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[size=36]The theater of operations: a visual history of the American wars in Iraq[/size]
Political | 09:40 - 20/12/2019
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Baghdad - Mawazine News
One rarely finds a huge art exhibition in the United States dealing with America's recent wars in Afghanistan or Iraq, but there are exceptions, the last of which is an exhibition entitled "Theater of Operations: Gulf Wars 1991-2011".
It opened recently in the "MOMA PS1" museum in the Queens area of New York City, and continues until the first of next March, and contains more than four hundred works for eighty-two artists, thirty of them are from Iraq, thirty from the United States and six from Kuwait, and the rest from different countries From the world.
The artworks occupy the three floors of the museum, which was a large school building in the past, and they are diverse in terms of the races and media used; such as video, sculptures, paintings, photographs, films and art books.
On the sidelines of the exhibition, the museum displays a number of feature and documentary films by Iraqi and non-Iraqi directors, as well as two symposia, the first and the second to be held next month, in addition to a concert for the Iraqi maqam presented by the Maqam reader Hamid Al Saadi.
Perhaps the most prominent themes in the exhibition are the treatment of American and non-American artists with the wars of the United States on Iraq, but rather their absence from their work and their critical handling, unlike the mainstream American media that colluded with the official version. The second theme is the Iraqi artists themselves dealing with these wars.
It was not an easy task for the organizers of the exhibition, especially if we take into consideration the American context in which there is a state of amnesia regarding Iraq. Geographical space is not the only context of the exhibition, but rather the museum itself is part of this context.
Here it must be noted that British artist Phil Collins asked to withdraw his work from the exhibition, before its opening, in protest of the membership of two people on the board of directors of the parent museum, "MoMA", and the two members are Larry Fink and Leon Black. The first is for his relations with private prisons in the United States and the second with arms trading companies. For his part, "MoMA PS1" replied that despite its affiliation with the parent museum, its board of directors is different.
The first thing that stops the visitor is the title, “theater of operations,” which is an American military term, and the period of time that the exhibition defines as an era in which its works are displayed is official American dates that exclude previous American interference and support for Saddam Hussein’s regime in his war with Iran, and what This was followed by a continuation of the American presence in Baghdad, where the largest American embassy is in the world, except for some acts dealing with the invasion of Kuwait and the massacres committed against the Iraqi Kurds in 1988.
But why did the organizers take these official American dates in particular ?, Ruba Katrib, who is curator of the exhibition (with the American Peter Eli), responds by saying: “It is true that there are American actions and interventions before and after these dates, but we saw that the year 1991 witnessed an international change over a number of Levels, perhaps the most important of which is the live and direct transmission of war via the CNN screen and other stations. With that war, the image has become a major part of the war, not to mention the use of modern technology, promises of a "clean" war and the accuracy of missiles in hitting their targets, something that did not It is not, as we know. "
Instead of opening up modern means of communication and coverage around the clock the possibility of deeper coverage, a large proportion of that coverage has become propaganda in support of the war.
More than one work in the exhibition focuses on this topic, including a video by French director and photographer in New York, Michel Oder, entitled "The Gulf War TV War", where he deals with the issue of photos, media comments and reports broadcast by US TV stations on the Gulf War in 1991.
It is also not a coincidence, if we take the role that the media played compared to other wars, that the work of the Swiss Thomas Hirschhorn, titled "CNN Necklace", is the first thing that receives the visitor upon entering the exhibition. The work is a huge golden chain, a stereoscopic chain, hung with the logo of the station "CNN", in a symbolic sign that the dominant American media beats the drums of wars on Iraq and that it is not neutral or objective, but rather a part of it.
In this context, it is necessary to stop at the series of films that are shown on the sidelines of the exhibition, which are Iraqi directors or about Iraq. The exhibition opened, and also concludes, with the film "Lessons of Darkness" by German director Werner Herzog. The movie had sparked controversy when it was shown in 1992 at the "Berlin Film Festival", where some saw it as a compliment of the war. Perhaps it is one of the exhibition's mistakes, so choosing this problematic work without attaching it to a dialogue or discussion session raises several questions. Perhaps it would be more appropriate to open with an Iraqi film director.
“Our choice to show the film came because it is one of the most famous western films about the Gulf War. In return, we are showing a work by Kuwaiti Munira Al-Qadri entitled“ Behind the Sun, ”which is a response to the movie. Al-Qadri completed her work from pictures obtained from A Kuwaiti man filmed the events of burning wells with his own camera, inhaling all that air, while the Herzog movie was mostly filmed with cameras from the sky and from a bird’s eye view of the desert with Western eyes. The film looks as if it is monitoring the end of the world ... as if that land or desert that The images are taken where Earth is an alien creature Lina, because the exhibition also focuses on how they are treated by Western artists with the subject. "
The exhibition includes a good number of exciting and different works, among them are a number of works of the Iraqi artist who has been living in London for decades, Dia Al-Azzawi. The most prominent of which is inspired by a photo in the newspaper of an Iraqi soldier whose body was smashed while he was in his military vehicle after the American forces attacked Iraqis on their way back to Iraq after their withdrawal and the end of the war.
Al-Azzawi was inspired by "Portrait of a Victim" from the image that was not published in any American newspaper, and was taken by journalist Kenneth Jerkin and published in the British "The Observer". Contrary to the unclear features of the soldier whose body was charred, Azzawi chose to make the portrait features clear in which the victim would restore her humanity. Next to it is the scrap of paper published in the British magazine.
The absence of victims from the American media or the image of the victims from the Iraqis and even the American soldiers, compared to the Vietnam War, for example, was one of the main issues that distinguished the wars that the United States fought in Iraq. But these wars were also marked by the lack of statistics on the victims. The Americans (and with them the British), who launched the 1991 and 2003 wars and the attacks and blockade between them between Iraq, refuse to count the Iraqi civilians. However, international estimates indicate that nearly four thousand Iraqi civilians were killed during the 1991 war alone, while the number of Iraqi children who died as a result of the economic embargo is estimated at 350,000. The number of civilians who have died in Iraq since 2003 is estimated at nearly 200,000.
This absence at the prevailing American political and media level is matched by a presence in artwork. These themes were prepared in a number of outstanding works, one of which is for the Iraqi Hanaa Mal Allah, titled "She / He Without a Photo" (2019). In it, pictures of portraits of the victims of the Ameriya shelter massacre that Americans committed against civilians in Baghdad in 1991 were woven, when their bombs killed nearly 400 Iraqis asleep, the majority of them women and children.
God's money spun a simulation of their original pictures of burnt fabrics. As for the victims, who did not have pictures, I put a blank, golden plate reading "He has no picture" or "She has no picture." When the recipient looks at the blank board, his image is reflected on him, as if the absent victims looked at all who looked at them. As in her work in general, this work is concerned with the material used, and the interaction of concept and idea with the work surface and its theme.
In the same hall and in exchange for the work of God’s money, we find another work that has been preoccupied with the absence of victims and their enumeration from the official American novel under the title "No Official Estimates" (2004/2007) by American artist Louis Lawler, who uses conceptual art or what is sometimes called pictorial doctrine, so that the idea merges Or the concept with references or information outside the work, sometimes written instructions.
Here, Euler not only goes intellectually to the American artist Sol Levitt and his definition of pictorial art, but also monitors in her work part of his mural and highlights it at different times. The six photos are quoting the moments when light entered the darkness, and among them, they wrote numbers for Iraqi victims in American wars.
The exhibition also includes a number of works that use well-known notebooks. A number of Iraqi artists have tended to use these media, especially at the time of the blockade, because of the scarcity of materials allowed to be imported. But the use of notebooks, according to critics of Iraqi and Arab art, began in the 1950s to become more popular in the mid-1960s.
There is no room here to go into the connection of this type of art with the history and heritage of Iraq related to the book, but it was remarkable the number of artists who used this medium for many reasons; among them is the flexibility that it provides in mixing the media. It also helps the artist to leave his mark in difficult political, social and economic conditions faster or easier. It is a type of daily documentation that combines a number of narration possibilities, including linguistic / written, by evoking the word / calligraphy and visual narration, not to mention the use of daily matters as a clipping. Paper or a travel ticket and others to convert them into part of the books that artists used in the exhibition in different ways.
The art of notebooks rooted in modern Iraqi art has attended in a number of exhibition works for more than one artist; among them Hemet Ali, Dhiaa Al-Azzawi, Karim Rasan, and Muhammad Al-Shammari. These works archive different periods of Iraqi collective and individual history for each artist.
