Art in Qatar between Modernism and Postmodernism: Yousef Ahmed as a Case Study

The article discusses the development of art and art movements in Qatar. Throughout the paper, I examine modern and postmodern arts and highlight the roles of different factors that could influence artists in their move between modern and postmodern art and vise-versa. The forms of art developed during the modernist and postmodern periods were influenced by the traits of the people. For example, the modernists constantly searched for the abstract truth of life, while the postmodernists did not believe in the abstract truth. It is important to recognize that postmodern culture is a reaction against the culture of modernism. The works of postmodern artists create reality, whereas those of modernist artists reflect reality. During history, political crisis, natural crisis, economic development and social move have always played fundamental roles in art practice and movement in the world. Through studying art movement of the Qatari artist Yousef Ahmed and his transitions between modern and postmodern art, this paper nalyzes the reasons that might drove post-modern artists to look back at modernism. The paper addresses this question: why did Yousef Ahmed return to modernism after his huge success as a postmodernist artist? Through looking at the question, we realized that the reason for such move it could be the individuals’ real experiences in the real world. Yousef Ahmed had to look back to modernism to move from metaphor to reality so that he could better express his attachment to his culture

Deterritorialization in the context of cultural heritage and globalizing Msheireb downtown Doha

The State of Qatar has witnessed rapid urban activity and development in the decades since the discovery of oil, which has led to a large-scale change in the local cultural heritage and behavior of its residents. This uncontrolled rapid urbanization, along with the acceleration of globalization and modernity that has encompassed all areas, especially the city of Doha, has led to the deterioration and destruction of the downtown area of Msheireb. These transformations threaten the identity and local culture of Qatari society, affecting the place's sense of identity. The country's authorities have rushed to implement strategies and development plans aimed at redeveloping the old city center and improving the environment by creating innovative and inspiring living spaces that enable both locals and foreigners to communicate and integrate with one another to restore a sense of community. This study addresses the “Msheireb Downton Doha” project and the consequences of globalization. The study examines the concept of “deterritorialization” as a cultural condition that has pushed Msheireb Downtown Doha from modernity to postmodernism as an element of globalization. In this study, we will analyze the reconstruction of Msheireb, which helped to move the city toward cultural universality while simultaneously reducing regional borders. The study will analyze the extent to which this process succeeded or failed in preserving the spirit of the area's traditional architectural heritage and cultural identity in a manner that reflects the genuine sentiments and values of Qatari society

متحف الشيخ فيصل بن قاسم واقتصاد المعرفة: من المقتنيات الخاصة إلى الملك العام

This article discusses the newly emergent notion of the knowledge economy, which is an economy based on the arts and sciences, accompanied by an understanding of the role of knowledge in the development of the economy and human societies. The complex and multifaceted relationship between culture and the economy is comprehensively explored by examining a private museum, the Sheikh Faisal bin Qassim Museum in Qatar (FQM), which is home to an extensive collection of art, artifacts, and cultural objects. Analyzing the practices of FQM helped explore the relationship between intellectual property and the knowledge economy. The article raises the following questions: To what extent can investment in cultural heritage and museums be considered a contribution to the knowledge economy? How important is the contribution of the private sector to the knowledge economy? The article further explores the role of the humanities and creative arts in the knowledge economy

National Museum of Qatar: New Architectural language, New Vision

The original Qatar National Museum that was established in 1975 as a pioneer museum in the gulf region was closed in 2005 for renovation. The new National Museum of Qatar (NMoQ) took more than a decade, around fourteen years from 2005-2019 to accomplish. It is one of Qatar’s mega projects, which was opened with a VIP opening celebration that was held in 27th of March 2019, and opened officially for the public on 28th. After more than a decade in creation, the NMoQ finally designed to reflect and narrate the story, history and ambition of the state and to become an icon for modern Doha. Ever since its establishment in 1975 the national museum has been a matter of making a place for the Qatari culture and history. Although the museum is refurbished into totally new vision and setting, it still belongs to the same history and serves the same nation. Both visions are pursuing to identify the continuance progressions of the country, which takes the state's history as its stem. However, we need to know which methodology the current establishment is using, and to what drama it could lead? What differences does the present introduce with respect to the past? This paper discusses and analyses the interpretation of the Qatari culture, heritage, and history, by examining the architecture of the new NMoQ. The purpose of the paper is to trace and compare the national museum’s presentation and interpretation of Qatari culture and history, between the past and present, through its architecture. In addition, the paper investigates the changing economic, social, and political codes of Qatar through the reordering of cultural materials

