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Investigating Modernism in the Arab World '

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Investigating Modernism in the Arab World ' اﻟﺸﺮق رد & INVESTIGATING MODERNISM IN THE ARAB WORLD !"#$%&’'$% ﻧﻈـﺮة ﻣﻌﻤـﻘﺔ ﻋﻠﻰ اﻟﺤﺪاﺛــﺔ ﻓﻲ اﻟﻌـﺎﻟﻢ اﻟـﻌﺮﺑﻲ ﻣﻨﺬ ﻋـﺎم ١٩٥٠ وﺣﺘﻰ ﻋﺎم ١٩٧٠ ISBN 978-1-907051-26-5 Published by Art Advisory Associates Ltd. &رد اﻟﺸﺮق Barjeel Art Foundation ﻣﺆﺳﺴﺔ ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن Level Two, Maraya Art Centre اﻟﻄﺎﺑﻖ اﻟﺜﺎﻧﻲ، ﻣﺮﻛﺰ ﻣﺮاﻳﺎ ﻟﻠﻔﻨﻮن Al Qasba, Sharjah, UAE 11 ﻣﺎرس ٢٠١٣ MARCH !!, "#!$ TO اﻟﻘﺼﺒﺎء، اﻟﺸﺎرﻗﺔ، اHﻣﺎرات اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة 22 ﻧﻮﻓﻤﺒﺮ ٢٠١٣ $!#" ,"" www.barjeelartfoundation.org NOVEMBER &رد اﻟﺸﺮق Curator ّاﻟﻘﻴﻤﺔ Mandy Merzaban ﻣﺎﻧﺪي ﻣﺮزﺑﺎن English Editor ﻣﺤﺮرة اﻟﻠﻐﺔ ا-ﻧﺠﻠﻴﺰﻳﺔ Daliah Merzaban داﻟﻴﺎ ﻣﺮزﺑﺎن Arabic Editor ﻣﺤﺮر اﻟﻠﻐﺔ اﻟﻌﺮﺑﻴﺔ Ismail Rifai إﺳﻤﺎﻋﻴﻞ اﻟﺮﻓﺎﻋﻲ Arabic Translation اﻟﺘﺮﺟﻤﺔ اﻟﻌﺮﺑﻴﺔ Iskandar Shaaban اﺳﻜﻨﺪر ﺷﻌﺒﺎن Partner Ad Services وﺷﺮﻳﻜﺘﻪ ﻟﻠﺨﺪﻣﺎت ا@ﻋﻼﻧﻴﺔ Contributors ّاﻟﻜﺘﺎب اﻟﻤﺴﺎﻫﻤﻮن Valerie Beheiry, Ph.D د. ﻓﺎﻟﻴﺮي ﺑﺤﻴﺮي Patrick Kane, Ph.D د. ﺑﺎﺗﺮﻳﻚ ﻛﻴﻦ Daliah Merzaban داﻟﻴﺎ ﻣﺮزﺑﺎن Salwa Mikdadi, Ph.D د. ﺳﻠﻮى ﻣﻘﺪادي Ismail Rifai إﺳﻤﺎﻋﻴﻞ اﻟﺮﻓﺎﻋﻲ Sarah Rogers, Ph.D د. ﺳﺎرة روﺟﺮز Photography اﻟﺘﺼﻮﻳﺮ اﻟﻔﻮﺗﻮﻏﺮاﻓﻲ Capital D Studio ﻛﺎﺑﻴﺘﺎل دي إﺳﺘﻮدﻳﻮ Book Design ﺗﺼﻤﻴﻢ اﻟﻜﺘﺎب