Not So 'Silent': Art, Political Expression and the Subtle Use of the Public Sphere in the Work of Pakistan’s Artivists

During its 75 years of existence as a nation, Pakistan has experienced significant periods of drastic military rule. These circumstances have notably heightened political instability, contributing to intensifying the enduring conflict between left- and right-wing factions within the country. This turmoil has significantly affected the country’s social fabric, giving rise to a climate of inequality, disillusionment, and disorientation. The visual culture of Pakistan plainly reflects the country’s sociopolitical unease and turbulence. The notion of freedom of expression, in any form, is almost non-existent in this challenging environment. Within this oppressive atmosphere, visual artists operate a delicate balance between attempting to maintain the integrity of their aesthetic practices and not compromising their political expression. Any activism that addresses social and political inequalities or resists the status quo, even though performed moderately, often results in penalties, censorship, or even the destruction of their work. Nevertheless, certain artists persist in creating art that challenges and highlights social issues amid the prevailing oppression. My contribution here utilizes Jürgen Habermas’s Public Sphere theory to examine the discourse on art activism. It investigates how art has the potential to serve as a platform for criticism and resistance in Pakistan’s current political context.