LAHORE/ISLAMABAD: The Lahore Biennale, a large-scale international contemporary exhibition ongoing in the Pakistani city of Lahore, is aiming to reclaim the historical city’s place on the international arts calendar, its curator and featured artists have said, and be a “collective and participatory” event that involved the whole city and its citizenry.
Of Mountains and Seas, the third edition of the Biennale, is curated by John Tain, the head of research at Asia Art Archive in Hong Kong, and considers the themes of ecology and sustainable futures, with special reference to recent floods and agricultural disasters in Pakistan as well as the country’s urban pollution and social, economic, political and sexual inequalities.
This will be the first edition since 2020, which had Emirate curator Hoor Al Qasimi at the helm and was displayed before the COVID-19 pandemic.
The Biennale features over 60 artists representing 30 countries, presenting site-specific exhibits as well as immersive installations that draw attention to issues caused by environmental degradation, along with illuminating the city’s vernacular and indigenous heritage as transformative resources for future sustainability.
Exhibitions are being featured across a dozen venues across the city, including the UNESCO World Heritage site the Lahore Fort in the ancient Walled City and the famed Mughal-era Shalimar Gardens, a true treasure of Islamic garden design and hydrology that will be showcased for the first time in the Biennale.
“We wanted to showcase our art in a bustling public space, not art as gate-kept by colonial legacies or their bureaucracies,” Abdullah Qureshi, a Pakistani Artist who curated a show titled: ‘Decolonial Feminist Ecologies: On Body and Land’ put together by the Pakistan Art Forum (PAF) in collaboration with the Lahore Biennale Foundation, told Arab News.
“We tend to think of art as this controlled, quiet space where people are observers from a distance. [The artists in this show] think about these ideas outside the Western canon.”
A press release by the biennale management said the idea of placing historic sites in dialogue with more contemporary works was aimed at bringing to light the ways Lahore’s celebrated culture, architecture, and gardens, “generally understood to symbolize its palimpsest of connections to Asia and Europe through trade routes and the migration of people and knowledge, also connects with more recent conversations about the significance of historical and indigenous forms of knowledge and practices as necessary alternatives to the extractivism that plague modern societies.”
“Evidence of these local and vernacular forms can be abundantly found everywhere in the architecture, art, cosmology, cuisine, and literature across the city, as well as in the diversity of its inhabitants— people whose relation to local and regional ecosystems have been fine-tuned over millennia of cohabitation and adaptation,” the statement added.
Tain, who has previously served as curator of modern and contemporary collections at the Getty Research Institute, Los Angeles, sees the Lahore Biennale as being “collective and participatory in nature.”
“One way to think about a biennale is that it’s something which is a space in time that allows for activities and programs to take place and that necessarily involves other people outside the artist,” Tain said at an event before the launch of the exhibitions last week.
“So I think what is being planned is not artists just making work and putting it on wall or putting it on a floor, but thinking about the work as something that involves other people.”
Qudsia Rahim, a graduate of Lahore’s esteemed National College of Arts and the executive director of the Lahore Biennale Foundation, said the purpose of the biennale was for the “whole city” to take part.
“To be a part of this biennial, you don’t necessarily have to be an artist,” she said. “The good thing about art is that you don’t need the wall of a drawing room or gallery but what’s important is an idea and for that an audience is important … So, the point of the biennale’s purpose is how can we connect with each other, because we are social animals and in a way we want the whole city to be a part of this biennale.”
“ART IN A BUSTLING PUBLIC SPACE”
Free and open to the public, the biennale commenced on Saturday, Oct. 5, and will run through Friday, Nov. 8, complemented by a number of collateral exhibitions and programs scattered all over the city.
One such show that took place during the opening weekend (October 5–7) was the ‘Decolonial Feminist Ecologies: On Body and Land,’ curated by Abdullah Qureshi and featuring Iranian-born artist Sepideh Rahaa and Kenyan-German collaborative artist Syowia Kyambi.
