Art by occident

My British father possesses a book entitled Understanding Arabs. As a kid I always wondered whether it was presented to him upon his marriage to my Egyptian mother as part of some all inclusive package including a user’s guide to wasta and instructions on dealing with mothers-in-law, or whether he acquired it subsequently after years of the my world-your world cultural trysts created when east meets west. This often thorny relationship between the two is currently being explored in two independent exhibitions showing in Cairo.

Occidentalism, curated by Karim Francis, is a ten-day extravaganza featuring exhibits by nineteen Egyptian artists, open forum encounters with the artists and evenings of music. Collaborating artists were asked to create works of art in answer to the question “how do you see the West?” In a series of meetings with the curator and other participating artists which began in April 2006, they explored themes such as dialogues between the cultures of east and west, dualism and double-standards and hegemony and cultural identity which produced the paintings, installations and video art on display at the many-roomed Hotel Suisse.

Politics is inevitably a recurring theme in the exhibit. Khaled Hafez’s ‘Revolution’ (tagline: ‘Every revolution comes with a bag of unfulfilled promises’) is a video installation in which a split screen divided into the white, red and black of the Egyptian flag shows a military officer, a business man and a man in white ‘Islamist’ clothing. We see the officer turning a gun over in his hands while the businessman clasps a hammer and the Islamist languorously fondles a Barbie doll before decapitating it with a butcher’s knife. In the other screens meanwhile, the businessman uses his hammer to pound nails into wood before the officer turns his gun on both of them. The themes of military junta betrayal, market neo-colonialism and religious intolerance – while hardly subtle – are here given a witty, highly-stylised touch.

Commonalities between east and west is another prominent theme. Hoda Lotfi has constructed giant replicas of tongs used to handle sheesha pipes’ hot coals which are shaped in the form of two women, one eastern and one western. The objects are joined by a chain in order to represent the common ties which bind women together regardless of cultural differences. Mohamed Abla’s exhibit, Men In War explores the humanity which persists despite the barbarity of conflict. He juxtaposes 1950s film poster-style painting featuring soldiers, their sweethearts and heartfelt lines such as “my thoughts are ever with you” against a nightmarish grey wall mural depicting the hell of war. The work represents Abla’s complex relationship with the West: his self-professed admiration of its culture and technology sits alongside its “long history of pain and injustice.”

One of the most striking exhibits was Heba Farid’s Atlas of a Geneology, in which she presents migration as a phenomenon precluding the division of the world into separate and polarised entities. She uses her own family’s experience of migration in the 1960s and 70s to illustrate this, via a slide show of images from the family album taken in the United States, Canada and Egypt. The pictures are accompanied by music of the period and sound recordings – or ‘oral letters’ – made by members of her family at the time. While the work is innately personal, it also inevitably documents the history of Egyptian society. Watching the slightly orange images of early 1970s sparkling buildings, clean Downtown streets and empty bridges I experienced the usual jolt at seeing places which are so known and yet which look so strange: like passing through an area in daylight for the first time, having previously only seen it at night. In addition to documenting one family’s relationship with the west, the exhibit is a moving evocation of a lost Egypt.

While the overarching curatorial vision generally ensures a sense of continuity, there were nonetheless a few pieces which slipped through the net. Amal Kenawy asks the novel question ‘Mum? Do Angels Shit?’ and explores the issue in a video installation set in a bedroom complete with twin beds and wardrobe. In the short film we see a naked obese woman with a bag on her head, a model pig, toy jockeys on horses and briefly a child playing piano in a batman costume. All is set to the soundtrack of a slightly demonic variation on Three Blind Mice. This bewildered viewer failed to gain any insight into how the motley assortment sheds light onto the artist’s perception of the west, but this installation is an exception to what is an excellent exhibition.

Perceptions of the east-west relationship are explored through the photographic image at the Goethe Institute in Youssef Rakha’s exhibit Berlin-Cairo/Alexandria. Rakha explores what unites and separates these metropolises by juxtaposing similar images next to each other: the Egyptian staple of cigarettes, lighter and tea sits underneath its German counterpart of a bottle of wine and an ashtray, while in another image we see a night-image of a deserted Egyptian street, the pavement semi-unmade, what tiles there are broken and dirty. A shop-sign abastre and pharonic status [sic] can just be made out. In the German image above it we see the profile of a statue overlooking the perfectly laid out street, the immaculately clean cobbles mocking the poverty of their Egyptian cousins below.

