Aroosa Naz Rana is a critically acclaimed Artist. She has shown in many national and international venues including public shows in museums including; 7 Mediations Biennale Polska Koncepcja The Sky's the Limit | Poland. Museum Capitolare di Arti Italy, Colombo art Biennale, Dhaka art Summit, Museum Capitolare di Arti Italy, Celebration Square Mississauga,Canada, Gallery Latitude 28 solo India, Collateral Event, Lahore Biennale, amongst many other group and solo shows in Pakistan and Abroad. Aroosa’s practice revolves around, challenging the construct of the 20th century’s definition of Art and provides to initiate the debate of its poetics, functionality and its relationship with the view, viewed and the viewer. Rana mostly works in digital media and video with ‘ Inter-visuality’ as her main concern. She lives and works in Lahore, Pakistan, and teaches at the Beaconhouse National University as an Associate Professor in the Visual Arts department.
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
