Why the Louvre’s new Islamic art wing won’t “bridge the divide”

Pledges to forge an understanding between the West and Islam feel shallow.

This week the Louvre Museum in Paris opened up a new wing devoted to Islamic art. The structure, which cost a reported £80 million and took a decade to build, is fitted with a wave-like, gold tinted rooftop which has been likened both to a flying carpet and sand dunes in the desert. It has been granted a privileged position in the Louvre’s central courtyard alongside I M Pei’s glass pyramid, and will house the largest collection of Islamic art in Europe – a rotating selection from the Louvre’s 18,000 strong Islamic archive.

It’s all very exciting, but what, exactly, are the implication of this grand new home for the cream of the Islamic cultural crop? The new space is being billed as a symbol of tolerance in the face of growing unrest and misunderstanding between the west and the Islamic World. Sophie Makariou, director of the Louvre’s Islamic Art Department, said in an interview with the BBC: “We need to state that there is a distance between what the Islamic civilization was, its contribution to world history, and what is happening now. She went on to call the exhibition space a chance to “give Islam back its glory”. French president François Holland, who inaugurated the wing on Tuesday, called it a significant project at a significant time.  

And it’s not just those in camp west who see the endeavour in these terms. The gallery’s largest single donor – Prince Waleed Bin Talal of Saudi Arabia – made this statement: “After 9/11 all Arabs and Muslims have the duty and the responsibility to tell the west about real Muslims, about real Islam, and how peaceful our religion is.”  Substantial donations have also poured in from individuals in Abu Dabi, Kuwait, Oman, not to mention the Moroccan Royal Family and the president of Azerbaijan. An international project with ambitious intentions, no doubt.  

France has a long history of secularism, which has of late been invoked justification for cracking down on the country’s four million strong Muslim population. The 2004 ban of headscarves in public schools sparked protests, followed by further controversy over last year’s outlaw of the niqab in public spaces. In 2010, the mayor of the northern city of Roubaix initiated a row over whether the sale of halal meat in fast food burger chains let religion in where it didn’t belong. Then there's the recent unrest over satirical cartoons in the weekly Charlie Hebdo, and the banning of anti-Innocence of Muslims protests by the interior minister Manuel Valls.

In a sense, the museum's message is a harmless one – a politely reassuring statement of cultural collaboration. But in another sense it amounts to a failure to acknowlege the modern Muslim condition - an implication that only in the past did Islamic culture aspire to beauty, integrity, intelligence and refinement.

The Louvre has borne the standard for western high art since the French Revolution. Art from Islamic antiquity (the new wing will house work from the 7th to the 19th century), with its fondness for calligraphy, narrative painting and lush decorative textiles, ceramics and ornaments, conforms perfectly well to the aesthetic criteria of western art from the same periods. In previous centuries, eastern and western sensibilities were very much in tune. It’s the world today that the French seem to feel uneasy with – hence the appeal to an idealised past.

Ancient art is beautiful and important, no doubt. But for many young people today – those at the heart of the east/west debate - it remains inaccessible and elitist. The French youth might call the Mona Lisa an invaluable artefact, yes – but provocative? Topical? A catalyst for conversation? Hardly. Should we then expect Moghul mosaics to speak for the modern Muslim?

It’s comforting to imagine that misunderstandings and intolerance on both sides could be placated by a round of applause for what came before. But if all we can celebrate about Islam is its past, then we are ignoring the equally beautiful aspects of its present.  The Louvre’s new wing is a worthy home for a collection worth celebrating. But it is but a small bridge over a chasm that continues to widen. An honest celebration of contemporary Islamic art and culture is still needed and major art institutions like the Louvre should be doing their bit. 

The Louvre's newly opened Islamic art wing. (Photograph: Louvre Museum)

Charlotte Simmonds is a writer and blogger living in London. She was formerly an editorial assistant at the New Statesman. You can follow her on Twitter @thesmallgalleon.

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Here’s everything wrong with Daniel Hannan’s tweet about Saturday’s Unite for Europe march

I am Captain Ahab, and Dan is my great white whale, enraging and mocking me in equal measure through his continued political survival.

