تغيير پارادايم هنر ملي به هنر تراملي؛مطالعه تحولات هنر در منطقه خاورميانه

Paradigm Shift of National Art to Transnational Art; the Study of Art Movements in the Middle East region

هنر معاصر تلاش دارد از روايت هنر ملي فراتر رود و مبتني بر تجربه هاي چندفرهنگي باشد. همانطور كه قطر و امارات متحده عربي با تاكيد بر سياست هاي چندمليتي تلاش ميكنند هنر معاصر منطقه را نمايندگي كنند. چندفرهنگي بودن اين كشورها به دليل انباشت نيروي كار خارجي و بين المللي است. اكنون بيش از 80 درصد جمعيت آنها را نيروي كار خارجي تشكيل مي دهند؛ لذا ترجيح مي دهند سياست هاي چند فرهنگي و هنر فراملي را دنبال كنند. در اين مقاله به سياست هاي هنري اين كشورها مي پردازيم و اين پرسش را دنبال مي كنيم كه تا چه حد توانسته اند در تحقق سياست هاي تراملي و جريان سازي هنر در منطقه موفق شوند؟ روش مقاله حاضر «تحليل روند» است كه طي آن با تحليل مجموعه اي از رويدادها (مانند تأسيس موزه ها و نمايشگاه هاي هنري) و آثار هنري (مرور تجربه هاي هنرمندان)، روند تغيير پارادايم هنر ملي به هنر فراملي مطالعه شد. نتايج نشان داد كه سه ويژگي براي هنر در پاردايم تراملي مي توان برشمرد: 1. خلق جريان جديدي از هنر اسلامي معاصر به مثابه تجربه اي چند فرهنگي. 2. خلق آثار هنري ديجيتال و تكنولوژي-محور، 3. خلق آثار هنر زيست محيطي هم چون فصل مشترك فرهنگ ها و مليت ها. اين تجربه هاي هنري مورد حمايت سياست هاي فرهنگي كشورهاي منطقه به ويژه قطر و امارات است.

Contemporary art, in the age of globalization, goes beyond the narrative of national art. Contemporary art is based on multicultural, multinational experiences and hybrid identities. In the intersection of cultures, it is possible to form contemporary art. Just as Qatar and the United Arab Emirates are trying to shape the contemporary art in the region as multinational and multicultural countries. Multiculturalism in these countries is due to the accumulation of foreign and international labor. Since more than 80 percent of their population is foreign labor, Qatar and the UAE prefer to follow the transnational identity and art by emphasizing multicultural policies. They want to be known as a "contact zone" or "trans-place". Transnational is a dream land in the universal modernity; in this land, the boundaries of identities are merged and have gained universal unity. A unity beyond the differences that can be formed in a “trans-place”. But from a critical point of view, trans-place is not a place for all people or any person from every culture. Actually, this space is a kind of non-place; where it does not point to any geography, climate or history; the sterilized space from history, memory and culture. Marc Augé- French anthropologist- used the term "non-place" to refer to spaces where concerns of relations, history, and identity are erased. Dubai and Doha want to be utopia based on trans-place, trans-modern and transnational; but the non-place is the opposite of utopia: it exists, but it does not contain any organic society. Despite these criticisms, the policy of the United Arab Emirates and Qatar is to shape trance-place. They are international and transnational regions. In this sense, these regions are not only an opportunity for international art exchange, but also, they are a context for the development of transnational art. But how can transnational art be made? The methodological approach of this article is trend analysis. Trend of political change that drives cultural policy making and artistic movement. This article explains how Arab oilrich countries have established museums and festivals by oil budget and have affected new Arab art movement. In this article we do research the trend of paradigm shift of national art to transnational art by studying of collection of events (Museums and Art Exhibitions) and art works (Artists' experiences). The results of the study of art movements in the United Arab Emirates and Qatar, showed that in general, three characteristics for art can be enumerated in the transnational paradigm: 1. the creation of contemporary Islamic art as a multicultural experience. 2. Creation of digital and technology-oriented works of art; 3. Creation of environmental works of art as a common chapter of cultures and nationalities. This artistic movements are supported by the artistic events in the region. But these policies are associated with many problems. Critically, these transnationalism developments are alien to the indigenous and traditional culture of these countries; also, these events display the global capitalist economy rather than being an arena for transnational art. Evaluating transnational and transcultural policies needs further study.