LAHORE/ISLAMABAD: The Lahore Biennale, a large-scale international contemporary exhibition ongoing in the Pakistani city of Lahore, is aiming to reclaim the historical city’s place on the international arts calendar, its curator and featured artists have said, and be a “collective and participatory” event that involved the whole city and its citizenry.
Of Mountains and Seas, the third edition of the Biennale, is curated by John Tain, the head of research at Asia Art Archive in Hong Kong, and considers the themes of ecology and sustainable futures, with special reference to recent floods and agricultural disasters in Pakistan as well as the country’s urban pollution and social, economic, political and sexual inequalities.
This will be the first edition since 2020, which had Emirate curator Hoor Al Qasimi at the helm and was displayed before the COVID-19 pandemic.
The Biennale features over 60 artists representing 30 countries, presenting site-specific exhibits as well as immersive installations that draw attention to issues caused by environmental degradation, along with illuminating the city’s vernacular and indigenous heritage as transformative resources for future sustainability.
Exhibitions are being featured across a dozen venues across the city, including the UNESCO World Heritage site the Lahore Fort in the ancient Walled City and the famed Mughal-era Shalimar Gardens, a true treasure of Islamic garden design and hydrology that will be showcased for the first time in the Biennale.
“We wanted to showcase our art in a bustling public space, not art as gate-kept by colonial legacies or their bureaucracies,” Abdullah Qureshi, a Pakistani Artist who curated a show titled: ‘Decolonial Feminist Ecologies: On Body and Land’ put together by the Pakistan Art Forum (PAF) in collaboration with the Lahore Biennale Foundation, told Arab News.
“We tend to think of art as this controlled, quiet space where people are observers from a distance. [The artists in this show] think about these ideas outside the Western canon.”
A press release by the biennale management said the idea of placing historic sites in dialogue with more contemporary works was aimed at bringing to light the ways Lahore’s celebrated culture, architecture, and gardens, “generally understood to symbolize its palimpsest of connections to Asia and Europe through trade routes and the migration of people and knowledge, also connects with more recent conversations about the significance of historical and indigenous forms of knowledge and practices as necessary alternatives to the extractivism that plague modern societies.”
“Evidence of these local and vernacular forms can be abundantly found everywhere in the architecture, art, cosmology, cuisine, and literature across the city, as well as in the diversity of its inhabitants— people whose relation to local and regional ecosystems have been fine-tuned over millennia of cohabitation and adaptation,” the statement added.
Tain, who has previously served as curator of modern and contemporary collections at the Getty Research Institute, Los Angeles, sees the Lahore Biennale as being “collective and participatory in nature.”
“One way to think about a biennale is that it’s something which is a space in time that allows for activities and programs to take place and that necessarily involves other people outside the artist,” Tain said at an event before the launch of the exhibitions last week.
“So I think what is being planned is not artists just making work and putting it on wall or putting it on a floor, but thinking about the work as something that involves other people.”
Qudsia Rahim, a graduate of Lahore’s esteemed National College of Arts and the executive director of the Lahore Biennale Foundation, said the purpose of the biennale was for the “whole city” to take part.
“To be a part of this biennial, you don’t necessarily have to be an artist,” she said. “The good thing about art is that you don’t need the wall of a drawing room or gallery but what’s important is an idea and for that an audience is important … So, the point of the biennale’s purpose is how can we connect with each other, because we are social animals and in a way we want the whole city to be a part of this biennale.”
“ART IN A BUSTLING PUBLIC SPACE”
Free and open to the public, the biennale commenced on Saturday, Oct. 5, and will run through Friday, Nov. 8, complemented by a number of collateral exhibitions and programs scattered all over the city.
One such show that took place during the opening weekend (October 5–7) was the ‘Decolonial Feminist Ecologies: On Body and Land,’ curated by Abdullah Qureshi and featuring Iranian-born artist Sepideh Rahaa and Kenyan-German collaborative artist Syowia Kyambi.
