Murals by I Am Karachi (IAK) alongside MT Khan Road | Dawn.com
Twin peacocks haughtily flaunt their feathers, a distinct blue like the sky that lights this image. Luminous embellishments, distinguished by curious shades of pink, scatter the emerald greens in the lower half of the magnificent fowl. Red curtained corners narrow the screen, almost as if the birds are a theatrical construct — ready to perform on the director’s call. A steel chain hangs from their beaks that present an emphatic “I love Karachi” penned on a heart-shaped display. The backdrop of luscious flora and sand dunes are juxtaposed with a brick wall on which the peafowl stand.
This panorama is neither a real life depiction, nor a painting found in an expensive art gallery. Rather, it is a mural portrayed on MT Khan Road in Karachi. But behind this glorious picture lies the bittersweet reality of the city’s contemporary art scene, which according to some, only belongs to the elite.
Karachi is a fascinating, urban mess. Despite a continual stock of issues, it continues to survive with several divisions of class, religion and ethnicity. It has also managed to keep some room for a group of intellectuals, patrons and executives who believe in reclaiming their hometown by consolidating public spaces through art. They are hard at work, day after day, in the search for an identity that binds Karachi as a city. But the question remains, is public art really the answer to a desperate need for reintegration?
The idea of a public space itself is quite vague — even in foreign nations. The use of public areas for art in Karachi is thus a reasonable concern.
According to Arif Hasan, a pioneering architect, planner and recipient of the Hilal-i-Imtiaz, public space can be broadly divided into two categories. On one hand is an expanse that is purposefully planned and integrated within the architectural landscape of a city. “This [type of public space] is perhaps caused by a lack of knowledge of the city, or apparent middle-class prejudices,” says Hasan.
On the other hand is a construct built in an unpremeditated part of a metropolitan. This space can be openly used and accessed by the public. Here, “children play, women gossip and small businesses are run”, as per Hasan’s narrative. The latter is far too common within this part of the world; and with diminishing beautification, it paves the way for the public arts movement.
Sara-Duana Meyer of the Goethe-Institut, Germany’s international cultural centre, believes it is not as simple as that. “Space is something that is also created in the moment,” she says. “There is a particular space which is not necessarily related to the place."
“I think it [also] depends on the public you are interacting with,” explains acclaimed artist and sculptor Abdul Jabbar Gull. He is convinced that the message communicated by art in public spaces depends a lot on the audience: their language, vocabulary, experiences, level of education and awareness.