Image: Seffy Art
In Pakistan, the treatment of art and artists is a topic rarely given the attention it deserves. Despite the nation’s rich cultural heritage, which spans centuries and boasts influences from diverse civilizations, the arts are often relegated to the periphery of national discourse. This neglect is detrimental, not only to the artists themselves but to the cultural and intellectual fabric of the country. The case of Safdar Ali, better known as Saifi Soomro, a Ghotki-based artist, offers a compelling lens through which to examine this issue. His experience highlights the widespread mismanagement, ignorance, and carelessness that have come to define the way art is handled in Pakistan.
In 2017, Soomro, a talented artist from Daharki in Ghotki district, sent his paintings to Frere Hall, Karachi, for an exhibition. These works, created in 2016, were meant to showcase the vibrancy of his vision and his contribution to Pakistan’s art scene. However, after the exhibition, Soomro was told that his paintings had gone missing, leaving him without any recourse or explanation. It wasn’t until seven years later that Soomro discovered, to his shock, that his artwork had been misappropriated. While watching episode 17 of the drama Kabhi Main Kabhi Tum, he saw his paintings in the background of a scene set in Frere Hall, igniting a wave of frustration and anger.
Soomro immediately raised the issue on social media, and the public outcry that followed forced the Sindh Culture Minister, Syed Zulfiqar Ali Shah, to order an inquiry. The Directorate General Culture Sindh eventually released a report, attributing the incident to a “misunderstanding” between Soomro and the exhibition center. According to the inquiry, the paintings had remained in Frere Hall all along, but no one had communicated this to the artist. While the resolution provided some closure, it also exposed the systemic negligence and mismanagement that pervade the country’s art institutions.
Soomro’s ordeal is not an isolated case but rather a symptom of a broader issue in Pakistan’s art landscape. Artists often face bureaucratic hurdles and a lack of institutional support, which hinders their ability to thrive. Many public art spaces, like Frere Hall, are managed by government bodies that lack the expertise or motivation to properly maintain and promote the work of artists. The fact that Soomro’s paintings could be “lost” for seven years speaks to the sheer indifference toward preserving artistic heritage.
Public art institutions in Pakistan suffer from chronic mismanagement. Exhibitions are often poorly organized, with little regard for the care and safety of the artwork on display. Artists frequently report that their works are damaged, misplaced, or even stolen during exhibitions. These problems are compounded by a lack of transparency in how these institutions operate. In Soomro’s case, it took a public scandal for the Directorate General Culture Sindh to even acknowledge the problem, and the official response was underwhelming at best.
This mismanagement reflects a broader societal attitude that undervalues the importance of art. While artists in other countries are celebrated for their contributions to culture and society, in Pakistan they are often treated as afterthoughts. The bureaucracy that controls public art spaces appears more interested in avoiding responsibility than in fostering a thriving artistic community.
The neglect of art and artists in Pakistan carries a significant cultural and economic cost. Art is not merely a form of entertainment or personal expression; it is a reflection of society and a key component of national identity. Countries that invest in their art and cultural sectors reap immense benefits, both in terms of social cohesion and economic growth. Unfortunately, Pakistan seems to be moving in the opposite direction, allowing ignorance and carelessness to stifle its artistic potential.
One of the most glaring issues is the lack of education and awareness about art, both within government circles and the general public. Art is not integrated into the country’s education system in any meaningful way, and as a result, there is little understanding of its value. This ignorance leads to poor policymaking, as officials fail to recognize the importance of preserving and promoting the nation’s cultural heritage.
The situation is made worse by a general apathy toward the arts. The government’s funding for art programs is minimal, and there are few platforms for artists to showcase their work. When artists like Soomro do manage to break through, they are often left to fend for themselves in a system that does not support them. In many cases, talented individuals are forced to leave the country in search of better opportunities abroad, leading to a brain drain that further weakens Pakistan’s artistic landscape.
The story of Saifi Soomro’s lost paintings should serve as a wake-up call for Pakistan’s cultural and political leaders. If the country is serious about preserving its rich artistic heritage, it must take concrete steps to address the systemic problems that plague the art sector.
First and foremost, public art institutions need to be reformed. The government must appoint individuals with the necessary expertise and passion to manage these spaces effectively. This includes ensuring that artworks are properly cataloged, stored, and exhibited. Additionally, there needs to be greater transparency in how these institutions operate, with clear accountability mechanisms in place to prevent the kind of negligence that led to Soomro’s paintings being “lost” for seven years.
Education is another crucial area that requires attention. The arts must be integrated into the national curriculum so that future generations grow up with an appreciation for culture and creativity. By fostering a greater understanding of the importance of art, Pakistan can begin to shift the societal attitudes that currently devalue it.
Finally, there needs to be increased financial and institutional support for artists. This can take the form of government grants, public-private partnerships, or even international collaborations. By providing artists with the resources they need to succeed, Pakistan can unlock the full potential of its creative industries and begin to harness art as a force for positive social and economic change.
The mismanagement, ignorance, and carelessness that define Pakistan’s treatment of its artists are causing immeasurable harm to the nation’s cultural and intellectual development. The case of Saifi Soomro’s lost paintings is just one example of how systemic issues are stifling the country’s artistic potential. If Pakistan is to move forward, it must recognize the value of art and take meaningful steps to support and nurture its artists. Only then can the country hope to preserve its cultural heritage and unlock the full potential of its creative industries.
The views expressed in this article are the author’s own and do not necessarily reflect Coverpage’s editorial stance