Perhaps one of the moments that stop a visitor is when he moves from contemplating the work of Muhammad Al-Shammari, "My Journey from Basra", to contemplation of an incomplete work by Iraqi artist Layla Al-Attar; The missiles were ordered by former US President Bill Clinton at the Iraqi Intelligence Center, which was near her home. This moment is remembered that America's war on Iraq between the wars of 1991 and 2003 did not stop; military attacks continued, and with it the victims.
There is no room to talk about all the interesting works and their stories. But it is necessary to stand up, even quickly, to three other actions. The first is a number of sketches by the Iraqi artist and journalist Ghaith Abdul-Ahad, who writes for the British newspaper, The Guardian. Abd al-Ahad's drawings / testimonies, which he drew during his press coverage as a war correspondent in Iraq and a number of countries, do not only mention the fragility of the war and the change of the perpetrators and their tongue, from the Americans to the barons of war and sectarianism, and their connection to each other, but by one fact that the victims were and are still black The greatest of the Iraqi people.
Abdel-Ahad's background as an architect is evident in his designs. We see his ability to create whole cities. But, unlike the architectural lines of architectural drawing, his lines in his art trembling reflect the fragile life of war and decades of continuous destruction.
The second work that must be brought to his attention is by Colombian Fernando Botero, entitled "Abu Ghraib 52" (2005), which is part of a series of works he has completed on the Abu Ghraib prison. As it appears from the title, the work centers around the notorious torture scandal of Iraqi prisoners by US soldiers. In these works, art reflects reality with all its ugliness without dispensing or compromising its aesthetic.
Finally, we must stop at three works by American artist Tony Cookies, which are video works documenting the Americans ’use of music as a tool of torture in Iraq. The visitor reads on-screen tapes a bureaucratic language about the torture of Iraqis, and hears "Heavy Metal" and Britney Spears used to torture. It is mentioned here that music was used as a tool of torture in Guantanamo as well, and there are a number of studies on the subject.
Despite the importance of the exhibition, it is not without some gaps; the most important of which is that there was no more space for Iraqi artists, as prominent names were absent from it. More importantly, his four-month period could have been used to hold more symposia, literary readings and musical performances.
One rarely finds a huge art exhibition in the United States dealing with America's recent wars in Afghanistan or Iraq, but there are exceptions, the last of which is an exhibition entitled "Theater of Operations: Gulf Wars 1991-2011".
It opened recently in the "MOMA PS1" museum in the Queens area of New York City, and continues until the first of next March, and contains more than four hundred works for eighty-two artists, thirty of them are from Iraq, thirty from the United States and six from Kuwait, and the rest from different countries From the world.
The artworks occupy the three floors of the museum, which was a large school building in the past, and they are diverse in terms of the races and media used; such as video, sculptures, paintings, photographs, films and art books.
On the sidelines of the exhibition, the museum displays a number of feature and documentary films by Iraqi and non-Iraqi directors, as well as two symposia, the first and the second to be held next month, in addition to a concert for the Iraqi maqam presented by the Maqam reader Hamid Al Saadi.
Perhaps the most prominent themes in the exhibition are the treatment of American and non-American artists with the wars of the United States on Iraq, but rather their absence from their work and their critical handling, unlike the mainstream American media that colluded with the official version. The second theme is the Iraqi artists themselves dealing with these wars.
It was not an easy task for the organizers of the exhibition, especially if we take into consideration the American context in which there is a state of amnesia regarding Iraq. Geographical space is not the only context of the exhibition, but rather the museum itself is part of this context.
Here it must be noted that British artist Phil Collins asked to withdraw his work from the exhibition, before its opening, in protest of the membership of two people on the board of directors of the parent museum, "MoMA", and the two members are Larry Fink and Leon Black. The first is for his relations with private prisons in the United States and the second with arms trading companies. For his part, "MoMA PS1" replied that despite its affiliation with the parent museum, its board of directors is different.
The first thing that stops the visitor is the title, “theater of operations,” which is an American military term, and the period of time that the exhibition defines as an era in which its works are displayed is official American dates that exclude previous American interference and support for Saddam Hussein’s regime in his war with Iran, and what This was followed by a continuation of the American presence in Baghdad, where the largest American embassy is in the world, except for some acts dealing with the invasion of Kuwait and the massacres committed against the Iraqi Kurds in 1988.
