Re-displaying the Modern: A History of Art Exhibitions, Artistic Networks and Institutions in the Middle East and North Africa 1930-1989

本博士研究项目聚焦于1947年至1989年间中东和北非现代艺术实践的制度性历史。虽然修正主义的叙述将以前被忽视的空间和时间网络带入了视野，但艺术史学者往往忽视了这样一个事实，即今天在西方被誉为“发现”的艺术品属于全球化前艺术和展览历史的地方叙事。因此，该项目旨在为该地区的画廊、艺术节、双年展、期刊和其他艺术交流平台的发展提供一个重要的框架。直到最近，占据主导地位的现代主义艺术史学一直忽视中东艺术，或者将其视为欧洲来源的衍生品。因此，该项目将广泛参与该地区的机构实践，并重新评估现代主义范式的采用和适应，提出以下问题：在20世纪下半叶，哪些机构在中东展出和传播现代艺术项目？这些机构，以及在其中工作的艺术家，是如何在地方和全球、民族主义和世界主义、政治参与和艺术自治、流行和前卫艺术轨迹之间的紧张关系中进行谈判的？在巴格达、贝鲁特、开罗、耶路撒冷、伊斯坦布尔和德黑兰等城市工作的艺术家之间的机构联系的地图，如何需要重新思考民族国家作为一个框架，通过这个框架来理解该地区的艺术生产？该项目将包括考察艺术展览、双年展和艺术节，因为它们与当时的前卫团体、艺术运动和政治联盟的历史相交叉，包括但不限于：Al-Nahda在20世纪初黎巴嫩和叙利亚的文化复兴；20世纪30年代的埃及艺术与自由团体；贾瓦德·萨利姆（Jawad Salim）于1951年成立的巴格达现代艺术团体；阿拉伯造型艺术家联盟（Union of Arab Plastic Artists）在上世纪70年代聚集在大马士革、拉巴特和巴格达，1974年首届阿拉伯双年展在巴格达举行；伊朗设拉子-波斯波利斯艺术节；以及1978年摩洛哥的阿西拉节。该项目以伦敦为基地，将利用泰特博物馆的记录，对泰特收藏的现代中东和北非艺术作品的历史进行研究。我们的目标是根据现有的指导方针和相关文本，如目录条目，制作关于泰特美术馆收藏的个别艺术品的摘要文本，以便在泰特美术馆的网站上发布。研究成果将通过研讨会和一系列可能的出版成果非正式或正式地与泰特大学的员工分享。收集有关该地区艺术史的文件可能是该项目的另一个有价值的成果。

This doctoral research project focuses on the institutional history of modern art practices in the Middle East and North Africa between 1947 and 1989. While revisionist narratives have brought into view previously neglected spatial and temporal networks, art historical scholarship tends to overlook the fact that artworks today praised as 'discoveries' in the West belong to a local narrative of a pre-globalised history of art and exhibitions. This project thus aims to provide a critical framework to map the development of galleries, festivals, biennials, journals and other platforms for artistic exchange in the region. The dominant historiographies of modernist art have, until recently, ignored art from the Middle East or cast it as derivative of its European sources. The project will thus engage broadly with institutional practices across the region and re-evaluate the adoption and adaption of modernist paradigms, asking questions such as: What institutions served to exhibit and disseminate modern artistic projects in the Middle East in the second half of the twentieth century? How did these institutions, and the artists working in them, negotiate the tensions between the local and global, nationalism and cosmopolitanism, political engagement and artistic autonomy, and popular and avant-garde art trajectories? How might a map of the institutional links between artists working in cities such as Baghdad, Beirut, Cairo, Jerusalem, Istanbul and Tehran necessitate a re-thinking of the nation-state as a framework through which to understand artistic production in the region?The project will involve examining art exhibitions, biennials and festivals as they intersect with the history of avant-garde groups, art movements and political alliances of their time, including but not limited to: Al-Nahda's cultural Renaissance in early twentieth-century Lebanon and Syria; the Egyptian Art and Freedom group in the 1930s; the Baghdad Modern Art Group formed in 1951 by Jawad Salim; the Union of Arab Plastic Artists that gathered throughout the 1970s between Damascus, Rabat and Baghdad, where the first Arab Biennale was held in 1974; the Shiraz-Persepolis Festival of the Arts in Iran; and the Asilah festival in Morocco in 1978.Based in London, the project will involve an examination of the histories of works of modern Middle Eastern and North African art within Tate's collection, utilising the museum's records. There is an aim to produce summary texts about individual artworks in Tate's collection for publication on Tate's website, following existing guidelines, and related texts, such as catalogue entries. Research findings will be shared with staff at Tate, both informally and formally through seminars and a range of possible publishing outcomes. The assembling of documents relating to the history of art in the region could be a further valuable outcome of the project.