Al-Ahram Establishment inaugurated its first Visual Arts Salon last week at its headquarters on Al-Galaa Street. Entitled “Rhythm,” the salon is presenting works by 72 artists from across fields and generations. The opening drew a huge audience of artists, art lovers and critics, as well as journalists. The salon was organised by Sawsan Mourad, executive editor of Al-Ahram's prestigious interior design magazine Al-Beit,in collaboration with the Department of Art Acquisitions headed by artist Hisham Nasr. The exhibition was inaugurated by Minister of Culture Gaber Asfour and Al-Ahram Board Chairman Ahmed Al-Naggar. The event's guests of honour were Sanaa Al-Beissi, a writer and the widow of the late painter Mounir Canaan, and Adam Henein, the celebrated sculptor. Henein's famous eagle sculpture, installed outside the main building on Al-Galaa Street many years ago, is among the organisation's foremost symbols. Entitled “Embracing”, the eagle was more than an acquisition, reflecting Henein's bonds with the many famous writers who worked at the institution at the time. According to Mourad, some of Henein works owned by Al-Ahram are on public display for the first time. Also on display is “Zeinab”, a sculpture of a young woman made at the start of Henein's career. Many of the Mounir Canaan paintings on show, including Sufi-influenced canvases from the 1970s, have rarely been displayed. In all, the salon is exhibiting work by 72 of Egypt's best-known and most important artists. “The exhibition, which will be held on a yearly basis, aims to reflect the rhythm of the contemporary art scene in Egypt, as well as to celebrate pioneering artists in various fields,” Mourad said. She added that it is also to honour and recognise Al-Beit's considerable achievement over many years. The 700-square-metre gallery is a state-of-the-art space designed by the French designer Selvie Blanchet. It was opened in December 2012 and is is located on the ground floor of Al-Ahram's “New Building.” “‘Rhythm' is a title that means a desire to reflect different rhythms of different artistic trends,” Mourad explained. “Each exhibit represents a different rhythm, from classic to symbolist and abstract. Even in the jewelry section, there are experimental and classical trends.” The theme of change and transformation could be seen in many works. Hassan Abdel-Fattah's two paintings, for example, represent a new change in his style. Abdel-Fattah has long focused on landscapes. His new works depict colourful botanical decorations he likens to Islamic patterns. Wagih Yassa's painting of Mawlaweya dancers is likewise a step further on the way to abstraction. One of Egypt's most important artists and a master of portraiture, he is showing a new portrait of a young woman dressed in a colourful costume, with a rough background of strong strokes that is somewhat different from his usual style. Nathan Douss has a wonderful sculpture of a dancing woman. Two huge paintings by Khaled Al-Samahy, oil portraits of young women painted in a classical style, confirm the female theme. Photographer Ayman Lutfi has two huge photographs of young women posed in dramatic positions. Painter Mohammed Abul-Naga is exhibiting painting-like photographic prints, alluring pieces that raise questions about substance and texture. Khaled Hafez has contributed a large oil painting featuring the Egyptian diva Um Kulthoum, with her trademark statuesque figure turning into a repetitive pattern, together with winged women and a sky-like background. Ibrahim Khattab's female face, with elements of Arabic calligraphy, uses a similar style. Mohammed Sabri offers surprising groups of wooden squares bearing ink drawings of nude figures in odd positions, as well as animals with furious faces. Omar Al-Fayoumi's painting, “The Café”, an engaging depiction of the warmth of the cafe, was first exhibited at the Art Lounge. One remarkable sculpture by Ahmed Al-Asqalani depicts a man sleeping on the ground, his arms under his head, while a smaller man sits cross-legged and a small bird perches on his chest. A uniquely evocative piece, it raises questions about the value of light-heartedness and the part it plays in finding fulfillment in life. Some works were previously exhibited, including paintings by Walid Taher, which weakens the overall effect of the exhibition. “We left the choice of the artworks to artists themselves,” Mourad said. “Maybe the big number of the participating artists resulted in this kind of fault. “There should be different conditions for the next round of the salon, I agree. However, it is just the first step and we aspire to a lot more.” Workshops and architecture and design exhibitions are planned. Mourad added, “It is very important to bring designers and producers together under one roof. Our mission as a magazine is to support new movements in design and industrial companies and to play the role of coordinator between the two circles. “We also insist on resuming and strengthening Al-Ahram's role in supporting artists, especially new ones, and endorsing the art movement.” Coordination between the gallery and Departments of Fine Arts schools is underway, to attract a larger audience and to establish a bond between Al-Ahram and the new generation of artists, she explained. “My aim is to spread the culture of beauty and taste among all Egyptians,” she concluded, “so that we, as a nation, can restore our sense of beauty and our appreciation of art.” Believing in Henry Matisse's motto, “Creativity needs bravery”, the salon organizers vow to exert all efforts to support artists during these challenging and changing times. The exhibition runs until 30 November.
