Embedding or publication of third party content (especially from the Creative Commons) does not mean endorsement of this journal by the original authors, publishers or creators of such external or third party content. Publishing certain content does not mean endorsing the views presented therein. Nonetheless, the editor takes sole legal responsibility over the publication of any in-house Kashmir-related content on this platform since all such content can be published only through his exclusive editorial decision. Much of the content within this journal is already available in the public domain either via publication or through exhibition by major and historically recognized institutions. The two works, the textual and the visual, complement each other ad infinitum et ultra or at least till a touristic aesthetic continues to be employed to cover up the traces of a structural violence that runs deep within the land, far away from the superficial glamour and paradisaical allure that Kashmir accumulates from the oblivious and willfully oblivious tourist and visitor.Īll of the exclusive content related to or about Kashmir that is published by Inverse Journal in-house is the sole responsibility of its editor, Amjad Majid, and not the creators, authors and contributors of such content. Meanwhile, Bhat’s poem reinvigorates through the power of the verse that counter-aesthetic employed by Naqshbandi in his image-making.
#Ad infinitum et ultra series#
Needless to say, Naqshbandi’s series merits deeper critical commentary of its own.
In the case of Omair Bhat’s poem “Growing tulips…”, we find a “match made in heaven” when it comes to the evident dialogical manner in which the poem reads in perfect metaphorical and allusive harmony with Naqshbandi’s ‘image as response’ to the ‘touristification’ of Kashmir’s tulip garden. As both works show, in this particular case, their parallel vertical scale allows for a greater depth required for the process of excavation, whether that entails the retrieval of a greater meaning or the uncovering of an interred truth. For this reason, the poem and the image are displayed side by side in vertical opposition to the horizontally aligned landscape depictions that Kashmiris are all too familiar with, especially in ads. Naqshbandi’s work does something similar, running vertically and in opposition to the horizontally placed billboard ads that run freely throughout Kashmir’s roads and highways. The two works, the textual and the visual, complement each other ad infinitum et ultra or at least till a touristic aesthetic continues to be employed to cover up the traces of a structural violence that runs deep within the land, far away from the superficial glamour and paradisaical allure that Kashmir accumulates from the oblivious and willfully oblivious tourist and visitor.Īs an added bonus, Bhat (re)innovates on the idea of the title of the poem as its first verse, requiring the suspension of certain editorial conventions and demanding more attention from readers, from the uneven cadence of the first line to the last. In the case of Omair Bhat's poem “Growing tulips…”, we find a “match made in heaven” when it comes to the evident dialogical manner in which the poem reads in perfect metaphorical and allusive harmony with Naqshbandi’s ‘image as response’ to the ‘touristification’ of Kashmir’s tulip garden.
There are other examples to such artistic productions in circulation, with paintings and contemporary artworks depicting the rural environs and the cityscape being obstructed from their usual serenity by excrescent imagery of militaristic objects invading the frame from a particular angle or corner.
One of the precursors has been a series of works (“There is more to…”) produced by artist, designer and political cartoonist Suhail H. In the contemporary Kashmir of the artist and the poet, a counter-aesthetic has been developed to resist against the glamorous and synthetically beautified portrayal of the land as an idyllic Bollywood destination for tourists.
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