The creative potential of a society is always endangered in restrictive regimes. Freedom of expression is regarded as possible threat. Even those who hide their criticism in a subtle manner risk their life in a dictatorship. But a culture without free artists is a dead culture. Since nearly five months the freedom seeking Libyans try to end the more than four decades during mastery of the self-proclaimed leader. The news are full of pictures showing battles, front lines, destruction. With the help of a few examples I like to explain why it is worth inter alia to risk one's life as the Libyans do - like some others - to topple the tyrant.
Lets start our visual voyage with the caricaturist Alsature who draws against the Gaddafi regime from UK exile. He had left his country in the same year Reza Pahlawi's power ended in Iran. Using both classic and new media tools the Benghazi born fences with his graphics the dictator in a unique subtle manner.
Lets start our visual voyage with the caricaturist Alsature who draws against the Gaddafi regime from UK exile. He had left his country in the same year Reza Pahlawi's power ended in Iran. Using both classic and new media tools the Benghazi born fences with his graphics the dictator in a unique subtle manner.
Benghazi, the first of all freed Libyan cities and home-base of the Transitional National Council is flourishing again with exhibitions popping up all over. Galleries presenting paintings reflect the process of turning back to desired normality. The basic requirements are given: Maghreb culture meets Mediterranean life-style. An insiders' tip for common tourist generations.
Similar as in the Egyptian cities street art exploded and everybody armed with an aerosol can is releasing his pressure. Logically the most portrayed is the unloved eccentric ruler. Almost all Libyans suffered life time his displayed presence, they know his features, grew with his face up. And compensating the mainly life-time anger and frustration about the permanent risk of life expressing oneself is another manner to overcome the trauma of censorship.
The motive, or should I say the brand Gaddafi inspired not only Libyan natives. A bizarre expression from 'Oczident meets Orient' presented at:
Another element is the traditional Libyan flag Gaddafi had banned after his coup d'état in 1969 replacing it through a monochrome green one. Different to the other uprising countries both battling parties can be easier kept apart. At least for a stranger. An impressive video combined of photography - tributes at this point to talented tweet pal @SaraLataiwesh - and movie shots catches the renaissance of the red-black-green banner.
The last example confronts us with resistance-based performance art. Some may hold that this hasn't to do with the definition of art. In my opinion this has very much to do with it. From Picasso's 'Guernica' to sprayer icon Bansky criticism is source and intention. And both named are well presented in worldwide art magazines. Tripoli iconic movement FGM, a creative consortium performing resistance in the still stronghold capital, are disturbing smart and 'radical chic' Gaddafi's peace. After this performance all banners in the area showing the leader's image disappeared.
What I describe and present is a small lava stream of an exploding volcano. One big winner of the Libyan revolution is the creative community, continuous growing under the conditions of freedom and peace and being one of the central pillars of a modern traditional civil society. The world is becoming aware of a Mediterranean art scene, thought-provoking, fresh and vivid.
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