Safarnama is part of Other Skies: Global South Futurisms, Reflections Program, at Go Shorts Film Festival, Nijmegen, the Netherlands. Curated by Najrin Islam (@notnajjrin ).
Invoking the presence of jinns to explore the textures and toxicities of air, Safarnama (2020) activates natural and sacred worlds to pay attention to the intimacy of toxic colonialisms. Borrowing its name from and referencing the history of travel literature produced in the Islamic world, Safarnama traces the journey of a jinn traveling through the emerging, extractive infrastructures of the China-Pakistan Economic Corridor.
Sound design by Mudassir Sheikh (@mudeebakery ).
Omer Wasim @owasim presented new work in [h]ours, Thesis Exhibition (group 1)
Shifting Grounds
2025
Cast aluminium, microcrystalline wax, matchboxes, beeswax, concrete, canvas, charcoal, fixative, glazed ceramic, adhesive, unmilled birch, magnesium carbonate, and steel
Steel frames: 5’ × 8’ each; other dimensions variable
Installation and detail views from [h]ours, Green Hall Gallery, Yale School of Art
All images by Pat Garcia @patgarciajr_
A recent tiding in the mail, alongside stills from In Shadows of the Sun—commissioned by Art Mill Museum for Manzar. Deeply grateful to Caroline Hancock (@dangeville96 ), Aurélien Lemonier, and Zarmeene Shah (@zarmeene ) for their unwavering vision, generosity, and support. Catalogue designed by Kiran Ahmad (@kiran.ahmad ).
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Sound design for the video by Mudassir Sheikh (@mudeebakery ).
Recent critique work by Omer Wasim @owasim
She Who Dreams of a River
Act II: Spill
Galvanized steel, salt, vinegar, rubbing alcohol, driftwood, cast aluminium, shed snake skin, sheer fabric, tension wire, hooks, diffused scent of Cestrum nocturnum, and air vent
Special thanks to Andrew Luk, Helen Dreifelds, and Alice Gong
Images 1-7 by Pat Garcia (@patgarciajr_ )
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Act I: Opening Propositions | Four Bodies
Text, wired microphone with stand, field and studio recordings, speakers, performers, cushions, rug, and diffused scent of Jasminum sambac
Special thanks to Jam Yoo, Zak Nguyen, and Nabla Yahya
Images 8-10 by Aylin Alakbarli (@sailorsatyrn )
Come say hello at our annual Open Studios this weekend—Saturday & Sunday 12-6pm. @yalesculpture studios are located at 36 Edgewood.
2024 Open Studios graphic identity created by Lobbin Liu, Graphic Design MFA ‘24, and Chuye Chen (JUICE), Graphic Design MFA ’25.
We conclude first-year Spring Crits with Omer Wasim and their installation
amidst the heft \
an arc in three parts
2024
Steel, stainless steel, cast brass, cast aluminium, cast iron, steel strapping, canvas, charcoal, fixative, cast concrete, matchstick, knit fabric, glass, screen print on paper, threaded rod, threaded rod ceiling mount, steel cap nut, steel hex nut, galvanised steel wire rope, wire rope clamp and thimble kit-not for lifting, water, vinegar, salt, and hydrogen peroxide
All images by Pat Garcia @patgarciajr_
Before we get ready for spring crits. We continue fall crits with Omer Wasim and their installation
Lives After Lives \ An Archaeology of Simultaneous Unfurlings
2023
Steel, salt, vinegar, hydrogen peroxide, silicone, clear guard, water, seawater, wood, cast concrete, cast aluminium, camphor, heating device, worn shirts, seed starting mix, soil, urtica dioica, and publication*
*Publication design: Aylin Alakbarli (@sailorsatyrn )
All images by Pat Garcia @patgarciajr_
Omer Wasim is an intermedial artist from Pakistan. His practice queers space, subverting the frames of development and progress that shape human relationships to cities and nature. His work bears witness to the relentless erasure, violence, and destruction of our times by staying with more-than-human bodies.
Wasim’s proposed project during his residency draws from the use of indigenous weeds, plants, and water in pre-modern healing and care traditions in Switzerland and South Asia. With climate change, development, and rapid urbanisation, such practices are being lost while also being appropriated by healing and care industries. Through this project, he wants to understand how these practices intersect within and across geographies to index their radical potential. Simultaneously reparative toward both human and more-than-human worlds, they make accessible modes of being that are in sync with our natural environment, returning us to our roots.
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#prohelvetia_visualarts #prohelvetia_newdelhi #prohelvetia_residency
![Omer Wasim @owasim presented new work in [h]ours, Thesis Exhibition (group 1)Shifting Grounds2025Cast aluminium, microcrystalline wax, matchboxes, beeswax, concrete, canvas, charcoal, fixative, glazed ceramic, adhesive, unmilled birch, magnesium carbonate, and steelSteel frames: 5’ × 8’ each; other dimensions variableInstallation and detail views from [h]ours, Green Hall Gallery, Yale School of ArtAll images by Pat Garcia @patgarciajr_](https://sp1.picnob.com/p/pt_6724687213522859234347_0_7fd94e60d6ffd4c284939d80a059d540.jpg?o=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&h=ee6df838fea6547fe58cd6c3203738b7)
