At Midnight There Was No Border is part II of an ongoing series of projects by Abdullah Qureshi, Aziz Sohail, and Zulfikar Ali Bhutto, that interrogate the possibilities of queer practice individually and collectively through shared research interests and concerns - developing frameworks to approach queer identity within a Muslim South Asian context. Abdullah Qureshi's practice uses painting to address personal histories, traumatic pasts, and childhood memories. More broadly, through his research, he expands ideas of queerness, sexuality, and masculinity in Muslim contexts - in particular, South Asia. His most recent body of work looks at ideas of queer migrations, through which he examines LGBT bodies of colour, and their journey to the West. His presented work features an extensive interview with a gay migrant from Iraq, who is talking about three specific memories from home. The dialogue is framed around a larger dialogue created from the artist’s own memories, as well as around aspirations of an ultimate destination through references to Islamic mythology and darkrooms. Aziz Sohail’s creative practice focuses on the investigation of margins and under-researched histories, and their relation to the contemporary moment. His ongoing body of work examines India-Pakistan relations through his queer encounter with the Indian body which is at once the self and the other. His work begins with late night digital conversations with Indian men through Grindr and Tinder. Referencing moments of magical realism, telepathy and queer futurity, it imagines the dissipation of the hard border through the promise and discontents of the digital. The final result functions as an experimental publication that investigates these themes including exoticisation, desire, separation and nostalgia and how to build new solidarities in an isolated and insular world. Zulfikar Ali Bhutto investigates complex identity politics, merging together Islam, queerness and acts of resistance and resilience as seen in historical archive and contemporary politics. In this exhibition, he presents a video from the perspective of his alter-ego Faluda Islam, a Muslim bearded drag queen who was martyred in a fictitious queer, gender non-conforming revolution that toppled Western Imperialism in Asia and North Africa. She is a zombie, resurrected through wifi technology and straddles the worlds of the living and dead, existing as a walking corpse with a lens on the past, present and future. The narrative investigates the difference between tension and conflict in the cities of Beirut, where Bhutto’s mother grew up during the civil war, Karachi, where he grew up and Damascus, where he was born.Supported by the Goethe-Institut Pakistan