Introduction



The vacant building of the International Airport of Nicosia atthe Green Line is the ideal - emblematic location to host (after Beirut station) the activities of the Arab Guggenheim Museum. Although the airport is the only unoccupied from the Turkish army edifice, located at the Green Line, is still in a militarizedzone, under the control of the United Nations authorities. Stressing the necessity of an International school of Fine Arts and of a Contemporary Museum in the area, a group of international artists such as: Mounir Fatmi, Wafa Hourani, Gülsün Karamustafa and Eric Valette have been already invited to work as the first teachers of the school/museum. Atlas Group is also another collection of artists that have been included in Museum’s schedule for next spring in 2009, along with a retrospective of Joseph Beuys, programmed for the same period.


One ironic and almost symbolic thing to mention here is that the dividing wall in Cyprus is constructed from empty oil containers. Petroleum, the real reason for the war, is at the same time the element that literally divides the island...That’s the reason why I put emphasis on this element, constructing the Carnival Floats
in Sao Paolo.

Hollow

Airport

Museum

H A M

…Ham was Noah’s son, the forefather of the nations on the eastern shores of the Mediterranean, Cyprus, Israel, Lebanon and of the countries of the Middle East. The vacant International Airport of Nicosia at the Green Line is a Hollow building, a Museion without art exhibits. Although the airport is the only unoccupied from the Turkish army edifice located at the Green Line, is still in a militarized zone, under the control of the United Nations authorities. Stressing the necessity of an International School of Fine Arts and of a Contemporary Museum in the area, HAM, highlights the Ancient Greek idea of a Museion, as an interdisciplinary laboratory and not that of a space where artworks could be exhibited. Consequently, the space takes the form of Artististiclaboratories/studios where a group of international artists such as: Mounir Fatmi, Wafa Hourani, Gülsün Karamustafa, Narda Alvarado and others, have been already invited to work as the first selection of teachers.

This plan gives students and local artists the opportunity to meet stimulating established artists, coming mostly from countries with similar political problems, contested areas or countries with long-lasting wars.

Students’ chance to collaborate and exchange ideas and feelings with them, accordingly, gives the “teachers” the opportunity to use the airport space as studio in order to accomplish one of their projects, while learning as much as possible about Arab people and the political situation in the Middle East. In other words, no matter how much absurd it sounds, to learn how many problems, the contest for oil, caused to Middle East countries and the nearby area.

Το πρόγραμμά σας περιήγησης μπορεί να μην υποστηρίζει την προβολή αυτής της εικόνας.


One ironic and almost symbolic thing to mention here is that the dividing wall in Cyprus is constructed from empty oil vessels. Petroleum, the real reason for the war, is at the same time the element that literally divides the island and that’s why I focused on this element in order to construct the Carnival Floats in Sao Paolo and the rest of floating platforms of the Museion. As my six years old nephew told me, Cyprus suffered a lot and still suffers since is the western gate to Arab oil and wealth…

Το πρόγραμμά σας περιήγησης μπορεί να μην υποστηρίζει την προβολή αυτής της εικόνας.

CARNIVAL PAUSE

At the end of the activities, the outcomes of the “art-school” could be put on display before the artists/teachers’ departure, following the form of a carnival parade into the town. Emphasizing the nomadic character of the Museion, the exhibits could be set up on floats and “meet” people in public spaces, streets and plazas, instead of waiting them to visit the museum. Of course, Carnival is a ceremony that doesn't exist in Arabic civilization, even though it is so familiar to a variety of religions and cultures in the rest of the world. Thus, trying to impose an overseas ritual to them, it sounds like a colonialist strategy. In fact, the Museion’s Carnival parade has nothing to do with the usual procession; actually the real reference here, is nothing else but the very oriental custom of displaying merchandises in the street; costermongers, hawkers and peddlers are very characteristic figures in the Arab world…


Extract from correspondence with Catherine David


In case of war in the hosting country, the boxes of the museum
can be deconstructed and transported to another Arab country
allowing the Arab Guggenheim to continue its task.
Following a premeditated rearrangement of the boxes
the museum can easily be rebuilt at a significant location,
preferably incorporating remnants of the past of each country,
buildings, monuments, antiquities etc.

In Beirut, for case in point, the main building of the museum has
been surrounded by a group of assistant buildings which have been built,
following the original plans of the demolished quarters of the French
military camp; bringing back to life memories of an era that left
its indelible traces on Lebanese people.

The long central buildings of the camp that in the past had
housed the administration and the command’s offices have been
converted into a series of versatile workshops for local and
invited artists while the soldiers’ chambers have
been converted into artists’ studios.