Selected works by Rashid Rana

Rashid Rana
Veil Series I, II & III

2004

3 C prints + DIASEC

51 x 51 cm each
Rashid Rana critiques culturally constructed, negative stereotypes of women through his work, whether in relation to the sexual objectification of women through the pornography industry or in relation to how the burqa is worn and perceived as a political symbol in a post 9-11 era. In Veil I, Veil II & III, Rana depicts an anonymous figure dressed in a burqa. Upon further inspection, the work is actually a fragmented collage made-up of thousands of small, unfocused pornographic stills of women. By using both these representations of gender in a rigid manner, Rana is effectively destroying them both, forcing the viewer to look beyond them and critique the so-called machinery of truth from which they are born.
Rashid Rana
Veil I detail

2004

C print + DIASEC

Rashid Rana
Veil II detail

2004

C print + DIASEC

Rashid Rana
Veil III detail

2004

C print + DIASEC

Rashid Rana
The World Is Not Enough (detail)

2006

C Print + DIASEC

221 x 296 cm
In The World is Not Enough Rashid Rana creates an impossible image of immense beauty from his personal accumulation of photographs of social waste, taken mostly from a landfill site outside Lahore, the cosmopolitan city of Pakistan where he lives, as well as from the city itself. Reduced to miniature pixels of information, the details that form the much larger image, of what appears to be the undulating sea, are in fact hundreds of images of trash digitally ‘stitched’ into a non-existent aerial view that bear an uncanny resemblance to the large canvases of non-representational art from the post-war era. A sense of the scale and singularity of man’s ambition is indicated, not through great feats of industry or the miracle of science, but through one of the residual by-products of our age. Here, as elsewhere in the artist’s work, the juxtaposition of beauty and the macabre forces the viewer into an acknowledgement of the politics of the piece. A work that appears on one level to represent a notion of ideal beauty is in fact based on a more troubling examination of the increasing detritus and decay of the city.

Other Resources

artfacts.net
Additional information and images – Rashid Rana

artnet.com
Various and images – Rashid Rana

gallerychemould.com
Developing a conceptually driven practice that maintains a pixelated attention to formal concerns, Rashid Rana has emerged as a leading figure among Pakistan's younger artists.

manchesterinternationalfestival.com
Rashid Rana is part of the young and thriving artistic scene from Pakistan and is one of their most unique and celebrated artists. Rana’s interest lies in the ‘here and now’.

freewaves.org
Rashid Rana was born in Pakistan. His work has been exhibited and collected by institutions and individuals in the United States and Asia.

asiapacifictriennnial.com
The urban environment of Lahore is the inspiration for Rashid Rana’s work —selling popular American and Indian film posters, Lahore’s street stalls rest beneath the grandeur of Mughal architecture. The contrast of physical scale and cultural historyis visually evident in Rana’s meticulous photographs.

singaporebiennale.org
Rashid Rana was born in Lahore, Pakistan in 1968. In recent years his work has been shown at Pier II Gallery in Taiwan, Jamaica Center for the Arts NY, York Quay Gallery, Harborfront, in Toronto, Ontario and Queens Museum of Art, New York.

universes-in-universe.org
Useful links, information and images

visualarts.qld.gov.au
In this mirror–like, large–scale image, families animatedly gaze at the sky as military pilots demonstrate their daring manoeuvres. This portrayal of patriotic pride is subtly counteracted once the viewer registers the photograph as a composition of thousands of film stills from popular Indian cinema - a country with which Pakistan shares the consequences of partition.