All in the Assad Family

I Love Bashar in English, Arabic and Camel
I Love Bashar in English, Arabic and Camel

Come on, who doesn’t love Bashar? Well at least his Assad family paraphernalia. Sure, this is not government issue and he has eschewed the statues and huge portraits that his father, Hafez, so enjoyed. Syria’s ruling house has been somewhat middle of the road in its self aggrandisement when compared to some of its neighbours. Jordan’s Hashemites shouldn’t have to go for the farcical, full-bedouin dress or operetta-military outfit propaganda pics, being descendants of the prophet but they do anyway. And remember the giant stone busts of fellow Baathist dictator Saddam Hussein at his Baghdad palace? Still, the Assads have been cultivating their image as a ruling family for decades, as in this button from the 1990’s depicting Hafez with his son Basil, his intended heir who died in a car crash, and Bashar who had to be given legitimacy quickly.

Hafez, Basil and bashar, The Assad family's, hence Syria's, Holy Trinity
Hafez, Basil and bashar, The Assad family’s, hence Syria’s, Holy Trinity

The text at the bottom boldly declares ‘Suria al-Assad’ as if another push towards more complete identification of the family with the country and vice versa were necessary. But it’s a lovely tradition in the region to name your country after your family. The Saudis did it and Jordan is also the Hashemite Kingdom. Anyway, to understand the particular mess that Syria is in today, it helps to know a couple of things about the Assads, apart from the whole Alawite angle. Bashar was never intended to lead the country, his older, more dashing and martial brother Basil was the heir apparent. He took a ‘special interest’ in neighbouring Lebanon that extended to him dating a beautiful Lebanese girl – ironic detail: after he died, she married a Lebanese politician and newspaperman who was killed years later in what many belief was Syria’s campaign against its opponents in Lebanon.

The dashing Basil Assad - groomed for greatness, died in a car crash
The dashing Basil Assad – groomed for greatness, died in a car crash

Bashar, the gawky supposed medical doctor and ophthalmologist was roped in to rescue the family franchise, leading to the by now well-known list of blunders on his part, starting with a ruthless crackdown on even the mildest of dissidents following a very brief ‘spring’ when he took over in 2000, then the fiasco in Lebanon where his henchmen are widely suspected of being behind the assassination of Rafiq Hariri in 2005 and culminating in the brutal actions against peaceful demonstrations in 2011 that led to the current civil war. While on the subject of blunders: Those awful Sunni Jihadi terrorists that he accuses of forming the bulk of the opposition, well they are to a large degree his own creation. Syria used radical Islam on many occasions against its enemies, including the well-documented sluicing of men and money to Al Qaeda in Iraq, the very same group that’s now causing so much trouble in his own ‘Suria al-Assad’. Blowback or what?

Obviously Bashar paraphernalia is so much less cool than Basil’s and Hafez’s. They are both buried in a mausoleum in Qardaha, the birthplace of the Assad clan that sports a large statue of the pater familias in the town centre. Bashar may end up in foreign soil, if things continue this way. I have more Hafez and possibly some Bashar stuff stored somewhere and will try post the gaudiest items if I ever dig them up.

Bosnia’s invisible Saudi

Saudi man cutout

Meet the invisible Saudi, he resides at the King Fahd Bin AbdulAziz Alsaud cultural centre in Sarajevo, adjacent to the largest mosque on the Balkans, a gift from Saudi Arabia to the people of Bosnia after that country’s devastating war in the 1990’s. A prop used by the cultural centre during a book fair to get Bosnians better acquainted with Saudi society, the invisible Saudi and his equally invisible wife (but that is not uncommon in Saudi Arabia) could be a symbol for that country’s role in Bosnia. During the war, rumours were rife of Saudi funded foreign Jihadis joining the ranks of Bosnia’s besieged Muslim community in their fight with mainly the Orthodox Christian Serbs. Concern over these supposed Jihadis using Bosnia as a jumping board into Europe and the US kept cropping up periodically for more than a decade after the war and received new impetus after 9/11. But the story has since died a silent death. One local journalist and analyst in Sarajevo who wrote about it repeatedly, recently told me that it has become a non-issue. Steps that were taken to deal with it have proved adequate and the threat never panned out. With global concern over Jihadis in Syria reaching fever pitch, it may be a very small example of how worst-case scenarios are not always realistic.

