What does it mean to be a true friend or a formidable enemy? 

In an increasingly fragmented world, friendships, both personal and political, are crucial for navigating the complexities of modern life. Friends in Love and War – L’Éloge des Meilleur·es Ennemie·es, currently on display at the Ikon Gallery in Birmingham, offers a thoughtful exploration of this timeless question. Curated collaboratively between Birmingham and its partner city Lyon, the exhibition reflects not only on personal connections but also on how cities, organisations, and regions can cultivate friendships across borders, particularly in a post-Brexit landscape. 

Taking place from 2 October 2024 – 23 February 2025, the exhibition spans a range of media, including painting, sculpture, film, photography, and textiles. Featuring international and Birmingham-based artists, it beautifully illustrates the delicate balance between love and conflict that defines both intimate and political friendships. The thoughtful curation of works invites the viewer to consider friendship’s ability to shape individual lives and society, serving as a foundation for resilience, solidarity, and collective growth. 

One of the standout works in the exhibition is Hetain Patel’s ‘Don’t Look at the Finger’ (2017), a mesmerising film that portrays a couple engaging in a choreographed kung-fu-style duel at their wedding. Their tenacious combat, underscored by costumes influenced by Japanese, Mongolian, and West African traditions, plays with the idea of love and conflict as intertwined forces. Despite the apparent hostility, there is a palpable sense of complicity and intimacy, suggesting that even in moments of challenge, true connection remains. 

The exhibition does not shy away from the political implications of friendship. This is especially evident in works like ‘Have Courage in the Crisis Set Yourself Free’ (2016) by Lubaina Himid, where friendship becomes a source of strength and resistance. Himid’s painting evokes the power of emotional ties in helping individuals and communities survive adversity. This theme is echoed in Lynette Yiadom-Boakye’s ‘Condominium’ (2005), where a smiling black female figure, painted in oil on linen, meets the viewer’s gaze with confidence and warmth, symbolising camaraderie and self-belief in the face of adversity. 

The exhibition challenges us to recognise the bonds. It compels us to reflect on the strength we find in Sangat—a community built on trust, shared experiences, and a mutual commitment to uplift each other. Overall, ‘Friends in Love and War’ is a thought-provoking and emotionally engaging exhibition. It not only celebrates the beauty of human relationships but also challenges viewers to consider the political and cultural significance of friendship in a world increasingly defined by division. The exhibition successfully conveys its message that friendship, in all its complexity, is essential to both individual and collective well-being. 

In conclusion, the exhibition left me with a sense of optimism about the role that friendships can play in shaping a more compassionate and unified future. It is a must-see for anyone interested in exploring how love, conflict, and cooperation intersect to form the bonds that define our lives and our societies. 

— Deputy Editor