Art as a Bridge: Embracing Community and Connection in East London’s Backyard Biennial

Zoe Martinez, Arts Correspondent
5 Min Read
⏱️ 4 min read

In a world increasingly divided by barriers—be they cultural, social, or economic—art can serve as a vital conduit for connection and understanding. This sentiment resonates powerfully through the Backyard Biennial, a vibrant collaborative arts festival in East London that seeks to engage those often alienated from traditional gallery spaces. Running until 6 September, the festival exemplifies how art can foster conversations and connections among diverse communities.

A Personal Journey Through Art

My first encounter with art that transcended mere visual appreciation occurred back in 2018 at the National Theatre of Bangladesh. There, I experienced “Lost Tune,” a poignant installation by Reetu Sattar featuring musicians in pristine white, perched upon scaffolding, collectively producing a hauntingly beautiful hum on the harmonium. At that moment, I was swept up in the sound, feeling the vibrations resonate deep within me—a sensation that art had previously eluded.

This experience was particularly significant given my upbringing in a household where music was often deemed taboo. In many Bangladeshi Muslim families, there exists a prevailing belief that music is forbidden, despite the rich tapestry of our musical heritage. For me, “Lost Tune” became a lifeline, a reminder that art could evoke profound emotional responses in ways I had never imagined.

Rediscovering Roots in London

My journey led me to the UK, where I continued to explore the breadth of artistic expression. It was at the Camden Art Centre that I first encountered the work of Adam Farah Saad. Upon entering his exhibition, I was immediately greeted by the familiar scent of KA soda, emanating from a bubbling fountain. This olfactory experience was revolutionary; it was the first time I understood that art could engage multiple senses, including smell.

The vibrant community of Brick Lane also played a pivotal role in my artistic awakening. Here, I stumbled upon the Bengali sweet shops reminiscent of my father’s childhood snacks—one sweet, one savoury, forever intertwined in my memory. This nostalgia served as the creative foundation for a piece I am currently showcasing at the Whitechapel Gallery as part of the Backyard Biennial. With the support of the Oitij-jo Kitchen, a local Bengali social enterprise, I am presenting a work that embodies the spirit of collaboration, where the making and sharing of food is integral to the artwork itself.

Challenging Perceptions of Meaning

The Backyard Biennial aims to challenge the notion of meaning in art, as highlighted in a recent review by The Guardian. During discussions with curators, I reflected on the Aldgate Pump—a historic landmark symbolising the gateway to East London, a place steeped in migration and transformation. Influenced by geographer Doreen Massey, I began to appreciate that places are not static; they are dynamic meeting points where stories intertwine. Each artwork in the exhibition has travelled its unique path to arrive at this cultural crossroads.

My mother’s visit to London in 2023 underscored the need for inclusivity in art spaces. When she and a friend ventured to Brick Lane, they were deterred from entering the Whitechapel Gallery, feeling intimidated by the unfamiliar environment. This experience galvanises my desire for art institutions to become welcoming havens for all, including my mother, and to break down the barriers that often hinder access.

Creating Conditions for Encounter

The essence of the Backyard Biennial lies not in providing straightforward narratives or tidy resolutions but in cultivating opportunities for authentic encounters. It invites participants to engage with their histories and shared experiences, allowing for a collective sense of meaning that is often messy and multifaceted. In doing so, the festival creates a platform for individuals to see themselves reflected in a space that may have once felt impenetrable.

Why it Matters

The Backyard Biennial embodies a crucial shift in the art world, one that prioritises community engagement and inclusivity over elitism. By nurturing connections among diverse groups, the festival not only redefines what art can be but also fosters a deeper understanding of our shared humanity. In an era marked by division, such initiatives are essential in reminding us of the transformative power of art as a unifying force, one that can bridge gaps and create spaces where everyone feels they belong.

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Zoe Martinez is an arts correspondent covering theatre, visual arts, literature, and cultural institutions. With a degree in Art History from the Courtauld Institute and previous experience as arts editor at Time Out London, she brings critical insight and cultural expertise to her reporting. She is particularly known for her coverage of museum politics and arts funding debates.
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