| Warring Wings | |
|---|---|
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| Artist | Nabil Kanso |
| Year | 1984 |
| Medium | oil on canvas |
| Dimensions | 3.65 m× 10.30 m(144 in× 406 in) |
The Split of Life is a series of over 80 mural size oil paintings by Nabil Kanso. The paintings span a period from 1974 to 1994, and deal with contemporary and historical issues of war and violence. [1]
The subject of war in Kanso’s work began during 1972–1974 in New York when he did a series of paintings and drawings [2] [3] on the Vietnam War. After a brief pause, [4] he started in 1975 the Lebanon war series evoked by the civil war that broke out in his native land. [5] The intersection of the two series reflecting similarity in composition, scale, style and theme provided the framework for a larger series whose underlying theme formed the basis of the Split of Life series in encompassing several other series dealing with war. [6] [7]
The Split of Life series delineates two periods: 1974–1985 and 1986–1994. The works of the first period are characterized by the use of warm colors dominated by red, orange, yellow and black, and the depiction of compositions in which masses of figures occupy the entire surface plane. [8] Among the series in the period are the Vietnam , Lebanon , One-Minute on (Hiroshima and Nagasaki) and Time Suspended in Space on (South Africa) series. The works of the 1986–94 period depict compositions that divide the canvas in two or more sections depicting figures painted in dark blue and black within an enclosure of red and orange surrounded by a white space. [9] Everywhere in the painting there is the dynamics of transformation, rather than static forms of distribution and knowledge. [10] Among the series in this period are the Cluster Matter, Glory and Cruelty, and Living Memory (Auschwitz) series. It is suggested that most of the Split of Life paintings are recessive in the upper center, and somewhat bilaterally symmetrical. This division is often in the form of a face placed against a V form. The violence seems to deploy itself towards that opening so that the center is dominated by a mother of war, a kali-figure. [11]
In examining the works in the Split of Life series, some studies point to compositional and thematic aspects in conjunction with a set of distinctive concepts, in particular, the human subject, the Gods, the luminous sky, and the concealing self-concealing earth. [12]
The human figures appear as the flesh of humanity, always compelled by the law of regeneration, offering itself willingly to the torments of domination and submission. [13] Human suffering and torment seem to have always existed. They bear the pain and continue to remain in this dreadful state dictated by a delinquent social reality. In the split of Life, they exist in a new and different reality created by the artist imagination on big canvases in which they make their case as condemned beings. Their presence disturbs and troubles us. We find ourselves immersed in their world whose reality becomes our own reality. [14]
The Gods appear immortal but not eternal; each Holy Family presides only over one epoch in the history of men with the Gods. The powers (beyond Good and Evil) into which “Necessity is analyzed have no history; they crush humanity within the eternal circle of helpless reflection and unconscious desire.” [15]
The picture surface occludes the sky, the empty space of the horizon that makes possible light, darkness, and their relations, the horizon as a boundary between sky and earth. the composition covers that space and all its cognitive illusions [16] The explosions of wars wreaking destruction and devastation inflamed and obfuscated the blue sky with dark forms erupting from earth burning fires. The violent scenes disturbs the chromatic gamut of chiaroscuro, light and shadow through which the victims emerge from the canvases with a common sigh of an open injury sustained by social reality. [17] The pictorial layout extends to the edges of the canvases as light or dark with no space. Light emanates from the figures and use the, so light, therefore, is ultimately a force [18] Light, space, sky closely relate to forms of redemption through irony, acceptance of mortality, the story of people, light against darkness.
The earth absorbs the forces that conceal, and conceal themselves in, everything that comes to light. [19] The earth cannot appear by itself; it needs of painting, of the choice of the painter, even as it consumes them. Kanso explores the terror that surrounds the act of choice of self-choice, of painting. [20] The paintings bring out the earthly nightmares that have concealed the serenity of paradise and peace, and transmit a new calling for an awakening. [21]
In discussing artistic tendencies, it is remarked that Kanso breaks with the pictorial traditions of both the East and the West. He gives us instead the Middle, "the chasm of necessity that yawns at the heart of human contingency and universal contingency." [22]
The gap in the middle provided the ground for a total redefinition of painting in a style in which Kanso departed from the pictorial conventions of both the East and West. [23] He presents a view of the world and its forms in terms of its multiplicity and interrelatedness. A world in which the political boundaries are not arbitrarily drawn by the superpowers. [24] In the words of Edward Said "The more one is able to leave one’s cultural home the more one is able to judge it, and the whole world as well, with the spiritual detachment and generosity necessary for true vision. The more easily too, does one assess oneself and alien cultures with the same combination of intimacy and distance." [25]
The question of cultural multiplicity as opposed to cultural dislocation comes into play. Orientalism is a form of cultural dislocation because it imposed a western culture on the “orient” in such a way that what is reflected back by the Orient is not the Oriental culture but instead a colonized culture. [26] Cultural multiplicity on the other hand is maintaining one’s own cultural identity and presenting it with other cultures. [27] It is noted that “Nabil Kanso is the first Middle Eastern artist to surface outside, if not against the framework of colonialism.” [28] He presents a view of the world through the boundary situations of death, love, suffering, and guilt. The organization of these boundary situation, a critic points out, constitutes his poetics, which is "predicated on a profound human kingship with the West and an amazed expectant detachment from it. From this circle he derives his extraordinary power of expression." [29]
