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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There's something missing from our counter-terrorism debate

The policy reckoning that occured after the 2005 terrorist attacks did not happen after the one in 2016. 

“Once the rockets are up, who cares where they come down? That's not my department, says Wernher von Braun.” That satirical lyric about Nazi rocket scientists has come to mind more than few times watching various tech giants give testimony in front of the Home Affairs Select Committee, one of the underreported sub-plots of life at Westminster.

During their ongoing inquiry into hate crime in the United Kingdom, committee chair Yvette Cooper has found a staggering amount of hate speech being circulated freely on the largest and most profitable social media platform. Seperately, an ongoing investigation by the Times has uncovered how advertising revenue from Google and YouTube makes its way straight into the coffers of extremist groups, ranging from Islamist extremists to white supremacists and anti-Semites.

One of the many remarkable aspects of the inquiry has been the von Braunesque reaction by the movers and shakers at these tech companies. Once the ad revenue is handed out, who cares what it pays for? That’s not my department is the overwhelming message of much of the testimony.

The problem gains an added urgency now that the perpetrator of the Westminster attacks has been named as Khalid Masood, a British-born 52-year-old with a string of petty convictions across two decades from 1982 to 2002. He is of the same generation and profile as Thomas Mair, the white supremacist behind the last act of domestic terrorism on British shores, though Mair’s online radicalisation occurred on far-right websites, while Masood instead mimicked the methods of Isis attacks on the continent.  Despite that, both fitted many of the classic profiles of a “lone wolf” attack, although my colleague Amelia explains well why that term is increasingly outmoded.

One thing that some civil servants have observed is that it is relatively easy to get MPs to understand anti-terror measures based around either a form of electronic communication they use themselves – like text messaging or email, for instance – or a physical place which they might have in their own constituencies. But legislation has been sluggish in getting to grips with radicalisation online and slow at cutting off funding sources.

As I’ve written before, though there  are important differences between these two ideologies, the radicalisation journey is similar and tends to have the same staging posts: petty criminality, a drift from the fringes of respectable Internet sub-cultures to extremist websites, and finally violence.  We don’t yet know how closely Masood’s journey follows that pattern – but what is clear is that the policy rethink about British counter-terror after the July bombings in 2005 has yet to have an equivalent echo online. The success of that approach is shown in that these attacks are largely thwarted in the United Kingdom. But what needs to happen is a realisation that what happens when the rockets come down is very much the department of the world’s communication companies. 

Stephen Bush is special correspondent at the New Statesman. His daily briefing, Morning Call, provides a quick and essential guide to British politics.