A new London exhibition uses historical Islamic art and modern textiles to explore the complex realities of Muslim life, migration, and rising xenophobia in the UK.
A striking new art installation in London is challenging the prevailing narratives surrounding migration, belonging, and the historical presence of Islam in Europe. Housed beneath a 536-year-old, Islamic-inspired wooden ceiling from Spain at the V&A East Storehouse, the exhibition utilizes large-scale textiles to bridge the gap between medieval history and the current socio-political climate. The artist behind the collection uses these tapestries to create a visual dialogue between the long-standing influence of Islamic artistry in Europe and the modern-day challenges faced
The exhibition serves as a poignant reflection on the rise of xenophobia and the shifting political landscape. ent, the artist emphasizes that the themes explored are not merely historical, but deeply embedded in the public discourse. The juxtaposition of a centuries-old architectural relic with modern portrayals of social tension highlights the irony of a society that consumes Islamic art and culture while simultaneously fostering an environment of exclusion and prejudice toward the people who carry those traditions.
The core of the exhibition consists of three massive, intricately woven tapestries that address specific facets of the British Muslim experience. One piece, titled 'Home Office,' incorporates verbatim quotes from government signage that once urged undocumented immigrants to 'go home.' These aggressive, exclusionary messages are woven against a backdrop of complex Alhambra-style geometric patterns, which are deeply rooted in the Islamic art of medieval Spain. This deliberate choice of background serves as a reminder of the historical permanence of Muslim culture within the European continent, contrasting sharply with the transient and hostile nature of modern immigration policies.
Another section of the collection commemorates Altab Ali, a young Bangladeshi textile worker whose life was cut short in a 1978 racially motivated murder in a London park. Bangladeshi community in London and acknowledges the long, often violent struggle for recognition and safety. The exhibit also features imagery related to the voyage of the Santa Maria and the subsequent religious homogenization of Spain following 1492, drawing parallels between the historical expulsion of minorities during the Spanish Inquisition and contemporary attempts to define Europe through a narrow, exclusionary lens.
The title of the exhibition, 'I Was Born Here,' acts as both a factual statement and a sharp critique of the constant pressure placed on British Muslims to justify their presence in the country. For many visitors, the exhibit offers a rare opportunity to see their own lived experiences reflected in a prestigious gallery space. The work serves to dismantle the ethnonationalist rhetoric that frequently portrays Muslims as inherently 'foreign' or 'new' to the British landscape, reminding viewers that the religion has been known on these shores since the 16th century.
Beyond the political commentary, the exhibition provides a vibrant look at the daily lives of Londoners. One tapestry depicts the bustling atmosphere of Queen’s Market in Newham, a vital community hub that locals have fought to protect from corporate development. This portrayal highlights the resilience of multicultural neighborhoods and the importance of preserving the spaces where diverse communities settle, labor, and thrive. ng it as a counter-narrative to the exclusionary rhetoric that currently dominates much of the political debate.
As the exhibition continues to draw visitors, the conversation surrounding it has turned toward the future. The artist views the collection as an artifact—a historical marker intended to document the specific challenges of the current era for those who will look back on it in decades to come. lity of rising Islamophobia, the work invites a critical examination of how history is remembered, rewritten, or ignored
Ultimately, the installation functions as a call to recognize the deep, tangled roots that connect Islamic civilization to European history. It challenges the concept of 'Christian Europe' as a monolithic identity, instead emphasizing a history of religious plurality that has been obscured Muslims, the exhibit provides a sense of legitimacy and space, asserting that their history is not an aberration, but a fundamental part of the tapestry of the nation.