“This is a collateral event for the Lahore Biennale 03, which is taking place in the Brown House inside the Masjid Wazir Khan courthouse,” PAF founder Imtisal Zafar told Arab News, referring to a 17th-century Mughal mosque located in the Walled City.
The mosque was commissioned during the reign of the Mughal Emperor Shah Jahan as a part of an ensemble of buildings that also included the nearby Shahi Hammam baths. Considered to be the most ornately decorated Mughal-era mosque, Masjid Wazir Khan is on the UNESCO World Heritage Tentative List.
“[Art] can’t be constricted to a neat and tidy studio or a clean canvas,” Nairobi-based Kyambi told Arab News. “Art is forever moving, changing and clamoring.”
Her work showed two distinct worlds, the high-rises and apartment complexes and rural countryside and at Thursday’s event, the artist handed out maps and pictures to her audience, shared stories and painted bright colors on a mud wall. She also encouraged her audience to speak out during her performance and voice their opinions on whether they liked it and what they understood of her art.
“We want to imagine futures of solidarity, community and resistance,” she said. “Not just stay quiet at everything unfolding in front of them.”
Speaking about the experience of working in a place as richly-textured and cosmopolitan as Lahore, with its many iconic and historical buildings, Kyambi said:
“When I entered for the first time to check the space [at Masjid Wazir Khan], it had a really light energy, and the rooftop is just perfect for my practice in this particular work, because it holds the scale but it’s also outdoors so the work can also keep on changing with the environment ... It’s wonderful to be near the mosque as well and I think it’s a really special part of town.”
PAF founder Zafar said the purpose of the biennale, like the ‘Decolonial Feminist Ecologies’ show arranged by the Pakistan Art Forum, was to promote local and lesser-known artists and bring them in conversation with international, globally acclaimed ones “to show the world how much talent we have here in Pakistan.”
Stephan Chow, a Singaporean artist whose work is featured at the Lahore Biennale, said the people of Lahore and Pakistan were very open to new ideas and art.
“This is my second trip to Pakistan,” he said, “and I find the people of Pakistan to be very rich in culture, knowledge, and they embrace ideas very well.”
Lahore Biennale aims to reclaim historical city’s place on international arts calendar
https://arab.news/bbxsp
Lahore Biennale aims to reclaim historical city’s place on international arts calendar
- Biennale features over 60 artists representing 30 countries and presenting site-specific exhibits as well as immersive installations
- Artworks are featured at a dozen venues including Mughal-era Lahore Fort and Masjid Wazir Khan in Walled City, iconic Shalimar Gardens
Bella Hadid promotes Orabella for festive season
DUBAI: US Palestinian Dutch supermodel Bella Hadid took to Instagram to thank her team and customers for the success of her fragrance label Orabella’s festive Alchemy Library pop-up in New York City.
“The best night at our @orebella Alchemy Library pop-up in NYC! So much love and gratitude to my team & the beautiful humans who showed up to transform @thenednomad into such a warm & intimate space to celebrate the holidays, each other and my favorite sets to date: Our holiday gift boxes,” she wrote on Instagram, along with a carousel of photos from the pop-up.
In a bid to look the part, Hadid traded in her cowboy Western aesthetic to adopt a more festive look and was photographed outside the pop-up in a red and white ensemble.
The retro look featured a two-toned red cardigan, straight leg blue jeans and a luxe white wool coat. Hadid glammed up the look with strappy red Valentino Garavani Ladycrush heels and statement gold earrings.
The model finished the look with her favorite choice of eyewear, a pair of Bayonetta glasses.
The alcohol-free scents of Orabella, which launched on May 2 this year, were Hadid’s answer to traditional perfumes.
Hadid wrote on her website: “For me, fragrance has always been at the center of my life — helping me feel in charge of who I am and my surroundings,” she said. “From my home to nostalgic memories, to my own energy and connection with others, scent has been an outlet for me. It made me feel safe in my own world.
“Through my healing journey, I found that I was extremely sensitive to the alcohol in traditional perfumes — both physically and mentally — it became something that was more overwhelming than calming to me,” she added. “That is the main reason I wanted to find an alternative, so essential oils became an artistic and experimental process for me.”
