Artists Without Frontiers Online Magazine - IRAQ: It seems to be a worse hell!

Maysaloun Faraj is an Iraqi Artist who is currently living in London. Born in the USA from Iraqi parents she later went back to Iraq and graduated in Architecture from Baghdad University in 1978. In the last twenty years Maysaloun has concentrated her work on painting and ceramics and since her arrival to London in 1982 she has taken part in several exhibitions locally and internationally.

During the last 8 years, she has initiated and been actively engaged in a project to introduce Iraqi visual art and artist to the world. She has arranged a touring exhibition of Iraqi artworks throughout the UK and the USA and later published Strokes of Genius, a book covering Iraqi modern visual art from its beginning up to now and the website www.strokes-of-genius.com.

Following is an interview with Maysaloun Faraj about Iraqi art and artist at Aya Gallery, London which is currently exhibiting works by Hamid Al-Attar, an Iraqi artist in an exhibition entitled Al-Iraq.

Question: Would you please tell us more about your activities regarding Iraqi Art?

With what has been happening with Iraq and with the dispersal of Iraqi artists throughout the world, I felt it was extremely important and indeed a responsibility to bring together Iraq's scattered 'talents in the wind' and communicate the positive and creative energies of our people dispersed throughout the world today. So I began the research which was the basis for what was to eventually become Strokes of Genius: Contemporary Iraqi Art; a 3-part project including a touring exhibition of 60 artworks by 33 Iraqi artists world-wide, launched at the Brunei Gallery (SOAS), London, 2000 moving on to Exeter University, Exeter and Hotbath galleries, Bath travelling thereafter to the United States; Grinnell College, Iowa 2002 and Depaul University, Chicago 2003. A selection committee involving the British museum and Visiting Arts were involved. We focused on the works of the 80s generation because we felt that their predecessors have had a fair share of exposure. In the course of five years we were able to secure funding from the Arts Council of England, Visiting Arts and various other organizations in the UK as well as tremendous In-Kind Support. We also managed to produce the book: "Strokes of Genius: Contemporary Iraqi Artists" (Saqi Books) which in addition to reflecting this exhibition, comprises important essays about Iraqi art, from its beginning till the present day. The project has developed to become the International Network for Iraqi Contemporary Artists, hence iNCiA.

Question: How important is Art to the Iraqi people?

The Iraqi people are educated, aware and proud of their religious, cultural and historical heritage, moreover the creative spirit of the Iraqi individual from thousands of years back. This knowledge formulates from an early age, as school children are taken on trips to the Baghdad Museum, Babylon and other archaeological sites where they are exposed to, informed of and educated about their rich historical background.

Modern artwork like Jewad Selim's Monument of Freedom is and has always been highly regarded. All these artistic means of expression are part of life and important to the Iraqi people. They respect and appreciate art and attend exhibitions and artistic activities regularly. You would not see a private or public viewing of an exhibition quiet; it is always buzzing with crowds, discussions and intellectual discourse. The Iraqis are a very educated breed and their thirst for knowledge is never ending. In the Middle East they were one of the first who established an Institute of Fine Arts to include music and the visual arts. This is way back to mid 30s. Since then artists have participated in numerous international exhibitions for example the Venice Biennial, Can-sur-Mer and others and have won prestigious awards. They also hosted international biennials at the Saddam Arts Centre in the 1980s, first such events in the Middle East.

Question: How do you describe the state of Iraqi Art during the Saddam's regime?

It seems that despite the hardships and despite the circumstances of war and a 12-year sanction, somehow the Iraqi artist still manages to create, and create prolifically! They are very dedicated and research has been on-going. It has been extremely difficult and of course the interaction with the West has been more or less cut off. With this, many have turned back to their historical roots. For many artists the Baghdad museum was a centre of inspiration. They found their roots looking back to the Islamic heritage and the earlier civilizations of the ancient land between the two rivers -the cradle of civilization- Mesopotamia, Sumer and Babylon. They conducted serious analytical discussion, studying every aspect, which has profoundly been reflected in their creativity. Private run galleries continued to spring up in Baghdad and state sponsored exhibitions remained.

Question: How much influence was there in Iraq over art and artists? Did artists have freedom of expression?

In the past years, I have dealt with visual artists and can only relate my answer to this aspect. I have come to conclude that so long as the artists did not oppose the regime in his creativity, they were free to express themselves as artists, in whichever way they chose and were in fact supported. The artists of the 80s continued to be productive with state backing towards hosting exhibitions.

As you can see throughout the "Strokes of Genius book", each artist manages to expresses himself freely in his own style. Having said this however, I believe it was almost impossible to obtain an accurate description of their feelings, through the many correspondences which I had with Iraqi artists in Iraq, during the preparation for the project (1995-2000) because of surveillance. However, as far as I have been aware, the artists were working hard and no artist I have come across in the past 8 years was forced to draw a 'portrait of Saddam' for instance!

Question: During the last decades, how do you describe the reflection of suffering of the people of Iraq in the Iraqi Arts?