Saudi Cutouts

Much more revealing about the present moment in the Middle East than the whole Jihadi question was an unprompted remark by the Saudi cultural representative in Sarajevo concerning Iran. Asked about Turkey’s unquestionable cultural influence in Bosnia, he said, “Turkey and Saudi Arabia are the same in Bosnia. Only some other countries are against us. Yes, Iran”. European Bosnia may not seem an obvious place for the raging sectarian tensions that plague the Middle East to surface but maybe the official had in mind the expulsion of four Iranian diplomats accused of spying that was rumoured to be taking place as he was speaking.

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The Saudi-built King Fahd Bin AbdulAziz Alsaud mosque in the Alipasino Polje neighborhood of Sarajevo, the Balkan’s largest.

Many Bosniaks, the name for Bosnian Muslims, are not that charmed by either Iran or Saudi Arabia, which a group of youngsters having coffee on a Friday morning in the shade of the looming Saudi mosque in the Alipasino Polje neighborhood of Sarajevo lumped together as “the East”. Ignoring the call to Friday prayer, the law and business students at the café expressed their disapproval of “all that Wahhabi stuff, veils, religion in the street, that we never had before the war.” Yet they did not see a major Jihadist problem in Bosnia either. “We are European, not like those Muslims of the East.”

Gazi Husrev-bey Mosque
The invisible Saudi nipping out for prayer at the Ottoman era Gazi Husrev-bey Mosquein central Sarajevo

The Bosnians have plenty of their own problems to worry about without importing new ones from Turkey, Saudi Arabia or Iran. The sectarian and political mess that persists almost two decade after the war is leaving them behind in the former Yugoslav republics’ drive to join the EU. The corruption, bloody mindedness and astonishing obtuseness of their political leaders has led to such high-farce crises as the babies born in bureaucratic limbo and a national museum closed for lack of a national narrative. Even though a virtual EU protectorate and boosted by Islamic and European goodwill and aid, Bosnia is an object lesson in how civil war and sectarian divisions can screw a place up for years to come.

Bosnia National Museum closed

Creative Commons License
Bosnia’s invisible Saudi by Ferry Biedermann is licensed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 Unported License.

Congo in Green (and Pink)

Congo-in-Pink-and-Green

Congo in Green and Pink is the way I intended the artwork for the interview With Louise Williams to come out but the animation did not work for that. So here it is, just to get the idea. The pink one is a pic of Richard Mosse’s photo and the green one is Louise’s.

Art, journalism and conflict – Louise Williams on Congo pictures

Interview with Louise Williams on Congo, conflict and the pictures of Richard Mosse

More on the pitfalls of art, journalism and conflict – A while ago I posted on Richard Mosse’s impressive work on Congo for the Irish pavilion at the Venice Biennial, called The Enclave. The work is troubling in part because it situates itself so clearly in a war zone and uses that, to the extent that the texts at the show mentioned a new way of looking at photojournalism. My Irish friend and colleague Louise Williams frequently visits Congo for her work as a journalist and a trainer. And she is fed up with the one-dimensional perpetuation of this violent image of Congo and with people using it towards their own ends. Listen to the interview (10 minutes). The artwork is supposed to be animated, fluctuating between pink and green. I posted it separately. 

Creative Commons License
Louise Williams on Richard Mosse and Congo by Ferry Biedermann is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.

The Act of Killing

From Congo to Indonesia, doubts about the depiction of conflict

Coincidence? I think not. The main character in The Act of Killing, the documentary movie that is being promoted in the above trailer, is called Anwar Congo, a notorious Indonesian warlord who massacred communists in the 1960’s. I saw this problematic film hot on the heels of viewing the art documentary/installation on militias in Congo at the Irish pavilion at the Venice Biennale. My question then as now was: Is it exploitative, does it glamourise conflict? For me, the jury is still out on The Enclave, Richard Mosse’s Congo project, although a Congo-going friend and colleague outspokenly thinks so. But I have no such doubts about Joshua Oppenheimer’s The Act of Killing. I find it tilting the wrong way, not just because of the deeds of Anwar Congo but because of the filmmaker’s choices. As a journalist, I sympathise with the difficulty involved in bringing horrendous stories to the attention of a larger public. But in this case, I feel that a line has been crossed and that, very much in the spirit of this age, storytelling veers into self-aggrandisement (And yes, I realise the irony of making such an accusation on a blog, the ultimate engine of self-promotion). The numerous times that the killer, Congo, directly addresses the filmmaker by name, Joshua this, Josh that, is in itself revealing. I assume that it could have been easily edited out. After all, Joshua has seven years worth of material. The most problematic part of the movie is the ending when a money shot sequence of Congo retching in regret offers the kind of redemptive finish that would make even a Hollywood exec blush. Joshua tries to play it cool and inoculate himself against charges of pandering by pointing out to Congo that his victims felt a lot worse than he does re-enacting their suffering – this is after all just a film while they knew they were going to die. The regretful retching comes after that, though, and goes on for quite a while. Together with the ambivalence of the rest of the movie, it leaves a bad taste in the mouth. It feels cheap and empty. If Congo really feels bad, what are the consequences? Does he kill himself? Does he ask his victims for forgiveness? Does he give himself up to be tried for war crimes? And if not, why do we not see him leading his life as if nothing happened? I wonder if this as either a lazy choice by the director or an easy melodramatic device. As it stands, it gives the impression of at least partial redemption for a mass murderer and as such confirms my unease about the rest of the movie. But yes, like The Enclave, it’s beautifully shot.