She started growing lavender on her farm, walking through the garden every morning and learning about her family’s tradition of making homemade scents. “I realized I might have a calling in this. I found healing, joy and love within nature’s scents,” she said.
“This is why I am so proud of Orebella. It was truly a dream and a passion, that through the universe and authentic dedication, was able to become this brand,” Hadid wrote.
Saudi designer Honayda Serafi shares holiday greeting card from Jordan’s Crown Prince Hussein and Princess Rajwa
DUBAI: Saudi designer Honayda Serafi has revealed a holiday greeting card from Jordan’s Crown Prince Hussein bin Abdullah and Princess Rajwa Al-Hussein, which features a family photo of the royal couple and their newborn daughter, Princess Iman.
“Immensely thankful for God’s many blessings. From our small family that has grown to yours, best wishes for a blessed New Year,” the card reads.
Last year, Serafi designed Saudi-born Princess Rajwa’s pre-wedding henna night gown. For the gown, Serafi took inspiration from the Al-Shaby thobe of the Najd region in Saudi Arabia, where Princess Rajwa’s family is from.
“The thobe is known for its long sleeves. They’re so long, the sleeves become the veil of the bride’s dress,” said Serafi of the ethereal white gown.
Earlier this month, the couple visited the Seeds of Hope Center in Amman, which specializes in treating speech and language disorders in children and adults.
The royal couple, who welcomed their first child this year, toured the facility, which houses Jordan’s only space designed to provide multi-sensory experiences aimed at promoting relaxation and sensory integration. The visit also included a look at the center’s gym, which is tailored to improve therapy outcomes for patients, the Jordan News Agency reported.
Aya Al-Jazi, the center’s director, briefed the couple on the facility’s services, which include evaluation and treatment of speech, language and voice disorders, as well as support for swallowing difficulties.
Sister act: Saudi sibling filmmakers Raneem and Dana Almohandes talk musicals, inspiration and telepathy
JEDDAH: A trip to Saudi Arabia’s AlUla, a chance encounter with a persistent mosquito on the streets of New York and an enduring love for musicals inspired Saudi filmmaking sisters Dana and Raneem Almohandes to create their animated short film “A Mosquito,” which screened at the recently concluded Red Sea International Film Festival in Jeddah.
“We were walking in New York, having a good time, and there was this mosquito who kept coming back to me,” explained older sister Raneem. “This is how it all started, with one question: ‘What does this mosquito want?’ We thought, ‘She wants to talk to us, but we’re not giving her the chance.’ So, that’s where the story was born.”
Set in 1969, “A Mosquito” follows Zozo — a tiny mosquito with big dreams. While her peers are content with ordinary life in the majestic landscapes of AlUla, Zozo dares to dream of becoming a famous singer — heading to Egypt to sing before the legendary Umm Kulthum.
“A Mosquito” began life as a two-minute short — part of Raneem’s university project. It turned into its fully realized version after they took their idea to the AlUla Creates program, a local initiative that provides funding, mentorship and networking opportunities for Saudi filmmakers and fashion designers.
“When AlUla invited us to apply, we had this idea already, and we wanted to expand on it, because, you know, university projects are victims of time and resources. We developed the story with the AlUla Creates team,” said Raneem.
“We went to AlUla earlier, and we captured the aesthetics from there. The frames that you see in the film are identical to the pictures we took during our trip,” added Dana.
Raneem graduated from New York University in musical theater writing (Dana, the younger of the two, is studying filmmaking at Princess Nourah Bint Abdul Rahman University in Riyadh). “We grew up watching musicals, but we felt like we don’t have any that are in the Saudi dialect, so we wanted to create (them),” said Raneem. “That’s why I studied musical theater writing.
“We’ve always loved expressing ourselves through art. For example, Dana will do a dance whenever she wants to express how she feels about someone. Like, for my birthday, she would do a choreographed dance. I used to do small videos for our family — sometimes they’re music videos, sometimes short films … this is how we started. And then I started an Instagram page for DIY videos, and we worked together on it. It was one of the first (Instagram accounts) to reach 1 million followers in the Middle East,” said Raneem. “Dana was, like, 10 years old back then.”