“This is a collateral event for the Lahore Biennale 03, which is taking place in the Brown House inside the Masjid Wazir Khan courthouse,” PAF founder Imtisal Zafar told Arab News, referring to a 17th-century Mughal mosque located in the Walled City.
The mosque was commissioned during the reign of the Mughal Emperor Shah Jahan as a part of an ensemble of buildings that also included the nearby Shahi Hammam baths. Considered to be the most ornately decorated Mughal-era mosque, Masjid Wazir Khan is on the UNESCO World Heritage Tentative List.
“[Art] can’t be constricted to a neat and tidy studio or a clean canvas,” Nairobi-based Kyambi told Arab News. “Art is forever moving, changing and clamoring.”
Her work showed two distinct worlds, the high-rises and apartment complexes and rural countryside and at Thursday’s event, the artist handed out maps and pictures to her audience, shared stories and painted bright colors on a mud wall. She also encouraged her audience to speak out during her performance and voice their opinions on whether they liked it and what they understood of her art.
“We want to imagine futures of solidarity, community and resistance,” she said. “Not just stay quiet at everything unfolding in front of them.”
Speaking about the experience of working in a place as richly-textured and cosmopolitan as Lahore, with its many iconic and historical buildings, Kyambi said:
“When I entered for the first time to check the space [at Masjid Wazir Khan], it had a really light energy, and the rooftop is just perfect for my practice in this particular work, because it holds the scale but it’s also outdoors so the work can also keep on changing with the environment ... It’s wonderful to be near the mosque as well and I think it’s a really special part of town.”
PAF founder Zafar said the purpose of the biennale, like the ‘Decolonial Feminist Ecologies’ show arranged by the Pakistan Art Forum, was to promote local and lesser-known artists and bring them in conversation with international, globally acclaimed ones “to show the world how much talent we have here in Pakistan.”
Stephan Chow, a Singaporean artist whose work is featured at the Lahore Biennale, said the people of Lahore and Pakistan were very open to new ideas and art.
“This is my second trip to Pakistan,” he said, “and I find the people of Pakistan to be very rich in culture, knowledge, and they embrace ideas very well.”
Lahore Biennale aims to reclaim historical city’s place on international arts calendar
https://arab.news/bbxsp
Lahore Biennale aims to reclaim historical city’s place on international arts calendar
- Biennale features over 60 artists representing 30 countries and presenting site-specific exhibits as well as immersive installations
- Artworks are featured at a dozen venues including Mughal-era Lahore Fort and Masjid Wazir Khan in Walled City, iconic Shalimar Gardens
Ancient Italian masterpieces arrive in AlUla for first regional exhibit at Maraya
DUBAI: The Royal Commission for AlUla has partnered with the National Archaeological Museum of Naples to bring ancient masterpieces from its renowned collection to Saudi Arabia and the region for the first time.
The agreement between RCU and MANN will facilitate the transport of a curated collection of artifacts from Naples to AlUla for the “Masterpieces of the National Archaeological Museum of Naples” exhibit.
This exhibit, a highlight of AlUla’s 2024 Ancient Kingdoms Festival, is on display at Maraya, the world’s largest mirrored building, until Dec. 14.
Fifteen masterpieces from ancient sites such as Pompeii, Herculaneum and Rome are being presented to a regional audience for the first time, marking a historic debut outside Italy.
The Nilotic Mosaic, displayed abroad only once before in Japan, will also be featured.
Abdulrahman Al-Suhaibani, vice president of culture at the RCU, said: “The National Archaeological Museum of Naples is a repository of masterpieces that reveal the wonders and richly interconnected stories that helped shaped the ancient world — key among them are Nabataean artifacts including alters and inscriptions dedicated to the Nabataean chief deity Dushares that show the extent of that civilization, from AlUla in northwest Arabia to the shores of southern Europe.”
