Making Sense of Ideas in the Non-West: An Institutional Lens
by Farida Makar (St. Anthony’s College, Oxford) In November 2017, Guardian columnist and art critic Johnathan Jones wrote a strident critique of the “Surrealism in Egypt: Art et Liberté” exhibition which had just opened at the Tate Liverpool. “There are lots of mildly diverting paintings of nudes, skeletons and strange desert plants” Jones writes, “yet there is no great artist in this show and no evidence the Egyptian wing of surrealism added anything essential to an international movement that was already waning by the 40s.” Jones’ main contention with the exhibition was the ‘inauthenticity’ of the Egyptian ‘wing’ of surrealism coupled with a reproach for having adopted surrealism ‘after the fact’ or when it was already out of fashion in Paris: “Why should we look at second-rate imitations of a modern French style when we could be contemplating a majestically beautiful minbar carved in Cairo in the 15th century?” The piece was met with contestation – most notably by Cairo-based artist and art historian Mehri Khalil, whose response in Jadaliyya, “Can the Subaltern Finally Speak?” brought forward some of the biases, generalizations and inaccuracies in Jones’ review: “Gazing at a minbar fits in the exoticism of Egypt—bringing to mind examples […]