In Pakistan, as of April 29, this year commemorates the sixth anniversary of the Lahore Digital Arts Festival (LDF). It stands out as an innovative stage that has reshaped the significance of digital innovation within the country.
Launched in 2019 by digital visionary Najamul Assar, LDF has emerged as a guiding light for creators operating at the crossroads of technology, culture, and social change.
After collaborating with visual artist Omar Gilani on the project “Pakistan+: A Journey through the Future,” Najam noticed a significant lack of digital art facilities within Pakistan’s cultural sector. To address this gap, LDF was established, evolving over time into an extensive international event featuring multiple formats such as exhibitions, artist residency programs, research initiatives, and educational opportunities.
Everywhere you looked, there was talent, yet there wasn’t enough exposure or an environment to nurture digital artists,” explains Najam, who is enrolled in a PhD program focused on Digital Arts at the University of British Columbia. “The LDF started as a reaction to this void and has since evolved into a movement.
The development of LDF has showcased both innovative creativity and significant influence within institutions. The festival regularly presents pressing global issues tailored for Pakistani viewers. Their three main biannual topics—Post Reality, Metaverse Bodies, and Women vs Machines—have tackled important discussions about identity, physical presence, gender dynamics, authority, and digital authenticity.
In 2023, LDF organized Pakistan’s biggest digital art event ever, attracting more than 25,000 attendees at nine locations throughout Lahore. This extensive urban showcase presented works from 74 artists representing 14 different nations and encompassed interactive exhibits, live shows, and community-oriented activities. Additionally, the festival introduced a significant web-based program aimed at teaching artists how to establish and maintain careers as digital business owners—a venture that has thus far assisted numerous up-and-coming talents.
In addition to hosting exhibitions, LDF has conducted essential research, such as charting the landscape of Pakistan’s digital art sector, and has established enduring partnerships with international organizations like EUNIC.
At the heart of LDF is a deep commitment to accessibility and intersectionality. The festival routinely activates non-gallery spaces – public buildings, markets and streets – making digital art available to all, not just traditional art-goers.
“We aim for people to feel that LDF belongs to them,” states Najam. “The focus is broadening the cultural vision of Pakistan—not only for artists, but for entire communities.”
In the future, LDF aims for regional growth by introducing selected exhibitions to various cities throughout Pakistan. Additionally, they are negotiating with international festivals to display Pakistani digital art overseas—thus connecting local stories with an international audience even more effectively.
Founder Najam Ul Assar remains at the helm of the project as he completes his PhD in Digital Arts at the University of British Columbia, guided by Dr. Megan Smith. He is among the pioneering Pakistanis to undertake doctoral studies in this discipline.