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    Art Review: Tomorrow We Inherit the Earth: Notes from Guerrilla War

    Written by: Hamad Ali
    Posted on: September 27, 2019 |

    Zhayedan Abu Nawas Ibn Quzman

    José Esteban Muñoz begins his book, cruising utopia: the then and there of queer futurity (2009), which provide a unique framework in which to think about existence of sexualities in individual bodies and the community at large. It provokes us to imagine and work towards better ways of being, whilst acknowledging present systematic injustices that treat experiences as abnormalities. “Tomorrow We Inherit the Earth: Notes from Guerrilla War” opened at Sanat Gallery on 24th September. The artist, Zulfikar Ali Bhutto Jr., envisions and explores similar themes while thinking about bodily and ideological resistances.

    A seeming extension of his Mussalman Musclesman series, Bhutto exhibited mixed media tapestries, which attempt to use the feminine and indigenous craft of embroidery and textile based art to create a landscape of a fictitious and futuristic sexuality and gender-subversive rebellion. Set in the future of an earth that may or may not belong to us, this revolution is seen through the eyes of a queer Muslim world intent on ousting the shackles of western imperialism.

    Hathiyar patch

    The male body is seen by the West as, in the words of R. W. Connell, a practice that legitimizes men's dominant position in society, and justifies the subordination of the common male population, women, and other marginalized ways of being a man. The ideal imaginary of a hegemonic man is a hypermasculine, cis-gendered, able-bodied political leader or a violent fighter. Bhutto inverts this imagination by creating glamorous and high femme future guerrilla fighters, who do not fit neatly into categories of gender, race, faith, threat or desirable subject. His life-sized tapestries feature screen printed bulky masculine figures, which are laden with kitsch florals, sequins, and flashy laces.

    Tomorrow We Inherit the Earth

    Kavita Daiya illuminates the complex racial articulation of colonial masculinity in nineteenth-century India. Taking up the colonial rhetoric about British masculinity, and the stereotype of the “effeminate” Bengali Babu, she uncovers the historical production of specific masculinities, the “manly Englishman” and the “effeminate babu”, as categories that mark colonial contestation and signal colonial power. The work Shaam, captures brown men caught in action of knocking each other down in a match of Kushti. These bodies are further feminized by an overt use of florals and shimmer to complete the composition. Bhutto makes an audacious declaration that the queer future which subverts the notions of space, time and race testifies that there is no space for the hegemonic, English, white supremacist, and a cis-gendered man in future. The queer future is of color, for color.

    Bhutto renders his works like Flora Bazooka, Imtiaz, Taj, and Gulshan, in which he repeatedly composed printed weapons on the surfaces which emerged as a response to Islamic geometric patterns. Generated from such simple forms as the circle and the square, geometric patterns are combined, duplicated, interlaced, and arranged in intricate combinations, makes a comment on the underlying tones of homonationalism, which is an intersection between nationalism and queer identities. The western society, from where the weapons such as tanks and guns are derived from, is queered by the use of Islamic art and patchwork. Bhutto uses homonationalist imagery as a response to Islamophobia.

    Imtiaz

    Furthermore, Bhutto’s Sindhi heritage, and the idea of patchwork itself comes from a very specific Sindhi art of making Ralli. Rallis are made only with fabric, thread, needles and scissors. Scraps of cotton fabric dyed to the desired color and then cut into geometrical shaped pieces are joined together to create long quilts. Much like Bhutto’s work, majority of the fabric comes from old and worn clothing and textile items from the home. The women who make the quilts rely on their own memories, and the memories of their mothers and older women to teach them the patterns. These memories come from a very specific lineage of color blocking, and patterns from the art of Miniature. These memories, in physical forms, are handed down to generations in order to keep this traditional art practice alive. The traditional colors of rallis are called satrangi – consisting of seven colors. Similar to the seven colors which form the pride flag which connects this Sindhi art form to the wider social context of this show.

    Mustaq-bel 2

    Where this show asks and responds to important questions around queer existence, religion, masculinity, and future; curatorial it falls short. The space of the new massive Sanat did no justice to the vibrant, life-sized tapestries of Bhutto. The scale of the space inappropriately juxtaposed with that of the work, breaking the synergy which would have existed had the space been smaller. I also feel that we were not the audience to Bhutto’s work, because the imagery and motifs are very commonly found in South Asia, and are not as controversial here. And if art should excite and provoke, creating discord and subverting expectations must be a part of the process.


    As the new year begins, let us also start anew. I’m delighted to extend, on behalf of the Embassy of the People’s Republic of China in the Islamic Republic of Pakistan and in my own name, new year’s greeting and sincere wishes to YOULIN magazine’s staff and readers.

    Only in hard times can courage and perseverance be manifested. Only with courage can we live to the fullest. 2020 was an extraordinary year. Confronted by the COVID-19 pandemic, China and Pakistan supported each other and took on the challenge in solidarity. The ironclad China-Pakistan friendship grew stronger as time went by. The China Pakistan Economic Corridor projects advanced steadily in difficult times, become a standard-bearer project of the Belt and Road Initiative in balancing pandemic prevention and project achievement. The handling capacity of the Gwadar Port has continued to rise and Afghanistan transit trade through the port has officially been launched. The Karakoram Highway Phase II upgrade project is fully open to traffic. The Lahore Orange Line project has been put into operation. The construction of Matiari-Lahore HVDC project was fully completed. A batch of green and clean energy projects, such as the Kohala and Azad Pattan hydropower plants have been substantially promoted. Development agreement for the Rashakai SEZ has been signed. The China-Pakistan Community of Shared Future has become closer and closer.

    Reviewing the past and looking to the future, we are confident to write a brilliant new chapter. The year 2021 is the 100th birthday of the Communist Party of China (CPC) and the 70th anniversary of the establishment of diplomatic relations between China and Pakistan. The 100-year journey of CPC surges forward with great momentum and China-Pakistan relationship has flourished in the past 70 years. Standing at a new historic point, China is willing to work together with Pakistan to further implement the consensus reached by the leaders of the two countries, connect the CPEC cooperation with the vision of the “Naya Pakistan”, promote the long-term development of the China-Pakistan All-weather Strategic Cooperative Partnership with love, dedication and commitment. Mohammad Ali Jinnah, the founding father of Pakistan said, “We are going through fire. The sunshine has yet to come.” Yes, Pakistan’s best days are ahead, China will stand with Pakistan firmly all the way.

    YOULIN magazine is dedicated to promoting cultural exchanges between China and Pakistan and is a window for Pakistani friends to learn about China, especially the Xinjiang Uygur Autonomous Region. It is hoped that with the joint efforts of China and Pakistan, YOULIN can listen more to the voices of readers in China and Pakistan, better play its role as a bridge to promote more effectively people-to-people bond.

    Last but not least, I would like to wish all the staff and readers of YOULIN a warm and prosper year in 2021.

    Nong Rong Ambassador Extraordinary and Plenipotentiary of
    The People’s Republic of China to the Islamic Republic of Pakistan
    January 2021