Amber Arifeen is a Pakistani–American visual and performance artist born and raised in Lahore, Pakistan. She completed her MA in Painting from Wimbledon College of Arts in 2019 and graduated from UC Berkeley in 2011. After returning to Pakistan, she worked with an international women’s reproductive health organization, shaping her feminist practice and interest in South Asian female subjectivity. Her work spans painting, performance, sound, animation, film, and sculpture, and has been exhibited internationally, including in Los Angeles with Rajiv Contemporary. Arifeen currently lives and works between Lahore and New York, where she teaches at Pratt Institute and Pace University.
Interactive
Romantic Provocations is a roaming, shape-shifting exhibition that blurs the borders between art, science, politics, and public imagination. Part laboratory, part collective pause, it invites visitors into a living system where romance becomes method and friction becomes fuel. Across eight provocations, from algorithmic desire to intimacy by design, artists, scientists, and designers unsettle familiar narratives and open new ones. Multiple storylines unfold at once. Conversations remain porous. Ideas migrate across cities and disciplines, gathering new meaning as they travel and it all begins at WOW in Karachi. Visitors don’t simply observe; they participate in a slow, evolving negotiation of belief, desire, care, and disobedience. The result is a living archive of contradictions, gestures, and connections: a collective attempt to build worlds where love is disruptive, ambiguity is defended, and complexity is a shared inheritance
Interactive
Romantic Provocations is a roaming, shape-shifting exhibition that blurs the borders between art, science, politics, and public imagination. Part laboratory, part collective pause, it invites visitors into a living system where romance becomes method and friction becomes fuel. Across eight provocations, from algorithmic desire to intimacy by design, artists, scientists, and designers unsettle familiar narratives and open new ones. Multiple storylines unfold at once. Conversations remain porous. Ideas migrate across cities and disciplines, gathering new meaning as they travel and it all begins at WOW in Karachi. Visitors don’t simply observe; they participate in a slow, evolving negotiation of belief, desire, care, and disobedience. The result is a living archive of contradictions, gestures, and connections: a collective attempt to build worlds where love is disruptive, ambiguity is defended, and complexity is a shared inheritance