Museums in Qatar and their Educational Role in a Learning-Ecosystem Approach

This article discusses the role of museums in Qatar as participants in an educational ecosystem. An educational ecosystem is an educational approach that involves a network of participants, rather than being confined to educational institutions and learners. This approach aims to increase the quality of education and achieve educational excellence through building a culture of lifelong learning. This article analyses the ways in which Qatar Museums (QM) embodies this approach, by considering its relationship with the education sector and local community. The objective of this evaluation is to identify how museums conceptualize their educational roles within the community and how these museums complement the educational-ecosystem approach which some educational institutions are already employing in Qatar. It is clear that, despite the fact that QM has a clear cultural and educational agenda, the gap between QM, the community, and the educational sector is apparent. Thus, I argue here that advocacy is vital for museums to support their new educational programs. In addition, a collaborative national agenda should be developed between the museum sector, educational sector, and community in order to encourage lifelong learning

The role of museums in correcting the distorted image of Islam: A comparative study between Qatar and Singapore

The paper analyses attempts and efforts in Qatar and by the Muslim community in Singapore to showcase a comprehensive picture of Islam at cultural institutions, museums, and galleries. The aim of such efforts is to reach out to interact with other faiths and cultures and engage in fruitful dialogue that could correct distorted images of Islam and Muslims, a form of 'cultural diplomacy'. Such attempts have led the Harmony Centre in Singapore (a focus in the article) and the Museums Authority in Qatar (a second focus) to become more vocal, taking a stand on global and other events and abuses. These institutions have started to think of themselves as active agents for social awareness and also seek ever more to address political issues in their exhibitions and programmes. In the process, museums and galleries have become a more vocal space for speaking out and educating about relevant issues relating to Islam and its imaging, and to mutual tolerance between members of different faiths. Cultural presentations, interfaith dialogue, and individual relationships are vital to achieving these ends, and may also have significant political effects, enhancing Muslim communities' soft power. Singapore and Qatar, both small countries, aspire to become global actors, and are using museums as a global showcase for diplomatically chosen aspects of Islamic ethics and principles, and a more comprehensive picture of a tolerant and peace-loving Islam.Scopu

الفن في قطر بين الحداثة وما بعد الحداثة يوسف أحمد كدراسة حالة

The article discusses the development of art and art movements in Qatar. Throughout the paper, I examine modern and postmodern arts and highlight the roles of different factors that could influence artists in their move between modern and postmodern art and vise-versa. The forms of art developed during the modernist and postmodern periods were influenced by the traits of the people. For example, the modernists constantly searched for the abstract truth of life, while the postmodernists did not believe in the abstract truth. It is important to recognize that postmodern culture is a reaction against the culture of modernism. The works of postmodern artists create reality, whereas those of modernist artists reflect reality. During history, political crisis, natural crisis, economic development and social move have always played fundamental roles in art practice and movement in the world. Through studying art movement of the Qatari artist Yousef Ahmed and his transitions between modern and postmodern art, this paper nalyzes the reasons that might drove post-modern artists to look back at modernism. The paper addresses this question: why did Yousef Ahmed return to modernism after his huge success as a postmodernist artist? Through looking at the question, we realized that the reason for such move it could be the individuals’ real experiences in the real world. Yousef Ahmed had to look back to modernism to move from metaphor to reality so that he could better express his attachment to his culture.الحديثة وفنون ما بعد الحداثة وألقيت الضوء على العديد من العوامل المختلفة التي يمكن أن تؤثر على الفنانين في انتقالهم بين الحداثة والفن ما بعد الحداثي والعكس بالعكس. تأثرت أشكال الفن التي تطورت خلال فترات الحداثة وما بعد الحداثة بسمات الناس. فعلى سبيل المثال، بحث الحداثيون باستمرار عن الحقيقة المجردة للحياة ، بينما لم يؤمن ما بعد الحداثيين بالحقيقة المجردة. من المهم أن ندرك أن ثقافة ما بعد الحداثة هي رد فعل ضد ثقافة الحداثة. تخلق أعمال فناني ما بعد الحداثة الواقع، بينما تعكس أعمال الفنانين الحداثيين الواقع. خلال مراحل التاريخ المختلفة، لعبت الأزمة السياسية والأزمة الطبيعية والتنمية الاقتصادية والحركة الاجتماعية دوراً أساسيا في ممارسة الفن والحركة في العالم من خلال دراسة الحركة الفنية للفنان القطري يوسف أحمد وانتقالاته بين الفن الحديث وما بعد الحداثة، تلقي هذه الورقة الضوء على الأسباب التي دفعت فناني ما بعد الحداثة إلى الرجوع إلى الحداثة وتطرح الورقة سؤالاً: لماذا عاد يوسف أحمد إلى الحداثة بعد نجاحه الكبير كفنان في فن ما بعد الحداثة؟ من خلال البحث في السؤال أدركنا أن هذه الخطوة يمكن أن يكون تجارب الأفراد الحقيقية في العالم الحقيقي. كان على يوسف أحمد أن ينظر إلى الحداثة للانتقال من المجاز إلى الواقع حتى يتمكن من التعبير بشكل سبب أفضل عن ارتباطه بثقافته