But why did the organizers take these official American dates in particular ?, Ruba Katrib, who is curator of the exhibition (with the American Peter Eli), responds by saying: “It is true that there are American actions and interventions before and after these dates, but we saw that the year 1991 witnessed an international change over a number of Levels, perhaps the most important of which is the live and direct transmission of war via the CNN screen and other stations. With that war, the image has become a major part of the war, not to mention the use of modern technology, promises of a "clean" war and the accuracy of missiles in hitting their targets, something that did not It is not, as we know. "
Instead of opening up modern means of communication and coverage around the clock the possibility of deeper coverage, a large proportion of that coverage has become propaganda in support of the war.
More than one work in the exhibition focuses on this topic, including a video by French director and photographer in New York, Michel Oder, entitled "The Gulf War TV War", where he deals with the issue of photos, media comments and reports broadcast by US TV stations on the Gulf War in 1991.
It is also not a coincidence, if we take the role that the media played compared to other wars, that the work of the Swiss Thomas Hirschhorn, titled "CNN Necklace", is the first thing that receives the visitor upon entering the exhibition. The work is a huge golden chain, a stereoscopic chain, hung with the logo of the station "CNN", in a symbolic sign that the dominant American media beats the drums of wars on Iraq and that it is not neutral or objective, but rather a part of it.
In this context, it is necessary to stop at the series of films that are shown on the sidelines of the exhibition, which are Iraqi directors or about Iraq. The exhibition opened, and also concludes, with the film "Lessons of Darkness" by German director Werner Herzog. The movie had sparked controversy when it was shown in 1992 at the "Berlin Film Festival", where some saw it as a compliment of the war. Perhaps it is one of the exhibition's mistakes, so choosing this problematic work without attaching it to a dialogue or discussion session raises several questions. Perhaps it would be more appropriate to open with an Iraqi film director.
“Our choice to show the film came because it is one of the most famous western films about the Gulf War. In return, we are showing a work by Kuwaiti Munira Al-Qadri entitled“ Behind the Sun, ”which is a response to the movie. Al-Qadri completed her work from pictures obtained from A Kuwaiti man filmed the events of burning wells with his own camera, inhaling all that air, while the Herzog movie was mostly filmed with cameras from the sky and from a bird’s eye view of the desert with Western eyes. The film looks as if it is monitoring the end of the world ... as if that land or desert that The images are taken where Earth is an alien creature Lina, because the exhibition also focuses on how they are treated by Western artists with the subject. "
The exhibition includes a good number of exciting and different works, among them are a number of works of the Iraqi artist who has been living in London for decades, Dia Al-Azzawi. The most prominent of which is inspired by a photo in the newspaper of an Iraqi soldier whose body was smashed while he was in his military vehicle after the American forces attacked Iraqis on their way back to Iraq after their withdrawal and the end of the war.
Al-Azzawi was inspired by "Portrait of a Victim" from the image that was not published in any American newspaper, and was taken by journalist Kenneth Jerkin and published in the British "The Observer". Contrary to the unclear features of the soldier whose body was charred, Azzawi chose to make the portrait features clear in which the victim would restore her humanity. Next to it is the scrap of paper published in the British magazine.
The absence of victims from the American media or the image of the victims from the Iraqis and even the American soldiers, compared to the Vietnam War, for example, was one of the main issues that distinguished the wars that the United States fought in Iraq. But these wars were also marked by the lack of statistics on the victims. The Americans (and with them the British), who launched the 1991 and 2003 wars and the attacks and blockade between them between Iraq, refuse to count the Iraqi civilians. However, international estimates indicate that nearly four thousand Iraqi civilians were killed during the 1991 war alone, while the number of Iraqi children who died as a result of the economic embargo is estimated at 350,000. The number of civilians who have died in Iraq since 2003 is estimated at nearly 200,000.
This absence at the prevailing American political and media level is matched by a presence in artwork. These themes were prepared in a number of outstanding works, one of which is for the Iraqi Hanaa Mal Allah, titled "She / He Without a Photo" (2019). In it, pictures of portraits of the victims of the Ameriya shelter massacre that Americans committed against civilians in Baghdad in 1991 were woven, when their bombs killed nearly 400 Iraqis asleep, the majority of them women and children.
