Imran Mir – A World that is not Entirely Reflective but Contemplative
“‘Take the line for a … walk,’ suggests Paul Klee. Imran Mir has accomplished more than that. He has accompanied it far and further without parking or straitjacketing it.”
— Iqbal Geoffrey
Imran Mir’s (1950-2014) oeuvre can be interpreted as a constant refusal to provide comprehensive elaboration beyond what one experiences. The act of contemplation is a guiding principle to interpreting Imran Mir’s work, an approach that reverberates into a practice that grew out of conversations with a community of artists, activists, poets, relatives, and other thinkers in Karachi.
Non-figurative, non-representational, geometrical and very bold, Imran Mir’s works can be read as theorems and positions on multiple modernisms and abstractions. Without being a critique or a response, he played with the rules, bypassing and expanding them to other realms to explore ways of being, ways of knowing time and space outside of the confinements of the West.
Edited by Amal Alhaag, Aude Christel Mgba, Bonaventure Soh Bejeng Ndikung, Gwen Parry, Ibrahim Cissé, Krista Jantowski, Zippora Elders
With editorial support by Elisa Larkin Nascimento, Elmyra van Dooren, Nighat Mir, Peter Wapperom
Contributions by Amal Alhaag, Bonaventure Soh Bejeng Ndikung, Ibrahim Cissé, Sophie Douala, Zippora Elders, Natasha Ginwala, Hajra Haider Karrar, Krista Jantowski, Momtaza Mehri, Aude Christel Mgba, Nighat Mir, Quddus Mirza, Gwen Parry, Nafisa Rizvi
Translations by Goia Mujalli, Jake Schneider, Siji Jabbar, Sita Dickson Littlewood
Copy-editing by Ibrahim Cissé with additional support from Dieuwertje Hehewerth
Proofreading by Dieuwertje Hehewerth
Designed by Sophie Douala
Typesetting by Sara Marcon, Archive Books
Printed by Bianca & Volta, Milan
English, 112 pages, 15.5 x 23.5 cm
Initiated by Bonaventure Soh Bejeng Ndikung