Qatar Museums has opened MANZAR: Art and Architecture from Pakistan 1940s to Today, a first-of-its-kind exhibition commemorating the diverse work of painters, photographers and architects who have shaped the narratives, histories, and contemporary perspectives of Pakistan’s cultures since the 1940s. 

As compared to the previous year, 2021 allowed art to stage a comeback with shows and exhibitions.

Born in Lahore and based in New York, the painter Salman Toor depicts the lives of queer, South Asian men in imagined surroundings that draw as much from the Old Masters as they do from the modern metropolis. Toor’s scenes are often casual – his figures dance at house parties and stare into smartphones – but always meticulously composed.

A contemporary American painter of African American and South Asian descent who lives in Weston, Connecticut, Mequitta Ahuja casts herself as mythic warriors, epic heroes, and power figures descending from traditions across cultures. She synthesizes her multicultural heritage into works that evoke the process of identity construction.

In his latest paintings, Salman Toor meditates on his life as a gay artist who divides his time between two diametrically opposite communities: New York, where he can live and love openly, and his hometown of Lahore, Pakistan, where the dictates of family and religion demand that he suppress his identity.

New York-based artist Salman Toor’s brushstrokes place young queer brown men in scenes of love, friendship, and solitude in his luscious oil paintings. In Time After Time, his ongoing exhibition at Aicon Gallery in Manhattan, he challenges the systematic exclusion of queer men of color from art history. Here, his figures claim the foreground with their bodies, donning flamboyant attires over their delicate physiques. The artist’s dandy types nonchalantly sip cocktails, zealously sway to music, or lazily lounge in their downtown apartments. Beauty, vulnerability, and power shines through each painting.

In a year marked by migration and displacement, artists at the Kochi-Muziris Biennale 2016 frame the idea of home and away.

Pakistanis have many many talents. Stalking, creeping and making up the most absurd things about other people. But other than that there are Pakistanis with real talent and they deserve as much of our attention for hustling and making themselves a name with their insane creativity.
Here’s our jaw-dropping list of amazing Pakistani artists that NEED to be followed right now.

The ongoing intriguing group show titled Delicate Bond of Steel is a result of the unique exchange between Chatterjee & Lal in Mumbai and Aicon Gallery in New York. The latter’s first gallery show in the country, hosted by the South Mumbai exhibition space, features works of several South Asian artists based out of Australia, the U.S., Bangladesh and India.

"Mumbai’s Chatterjee and Lal and New York’s Aicon Gallery talk to us about their upcoming gallery swap and why it’s a refreshing change from art fairs."

"In times of turmoil between India and Pakistan, an artistic exchange seeks to promote harmony and highlight a common culture through art."

We are delighted to announce the participation of Salman Toor in the 2016 edition of the prestigious Kochi-Muziris Biennale, which runs from December 12, 2016 through March 29, 2017. Toor's work, installed in the Aspinwall section of the Biennale, will consist of a large installation of works on canvas both inspired by and presented alongside his multi-media collaboration with exiled Pakistani poet Hasan Mujtaba, which was born of the artist's 2015 exhibition Resident Alien at Aicon Gallery, New York.

Aicon Gallery is delighted to offer our warmest congratulations to artist and friend Saad Qureshi on being commissioned by NOVA to create a major new site-specific public installation for the district of Victoria in Central London. The project launches on November 22, 2016 and "looks at the portability of landscapes, and the human mind as a vehicle that allows places to travel, to be carried in the memory from one location to another,” Qureshi explains.

I fell in love with Pakistani Art in New York City. Pakistan has once again made headlines in New York City, but this time it’s for a good reason. Go Figureis a group show of young aspiring artists from Pakistan, showcased at Aicon Art Gallery in the East Village area of the city.

Salman Toor is the best kind of contemporary painter: funny, insightful, and not afraid to get personal. His colorful, figurative images are both intimate and relatable, featuring crowds of people engaging in romantic or imaginative adventures, filled with references to the artist’s many travels and international background.

New York City has facilitated my cobbling together of seemingly divergent understandings of developing societies seething in turmoil, along with the microcosms of cultures like Brooklyn’s art scene. Since I left Lahore, my work has developed in more abstract directions in order to host and superimpose imagined narratives and homelands in which personal and global concerns intersect.

Salman Toor’s insular scenes of life in Pakistan have vanished. Instead ghosts, hobos, poets, exiles, counts, ascetics, rabble-rousers, vagrants, and partygoers inhabit a no-man’s-land where time stands still. In Toor’s second solo exhibition at New York’s Aicon Gallery, Resident Alien, an artist possessed by a spirit to experiment and plunge into a new world has emerged.

The Kominas brought the curtain down on Asian Contemporary Arts Week at the Aicon Gallery on November 8 surrounded by the exhibition of works from Salman Toor. Like some of Toor's art on the wall, the Kominas tackle racism, Islamophobia, American paranoia and stereotypes (the name of their latest album is, indeed, Stereotype). A fierce rock band in the classic punk vein, the Kominas's audience was flailing along with the band's energetic performance.

The show fuses Pakistani with Indian, Islam with Hinduism and North American with South Asian, without highlighting the major chasms separating these dichotomies in the Eastern world. The subtext of the works largely communicate with Suri’s music: both are compendiums of deep knowledge of pop culture and both American and South Asian.

Now, however, Suri has jumped into the (marginally) more serious business of curating his own gallery show: “Eat Pray Thug,” the same moniker he’s given his forthcoming solo album, which runs through March 10 at Aicon Gallery on Great Jones Street. The multimedia group show of artists with ties to India and Pakistan, including Suri himself, also features a parallel series of live events, including an appearance from Muslim punk band The Kominas on March 7.