“It’s a privilege for RCU to host the masterpieces of the National Archaeological Museum of Naples exhibit and to display its wonderful collection of ancient artifacts for the first time in the region as we build toward an exciting calendar of cultural events, including the AlUla World Archaeological Symposium and the Ancient Kingdom’s Festival,” he said.
Michael Buble to perform in Abu Dhabi
DUBAI: Globally acclaimed artist Michael Buble will perform in Abu Dhabi on Jan. 16, 2025, during the second edition of Saadiyat Nights.
The Canadian singer-songwriter joins an impressive lineup for the three-month outdoor concert series.
The performers include pop icon Robbie Williams on Dec. 28, Iranian music legend Ebi on Jan. 4, American vocal harmony group Boyz II Men on Jan. 25, Egypt’s renowned composer Omar Khairat on Feb. 1, and US pop sensation Christina Aguilera on Feb. 15.
Buble, celebrated for his signature blend of swing and jazz, has delighted fans around the world with hits including “Home,” “Sway,” and his rendition of “Feeling Good.”
The Grammy Award-winning artist has sold over 75 million albums globally, making his upcoming performance a highly anticipated event.
Saudi artist Fatimah Al-Nemer discusses her female-centric works and the ‘universe within’ Arab women
DUBAI: Saudi artist Fatimah Al-Nemer has devoted herself to depicting narratives of women through her multimedia art, which merges collage, photography and tapestry. From childhood, her life was shaped by the female presence, she says, whether that meant family members or characters in legends.
Al-Nemer comes from Al-Qatif in the Eastern Province, one of the oldest cities in the Kingdom. “Imagine,” she says, “it’s an area that existed 600 years before Jesus.” She now lives on Tarout Island just off the coast of Al-Qatif. The island’s name is possibly derived from Ishtar, the Mesopotamian goddess of love and war — it was here that she was expelled, abandoned by her community.
Al-Nemer claims that every household in her hometown holds some form of artist within its walls. “Al-Qatif’s rich cultural history affected us all,” she says. “It was a magical city, attracting tradespeople from Persia and Anatolia. We grew up with these stories.”
Her mother, who had an eye for design, was her earliest supporter. She provided her daughter with art materials and didn’t even scold her for painting on the walls of their family home. “She even paid for my art classes,” Al-Nemer says. “She always called me the artist of the family. If my mother wasn’t by my side, it would have been impossible for me to become an artist.”
For the young Al-Nemer, drawing and painting was her only outlet for self-expression. “As a child, I was fearful and endured social anxiety, so I would only express myself through art,” she says. “It boosted my confidence. I used to draw on walls and on paper. If I was sad or happy, I would draw about what was making me feel that way. I was impacted by art and it became a language for me.”
By the time she was 18, Al-Nemer had shifted from taking art classes to teaching them, and had already participated in some exhibitions. She also worked as a jewelry designer in a gold factory. And in 2009 she took the decision to travel abroad to further her studies.
She went to Jordan, where she enrolled as an interior design student at the Philadelphia University in Amman, exposing herself to a cultural openness offered by the capital city.
“In Jordan, people were highly cultured. Its environment was rich with artists and poets. You’re not just studying art there, you’re also going to the theater. I even performed there,” she says.
In the early days of her art career, Al-Nemer experimented with oil paintings and charcoal, depicting classical, surrealistic and symbolist scenes. At one point, she was solely making self-portraits, which she says caused some issues with family members and others, particularly when they were published in magazines and newspapers.
“I think I was saying: ‘I am Fatimah. Accept me for who I am. I am an artist and I represent this identity and my culture and I am proud of it,’” she explains.
Eventually, though, she expanded her focus to include women other than herself. She has been inspired by personal stories from fellow Saudi women. “I used to listen and live their stories as if I was the heroine of their tales,” she says.