The suffering is profound. This is reflected in many ways throughout artistic expression. An example is recent works by Mohammed Ghani Hikmet, the well known Iraqi sculptor. This expresses the burdens of daily life which Iraqis have endured throughout years of oppression, war and sanctions. Sculptors of human figures, each carrying a different sized heavy block/cube on its fragile body and warped shoulders. The figures with their heavy burden are lined up, facing a closed door. The artist says that this is a scene you would see in hospitals, that of mothers with their children, waiting in line, for a door to open, for medicine, for hope. The door is closed.

Question: Would you describe the survival of art and artist in Iraq in the past and present time? Has there been sponsorship or support from anywhere?

The Saddam Arts Centre hosted important exhibitions and retrospectives for artists. There is a good example in one of the essays in the "Strokes of Genius" book by the artist Hana Mal Allah. She writes "in 1991 and this is just after the beginning of the Gulf War: The department of plastic arts in Iraq invites 10 young painters to exhibit their work in the art centre in Baghdad". As you see, this is just the beginning of the gulf war; the sanctions are imposed and the department of plastic arts invited artists to hold an exhibition at the art centre. It was recognizing the 80s generations. It seems there were important art critics and these occasions were vibrant. Such activities continued throughout this period to the recent years when I believe it gradually became less and less.

Meanwhile private galleries, some of which were dedicated to showing very serious artwork and coinciding educational programs, have continued to flourish.

However, on a practical level, getting material; canvases, paper, oil paints, brushes etc, has been an on-going struggle, not to mention costs. Consequently, many artists have had to travel abroad because of the difficulties they faced on many levels.

Question: How did artists react to the so-called liberation of Iraq?

Political freedom without economical and social freedom is meaningless. And as much as everybody was desperate for the end of Saddam's regime - they were living in hell! - in comparison to what they are experiencing right now, it seems to be a worse hell! There is no law and order, security and the basic services are a shambles. It is chaotic. Time is ticking and things seem to be worsening. We just have to see what is going to happen and what the true intentions are. In my view, this war is the crime of the 21^st century and I call on humanity to put an end to the injustice.

Question: Currently, what is the situation of Iraqi Art educational resources?

I have been desperately trying to contact my very good friend and colleague Hana Mal Allah in Baghdad who has been my main contact. This has until now been impossible. I am ever so concerned and am desperate to learn how she and her family are and what is the situation on ground.

As we all know, the Baghdad Museum was looted, ransacked and vandalized. It is devastating, not only to world history, but specifically to our fellow artists who remained in Iraq throughout, like Hana Mal Allah. This museum is very near to the Institute and Academy of Fine Arts, where a lot of students were regularly commuting. It is a testimony to what we are all about, and it is gone. This is very sad.

I would think that at the time being, law and order, national security and basic needs are of paramount importance. Once these are put in place, then everything else follows.

Question: What do you think the future of art and artists will be Iraq?

If the situation improves dramatically, normal life is restored, and a democratic society is geared into action, then the future is promising. But this remains to be seen. We have not seen any evidence. The first thing the American government did was secure the oil fields. What about what matters most, the people, life? All the looting happened under the noses of American soldiers and now we Iraqis are not permitted to go back to Iraq unless we are American employees.

However, I do believe that whatever the condition, as the case of the last 12 years of sanctions and before that the Iran-Iraq war, the Iraqi artist, the Iraqi individual, is ambitious, works hard and will progress and pull through.

Question: What are the main concerns of Iraqi artists now? What help do you think artists in the world can offer to improve the situation?

Basic living needs are the main concerns of everybody and security, law and order is paramount. You need to feel secure in order to progress. You need water and electricity, hygiene, health etc. These are the basic needs that need to be taken care of. As you know; Iraq is an advanced place, people are educated and have a lust for knowledge. We are not living in the desert as nomads. We depend on clean water, electricity and all else. These services have been shattered and till now very little is being restored.

I believe if hopefully these basic needs were met, Iraqis would be in a position to assists others outside, not the other way round! But at the moment to assist them as human beings rather than professionals is essential. Money is a main thing and it is needed.

Artists, through the universal language of art have an important role to play in Iraq's future. Artists can help bring about further awareness of their culture and through their modern creativity can bring better understanding all round, paving the way for tolerance and a better world.

Question: Is there anything else you want to tell to the other artists?

Yes, Iraqi artists are worthy. Their art is universal and of international quality and is taking its deserved place in history. For anyone visiting London, a good place to start would be the ayagallery www.ayagallery.co.uk where you can feast your heart and soul with the richness of Iraqi creativity. Let us communicate peace, through the beautiful and universal language of art, wa ma tawfeeqi illa billah (And my success is only through God).

Related Links:
Opening the Doors: (Large PDF File)
Intellectual Life and Academic Conditions in Post-War Baghdad
A Report of the Iraqi Observatory, 15 July 2003
By: Keith Watenpaugh - Edouard Méténier - Jens Hanssen - Hala Fattah

www.baghdadmuseum.org
The Baghdad Museum Project: Crisis in Iraq, July 2003