January 12, 2008

It is hoped by the art community that NAG, as an institution, will become a repository of Pakistani art and an engine through which Pakistani art heritage and acumen will be preserved as a national treasure for future generations

Much to the delight of artists, curators, critics and the general public in Pakistan, the long awaited dream of the country’s art community was realised last year when the much anticipated and lately controversial National Art Gallery (NAG) in Islamabad opened its door to the public in August with the inaugural exhibition ‘Moving Ahead’.

An undertaking of the Pakistan National Council of the Arts (PNCA), the impressive and imposing premises of NAG, if utilised to its true potential, will transform the way visual arts are viewed in Pakistan, hence the title of the first exhibition. The enormous gallery spaces are a far cry from the numerous privately owned galleries around the country. Moreover, it is hoped by the art community that NAG, as an institution, will become a repository of Pakistani art and an engine through which Pakistani art heritage and acumen will be preserved as a national treasure for future generations.

Therefore, it won’t be incorrect to say that for Pakistan’s art scene, NAG was the biggest news of the year 2007!

A lot of different stakeholders have a lot of hope to see NAG come up as a viable and successful institution and its opening couldn’t have come at a more opportune time. Visual art has gained a lot of maturity in Pakistan in the last decade or so and artists, more than ever before, are being invited to exhibit internationally and are receiving a lot of acclaim for their work. So much so that Pakistani art is finding its way to the top auction houses as well as top museums around the world. Without a national gallery, artists had no befitting platform to showcase their talents at a national level, which is why NAG was so wholeheartedly fought for, for over two decades, and more recently when performing art was also included in the mandate of NAG.

Designed and conceptualised by architect Naeem Pasha, NAG is a “series of squares which is the essence of the universal whole,” and encompasses elements of “nature, tradition, unconscious creativity of the folk and the concept of a circular, circulation pattern.” The galleries form a circular pattern and are placed in gradually changing levels while remaining open-plan — thus allowing the viewer to systematically move from one gallery to the other without missing one or getting lost.

Each of the 15 galleries, spread over some 64,000 square feet, has a distinct layout and floor and wall space. Most of them are quite well lit and allow depth of field except for the Grand Hall where the viewer is unable to intimately interact with the artwork and can all too easily lose perspective.

The red brick exterior is in keeping with the style of Islamabad’s contemporary architecture but with little vegetation in the vicinity at present, appears to be a lone standee.

NAG’s true potential was realised when the inaugural exhibition ‘Moving Ahead’ was mounted. It was a comprehensive and largely inclusive exhibition, which aptly documented Pakistani art through the ages. As one walked from one gallery to the other, one could clearly notice how art has metamorphosed in Pakistan over the last six decades and where it is headed in the future. One could also trace the paths of the various art movements in the country and what impact/influence they have had in shaping the work of contemporary artists.

Each gallery was curated by 15 of the top curators in the country who were given the liberty to choose the theme for the gallery assigned. The relevant art was acquired either on loan from private collections or through contributions of galleries and artists themselves.

Quddus Mirza’s exhibition on ‘Love’ created a bit of a controversy in Islamabad in the wake of the Lal Masjid episode, however, the PNCA with support of the then minister of culture insisted that they would not censor art.

According to Jamal Shah, Executive Director of the PNCA’s visual art division, the response of the general public to the exhibition was quite good but due to severe lack of funding, sufficient advertising could not be done.

Lack of funds is the most critical problem that NAG faces. Apart from the Rs500 million released by the government for the construction of the galleries, there is no set budget for its running and maintenance expenses as well as for acquiring artwork for a permanent collection. The PNCA has filed a request for funds, which are still awaited. On the other hand, according to Director Naeem Tahir, it is also exploring alternate sources of funding since any government’s motivation is based on political factors and NAG should have some measure of independence from the government.

He hopes that the private sector will play a part and sponsor exhibitions and/or galleries. He maintains that NAG is not solely the charge of the government and public conscience must awake. He informs that donors will be given tax exemption and will also be included in the decision-making process.

On a visit to NAG, its teething problems are all too visible. The premises, which according to Jamal Shah were opened hurriedly and ahead of time (he attributes it to pressure from artists and curators) shows signs of damp, seepage and a few cracks in the walls are visible here and there. Naeem Tahir explains that this often is the case with construction in Islamabad but a veteran town planner in the capital maintains that this is not necessarily true and is never the case with good quality construction. Having said that one does hope that these flaws are only superficial.

NAG also lacks trained personnel who have the know-how of running such a massive and important establishment. The guides employed at the moment belong mostly to performing arts and show little interest, if at all, in showing people around. One went so far as to agitatedly ask the lady she was conducting if she would see every piece of art on display!

NAG’s need for qualified staff cannot be overstated since it will not only be the custodian of the country’s wealth of art but also essential in facilitating an enriching experience for local and international visitors. NAG can be utilised as an effective tool for national image building with foreign diplomats and visiting dignitaries.

As for future plans, NAG hopes to hold a biennale in 2009-2010 in which local artists as well as those from around the world will be invited to participate. In February this year, an exhibition of artists from UK is scheduled to be held, including the works of Henry Moore, Richard Leng and Anthony Caro. A national exhibition is also planned for this year.

Jamal Shah hopes that NAG will not just be a wall space but in time will become the centre of a national art debate. When asked whether NAG will also accommodate upcoming, little known artists, especially those from rural areas who are unable to afford the cost of showing their work in private galleries, he said that NAG’s agenda was to highlight artistic talent and there certainly would be space dedicated to what he referred to as ‘naïve’ art.

The institution of NAG has the ability to lead, consolidate and direct the art movement in Pakistan. One hopes that it is able to successfully play that role. It is only natural that some people are sceptical of it turning into just another government institution. Corruption in the affairs of NAG is an allegation that could seriously undermine its utility and effectiveness. The art community as well as PNCA must ensure that a very high standard of professionalism is maintained. Moreover, the need for trained museum staff cannot be overstated.

Facing page: Jamil Baloch, The Kiss, Fibre glass, sculpture, 152cm high

Top: Adeela Suleman, Open confinement, Steel rain covers, sereus, bolts, 178x90x89cm

Right: Amin Gulgee, Charbagh IV, Balance material copper, 140x70cm