Asputtad M. |. SyeDBiocrapHy Dr. Abdullah M. |. Syed (b. 1974) is @ contemporary artist, designer and scholar living and working between Sydney, Australia and Karachi, Pakistan. Syed identifies his art practice as an archival form of manzoom muzahamat, or poetic activism, which is based on ideas of shared ‘vulnerability, love, empathy, memory and truth telling. Trained in diverse disciplines, Syed weaves real and fictional narratives of east and west and utiises a variety of mediums and techniques including drawing, sculpture, video installations, textile, photography, performance and texts to examine economics of identity and power structures in their myriad forms. Syed recognises the cross-cultural craftsmanship such as stitching land weaving as mark making; a way of signifying social agency as well as suggesting an unravelling of his own displacement, and personal biography. Materials are reactive currencies within Syed's artistic processes, purposefully entangling audiences in a web of their own tactile and ‘emotional experiences while forming, sharing and recording collective memory and social amnesia, ‘Syed earned a PhD in Art, Media, and Design (2015) and an MFA (2009) from University of New South Wales. He also holds a BA in Design, 1998, and a Master of Education, 2001, from University of Central Oklahoma. Syed coordinated the Department of Design at the University of Karachi and has lectured at UCO (2000-2003) and UNSW Art & Design (2009-2012). Syed is a member of eleven, a contemporary collective of ‘Muslim Australian artists, curators, and writers, ‘Syed's work has been featured in eleven (11) solo and several curated group exhibitions including Make the World Again, Crafted Vancouver Project (2020), Cut from the Same Cloth, Canvas gallery, Karachi, 2020; OK Democracy: We Need to Talk, Campbelltown Arts Centre, Sydney (2018); Infinite Present, Gallery 344, Cambridge (2018); Khallas, UNSW Galleries (2018); Wagt al-Tageer, ACE Open, Adelaide (2018); | Don't Want To Be There When it Happens, Perth Insitute of Contemporary Art, Perth (2017); Between Structure and Matter, Aicon Gallery, New York (2016); Creative Accounting, Hawkesbury Regional Gallery, Sydney (2016); WAR, Newington Armory Gallery, Sydney (2016), and Future Archaeology, 4A Centre for Contemporary Asian Art, Sydney (2018). He has also participated in Karachi Biennial (2019), Nuit Blanche, Toronto (2015), Asia TOPA: Asia-Pacific Triennial of Performing Arts, ‘Melbourne (2016), 4 th ASNA Clay Triennial, Karachi (2012), and numerous art fairs including The Armory Show (solo booth, New York), Art Dubai, Art Abu Dhabi, Art Stage Singapore, India Art Fair, Art Basel and Art Central, Hong Kong where he performed Bucking, 2016. ‘Syed also performed Bucking, Pataka Museum, Poritua, New Zealand (2012); The Flying Buck, AsiaTOPA, Melbourne (2016); Flesh & Blood, ‘Asia Society Museum, New York (2017) and Bach Jamoora, Karachi Zoo, Karachi Biennial (2019), In 2019, Syed was selected as one of seven Artspace Sydney One-Year Studio Artists. He has undertaken artist residencies at Faitfiold City ‘Museum & Gallery (2016), Parramatta Artists Studios (2013-2015), Cicada Press, UNSW (2009 & 2013) and Blacktown Arts Centre (2011) in ‘Sydney. He was a finalist for the Blake Prize (2013), Moran Photography Prize (2014), and the Sovereign Asian Art Prize (2019). He is the recipient of the Individual Artists of Oklahoma's Installation Artist of the Year award (2003); Blacktown City Art Drawing Prize (2008); UNSW Postgraduate Research Scholarship (2009); Time Olson Drawing runners up cash prize (2010); the NAVA Carstairs Prize (2017), NSW Artists’ Grant (2019) and BarTur Photography Award for Humanity (2020). \ww.abdullahmisyed.com Represented by Gallery Sally Dan-Cuthbert, Sydney, AustraliaBuzzwords, 2009 Portfolio of 7 (etchings + Custom folder) (rames not included) Hand drawn photo-eichings, hard ground, aquatint and colour roll on two hexagonal plates on Vein Arches paper in ‘custom handmade portoio case 46x 12 Inches (each) PKR 595,000)-Buzzworos (Poatrouio oF Seven Erchines) Visual stereotypes and the endless use of ‘Buzzwords’ ke Jihad, Fatwa, War on Terror and the Axis of Evi rom “experts of Islam and terrorism” 1n the westem media and the media in Mustim countries, have stripped the complexity of an issue to mere clichéd words. These etchings ‘combine references to the lack of understanding of these seven buzzwords that summarize the post 9/11 world dictionary that has only words ‘but with no clear definition. These words, Fatwa, Jihad, Weapons of Mass Destruction, Islamophobia, War on Terror, Us & Them and Axis of Evil, became the Seven Cardinal Sins or seven chapters of human