Page 258 - Features of an Era
P. 258
Although the philosophy of the current show does not fall outside the general line
of the philosophy of «Treasures of Our Art Museums» show series, in terms of re-
exploration of the artistic wealth which was long concealed, highlighting precious
objects and uncovering the unknown, the uniqueness of this show, in terms of
both the level of artworks presented and the historical content, leads us towards an
unconventional shift in the «Treasures of Our Art Museums» shows.
In similar exhibitions we used to celebrate acquisitions without their creators,
viewing only the artwork away from its innovator and acquirer; in this current
exhibition, we see the figures themselves as an integral part of the historical stage
around which the exhibition revolves, regarding the life history and traits associated
with each of these figures which in turn were affected and affected the events of this
stage.
The importance of this historical stage is the main reason why this exhibition is
unique. It is the stage of Muhammad Ali’s dynasty, a stage with which many historians
were long occupied locally and internationally, in view of serious incidents that took
place in Egypt for nearly a century and half. During this period, there were four
consecutive regimes, starting from Wilayah to Khedivate and Sultanate, ending with
the Kingdom which concluded the stage.
There is no doubt that this stage is now in history, including its pros and cons. This
leads us to pay attention to the fact that the abstract history is far from the argument
and tensions which may have been linked to circumstances that had their causes in
the course of events; they have undoubtedly become abstract events and part of this
homeland memory, its heritage and its cultural identity.
From this point of view, we see within the current sculptural exhibits what calls for
thinking in, for example, the civilizational coordination of many squares and ancient
Egyptian streets which in turn are part of the memory of this stage such as Khedival
Cairo and other similar places which complete the identity of its architectural and
historical style through the execution of statues related to this stage. This is compared
with most western cities as well as in a number of eastern capitals.
Based on this concept, we may see in this show a real opportunity to re-celebrate
the basic stages of our modern Egyptian history away from any considerations beyond
the aesthetic, heritage and historical abstract value.
Ehab El-Labban
Director of Center of Arts
«Aisha Fahmy Palace»
258
of the philosophy of «Treasures of Our Art Museums» show series, in terms of re-
exploration of the artistic wealth which was long concealed, highlighting precious
objects and uncovering the unknown, the uniqueness of this show, in terms of
both the level of artworks presented and the historical content, leads us towards an
unconventional shift in the «Treasures of Our Art Museums» shows.
In similar exhibitions we used to celebrate acquisitions without their creators,
viewing only the artwork away from its innovator and acquirer; in this current
exhibition, we see the figures themselves as an integral part of the historical stage
around which the exhibition revolves, regarding the life history and traits associated
with each of these figures which in turn were affected and affected the events of this
stage.
The importance of this historical stage is the main reason why this exhibition is
unique. It is the stage of Muhammad Ali’s dynasty, a stage with which many historians
were long occupied locally and internationally, in view of serious incidents that took
place in Egypt for nearly a century and half. During this period, there were four
consecutive regimes, starting from Wilayah to Khedivate and Sultanate, ending with
the Kingdom which concluded the stage.
There is no doubt that this stage is now in history, including its pros and cons. This
leads us to pay attention to the fact that the abstract history is far from the argument
and tensions which may have been linked to circumstances that had their causes in
the course of events; they have undoubtedly become abstract events and part of this
homeland memory, its heritage and its cultural identity.
From this point of view, we see within the current sculptural exhibits what calls for
thinking in, for example, the civilizational coordination of many squares and ancient
Egyptian streets which in turn are part of the memory of this stage such as Khedival
Cairo and other similar places which complete the identity of its architectural and
historical style through the execution of statues related to this stage. This is compared
with most western cities as well as in a number of eastern capitals.
Based on this concept, we may see in this show a real opportunity to re-celebrate
the basic stages of our modern Egyptian history away from any considerations beyond
the aesthetic, heritage and historical abstract value.
Ehab El-Labban
Director of Center of Arts
«Aisha Fahmy Palace»
258
