Venus Fouad visits an exhibition that has been reflecting public mood and sensibilities in an ever-changing Egypt When the Public Exhibition was first held in 1969, it was intended to be a way of coping with the bitter memories of the 1967 defeat. In a way, it was an attempt by artists to offer solace, confidence and strength to the nation. In the 1990s the event changed names, becoming the National Exhibition. The change of name partly denoted the need felt by many artists for a nationwide event. At the time, several art professors wanted the event to serve as a counter to the tidal wave of modernism that was sweeping the nation. They were worried that the fascination with new material and with conceptual art, including installations, would dilute the national character. The old name was restored in 2010 on the understanding that the term "public" had more of a democratic ring than "national". Since then, the event has become a forum for artists, professionals and amateurs to take part in the exhibition. One reason for the event's popularity is the increased art production in the country and the emergence of private showrooms which sells art at hefty prices. Now in its 34th round, the Public Exhibition featured new genres of art -- calligraphy and internal design to mention but two. Staged simultaneously at the Palace of Arts, Mahmoud Mokhtar and the Round Hall of the Fine Artists' Syndicate, the event brought to display 700 pieces in total. Salah El-Meligi, director of the Fine Arts Sector of the Ministry of Culture, said that the event's slogan, "Freedom of Expression", was chosen to underline the need for dialogue and for closer interaction among artists of all ages and backgrounds. Installations are a common feature of this year's event. Artists, inspired by the role technology plays in our life, are feeling the need to traverse the narrow perimeters of two dimensional art and venture into the wider horizons of conceptual work. Pharaonic art made its debut in the world of installations with "Change is a Genuine Egyptian Choice" by Ahmed Abdel-Karim. In this installation we see various masks of Akhenaton executed in Aswan clay, rough-hewn and almost fresh in their texture. In the masks we see traces of violence, of strangulation and assassination attempts, symbolising what many years ago was a major counter-revolution. At the centre of the installation is a gilded Akhenaten's mask mounted on blue fabric, with red fabric pinned to the head. Below, on the sand-covered floor, we see fragments of broken masks. It resembles a temple setting, with spotlights shining on the scene in such a way as to dispel the elements of decay and destruction. Speaking about his work, Abdel-Karim said priests of Amun and in the end lost his throne because of it. His tomb has never been located, but his legend lives on. According to Abdel-Karim, the Akhenaten story mirrors that of present day Egypt, since the 25 January Revolution was also hijacked by those who use religious slogans. Interior decoration, which was once impossible to display within the boundaries of exhibition halls, made its debut in this year's event. With the help of 3D technology, Ashraf Ramadan brought this form of art to the audience. Using as his slogan a saying by the Fifth-Dynasty sage Ptah-Hotep, who exhorted his contemporaries to "boast not of what you know," Ramadan is also taking refuge in the past. Having coated a corner of the exhibition hall with ancient Egyptian motifs, he used a special screen to show his project for remodelling the Egyptian Academy in Rome. The 3D interactive allows the viewers to take a virtual tour of the academy, walking in its corridors, examining the furniture and visiting the adjacent museum. Sculpture made a timid appearance this year, with only a few pieces displayed haphazardly, most of them placed out of the way as if not to hinder the movement of the visitors. The sculptures on display, mostly abstract in style, were executed in a wide range of materials. One of the most interesting sculptures is a piece by Huriya El-Sayed, who is known of her glass creations that are nearly spiritual in their translucence and affability. The piece on display in the event is a bust of Isis, goddess of the moon and motherhood and a favourite deity into Ptolemaic times. In a sea of modernity, El-Sayed's work revives certain historic connections. Isis is presented as a young woman carrying her son Horus, the ancient deity symbolising valour and justice. The piece, executed in polyester, is refreshingly different from anything one usually associates with ancient art. For one thing, the maternal, almost stern gaze of Isis is rendered soft and enticingly inviting, optimistic even. The child Horus is presented not in the usual pose of a mother carrying her infans on her arm but seated at the top of Isis's head, perhaps a reference to Egypt's new-found adoration of the young. El-Sayed says that ancient Egyptian art inspires her to use geometric forms in ways that are harmonious with the surroundings and conducive to mental peace and harmony. We see elements of decorative art in the necklace worn by Isis, also made of polyester. One interesting aspect of this year's show is the increased use of Arabic calligraphy in paintings, pottery, and other pieces. The same phenomenon is noticeable also in fabric and fashion. Is it a sign of the rising influence of Islamic currents? Are Egyptian artists venturing into territories normally associated with neighbouring countries? It is possible, especially if one keeps in mind the increasing abstraction of sculpted art. So let us watch out for this trend. I also noticed that many of the heavyweights of the art movement had shown their work in this year's exhibition. Their enthusiasm, welcome as such, has led to the organisers' dismissing some of the work of younger artists. If this pattern continues, then perhaps a separate exhibition should be held next year for the rejected pieces. Several of the young artists who showed for the first time this year are worthy of praise. One is Ayman Helal, who has a unique style and unusual aptitude in using texture and colour. Another is Younes Hassan Younes, who has crated dynamic compositions of exceptional maturity. The romantic photography of Ahmad Ghoyba is also quite refreshing. Pioneer painter Magda Saadeddin exhibited her work at the event for the first time, another indication of the growing popularity of the exhibition. On the downside, there is no brochure of the exhibition introducing the artists and explaining the nature of the event, which will last till 29 May.