We Are Thought Fox وي آر ﺛﻮت ﻓﻮﻛﺲ Clint McLean, Una Jani!ijevi!, Tulip Hazbar ﻛﻠﻴﻨﺖ ﻣﺎﻛﻠﻴﻦ و أوﻧﺎ ﻳﺎﻧﻴﺸﻴﻔﻴﺘﺶ و ﺗﻮﻟﻴﺐ ﻫﺰﺑﺮ 2nd printing RE: ORIENT ! table oF ContentS ﺟﺪول اﻟﻤﺤﺘﻮﻳﺎت Barjeel Art Foundation "# ﻧﺒﺬة ﻋﻦ ﻣﺆﺳﺴﺔ ChaF i C r a g h e b d i a K a d h i m a dam n aim ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن a bboud a yad a l azzawi h aidar henein iSmail Foreword "$ ﻧﻌﻴــﻢ إﺳﻤــﺎﻋﻴــﻞ آدم ﺣﻨﻴــﻦ ﻛﺎﻇﻢ ﺣﻴﺪر ﺿﻴﺎء ّاﻟﻌـــﺰاوي راﻏــﺐ ﻋﻴـــﺎد ﺷﻔﻴـــﻖ ّﻋﺒـــﻮد '" %" $# $' #' '' ﻣﻘــﺪﻣـﺔ Exhibition Statement %& ﻛﻠﻤﺔ اﻟﻤﻌﺮض Patrick Kane interviews %' Dia Al Azzawi ﺑﺎﺗﺮﻳﻚ ﻛﻴﻦ ﻳﺤﺎور ﺿﻴﺎء اﻟﻌﺰاوي a h m e d n a SSi r h a F i d h Saadi l ouay m ohammed CherK aoui Choura a l d roubi a l K a a b i Kayyali Khadda ﻣﺤﻤـــﺪ ﺧــﺪا ﻟـــﺆي ﻛﻴــــﺎﻟﻲ ﺳــﻌﺪي اﻟﻜﻌــﺒﻲ ﺣـﺎﻓﻆ اﻟــﺪروﺑــﻲ ﻧﺼﻴــﺮ ﺷـــﻮرى أﺣﻤـــﺪ اﻟﺸـــﺮﻗﺎوي !' !# !$ "# "$ "& iSmail a bdel Kader Paul iSmail Fateh a hmed Fattah g uermaz g uiragoSSian a l Khayat a l m oudarreS m ouS taF a أﺣــﻤﺪ ﻣــﺼﻄﻔــﻰ ﻓﺎﺗﺢ اﻟﻤﺪرس إﺳﻤـــﺎﻋﻴــﻞ اﻟﺨﻴـــﺎط ﺑﻮل ﻏﻴﺮاﻏﻮﺳﻴﺎن ﻋﺒـــﺪاﻟﻘــﺎدر ﻏــﺮﻣــﺎز إﺳﻤــﺎﻋﻴﻞ ﻓﺘـــﺎح !& #% #' $' $# $$ " RE: ORIENT &رد اﻟـﺸــــﺮق # table oF ContentS (contd.) ﺟﺪول اﻟﻤﺤﺘﻮﻳﺎت barjeel art Foundation (ﺗﺎﺑﻊ) ﻧﺒﺬة ﻋﻦ ﻣﺆﺳﺴﺔ ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن )) Previous Publications abdallah a bdul-halim Samir The Barjeel Art Foundation is an independent, ﺗﻌﺪ ”ﻣﺆﺳﺴﺔ ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن“، اﻟﺘﻲ ﺗﺘﺨﺬ ﻣﻦ دوﻟﺔ ا@ﻣﺎرات al Qa SSar r adwi r a F i اﻟﻤﻄﺒﻮﻋﺎت United Arab Emirates-based initiative established ً اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة ّﻣﻘﺮا ﻟﻬﺎ، ﻣﺒﺎدرة ﻣﺴﺘﻘﻠﺔ ﺗﻬﺪف إﻟﻰ إدارة ﺳﻤﻴــﺮ راﻓــﻊ ﻋﺒــــﺪاﻟــﺤﻠﻴــﻢ رﺿـــــﻮي ﻋﺒﺪ ا اﻟﻘﺼﺎر اﻟﺴﺎﺑﻘﺔ to manage, preserve and exhibit the personal art وﺣﻔﻆ وﻋﺮض ﻣﺠﻤﻮﻋﺔ ﻣﻘﺘﻨﻴﺎت ﺳﻠﻄﺎن ﺳﻌﻮد اﻟﻘﺎﺳﻤﻲ #) ') &$ .collection of Sultan Sooud Al Qassemi اﻟﻔﻨﻴﺔ اﻟﺸﺨﺼﻴﺔ. The foundation’s guiding principle is to contribute ﺗﺘﻤﺜﻞ رؤﻳــﺔ اﻟﻤﺆﺳﺴﺔ ﻓﻲ اﻟﻤﺴﺎﻫﻤﺔ ﺑﺪﻋﻢ ﺣﺮﻛﺔ اﻟﺘﻄﻮر to the intellectual development of the art scene اﻟﻔﻜﺮي ﻋﻠﻰ اﻟﺴﺎﺣﺔ اﻟﻔﻨﻴﺔ اﻟﺨﻠﻴﺠﻴﺔ ﻋﺒﺮ اﻗﺘﻨــﺎء ﺗﺸﻜــﻴﻠـﺔ ,in the Gulf region by building a prominent ﻣﺘﻤﻴﺰة ﻣﻦ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ وﻋﺮﺿﻬﺎ أﻣﺎم اﻟﺠﻤﻬﻮر ﻓﻲ publicly accessible art collection in the UAE. Part ا@ﻣﺎرات اﻟﻌﺮﺑﻴــﺔ اﻟﻤﺘﺤﺪة. ﻛﻤﺎ ﺗﻬﺪف اﻟﻤﺆﺳﺴـﺔ إﻟﻰ ﺗﻮﻓﻴﺮ of this objective involves developing a public ﻣﻨﺼــﺔ ﻋﺎﻣﺔ ﺗﺘﻴﺢ ﻟﻠﺠﻤﻬﻮر ﺗﺒﺎدل وﺟﻬﺎت اﻟﻨﻈﺮ واﻟﺘﺤـﺎور platform to foster critical dialogue around modern ﺣﻮل اﻟﻔﻦ اﻟﺤﺪﻳﺚ واﻟﻤﻌﺎﺻﺮ، ﻣﻊ اﻟﺘﺮﻛﻴﺰ ﻋﻠﻰ اﻟﻔــﻨﺎﻧﻴﻦ nouri iSSam ShaK ir h a SSan and contemporary art, with a focus on artists with اﻟﻤﺘﺸﺒﻌﻴﻦ ﺑﺎﻟﺘﺮاث اﻟﻌﺮﺑﻲ ﺣﻮل اﻟﻌﺎﻟﻢ. al rawi a l Said a l Said Arab heritage internationally. ﺷﺎﻛــﺮ ﺣﺴــﻦ آل ﺳﻌﻴــﺪ ﻋﺼــﺎم اﻟﺴﻌﻴـــﺪ ﻧــﻮري اﻟﺮاوي وﺗﺴﻌﻰ ”ﻣﺆﺳﺴﺔ ﺑﺎرﺟﻴﻞ ﻟﻠﻔﻨﻮن“ ﺟﺎﻫﺪة |ن ﺗﻜﻮن ﻣﻮرداً #& '& %& By hosting in-house exhibitions, lending artwork ﺛﺮاً ﻟﻠﻤﻌﻠﻮﻣﺎت ﺣﻮل اﻟﻔﻦ اﻟﺤﺪﻳﺚ واﻟﻤﻌﺎﺻﺮ ﻋﻠﻰ اﻟﺴﺎﺣﺔ to international forums, producing print as well اﻟﻤﺤﻠﻴﺔ واﻟﻌﺎﻟﻤﻴﺔ، وذﻟﻚ ﻣﻦ ﺧﻼل اﺳﺘﻀﺎﻓﺔ اﻟﻤﻌﺎرض as online publications, and fashioning interactive اﻟﺪاﺧﻠﻴﺔ، وإﻋﺎرة ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ ﻟﻠﻤﻨﺘﺪﻳﺎت اﻟﺪوﻟﻴﺔ، وإﺻﺪار public programmes, the Barjeel Art Foundation اﻟﻤﻄﺒﻮﻋﺎت اﻟﻮرﻗﻴﺔ واﻟﻤﻨﺸﻮرات ا@ﻟﻜﺘﺮوﻧﻴﺔ، واﺑﺘﻜﺎر اﻟﺒﺮاﻣﺞ strives to serve as an informative resource for اﻟﺘﻔﺎﻋﻠﻴﺔ ﻟﻌﺎﻣﺔ اﻟﺠﻤﻬﻮر. modern and contemporary art locally and on the global stage. walid SeiF n a S ha’at al S hami w anly al z uaby ﻧﺸــــﺄت اﻟﺰﻋﺒﻲ ﺳﻴــﻒ واﻧـــﻠﻲ وﻟﻴﺪ اﻟﺸﺎﻣﻲ &$ && )# ) RE: ORIENT &رد اﻟـﺸــــﺮق $ Foreword ﻣﻘــﺪﻣـﺔ By Salwa Mikdadi, Art Historian and Curator. Abu Dhabi, 2013 ﺳﻠﻮى ﻣﻘﺪادي ّﻗﻴﻤﺔ وﻣﺆرﺧﺔ ﻓﻨﻴﺔ ، أﺑﻮﻇﺒﻲ، ٢٠١٣ The decades between the 1950s and 1970s witnessed a surge ﺳﺎدت اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ ﻣﻮﺟﺔ ﻣﻦ اﻟﺘﻔﺎؤل ﺧﻼل اﻟﻔﺘﺮة اﻟﻤﻤﺘﺪة ﺑﻴﻦ ﺧﻤﺴﻴﻨﻴﺎت of optimism following the independence of several Arab وﺳﺒﻌﻴﻨﻴﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ ﻋﻘﺐ اﺳﺘﻘﻼل ﻋﺪد ﻣﻦ اﻟﺪول اﻟﻌﺮﺑﻴﺔ ﻣﻦ ﻫﻴﻤﻨﺔ countries from European colonial domination. Beginning with اﻻﺣﺘﻼل ا|وروﺑﻲ، ﺑﺪءاً ﺑﺴﻮرﻳﺎ وﻟﺒﻨﺎن ﻓﻲ ا|رﺑﻌﻴﻨﻴﺎت، وﻣﺮوراً ﺑﻤﺼﺮ وﻟﻴﺒﻴﺎ Syria and Lebanon in