Concept, the EWF and the Middle East, Iraqi developments

Concept. The EWF got the opportunity to lend for showing some paintings by two celebrities from the Iraqi modern art history, which recently died. In order to give an impression of the current level of painting inside Iraq beside these we present works of a middle aged artist, an important painter of the next generation, who didn’t leave the country, and of five talented painters who had finished their academy not long before papa Bush invaded Iraq. They stayed and orientated themselves to Iraq and nearby regions, while about 1991 a big majority of intellectuals and respected artists had left the country and found elsewhere a resort. All painters of our selection maintained their high standard in a period of social and cultural decline.

From May 29 till November 22 the Wereldmuseum Rotterdam organized 'Focus Irak' with paintings, music, lectures and poetry made by Iraqi in Holland. Under the title 'Iraakse kunsten in Amsterdam' from September 26 till October 24 Kunstcentrum kadeKunst en Galerie 'S' also presented paintings, music, theater and poetry. Nearly 80 Iraqi visual artists are living in Holland as refugees. In these two events they already could give an impression of the Iraqi cultural substratum, but as a result of changes in natural (light) and mental respect their art will have undergone differences. With 'Iraq still going strong' the EWF – always greedy for art from the country itself - will give real toppers: painters who live[d] in the country and from there found much appreciation in the Middle East and who in spite of the international troubles also have exhibited in Europe and/or the U.S.

The EWF will hold the exhibition from January 16 until February 28 in Gallery Amber, Laurierstraat 71 Amsterdam.

Two times, in 1998 and 2001, the EWF organized an Iranian exhibition project and one time, in 2003, a Syrian one. In fact, however, our interest in the flowering time in Baghdad between '60 and '90 brought about 1994 our first fascination by Middle Eastern modern art. Until now political and practical circumstances withheld us from initiatives with regard to Iraq. Although we know Iraqi artists, who are living in The Netherlands, we prefer a direct encounter and decided to wait until an exhibition from the country itself would be possible.

Iraqi developments. A mix of elements is causing our interest. Recalling in mind his travels through Arab countries and comparing in l'Immoralist the Arabian and Greek civilization André Gide does stipulate that Arabs are not inclined to make things for eternity but that they do live their experiences, knowing that happiness - as wine in some jars cannot be preserved.

Nevertheless in the post-WW II- period in the Middle East and the MAGREB-countries modern art and a lively modern art market with wealthy collectors came into being. The Biennials: Cairo, Sharja, Teheran and others do illustrate this development.

Iraqi are charged with a rich history. Considering their own identity plastic artists encounter strong traditions: Mesopotamia, Sumerian relicts, Assyrian culture and then an impressive Islamic past that is still vigorous.

At the end of the thirties modern painting in Iraq came into being and since the early sixties it bloomed. Baghdad became the lively centre of making and of reflecting on modern art in an Arab context. When from the western world oil painting, a quite different approach of creating art and an alien range of styles and trends also conquered Iraq this meant a heavy challenge. How to adapt oneself without losing identity and roots?

In the twenties modern plastic impressionistic art had under French influence entered Egypt and soon also Syria. In the same period modern West-European painting had penetrated into the non-Arabian neighbouring country Iran [Persia]. In Baghdad the connection with the own identity became a burning question in creating and discussing. From pre-Islamic side there is the mighty heritage of sculpture and architecture. From Islamic tradition the calligraphy and the floral and geometrical figures spring and show fineness of the line and decorative skills. It’s true, with the passage of time painting perfect floral and geometrical patterns, this elaboration and abstraction, had become less inventive, more repetitive and somehow fossilized in stead of a fruitful artistic challenge. They stayed useful for handicraft: ceramics, carpets and inlays, but especially the standard decorations allowed too little scope for the creative urge of the individual artist. An exception has to be made for the still inspiring genre of calligraphy.

On the other hand modern western painting had just relinquished its heritage of the Renaissance and its realism. Artists were looking for a more contemporary expression.

If Iraqi wished to go into our society and art history they met a completely unknown field with glorification of the human body, typically a taboo in the Islamic world. Indeed, religiously, economically and socially East and West were obviously very different when oil and historical developments invited to an acquaintance.

Compared with painting from Morocco and Syria, also Arabic, and the more soft and far away expression of Iran, adjectives as strong, masculine, heavy, intense, crude and heroic seem to be hall-marks for much Iraqi painting that nevertheless also can show tender poetical and playful potency. Older than Islamic times seem to have inspired, impregnated the Iraqi conscious or subconscious, memories of mighty sculpture and architecture, a talent for construction and structure, hard material withstanding heat and desert storms.

In 1939 the government had founded the Institute of Fine Arts and in 1961, allied to Baghdad University, the Academy of Fine Arts was established. Encouraged by the government after World War II more than a few students visited academies in London, Paris and Rome. Critics, however, sometimes blame ‘the visible influence of Paris’* and expect a dominant Iraqi element in the completely imported painting discipline.

The Islamic tendency against the portrayal of the human figure had made that floral and geometrical patterns were developed to exquisite perfection. From great domes and vast interiors to small copper pots and plates got rich decoration. In general, however, global tendencies in modern art gave henceforth the strongest impulses.