Raheela Abro is a Karachi-based artist with art practice since 2010. She has exhibited her works in local and international art galleries, including two Solo exhibitions at the Canvas Gallery and more than 50 group exhibitions at numerous Art Galleries around the World. Her works are part of prominent art collections worldwide. She completed her MA in Art Education from Beaconhouse National University, Lahore, in 2017 and received her bachelor’s degree in fine arts from the University of Karachi. Along with her art practice, she also maintains a research practice, and her articles have been published in international and national research journals. As well as Abro continues her teaching practice and has taught at numerous art Institutes. Currently, she is a faculty member at the Visual Studies Department of Karachi 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
