A characteristic that is common to most contemporary art galleries today is the desire to present art in slick white cubes with pristine white walls where objects are “neatly” arranged so that nothing else “distracts” or obstructs our point of view. The act of cleansing all context is a very modern idea. Ironically its arrival in this sanctified form has not been so simple. The formation of what now constitutes as galleries and the concept of curation has been shaped, contoured, questioned, challenged, morphed and evolved over hundreds of years in cultures that were defined by seminal art-historical moments most of which were concentrated in Europe and the United States.

Today, even as new galleries in the MENA¹ emerge, claiming to counter the hegemony of the Guggenheims, Louvres and MOMAS of the “developed” world with their  dazzling displays of alternative histories¾ earnest promises of ethical considerations and diverse collections all of which are encased in a sort of razzmatazz of futuristic wonder, an Avant Garde, postmodernist architecture¾      one cannot escape the sense that the Ship of Theseus puzzle remains as relevant as ever: can merely replacing all the parts of the ship be enough?

Is it enough to merely remember through material artefacts, and replace what cannot be recovered? How can we confront the cultural and generational losses, as well as the erasure of collective memory that have accompanied the emergence of museums? Are we hesitant to acknowledge the unspoken truths surrounding this issue? Cynics might readily assert that swapping objects within a white cube display, or challenging Salon-style curation is often tainted by ulterior motives—specifically, a hint of neo-colonial greed. Not only that but it is also buttressed by expansive projects funded by neo-liberal policies and neo-capitalist ambitions. I would argue that it is easy to be self-righteous by simply decrying both the past and the present, but it is much more challenging to find interstitial spaces in which to initiate a more productive dialogue.

The colonial underpinnings that had once dictated and fueled the craze for entrapping, usurping, and even obliterating the cultures of non-western people will always remain. The birth of national museums in Europe was embedded in the impulse to accumulate, and above all “control”, structure, regulate and even decontextualize the knowledge that came with it. Colonial agendas suggest a much darker history, the roots of which can be traced back to the arrival of colonization in many non-western parts of the world; the desire of Europe and its Empires to hoard, smuggle and even steal objects in some cases is a form of colonial and imperial violence² that is now being hotly debated and contested at an institutional and even international level. The founding and construction of museums as repositories of knowledge about colonized worlds not only cemented the glory and superiority of the British Empire for example, back home but interestingly, they extended this project. The conceit of colonizers over their control ultimately birthed this hegemony over representation prompting the founding of museums in colonies of the Empire.

Defined by the Enlightenment-era impulse to collect, catalogue, and compile, many colonial museums in India were similarly constructed; they were envisioned as containers and repositories that rationalized the enigmatic knowledge surrounding local culture. Today, it is arguably challenging to determine whether, aside from the palace museums of Princely States, there exists any documentation regarding numerous “private” museums that may have evaded this systematic categorization and framing that did not conform to established hierarchies. There were exceptions to the colonial model, such as Sir Bartle Frere’s Victoria Memorial Museum in Karachi and the Medical Museum at Grant Medical College in Bombay³. However, for the most part, the establishment of museums appeared to remain an institutionalized, structured endeavor, much like any other task that colonizers undertook⁴.

Curated spaces—regardless of their assertions—cannot merely be deemed “innocent” environments or as sensory experiences designed solely to thrill the senses, shock, or instruct. Whether at galleries or museums, we can easily fall into the allure of believing that a Salon-style display, an exquisite exterior, an imposing entrance, a wall filled with dense historical text, or the weight of an institutional name alone can confer “authenticity” and ensure the value of a gallery or museum⁵. As we journey from one display or object to the next, we must remain aware of these complexities and perhaps pose the question of whether there exist other realms of knowledge that may have eluded the narrow confines of an institutionalized colonial museum, a Palace Museum, or our prevailing cultural perceptions of a curated space. After all, the nascent origins of what are now recognized as “white cube” gallery spaces can be traced back to the emergence of private collections housed in cabinets and rooms, beginning in the fifteenth century⁶.

With all this swapping and supplanting of one form of institutionalization for another—one variety of bureaucracy and gatekeeping exchanged for another that persists today, albeit in a more contemporary guise—one wonders: what, then, is the role of a private museum in a former colony? If we were to endeavor to distance ourselves from a Eurocentric perception of a museum and contemplate these as spaces on the periphery, how will memories, oral histories and artifacts be “curated”? It is here that the Ship of Theseus can be imagined as a more abstract representation of a post-colonial conundrum regarding museums and objects: who gets to translate and “curate” the most authentic rendition of our past if we possess no memory of it?

Perhaps this was the impetus for reflection as one stepped into what had once been an ancestral abode—a lavish repository of history and tradition—only to witness an unconventional exhibition of contemporary art focused on the theme of ecology. Frequently associated with global environmental challenges, the term “ecology” has garnered increased scrutiny in the face of pressing issues like climate change and global warming that impact lives across the globe. Yet, the accompanying panel discussion on museums aimed to broaden this definition, delving into a richer understanding of ecology that examined the intricate relationships between the museum, local communities, and the post-colonial urban landscape. Complementing this dialogue, the exhibition was thoughtfully designed to address the spectrum of ecological concerns that relate more directly to nature and ecosystems. In this context, the Fakir Khana Museum, tucked away near the entrance of Bhatti Gate—one of the historic portals of the Walled City of Lahore—emerged as a compelling venue for an exhibition aptly titled Reimagined Contemporary Art and Ecology. This event coincided with the celebration of International Museum Day, as recognized by ICOM (International Council for Museums). The exhibition was inaugurated by H.R Durmus Bastug, Consul General of the Republic of Turkiye, marking a noteworthy occasion for the convergence of art and ecological consciousness.

Associated neither with colonial nor princely States, the Fakir Khana Museum has sustained and built its archive by linking itself to family identity and lineage. Over the centuries the family has maintained their reputation as patrons, collectors, and custodians of history by turning their ancestral haveli into a private museum that is open for the public. Implicit in this description is also their role as curators, the walls and spaces of every room including the courtyard overflow with a cornucopia of artefacts that jostle for space and represent merely a fraction of their vast collection. Not restrained by glass cases, labels and a curated experience designed for a “walk-through” museum, the family makes a deliberate attempt to project its collection as a treasure trove open for ordinary citizens as well as academics and connoisseurs of art.

Fakir Khana Museum was opened to the public in 1901. Originally owned by Raja Todar Mal, the Finance minister of Akbar, this historic mansion was renovated in the twentieth century. The ancestors of the current curator of Fakir Khana settled in Lahore in 1730 and established a publishing house.  In the time of Maharaja Ranjit Singh, three Faqir brothers namely Fakir Azizuddin, Fakir Imamuddin and Fakir Nuruddin rose to prominent positions in the court of the Maharaja. Therefore, apart from a collection of ten thousand manuscripts, the collection of Fakir Khana also houses gifts of Queen Victoria and medals given out by Ranjit Singh to Fakir Syed Nooruddin. ^{7 8}

The panel discussion that preceded the inauguration of this exhibition emerged as the focal point of the afternoon, delving into the potential of spaces to challenge, and perhaps even transcend, the boundaries of knowledge shaped by a conventional understanding of museums, cities, and environments. Titled Exploring Museums for Research and Education: An Expression of Contemporary Art, the discussion set out to unravel how ICOM’s theme for 2024, Museums for Education and Research, could be woven into a more comprehensive understanding of museums—one that is firmly rooted in the realities and inequities of a post-colonial context. The title of the talk pointed to a crucial aspect of this dialogue, examining the possible intersections among art, education, and museums.

The speakers included Rukhsana David⁹, Shabnam Khan¹⁰, Sumaira Samad¹¹ and Faqir Syed Saiffuddin, Director of Fakir Khana Museum. The session was moderated by Wardah Naeem Bukhari¹² and Ozma Bhatti¹³.

