The labor-intensive process of brass-casting not so much reverses the devaluation caused by the storm as re-routes value through the act of making. Instead of trying to tabulate and preempt erratic weather patterns, Khan interprets unscalable disasters and loss through material intimacy. As such, the installation tries to bridge two pillars of memory—the archival report and the physical site.
Sticky Rice and Other Stories
Sticky Rice and Other Stories is a filmic installation in two parts. It traces a mental map of the region around Karachi, from colonial textile trade to containerized cargo shipping. The disorienting effect of this geography mirrors the effect of globalisation on Karachi’s own locality, which is obscured by the movement of goods from one place to another at ever less cost, less friction.
The first part follows the artist as she journeys to artisanal communities in Karachi to produce with them miniaturised models of historic and contemporary boats. Displayed on the seafront where actual cargo ships operate, the boat models play with scales of production—the singular, hand-made object versus the vast military-industrial projects in the area, where countries like India, China and the United States vie for rail and sea access.