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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. From the
Jordan Times, Thursday, July 4, 1996 |
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Collective
exhibition of 5O Arab artists