the 1940s, Egypt, Libya, Iraq, Tunisia واﻟﻌﺮاق وﺗﻮﻧﺲ واﻟﻤﻐﺮب ﺑﻌﺪﻫﺎ ﺑﻔﺘﺮة وﺟﻴﺰة، ًووﺻﻮﻻ إﻟﻰ اﺳﺘﻘﻼل ﺑﻘﻴﺔ اﻟﺒﻠﺪان and Morocco achieved independence soon after while other اﻟﻌﺮﺑﻴﺔ ا|ﺧﺮى ﻓﻲ اﻟﺴﺘﻴﻨﺎت وأواﺋﻞ اﻟﺴﺒﻌﻴﻨﺎت. وارﺗﻔﻌﺖ ﻣﻮﺟﺔ اﻟﺘﻔﺎؤل ﺗﻠﻚ Arab countries gained their freedom in the 1960s to early إﺑﺎن أﺣﺪاث ﻋﺪﻳﺪة ﺟﺎﺷﺖ ﻟﻬﺎ ﻣﺸﺎﻋﺮ اﻟﺠﻤﺎﻫﻴﺮ اﻟﻌﺮﺑﻴﺔ ﻣﺜﻞ ﺗﺄﻣﻴﻢ ﻗﻨﺎة 70s. This optimism, buoyed by the 1956 nationalisation of‘ اﻟﺴﻮﻳﺲ ﻋﺎم ١٩٥٦، واﻟﻮﺣﺪة ﺑﻴﻦ ﺳﻮرﻳﺎ وﻣﺼﺮ (اﻟﺠﻤﻬﻮرﻳﺔ اﻟﻌﺮﺑﻴﺔ اﻟﻤﺘﺤﺪة) the Suez Canal and the short-lived unification of Syria and ﺑﻌﺪ ذﻟﻚ ﺑﺴﻨﺘﻴﻦ. وﺳﺮﻋﺎن ﻣﺎ ﺳﺮت ﻓﻲ أوﺻﺎل اﻟﻤﺠﺘﻤﻌﺎت اﻟﻌﺮﺑﻴﺔ ﺧﻴﺒﺔ Egypt (United Arab Republic) in 1958, was overshadowed by ا|ﻣﻞ ﺑﻌﺪ اﻟﻬﺰﻳﻤﺔ اﻟﻤﺆﻟﻤﺔ ﻟﺤﺮب اﻟﻨﻜﺴﺔ ﻋﺎم ١٩٦٧، ًﻓﻀﻼ ﻋﻦ اﻟﺘﻤﻠﻤﻞ ﻣﻦ -disillusion after the crippling Arab defeat in the 1967 Arab اﻟﺴﻴﺎﺳﺎت اﻟﺤﻜﻮﻣﻴﺔ اﻟﺴﺎﺋﺪة وﺳﻂ ﻓﺸﻞ ا|ﻳﺪﻳﻮﻟﻮﺟﻴﺎت ﻣﺜﻞ اﻟﻘﻮﻣﻴﺔ اﻟﻌﺮﺑﻴﺔ Israeli war. From an art historical standpoint, the backdrop واﻻﺷﺘﺮاﻛﻴﺔ واﻟﻌﻠﻤﺎﻧﻴﺔ. of social and political turmoil epitomised a pivotal period of .transition in region ﻳﻨﺘﻤﻲ اﻟﻤﺸﺎرﻛﻮن ﻓﻲ ﻫﺬا اﻟﻤﻌﺮض إﻟﻰ اﻟﺠﻴﻞ اﻟﺜﺎﻧﻲ ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ اﻟﻌﺮب اﻟﺬﻳﻦ اﺳﺘﻔﺎدوا ﻣﻦ اﻟﺒﻨﻴﺔ اﻟﺘﺤﺘﻴﺔ اﻟﺠﺪﻳﺪة ﻟﻘﻄﺎﻋﻲ اﻟﻔﻨﻮن واﻟﺘﻌﻠﻴﻢ، وﻛﺎﻧﻮا ﻋﻠﻰ The artists in this exhibition belong to the second generation دراﻳﺔ ﻛﺎﻣﻠﺔ ﺑﺘﺎرﻳﺨﻬﻢ اﻟﺜﻘﺎﻓﻲ وﺗﻘﺎﻟﻴﺪﻫﻢ ا|دﺑﻴﺔ، وﺷﺎرﻛﻮا ﺑﺸﻜﻞ ﻓﺎﻋﻞ ﻓﻲ of Arab artists; they