March 25, 2006

The Art Biennale, once just an art exposition held every two years in a given location, has now turned into a tool of diplomacy for nations that recognize the value of their cultural capital.

Today, dozens of such mega exhibitions take place on all continents but the Venice Biennale is still widely accepted as the most influential.

The Venice Biennale began as far back as 1895 with the aim to use an art and craft show to regenerate economic activity in the region. Since then, it has evolved into a widely publicized art event that draws millions of visitors to these historical islands and put a high premium on its water-logged real estate.

One reason why Biennales continue to sustain the interest of the art fraternity is because it has shown remarkable ability to reinvent itself to suit the changing dynamics of contemporary art.

At the 2005 Venice Biennale, for the first time two women curators were invited to lend their vision to vitalize the show, particularly through the section Always A little Further which made visible a large body of art from non-Western nations. A must-mention is the first time presence of Afghanistan represented by Kabul born Lida Abdul and Rahim Walizada. From Pakistan, New York based Shazia Sikander presented SpiNN, a DVD installation

The traditional Biennale concept which previously concentrated on formal display in spacious exhibition spaces in recent year has become de-centralized as can be seen in the two 2005 events at Istanbul and Sharjah, where the street and souk (bazaar) became an integrated space for site-specific art. Even an un-used underground train terminals drew the attention of curators looking for an unconventional ambiance. This has also been successful in generating interest by taking visual art to the people in their own environment.

The new school of thought that has emerged in response to the existing Biennale experience advocates a more inclusive event from the host countrys perspective. Particularly in developing countries, where there is a demand to use the infrastructure of the mega event for cultural interventions at a grassroots level. The Biennale in Angola plans not to limit the event to the visual arts but draw from other art forms crafts, music etc. in a carnival inspired cultural event in which the people will not be on-lookers or consumers but participants.

The Asian Biennale that began last week in Dhaka was an interesting experience for me at many levels. As the 12th Biennale of a young country, it speaks highly of its commitment to artistic expression and the presence of a political will to build an impressive infrastructure of museums and galleries to support initiatives in the visual arts, something Pakistan has failed to achieve in close to six decades.

The integration of art in the mainstream life as an instrument of national cohesion and widespread pride in the cultural continuity reflects a deeper State engagement with the aspirations of the citizenry. One cannot but help but reflect on the ongoing disconnect between the state and arts fraternity caused by the politicization of culture and its manipulation throughout Pakistans history. Its unfortunate that the recent spate of state patronage comes off the checklist of media-managers in search of a soft image for a State rather than out of an understanding of the cultural aspiration of the nation. In the past, these cosmetic changes have always resulted in a backlash from the orthodox lobby in the corridors of power. It is this uncertain, unplanned and unsustainable attitude towards art and culture that has been counterproductive.

Dhaka, meanwhile despite its all its traffic congestion and squalor, its share of political unrest has with a sustained major art activity, the Asian Biennale, has won itself a place on the cultural map of the world. At the 12th Asian Biennale both public and private institutions collaborated to host over 500 works and dozens of delegates in Dhaka. The exhibition was spread over three major exhibition spaces that included The National Art Gallery, The National Museum and The Osmani Hall, where the show was inaugurated by the President of Bangladesh.

The three Grand Prizes selected by jury members drawn from from China, Sri Lanka, Vietnam and Bangladesh were awarded to two installation art pieces from Bangladesh and Japan respectively and to a painting from Iran. The prize- winning works from Bangladesh and Iran showcase the two popular perceptions of Islam. In Dhali Al Mamoons Dialogue, an installation constructed from objects crafted from tin sheets, the reference to shuttlecock burqa clad figures and the rites of ablution as dominant symbols of extremist interpretation of religion is very evident. The lights both from within the forms and focused from outside bounced off the hard surface to fully explore the industrial material and create an uneasy space for the viewer to be in.

Sedaghat Jabbari from Iran emphasizes the spirituality introspection and harmony embedded in the Islamic art of the manuscript. Floating on a sumptuous gold space are interwoven alphabets that leave behind fleeting impressions of the nine holy names selected by the artist. The abstraction of the script helps the painting to transcend tradition and hold a contemporary artistic dialogue.

Even if the awards were a politically correct choice in a Bangladesh divided between secularists and religious extremists. It would help to remember, that if art is a reflection of life, than these works successfully convey the two main philosophical trajectories that inform social change in present day Asia.