Scrapbook’s Aesthetes & Artists Series presents a conversation with Aisha Zia Khan
Gallerist Aisha Zia Khan talks about reclaiming contemporary art, and its social and political contexts
And, we’re back after a hectic November, and in that sweet space between relief at the holidays and dread of what the new year will bring. I find myself buoyed by the fact of this interview - I met Aisha Zia Khan, way back in the dark ages when my gallery was still around, and a few short years later, we reconnected in Philly at Twelve Gates Arts, which Aisha co-founded, when I visited an exhibition in September.
Far from me to succumb to nostalgia, but in the present moment its worth remembering the vital role arts organizations like 12G and gallerists like Aisha play in offering multiple and layered perspectives when complex narratives are subsumed under bite-sized images and pithy declarative words. The work of artists and curators is to make complexity visible, and to also resist easy nomenclatures and narratives. I’m guilty of labeling art from South Asia as South Asian art - the othering is internal as it is external. But, less so now, thanks in no small part to gallerists like Aisha and organizations like Twelve Gates Arts. So I ask you to support this work and donate this holiday season to Twelve Gates Arts, which is doing so much to further the cause of artists and the arts in Philadelphia. You can, and should donate here.
And with that, I hope you will enjoy this interview with Aisha, and any holiday/vacation, etc. that coming up for you. I meanwhile, will return to planning for the future and share exciting announcements for Aesthete and Scrapbook soon - so stay tuned.
— Renuka Sawhney
What do you create, as a gallerist and what drives you to pursue this creative work?
As a gallerist, I create space - both literal and metaphorical - for dialogue and meaningful conversations. This space allows for the emergence of connections between artists, artworks, and audiences. What drives me is seeing how these conversations unfold, how perspectives shift, and how understanding deepens when we create environments where contemporary art can be encountered and engaged with openly. The 'creation' isn't just about the physical gallery space, but about fostering conditions where dynamic exchanges and new ways of seeing become possible.
How do you interpret the relationship between myth-making and identity in the context of Twelve Gates? Do you see your work as contributing to the formation of new identities or the deconstruction of old ones - both for artists as well as for nonprofit spaces like yours?
The space at 12G operates at an interesting intersection where contemporary artistic dialogue confronts and challenges the persistent outsider narratives that have historically defined South Asian art and identity in Western institutional contexts. The very label of 'South Asian art' is othering. At 12G we reclaim the general 'contemporary art' back regardless of what color or ethnicity the artist is and sort of deconstruct the notions of identity and the entitlement of myth-making. Through this lens, myth-making itself becomes a site of critical examination - questioning who has historically held the power to shape narratives and define identities within institutional spaces. Myself and the other curators at 12G are not generally interested in forming new identities but rather presenting ways of seeing in new ways, creating platforms for self-authored narratives that resist both Western oversimplification and cultural essentialism.
What role do you believe art should play in fostering dialogue around global crises, if any? Do you see art as a tool for activism, reflection, or something else entirely?
I speak for the 12G team when I say this: We believe that art inherently exists within the social and political context of its time. At 12G, we've consistently presented work that engages with complex global narratives, whether examining partition, displacement, conflict, or environmental concerns. However, we don't prescribe art or artist's role as explicitly activist or mandate that they must engage with crisis. I would rather provide a platform where artists can deeply explore these or any issues through their own lens and on their own terms. I also don't believe that it is right to put the burden of societal change and justice on to an artist. When curating exhibitions, we focus on creating space for interpretive possibilities and imaginative responses, allowing meaning to emerge through the dialogue between artwork, artist, and audience rather than imposing predetermined institutional narratives.