history. Their arrangement in a hexagonal shape suggests the power of words for the purpose of propaganda. Itis reminiscent of a game of Chinese whispers where the word once spoken changes and mutates getting hijacked ‘and losing its meaning and identity. Within the beehive pattern, each word is lke a puzzle accompanied by a bee or bee's internal and external parts, Here is the list. Fatwa: Bee brain and nervous system filed with “Mufti” word in Arabic— on one hand, the etching projects the genius of Fatwa and on the other, italso signifies the problem of unauthorized and unqualified muftis that are sprouting like bees across the Muslim states. They are using fatwa as a brainwashing weapon to elicit their or someone else's “orthodox” and “fundamentalist” ideas, corrupting the minds of male and females across the Muslim world, Also in the west Fatwa is now stereotypically synonymous to beheadings and death sentences due to various highly publicized fatwas such as Iranian State's death sentence fatwa against the author Salma Rushdie in the past and present by the media. Muftis ‘another “buzzword” that is linked to the Fatwa. ihad: Internal parts of a bee sting filed with word “Mujahedeen’ written in Arabic as venom/blood (venom as for the west and the blood of a true ‘martyr in Islam). Jihad is now synonym to terrorism in the west, whereas in slam Jihad stands for struggle” and “sacrifice” that a Muslim makes in the name of Allah. In Quran, the work appears in diferent contexts and can include various forms of nonviolent struggles: for instance, the struggle to become a better person. Furthermore, itis stipulated in Quran that those who die in Jihad, are called martyrs and must not be considered deceased. The mujahedeen word became popular during the time of Afghar/US war against Russia. Ironically since the end of the ‘cold war and the fall of Russia, the “American allies" mujahedeen now are considered as the “enemy of America’. Weapons of Mass Destruction: Honeyicil drops with stages of bee growth (larva etc.) Islamophobia: Mustim men beard or a religious hive constructed with beautiful bees. Similarity (both in terms of form and growth) of the two hives is uncanny, War on Terror: 9/11 words imprinted on bee wings. Wings not only indicate the destruction of the World Trade Centre but also the US air attacks (on Muslim counters (including Pakistan). US and Them: For US & Them, two types of bees are used one is in a charged motion where the other is in a passive mode and with an ambiguity of which one is US ad which is Them, hence they both are simultaneously representing US and Them.‘Axis of Evil: Varroa Mite replace bees for this word filed with words “bush in Arabic, multiplying and each one carrying the stamp of Bush, product of the western world and western hegemonic mindlessness. These mites live, feed, and reproduce inside the bee's breathing tubes, blocking oxygen flow and eventually kiling the bee. Varroa mites are the cause of the destruction of entire colonies of bees and itis said that Australia was the only country that is left for these Mites to infect, hence produces high quality natural honey. (Unfortunately, as of now they are ‘now in Australian as well as in New Zealand). Because of these mites, pure natural honey (with pesticides) can not be produced. Although it has been said that Varroa mites came to the west from the east , however here they are products of local mindset. ‘Some of these words became the Time magazines' top 10 word ist of 2002 another folowed in later years.Te bec 6 Y Be Hoa Buzzword |- US and ThemBuzzword II - IslamophobiaBuzzword Ill - War on TerrorBuzzword IV - Weapons of Mass DestructionBuzzword V - FatwaBuzzword VI- JihadBuzzword Vil - Axis of EvilAbdullah M. |. Syed's multdisciplinary and multivalent art practice speaks to contemporary conditions while resonating with earlier and {geographical diverse episodes in art history. From the Russian Constructivists, to the geometric abstraction of Minimalism and Istamic art, one ‘observes in Syed’s work a paring back to essential forms and a dedication to surface and rhythm that is both formal and ideological. He has long been interested in the connection between paper and fabric, in particular the cross-hatching fibres, carefully woven in the weft and warp that Intersect across the horizontal and vertical axis of the material plain, giving itis form and strength. The strength and simplicity of this structure is fascinating to Syed whose techniques of production are integral to his vision. If one where to imagine a metaphorical schema to describe Syed's ‘methods and his mode of thinking one need not look further than the grid. While ruminating on what he sees as