God's money spun a simulation of their original pictures of burnt fabrics. As for the victims, who did not have pictures, I put a blank, golden plate reading "He has no picture" or "She has no picture." When the recipient looks at the blank board, his image is reflected on him, as if the absent victims looked at all who looked at them. As in her work in general, this work is concerned with the material used, and the interaction of concept and idea with the work surface and its theme.
In the same hall and in exchange for the work of God’s money, we find another work that has been preoccupied with the absence of victims and their enumeration from the official American novel under the title "No Official Estimates" (2004/2007) by American artist Louis Lawler, who uses conceptual art or what is sometimes called pictorial doctrine, so that the idea merges Or the concept with references or information outside the work, sometimes written instructions.
Here, Euler not only goes intellectually to the American artist Sol Levitt and his definition of pictorial art, but also monitors in her work part of his mural and highlights it at different times. The six photos are quoting the moments when light entered the darkness, and among them, they wrote numbers for Iraqi victims in American wars.
The exhibition also includes a number of works that use well-known notebooks. A number of Iraqi artists have tended to use these media, especially at the time of the blockade, because of the scarcity of materials allowed to be imported. But the use of notebooks, according to critics of Iraqi and Arab art, began in the 1950s to become more popular in the mid-1960s.
There is no room here to go into the connection of this type of art with the history and heritage of Iraq related to the book, but it was remarkable the number of artists who used this medium for many reasons; among them is the flexibility that it provides in mixing the media. It also helps the artist to leave his mark in difficult political, social and economic conditions faster or easier. It is a type of daily documentation that combines a number of narration possibilities, including linguistic / written, by evoking the word / calligraphy and visual narration, not to mention the use of daily matters as a clipping. Paper or a travel ticket and others to convert them into part of the books that artists used in the exhibition in different ways.
The art of notebooks rooted in modern Iraqi art has attended in a number of exhibition works for more than one artist; among them Hemet Ali, Dhiaa Al-Azzawi, Karim Rasan, and Muhammad Al-Shammari. These works archive different periods of Iraqi collective and individual history for each artist.
Perhaps one of the moments that stop a visitor is when he moves from contemplating the work of Muhammad Al-Shammari, "My Journey from Basra", to contemplation of an incomplete work by Iraqi artist Layla Al-Attar; The missiles were ordered by former US President Bill Clinton at the Iraqi Intelligence Center, which was near her home. This moment is remembered that America's war on Iraq between the wars of 1991 and 2003 did not stop; military attacks continued, and with it the victims.
There is no room to talk about all the interesting works and their stories. But it is necessary to stand up, even quickly, to three other actions. The first is a number of sketches by the Iraqi artist and journalist Ghaith Abdul-Ahad, who writes for the British newspaper, The Guardian. Abd al-Ahad's drawings / testimonies, which he drew during his press coverage as a war correspondent in Iraq and a number of countries, do not only mention the fragility of the war and the change of the perpetrators and their tongue, from the Americans to the barons of war and sectarianism, and their connection to each other, but by one fact that the victims were and are still black The greatest of the Iraqi people.
Abdel-Ahad's background as an architect is evident in his designs. We see his ability to create whole cities. But, unlike the architectural lines of architectural drawing, his lines in his art trembling reflect the fragile life of war and decades of continuous destruction.
The second work that must be brought to his attention is by Colombian Fernando Botero, entitled "Abu Ghraib 52" (2005), which is part of a series of works he has completed on the Abu Ghraib prison. As it appears from the title, the work centers around the notorious torture scandal of Iraqi prisoners by US soldiers. In these works, art reflects reality with all its ugliness without dispensing or compromising its aesthetic.
Finally, we must stop at three works by American artist Tony Cookies, which are video works documenting the Americans ’use of music as a tool of torture in Iraq. The visitor reads on-screen tapes a bureaucratic language about the torture of Iraqis, and hears "Heavy Metal" and Britney Spears used to torture. It is mentioned here that music was used as a tool of torture in Guantanamo as well, and there are a number of studies on the subject.
Despite the importance of the exhibition, it is not without some gaps; the most important of which is that there was no more space for Iraqi artists, as prominent names were absent from it. More importantly, his four-month period could have been used to hold more symposia, literary readings and musical performances.
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