Socio-Economic Development, Globalization and the Need for Heritage Policy in Qatar: Case Study

Qatar, has a rich history and seen many changes in a small amount of time, investigating its heritage. Although a young state established in 1868 Qatar’s key sectors is trying to create their own policy strategies. Major issues concern cultural heritage, sporting, education and natural resources. In present paper it is argued Qatar’s Benefit by recentralising focus on to heritage policies. Is-sue of Qatar’s heritage policy regarding safeguarding of cultural Heritage is deemed important. We place Qatar’s need to reserve cultural heritage as one of great concern worldwide that remains a critical duty. The UNESCO upholds heritage protection as a universal issue and here we focus on two closely con-nected factors, social change, and globalizations; a change as a result of a large economic development, which the country is witnessing from the rapid acce-leration in development and social changes. The impact of economic growth and globalization on the Qatari heritage is inevitable. Following UNESCO policies in practice we are proposing a new model for Qatar’s heritage poli-cies, with example topics to be covered refer to activities, education, policies, preservation. A critical discussion on the social, economic, external factor is made. Emphasis is given to the sustainability in cultural heritage, the cohesion and well-being, the ecosystem supporting artists, cultural and creative profes-sionals and Arabian content, the gender equality, the international cultural relation, with the culture as a driver for sustainable development. The pro-posed integrated heritage model for Qatar is considered valuable in main-taining its heritage, while also adapting to future challenges and enhance re-gional and international cooperation and peace

Nationalism and Identity in Qatar after 2017: The Narrative of the New National Museum

How are nationalism and national identity shifting in Qatar as a result of the regional crisis? This study explores whether this moment of geopolitical fluidity allows for changes in sociocultural behavior and norms among Qatari citizens. Specifically, this research uses the case study of the newly opened National Museum of Qatar to examine a state-crafted narrative of national identity and society’s response to this narrative. Our original fieldwork highlights the museum’s combination of desert and sea lifestyles to create a “unity” narrative of Qatari national identity, and explores the mixed reactions of citizens who feel varying levels of representation and inclusion in this narrative. This study concludes with a critical analysis of the malleability of national identity during times of political upheaval

Clinical characteristics of patients with mpox infection in the United Arab Emirates: a prospective cohort study

Objectives: The study aims to explore the risk factors, clinical characteristics, and outcomes of mpox infection in Abu Dhabi, United Arab Emirates (UAE). Methods: A prospective cohort study was conducted at two communicable disease centers in Abu Dhabi, UAE and patients admitted with confirmed mpox infections between May 01, 2022 and December 31, 2022 were included in our study. Results: A total of 176 mpox patients were admitted, of which 93% (n = 164) were men and mean age was 30.4 ± 7 years. Individuals presented with mucocutaneous lesions, most commonly on the genital and anal regions (n = 157; 89%). Only 70 (39.8%) gave a history of sexual exposure. The most common systemic symptoms reported were fever (n = 91; 52%), exanthema (n = 92; 52%), and inguinal lymphadenopathy (n = 60; 34%). Median timeframe from systemic symptoms to appearance of lesions was 4 days (interquartile range 4-6 days). Complications were observed in seven (4%) participants; two (1.1%) individuals developed conjunctivitis, four (2.3%) patients developed penile edema, and one (0.6%) case of myocarditis was reported. In 60% (n = 106) of patients, a potential source of sexual exposure was not identified. Conclusion: The clinical characteristics of mpox cases in the UAE are similar to those in other countries. However, cultural and religious factors likely prevent patient disclosure of sexual exposure and symptoms, contributing to the limited information about the disease in the Middle East