the inseparable and yet often antagonistic entanglements of nation, religion and capitalism, Syed invokes the grid to find remission and comfort in the suspended spaces between the lines and hope in the moments of concurrence. Complementary to his intellectual engagement with the theory of conceptual art and his cerebral commitment to the grid, Syed's work is grounded ina dedication to craft that announces a return ofthe hand. This love of craft stems from childhood moments watching his mother stitching, sewing land embroidery and itis this lived experience of craft that has inspired Syed to continue to learn and collaborate with craftspeople in the USA, Australia, Bangladesh and Pakistan. The woven and stitched cloths and the carefully folded paper exemplify a seamless relationship between Cognitive thinking and creative activity that prompts further questions about the relationship between an object and its image. ‘Syed's training in drawing and print making has helped him develop a sensitivity to the medium of paper and its potential as both a surface to be ‘marked and a material to been sculpted into three- dimensional form. With a strong understanding of its density, its propensity to record Impressions, Syed scores, cuts, folds and glues paper to form reliefs and sculptures of different scales and experiences. Fascinated by the idea ‘of wormholes as articulated by Einstein and Nathan Rosen, In Weaving Overlapped Realities (2020) and Weaving Myths and Realities (2013-2020) series, Syed conceived his new banknotes as speculative structures linking disparate points in space and time. Folded on themselves the notes, not unlike the flags, bring unlikely and even antagonistic entities into proximity. On either side of a single plain are opposing political figures, structures and scenes from different geographic and time zones. When the note is folded back on itself, the two figures and architectures are brought together, face to face where they inhabit the same space and time. Likewise the interlaced notes bring into contact Muhammad Ali dinnah, Pakistan's first Governor General and the Queen Elizabeth, On another note Muhammad Ali Jinnah, Pakistan's first Governor General, ‘meets Chaitman Mao. By repurposing banknotes Syed transforms the economies of power into what he refers to as an ‘economy of poetic activism’, Through drawing, stitching, weaving and folding Syed makes visible the spaces in between, the gaps, between the threads and strips that draw out intrinsic vulnerabilities. While brought forth through an attention to materials, such moments of unknowing are openings that invite the wandering of ‘memory and meditation on things beyond the material ‘Spring 2020 Dr. Matt Cox has published in Australia and internationally on Asian art and architecture and is curator of Asian At at the ‘Art Gallery of New South Wales, Sydney, Australia.‘Weaving Overlapped Realities: 100 Pakistani Rupee and 10 Chinese RMB (Portraits, Recto), 2020 Unique Framed Hand-cut and overlapped uncirculated 100 Pakistani Rupee and 10 Chinese RMB and archival tape 8x3 Inches PKR 195,000Dota: Weaving Overlapped Realities: 100 Pakistani Rupee and 10 Chinese RMB (Portraits, Recto), 2020Ue SNe utente fr Weaving Myths and Realities: 20 Pakistani Rupee and 10 Unique Framed ‘Hand:-cut and woven uncirculated 20 Pakistani Rupee and 10 British Pound and archival tape 8x3 Inches: PKR: 195,0001- British Pound (Portrait, Recto), 2020Detail Weaving Myths and Realities: 20 Pakistani Rupee and 10 British Pound (Portrait, Recto), 2020 eseziz scaner) Weaving Myths and Realitios: 10 US Dollar and 10 Chinese RMB (Portrait, Recto), 2020 Unique Framed Hand-cut ané woven uncirculated 10 US Dollar and 10 Chinese RMB and archival tape 6x25 Inches PKR 195,000ENDER ADrew bar Detail Weaving Myths and Realities: 10 US Dollar and 10 Chinese RMB (Portrait, Recto), 2020BA72.. 7B, te eeten Weaving Myths and Realities: {50 Pakistani Rupee and 10 Chinese RMB (Portrait, Recto), 2020, Unique Framed Hand:-cut and woven uncirculated 50 Pakistani Rupee and 10 Chinese RMB and archival tape 6x3 Inches. PKR 195,0001-Detail Weaving Myths and Realities: ‘50 Pakistani Rupee and 10 Chinese AMB (Portrait, Recto), 2020Weaving Myths and Realities: 20 US Dollar and 20 Chinese RMB (Structure, Verso), 2020 Unique Framed Hand-cut and woven uncirculated 20 US Dollar and 20 Chinese RMB and archival tape 8x3 Inches, PKR 195,000!= Waving Myths and Reais: == 20US Dollar and 20 Chinase RMB (Structure, Verso), 2020SANT TATE Cormmune Artis Colony, Sadiq Godown, Miskeen Gall, Old Queens Road, off M.T. Khan Road Karachi, Pakistan 1M seatgallryagmalicom y senatnawve @ wo saranitawvecom 1 sara galry El wn facebookcom/Sanatcaley