This talk considers the place of (self-)portraiture in Hassan Khan\u2019s practice. In echoing the title of James Joyce\u2019s semi-autobiographical novel, A Portrait of the Artist as a Young Man, it locates the significance of Khan\u2019s formative years to the relationship of an artist to art history. More specifically, and against this backdrop, the talk considers the relevance of a particular moment that may be described as the emergence of an image of the self as an artist, for its implications on a practice that claims itself as unable to escape portraiture. But the title is also in fact a twist on the original and suggests a collapse between the artist and his portrait. This collapse can be seen as indicative of a certain elusive and yet unmistakable tension that often surfaces between \u2018the persona of the artist\u2019 and \u2018the boundary of the work\u2019 in much of Khan\u2019s oeuvre.<\/p>\n
About Nida Ghouse<\/B>
Nida Ghouse is a writer and a curator, and presently the director of Mumbai Art Room. Her ongoing engagement with Hassan Khan\u2019s practice first took form through a two-week series of events titled 14 Proper Nouns at Delfina Foundation (London 2011). Her latest text, \u201cThe Loss of Tokyo\u201d, was recently published in Dreams and Music: Hassan Khan.<\/p>\n
Free Entrance<\/B><\/p>\n
For more information<\/b>
01.397.108<\/p>\n","protected":false},"excerpt":{"rendered":"
This talk considers the place of (self-)portraiture in Hassan Khan\u2019s practice.<\/p>\n","protected":false},"featured_media":547769,"template":"","tags":[],"class_list":["post-48880","directory","type-directory","status-publish","has-post-thumbnail","hentry","category-seminars-and-lectures"],"yoast_head":"\n