In a world where art is often seen as an elite pursuit, Laisul Hoque’s latest exhibition, East of the Aldgate Pump, offers a refreshing perspective on the role of art in community engagement. Situated within the context of London’s Backyard Biennial, the exhibition is a bold declaration that art can—and should—be a space for connection, inclusivity, and shared experiences.
Revisiting Cultural Roots
Reflecting on his personal journey, Hoque recalls a formative moment in 2018 when he first encountered Reetu Sattar’s captivating piece, Lost Tune. Positioned at the National Theatre of Bangladesh, the installation featured a group of musicians dressed in white, each playing a single note on the harmonium, generating a resonant hum that seemed to vibrate through the very air. For Hoque, this experience was transformative, awakening a deep yearning for musical expression that had long been suppressed in his upbringing.
In many Bangladeshi Muslim households, music is often viewed with suspicion, deemed incompatible with faith. Yet, through Sattar’s work, Hoque found that art could transcend such constraints, resonating deeply within him. This revelation was not merely intellectual; it was visceral, a feeling that reverberated in his chest.
A Journey of Discovery
Hoque’s artistic exploration continued when he relocated to the UK, where he discovered Adam Farah Saad’s work at Camden Art Centre. The moment he stepped into the exhibition and was greeted by the scent of KA soda—flowing from a bubbling fountain—was yet another revelation. It was a reminder that art can engage all the senses, crafting unique emotional landscapes that invite the viewer to participate in the experience rather than merely observe it.
His memories of visiting Bengali sweet shops in London further enriched his artistic narrative, connecting him back to his father and their shared culinary history. The vibrant recollections of yellow-lit display cabinets serving sweets became the backbone of a new installation, now showcased at the Whitechapel Gallery. Here, the Bengali social enterprise Oitij-jo Kitchen plays a crucial role, preparing and delivering the unique snacks that form a living part of the artwork. Their involvement not only enhances the sensory experience but also embodies a spirit of collaboration that Hoque sees as a direct descendant of Sattar’s Lost Tune.
Challenging the Narrative of Meaning
However, not all responses to the exhibition have been positive. A recent critique in the Guardian sparked a debate about the true meaning of art, questioning whether the collective experiences and memories that Hoque aims to evoke hold any real significance. In conversations with the exhibition’s curators, Hoque contemplated the Aldgate Pump itself—a historical landmark that has borne witness to centuries of migration and change. He reflected on geographer Doreen Massey’s concept that places are dynamic meeting points for diverse journeys, rather than fixed entities.
The notion that art must conform to rigid definitions of meaning is a narrow perspective. Every piece in East of the Aldgate Pump has travelled its own path to reach this point, resonating with the stories and histories of those who engage with it.
Breaking Down Barriers
A poignant moment arose during Hoque’s conversation with his mother, who, during her visit to London, felt intimidated by the prospect of entering Whitechapel Gallery. Her experience is emblematic of a broader issue: many potential art lovers, particularly from diverse backgrounds, find art spaces daunting. Hoque’s vision is clear: he aspires for these venues to become nurturing environments where individuals feel a sense of belonging—places where art is not a luxury for the elite but a shared experience for all.
Projects like the Backyard Biennial serve a crucial purpose beyond presenting art. They are designed to cultivate encounters between people, their histories, and their lived experiences. In doing so, they create opportunities for individuals to see themselves reflected in spaces that may have previously felt alienating. The meanings derived from such interactions may be complex, fragmented, and communal, but they are far from meaningless.
Why it Matters
The Backyard Biennial reimagines the function of art in society, transforming it from an isolated experience into a collective journey. As we grapple with issues of accessibility and representation in cultural spaces, Hoque’s work stands as a beacon of hope, urging us to embrace the messy, intricate nature of shared experiences. In fostering environments where everyone can engage with art, we not only enrich our cultural landscape but also affirm the inherent value of diverse narratives in shaping our understanding of community and identity.
