INTERVIEW WITH UMER BUTT, DIRECTOR OF GREY NOISE, LAHORE, PAKISTAN.

Mehreen Murtaza, Image Courtesy of Grey Noise, Lahore, Pakistan
Mehreen Murtaza, Image Courtesy of Grey Noise, Lahore, Pakistan 

GREY NOISE is a visual art gallery representing Pakistani artists. It endeavors to provide the artists with a space both within and outside the white cube; endorsing the idea of expanding and exploring one's capacities to the maximal. The artists representing this future dialogue in art intervention are working in various media. GREY NOISE aspires to provide the artists with resource and the viewer the opportunity to understand the importance of curatorial paraphernalia, which are important requisites for engaging and perceiving concepts in art making.

Reem Fekri: Grey Noise is one of the most prestigious galleries in Pakistan – representing a range of admirable artists from the region. How did Grey Noise come into being?

Umer Butt: Grey Noise is labor of love and passion. The concept build was initiated in October of 2007 while I was contemplating to shut myself up as an art educationist (I was working part time as a tutor at the National College of Arts, Lahore and Beaconhouse National University, Lahore) and launch Pakistan’s first artist representation as an online Gallery. This was in response to mediocre gallery infrastructure in Pakistan. I launched GREY NOSIE website on the 26th of April 2008 at the Alhamra Art center in Lahore, with an exhibition titled 26.04.08 which included the 12 artists from Pakistan. Eventually, GREY NOISE launched it physical gallery space in Lahore on the 28th November 2008.

RF: Why did you feel that you wanted to leave the teaching profession? Will you ever go back to it?

UB: I love teaching. I never left this profession… I just felt that I could only commit my energy and time towards the gallery (for few years). I still meet artists for one to one tutorials.

RF: What is your background?

UB: I received my BFA degree in Fine Art from the National College of Arts, Lahore in 2001 and later an MA in Fine Art from Chelsea College of Art and Design, London (2004).

RF: What was the transition between the two like? I went to Chelsea as well, and was shocked at the level of forced conceptualism into our artistic practices.

UB: Both institutes were exciting. National College of Art taught me to how to look and Chelsea bought in some conceptual clarity. I was very lucky to have fantastic tutors such as Lucy Gunning and Philip Lai who never forced a particular direction in my art practice.

RF: Currently, Grey Noise represents artists from Pakistan – will you expand eventually to artists from the MENASA?

UB: GREY NOISE aspires to collaborate with international artists and galleries (which we already have done in our last show Good Looking curated by Atteqa Ali), which will include art from the MENASA in the near future. We are always in search for innovative and cutting edge art.

RF: Any in particular that you are watching at the moment?

UB: We are still searching for one!

RF: Do you have to be careful in terms of censorship when curating shows in Lahore?

UB: Yes! One has to respect every region and its social dynamics when it comes to curating exhibitions. The idea of sensationalism may have worked for some curators but I sincerely believe that you can sell a thought, respecting such limitations. Its far more challenging/exciting to layer curatorial outlines and convey a message across and not hurt your viewer’s sentiments.

RF: Has the negative political attention in the press about Pakistan had any affect on the gallery?

UB: To my knowledge and experience, artists in Pakistan have started to respond and work with more positivity in reaction to this media war (as I call it). As a gallery, we have an integral role to support a positive thinking/progressing Pakistan (which it is, without a doubt!). I think we have installed some rather exciting shows in these unpredictable times.

RF: By media war, do you mean an over sensationalized perception of politics in Western media, therefore it not being a war as such?

UB: We are at war, and there is no doubt about that. At the same time there is certain blur which exists due to the exaggerated footage one encounters on Television. Spiced up images to gain longer airtime and get sponsors. It’s complicated! I guess I should just focus on my work! 

RF: What attracts you to participating at Art Dubai and the region?

UB: Dubai is home. My father migrated to the UAE in the early 1960s from Pakistan and I have explored the region being a resident of UAE. Although the dynamics of the city have shifted drastically I feel that there is certain energy, which pulls me. Art Dubai helps bridge various cultures from all over the world and this amalgamation is a perfect recipe for GREYNOISE to showcase its artists.

 


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