CONDUCTED by ArtNow, ‘The Art of Writing’ explored the practice of art writing and critiquing as a creative force in Pakistan, drawing on a panel of writers, art critics and artists for their views. Taking place on the first day of KLF, Marjorie Husain, a veteran art critic, opened the discussion by describing the University of Punjab as one of the first educational institutions to grant art the space to exist, arranging the first art exhibit in 1952. At that time she says, there existed no formally trained art writers or critics per se, artists would review others’ works, and the rest who took on the practice or writing about or critiquing an artist’s work relied heavily on their relationship with the artist in order to carry out an analysis. Artist and art critic Quddus Mirza talked about finding an identity amongst different roles, “Writing on art, and making art, are two sides of the same coin,” he stated — while one is more impulsive, the other isn’t. He cited also how artists by and large don’t really read.

Maliha Noorani, the moderator, questioned writer H.M. Naqvi on the crossover from fiction writing to art writing, and he pointed to the importance of artists, telling the audience of how he enlisted the help of various artists to interpret the narrative in designing the book cover of his first novel, Homeboy. Faiza Butt eventually designed it, in return for Naqvi writing for her catalogue. In this process he realised the “symbiotic relationship between a piece of work and criticism”. Pakistani art, he states, has existed in a “critical vacuum” although a proliferation of art galleries and publications has taken place, the “market remains more of a driver than the intellect”.

On why there is the lack of an audience for art writing and critiquing, Tauqeer Muhajir, the publisher of Nigaah Art Magazine, explained how they look for art writers, readers and artists who are inclusive not exclusive. “There cannot be exclusivity even from a reader’s perspective.” If one needs a readership, the language should be simple, communicative and direct, he explained. Art critic Amra Ali seconded this opinion, while Mirza refuted it, explaining he treats writing as a self-indulgent activity, where creative satisfaction is reserved entirely for himself. When responding to an audience member’s question, though, he said writing reaches far more people than a work of art which goes into one home.

Ali stressed the importance of creating a “discursive space”, resorting to experimenting within her writing in order to bring forth a discussion. Citing a “crisis in our criticism”, art criticism, stated Naqvi, had to become “relevant”. This crisis can be overcome by widening our scope and broadening horizons added Mirza.

Keeping with current times, Husain, responding to an audience member’s question about the effect of religiosity on the art market today, recalled that during the time of martial law, “a lot of people were going in for calligraphy”. Back then the artist Jamil Naqsh had remarked to Husain how it was a good time for art as “nobody goes into your studio, you can paint what you like”. She reminded the audience of how artists are not always appreciated in their lifetime and therefore should not let external influences mar their creative process.