Before they had received any formal training, the duo were chosen as For Change Ambassadors of Saudi Arabia. The screenplay for their first musical feature (“Dandana”) was shortlisted in the second round of Sundance’s Screenwriters Lab 2020. Their first short, “A Human,” was funded by Google and premiered in Riyadh.
The sisters reiterate that their filmmaking career is closely tied to the history of cinema in the Kingdom.
“We put ‘A Human’ up on YouTube in parallel with Saudi Arabia opening its cinemas again,” Raneem said. It went on to become one of the first 100 films to be shown in cinemas after they reopened in the country and, according to Raneem, the very first short film.
In 2022, the pair wrote and directed the musical short “A Swing,” which was selected for the official competition at the Saudi Film Festival and was screened as part of the Kingdom’s participation at Cannes in 2022.
Despite the eight-year age gap between the two sisters, the duo say they have a seamless working relationship.
“We sometimes fight, as all sisters do, but we have telepathy most of the time,” said Raneem. “We are in sync in terms of ideas. Filmmaking is all about communication.”
Working as two young women in the Saudi film industry is, Dana said, “magical.” Raneem agreed.
“It’s overwhelmingly beautiful, because the support is magnificent,” she said. “Each and every project and idea that we’ve had, we knew for a fact that if we approached the right decision maker, it would happen.”
REVIEW: ‘S.T.A.L.K.E.R. 2: Heart of Chornobyl’ tells a story of resilience and survival
LONDON: “S.T.A.L.K.E.R. 2: Heart of Chornobyl,” developed by Ukrainian studio GSC Game World, stands as both a gripping survival adventure and a reflection of real-world resistance in the face of adversity.
The game’s development faced significant challenges, with the studio partially relocating to the Czech Republic due to the ongoing conflict in Ukraine. This struggle has imbued the game with poignant cultural references and an atmosphere shaped by the harsh realities of its creators’ circumstances.
Players assume the role of Skif, a Ukrainian Marine Corps veteran drawn into the “Zone,” a dystopian take on the Chernobyl exclusion zone. In this alternate universe, the infamous nuclear disaster unleashed not only radiation but also space-time anomalies and a host of mutated threats.
The Zone is merciless, and so is the gameplay. Stalkers — explorers of this treacherous area — must navigate its dangers in pursuit of adventure, profit or ideology. The game emphasizes survival, with a steep learning curve that demands careful planning. From radiation and traps to scarce resources and malfunctioning weapons, every step is fraught with danger. Deaths are frequent and the game tracks your fatalities, adding to the sense of vulnerability.
The game shines in its atmospheric design and mechanics. The 64 sq. km open-world setting is a stunning yet haunting playground for chaos. Weapon handling is top notch, and the enemy AI is intelligent and challenging. The various human factions and mutant creatures add layers of unpredictability to the experience, while side missions pile up in classic open-world fashion.
However, the game is not without its flaws. Some elements feel restrictive, limiting creativity in problem-solving. For instance, mutant dogs may attack you relentlessly while ignoring nearby enemies. Invisible anomalies that kill instantly and radiation-related deaths can feel arbitrary, especially early on when resources like health kits and food are scarce. Additionally, the dialogue leans on cliches, which may detract from the storytelling for some players.
Despite its challenges, “S.T.A.L.K.E.R. 2: Heart of Chornobyl” offers a deeply rewarding experience for those willing to persevere. The unforgiving difficulty and grounded survival mechanics create a palpable sense of tension, while the evocative setting offers a mix of chaos and beauty. Fans of open-world games, particularly those craving a grittier and more challenging experience, will find much to appreciate.
Born out of extraordinary circumstances, it is more than just a game — it’s a testament to the resilience and creativity of its developers. Stick with it, and you will discover a truly unique title forged in the most difficult of times.