In her large, detailed, carpet-like artworks, which are full of ornamentation and native cultural symbols, she pays tribute to Saudi and Arab women, adorned in traditional attire while holding objects related to her homeland, such as a musical instrument or an incense burner. They reflect her attachment to her roots.
“I try to embody the Arab woman with certain admirable qualities. She is the butterfly, the mother, the sister, the doctor. She is the giver,” says Al-Nemer. “She is not just a figure; there is a universe within her. It is like a letter of appreciation for all that she stands for and has given to society.”
She also treats these images, which she started making nearly a decade ago, as research-like documentation of traditional Saudi dress and cultural symbolism, focusing on specific areas of the Kingdom (beginning, of course, with her own hometown).
Often, she depicts women with their mouths or eyes covered. In part, this is to encourage viewers to focus on the details surrounding the women in her portraits, but it also reflects some of the creative limitations she experienced when younger, when it was frowned upon to make figurative art in the Kingdom. Now, however, as Saudi Arabia opens up, she feels more free in her practice.
“As artists, our lives have changed 180 degrees,” she says of the current Saudi cultural scene. “Art has become more than a profession.”
Off the beaten track in Sri Lanka
- New visa rules have made it easier than ever for Gulf tourists to visit the island nation
TORONTO: Sri Lanka has long been a favored destination for visitors from the Gulf. Easy access, budget-friendly offerings, and diverse experiences – from cultural and historic landmarks to idyllic beach resorts and scenic treks – make it an ideal getaway destination. And now, there’s one more reason for Saudis to take a trip to the island nation. Last month, the Sri Lankan government announced that residents of Saudi Arabia, the UAE, Qatar, Oman, and 31 other countries can now visit without a visa.
The capital, Colombo, is probably the most popular destination in Sri Lanka, along with Kandy and Ella, but the less-frequented areas in the central and southern regions of the country are well worth considering.
My Sri Lanka trip started in Hatton, in the Nuwara Eliya region. Often called “Little England,” the region is a reminder of the country’s former colonial rule, with Tudor-style architecture and sprawling tea estates named after their former British proprietors.
The central province is home to Sri Lanka’s renowned tea highlands. Tea is an integral part of the island’s history and culture — as its former name, Ceylon, suggests.
My encounter with Ceylon tea starts at the Dunkeld Tea Factory, owned by The Dilmah Group, a family-run business that has become a global name. The tea is single-origin — meaning it is picked, cultivated, and packed from the lush, rolling terraces of the region. The tour takes guests through the history of Ceylon tea, which actually began with coffee plantations in the 18th century. But leaf disease devastated those plantations, leading to the demise of the short-lived coffee industry in Sri Lanka. In 1867, James Taylor, a Scottish man, planted the first tea clearing in Kandy. By the late 19th century, the country had become one of the largest tea producers in the world. Guests are also invited to a tea-tasting experience, including the Orange Pekoe, the robust tea blend that is a specialty of the region.
I stayed at Summerville, one of the five palatial bungalows once home to English plantation owners which have now been refurbished into boutique properties by the Ceylon Tea Trails Hotel under the Resplendent Ceylon Group. Perched at nearly 4,000 feet and set across 2,000 hectares, the bungalows are perfect for those seeking a slow, luxurious vacation. Guests can enjoy breathtaking panoramic views of the emerald hilltops from various vantage points or unwind in the several tranquil lounge spaces scattered throughout the bungalows. Or — with a private chef and butler on hand — choose to indulge in a five-course dinner that features the likes of a Yatawatte tea-infused roasted chicken or the Earl Gray fondant.
The tea trails, ranging from four to 15 kilometers long, connect the various bungalows, offering scenic hikes through the valleys. For those seeking adventure, the newly-inaugurated Pekoe Trail (a 300-km route with 22 phases) allows tourists to explore the rich biodiversity of the area. This trail can be experienced on foot or by rail.