benefitted from newly established اﻟﺠﺪل اﻟﺪاﺋﺮ ﺣﻮل ﻣﻔﺎﻫﻴﻢ ا|ﺻﺎﻟﺔ واﻟﺤﺪاﺛﺔ ﻓﻲ اﻟﺜﻘﺎﻓﺔ اﻟﻌﺮﺑﻴﺔ، ﻓﺎﻋﺘﻨﻘﻮا اﻟﺤﺮﻳﺔ infrastructure for arts and education. Well versed in وا@ﺻﻼح اﻻﺟﺘﻤﺎﻋﻲ ًﻣﻨﻬﺠﺎ ﻓﻲ أﻋﻤﺎﻟﻬﻢ اﻟﻔﻨﻴﺔ. their cultural history and literary traditions, these artists actively engaged in critical discussions and debates around وﻋﺎﻧﻰ ﻫﺬا اﻟﺠﻴﻞ ﻣﻊ ﻧﻬﺎﻳﺔ اﻟﺴﺒﻌﻴﻨﻴﺎت ﻣﻦ ا@ﺣﺒﺎط وﺧﻴﺒﺔ ا|ﻣﻞ إزاء ﺳﻴﺎﺳﺎت authenticity and modernism in Arab culture. They espoused ﺣﻜﻮﻣﺎﺗﻬﻢ وﻓﺸﻞ اﻟﺪوﻟﺔ ا@ﺟﺘﻤﺎﻋﻴﺔ ﻓﻲ ﻣﺼﺮ وإﺧﻔﺎق ﻣﺸﺮوع اﻟﺤﺪاﺛﺔ social reform and freedom through the arts. اﻟﻌﺮﺑﻴﺔ. وﺟﻤﻊ ﺧﻄﺎب اﻟﺤﺪاﺛﺔ - اﻟﺬي ﺑﻠﻎ ذروﺗﻪ ﻓﻲ اﻟﺴﺘﻴﻨﻴﺎت - ﺑﻴﻦ اﻟﻔﻨﺎﻧﻴﻦ اﻟﺼﻮرة ﱠ واﻟﻜﺘﺎب أﻛﺜﺮ ﻣﻦ أي وﻗﺖ ﻣﻀﻰ؛ ﻓﻌﻤﻞ اﻟﻤﺆﻟﻒ ﺟﺒﺮا اﺑﺮاﻫﻴﻢ ﺟﺒﺮا ﻓﻲ ﻣﺠﺎل ﻣﻘﺪﻣﺔ By the end of the 1970s, artists of this period were dis- اﻟﻨﻘﺪ اﻟﻔﻨﻲ، ﺑﻴﻨﻤﺎ ﺟﻤﻌﺖ اﻟﺮﻏﺒﺔ ﻓﻲ اﻟﺘﻌﺎون ﺑﻴﻦ ﺿﻴﺎء اﻟﻌﺰاوي واﻟﺸﺎﻋﺮ ﻣﺤﻤﻮد ﻣﻦ enchanted with their governments’ policies, the failure of دروﻳﺶ، وﺳﻄﻊ ﻧﺠﻢ ﻓﺎﺗﺢ اﻟﻤﺪرس ﻓﻲ ﻣﺠﺎل ﻛﺘﺎﺑﺔ اﻟﺸﻌﺮ واﻟﻤﺴﺮﺣﻴﺎت ﻣﻴﻢ the social state in Egypt and the Arab modernist project ً واﻟﺮواﻳﺎت ﻓﻀﻼ ﻋﻦ اﻟﺮﺳﻢ. وﺷﻬﺪ ﺗﺎرﻳﺦ اﻟﻔﻦ ﻓﻲ اﻟﻤﻨﻄﻘﺔ اﻟﻌﺪﻳﺪ ﻣﻦ اﻟﺒﺪاﻳﺎت ﺟﺎﻟﻴﺮي، (hadatha). The modernist discourse that peaked in the 1960s اﻟﺠﺪﻳﺪة ﺧﻼل اﻟﻔﺘﺮة اﻟﻤﻤﺘﺪة ﺑﻴﻦ ﺧﻤﺴﻴﻨﺎت وﺳﺒﻌﻴﻨﺎت اﻟﻘﺮن اﻟﻤﺎﺿﻲ، وﻣﻨﻬﺎ دﺑﻲ Photo courtesy of Meem Gallery, Dubai. of Meem Gallery, courtesy Photo . brought artists and writers together more so than in any