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An open letter from Hashim Al-Tawil
The US led invasion of Iraq in 2003 and the ensuing conquest by the US-British forces caused Iraq to suffer tremendous loss on all aspects: socially, economically, and culturally. The invasion resulted in an unprecedented pillage and destruction of Iraqi antiquities, rare collections of manuscripts, and other valuable artifacts. Looted also is almost the entire collection of modern Iraqi art which was housed at Markaz Saddam lil Funun (National Museum of Modern Iraqi Art) in Baghdad.
This collection is an important visual documentation to the historical and cultural development of Iraqi and Arab modern art. It contains magnificent examples of the various styles, contents, techniques, and media that characterize the rich modern Iraqi art experience with diverse visual presentations: political, cultural, ethnic, religious, and others.
For over three decades (1960-1990) Baghdad was the center for art activities of both regional and international nature, where Arab art Biennials, International exhibits and conferences, and national annual exhibit took place years round. The results of these tremendous activities was reflected in the richness of the priceless collection of thousands of artworks in painting, sculpture, ceramic, calligraphy, poster, print, and 3D forms. The collection contains work from the late 19th century to early months of 2003.
Starting before the second half of the twentieth century and later years, especially during 1960-1990 Iraq rapidly developed a rich and diverse cultural scene. For decades Baghdad was the center of bright cultural activities that attracted artists and intellectuals from all around the Arab world, Europe, and the rest of the world. The outcome of those productive years was a wealth of cultural programs, art schools with offerings in both graduate and undergraduate studies, galleries, and national museums. Iraqi artists produced valuable collections of artworks that set up an influential style in the Arab world for years to come. Great number of art galleries opened with around the year activities of endless shows for Iraqi artists as well as Arab and international artists.
The ministry of culture and information was keen to acquire artworks and added it to the ever growing collection of Modern Iraqi Art.
That collection was brutally looted in the aftermath of the invasion. Currently efforts are being exerted by many concerned intellectuals, artists, and scholars to retrieve, restore and recover what is possible from the collection. I recently joined Dr. Nada Shabout in her noble task of recovering the records and documenting that lost heritage. She has done tremendous preparatory work to materialize the details of this important project. We are working with the help and support of many concerned Iraqi and Arab intellectuals and artists to reach this goal. Our multifaceted plan is aimed at securing, retrieving and safeguarding what can be salvaged from that lost Iraqi heritage. We are trying to secure funding from educational institutions, International cultural organizations and sympathetic individuals. Any help in this regard is truly appreciated.
The second part of this project involves an important portion of Iraq culture that is in jeopardy at the present time. While Markaz Saddam housed the entire collection of modern Iraqi art, a considerable number of artworks were housed in few other places, and have not been damaged entirely. These works are found in the following and possibly other places:
1: Saddam International Airport contains 50 artworks, most are murals executed by prominent Iraqi artists in early 1980’s.
2: The Al-Rashid Hotel in Baghdad contains over 20 monumental works (painting & sculpture) and some 900 original prints distributed in the luxurious bedrooms and suites of that hotel.
3: The Republic Palace (Saddam’s Residence) contains a museum with unknown numbers of artworks, craft, gifts, and documents. It is a well known fact among Iraqi artists that a special joint committee from the ministry of information and the palace used to acquire artworks from major exhibitions in Baghdad for that museum. This tradition continued for many years (1980-1990). There is no published official record for the art collection at the palace, but it is a sizable one.
4: Conference Palace, Baghdad with uncertain number of artworks.
The above mentioned four locations-with possibly more- are currently under the US occupation authority. Other art collections are found at different offices belonging to the Ministry of Culture & Information such as the Iraqi Fashion House, and different cultural organizations.
As the country is still under occupation, it is the responsibility of the occupying forces and the Iraqi government –appointed or elected- to make every effort in securing the safety of these works.
5: Public Monuments
The US-British occupiers will not allow symbols of independence stand in their presence. Jawad Salim’s monument and Faiq Hassan’s mosaic mural, in (al-Tahrir Plaza in Baghdad), both represent Iraq independence from British colonialism in 1958 are certainly in jeopardy. The “Shahid Monument” of Isma`il al-Turk and Khalid al-Rahhal “Unknown Soldier” and “Victory Monument”, and many other public art monuments in other cities will be in direct danger because of their political iconography which does not resonate harmoniously with colonialist mindset. These monuments- throughout Iraq, regardless of their quality and content, are part of the cultural history of the country. We need to build public awareness on these issues for their protection and that of other cultural materials of Iraq history.
Since most of these locations have not been looted (yet), chances are that the majority of the works are still unharmed. There is an urgent need for action to rescue these works of art before another wave of chaotic events strike. It is our intention to acquire all necessary legal advice to be able to inventory, record and document artworks in these places. We are in the process of consulting with legal firms to solidify the legality of such acts and their due process. We need to create a constructive set of guidelines for safeguarding these works of art in cooperation with a trusted body of Iraqi officials.
We ask all fellow Iraqi and Arab artists, scholars, intellectuals, art collectors, gallery directors, and supporters to assist in this noble work by providing us with any relevant information, books, articles, documentation, pictures, digital images, slides, catalogs, brochures, booklets, video clips, film footage, audio recording, and any other related useful information.
This is a collective voluntary effort and we need your support. It is crucial that the project connect with professionals in the field working in Europe, Arab countries, Iraq, and other parts of the world that might produce significant support to this subject. Also please forward this message to any and all concerned individuals, artists, and intellectuals who might be of help. Please direct your communication and suggestion to either me or Nada Shabout as follow:
Sincerely
Hashim Al-Tawil
hal-tawil@hfcc.edu |
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