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Sarah Rogers — Histories in the Making: the Khalid Shoman Collection and Darat Al Funun Fig

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Sarah Rogers — Histories in the Making: the Khalid Shoman Collection and Darat Al Funun Fig 1 Sarah Rogers Saleem Al-Bahloly Sarah Rogers A pioneering private foundation, the Abdul Hameed Shoman Foun- 27 Histories in the 255 Art History outside — Histories in the Making: dation was established in Amman in 1978 and Making: The Khalid the History of Art The Khalid Shoman Collection named after Abdul Hameed Shoman (1890– Shoman Collection and Darat al Funun 1974), the founder of the Arab Bank and father of and Darat al Funun Ulrich Loock The Khalid Shoman Collection represents one of the earliest Khalid Shoman (1931– collections dedicated exclusively to contemporary art of the Arab 2002). Dedicated to the promotion of knowledge, 305 Transitions and world. Begun in the early eighties, the collection reflects the research, and develop- shifts and transformations of artistic practices in the region. It ment in the fields of Faisal Darraj Translations now represents over 100 modern and contemporary artists and a sciences and humanities, range of media, including works on paper, oil painting on canvas, the foundation expanded 81 The Peculiarities of its patronage to the arts photography, artist’s books, sculpture, video, and installation. in 1988 when it began Arab Modernity Stephen Sheehi Moreover, the collection is historically unconventional in its hosting exhibitions and mission. For husband and wife Khalid and Suha Shoman, the talks on Arab art. 361 Before Painting: act of collecting was about neither tracking down the next best artist nor documenting a regional comprehensiveness, if such a Anneka Lenssen Nicola Saig, project were even possible. The artwork is less an object to be acquired and more an investment in the artist and support of his 93 Distances greater Painting, and or her practice. This initiative gained significant impact during the eighties and nineties when there was very little support for than between these Photographic contemporary Arab art, particularly within the private sector. Furthermore, this was a collection formed through the eyes of a walls: On ideals and Seeing practicing artist. the constitution of When Suha Shoman settled in Amman in the early seventies, she embarked on what is now a nearly forty year dedication to an audience Hassan Khan the arts. A student of Turkish-Jordanian artist Fahrelnissa Zeid, Shoman was inspired by her mentor in both her practice and 375 The case against support of contemporary art. For five years, beginning in 1988, Shoman utilized the space of the Scientific and Cultural Center at Kirsten Scheid continuity, or is the Abdul Hameed Shoman Foundation to host exhibitions and lectures on contemporary Arab art.1 This experience led Shoman 193 Between the it possible to be to conceptualize what was needed for artists in the region: neither a museum nor gallery but a home that provided opportunities for Promise of Life and enchanted? research, creativity, and exchange. In 1993, Darat al Funun (a home for the arts) opened. Housing exhibition halls, workshop Its Fragility: The studios, research spaces, a library, and garden café, today Darat Arab Body in The Faisal Darraj al Funun hosts an extensive array of programming including residencies for artists and scholars, workshops, exhibitions, Khalid Shoman 432 The Peculiarities of lectures, film screenings, and artistic and curatorial exchange Sarah Rogers — Histories in the Making: The Khalid Shoman Collection and Darat al Funun programs. Darat al Funun thus provides an infrastructure for a Collection Arab Modernity complete trajectory of artistic production and reception. It is this Text in Arabic focus on contemporary artists and their practice that reveals the integral relationship between The Khalid Shoman Collection and Darat al Funun, each one critical to the other’s growth and both constitutive of a regional history of art. 26 27 A large, horizontal expanse of canvas is shattered into des Realites Nouvelles. Her presence in solo and group shows 2 geometric fragments through the use of bright, bold colors. garnered the critical acclaim of Charles Estienne, the French art See The Centenary Curvilinear black lines dance across the painted surface, of Fahrelnissa Zeid further portioning the composition into patches of densely critic credited with coining the term ‘lyrical abstraction.’ (Amman: Darat al Funun applied paint and brief stretches of solid color. The viewer’s Thus Fahrelnissa brought with her to Amman an artistic in association with the eye is lost among the twists and turns of line and color. life well-versed in the formal and theoretical languages of Abdul Hameed Shoman modernism.3 It was this experience that she passed on to a group Foundation, 2002). Exhi- The painting described above dates to the 1960s and is one of a bition catalogue. of students who came to meet weekly in her home. Known as the 3 number of pieces by Fahrelnissa Zeid held by The Khalid Shoman Fahrelnissa Zeid Royal Institute of Fine Arts, her house served On Fahrelnissa’s life and Collection (Fig. 1). As we shall see throughout this essay, the as both an art studio and museum, as her work crowded the work, see Fahrelnissa formation of The Khalid Shoman Collection reveals a history of rooms and paintings hung on the ceilings. For her students, one Zeid (Amman: The Royal relationships between artists, the Shomans, and Darat al Funun. National Jordanian Insti- of whom was Suha Shoman, time spent in Fahrelnissa’s institute tute Fahrelnissa Zeid of The Khalid Shoman Collection’s presence of over ten works was about more than acquiring technical skills. Encouraging the Fine Arts, 1984). by Fahrelnissa attests to the longstanding relationship between her students to approach the blank canvas with a confidence 4 Fahrelnissa and Suha Shoman, one that Darat al Funun honored to pursue self-expression, Fahrelnissa embraced a particularly Fahrelnissa Zeid and her with the 2001 Centenary Exhibition of Fahrelnissa.2 Indeed, Institute (Amman, 1981). European modernist aesthetic. Positioning the artist as one who 5 Fahrelnissa’s role as a mentor to Shoman was formative to the has a story to tell, Fahrelnissa gave her students confidence to On Suha Shoman’s unfolding history of Darat al Funun. explore abstraction rather than to function like a human camera work, see Suha Shoman The relationship between the two artists began in 1975 when transcribing the surrounding world. This is evident in her abstract (Amman: Darat al Funun Fahrelnissa settled in Amman to be near her son, Prince Raad paintings as well as her large-scale portraits, five of which are in in association with The bin Zeid, the Chief Chamberlain at the Royal Hashemite Court Khalid Shoman Founda- The Khalid Shoman Collection. Fahrelnissa’s aesthetic reveals a tion, 2009). Exhibition of Jordan. By this time, Fahrelnissa already had a distinguished modernist genealogy whose distortion of form derives its meaning catalogue. career. Her artistic training began as a youth in Istanbul’s from multiple cultural references. In Jordan at the time this was Imperial School of Fine Arts for Girls, where her training a radical approach to art-making. The students’ embrace of their included techniques of academicism and impressionism in the mentor’s artistic method resulted in the country’s first collective fashion of art academies throughout the former Ottoman Empire. show of abstraction: the 1981 exhibition, Fahrelnissa Zeid and her A life embraced by creative passion was furthered by Fahrelnissa’s Institute.4 first marriage to prominent Turkish writer Izzet-Melih Devrim, Both Fahrelnissa’s philosophy of art and her accompanying who took her on her first trip to Europe in 1924. This visit visual language are evident in the work of Suha Shoman.5 Her initiated the artist’s lifelong relationship with Paris, the European early work, including those paintings in the 1981 exhibition, capital of modern art. In 1927, Fahrelnissa studied under artist readily suggest her mentor’s influence: large scale canvases; an Roger Bissiére at the Académie Ranson. This had a profound abstract formal language; careful attention to the materiality influence on her work as she became immersed in the practice and of the paint; and titles that hint at a philosophical interest in philo sophy of European modernism. Several years later, in 1934, truth and universalism. Shoman’s later video and installation Fahrelnissa married her second husband, Amir Zeid, often work further traces this aesthetic. Yet the relationship between appointed acting regent to the Kingdom of Iraq and ambassador the two artists transcends an affinity declared visually. The to the court of Saint James (1946–58). Despite her diplomatic sixteen years Shoman spent with Fahrelnissa inspired Shoman to duties, Fahrelnissa maintained an atelier in Paris and continued approach art as a life-encompassing practice. One of Fahrelnissa’s to exhibit throughout Europe, including a 1949 show at the most important lessons imparted to Suha was the courage to Colette Allendy Gallery and at the 1951, 1953, and 1954 Salon explore new horizons. Just as Fahrelnissa did, Shoman nurtured innovative artistic practice in Jordan and the region. The first was her 1988 initiative to use the space of the Scientific and Cultural Center at the Abdul Hameed Shoman Foundation for organizing Sarah Rogers — Histories in the Making: The Khalid Shoman Collection and Darat al Funun exhibitions and lectures on contemporary Arab art and the second was Darat al Funun. The composition is abstract, with the exception of handwritten scratches whose identity as Arabic numerals just barely surface. Layers of pale brown, off-white, and gray paint create an atmospheric effect. Accents of deep amber at once embolden the numerical figures and further deepen the spatiality of the compositional surface. Part of The Khalid Shoman Collection, Shaker Hassan Fig. 1 — Fahrelnissa Zeid, Untitled, 1960s. Oil on canvas, 546 x 221 cm. al Said’s Al Jidar (The Wall, No. 3) (1992) marks a significant period in the Iraqi artist’s body of work: the culminating stage of his aesthetic theory, al bua’d al-wahid (one dimension), which 28 29 grappled with the relationship between time and space (Fig.
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