As Lahore continues to bloom with art exhibitions in October and November, the city increasingly feels like a vast, ever-expanding art gallery.

Amidst this creative momentum, the National College of Arts (NCA) in Lahore organised its first-ever Triennale — an expansive platform that brought together artistic voices from across Pakistan and around the globe. The scope of the event extends beyond exhibitions, as it is supporting workshops, residencies, performances and public interactions, in order to build a vibrant visual dialogue shaped by multiple perspectives.

I had the privilege of attending the inauguration ceremony and, the following day, I interviewed Professor Dr Murtaza Jafri, Vice Chancellor of NCA, to discuss his vision behind curating and executing an event of such magnitude — one that also marked 150 years of the institution’s legacy and artistic excellence. In Jafri’s words, it was “a dream that finally found its form.”

Though organised in only three months, and not without a few minor gaps, the event’s substantial community impact far outweighed any shortcomings. Open calls were announced for national and international artists to present their work under the theme “Kasb-i-Kamal Kun”, a Persian/Urdu phrase meaning “Make excellence your pursuit.” The theme also paid homage to the historic legacy of the Mayo School of Arts, where artists were celebrated for their craftsmanship and pursuit of excellence.

Lahore’s NCA Triennale was a sumptuous celebration of Pakistan’s rich artistic past and present

The platform embraced works from the Mayo School archives/old masters, alongside contributions from alumni, emerging artists, recent graduates, students and even independent creators who lacked access to formal exhibition spaces. Twenty-two international artists participated, including one from Palestine, Mohammad Al Hawajri.

Ten workshops were conducted prior to the Triennale, offering students and young practitioners valuable opportunities to learn from global experts. It stood as a powerful example of community engagement — bridging borders, celebrating diversity and bringing creative minds together for dialogue and collective inspiration.

Moving on to the works displayed — the Zahoorul Akhlaq Gallery, along with contemporary artists, presented archival pieces by Lahore’s old masters: Ustad Bashir ud Din, Salima Hashmi, Sabir Nazar, Mohammad Asif, Khalid Iqbal, Shakir Ali, Masood Hameed, Zahoorul Akhlaq, Ijaz Hassan, Saeed Akhtar, Aijaz Hassan, Ghulam Mustafa, Iqbal Hussain, Nazish Ataullah, Zulfiqar Zulfi, Mohammad Javed and Nayyar Ali Dada.

‘Kitab Ghar’ presents works by 66 illustrators, curated by the British Museum’s curator Venetia Porter. The display features book covers created for renowned writers by artists such as Imran Qureshi, Ali Kazim, Sarah Mumtaz, Saeed Akhtar, Safia Khan, Maryam Bani Asadi and Murtaza Jafri, among others.

Rashid Rana’s site-specific installation titled Everything and Nothing, executed in inkjet print on vinyl, unfolds like a vast visual archive — a library of books woven in a minute scale. The work reflects on stories once significant but now forgotten on the shelves. Composed of hundreds of pixelated Renaissance images, it probes how history, art and technology intersect.

At the top of ‘Kitab Ghar’, Imran Qureshi’s canvases embody the expressive act of flinging pigment on to large surfaces, transforming abstraction into storytelling. His compositions unfold like metaphoric landscapes — gardens evolving under the shadow of political unrest and pervasive violence. Suspended in time, these works capture silent movements and shifting characters, offering a meditation on fragility and resilience.

Hamra Abbas’ miniature portraits impress with their precision at such a small scale. Usman Saeed’s Saira Bibi stands out for its detailed technique and social commentary. Overall, the miniature works engage viewers through their meticulous craftsmanship, structured album formats, and refined exhibition presentation.

Murtaza Jafri’s pencil sketches rely on minimal line work and gesture drawing, capturing posture, weight and mood. The sketched figures sit in reflective inward-looking pose — shoulders curved, head slightly bowed — suggesting a contemplative pose. Ali Azmat’s DANGAL demonstrates his deep interest in Pakistani truck art and its traditional portrayals of the pehalwans [wrestlers] and their sport.

Masuma Halal Khwaja’s beautifully hand-woven textile collage reflects a deep sense of effort and artistic precision. With varied works, such as Sound of Distant Drums, Charlie Aur Hum, Adoration of the Magi and Similar Histories Different Futures, she invites the viewer to perceive the work through multiple perspectives.

Khalil Chishti, who is based in New York, explores human conditions, societal issues and his personal narrative through an iron calligraphy installation. A War of Narratives, an encaustic-on-board work by the Canada-based Amin Rehman, offers a strong commentary on neo-colonialism, political turmoil and aggressive globalisation, raising critical questions about human sufferings.

The widely painted theme of Saint Veronica offering her veil to Christ has long symbolised devotion and empathy. In Optimistic 2, R.M. Naeem reinterprets this theme on a personal level, reflecting his longing for his wife, who moved abroad for studies. The towel-like cloth echoes the idea of symbolic presence, while the child — represented through a toy — signifies his care and affection for their young child.

Ultimately, the Triennale not only showcased the rich diversity of artistic voices but also reaffirmed Lahore’s position as a thriving hub of creativity and dialogue.

The NCA Triennale was on display at the National College of Arts, Lahore from October 31-November 30, 2025

The writer is an art critic, fine artist and educationist based in Lahore. She can be reached at ayeshamajeed2015@gmail.com

Published in Dawn, EOS, November 30th, 2025