In a world where cultural institutions often feel alienating, Laisul Hoque’s insights into the Backyard Biennial East reveal a hopeful vision of art as a communal experience. As she reflects on her artistic journey—from the vibrational harmonies of Reetu Sattar’s *Lost Tune* to her own contributions at Whitechapel Gallery—Hoque underscores a vital truth: art must serve as a space for connection, not exclusion.
The Transformative Power of Art
Hoque’s artistic odyssey began in 2018, when she was captivated by Sattar’s *Lost Tune*, performed outside the National Theatre of Bangladesh. Musicians, adorned in white, produced a singular note on the harmonium, creating a profound resonance that transcended the mundane. This moment was pivotal for Hoque, who, constrained by her upbringing in a household that viewed music as taboo, found a new dimension of art that resonated deep within her.
The experience was more than auditory; it was visceral. “I felt art in my chest,” she recalls, contrasting it with her previous encounters that only engaged her eyes and intellect. This epiphany ignited her passion for art, leading her to the UK, where she explored how it could encapsulate diverse cultural narratives.
A Journey Through Taste and Memory
In London, Hoque encountered Adam Farah Saad’s work at Camden Art Centre, where the aroma of KA soda filled the air. This sensory engagement marked another milestone in her understanding of art; it was the first time she experienced art through her sense of smell. This multi-sensory approach continued as she revisited Brick Lane’s Bengali sweet shops, where the mingling of childhood memories and cultural heritage inspired her current project.
Now, as part of the Backyard Biennial, her work embodies a collaborative spirit, rooted in the contributions of the Bengali social enterprise Oitij-jo Kitchen. Each day, the team brings a specific blend of snacks to the gallery, integrating their culinary traditions into her installation. This fusion of food and art reflects a shared history, echoing the communal ethos of *Lost Tune*.
Art as a Meeting Point
Hoque’s reflections also delve into a recent Guardian review of the group exhibition, which questioned the essence of meaning in art. The discussions with curators prompted her to consider the Aldgate Pump—not merely a geographic landmark but a symbol of migration and transformation in east London. Just as the pump has witnessed countless journeys, the artworks in the exhibition are the culmination of varied paths, each resonating with its own narrative.
The sentiment is poignantly illustrated through a personal anecdote. When her mother visited London in 2023, she hesitated to enter the Whitechapel Gallery, expressing fear instead of curiosity. This moment struck a chord with Hoque, highlighting the barriers that still exist in the art world. Her ambition is to make art spaces more inviting, transforming them into inclusive environments for individuals like her mother.
The Imperative of Inclusivity
Projects like the Backyard Biennial are not designed to deliver neat conclusions or singular interpretations. Rather, they aim to foster environments where people can reconnect with their histories and themselves. Hoque advocates for an art scene that embraces complexity and messiness, where the experiences shared can be collective and deeply personal.
In her view, the significance of art lies in its ability to create connections. It is through these encounters that individuals can find reflections of their own narratives, bridging gaps and dismantling preconceived notions of what art should be.
Why it Matters
The Backyard Biennial East and Hoque’s vision for art resonate profoundly in today’s society, which often feels fragmented. By prioritising inclusivity and communal experiences, art can transcend its elitist confines and become a tool for healing and connection. As Hoque poignantly illustrates, when art invites participation rather than alienation, it transforms into a powerful catalyst for understanding and belonging—an essential endeavour in our increasingly divided world.
