On the River, Rhythm, and Resistance

Formed in 1947 as a separate homeland for the Muslims of India, Pakistan's independence coincides with the start of the Cold War. The country's history, from the beginning, is marked with political and social turbulence, which involved the rise and fall of governments and military dictatorships, independence of East Pakistan (1971, now Bangladesh), and wars with India. As a member of the British Common Wealth, within the context of the Cold War, Pakistan was an ally to the United States – and, played a crucial role in Soviet-Afghan war (1979-1989).

In the early years of Pakistan's formations, we see artists grappling with issues of identity through modernism; but it wasn't until the 1980s, during General Zia-ul-Haq's dictatorship, that the overlap of art and politics came to the forefront. Here, artist Lala Rukh (1947-2017) appears as a prominent figure. Lala Rukh's art works primarily maintained a minimalist aesthetic, almost developing a meditative quality. Embodying feminist methodologies, her concerns involved looking at the hierarchy of media, and visually explored line, space, and proportion. Throughout her life, water remained an important theme, evident within her seminal work, River in an ocean (1992-1993). She was also a signatory to the Feminist Manifesto and became a founding member of Women Action Form (WAF) – in particular, taking an active role in making protest posters during general Zia’s dictatorship. Focusing on Lala Rukh's multifaceted practice and life, this presentation aims to open up feminist histories and legacies of art-making in Pakistan during the Cold War years.