Editor’s Note: ‘A Gentle Apocalypse’ was held in Hall 1 of Alhamra Arts Council (Mall Road), as a companion to the Indus Conclave 2025 (3rd–5th October, 2025). Here, we present the selected artworks, along with the curator’s note.

For centuries, the gleam of Western progress and modernity has cast its aspirational glow over the rest of the world. Much of the “un-West”, as it were, has scrambled to keep pace with the currents of modernity — industrial, digital and technological revolutions that define advancement. Chronological trajectories of the world have framed progress as the ultimate goal: a culminating ideal for any civilisation or country. To be inscribed in the annals of time, any civilization must adhere to Western ideals of development, sidelining its own indigenous wisdom. But history, Eurocentric in essence, has exempted other frameworks of progress that exist outside of the Western realm.

This exhibition seeks to question the term “progress” itself — a term that, with all its positive connotations, also inherently leaves a trail of destruction in its wake. The global pursuit of Western models of advancement through technology, consumerism and mechanisation has wreaked havoc on human existence. These dystopic realities that the world is now confronted with include, but are not limited, to climate change, erasure of identities, neoliberalism and hegemonic systems of power. What unfolds is a gentle apocalypse: a world caught between the promise of progress and a vast network of destruction.

The following artists were part of the exhibition:

David Alesworth

Nad e Ali

Uzair Amjad

Marjan Baniasadi

Malcolm Hutcheson

Ayesha Jatoi

Amra Khan

Faraz Aamer Khan

Natasha Malik

Zohra Rahman

Elham Rahmati

Farazeh Syed

Risham Syed

Urban Repository Archive/URA


All photographs are courtesy of Indus Conclave.

'Chamak Patti Discs' by David Alesworth (3M glass embedded tape on recycled stainless steel)
'Chamak Patti Discs' by David Alesworth (3M glass embedded tape on recycled stainless steel)
Photographic works by Nad e Ali from the 'You Are the Salt of the Earth' series
Photographic works by Nad e Ali from the 'You Are the Salt of the Earth' series
'Who Paid the Brass Band of Toba Tek Singh' by Uzair Amjad (pastels on paper)
'Who Paid the Brass Band of Toba Tek Singh' by Uzair Amjad (pastels on paper)
'Rendezvous II' by Marjan Baniasadi (ceramic installation)
'Rendezvous II' by Marjan Baniasadi (ceramic installation)
Photographic works by Malcolm Hutcheson from his 'Ganda Nala' series
Photographic works by Malcolm Hutcheson from his 'Ganda Nala' series
Detail from 'Witness' by Ayesha Jatoi (fabric)
Detail from 'Witness' by Ayesha Jatoi (fabric)
'In the Wake of Leaves' by Amra Khan (mixed media)
'In the Wake of Leaves' by Amra Khan (mixed media)
'Under Raag Kedar' by Faraz Aamer Khan (opaque watercolour and acrylic on paper)
'Under Raag Kedar' by Faraz Aamer Khan (opaque watercolour and acrylic on paper)
'Untitled' by Natasha Malik (watercolour on paper)
'Untitled' by Natasha Malik (watercolour on paper)
'Skyfall' by Zohra Rahman (graphite on paper)
'Skyfall' by Zohra Rahman (graphite on paper)
'Questions for my Aunts' by Elham Rahmati (video installation)
'Questions for my Aunts' by Elham Rahmati (video installation)
'A Not So Gentle Apocalypse' by Farazeh Syed (watercolours, acrylics and ink)
'A Not So Gentle Apocalypse' by Farazeh Syed (watercolours, acrylics and ink)
'The Olive Tree Series II' by Risham Syed (mixed media on vintage Chinese jacquard silk panel)
'The Olive Tree Series II' by Risham Syed (mixed media on vintage Chinese jacquard silk panel)
'Machi Qaida' by Urban Repository Archive (variable mediums)
'Machi Qaida' by Urban Repository Archive (variable mediums)

Saher Sohail received her BFA from the National College of Arts (NCA) Lahore in 2009, and her MA in History and Theory of Contemporary Art from the San Francisco Art Institute in 2013, as a Fulbright scholar. With nearly a decade of teaching experience as an Assistant Professor at the Department of Cultural Studies, NCA (2016–2025), Sohail has also been working as an independent art writer and curator. Her primary focus in these disciplines lies in closely surveying the power structures within history and how history is told and manipulated by these dominant systems. Her curatorial work can be viewed on Instagram: @subtextw

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