DOHA, Qatar — Seeing Is Believing: The Artwork and Affect of Gérôme reifies an Orientalist view of the Japanese world as undeveloped earlier than making an attempt 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 below heat, dim lights, the primary part presents an unsophisticated definition through 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 selection to not embrace works oversaturated with artwork historic opinion, equivalent to Gérôme’s infamous “Snake Charmer” (c. 1879) or smutty work of enslaved North African individuals in work equivalent to “The Slave Market” (1866). On this absence, we are able to deal with different works, such because the gracefully drawn portrait of the poker-faced “Veiled Circassian Lady” (1876) — depicted sporting Turkish materials and seated in opposition to 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 inventive processes, equivalent to bricolage — a method 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 outlets by students like Edward Mentioned and Linda Nochlin. Relating to what the exhibition calls, through wall texts, his “famous style,” the part presents either side of Gérôme — the adept painter and the fantasist. Nevertheless, the scrupulous curatorial emphasis on Gérôme’s inventive 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 coming into a unique exhibition. Right here, a plethora of early trendy 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 through Persian photographer Naser al-Din Shah’s practical photographs of the Qajar courtroom’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 trendy and up to date artwork opposing Eurocentric othering. Works by artists like Aziza Shadenova and Baya Mahieddine disrupt the voyeuristic European gaze by way of semi-abstract figures and patterns that resist essentializing. Nadia Kaabi-Linke’s set up “One Olive Garden Tree” (2024), as an illustration, is a surprising maze of reduce olive timber, representing ongoing colonial growth within the Levant. Raza’s curation on this part is something however neutral, a obligatory 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 initiatives in opposition to 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 reveals 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 method, we are able to see their imaginative and prescient for what it truly is — regressive.
Naser ud-Din Shah, regional archival portraits of the Qajar courtroom
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 (Schooling Metropolis Scholar Middle, Doha, Qatar) by way of February 22, 2025. The exhibition was organized by the Lusail Museum and curated by Emily Weeks, Giles Hudson, and Sara Raza.
