arab art

e-mails to my sister

Portrait of Susan Sontag by Annie Leibovitz. Source: lithub.com

Portrait of Susan Sontag by Annie Leibovitz. Source: lithub.com

I wanted to write a blog post about my love for Susan Sontag’s essay “Notes on ‘Camp’” but my enthusiasm for the essay was so great I wrote about it in an email to my sister instead. The essay touched me so profoundly that I felt the need to share it with her, the person who knows me the most in this world, because I knew that as soon as she read it, she will recognise that it touches on the many unresolved feelings I have towards "aesthetics”. Particularly those relating to the region. I decided, that instead of writing about Susan Sontag’s seminal essay here, I will share the email I wrote to my sister.


Darah Ghanem

Fri 10/5/2018, 12:18 pm

rama ghanem; rama; Rama Mustafa Alghanem

Hey sis, 

I don't know if you've already read the work of Susan Sontag at art school but I've been reading a lot of her essays recently and I am so enamoured. 

There are two essays I recommend you read: 

1) Notes on "Camp" - Camp is an elitist aesthetic style that everyone in Dubai (and probably Goldsmiths) is obsessed with. Imo its the aesthetic of the ****** crew, and how it's so exclusivist and so elite and lacks any meaningful content or message. I never thought that aesthetics were political until I read Notes on Camp by Susan Sontag. She basically explains the politics behind why certain aesthetics are "in", and why "Camp" becomes a vessel for upholding the status quo. This is my interpretation of her writing anyway, pls take it with a grain of salt. Here's a link to the essay: https://faculty.georgetown.edu/irvinem/theory/Sontag-NotesOnCamp-1964.html

2) Against Interpretation - I imagine you've already read this at art school but I thought I would share it anyway. I only read it last night so I don't know what to make of it but I thoroughly enjoyed reading it. What I understood was that art doesn't need to be interpreted and by having armies of critics interpreting your work it essentially loses value. She says that we should focus on critiquing "form" rather than interpreting meaning in art criticism. What is form btw? does she mean aesthetics or does she mean technique? Lemme know. Here's a link to the article: http://shifter-magazine.com/wp-content/uploads/2015/10/Sontag-Against-Interpretation.pdf

Anyway sis, I am sending these to you because I miss you and because I miss having someone to discuss these things with. I want to know what you think. Notes On Camp gave me so many ideas to create a parody zine. I think we can make the most hilarious parody zine -  "HOW TO BE A COOL ARAB". 

Lav you 

Darah

featured culturalist: libyan poet and author farrah fray 

part of the 4-part interview series for issue #5: "reclaiming empowerment"

Portrait of Farrah courtesy of the artist 

Portrait of Farrah courtesy of the artist 

Like many of the women in the arts that inspire me, I met Farrah online. Farrah is a Libyan author, poet and artist based in London. She recently published a poetry collection titled "The Scent of My Skin" that explores culture, displacement, feminism and what it means have grown up in Libya and London. Farrah is also an editor for Banat Collective and a contributor to Khabar Keslan, below is our interview with her: 

Hi Farrah! Tell us a little bit about yourself (the facts and the quirks!)

Hi! Well I’m a Libyan author and creative based in London. I’m 23 and I also study translation; a quirk, hmm- I really like cliches! In the sense of taking a cliche and rendering it to its absolute extreme to make a point about things; I’m a sucker for t shirts with “LOVE 4 EVER” and that kinda thing.

As an artist, writer, and poet, how does your heritage/identity influence your work?

Being Libyan influences my work so much! Even if what I’m writing isn’t quintessentially Libyan or about Libya, somehow it becomes about Libya and being a Libyan diaspora. My thoughts, feelings, and experiences are informed by my background and journey; your identity follows you wherever you go, so it’s definitely really present in my work.

Source: www.farrahfray.com

Source: www.farrahfray.com

In this issue, "reclaiming empowerment" is our inspiration. What does empowerment mean to you?

I guess empowerment means feeling brave enough to take on the things that scare you the most. I mean, for so long I didn’t even think that I should be writing about Libyan women, or displacement, or feminism; but reading other peoples’ work and journeys makes you feel empowered; it makes you feel like, yes, I can write about these things. The kind of fear I’m referring to isn’t just fear of criticism or censorship, but I suppose also the fear of breaking the glass ceiling, and doing the things you should; that kind of fear is often taught from a young age, and I think empowerment is about reclaiming your position in that power dynamic. Oppression often works because of fear so empowerment for me means overcoming both fear and oppression.

What are your sentiments about the current art scene in the Middle East? In your opinion, what are its strengths and what are its challenges?

The current arts scene in the Middle East is thriving, I’m besotted by it all really. I think the strengths include that it’s not just one genre of art that’s emerging, but that they’re all taking up this space, you see anything from installations to zines to short films. Another strength is that art in the Middle East, much like a lot of contemporary art doesn’t really rely on industry gatekeepers for validation, there’s so many wonderful platforms created by people who want their voices heard and don’t necessarily have a professional background in art. I think a big challenge for Middle Eastern art will be overcoming stereotypes from the West; as more and more of our art reaches western art circles, which is a great thing; I feel like it’s definitely a challenge with certain issues to be like; yes, these things do affect us and are part of our daily struggles, but don’t stereotype us as just one thing; or define us by that one experience. I also think over generalization is a big challenge; even within countries you get different subcultures and communities, creating art; and to generalize all art coming from different regions as “Middle Eastern” can be quite reductive.

"June and July" poem by Farrah Fray courtesy of the writer

"June and July" poem by Farrah Fray courtesy of the writer

In your opinion, how can we better empower artists and the creative sector in the region?

I think we can empower artists by continuing to create these platforms for meaningful discussion, but also holding different events and talks where you get to really see the people you’re influencing. I think so often it can feel like you’re in a black hole as a creative, so it’s definitely important to have those types of spaces!

What advice would you give aspiring artists in the region?

I’d say definitely give it your all; and remember that there are so many other people creating art, too. Whenever you feel apprehensive about creating something is to ask yourself “if not me, then who?” because no one else can do exactly what you want to do in precisely the way you want to do it. It might be the same concept but there’s no way it would be an identical reiteration; so do it. Your voice is unique and important.

What are your future plans?

I’ve got a lot of exciting things coming up this year, but I suppose generally, the plan is to be more versatile with my work and combine it with other disciplines such as translation, which I’m currently studying. Think installations and subtitles! I really want to show that poetry can be showcased in many different ways, and I’m really looking forward to sharing it with everyone.

"Rooftop" by visual artist Ahmed Drebika www.drebika.ca

"Rooftop" by visual artist Ahmed Drebika www.drebika.ca

For more about Farah and to follow her work you can find her on farrahfray.com or on instagram @farrahfray