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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Donald Trump ushers in a new era of kakistocracy: government by the worst people

Trump will lead the whitest, most male cabinet in memory – a bizarre melange of the unqualified and the unhinged.

“What fills me with doubt and dismay is the degradation of the moral tone,” wrote the American poet James Russell Lowell in 1876, in a letter to his fellow poet Joel Benton. “Is it or is it not a result of democracy? Is ours a ‘government of the people by the people for the people’, or a kakistocracy rather, for the benefit of knaves at the cost of fools?”

Is there a better, more apt description of the incoming Trump administration than “kakistocracy”, which translates from the Greek literally as government by the worst people? The new US president, as Barack Obama remarked on the campaign trail, is “uniquely unqualified” to be commander-in-chief. There is no historical analogy for a President Trump. He combines in a single person some of the worst qualities of some of the worst US presidents: the Donald makes Nixon look honest, Clinton look chaste, Bush look smart.

Trump began his tenure as president-elect in November by agreeing to pay out $25m to settle fraud claims brought against the now defunct Trump University by dozens of former students; he began the new year being deposed as part of his lawsuit against a celebrity chef. On 10 January, the Federal Election Commission sent the Trump campaign a 250-page letter outlining a series of potentially illegal campaign contributions. A day later, the head of the non-partisan US Office of Government Ethics slammed Trump’s plan to step back from running his businesses as “meaningless from a conflict-of-interest perspective”.

It cannot be repeated often enough: none of this is normal. There is no precedent for such behaviour, and while kakistocracy may be a term unfamiliar to most of us, this is what it looks like. Forget 1876: be prepared for four years of epic misgovernance and brazen corruption. Despite claiming in his convention speech, “I alone can fix it,” the former reality TV star won’t be governing on his own. He will be in charge of the richest, whitest, most male cabinet in living memory; a bizarre melange of the unqualified and the unhinged.

There has been much discussion about the lack of experience of many of Trump’s appointees (think of the incoming secretary of state, Rex Tillerson, who has no background in diplomacy or foreign affairs) and their alleged bigotry (the Alabama senator Jeff Sessions, denied a role as a federal judge in the 1980s following claims of racial discrimination, is on course to be confirmed as attorney general). Yet what should equally worry the average American is that Trump has picked people who, in the words of the historian Meg Jacobs, “are downright hostile to the mission of the agency they are appointed to run”. With their new Republican president’s blessing, they want to roll back support for the poorest, most vulnerable members of society and don’t give a damn how much damage they do in the process.

Take Scott Pruitt, the Oklahoma attorney general selected to head the Environmental Protection Agency (EPA). Pruitt describes himself on his LinkedIn page as “a leading advocate against the EPA’s activist agenda” and has claimed that the debate over climate change is “far from settled”.

The former neurosurgeon Ben Carson is Trump’s pick for housing and urban development, a department with a $49bn budget that helps low-income families own homes and pay the rent. Carson has no background in housing policy, is an anti-welfare ideologue and ruled himself out of a cabinet job shortly after the election. “Dr Carson feels he has no government experience,” his spokesman said at the time. “He’s never run a federal agency. The last thing he would want to do was take a position that could cripple the presidency.”

The fast-food mogul Andrew Puzder, who was tapped to run the department of labour, doesn’t like . . . well . . . labour. He prefers robots, telling Business Insider in March 2016: “They’re always polite . . . They never take a vacation, they never show up late, there’s never a slip-and-fall, or an age, sex or race discrimination case.”

The billionaire Republican donor Betsy DeVos, nominated to run the department of education, did not attend state school and neither did any of her four children. She has never been a teacher, has no background in education and is a champion of school vouchers and privatisation. To quote the education historian Diane Ravitch: “If confirmed, DeVos will be the first education secretary who is actively hostile to public education.”

The former Texas governor Rick Perry, nominated for the role of energy secretary by Trump, promised to abolish the department that he has been asked to run while trying to secure his party’s presidential nomination in 2011. Compare and contrast Perry, who has an undergraduate degree in animal science but failed a chemistry course in college, with his two predecessors under President Obama: Dr Ernest Moniz, the former head of MIT’s physics department, and Dr Steven Chu, a Nobel Prize-winning physicist from Berkeley. In many ways, Perry, who spent the latter half of 2016 as a contestant on Dancing with the Stars, is the ultimate kakistocratic appointment.

“Do Trump’s cabinet picks want to run the government – or dismantle it?” asked a headline in the Chicago Tribune in December. That’s one rather polite way of putting it. Another would be to note, as the Online Etymology Dictionary does, that kakistocracy comes from kakistos, the Greek word for “worst”, which is a superlative of kakos, or “bad”, which “is related to the general Indo-European word for ‘defecate’”.

Mehdi Hasan has rejoined the New Statesman as a contributing editor and will write a fortnightly column on US politics

Mehdi Hasan is a contributing writer for the New Statesman and the co-author of Ed: The Milibands and the Making of a Labour Leader. He was the New Statesman's senior editor (politics) from 2009-12.

This article first appeared in the 19 January 2016 issue of the New Statesman, The Trump era