Collective Exhibition of 5O Arab Artists
Keeping Admiration Alive
Mahmoud Mufti - The Jordan Times
July 4, 1996

When the foremost 5O Arab artists from 10 Arab countries exhibit their work in a single exhibition, under one roof. for a whole month the result is simply spectacular. Accordingly, the "Small House of Arts" (Arabic for Darat- Al Funun) is now foster home to the works of some of the most established names in modern contemporary Arab art, such as Shaker Hassan Al Said, Mona Saudi; Nasser Soumi, Amin Al Basha and Farid Belkahia. Lending the exhibition special significance is the diversity of not only the artists themselves. but also the artistic styles involved, the materials, and the method of hanging (the achrochage), according each of the works its optimal surroundings with respect to the other works, the aesthetics of the exhibition hall as well as the light.

These overlapping and mutually-complementary elements make the exhibit particularly valuable to those interested in researching the development and evolution of style, technique and materials used in the field of contemporary Arab art. The experience is therefore as much an illuminating educational one as it is an aesthetic and spiritual one. The works feature the latest artistic innovations in the various schools: Abstract, expressionism, impressionism, graphics, installations, etc.

The exhibition abounds with works of rising artists- with talent galore-such as Ghadah Dahdaleh, Nadim Muhsin. Khalil Rabah, and Mahmud Obaidi. The artists, old and new, collectively represent each of Jordan, Palestine, Iraq, Tunisia, Syria, Sudan, Morocco, Lebanon, Saudi Arabia and Egypt. Some of these artists reside in cities as far away and diverse as Tokyo and San Francisco.

Participating artists from Jordan are Samia Taktak Zaru, Nabila Hilmi, Khalid Khreis, Mona Saudi, Ghada Dahdaleh. Ammar Khammash, Ahmad Nawash, Nawal Abdullah, Adnan Al Sharif, Abdul Raouf Shamoun, Alia Amoura, Aziz Amoura, Fouad Mimi, Rula Shukairy, Dodi Tabaa, SamerTabaa, Nabil Shehadeh, Ufemia Rizk and Jamal Ashour.The team representing Palestine consists of Samira Badran, Vladimir Tamari, Kamal Boullata, Samia Halabi, Jumana al Husseini, Nasser Soumi, Sulaiman Mansour, Tayseer Barakat, Nabil Anani, Laila Shawa and Khalil Rabah. Iraq's historic marriage to art, literature and poetry is strongly evident in this exhibit, with the participation of the likes of philosopher- artist Shaker Hassan al Said, Rafa Nasiri, Saadi al Kaabi, Himat Moharnmad Ali, Nadim Muhsen, Ismail Fattah, Salem Dabbagh, Karim Rasan Mansour, Mahmoud Obaidi, and Ali Taleb. Finally, a small but important number of artists from other Arab countries are represented through their works: Farid Belkahia and Muhammad Kacimi from Morocco, Faisal Samra from Saudi Arabia, Rashid Diab and Muhammad Oman Khalil from Sudan, Rafik al Kamel from Tunisia, as well as Amin al Basha, Ghadah Jamal and Afaf Zureiq from Lebanon. If the viewer is expecting nothing more than the usual 'oil-on-canvas' or acrylic-on-paper pleasant surprises abound with the proliferation of other mediums and techniques: installations, sculptures, prints, etc. Samer Tabbaa's work of wood-and-tar will draw an inquisitive glare from the dullest eye, perhaps even a poke, (providing one can escape Director Ali Maher's vigilant prowling, of course). Nabil Anani's innovative working and colouring of virgin leather would no doubt put to shame the proudest Cherokee Indian teepee-maker.

Sulaiman Mansour, on the other hand, has no peer when it comes to environmentally-friendly art. His exhibited work, an ornate structure in itself, looks like a huge talisman or totem-symbol that is both recyclable and biodegradable. Predictably, a dehydrated (but potentially re-hydratable ) straw-and-mud base makes up the primary structure, with copius lengths of spiralling rope making up the mainsail egging. The whole item is then decked with granular articles that bear striking resemblance to millet, corn, raisins and cornflakes. Emerging from this wonderfully-organic emporium. the viewer is greeted with the solemness of Mona Saudi's bitextural black granite structure. Its austerity becomes its very art-form. It is both sensual and forbidding. It beacons to be experienced first hand.

