Lahore Biennale Foundation’s Ecological Inquiry

The premise of the third edition of the Lahore Biennale features a potential for a sustainable future while drawing inspiration from the intersec

The premise of the third edition of the Lahore Biennale features a potential for a sustainable future while drawing inspiration from the intersection of the themes related to art, environmental activism and inclusivity among diverse communities. This year’s theme ‘Of Mountains and Seas’ curated by John Tain with Qudsia Raheem as the director of the Foundation, gathered over sixty artists representing around thirty countries to reimagine the bustling cityscape of the Lahore City. With work displayed at several historical locations and a number of collateral events held at various galleries, LBF captured the attention of art enthusiasts by showcasing innovational and revolutionary creative practices from around the globe that address current ecological issues while fostering a deeper appreciation for the diverse practices and beliefs that have sustainably shaped communities for generations focusing on the lens of Pakistan and the Global South.

As its forerunning scheme, the Lahore Biennale Foundation (LBF) aims to provide an inclusive opportunity to foster artistic practices that are engaged in critical dialogue and collaborative in action to shed light on global and local alarming concerns. The foundation’s stakeholders hope to unite diverse communities through elucidative methodologies to provide an enriching experience of art and its surrounding setting. For the greater good, it strives to produce a generation of responsible citizens equipped to provide sustainable solutions for underrepresented and marginalized communities.

For one such instance, Hamra Abbas’s Aerial Studies deployed marble inlay technique in several collaborations with experts in a number of workshops to develop an affinity with the nature of the stone and familiarize with its variety that is formed in Pakistan and across Asia. Abbas documents the mountain range of Skardu, a subject of climate change and global warming’s impending doom. The glaciers, however, which have been immortalized on marble slabs are endangered still in the light of expected floods and heat waves every summer.

Hamra Abbas.Aerial Studies. Commissioned in 2024 by Lahore Biennale Foundation. Image by Amna Zuberi

Bani Abidi’s KM-32 thoughtfully examines the concept of jugaad—a practice rooted in South Asian tradition that embodies creativity and resourcefulness. This approach not only extends the lifespan of everyday objects but also offers a nuanced perspective on consumerism, challenging the prevalent notions of disposability. The video highlights the important work of skilled repairmen, who make significant contributions to sustainable living by encouraging mindful consumption, as a gentle reminder that innovation often arises from necessity.

In addition to that, some existing artworks such as The Markhor, by the renowned artist and art educator Zahoor Akhlaq were also loaned from the collection of Imran Butt, is crafted intricately from diamond-shaped units that come together in a harmonious design that represents the country’s national animal. The goat’s iconic screw horns are reimagined as elegant, symmetrical arabesques, showcasing a blend of artistry and cultural symbolism, serving as a testament to Akhlaq’s deep-rooted passion for preserving and celebrating the unique built and natural environments that define our homeland. By bringing this piece to the display, the foundation aimed to highlight the beauty and significance of this majestic creature, embodying a spirit of conservation and appreciation for the landscape that nurtures it.

Furthermore, the cultural importance of significant objects of our society is highlighted in Water Bodies, which is a collection by Imran Qureshi, focusing on water management issues in Lahore, where residents receive water only at specific times. He transformed common blue backup water tanks with abstract splashes and floral motifs, incorporating these designs into a permanent tile frieze along the underground walkway from the GPO Building to Shalimar Gardens Station. A translucent window installation at the station and a rooftop display of painted vessels further highlight the city’s water challenges. The project draws attention to the blue tanks as the Metro Train runs above ground. At Shalimar Gardens, a traditional water tank is adorned with ceramic pieces from Multan, linking contemporary water issues with historical water features highlighting the essential yet precarious storage for water availability in Lahore’s densely populated landscape.

Imran Qureshi. Water Bodies. Commissioned 2024 by Lahore Biennale Foundation.Image provided by Imran Qureshi

The dialogue extends from the inaccessibility of clean water to highlighting the emerging and most pressing issue in Lahore nowadays which is smog. Dryden Goodwin’s Breathe, a thoughtful series of public installations throughout Lahore, is designed to engage the community and address critical policy issues surrounding the pressing global concern of air pollution. To underscore these matters, Goodwin created a collection of graphite drawings and digital animations featuring clean air campaigners who are visibly striving for breath, symbolizing their fight against pollution. The body of work is displayed on large-scale posters in prominent public spaces across Lahore, including metro stations, tunnels, flyovers, and building facades. This initiative marks Goodwin’s inaugural project in Pakistan, building upon the artist’s previous project in London on similar issues that elevate the local air pollution challenge to a global context, framing access to clean air as a fundamental human right and aligning it with broader climate change challenges which are not only being experienced in the third world countries but are also affecting the west.

Breathe, Dryden Goodwin for the Lahore Biennale 03. Image Courtesy the artist and Invisible Dust 2024

In Memory Orbits, created by Ehsan Ul Haq and Iqra Tanveer, displayed at the British Barracks in Nasir Bagh combines ceramic sculptures and light projections in a cave-like environment, conveying urgency to remember and reflect on the resilience and survival instinct of our predecessors. The project symbolizes the passage of time, evoking nostalgia and anticipation by featuring an eclipse which represents a cycle of memories. Clay sculptures honor those facing extinction, while an empty panopticon resembles a waiting wilderness. A cloth dyed in mud from the past mourns loss, and in the corners of the circular space, a raker stands as a witness. The whole project with all its elements encapsulates the transition between ruin caused by humankind and rejuvenating attributes of nature.