The second Lahore Biennale unfolded throughout Pakistan’s most cosmopolitan metropolis firstly of 2020. On the opening, friends crammed the broad forecourt that separates the best mosque in South Asia from the stout partitions of an historical fortress the place you’ll find the mirrored pleasure domes of the Mughals and the hallowed dungeons of their successors. Elsewhere within the metropolis, the red-brick ramparts of British Lahore performed host to delicate installations on themes like colonial erasure or sexuality in an Islamic Republic. Barbara Walker stencilled African subalterns of a colonial military on the partitions of Tollinton Market, the place the bookish imperialist John Lockwood Kipling curated Lahore’s first museum within the wake of the Indian “Mutiny” of 1857 and its bloody suppression. And at Bradlaugh Corridor, what the Pakistani artist Salima Hashmi calls “the crumbling skeleton of a once-noble city institution” echoed with “the wistful sound of the desert”, courtesy of the folks musicians of the Bheel: a marginalised tribe from the Nice Indian Desert whose stragglers have reached the southern Pakistani province of Sindh.
Subversive sensibility
In Pakistan, the state is probably not honest or purposeful, however the arts proceed to thrive, thanks partly to figures like Hashmi who preserve alive a subversive inventive sensibility by way of the patronage of independent-minded establishments. The Lahore Biennale is without doubt one of the latest and most profitable of these establishments. Operating to a few editions up to now, years of labor in dozens of nations went on show for simply over a month, in 2018, 2020 and 2024. Skira’s voluminous new Lahore Biennale 02 Reader, rigorously edited by the Emirati Sheikha Hoor al Qasimi and the Cornell College professor Iftikhar Dadi, builds on these spectacular foundations.
The ebook is a compendium of the concepts introduced up within the 2020 biennial and options reflections on among the works on show, alongside essays that proceed themes mentioned within the biennial’s educational discussion board. For instance, the Ajam Media Collective—which takes its identify from an early Arabic epithet for the Persians—introduced Iranian researchers to Lahore, the place they explored how centuries of shared cultural and historic identities proceed to have an effect on cities like Lahore, Tehran, Isfahan and Delhi: all essential nodes in a Persianate world that can’t simply be written off as a defunct antiquarian curiosity.
In accordance with the Reader, that workshop mentioned the “push and pull of state and native forces” at Sufi shrines in Iran and Pakistan, which have a protracted historical past “as websites of refuge in addition to hazard within the Shia custom”, whereas the anthropologist Seema Golestaneh now contributes a delicate essay on the artistic and subversive methods by which younger Iranians relate to Sufism whereas residing beneath a police state. Unable to organise formally, these latter-day mystics use track and the bare voice to convene neighbourhood conferences, which they regard as “one thing enjoyable or cool (ba-hal) within the path of Sufism (darvishi)”. It’s common to listen to Iranians and Pakistanis say that the crimes wrought by state and society within the identify of faith have pushed them away from God, however right here Golastaneh affords a glimpse of how historical traditions and the human intuition for the divine can survive the ravages of authoritarian religiosity.
Unquenchable thirst
All the time engaged with its atmosphere, the biennial featured a multimedia set up known as Indus Water Machines by the Pak Khawateen Portray Membership, a collective of feminine artists, which, in accordance with the Reader, centered on “people who find themselves united round water our bodies” in a rustic that can’t get sufficient water. The artists’ essay right here tells us how they travelled to Pakistan’s wild, “ungovernable” Kohistan area, nestled in one of many outer valleys of the Hindu Kush, the place they encountered tribal chieftains struggling to guard a lifestyle threatened by a number of ranges of insecurity. Lower off for hundreds of years of their mountain fastness, “the vacuum was a catalyst for growing distinctive cultures and dialects, however now the unique tongue is diluted with Urdu phrases”, and dams wanted for the subsistence of their downstream countrymen threaten to inundate their pastures and villages. In a single occasion, the Kohistanis have needed to relocate “so removed from the village that they’re perpetually in a state of liminality with a language, local weather, and terrain change”.
One of many quantity’s explicit strengths is its constant grounding in historic and social actuality; there is no such thing as a mute aestheticism right here. Its inroads to historical past have broad modern relevance: Devika Singh probes the reception historical past of Indian artwork within the dying days of empire. We learn the way, because the Indian subcontinent was lease asunder in 1947, manuscripts had been partitioned within the Punjab, whereas the brand new unbiased nations contested cultural id beneath the affect of orientalism and nationalism. Was “Indian” artwork a broad umbrella, with out sectarian significance, that might accommodate a diverse nexus of affect, or was it a stable, unified class that may exclude all that was Iranian or central Asian? In an ever extra parochial world, the query stays related: Hindu revivalist attitudes in the direction of Mughal artwork mirror, for instance, the advanced, contested reception of historical Hindu sculpture in Muslim-majoritarian Bangladesh.
The Lahore Biennale has up to now achieved authenticity that’s neither ossified nor simplistic, showcasing Pakistan’s artists and its tradition, however not in isolation. The Reader supplies a complete mental underpinning for that various and deeply interconnected inventive world.
• Iftikhar Dadi and Hoor Al Qasimi, Lahore Biennale 02 Reader, printed 27 March by Skira Editore, 532pp, illustrated, £45 (pb)
