In an interview with Ahram Arabic Online, the newest head of the Fine Arts sector Khaled Sorour talked about his vision after one week of receiving his post.
Sorour, who is in office for the first time, is a professor at Helwan Fine Arts University, and is succeeding Hamdy Abo El-Maaty who resigned on 29 November.
“I can’t reveal a fully detailed plan yet, but rather I can talk about a plan that I envision and what I will try to accomplish,” Sorour said.
First and foremost an artist, Sorour stressed that he was able to relate to artists’ problems, ideas, concerns and needs from the government sector.
“My ambition for the coming phase is seeking solutions for the problems I myself was suffering from as an artist before taking the post,” said Sorour.
He went on to explain that he sees three channels that require attention; human resources and workers’ problems, infrastructure and maintaining the physical assets of the sector, running and progressing the sector’s activities.
“My goal is to address these three fronts in parallel without one taking precedence over the other,” he adds.
There is a number of problems related to those working in the sector, some of which Sorour classifies as “organisational.” Remaining unresolved, these issues had been one of the reasons many heads of the sector were formerly sacked in the past few years.
“This subject is very sensitive and I can’t really promise to come up with any genius ways of resolving this issue. Yet, I don’t support that one employee should hold two positions in the sector, and I’m working hard but very carefully to clear up such issues, in line with the laws and regulations to reinforce on any transgressors.”
There are also problems attached to the folder of museums and their security.
After the theft incident of Van Gogh’s Poppy Flower painting in 2010 from Mahmoud Khalil Museum led to the one-year imprisonment of the late artist and head of the sector at the time Mohsen Shaalan, this top position has been tainted and regarded with discomfort owing to the weight of responsibility and consequences that come with it.
“The arts are my place, I chose to take on the position because I am worried about the art movement in Egypt at large. I have the chance to try and fix problems I was subjected to as an artist,” he says.
“I am very concerned with the museums issue and they will open if everything goes according to plan. I will put effort into proceeding without causing any clashes, and this will only come through persistent follow up and inspection of the activity,” Sorour said.
It was previously announced that the Gamal Abdel-Nasser museum is in its final stages, and Sorour stated that the remaining work is in the infrastructure.
On the other hand, in case of the Arts Complex (also known as Aisha Fahmy Palace) – according to Sorour’s interview with Ahram and a statement by his predecessor Abo El-Maaty’s to Youm7 – some work on the infrastructure is still ongoing.
This statement comes months after Mohamed Abou Seada, head of the Cultural Development Fund, the sector’s unit overseeing the palace’s restoration, told Ahram Online that “after over four years, on 4 June [2015] the works were completed,” adding that further management and decisions regarding the activities held at the palace are in the hands of the Visual Arts sector.
“I don’t believe in announcing the opening of a museum for the sake of issuing a statement. Many people have worked on these museums and I don’t want to trample their right, but I won’t open a museum that still has much to be completed, even if they are fine points, just for the sake of claiming the achievement to my name,” Sorour says.
Another issue that had come up with the previous heads of the sector, including former head Abo El-Maaty, was bringing some frozen activities back on the table. When asked how serious these steps were and where they are going, Sorour said he was “disturbed with the fact that the art exhibitions have become personal, while the some bigger exhibits like Cairo Biennale, the International Graphic Triennale and the Ceramic Symposium have disappeared from the scene.”
The International Cairo Biennale was initiated in 1984 and was well established as an important event that places Egypt on the international art scene. It’s last round was in 2012 with its 13th edition. Egypt’s International Graphic Triennale started in 1993 and ran to its fifth round in 2006 and has since been on hold, while the Ceramic Symposium ran its 15th round last February.
“I dream that a number of genre-specific exhibits will return alongside other activities, and I am working on resuming the Cairo Biennale,” he says, adding that funding was the main hindrance.
“Thankfully, private companies and banks have acquired an understanding for contemporary art and now we can have some sponsors. I won't be depending solely on sponsorship though, as there are other means of funding I have in mind and will be announcing soon,” Sorour says.
When asked about how the sector’s activities have become routine and are used to just fill up slots, and whether this this would continue, Sorour said: “I aim to light up the governments halls with art activities."
“Lately, as an artist I felt that the level of exhibitions wasn’t very high quality, so as much as possible we are trying to put together a program of exhibits so that each place will have a high standard show.”
With regards to some aspects that were introduced and created controversy, such as replicating artworks, Sorour said “I shouldn’t erase what others have added. Every head of the sector has added his mark and we will follow up on what is good.”
To conclude, Sorour says “I don’t wish to anger anyone, but I always work within what is right and my friends know me as someone clear who doesn’t people-please, and I separate between work and friendship. I simply hope to reach the point of working with high standards and achieve good results.”
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