. However, Khozema consciously chose not to include people in her photographs, fearing voyeuristic representation of their lives. Instead, the focus remains on the changing landscape, emphasizing the visual and material aspects of the area. By hosting this exhibition in a gallery, Khozema challenges the perception that such spaces belong exclusively to the elite, asserting the importance of engaging with pressing social issues within these realms.
Residents of Kauser Niazi Colony, who attended the exhibition, shared their harrowing experiences of sudden displacement. Despite holding legal leases to their homes and residing in the area for decades, their houses were demolished without any prior notice, leaving them with no opportunity to salvage their belongings. One resident expressed their frustration, highlighting the selective focus on visual beauty while neglecting the equally beautiful lives and the right to safety of the displaced residents.
Furthermore, the residents revealed the hazardous nature of the ongoing construction in the area under the guise of development. Despite repeated requests, the authorities have failed to properly cordon off the area, resulting in tragic incidents, including the death of an eight-year-old boy and seven others.
The government justified the demolition as part of an expansion project for rainwater and sewage drains, as well as the construction of new roads. However, according to research conducted by NED University’s Infrastructure Engineering and Development Department, the demolition was carried out without providing alternate housing for the displaced residents. While a few individuals received financial compensation, it was inadequate compared to the losses suffered by those affected.
Through her artwork, Khozema creates a platform for meaningful discourse, shedding light on the power dynamics and unsustainable development practices that erode the fabric of Karachi. The exhibition serves as a reminder that progress should not come at the expense of marginalized communities and their basic rights.
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“Kya Yeh Taraqqi Hai? Tumharey Liye Ya Humarey Liye” will continue at VM Art Gallery until July 4th, open from Monday to Saturday, 11am to 7pm.
