I am coming back to Lahore next week. Little did I know the city would get to me first.
It started, as most things should, with art. Pakistan’s acclaimed Rashid Rana was due to talk at the Museum of Modern Art about the Lahore Biennale Foundation. He was in conversation with the museum’s director, the estimable Glenn Lowry, about his role as Artistic Director of the LBF; and I was anxious to hear what Rana had to say about the event, which is slated for late 2017. Much has already been said about the LB in print, which is a testament both to its PR team as well as the country’s earnest desire that the event should succeed. It is a major thing to be talking at the MoMA, and with no less a personage than its director. I like to think that if Contemporary Art is a religion unto itself the MoMA is its temple. And now Lahore has reached its inner sanctum.
The 100-person auditorium was packed to capacity within minutes and there was a line waiting outside the door. I recognized a host of people (some famous, others aspiring) and it felt a little like being at a GT in the homeland, with lots of air-kissing and side-glancing. The talk began with Rana explaining how the Biennale’s aim was to present art as a function of history, meaning that the art shown would not merely be for its own sake but as a product of its environment. It is an important distinction because what separates an Art Biennale from an Art Fair is the Art Market. Biennales usually have themes, a star curator and often veer towards art that is more about concepts than sales. Art fairs, by comparison, are like a Sunday bazaar with easels. The LB will be, it is promised, for the people and public of Lahore.
Rana & Lowry sounds like an alt-rock folk duo, no?
Lahore was obviously the star of the evening, and Rana & Lowry (sounds like an alt-rock folk duo, no?) spoke lucidly about the pitfalls and advantages of having such a large, ambitiously public event in a country where these things usually don’t happen without mini-aneurisms. I was surprised to find out in later conversations how very much the Foundation has been doing, without much fanfare. They’ve redone children’s hospital wards, are having artists redo benches in railway stations and donating artsy bus stops for public transport. What also surprised me was how open Rana and the foundation are to input and collaboration. From artists, yes, but also from writers, scientists, engineers, architects, dancers, actors, musicians, filmmakers - literally everyone can be part of the event and all you need is to have an idea of how to engage with the public of Lahore. I encourage whoever is interested to go to their website and contact them. They are looking for people to propose projects, from across Pakistan, and I believe every person who joins the effort (from any city) would be a win for everyone. Even as I write that, I can hear people snorting about “Why is it always Lahore?” Florence, Ankara and Bombay probably feel that way about Venice, Istanbul and Kochi, but a biennale does have to pick a city, and Lahore with its plethora of pretty sights, art colleges and artists makes sense for the LBF’s virgin effort. I am hopeful that the rest of the country sees the event as its own. It is, after all, for all of us.
Sarmad Khoosat spoke at the LLF in New York
I also hope that you bought that sentiment, because there is a lot more Lahore coming right at you. Mere days after the LBF talks and parties (“Hi! Hi! Hovayouu?”), the Lahore Literary Festival took place at the Asia Society with even more satellite parties (“HihowvayouhaanOMGwhatever…where’s the bar?”). As you know, I’m a big fan of the LLF. Huge. I missed the one this year and so was thrilled that it came all the way to me. I take it as a gesture of love. I spent so long celebrating the fact of the LLF that I actually missed the first session of it, which started bright and early at 10 am on a Saturday morning.
The event had sold out within days of its announcement, and when I went for the session on Urdu literature you could tell why. It was packed. Held in the one main auditorium of the Asia Society, there were about 7 sessions that went on all day with a break for lunch in the middle. There was some on politics and policy (obvs), one on Contemporary Art, one on popular culture and film, one on education and another I skipped because I decided to eat a hotdog in the park. Some of the panelists were familiar to me either through their work or their names, but pretty much everyone was articulate, thoughtful and interesting. By far the best speaker was the film director Sarmad Khoosat, who should be given his own talk/radio show immediately.
It was in essence a very paired down version of the Lahore event, for obvious reasons, but I do hope they make the pilgrimage to NY (and other Western cities) every year. I believe LLF satellite events like these to be platforms for free-flowing dialogue on art and culture from Pakistan (I wish there were more cultural and literary events than policy events) that are sometimes difficult to pull off in the States and elsewhere, driven as the discourse is by policy wonks and the institutions that fund them.
The day ended with a qawali by the sensational Saami Brothers, who gave a wonderful performance. I found myself choking up with nostalgia by the last ‘mast qalandar’ (which someone next to me said would turn to just choking when I am back in Lahore - oh Lahori cynicism, how I missed thee!). I am still recovering from all the festivities that went with the festival, but I was deeply touched to see Lahore in NY. We should all be proud ‘coz she looked real good.
