The Karachi Biennale 2024, curated by Waheeda Baloch, opened at Bagh Ibn e Qasim initiating a powerful art dialogue for the citizens. As the sun
The Karachi Biennale 2024, curated by Waheeda Baloch, opened at Bagh Ibn e Qasim initiating a powerful art dialogue for the citizens.
As the sun sank over Bagh Ibne Qasim, casting a blend of blue, pink, yellow and purple across the sky, Karachi Biennale 2024 was inaugurated—dimly lit and intimate, a quiet amalgamation of art and history interwoven. Against the historic Bandstand, crafted in 1920, a projection settled over the architecture, portraying not only its past but the present struggles, hopes, and cultural vitality that the Karachi Biennale has long sought to nurture. The scene was filled with a gentle hum of voices, mingling over chai and old friends and colleagues conversing. It was a reanimation of the city’s public spaces, rekindling a shared intimacy through art.
Mayor Murtaza Wahab, presiding as Chief Guest, announced his vision for Karachi’s heritage sites, seeking to infuse spaces like Frere Hall, Bagh Ibne Qasim, Alliance Francaise, NED University and Sambara Art Gallery with art, music, and community gatherings. His words spoke to a promise that art should be woven into the city’s public spaces, allowing every citizen to encounter these spaces with renewed meaning.
Nilofer Farukh gives the welcome address at the podium
Curator Waheeda Baloch shaped the Biennale’s theme, Rizq/Risk, with an awareness that resonated deeply from her time with flood victims during Pakistan’s catastrophic 2022 floods. She sought to transform Rizq/Risk into an exploration of our shared vulnerabilities, echoing the heartache of a nation as it faces the forces of climate change. Works within this theme presented voices on the colonial and neoliberal policies that dictate food production. Through installations and visual narratives, artists channeled a dialogue on Indigenous wisdom and women’s roles as custodians of the land, grounding the discussion in real experiences and longstanding knowledge.
Curator Waheeda Baloch discussing the theme “Risk”
One of the most notable aspects of the evening was the award presentation of the KB24 Juried Art Prize. The duo, Nadeem Al Karimi and Maham Nadeem from Hunza, were celebrated for their evocative work, “The Last Act” and “Dismantling Life.” The installation, a tunnel-like structure lined with the wrappers of processed food, told the story of human and animal habitat erosion in Hunza—a tribute to the region’s threatened landscapes and identities. This installation highlighted the creeping encroachment of concrete over the valley’s untouched beauty, capturing the balance between nature and modernity that hangs in peril. Their work stood as both an ode and a plea, a reminder that the beauty of Hunza, like so many parts of the world, is imperiled by the very hands that admire it.
Dr. Zeelaf Munir’s presentation of the KB24 EBM Emerging Artist Prize to Anusha Khwaja honored a similar theme, underscoring the connection between women and food as cultivators and protectors. This work spoke not only to the rural and domestic realms of Pakistan but also to a universal experience of women as the custodians of sustenance—a role often unsung yet fundamental.
“The Gaza Project,” a showing of fabric-based pieces by Pakistani students, extended the Biennale’s mission, connecting the local struggle with global resistance. This tribute acknowledged the courage of Gaza’s artists, merging solidarity with the spirit of a shared artistic heritage—a testament to how borders and boundaries cannot limit empathy, connection, or creativity.
Sheema Kermani’s performance, with its focus on womanhood, age, and the passage of time, seems to offer a profound meditation on the enduring strength of women across generations. Each gesture acts as a tribute to the different stages of a woman’s life—the innocence of youth, the resolve of maturity, and the wisdom of age. Her movements imbued with grace yet marked by a quiet intensity, evoke the way time shapes and refines resilience.
The circular choreography itself might echo the cycles of life, a powerful visual of continuity and interconnection, suggesting that womanhood is not a linear journey but one deeply embedded in cyclical rhythms of learning, healing, and rebirth. Through this, Kermani honors the complexities of aging and the layered experiences women carry with them, urging the audience to see age not as an endpoint but as an accumulation of stories, wisdom, and inner strength. Her collaboration with the other two performers reinforces this intergenerational solidarity, each of them moving as a part of a shared, unbroken lineage that carries the collective memories and spirit of countless women who have paved the way forward.
Sheema Kermani’s performance
Equally moving were neurodiverse artist duo, Lundahl and Seitl’s River Biographies. The performance presents a metaphor for interdependence, urging viewers to recognize rivers not as mere resources but as integral, sentient parts of our shared ecosystem. By positioning humans and rivers as deeply intertwined entities, the performance emphasizes how human existence is shaped by rivers’ flows, rhythms, and even “moods.” This perspective allows the audience to feel the weight of their impact on these natural bodies—reminding them that every consumption and every act of pollution has profound consequences, not only for the rivers themselves but for the entire community relying on them.
The immersive experience, where groups of twenty engage with rivers as living presences within themselves, cleverly repositions the visitors as active participants in a localized ecosystem. This approach breaks down the boundaries between the exhibition space and the natural world, drawing on sensory experiences and movement to create a sense of kinship and stewardship. Memory and renewal form the performance’s emotional core, encouraging Karachi to reconnect with its origins—its history as a riverine city shaped by trade, migration, and resilience. The work becomes a gentle reminder to honor and protect these sustaining forces, to view them as sacred, regenerative bodies rather than mere resources, a sentiment that feels urgent and universal.
Lundahl and Seithl’s props for their performance
In this way, River Biographies speaks not only to Karachi’s identity but also to a global call for ecological responsibility. It suggests that remembering our shared histories with rivers is essential in cultivating a future marked by care and respect for the forces that shape our lives.
The Biennale also brought forward environmental themes, challenging viewers to confront the urgency of food scarcity and climate volatility. Baloch’s selection of works invited attendees to pause, reflect, and engage in collective memory, touching upon the earth’s threatened ecosystems and the legacy we leave behind. The open-air installation at Bagh Ibne Qasim, the reading room, and artist talks transformed the park, bridging Karachi’s bustling life with introspective moments.
The Karachi Biennale 2024 was open for two weeks, featuring works from 40 artists across 10 countries, creating a powerful space for artistic dialogue on shared global concerns.
Photography by Alizeh Afzal