Imposing ‘dala’ pickup trucks symbolize Pakistan’s power gulf
- Hilux has become a symbol of power, affluence and intimidation in a society marked by significant class divisions
- “Dala,” as it is locally known, also serves as euphemism for military intelligence agencies involved in covert operations
KARACHI: In Pakistan’s largest city, cars inch forward in bumper-to-bumper traffic. But some seamlessly carve through the jam: SUVs flanked by Toyota Hilux pickup trucks.
The Hilux has become a symbol of power, affluence and intimidation in a society marked by significant class divisions.
“The vehicle carries an image that suggests anyone escorted by one must be an important figure,” 40-year-old politician Usman Perhyar told AFP.
“It has everything — showiness, added security and enough space for several people to sit in the open cargo bed.”
On Karachi’s chaotic roads, Hiluxes part the traffic, speeding up behind cars and flashing their lights demanding drivers move out of their way.
The Hilux first became popular among feudal elites for its reliability in rural and mountain regions.
But in recent years, the “Dala,” as it is locally known, has soared in popularity as an escort vehicle among newly successful urban business owners.
Guards with faces wrapped in scarves and armed with AK-47s can be packed into the back of the truck, its windows blacked out.
“It is a status symbol. People have one or two pickups behind them,” said Fahad Nazir, a car dealer based in Karachi.
The Hilux debuted in 1968, but the model that became popular in Pakistan was the mid-2000s Hilux Vigo.
It was later upgraded and rebranded as the Revo, with prices ranging from 10 to 15 million rupees (approximately $36,000 to $54,000).
Their prices have remained steady and they retain excellent resale value in a market traditionally dominated by their manufacturer, Toyota.
“Amongst whatever luxury items we have, this is the fastest-selling item,” car seller Nazir told AFP.
Dealers say there was a spike in rentals during February’s national elections.
“I swear to God, you can’t run an election without a Revo,” said Sajjad Ali Soomro, a provincial parliamentarian from Imran Khan’s Pakistan Tehreek-e-Insaf (PTI) party.
In the eastern city of Gujrat, politician Ali Warraich — from the ruling Pakistan Muslim League-Nawaz party — finds it essential to travel with an escort of two of the trucks.
They allow him to navigate off-road terrain to attend dozens of weddings and funerals a month.
“Politics without this vehicle has become nearly impossible,” he tells AFP. Without one, he argues, potential supporters could question his influence and turn toward competitors.
“As a result, it has become a basic necessity,” he said.
The truck has also become a trademark in the suppression of dissenting voices, activists told AFP, with the word “Dala” serving as a euphemism for military intelligence agencies involved in covert operations.
The unmarked cars with plainclothes men inside were used extensively by authorities rounding up senior PTI leaders and officials in recent crackdowns — reinforcing the vehicle’s notorious reputation.
“Every time I see this vehicle on the road, I go through the same trauma I endured during my custody with agencies,” said one PTI member who was picked up earlier this year.
Former leader Khan was bundled into a black Dala by paramilitary soldiers when he was arrested in May 2023 in the capital Islamabad, a detention he blamed on the powerful military leadership.
He later accused political heavyweight and three-time prime minister Nawaz Sharif of trying to win the election “through Vigo Dala” — a swipe alleging the military was “carrying” his campaign.
Pakistani poet and activist Ahmad Farhad, known for criticizing the military’s involvement in politics, was taken away in a Hilux after a raid on his home in May by what he said were intelligence agencies.
“Sometimes, they park these vehicles around or behind my car, sending a clear message: ‘We are around’,” he told AFP. “A Dala aligns with their business of spreading fear, which they take great satisfaction in.”
In Karachi, a city rife with street crimes, the imposing Dala deters even outlaws.
“A typical mobile snatcher would opt for maybe looting a car as opposed to a truck,” said 35-year-old automobile enthusiast Zohaib Khan.
Increased street crime has led to more security checks by police, further slowing down movement across the city. But Hiluxes are immune.
Police “don’t typically stop me because they feel that I might be someone who might impact them in a bad way or harm them in some way or the other,” Khan said.
