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were painted atop trucks and walls all over the city. Models of the missile were displayed as sculptures across town. David referred to his latest work as a continuation of an enduring enquiry and celebration of
Pakistan's urban street culture and positioned it as part celebration of the material and
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and displayed in public places similar to the missiles. The 'Teddy's Bears' reference both their origin in
American political history and their connotation of the restraint of power and the toys of a war child; this in the context of the American and Western powers interventions in Afghanistan over
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Over the years, Alesworth has examined the conventions and visual codes of
Pakistani society and of urban life in particular. His exhibits have displayed a wide range of formal influences from contemporary mass culture to the purism of late Constructivism. Many of these themes were evident in his
91:, and took up a teaching position at Beaconhouse National University in the School of Visual Art (SVAD, BNU) where he taught until May 2015, then relocating to the UK. He currently maintains a studio in Bristol and works between the UK and Pakistan. He is married to the Pakistani artist
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He started working with truck artists in the mid-to-late 1990s and produced several acclaimed installations, conceived in collaboration with
Durriya Kazi. Through these collaborations and working with these craftsmen, he produced installations or interactive sites, such as
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which generated substantial interest at local and international showings and cultivated a renewed attention towards cultural politics and aesthetics of cinema hoardings, truck art, bazaar artefacts, and commercial sign paintings.
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than of the urban garden, but that too. He has visited the
Botanical Garden as a concentration camp of exotic aliens, imprisoned in an act of cultural cleansing (Linz : 2007). The post-colonial garden in the video work
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The exhibition had a companion show with
Alesworth's take on the teddy bear, where he unpacked this globalised icon in numerous ways. The teddy bears were translated into welded, riveted and soldered steel plate with
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His series of comical missile sculptures developed out of concern for the induction of nuclear weapons in
Pakistan. The nuclear tests in April 1998 had become an iconic symbol in Pakistani streets and images of the
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of 2011 amongst others. He takes the garden as his key metaphor with which to probe humanity's culturally specific relationships with the natural world and toward understanding nature more as a social problem.
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Since 2005 Alesworth's work has been substantially engaged with the post-colonial, in large part due to his relocation to the historic city of Lahore which is also known as the
80:. His encounter with Pakistani culture, especially truck art, in the early 1980s opened up his practice to a range of new materials and he moved to Karachi, Pakistan in 1987.
40:. Trained originally as a sculptor in the UK, he moved to Pakistan in 1987 and engaged with the popular visual culture of South Asia and with urban crafts such as
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process and part critique of the dubious and potentially disastrous aspiration to weaponise the nation.
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230:" 2008, several public botanical interventions in Berlin, 2009–2010 and botanical taxonomy in
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versions of missiles and the very
English teddy bear toys, displayed at the Canvas gallery (
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44:. He teaches art in Pakistan at various institutions including until recently the
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213:. However this has been a very expanded ideation of the garden, more of the
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Berlin curated by Juan Gaitan and at the inaugural exhibition at the new
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In 2014 he was represented in the 8th Berlin
Biennale at the
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2009. Also ideas of garden perfection in the textile works
330:. Vasl International Artists' Collective. Archived from
297:. Vasl International Artists' Collective. Archived from
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505:Academic staff of Beaconhouse National University
356:. Beaconhouse National University. Archived from
515:People educated at St John's School, Leatherhead
120:'s fourth edition of the Jameel Prize in 2016.
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411:The Global Forest: 40 Ways Trees Can Save Us
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24:, (A.R.B.S.) (born 1957 in Wimbledon,
436:Second Nature: A Gardener's Education
32:artist, who divides his time between
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500:Alumni of Wimbledon College of Arts
490:21st-century Pakistani male artists
485:20th-century Pakistani male artists
386:. Newsline Pakistan. Archived from
295:"Curriculum Vitae: David Alesworth"
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480:21st-century English male artists
475:20th-century English male artists
409:Beresford-Kroeger, Diana (2010).
219:of which we are all a part or as
510:English expatriates in Pakistan
46:Beaconhouse National University
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495:Alumni of Kingston University
152:Promised Lands (Arz-e-Mauood)
60:Alesworth studied art at the
18:UK-based dual national artist
137:Installations and Public Art
116:He was short-listed for the
83:In 2005 Alesworth moved to
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384:"Walking the trodden path"
328:"David Chalmers Alesworth"
118:Victoria and Albert Museum
165:environmental degradation
70:Stanley Picker Fellowship
64:in the tradition of late
434:Pollan, Michael (2003).
68:and won the prestigious
22:David Chalmers Alesworth
263:"Yearning for dialogue"
171:influencing works like
62:Wimbledon School of Art
240:Hyde Park, Kashan 1862
207:textile interventions
197:Textile Interventions
169:nuclear proliferation
78:Glasgow School of Art
275:on 8 September 2008
232:The Garden of Babel
108:The Garden of Ideas
74:Kingston University
382:Farrukh, Nilofer.
334:on 22 October 2007
301:on 22 October 2007
222:nature and culture
193:the last decades.
354:"Faculty listing"
236:Garden Palimpsest
148:Very Sweet Medina
112:Sharmini Pereira.
28:) is a UK-based
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133:) in 2002.
459:Categories
445:0802140114
420:0670021741
413:. Viking.
211:The Garden
190:polka-dots
93:Huma Mulji
247:Citations
238:2010 and
175:in 1993.
56:Biography
89:Pakistan
38:Pakistan
131:Karachi
34:Bristol
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394:14 May
364:14 May
338:14 May
305:14 May
279:15 May
159:Probes
85:Lahore
50:Lahore
26:Surrey
228:Joank
440:ISBN
415:ISBN
396:2008
366:2008
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307:2008
281:2008
268:Dawn
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