Zombies in ireland

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My friend and former Middle East colleague Ed O’Loughlin, who has successfully reinvented himself as a writer, has turned his gory attention to his home country Ireland. It’s zombies! and it’s innovative: you can pay to have your name appear in the book, check it out:

http://www.edwardoloughlin.com/all-you-can-eat/

Gezi park protest very animated explanation

Taiwan’s NMA.TV’s hilarious take on the protests in Turkey

Green Absinthe by Frederick Seidel

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‘Twas brillig and as if I’d drunk
Green absinthe the night before.
The bed felt like an upper bunk
Ten miles above the bedroom floor.

Maybe it’s because I did,
Maybe it’s because I do
Drink a bathtub of poison gas each night and kid
Myself I’m still able to.

Hey, something is coming—what’s that glow?
It’s snow or rain, it’s spring.
It’s chemical weapons. It’s baseball spring training. Whoa!
Mariano Rivera throws a wicked cut fastball—a vicious,
  delicious thing!

Day after day of gray
For Obama in his second term,
And trying not to be poisoned by the horror in Syria today
The apple is trying to digest the worm.

Bashar al-Assad (may his tribe increase!)
Awoke one night from a deep dream of peace,
And saw, within the moonlight in his room,
The dead about to lead him to his doom.

The dead in the streets gape and gasp.
The dead smell like chlorine.
Their dead nostrils tried to breathe the asp.
There’s a waitress at Cafe Luxembourg named Maureen.

Maureen, your eyes are green.
Your parents crossbred Ireland with Russia.
The bloody blarney of the Troubles, ‘tis obscene, Maureen,
And the Kremlin percussionists, if they can, they’ll crush ya.

Yeats walked on the moon and spent the night there.
Back on earth, found his rhetoric and politics and splendor
  and rage.
Soviet Mandelstam rose like Christ from the nightmare,
Rises from the gulag, sunrise on the page.

Something is coming more than we know how.
More than we know how. An asteroid. Soon.
A world-destroying future is exploding toward us now.
Yangon hurtles toward Rangoon.

Maureen, I think I’d better order while one still can!
I’d like the Syria tartare, please, to start.
Then tender baby baboon from the Taliban in Afghanistan.
Picking a dessert is the hard part.

Frieze video on Richard Mosse’s The Enclave

To get a better idea of what I meant in my previous post, on war art at the Irish pavilion in Venice, here’s a video by Frieze, the art magazine.

Ireland in Congo, in pink! (Or the trouble with war art)

imageAt the Irish pavilion in Venice, named the enclave, the above picture is even a lot more, well, pink. Together with a series of cleverly shot videos, the stills form a psychedelically coloured documentation of fighters roaming the wilds of Congo. Northern Kivu, Goma and environs, etc. It is an intense work by Richard Mosse, shot on discontinued army stock that was meant to aid the detection of camouflage uniforms. Judge for yourself:

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I actually, really, truly, wonder if you can spot the fighters any faster than if it were shot on regular Fuji-film or Kodak or whatever. But that may be due to Mosse’s idiosyncratic colouring. That part was not clear. Let me be clear about one thing: In my opinion this works as art. It’s a beautiful installation and that’s where the problem may reside: Does it use, utilise, instrumentalise, glamourise etc. war in any way? I’d say yes but I do wonder if it matters. Mosse raises my journalistic hackles immediately by having someone declare in the curatorial text (the genre should be banned) that his work proposes a new way of looking at photojournalism. Spare me! Journalism and photojournalism have been reinvented so many times now that it’s sucked drier than… And what does it mean anyway? But setting aside my immediate antipathy, I do recognise that the images are powerful and that is important in itself:
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I have a couple of friends who hold strong opinions on the issues of war photography, art and Congo. I’ll try to get their reaction. Stay tuned…