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CAF AT CHRSTIE'S -PR
New Strokes: The Rise of Middle Eastern and North African Art
NEW STROKES: THE RISE OF MIDDLE EASTERN AND
NORTH AFRICAN ART
‘Art
is one of the few reliable loudspeakers that can help one understand what
exactly has taken place in a region where memory is constantly interrupted and
distorted by chronic violence’ (Arie Amaya Akermans:2012:Re-Orient) (1)
It is a given to say that the
political tensions that have surrounded the Middle East and North Africa, and
the subsequent media exposure of such events to western societies have steered
the world’s attention to parts of the region.
The media spotlight has encouraged the
recognition of art within the region as well as provided a platform for those artists
to express themselves and be heard without the constraints of censorship. Evocative
articles such as: ‘Think Middle East
Politics Are Hot? Try Middle Eastern Art’[2]
and ‘Art in the Middle East: Foment of the Moment’ [3]
to name but a few, have been an important factor in putting Middle Eastern
Art ‘on the map’. This publicity has
also provided support and a sense of solidarity amongst the entire art
community; as artists come together, collaborate and express themselves on both
a national and international stage.
Their voices aren't just limited to
making a statement or documenting events. There is a keen agenda amongst some
artists to attempt to evoke thought amongst civil society. Reminding them that
the ‘fight’ isn't over, and that as a society they have a civil responsibility
to ensure that they are part of building a Middle East that is authentic to
them.
 |
| Abdulnasser Gharems: Capitol Dome |
One such artist is the leading Saudi
artist Abdulnasser Gharem, known to many as a pioneer in conceptual art. His
contribution to the political discussion is his miniature version of the US
Capitol Dome which was recently part of the ‘#COMETOGETHER’ exhibition in
London’s Brick Lane. The Dome’s exterior is an exact copy of the original Dome;
however the interior has been designed to resemble a Mosque. The piece is
representative of the current situation the countries involved with the Arab
Spring now face, as their battle deepens and their search for a political
structure continues. Gharem notes a lot of attention is being paid to the US
model of democracy; as the history of ‘no democracy’[4] within
these countries creates a situation of unease and confusion with regard to the
direction that should be followed. However
he is keen to assert and remind civil society that the Middle East isn’t the US
and they have their own destiny to follow. He urges the Middle Eastern
community to ‘talk’, and explains his work as a platform for conversation,
thought and new perspective.
Theatrical directors/writers as well
as visual artists within the MENA[5]
region have also experienced a revival, and their social and political
relevance has been re-discovered. Ibraaz’s Cleo Jay notes that:
‘Egyptian artist Hanaa Abdel Fattah called for
a revolution in Egyptian theatre in a March 2011 interview for Ahram Online, noting that 'Prior to the 25 January
Revolution, Egyptian theatre productions were totally isolated and distanced
from the social and political situation in the country. Theatre did not hear
the social voices calling for democracy.’[6]
The
play L’isoloir (The Voting Booth) directed by Taoufik Jebali, is a play about
taking the next steps to democracy after the fall of Ben Ali in Tunisia. It
represents the new challenges faced by Tunisians as they elect a new
government. Writers such as Kamel Bouaouina (2012) and Jay Cleo (2012) note that the play invites thought and questions within the
audience, and sends out a similar message as that of Gharem’s Capitol Dome.
The revolution in politics has offset a revolution in art, and there is a clear message of solidarity and empowerment. The ‘movement’ has not only set to bring together the art genres and the art community, but the entire Middle Eastern community on a wider level.
In essence these
artists are working as mediators within society; working to empower civil
society and encourage them to be proactive within the current situation and
essentially be that society that not only pioneered a revolution, but made it
work.
Written By Kiran Sahib: CAF Writer/Editor
(1)Arie Amaya-Akkermans , http://www.reorientmag.com/2012/10/impossible-possibilities/
[4] Abdul Nasser Gharem, October 2012 http://www.youtube.com/watch?v=DO9T_jCOkis
[5] Middle East and North Africa
[6] STAGING THE TRANSITION IN NORTH AFRICA: Theatre As a Tool of Empowerment, Ibraaz Online Magazine, Cleo Jay, 2/11/2012
[4] Abdul Nasser Gharem, October 2012 http://www.youtube.com/watch?v=DO9T_jCOkis
[5] Middle East and North Africa
[6] STAGING THE TRANSITION IN NORTH AFRICA: Theatre As a Tool of Empowerment, Ibraaz Online Magazine, Cleo Jay, 2/11/2012
The London MENA Film Festival 2012 - Opening Night
LONDON MENA FILM FESTIVAL 2012OPENING NIGHT AT THE TRICYCLE THEATER
The London MENA Film Festival kicked
off on the 26th October at the Tricycle theater, with the screening of ‘How Big is Your Love’,
directed by the very talented Fatma Zohra Zamoum. It is a touching tale about a
young boy, Adel who is sent to stay with his grandparents Rachid and Kadidja-
played by Nordine Alane and Nadjia Debahi- Laraaf- as his parents contemplate
their marriage. Adel’s life becomes very much a part of his grandparents and
together they explore the simple pleasure in life that is unconditional love.
Adel is played by the exceptionally gifted
young actor, Racim Zennadi, whom Zamoum couldn’t give enough praise to at the
Q&A that followed the screening. His raw innocence gave the film a certain
depth and allowed for the audience to connect with the plight of his situation.
The film is set in contemporary Lounès, Algeria and is adamant on
representing an image of North Africa that is far from the popular images that
are currently coming out from the region. Bold colours, rustic foods, familiar
images of cigars and coffee, and images of a lit up Lounes from a balcony view,
together create a sense of normality and home. Fatma commented that she was
tired of the war and terrorism represented in Algerian cinema and wanted to
create something more wholesome. She was determined to cater for an important
part of society that has usually been ignored in Algerian cinema.‘I made this film because children and the
aged are absent in North African Cinema’ she commented with an interview
with FilmFestival.com.
Preceding the film were three short
films ‘Granny Flag’, ‘The Secret Room’ and ‘Here’, which all had clear
revolutionary themes, displaying the angst felt about the Arab Spring amongst
so many. They each provide an individual angle and provide much impact in their
4 minutes.
All in all the London MENA Film Festival picked a great line-up to
start of their week -long festival, which most definitely warmed the chill of
the autumn evening.
By Kiran Sahib : Writer/Editor for CAF
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