Aziz Amoura's virtually translucent Arabic calligraphy work in yellow, gold, grass-green and orange is probably the most mystical of the whole range, save perhaps the Suffi-inspired works of Dr. Khalid Khreis and Rafik al Kamel. Amoura's faint arches add credence to the conjecture that the calligraphy might be of the spiritual sort. However, it is worthwhile mentioning the little-known fact that there is no division between sacred and secular art in Islam, and these same designs and materials could be used to embellish palaces, tombs and Fortresses as well as mosques." (Art in Islam. World of Islam Festival Trust).

According to the above essay, Art in Islam, the historical background of the art of calligraphy goes back to earlier Islam, when it [calligraphy], developed through every media, great and small. to remind the reader of his obligations and responsibilities as a Muslim. It is revealed in the Holy Qur'an that man is born forgetful of God, and it is therefore necessary and desirable that he should be constantly reminded of Him. For the scribe or illuminator, the creation of a Qur'anic manuscript or the inspiration of a quotation from holy scripture inscribed upon glass or pottery engraved upon metal or inlaid with gold or silver carved into ivory, wood or stone represents an act of piety and devotion. It communicates itself to any subsequent beholder, be it of miniature refinement or massive ornamentation upon a wall or dome. Even when the calligraphy becomes so elaborate and convoluted as to make it hard to decipher. it remains a proclamation of the Word of God".

Adjacent to an ink-on-paper sketch by Ismail Fattah of a distraught face that looks like that of a hurriedly and unnecessarily-awakened Egyptian mummy, is another work by the artist. cast in bronze. Standing approximately 40cm high, it depicts a disoriented nude man emerging out of coffin-like box, looking as if he is wondering whether he had made the correct choice. Rula Shukairy 's usage of delicate greys, greens, yellows and beiges conspire to conjure the likeness of an imposing rock-facade that manages to evoke Petra more than traditional works using the traditional Petra colours of rose-red, orange and variants thereof. A feast of indigo royal blue and black predominates in Dodi Tabaa's work. Dodi seems happiest whenever pasting, gluing, or affixing some contrasting material atop another. Here, she manacles a wrinkled sheet of texturous cloth onto a firm board, with all manner of mystical symbols drawn boldly on the more even surfaces.

Perhaps the most outspoken work on exhibit is an acrylic-on-canvas painting by Palestinian artist Laila Shawa,depicting three dancing twirling peasant girls clad in long dresses. with heavily-decorated feet and hands. incorporating good-luck charms and talismans such as those believed to ward off the evil eye. The background is of the most brilliant orange-almost phosphorescent-contrasting with a black and white chequered floor. Surrealism immediately, springs to mind here.

The viewer is encouraged to pay several visits to this exhibition, since one would probably not have a chance to become saturated with an individual work of art upon first encounter. The intensity of the works as a whole. and their number, are such that it may not be possible to do more than glance at each of the works on dislpay. But if one or more of the works touch the viewer in a way that is especially meaningful to him/her, then it could be most rewarding to savour the joys of discovering beautiful forms in the details, however subtle: "A picture is a poem without words", commented Horace. Jean Paul Richter added: Wart is indeed not the bread but the wine of life."

The Darat's director.. artist Ali Maher. explains that by integrating young talented artists with more established ones, we help introduce them to, and launch them out into society in a strong way. We help our participating artists in other ways too: Because the gallery is a non-profit organisation and does not exact any commission fees from artists. The latter are consequently able to offer their works for purchase to members of the public at lower prices, thus making more and more signifcant art works available and accessible to a wider spectrum of people.' On a lighter note, Mr.Maher adds that ..the intellectual atmosphere of the Dara's outdoor cafe-by-the-fountain is also a place where exhibition-weary bodies can relax and engage in hearty chats over a cup of coffee, perhaps even sketch an unsuspecting visitor in some far corner. One will almost always bump into old friends, there, and may very likely make new ones. Art has a tendency of bringing people and ideas together in most unanticipated yet creative ways, and inspiring settings are always conducive to that.' The month-long exhibition ends on July 31.