The power of these images lies in the way in which Rakha combines them to create what appears to be a single photograph by for example, extending a single line from one image into the next. Thus in one photograph the edge of a pavement on which a German youth practises his BMX skills imperceptibly seeps into an Egyptian pavement on which sits a forlorn, aged shoe-shiner. In another the Mediterranean sea appears to be lapping against a wall in Germany against which a man reclines. The result is a collection of beautiful, often melancholy images which testify to the fact that neither wealth, chaos nor overcrowding can disguise the essential loneliness and desolation of all big cities.

Originally published in al Ahram Weekly

This entry was posted in Uncategorized. Bookmark the permalink.

19 Responses to Art by occident

  1. Forsoothsayer says:

    good title. teach me the wisdom of your tribe!

  2. Jester says:

    You reviewed YR’s show? Wait what’s that smell (sniff sniff)…YUP I knew it, that’s what ass kissin smells like!…sorry couldn’t resist.

  3. Amnesiac says:

    Forsooth: It requires an infantile mind.

    Jester: Tastefully put.

    Well you know it was either this or sleeping with the guy in order to get ahead, and what with both our schedules being super crammed at the moment…And it’s funny, once the article was published I literally heard the beautiful creak of horizons widening and doors opening and a distant thump of the Pulitzer Prize. I only wish I’d thought of it sooner instead of placing all my bets on unreliable old ability!

  4. Basil Fawlty says:

    There was an exhibit here a couple of years ago which ran at the Whitney, entitled, simply: “America”. All the exhibits (paintings, sculpture, video etc.) were the artists’ impression of what they imagined America to be about. The results were surprisingly wide-eyed and non-political (though not to say, dull).

    There were a fair number of cowboys riding Dodge convertibles with an Indian riding shotgun, a big Mac dancing around a stripper pole (there’s probably a ‘nice buns’ joke in there somewhere) and a small jukebox that had the mantra ‘USA! USA! USA!’ on an endless loop.

    But my favorite was a series of tourist photos hung on a clipboard. Each one showed a caucasian couple in different, non-US, exotic locations around the world, each one labelled ‘Not America’ in pen, followed by the date.

  5. Will E. says:

    Regarding that swiss hotel exhibit, the arrangement of the exhibit was great and the variety was colorful. There was a psychadelic atmosphere in some of the rooms which could either reflect drugs or a west we look at with tainted glasses.

    As for the ass kissing, I haven’t attended the other exhibition, but I do know for sure that one of Amnesiac’s problems with life is that she can’t kiss ass, so I’m certain there was a great degree of objectivity.

  6. Jester says:

    Will e to the rescue! And I thought chivalry was long dead!

  7. zoss says:

    From your description, I don’t understand what Khaled Hafez’s ‘Revolution’ has to do with the west…

  8. Amnesiac says:

    The references to the influence of multinational neo colonialism in the region, I suppose.

  9. Thanks for sharing. I want to appreciate writers’ valuable effortsBirkin Bag HermesHermes Bags Outlet
    Hermes Birkin Replica

  10. Art by occident | Inanities

  11. Also, maybe it’s the Asian adoption thing working subliminally in the back of my brain but I always pictured you with a mighty shock of black hair that rustled in the breeze every time you quoted the Constitution…
    cartier tank francaise automatique

  12. Have you ever gotten behind the wheel and reached your destination but without remembering the trip itself Even worse, have you ended up driving to the wrong place Bus drivers have been known to miss a stop because they aren’t paying attention.
    steel toe cap boots

  13. I agree!!  Who the hell do these secretaries think they are?!  We work our asses off.  Their job is to help us.  No questions asked.
    imitation cartier leve bracelet

  14. And also the earliest glimmerings of computer technology. The Nazis used computer punch cards to keep track of the personal belongings (and even the gold from the teeth and hair and the skin) of those sent to the death camps.
    orologio serpente

  15. Refugia says:

    Hey There. I found your blog using msn. This is a very well
    written article. I’ll make sure to bookmark it and come back to read more of your useful info.

    Thanks for the post. I’ll definitely return.

    my page: Beard Czar; Refugia,

  16. Thanks for every other informative site. Where else may I am getting that type of info written in such an ideal method? I’ve a project that I’m just now operating on, and I’ve been at the glance out for such information.

  17. Good post however , I was wondering if you could write a litte more on this subject? I’d be very grateful if you could elaborate a little bit further. Kudos!

Leave a Reply

Your email address will not be published.

You may use these HTML tags and attributes: <a href="" title=""> <abbr title=""> <acronym title=""> <b> <blockquote cite=""> <cite> <code> <del datetime=""> <em> <i> <q cite=""> <strike> <strong>