A recurring dilemma that emerged throughout the discussion was the widening divide between young students and their access to educational opportunities offered by modern museum experiences. These experiences are uniquely positioned to align with a rapidly evolving world that embraces a more critical and even futuristic perspective on museum histories, reimagining the very essence of what a museum can be. It was the exhibition title, Reimagined Contemporary Art and Ecology, that sparked this discourse—each speaker articulated the term “ecology” as a multifaceted concept, embodying an attitude, a system, an approach, and even a dynamic think tank.

Rukhsana David championed the integration of cutting-edge applications, digital mapping tools, and multimedia resources to enhance access to collections, providing a virtual experience tailored for a young, digitally adept audience that actively engages with social media and demands more critical approaches to education. Sumaira Samad emphasized that the entrenched “silos” delineating various knowledge systems—historically rooted in a colonial mindset—persist and necessitate a thorough rethinking of pedagogy and curricula to gradually reshape the museum experience. Faqir Syed Saiffuddin voiced his frustration regarding the treatment of history, art, and craft as disparate disciplines, rather than as interconnected fields enriched by a South Asian perspective that honors local skills and craftsmanship. He highlighted a growing awareness among the younger generation of the ways in which colonial ideologies are superimposed on indigenous systems, arguing that cultural settings such as informal spaces, bazaars, and streets represent integral, dynamic extensions of a “living” museum. Shabnam Khan proposed an imaginative vision of Speculative Museums, reimagining government schools as inclusive centers of broader think tank activities, where innovative concepts of museums seamlessly blend into the architecture of educational institutions.

An exhibition of artworks complemented the panel discussion, with installations and pieces displayed in the main courtyard, utilizing the surrounding architecture as a backdrop. The featured artists seemed to converge on a common theme, imagining an ecological balance that revered the intricate harmony between nature and human presence. Their creative expressions drew inspiration from the rich history of South Asian aesthetics, architecture, and craftsmanship, reflecting a deep appreciation for the region’s cultural heritage. Some artworks even explored the intersection of technology and cultural memory, highlighting the fragility of historical narratives. The exhibition showcased a diverse range of talents, including the works of Wardah Naeem Bukhari, Faiza Bhatti, Hassnain Awais, Maria and Waseem Ahmed, Muhammad Atif Khan, Muhammad Umer Jamil, and Ozma Bhatti.

Eco of Life, draws inspiration from the motifs and forms of a phulkari pattern which is overlaid with the quadrilateral garden design often found in Islamic architecture namely the ‘Charbagh’ or ‘Chaharbagh’¹⁴.  The waterways in the artwork appear to be brimming with a smattering of floating bird motifs that complement the angular and geometric aesthetic of the phulkari, a textile motif commonly found in the embroideries of Punjab. The digital collage attempts to forge a holistic link between the diversity of cultures and landscapes albeit with a playful twist.

Faiza Bhatti’s video installation, The Harmony of Nature, emerges as one of the standout pieces in the exhibition, providing an experience that can only be described as captivating. Moreover, it resonates deeply with the key ideas and vision about museums as immersive experiences articulated by all the speakers. The work features an animated recreation of a famous Pahari School painting. Two lotus flowers have been added to this depiction of a natural landscape that features a lake in a verdant valley. Suspended somewhere between reality and fantasy, the work features white birds flying across a paradisal vista that seems to radiate with an ethereal calm. The ovular framing of the diminutive landscape transforms it into a Lilliputian experience¾ a peek into an alternative imagining of a world that is expectant, hopeful and with a quiet grandeur. Hassnain Awais’ New Emergence depicts a world where hummingbirds, plants and sea mollusks glide ghost-like into each other’s realms with a natural ease that suggests the harmonious convergence of seas and skies.

Maria and Waseem Ahmed opt for a more ambivalent and uneasy imagining of an ecology in The Other Side of Silence, an image presents the disquiet of gaps and fissures in the landscape of history. The flower motif in Indian art, often reduced to the decorative form of a mirror and its shadow, has regrettably devolved into a somewhat trite neo-miniature cliché. Yet, in Ahmed’s interpretation, there exist myriad nuanced layers to explore, both in process and meaning. One can envision the motifs within the print as fluid forms, permeating and infusing the deepening landscape with vibrant hues and elongated shadows. Alternatively, the undulating contours of the flowers might appear suspended and devoid of context, ensuring they never overshadow the defining line that cleaves the composition like a profound chasm.

