DOHA, Qatar — Seeing Is Believing: The Artwork and Affect of Gérôme reifies an Orientalist view of the Jap world as undeveloped earlier than trying to dismantle that perspective. Its three curators — Emily Weeks, Giles Hudson, and Sara Raza — beckon viewers to rethink the aesthetic legacy of Jean Léon-Gérôme, an artist notorious for his mythicized depictions of the individuals and customs of the area.
On cerulean partitions and beneath heat, dim lights, the primary part presents an unsophisticated definition by way of wall textual content: “The term ‘Orientalism’ describes how artists from outside the MENASA region… depicted its peoples, cultures, and landscapes, often blending reality with fantasy.” It’s a intelligent curatorial alternative to not embody works oversaturated with artwork historic opinion, resembling Gérôme’s infamous “Snake Charmer” (c. 1879) or smutty work of enslaved North African individuals in work resembling “The Slave Market” (1866). On this absence, we will concentrate on different works, such because the gracefully drawn portrait of the poker-faced “Veiled Circassian Lady” (1876) — depicted sporting Turkish materials and seated towards Persian rugs — and see clearly that these additionally inform lies. Although Gérôme titled the portray after a Turkish ethnic group, implying that he met her on his travels, he in actuality employed a fair-skinned mannequin in Paris to pose for him, projecting his fantasies onto the canvas.
Weeks educates viewers each about Gérôme’s creative processes, resembling bricolage — a way of layering visible particulars and concepts from a wide range of sources — and criticism of the West’s salacious depictions of Arabs within the wild, mosques, or gun retailers by students like Edward Mentioned and Linda Nochlin. Relating to what the exhibition calls, by way of wall texts, his “famous style,” the part presents each side of Gérôme — the adept painter and the fantasist. Nonetheless, the scrupulous curatorial emphasis on Gérôme’s creative prowess and peer affect outweighs the presentation of criticism directed at him. The exhibition supplies premise Gérôme as a “chronicler of modern cultures and peoples of North Africa and Middle East,” with “fancifully imaginative and faithfully naturalistic” views. I sense apologetic hints that Gérôme and his contemporaries like Eugène Delacroix deserve a second search for the virtuosity of their photorealism. I don’t take the bait.
Jean- León Gérôme, “Veiled Circassian Lady” (1876), oil on canvas
Entering into the second part of Seeing Is Believing looks like getting into a distinct exhibition. Right here, a plethora of early fashionable regional photographs present that European photographers from Gérôme’s circle superimposed tone and shade to depict an unique and unfaithfully extravagant East. Hudson counters this woeful narrative by way of Persian photographer Naser al-Din Shah’s sensible photographs of the Qajar court docket’s harem, that are much less staged and ornamented. (“Harem” (2009), a video work by artist Inci Eviner, was faraway from the present on opening day on the request of Qatar’s Ministry of Tradition.)
Brighter and roomier, the third part shows worldwide fashionable and modern artwork opposing Eurocentric othering. Works by artists like Aziza Shadenova and Baya Mahieddine disrupt the voyeuristic European gaze by semi-abstract figures and patterns that resist essentializing. Nadia Kaabi-Linke’s set up “One Olive Garden Tree” (2024), as an illustration, is a shocking maze of minimize olive bushes, representing ongoing colonial growth within the Levant. Raza’s curation on this part is something however neutral, a mandatory corrective and a beautiful conclusion.
Gérôme, frankly, is troubling. His oeuvre will all the time remind me of the West’s sordid stereotyping and imperial tasks towards the individuals of Africa, South Asia, and the Levant. Seeing Is Believing reinforces the truth that Gérôme’s was a distorted Westward gaze that we have to proceed to deconstruct. In prolonged exhibits like these, I choose conserving most of my vitality for anti-Orientalist international expressions. Right here’s a wild thought: What if we curate reverse chronologically, with viewers encountering the complete complexity of MENASA artwork earlier than seeing Gérôme et al.’s slender perspective? That approach, we will see their imaginative and prescient for what it truly is — regressive.
Naser ud-Din Shah, regional archival portraits of the Qajar court docket
Set up view of Nadia Kaabi-Linke, “One Olive Garden Tree” (2024), olive wooden, spatula, oriented construction board, aluminum and metal
Seeing Is Believing: The Artwork and Affect of Gérôme continues at Mathaf: Arab Museum of Trendy Artwork (Training Metropolis Pupil Middle, Doha, Qatar) by February 22, 2025. The exhibition was organized by the Lusail Museum and curated by Emily Weeks, Giles Hudson, and Sara Raza.
