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A rchiving mostly involves objects that are not used on a regular basis but hold emotional or historical significance that saves them from getting repudiated. We see at our homes, antique pieces or items of old but expensive crockery of a grandparent, sitting proudly on dusty shelves. These items are too sacred to be touched by the unruly children in the house as they would be unaware of their historical fragility.

The funny thing about these aged cabinets, bookshelves and desks is that they still remain the most reliable modes for archiving memorabilia in the age of magnetic tapes and cloud storage. These repositories juxtapose the context of stored objects with the place in which they are being held. Such was an example of archived memories put up in a unique display at Zahoor-ul Akhlaq Gallery, National College of Arts, Lahore, recently.



The show was curated by Ghazala Raees who had been a curator-in-residency at Vasl Artist Association, in collaboration with the British Council and Gasworks. Her research-based project had culminated in an exhibition of work by nine artists from across the country. Through innovative practices in co-design research approaches, Creation in Translation [Case Study 01] underscores various viewpoints on the critical processes that are involved in archiving the past while rewriting history in one’s own interpretation.

The exhibition was premised on an exchange of text regarding a memory of a participant and its visual representation by a fell.

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