Nusra Latif Qureshi: Strategies of Intent

SYDNEY. 23 AUGUST – 29 SEPTEMBER 2019.

Nusra Latif Qureshi’s first solo Australian institutional exhibition presents her ongoing investigation into the symbolism and assumptions embedded in art history. Reflecting on almost two decades of practice Qureshi’s attempts to undermine, shift and negate historical imagery reads as a warning for the contemporary age, where assumed realities can be little more than constructed visions. 

Qureshi’s practice is characterised by meticulous layering, fragmentation, erasure and juxtaposition of visual material. Through such intervention, she investigates little known histories of colonial eras, questions established narratives and engages with the politics of representation. Through an examination of the visual histories of the South Asian region Qureshi has developed a new visual vernacular in which to examine and interrogate the act of historicisation.

Strategies of Intent brings together key works from Qureshi’s oeuvre as well as a series of new commissions by 4A Centre for Contemporary Asian Art. These commissions are Qureshi’s most ambitious to date and include a series of installations that draw on key colonial imagery, engage with the reverence of weaponry and critique the museological convention of collecting and ownership.

Nusra Latif Qureshi (b. Lahore, Pakistan, lives and works in Melbourne, Australia) attended the National College of Arts, Lahore and completed her Masters of Fine Art at the University of Melbourne. Qureshi’s practices engages with the visual histories of the South Asian region and Australian culture, questioning conventional interpretations, pulling apart and reconfiguring the found patterns to construct new narratives. Her work has been exhibited widely in Austria, Germany, New Zealand, the United States, the United Kingdom, Canada, Afghanistan, Italy, India, Japan, France, Switzerland, Finland and her home countries of Pakistan and Australia. Most recently she was exhibited at the Kunst Historisches Museum, Vienna, Austria as well as Brisbane’s QAG/GOMA. Her work has been collected widely including the British Museum, London, the Museum of Contemporary Art, Sydney and the National Gallery of Victoria, Melbourne. Qureshi is represented by Sutton Gallery, Melbourne and is currently the artist in residence at the Lyceum Club, Melbourne.

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www.4a.com.au 

 

A curtain sewn from beige, light orange and brown fabrics under a bright orange curtain header sweeps a hardwood timber floor. Through a middle parting in the curtain is a wooden glass cabinet.

 

Nusra Latif Qureshi, The House of Irredeemable Objects, 2019, mixed-media installation, dimensions variable, commissioned by 4A Centre for Contemporary Asian Art; courtesy the artist. Image: Kai Wasikowski for 4A Centre for Contemporary Asian Art.

A row of nine labelled test tubes laid out at the bottom of a wooden glass cabinet

Nusra Latif Qureshi, The House of Irredeemable Objects, 2019, mixed-media installation, dimensions variable, commissioned by 4A Centre for Contemporary Asian Art; courtesy the artist. Image: Kai Wasikowski for 4A Centre for Contemporary Asian Art.

A wooden table covered in glass stands on a red embroidered velvet mat in a light-flooded white gallery space, with a glass door that opens out onto the street outside. Under the table is a glass cloche

Nusra Latif Qureshi, Mild Red Steel, 2019, embroidery on velvet and mixed media installation, dimensions variable, commissioned by 4A Centre for Contemporary Asian Art; courtesy the artist. Image: Kai Wasikowski for 4A Centre for Contemporary Asian Art.

An illuminated digital print on a light box

Nusra Latif Qureshi, Five Honours, 2019, digital print on clear film and light box, 41 x 29 cm, commissioned by 4A Centre for Contemporary Asian Art; courtesy the artist. Image: Kai Wasikowski for 4A Centre for Contemporary Asian Art.

An orange beaded tapestry sewn from three layered image of a couple in a garden, an outline of a photograph of a British/Indian cavalry regiment, and an illustration. Loose orange threads from the tapestry drape down behind a glass cabinet of small objects.

Nusra Latif Qureshi, The Inventory of Noble Causes, 2019, mixed media installation, dimensions variable, commissioned by 4A Centre for Contemporary Asian Art and courtesy the artist. Image: Kai Wasikowski for 4A Centre for Contemporary Asian Art.

A glass cabinet displaying small objects, including a gilded bible, a lace handkerchief and an ivory orb. A stuffed animal resembling a ferret lies prone next to an embroidered image of a regal woman in colonial dress reading from a small book

Nusra Latif Qureshi, The Inventory of Noble Causes (detail), 2019, mixed media installation, dimensions variable, commissioned by 4A Centre for Contemporary Asian Art and courtesy the artist. Image: Kai Wasikowski for 4A Centre for Contemporary Asian Art.

A white gallery space with an orange beaded tapestry, two framed lithographs against a back wall and a long digital print on fabric stretched across the right wall

Left to Right: Nusra Latif Qureshi, The Inventory of Noble Causes (detail), 2019, mixed media installation, dimensions variable, commissioned by 4A Centre for Contemporary Asian Art. Nusra Latif Qureshi, The Black Widow Watches On, 2015, lithograph, 66 x 82 cm, commissioned by Landfall Press, Santa Fe. Nusra Latif Qureshi, The Identity of the Sword Shall Remain a Mystery, 2015, lithograph, 66 x 82 cm, commissioned by Landfall Press, Santa Fe. Nusra Latif Qureshi, Chain-Man-Equine, 2019, digital print on fabric, dimensions variable, commissioned by 4A Centre for Contemporary Asian Art. All works courtesy the artist. Image: Kai Wasikowski for 4A Centre for Contemporary Asian Art.

A print on fabric of elongated streaks of TV static noise. The streaks stretch from one black figure on the left hand-side of the fabric to two black figures on the right-hand.

Nusra Latif Qureshi, Chain-Man-Equine, 2019, digital print on fabric, dimensions variable, commissioned by 4A Centre for Contemporary Asian Art.

A greyscale digital print on acrylic clear film, hung from a gallery ceiling

Nusra Latif Qureshi, Fortunate Days for Warlike Enterprise, 2019, digital print on acrylic clear film, dimensions variable, commissioned by 4A Centre for Contemporary Asian Art; courtesy the artist. Image: Kai Wasikowski for 4A Centre for Contemporary Asian Art.