I was going to give up the Daniel Hannan thing, I really was. He’s never responded to this column, despite definitely being aware of it. The chances of him changing his views in response to verifiable facts seem to be nil, so the odds of him doing it because some smug lefty keeps mocking him on the internet must be into negative numbers.

And three different people now have told me that they were blissfully unaware of Hannan's existence until I kept going on about him. Doing Dan’s PR for him was never really the point of the exercise – so I was going to quietly abandon the field, leave Hannan to his delusion that the disasters ahead are entirely the fault of the people who always said Brexit would be a disaster, and get back to my busy schedule of crippling existential terror.

Told you he was aware of it.

Except then he does something so infuriating that I lose an entire weekend to cataloguing the many ways how. I just can’t bring myself to let it go: I am Captain Ahab, and Dan is my great white whale, enraging and mocking me in equal measure through his continued political survival.

I never quite finished that book, but I’m sure it all worked out fine for Ahab, so we might as well get on with it*. Here’s what’s annoying me this week:

And here are some of the many ways in which I’m finding it obnoxious.

1. It only counts as libel if it’s untrue.

2. This sign is not untrue.

3. The idea that “liars, buffoons and swivel-eyed loons” are now in control of the country is not only not untrue, it’s not even controversial.

4. The leaders of the Leave campaign, who now dominate our politics, are 70 per cent water and 30 per cent lies.

5. For starters, they told everyone that, by leaving the EU, Britain could save £350m a week which we could then spend on the NHS. This, it turned out, was a lie.

6. They said Turkey was about to join the EU. This was a lie too.

7. A variety of Leave campaigners spent recent years saying that our place in the single market was safe. Which it turned out was... oh, you guessed.

8. As to buffoons, well, there’s Brexit secretary David Davis, for one, who goes around cheerfully admitting to Select Committees that the government has no idea what Brexit would actually do to the economy.

9. There was also his 2005 leadership campaign, in which he got a variety of Tory women to wear tight t-shirts with (I’m sorry) “It’s DD for me” written across the chest.

10. Foreign secretary Boris Johnson, meanwhile, is definitely a liar AND a buffoon.

11. I mean, you don’t even need me to present any evidence of that one, do you? You just nodded automatically.

12. You probably got there before me, even. For what it's worth, he was sacked from The Times for making up a quote, and sacked from the shadow frontbench for hiding an affair.

13. Then there’s Liam Fox, who is Liam Fox.

14. I’m not going to identify any “swivel-eyed loons”, because mocking someone’s physical attributes is mean and also because I don’t want to get sued, but let’s not pretend Leave campaigners who fit the bill would be hard to find.

15. Has anyone ever managed to read a tweet by Hannan beginning with the words “a reminder” without getting an overwhelming urge to do unspeakable things to an inanimate object, just to get rid of their rage?

16. Even if the accusation made in that picture was untrue, which it isn’t, it wouldn’t count as libel. It’s not possible to libel 52 per cent of the electorate unless they form a distinct legal entity. Which they don’t.

17. Also, at risk of coming over a bit AC Grayling, “52 per cent of those who voted” is not the same as “most Britons”. I don’t think that means we can dismiss the referendum result, but those phrases mean two different things.

18. As ever, though, the most infuriating thing Hannan’s done here is a cheap rhetorical sleight of hand. The sign isn’t talking about the entire chunk of the electorate who voted for Brexit: it’s clearly talking specifically about the nation’s leaders. He’s conflated the two and assumed we won’t notice.

19. It’s as if you told someone they were shit at their job, and they responded, “How dare you attack my mother!”

20. Love the way Hannan is so outraged that anyone might conflate an entire half of the population with an “out of touch elite”, something that literally no Leave campaigners have ever, ever done.

21. Does he really not know that he’s done this? Or is he just pretending, so as to give him another excuse to imply that all opposition to his ideas is illegitimate?

22. Once again, I come back to my eternal question about Hannan: does he know he’s getting this stuff wrong, or is he genuinely this dim?

23. Will I ever be able to stop wasting my life analysing the intellectual sewage this infuriating man keeps pouring down the internet?

*Related: the collected Hannan Fodder is now about the same wordcount as Moby Dick.

Jonn Elledge edits the New Statesman's sister site CityMetric, and writes for the NS about subjects including politics, history and Daniel Hannan. You can find him on Twitter or Facebook.