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Journalism of Courage
I went to the museum because I had heard good things about it. In any case, a Pakistani museum about 8216;living traditions8217; is likely to interest most Indians.
The museum has devoted considerable space to pottery. One display compared pottery excavated from the Gandhara period to contemporary works, drawing out the sharp similarities.
The panel does not offer more information, but prods the viewers to decide for themselves what, if any, links exist.It is easy enough to think of them as 8216;precious antiquities8217; from which we8217;re trained to keep a distance, because of their value. A bit like the art we see in galleries. However, the opposite kind of association took place, as an intimacy was created between the artifacts and the viewer.
Through this and other means, the past was made accessible, but without losing the spaces that encourage imagination. You might wonder where the link with contemporary art lies. I reckon it lies in both the intimacy and the spatial arrangement of the museum. As you enter, a sample of the famously ornamental Pakistani trucks stands on the lawns. You see it closely, asking why, in an Islamic country, a truck has so many images of men and women painted on its sides. Although you have no answer, at least you8217;ve already begun to think. Inside, you aren8217;t lost despite the complex layout, because thick white arrows escort you all around.In short, it8217;s alright to know less than the others.
Clearly, contemporary art cannot be displayed in the same manner, but it can follow the same attitude towards its visitors. Forget private galleries, our own National Gallery of Modern Art ought to have had a guide booklet with friendlier and more informative panels, amongst other things.
In fact, the best shows, such as retrospectives of senior artists, are held by external curators and researchers. But why can8217;t they be involved in longer projects to make that space more alive?
But even if I were a private gallery owner, with business intent, I8217;d put out more art-related books and catalogues to browse through. I8217;d put up something from the artist8217;s catalogue and even, perhaps, a small exhibition note explaining my concept. And I would actively network with organisations to get newer audiences into my gallery.
All this often elicits the remark that those who are interested need to apply their minds when they see art. Sure, except that those are the same few hundred people each time. Lok Virsa reminds us that new audiences can be fruitfullyengaged. Indeed, they are vital to avoid stagnation.
