Art from ruins

CHENNAI: September 11, 2001, will forever be etched in the memories of all those who lived through the horror of terrorism that unfolded and caught the world completely unguarded on that bleak day. Decades may have erased the shock that shook our core, but the world still lives under the dark shadow of terrorism that often raises its ugly head with acts of mindless violence.

With countries at war, boundaries being redrawn and borders persistently contested, how does art that cannot be confined to marked territories be free from the consequences of terrorism? The ramifications of these conflicts that divide nations create enormous logistical nightmares for both artists and art galleries. Here’s a closer look at how the world of art has been impacted by brutality.

INDIA – PAKISTAN

The partition of 1947 may have clearly defined lines on maps and the millions of lives that were altered may have firmly settled down with new roots after discarding severely damaged uprooted ones, but the tensions between the two countries have only escalated with the passing of time. The contemporary art exchange between the fenced borders has been trying its best to work around the simmering conflicts.

The India Art Fair, which is India’s largest commercial art event, has always tried since their first edition in 2008, to ensure the participation of Pakistani artists, by including their artworks in the booths of Indian galleries. However, it is sometimes hard for cultural activities to cross the hurdles that political disputes throw as challenges. In recent times, visa complications have caused major hindrances for the organisers to carry forth their vision of inclusivity.

Collaborative shows were very much a part of the Fair even until 2015, when the exhibition My East is Your West showcasing the works of Pakistani artist Rashid Rana and Indian artist Shilpa Gupta were presented. The situation has most certainly worsened in the past years and the presence of Pakistani artists has dwindled ever since.

It has been the same case with the Kochi Muziris Biennale, India’s prestigious exhibition of contemporary art. Although Pakistani artists have been featured in the initial editions, it has become increasingly more difficult to do so. Kochi, the venue of the Biennale, being a naval base, comes with its own set of strict guidelines. Artists and visitors from Pakistan are expected to go to the local police station everyday for checks. The trouble sometimes just does not seem to be worth it.