While 12G has a strong foundation in presenting South Asian American artists creating contemporary art, we are not an exclusive platform - dialogue is at the core of our mission. By centering South Asian perspectives while deliberately expanding outward, we create meaningful conversations across cultural boundaries through our exhibitions and projects. The value lies in these intersections and exchanges. We've witnessed how this approach generates rich discussions and new understandings, whether addressing contemporary art practices, urgent social issues, or broader cultural dialogues. If we're talking about larger institutional or museum platforms, there can certainly be value in identity-focused museums, but their role tends to be more historical in nature. Our interest lies in the contemporary moment and the dynamic conversations that emerge when we move beyond rigid cultural categorizations.
In what ways do you believe art can serve as a counter-narrative to the dominant myths perpetuated by politics? How do you see your work or Twelve Gates’ work engaging with or resisting these narratives?
Personally I think that when art is coopted by oppressive politics, it becomes propaganda. However, when art emerges from resistance movements, it becomes a powerful tool for truth-telling and counter-narratives. This is precisely why oppressive regimes target art first - whether it's literature, poetry, performance, or visual art. Currently at 12G, we're exhibiting Palestinian artist Belal Khalid's work documenting his deliberately destroyed murals in Gaza by Israeli forces. The strategic targeting of art in conflict zones reveals its power to speak truth to power, sometimes in ways that subtly subvert oppressive systems. In a past exhibition, we showed Khalid Jarrar's powerful performance piece where he sold vials of his own blood on Manhattan streets, exposing the commodification of war in a visceral and shocking way.
How do you think art can contribute to a more nuanced understanding of the 'other,' especially in a political landscape where differences are often exploited for gain?
I recently read an article about how the political deployment of terms like 'migrant' - a word once reserved for seasonal animal movement - reveals how language can be weaponized to dehumanize communities. Art creates space for nuance where politics often deals in absolutes. At 12G, we've observed how art created by immigrants and diaspora communities doesn't ask permission to exist or explain itself - it simply claims its space, challenging the reductive narratives used for political gain. The aesthetic center shifts to communities whose identities are often exploited, allowing for self-representation rather than representation through the lens of political utility.
How can we build solidarity across multifarious identity in the midst of a fast-moving polycrisis, when solidarity requires long-term trust-and-community building?
At 12G, we actively foster solidarity through exhibitions that create dialogs across identity lines. A powerful example is our work with Shrujana Niranjani Shridhar, whose practice explores how systems of power control land and movement through occupation, militarization, and caste. As founder of the Dalit Panthers Archives, her work with historical documents weaves narratives of empowerment, like her illustration of the Mahad Satyagraha depicting water rights struggles led by Dalit women and Babasaheb Ambedkar. Her work highlighting Raja Dhale's "Kala Svatantra Divas" essay connects to broader histories of resistance, including the Black Panthers' legacy in Philadelphia. Through such exhibitions, we create platforms where different resistance histories can speak to each other, building solidarity through shared struggles while honoring distinct experiences.
As a nonprofit nonprofit gallery in Philadelphia, what resources do you need, to build your gallery’s work, and build community? How do you go about building this community in the long-term?
As a small nonprofit gallery, our most valuable resource is sustained community engagement. We invite people to attend our exhibitions and events, join our conversations, and become part of the 12G community. Building lasting relationships takes time and consistent programming, which requires stable financial support. While we maintain a lean operation focused primarily on our artistic mission, the reality of running a nonprofit space means constantly balancing programming ambitions with fundraising needs. We welcome support at any level - from following our work and attending events to making tax-deductible donations through our website. And yes, we're always open to discussing more substantial support like endowments that would allow us to focus more deeply on our programming rather than fundraising (though we'll note that estate planning is entirely optional!).
Aisha Zia Khan is Co-founder of Twelve Gates Arts, where as the Executive Director since 2009 she provides a platform for artists and diasporic audiences to present and experience contemporary art projects. Aisha has dedicated her career to curating innovative programs and exhibitions that bridge cultures, foster dialogue, and promote artistic diversity. She brings six years of experience as a Strategic and Financial Analyst at Merrill Lynch to her work. With this expertise, she works towards the founding vision for 12G: a space as expansive and malleable as the artists it accommodates.