In Valley of the Heart, Muhammad Atif Khan reimagines the iconic Mughal figure in a bewildering, hyperreal realm, transforming him into a hapless yet poignant monarch. With a surrealistic digital flourish, the emperor finds himself precariously perched atop a colossal, imposing rock formation, busily constructing a majestic pile of pebble-like human hearts in his meticulously designed Zen Garden. Swirling clouds and a tumult of psychedelic colour rise steam-like from the bottom, his scale is diminutive: it is unclear whether it is a yearning for an inner utopia or the beginning of a dystopia.

Ozma Bhatti’s playful Paul Klee-inspired print titled Symphony of Nature is an innocuous illustration of the energy contained and radiating from a microcosm of life and nature. Interestingly, Muhammed Umar Jamil is perhaps the only artist in this exhibition who opts for painting by hand on a surface rather than printing. His necklace of roses can also be considered a rosary, it is presented as a strange artefact- a product of both the past and present, documented through the skill of his hand and set against a white background. The use of roses in ritual, ceremony, birth and death is a somber reminder of the power of nature to both upend and heal.

Reimagined Contemporary Art and Ecology is certainly not your typical white cube gallery show. True to the definition of the world “ecology” the event’s premise does contest the relationship between humans and their physical environment. After all, every conceivable inch of the Fakir Khana is covered with “unlabeled” objects that have an agency of their own but their presence intersects with the multi-sensory experience of being in the midst of a bustling bazaar with tangible and intangible history that goes back hundreds of years. There are no labels, and there is no order or sequence in the Fakir Khana Museum. The arrangements and placement of objects ¾ their spatial relationships —  become the provocateurs here, as various pasts and present states of many unique artefacts constantly collide, upstage, challenge, reaffirm and realign their existence as an untold story. These are unmanned spaces and the potential for a more daring curation and vivid storytelling can be explored here. One can then also imagine that exhibiting in such a space would also be a challenge! Small wonder that a staid and predictable exhibiting of the works that restricted itself to neat corners in the main courtyard was preferred instead. There also seemed to be very few works on display when the works in themselves were actually quite engaging and aligned very closely with the discourse presented in the discussion. While walking out of the space one felt disconcerted; there should have been more to see when there had been so much to offer. In recent years, a notable trend has emerged as many artists have embraced the role of curators. Wardah Bukhari and Ozma Bhatti have not only curated this exhibition but also showcased their own works within it. This dual role prompts a reflection on how the artist-curator dynamic operates and finds equilibrium in this distinctive setting. One might wonder whether the exhibition’s location—on the outskirts of Lahore’s contemporary art scene, amidst more affluent urban environments—detracts from the artists’ works. Alternatively, could the exhibition itself be perceived as a collective artwork, intertwined with the panel discussion focusing on Ecology, Museums, and Education? Moreover, was the panel discussion merely a performative extension of the thematic exploration, relating to the space itself? In a site steeped in history and memory, who claims authorship? This threshold between curatorial power and artistic identity has the potential to ignite unconventional approaches to curation. Perhaps a future iteration of this event at the same venue could delve into these intriguing possibilities, enriching the experience for all involved.

The exhibition titled ‘Reimagined Contemporary Art and Ecology’ curated by Ozma Bhatti and Dr. Wardah Naeem Bukhari opened on May 18, 2024 to celebrate International Museum Day at the Fakir Khana Museum, and remained on display till May 19, 2024. 

Title Image: Hassnain Awais, New Emergence, mixed medium with printmaking, 88.9 cm x60.96 cm, 2023.

All images are courtesy of Wardah Naeem Bukhari 

References

Bhatti, S. (2012). Translating Museums A Counterhistory of South Asian Museology. Routledge.

Bukhari, W. (2024). Text of Introductory Note on Fakir Khana at Exhibition.

Procter, E. (2020). The Whole Picture The colonial story of the art in our museums and why we need to talk about it

Saifuddin, F (2024). Introductory Speech.