Monument of arrival and return (video excerpt), 2016. Video.

A group gathers as the other arrives. One must inform the other, it has been so ordained. Yet, the one who ordained so – the initiator – is not present. And so they wait: unsure, unmoving, still. The initiator is withdrawn from making of his own work to allow his participants to both create and witness creation.

To witness creation, the participants must wait, and they must cover a distance – a distance that equals the distance between them and the initiator. And as they wait, the initiator, too waits. And as they wonder, the initiator hopes – he hopes that participants will create and shall carry creation to him.

The work now begins. Participants gather in a group; lift personal belongings of the initiator to carry towards him; unsure, unmoving, still.

They leave.


Under the high arches of Lahore’s railway station, trudge about its Kullis. The Kullis were luggage-carriers and porters in England, and came to Lahore when the British brought railways to the Indian subcontinent in the 1800s. Here, the porters shed their skin, became Indian, put on red shirts which sew numbers into their bodies, and became Coolies. In the far old age of 1947’s summer, the British stopped flagging their own trains, and left the subcontinent. The Coolies, now, became Kullis. Soon, the trains stopped breathing smoke, electric wires webbed over the Kullisł and their skins oranged. 

The author worked with the Kullis of Lahore’s railway station, whom he saw and observed while growing up in the same city. He saw the Kullis as persons who move but do not go. To make the work, author only sent the instructions. The work was made in the absence of the author, who was away waiting for the work to be made and delivered.

Monument of arrival and return (Installation View), 2016. Video.

© Basir Mahmood