From Russian Winter to Pakistani Milieu: Artistic Expression, Romanticism, and Sociopolitical Commentary

Exploring the Intersection of Art, Activism, and Identity in Tazeen Qayyum’s ‘Khayaal’ Exhibition at Canvas Gallery …

Imagine a scene from a film: the camera speeding along on a vehicle, capturing a sequence involving a small number of snow sleds rushing through the mist, wind, and flying ice over a broad frozen river in the peak of a Russian winter. Each low-slung carriage is pulled by a team of four powerful horses galloping at full speed. Screams, shouts of wild laughter, and the sound of tambourines fill the air, blending with the bells attached to the horse-team’s yokes. The sleds are filled with revelers wrapped in luxurious bear-skin and sable furs, their hoods and legs covered in heavy rugs. Among them, we catch sight of two young women snugly nestled in one of the carriages, their bodyguards in heavy coats and large ushankas surrounding them. The young women have cleverly painted suave, spare mustaches on their faces to avoid recognition. This exhilarating and risky escapade is the result of a visit by a traveling troupe of entertainers to Count Ilya Andreyevich Rostov’s palace. To avoid scandal, the young daughters of the Count disguise themselves in this hilarious manner.

This scene is from the film ‘War and Peace,’ adapted from Leo Tolstoy’s novel and directed by Russian filmmaker Sergei Bondarchuk in 1966. Lyudmila Savelyeva plays Princess Natasha Rostov, capturing the tension, excitement, and danger of the sequence. It aptly portrays the privileged and wilful lifestyles of the Russian aristocracy during the time of Tsar Alexander the First and Napoleon Bonaparte.

Now, fast-forward to 2023 in Pakistan, specifically Seaview in Karachi. The setting is similar, but the snow sleds have been replaced by SUVs, and the raucous participants are the inebriated scions of Sardars and robber Barons. In this contrasting scenario, we find ourselves amidst Tazeen Qayyum’s exhibition titled ‘Khayaal’ at Canvas Gallery in Karachi. Qayyum’s exhibition merges Urdu calligraphy, romanticism, and socio-political commentary. As an artist-activist, Qayyum has been consistently exhibiting her work since 2000, and her followers are familiar with her dual ethos.

One can argue that the crux of Qayyum’s practice is directly linked to the notion of the daemonic—the fusion of emotions and the physical body. Extensive post-modernist literature exists on topics such as identity, gender, and politics, which inform Qayyum’s artistic interpretations. Throughout history, artists like the Spanish printer Francisco Goya, often considered the father of Spanish Realism, have merged historical facts with social commentary. Goya’s series ‘The Disasters of War,’ depicting the atrocities of Napoleon’s invasion of Spain, is an early example of this approach. Social and political satire through painting and writing has always been present.

However, in our contemporary context, there is a misguided belief that art should be solely instrumental in effecting positive change. In the West, funding bodies and grant institutions for the arts have tied their activities and subsidies to a form of public return on investment in cultural institutions and museums. This has led to the rise of ‘interactive’ art, which, in the opinion of this writer, has resulted in devastating consequences. True art often thrives when it is iconoclastic and rebellious.

Qayyum’s work does have some limitations in its graphic construction. It is rare for a work in any medium to be complete and flawless upon its initial creation. Artists like Henri Matisse and Juan Gris have embraced a step-by-step process, emphasizing careful consideration over spontaneity. Additionally, while Qayyum’s ‘Khayaal’ exhibition draws inspiration from Urdu calligraphy and romanticism, a deeper exploration of these themes could add further depth and meaning to her work.

Despite these minor concerns, Qayyum’s exhibition is a testament to the power of artistic expression and the ability to combine aesthetic beauty with sociopolitical commentary. ‘Khayaal’ invites viewers to reflect on the intersections of art, activism, and identity in our contemporary world. Through her thought-provoking pieces, Qayyum encourages us to challenge the status quo and consider the role of art in shaping societal narratives.

In conclusion, from the wintry landscapes of Russia to the vibrant milieu of Pakistan, art continues to be a powerful medium for storytelling, activism, and self-reflection. Tazeen Qayyum’s ‘Khayaal’ exhibition exemplifies this, offering a unique blend of Urdu calligraphy, romanticism, and sociopolitical commentary. By engaging with her work, viewers are prompted to contemplate the complex relationship between art, activism, and personal identity. Qayyum’s exhibition serves as a reminder that art has the potential to challenge, inspire, and shape our world.