ﻣﺸﺎرﻛﺔ ا|ﺟﻨﺤﺔ اﻟﻤﺼﺮﻳﺔ واﻟﺴﻮرﻳﺔ واﻟﻌﺮاﻗﻴﺔ |ول ﻣﺮة ﻓﻲ ﺑﻴﻨﺎﻟﻲ اﻟﺒﻨﺪﻗﻴﺔ. .Photo of the first Arab Biennial in Baghdad, 1974 ﺻﻮرة اﻟﺒﻴﻨﺎﻟﻲ اﻟﻌﺮﺑﻲ ا|ول ﻓﻲ ﺑﻐﺪاد، ١٩٧٤ ( RE: ORIENT &رد اﻟـﺸــــﺮق & ,Union of Arab Plastic Artists (1974 Arab Biennial). By 1967 اﻟﺤﺪﻳﺚ. وﻋﻠﻰ ﺳﺒﻴﻞ اﻟﻤﺜﺎل، ﻟﻢ ﻳﺤﻆ اﻟﻔﻦ اﻟﺘﺠﺮﻳﺪي، ﻋﻠﻰ أﻫﻤﻴﺘﻪ، ﺑﺸﻌﺒﻴﺔ ﻛﺎﻓﻴﺔ other period. Writers such as وأﻧﺘﺠﺖ ﺗﻠﻚ اﻟﻔﺘﺮة ﻋﺪداً ﻣﻦ اﻟﻔﻨﺎﻧﻴﻦ Arab nationalism, socialism and secularism were seen as ﺧﻼل اﻟﺴﻨﺔ ا|وﻟﻰ ﻣﻦ ﻋﺮﺿﻪ ﻓﻲ اﻟﻤﻌﺎرض اﻟﺨﻠﻴﺠﻴﺔ ﻣﻘﺎرﻧﺔ ﺑﺎﻟﻔﻦ اﻟﺘﻤﺜﻴﻠﻲ. Jabra Ibrahim Jabra critiqued اﻟﻤﻤﻴﺰﻳﻦ اﻟﺬﻳﻦ ﺗﺎﺑﻊ ﺑﻌﻀﻬﻢ دراﺳﺘﻪ .art, artists collaborated with failed state ideologies and political Islam was on the rise ﻓﻲ اﻟﺨﺎرج ﺑﻤﻨﺢ ﻣﻦ ﺣﻜﻮﻣﺎﺗﻬﻢ، وﻟﻢ ﻳﻜﻦ ﺿﻌﻒ ﺗﻤﺜﻴﻞ اﻟﻔﻨﺎﻧﺎت اﻟﻤﺸﺎرﻛﺎت ﺑﻬﺬا اﻟﻤﻌﺮض أﻣﺮاً ﻣﻘﺼﻮداً، وﻻ ﻳﻌﺘﺒﺮ poets such as Dia Al Azzawi ﻓﻴﻤﺎ ارﺗﺎد اﻟﺒﻌﺾ اﺧﺮ ﻛﻠﻴﺎت اﻟﻔﻨﻮن This exhibition doesn’t claim to present a comprehensive ﺑﻄﺒﻴﻌﺔ اﻟﺤﺎل ًﺗﻤﺜﻴﻼ ﻣﺒﺎﺷﺮاً ﻟﺘﻠﻚ اﻟﻔﺘﺮة؛ وﻗﺪ ﻳﻌﺰى ذﻟﻚ إﻟﻰ ﺿﻌﻒ ﺗﻤﺜﻴﻠﻬﻦ ﻓﻲ and Adonis, while Fateh Al اﻟﺘﻲ ﺗﻢ ﺗﺄﺳﻴﺴﻬﺎ ًﺣﺪﻳﺜﺎ ﻓﻲ ﺑﻠﺪاﻧﻬﻢ. survey of the period, neither does it offer a predetermined اﻟﻤﻌﺎرض ودور اﻟﻤﺰادات اﻟﻌﻠﻨﻴﺔ. وﻫﻨﺎ ﺗﺠﺪر ا@ﺷﺎرة إﻟﻰ اﻟﻨﻤﻮ اﻟﻤﻀﻄﺮد ﻟﻤﺠﻤﻮﻋﺔ Moudarres wrote poetry, short وﻛﻤﺎ ﻳﺒﺪو ﻣﻦ ﺳﻴﺮﻫﻢ اﻟﺬاﺗﻴﺔ، ﻛﺎن concept or impose thematic parameters. Rather, it ﺑﺎرﺟﻴﻞ ﻣﻊ إﺛﺮاﺋﻬﺎ ﺑﻤﺰﻳﺪ ﻣﻦ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ ﻋﻠﻰ ﻧﺤﻮ ﻣﻨﺘﻈﻢ. stories and essays in addition اﻟﻔﻨﺎﻧﻮن اﻟﻤﺸﺎرﻛﻮن ﻓﻲ ﻫﺬا اﻟﻤﻌﺮض to painting. The history of the encourages an appreciation of each work independent ﻣﻦ ا|ﻋﻀﺎء اﻟﻤﺆﺳﺴﻴﻦ ﻟﻠﺠﻤﻌﻴﺎت of the other. It seeks to reframe art of the period on each وﻳﻌﻮد ﻧﺤﻮ ﻧﺼﻒ ا|ﻋﻤﺎل اﻟﻔﻨﻴﺔ اﻟﻤﺸﺎرﻛﺔ ﻓﻲ اﻟﻤﻌﺮض إﻟﻰ ﻓﻨﺎﻧﻴﻦ رﺳﻤﻮﻫﺎ ﻓﻲ region’s art boasts many new واﻟﻤﺆﺳﺴﺎت اﻟﻔﻨﻴﺔ اﻟﻜﺒﺮى ﻓﻲ ﻣﺼﺮ artist’s terms, style and influences. The artworks highlight ﺑﺪاﻳﺎت ﻣﺴﻴﺮﺗﻬﻢ اﻟﻔﻨﻴﺔ، ﺣﻴﺚ ﻛﺎن ﻣﻌﻈﻤﻬﻢ ﺑﻌﻤﺮ ٣٥ ًﻋﺎﻣﺎ أو أﻗﻞ؛ وﺑﺬﻟﻚ ﺗﻮﻓﺮ beginnings that took place وﺳﻮرﻳﺎ واﻟﻌﺮاق ًوﻻﺣﻘﺎ ﻓﻲ ﻣﺨﺘﻠﻒ أرﺟﺎء the interests of the collector while also providing insight into ﻟﻨﺎ ﻫﺬه ا|ﻋﻤﺎل اﻻﺳﺘﺜﻨﺎﺋﻴﺔ ﻟﻤﺤﺔ ﻋﻦ اﻟﺘﺄﺛﻴﺮات اﻟﺘﻲ ﺻﻘﻠﺖ ﺗﺠﺮﺑﺔ ﻛﻞ ﻓﻨﺎن ﺧﻼل ,during the 1960s and ‘70s اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ. وﻓﻲ ﻇﻞ ﻏﻴﺎب ّاﻟﻘﻴﻤﻴﻦ .discrepancies in the availability and sale of modern Arab art اﻟﻌﻘﻮد اﻟﻼﺣﻘﺔ. وﻳﻌﺪ ﻣﻌﺮض « &رد اﻟﺸﺮق» ﻓﺮﺻﺔ اﺳﺘﺜﻨﺎﺋﻴﺔ ﻻﺳﺘﺤﻀﺎر ﺛﻼﺛﺔ ﻋﻘﻮد ,among them, the first Egyptian اﻟﻔﻨﻴﻴﻦ، ﻧﻈﻢ ﻫﺆﻻء اﻟﻔﻨﺎﻧﻮن اﻟﻤﻌﺎرض For example, abstraction, an important development during ﻣﻦ اﻟﻨﺘﺎﺟﺎت اﻟﻔﻨﻴﺔ ﻓﻲ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ، واﻟﺘﻲ ﺷﻜﻠﺖ ًﻋﻼﻣﺔ ﻓﺎرﻗﺔ ﻓﻲ ﺗﺎرﻳﺦ ا@ﺑﺪاع Syrian and Iraqi Pavilions at the وﻛﺎﻧﻮا ﻣﻦ ا|ﻋﻀﺎء اﻟﻔﺎﻋﻠﻴﻦ ﻓﻲ ﻫﺬه this period, was not as popular in the first years of the Gulf اﻟﻔﻨﻲ.
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