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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A father’s murderous rage, the first victims of mass killers and Trump’s phantom campaign

From the family courts to the US election campaigns.

On 21 June, Ben Butler was found guilty of murdering his six-year-old daughter, Ellie. She had head injuries that looked like she’d been in a car crash, according to the pathologist, possibly the result of being thrown against a wall. Her mother, Jennie Gray, 36, was found guilty of perverting the course of justice, placing a fake 999 call after the girl was already dead.

When the trial first started, I clicked on a link and saw a picture of Ben and Ellie. My heart started pounding. I recognised them: as a baby, Ellie had been taken away from Butler and Gray (who were separated) after social services suggested he had been shaking her. He had been convicted of abuse but the conviction was overturned on appeal. So then he wanted his daughter back.

That’s when I spoke to him. He had approached the Daily Mail, where I then worked, to tell his story: a father unjustly separated from his beloved child by uncaring bureaucracy. I sent a writer to interview him and he gave her the full works, painting himself as a father victimised by a court system that despises men and casually breaks up families on the say-so of faceless council apparatchiks.

The Mail didn’t run the story; I suspect that Butler and Gray, being separated, didn’t seem sufficiently sympathetic. I had to tell him. He raged down the phone at me with a vigour I can remember half a decade later. Yet here’s the rub. I went away thinking: “Well, I’d be pretty angry if I was falsely ­accused and my child was taken away from me.” How can you distinguish the legitimate anger of a man who suffered a miscarriage of justice from the hair-trigger rage of a violent, controlling abuser?

In 2012, a family court judge believed in the first version of Ben Butler. Eleven months after her father regained custody of her, Ellie Butler was dead.

 

Red flags

Social workers and judges will never get it right 100 per cent of the time, but there does seem to be one “red flag” that was downplayed in Ben Butler’s history. In 2005, he pleaded guilty to assaulting his ex-girlfriend Hannah Hillman after throttling her outside a nightclub. He also accepted a caution for beating her up outside a pub in Croydon. (He had other convictions for violence.) The family judge knew this.

Butler also battered Jennie Gray. As an accessory to his crime, she will attract little sympathy – her parents disowned her after Ellie’s death – and it is hard to see how any mother could choose a violent brute over her own child. However, even if we cannot excuse her behaviour, we need to understand why she didn’t leave: what “coercive control” means in practice. We also need to fight the perception that domestic violence is somehow different from “real” violence. It’s not; it’s just easier to get away with.

 

Shooter stats

On the same theme, it was no surprise to learn that the Orlando gunman who killed 49 people at a gay club had beaten up his ex-wife. Everytown for Gun Safety, a gun control group, looked at FBI data on mass killings and found that 16 per cent of attackers had previously been charged with domestic violence, and 57 per cent of the killings included a family member. The Sandy Hook gunman’s first victim was his mother.

 

Paper candidate

Does Donald Trump’s presidential campaign exist if he is not on television saying something appalling about minorities? On 20 June, his campaign manager Corey Lew­andowski quit (or was pushed out). The news was broken to the media by Trump’s 27-year-old chief press officer, Hope Hicks. She was talent-spotted by The Donald after working for his daughter Ivanka, and had never even volunteered on a campaign before, never mind orchestrated national media coverage for a presidential candidate.

At least there aren’t that many staffers for her to keep in line. The online magazine Slate’s Jamelle Bouie reported that Trump currently has 30 staffers nationwide. Three-zero. By contrast, Bouie writes, “Team Clinton has hired 50 people in Ohio alone.” Trump has also spent a big fat zero on advertising in swing states – though he would argue his appearances on 24-hour news channels and Twitter are all the advertising he needs. And he has only $1.3m in his campaign war chest (Clinton has $42.5m).

It feels as though Trump’s big orange visage is the facial equivalent of a Potemkin village: there’s nothing behind the façade.

 

Divided Johnsons

Oh, to be a fly on the wall at the Johnson family Christmas celebrations. As Boris made much of his late conversion to Leave, the rest of the clan – his sister Rachel, father Stanley and brothers, Leo and Jo – all declared for Remain. Truly, another great British institution torn apart by the referendum.

 

Grrr-eat revelations

The highlight of my week has been a friend’s Facebook thread where she asked everyone to share a surprising true fact about themselves. They were universally amazing, from suffering a cardiac arrest during a job interview to being bitten by a tiger. I highly recommend repeating the experience with your own friends. Who knows what you’ll find out? (PS: If it’s juicy, let me know.)

Peter Wilby is away

Helen Lewis is deputy editor of the New Statesman. She has presented BBC Radio 4’s Week in Westminster and is a regular panellist on BBC1’s Sunday Politics.

This article first appeared in the 23 June 2016 issue of the New Statesman, Divided Britain