by Ari Akkermans – hyperallergic.com
Recognition came later in life to Saloua Raouda Choucair, a Lebanese
artist working from Beirut, in relative isolation, throughout the second
half of the 20th century. Her first international debut — several
decades after a number of gallery exhibitions in Paris during the
post-war period — was a major retrospective
held at Tate Modern in 2013, after curators from Tate discovered her
work in a gallery in Lebanon. Choucair was 97 years old at the time.
(She stopped producing art sometime in the 1990s, after five decades of
work.) In the summer of 2016, the recently reopened Sursock Museum in
Beirut celebrated Choucair’s 100th birthday,
and in January 2017, the artist passed away peacefully in her Beirut
home. A number of obituaries highlighting her achievements appeared in
the Western press.
Her life’s work was kept almost intact in her apartment in the
Kantari neighborhood of Beirut, having only rarely been sold. In recent
years, a number of her seldom discussed sculptures — modular structures
formed in calculated, irregular shapes — have found their way to
Western institutions, but as far as reception is concerned, Choucair is
still a rather obscure footnote. Most reviews are confined to some
superficial observations on her paintings, and the sculptures, albeit
mentioned, are nowhere offered any serious treatment.
This situation hardly comes as a surprise. A number of artists,
particularly those from the post-colonial world, who have been
discovered and rediscovered by curators in recent years, have shared the
same fate: discovery followed by institutionalization and then, if not
oblivion, a suspended state. In this state, curators cannot decide
whether the artist should be shown as part of the Western canon, or in
carefully labeled ethnographic boxes such as “Islamic art,” “women
artists,” or “modernism” — the last which is a category that today seems
to cover almost an entire century when applied to art produced outside
of the West.