The Lahore Biennale Foundation (LBF) enhances public spaces and global perceptions of Pakistani art through collaborative projects that foster local
The Lahore Biennale Foundation (LBF) enhances public spaces and global perceptions of Pakistani art through collaborative projects that foster local and international artistic connections.
Sousan Qadeer: How far has LBF come from its first interaction to now?
Qudsia Rahim: We started in 2014 after completing our foundational profile in 2013. Initially, our idea was straightforward: bringing art into public spaces and creating opportunities for artists without solely initiating projects ourselves.
Our internal operations differ from how we present externally. In the beginning, we issued open calls, leading to projects like “Where the Bus Stops,” which involved seven selected designs implemented across seven routes, resulting in 72 bus stops. The goal was a community-driven initiative in complex public spaces through simple, non-disruptive projects.
While our journey began in 2013, our first biennial took place in 2018, followed by another in 2020. The 2024 biennial marks our third, and we’ve approached this journey gradually with discipline and focus. Each biennial has evolved: the first was a test of existence, the second focused on executing by the book, and now, the third emphasizes refining our global and local impact.
A biennial is a complex undertaking, often misjudged by numbers or purely national participation. Instead, it’s about placing Pakistan in dialogue with a global audience, fostering economic growth and international artistic collaboration. For instance, a Dawn article in 2020 cited a significant surge in art sales, estimated at 9,000%. Whether or not this number is accurate, it underscores the increasing appreciation of art in Pakistan. The biennial’s network-building was exemplified by attracting figures like Hurul Kashmir, whose involvement expanded Pakistan’s reach internationally.
Moreover, investment in the arts has risen—whether through government support, increased galleries, or institutions offering art-related programs. We’ve seen public spaces like the Lahore Fort’s Summer Palace and YMCA transformed into art hubs, contributing to Lahore’s regeneration. This biennial is a catalyst for tourism, with the Foreign Ministry acknowledging the influx of artists and visitors to Lahore, further positioning it as a global cultural center.
S.Q: How are sustainable art practices shaping the future in the Global South?
QR: This is a crucial moment for South Asia to embrace collective, regional approaches. Our shared history and geography demand unified action, especially in tackling climate emergencies, which affect us all equally, regardless of socioeconomic status.
The current biennial exemplifies collective potential, bringing together diverse thinkers, researchers, and artists. Through a collaborative platform, we’ve engaged the city in hosting collateral events, fostering a city-wide cultural resonance. This convergence promotes pluralism and thoughtful dialogue, with ripple effects extending beyond the biennial. Past editions have already inspired initiatives, and we anticipate further positive outcomes from this edition.
S.Q: How have LBF’s displays reshaped Lahore’s public areas?
QR: When we began in 2013, public art was scarce. Our challenge was to introduce artists to public spaces and vice versa. Unlike studio or gallery settings, public art necessitates engagement beyond the self, aimed at a broader audience.
Today, we see art exhibited at locations like the Barkat Ali Hall, Shahi Hammam, and YMCA, reflecting the community’s embrace of these spaces. By situating art in public venues like Chalimar Gardens or the Lahore Fort, we invite diverse audiences into unique artistic experiences. Citizens are taking ownership, creating a connected cultural landscape.
S.Q: What has been your experience working with John Tain and international artists?
QR: Global connectivity is essential for Pakistan. Despite periods of isolation, our resilience and cultural richness merit global engagement. The biennial serves as a vital bridge, connecting local and international artists, curators, and communities.
John Tain’s involvement, given his role at the Asia Art Archive and his interest in Pakistan’s art and history, has been invaluable. His academic and research-driven approach aligns with our goal to foster critical thinking and grassroots research in Pakistan. This biennial aims to reclaim our historical and cultural narrative, and John Tain’s expertise is instrumental in shaping this vision.