The next leg of my trip was drastically different. As we were making our way down from the central region to Sri Lanka’s southern tip, the hilltops, winding roads, and cool weather gave way to palm trees, speedy tuk-tuks, and tropical weather.
In the Hambantota district, the biggest draw is undoubtedly Yala National Park, the second largest national park of the country, and the one with the highest density of leopards. An early morning or afternoon game drive provides ample opportunities to spot wildlife, including the elusive leopard, sloth bears, and elephants.
After the adrenaline rush of a wildlife safari, I head to our ‘glamping’ lodge — the Wild Coast Tented Lodge, another one of Resplendent Ceylon’s properties. The luxury camp is unfenced and wildlife will often wander into the premises from the park, giving guests a sometimes-gleeful, sometimes-terrifying experience.
The lodge itself is an architectural delight, focusing on sustainable design and the use of organic materials, including bamboo. It includes 28 “cocoons” or pods scattered throughout the jungle wilderness. The interiors feature rustic touches like cooper hardware, a leopard-claw bathtub, and vintage leather furniture.
It’s also here that the jungle meets the Indian Ocean. As I wandered along the rugged coastline or enjoyed a sundowner, I was once again reminded of the serenity that Sri Lanka has to offer.
Best and Worst: Saudi gamer Xzit Thamer talks gaming, favorite shows
DUBAI: The Saudi gamer, streamer and social media personality talks gaming, favorite shows and how to have a productive day.
Best TV show you’ve seen?
“The Walking Dead.” They knew how to make a story about zombies and survival horror in a very good way. I've watched a lot of things related to zombies, but the story for “The Walking Dead” was perfect.
Worst TV show you’ve seen?
“Friends.” It felt very fake. I hate it so much.
Best advice for an up-and-coming gamer/streamer?
Don’t give up. Consistency is the key. I've been creating content for more than 11 years now. It took me six years to get to a million followers — it took me so many years to succeed. But I didn't give up. And I was consistent. So keep trying. Keep pushing.
Worst advice for an up-and-coming gamer/streamer?
To change what you’re doing. Like, I'm a gamer; if I change my content to something else that I don't love, I wouldn’t succeed.
Best advice you've ever been given?
Don’t overthink. You know what you know. Just get started.
Worst advice you've ever been given?
I was told I was wasting my time.
Best game you’ve ever played?
“Grand Theft Auto: San Andreas.” It has the best storyline. It’s about someone who left home to start a new life and then his mom dies and he has to come back to try and fix things. It also has cool gameplay and it’s the game that made me famous on streaming.
Worst game you’ve ever played?
I hate all horror games. I played “Resident Evil” when I was very young and it was so scary that I threw the disc off the top of my building. I was so traumatized.
Best gaming console?
The PlayStation 5. I don’t see the PS5 as a console, I see it as a family member or, like, a teacher. I learned to speak English back in the day because of the PlayStation. I kept a small dictionary with me — this was before I had the internet — so I could understand the games I was playing. Now, after all these years, I’m part of the PlayStation Playmakers team.
Worst gaming console?
It’s not a console but I don’t enjoy PC gaming. It’s got great graphics and everything but it’s not very comfortable for playing games. It’s not as fun.
Best subject at school?
Sports. I loved playing football. And, to be honest, I loved sports because then I didn’t have to be studying.
Worst subject at school?
I sucked at maths. Never got it.
Best holiday destination?
My favorite city is Dubai. I love going there. I’ve been there more than 30 times. I just can’t get enough. It’s the perfect city.
Worst holiday destination?
I went to Italy and I found it so boring. Plus, the food wasn’t great and, if you’re travelling, good food is a must.
Best way to have a productive day?
Wake up early. If I wake up late, I’m in a bad mood. I’m usually up between 5 or 6 a.m.
Worst way to have a productive day?
Overthinking. If you get stuck thinking about a bad interaction or incident, you know you’re going to kill your time.