Page 71 - Studio International - May 1974

The first Arab through to the early hours of the diverted, I hope temporarily, from and thus ensure the survival of the
morning. On such occasions I was those very qualities that now attract tradition. Presumably the new
Biennale aware of the special place the so many Western artists to their generation will feed back into the art
language holds in this re-emerging tradition ; namely a truly international schools, so reintegrating the
culture. Not only did it provide an visual language rather than style, teaching activities.
The debt we owe the Arabs is
fundamental. The Renaissance might immediate means of verbal able to raise the consciousness of At first glance it appeared ironic REVIEW
never have occurred without their communication between peoples man in his everyday dealings with his that, personally interested as I am
massive contribution of learning. from eleven countries but, more self-created environment. in reducing the divisions between
In this century Klee, Matisse, and many profoundly, gave them a common However, such generalizations do fine art, design and craft, and having
others have drawn from this source. ethos. Arabic is rather special—very not take account of the sense of admired from a distance a culture
The Western artist finds in his study old yet very supple —the living renaissance witnessed in the whose past demonstrated the
of this culture support in answering language of the Koran. I felt certain calligraphic work, the effort being indivisibility of these activities, I was
fundamental problems concerning that as long as they maintain Arabic made to rescue the craft tradition, the now witnessing a dilemma similar to 5
the structure and use of visual as their main language their new schools of art, and above all in our own. However, many younger
language. This source is particularly contribution will be considerable, but the energy and determination of the artist/designer/craftsmen reassured
appropriate at a time when Western if they lose it then they will somehow artists not merely to follow an alien me that there were already movements
divisions between the arts, crafts and lose everything including that which tradition but to take it, absorb it, and to dissolve these temporary
design are being eroded and when the we might hope to learn from them. make it contribute forcefully to the divisions as evidenced in the lively
role of each is being questioned. There is in their tradition a unique renewal of their own supra-national graphics of posters and the
It was with thoughts such as these and close relationship between culture. involvement with architects and
as well as dreams of 'Arabian Nights' industries.
that I visited the first Biennale of In Baghdad the forum for wide-
Arab Art in Baghdad in March, to find, ranging discussions and exchange of
as I had suspected, the stream of news and ideas is the Society of
influence apparently reversed. Iraqi Artists, the atmosphere of which
It was a large exhibition : 600 is positively Parisian in its
pieces of work by Arab artists from enthusiasm and dedication.
eleven countries, the majority of This society is typical of many
whom were painters. The paintings others already existing, or in the
bore a heavy European influence process of establishing themselves,
both in their handling of the media in the other Arab states. It is these
and, with a few exceptions, their national societies which, encouraged
choice of subject matter. They ranged by the renewed sense of Arab
through the whole gamut of identity, have grouped together to
European schools of the first half of form the Union of Arab Artists
this century. Although the quality was responsible for the Biennale. Formed
uneven there was a large number of as late as 1971 by seven delegate
very competent works. The countries, now having eleven
unevenness was perhaps partly due members and soon to acquire fifteen
to the policy decision to exhibit so national delegates, it is at present
many young painters. It should be based on Baghdad, supported
remembered that painting is a new largely at the moment by the Iraqi
medium in this area, introduced in the government (although other states
period of imperial influence of are now beginning to contribute). It
Great Britain, France and Italy under has an ambitious programme —to
which young artists were often sent to quote from its objectives :
London, Paris or Rome to study and (a) encouraging and furthering
work, returning in maturity to teach individual artistic efforts pertaining to
the skills they had acquired in those the national causes of the Arab world ;
cities to a younger generation. Had, (b) getting Arab artists to know each
therefore, the thread of tradition other through regular and periodical
been completely severed ? There was gatherings ;
evidence in the figurative work of the (c) holding artistic meetings and
influence of the iconography of seminars in various parts of the Arab
earlier cultures, of dreams of past world ;
gods often displaying a nostalgia (d) presenting and promoting
for— rather than a reincarnation of— Arab modern arts on a world level ;
old powers. Assyrian archetypes, (e) looking after the Arab artist and
Ali Omar Rmayes Letter Tah 1969.60 x 40cm. Ink on paper
movements of the seals, legendary protecting his right to a decent
figures glared powerfully down or conversation, calligraphy and There are in Baghdad two living and freedom of expression
moved silently across the surfaces. decoration. This relationship displays relatively new institutions of higher through artistic work;
Inevitably there was a concern by an ntegration of intellect and intuition, education devoted to the plastic arts. (f) removing the barriers which
many with the formal painterly of process and concept, of visual and They conduct four-year specialist restrict the free movement of artists
problems of surface, of mark-making, verbal, which is surely what has courses in art and crafts on a rather and artistic works between the Arab
the profundities of colour 'cleansed' fascinated Western man in his study of dated model of the academies of countries ;
of connotation, of the expressive use this culture. Europe in the early half of this century. (g) persuading Arab governments to
of brush and paint. Somehow, The Western tradition of painting Admission is not difficult and there is enact proper legislation which will
although so much was of real interest seems a curiously inappropriate already effort to ensure that graduates introduce artistic works in the
and quality, I felt the plethora of medium in their environment, more are helped to practise as economic and information fields
painting at the expense of other media suitable for expression of individual professionals. While not agreeing where the artist's presence is
to be saddening. It will take time to emotion emphasizing the personal with their teaching methods, I was essential ;
re-identify the appropriate means to rather than the group ethos. Western impressed by the enthusiastic (h) educating Arab masses
express their purpose. schooling has, I believe, diverted their atmosphere. artistically, and propagating Arab
Their belief in the qualitative attention towards our previous In addition to these institutions culture and artistic heritage both
nature of man ; the Arab vision of concern with landscape, social and there are the craft centres. When inside and outside the Arab world ;
unity, relevant whether a declared political problems, and is leading Mr Ata Sabri returned after 30 years in (i) promoting artistic research and
Muslim or not, was best expressed them inevitably towards our present Europe he was distressed to find that criticism, and enriching the Arab art
during my visit at the end of each day circular path of the meta-language of many crafts had almost disappeared. library in general with books,
when all men became poets, art examining art, separate from any A determined attempt was made to writings, and translations, and
philosophers and musicians, sitting other than a theoretical context. locate the now ageing craftsmen, publishing periodicals to serve the
in large circles entertaining each other Ironically their attention has been bring them together with apprentices interests of the Arab artistic