Between 1983 and 1993, a wide range of paintings from various phases of The Split of Life series were exhibited a various art centers in Argentina [30] Brazil [31] Mexico, [32] Panama, [33] Korea, [34] Kuwait, [35] Sweden, [36] Switzerland [37] and Venezuela, [38] The exhibitions were the subject of articles, essays, poems, conferences, and peace projects. [39] [40] [41] In Venezuela, installations were featured as part of the Second Ibero-American Symposium held in Caracas in 1987, [42] the International Encounter for Peace in Mérida in 1988. [43] The paintings displayed in different exhibitions were viewed as reflecting a sense of "over-all-ness, of one painting running into another." [44] It is remarked that the magnitude of the paintings place the viewer in the midst of a violent cage. Their synchrony and diachronic cross a still point in which the show is no longer a total of several pieces, but only one painting. [45] Some critics point to a sense of entrapment [46] in which standing in the central space surrounded by Kanso’s 12-foot-high paintings is as close as you get to being in the middle of a fire. [47] "The painted holocaust surrounding us," a reviewer wrote "entrapped us in cage of feeling". [48] "In encountering these paintings", a critic remarked, "it would be impossible to escape. The scenes draw the viewer in witnessing the violent events." [49] “We find ourselves immersed in this violent totality, terrible and incisive, we are trapped." [50] The horrors appear to burst out of the canvases bringing the viewer face to face with scenes reflecting a continuum of war and violence occurring in our time and space. [51]
In 1985, Kanso exhibited a series of seven paintings that covered the walls of the gallery at Nexus Contemporary Art Center reflecting in the opinion of one reviewer “a monumental display of neo-expressionist horrors of war.” [52] "The horrors of war in Lebanon" an art critic wrote "have fueled the fires that burn in these very effective paintings," [53] “In the face of horror,” remarked one critic, “there are only two courses: to circumscribe, create a bar, an absolute demarcation, to be “at one” with the confluence and to refuse to overcome it- or to obsess to the point of no return, to create a canvas the size and shape of the original, a one-to-one mapping of the real upon itself, which uses the body of the artist “in a transitive sense” across it. And that is what is occurring in these paintings.” [54] A reviewer thought of the expressions as “a tapestry of souls, struggling, reaching for one another… painted jazz rhythms of naked spirits climbing an interminable Jacob’s ladder in a metaphorical conflagration which repulses and sucks us all in. [55]
In examining the series of seven paintings executed in 1984-85, art critics point to a variety of themes, in particular, power, death, and sexuality, and the poetics, which organize the themes within the paintings. [56] The interrelatedness of these themes and the composed symbols associated with them provide a framework that lend crucial meaning to the paintings. Doorways, empty centers, and ladders exist in all these paintings. In critical opinion, they carry with them a message of a change or a shift in the modes of power from a system, which controls through repression and reduction, connected to the law of the sovereign, to a positive system which aims to promote and execute life and whose connection is to the social body. [57]
Nabil Kanso was an American painter. Kanso began his career in 1968, New York during the start of the neo-expressionist movement. His works dealt with contemporary, historical and literary themes, and were marked by figurative imagery executed with spontaneous and vigorous handling of the paint and often done on large-scale formats. They reflected movement and tension embodying intense colors and symbolic forms addressing social, political, and war issues. The Vietnam War and the Lebanese Civil War profoundly affected the development and scope of his themes dealing with violence and war. His long-running Split of Life series encompassed an extensive range of enormous paintings depicting scenes of human brutality and suffering.
Lebanon is a mural size painting by Nabil Kanso depicting the Lebanese Civil War in a scene invoking the spirit and character of the people in the midst of horror and violence gripping the country. Amid the scene of chaos and devastation, two central figures reach across toward each other symbolically to represent the appeal for unity in defiance of the forces of division, destruction, and terror.
Faust is a series of approximately 100 paintings created between 1976 and 1979 by Nabil Kanso. The paintings depict figural compositions in a sequence of scenes whose subjects are loosely based on Goethe's 1808 play Faust Part One and Part Two.
Othello is a series of paintings executed in 1985 by Nabil Kanso. The subjects of the paintings are loosely based on Shakespeare’s tragedy Othello. The series comprises 60 paintings dealing with themes of love, race, jealousy, betrayal, and evil. They depict scenes embodying compositions of figural and metaphorical imagery that may be seen as visually reflecting the intimate and dramatic relationship between Othello and Desdemona, and the tense and uneasy relation that passes between and through Othello, Desdemona and Iago.
America 500 Years is the title of a series of paintings created in 1988–1991 by Nabil Kanso in commemoration of the 500th anniversary of the discovery of America. The works in the series base their subjects on historical events in the Americas over the course of five centuries.
The Apocalypse Series encompasses 125 works consisting of 75 paintings and 50 drawings created between 1982 and 1984 by Nabil Kanso. The subjects of the works in the series are based on the Revelation of Saint John the Evangelist. The colors of this painting are somber, suggesting richness and heaviness, while the repetitive geometry of the shapes suggest apocalyptic inevitability. In Peran Erminy's article, The Apocalyptic Paintings of Nabil Kanso, he clearly states that Kanso's paintings portray our world today. He states that our world is constantly surrounded by violence and people feel vulnerable. The aggression one has can ultimately lead to a break out in war where the world will be doomed. Kanso's paintings reflect the path we are taking as a world. People today are quick to act upon threats leading us into a world that is ruled by war. This will be the hell on earth made by none other than human beings themselves. Kanso has a strong, intense effect on his audience's feelings and emotions. Kanso's work is dark and sometimes frightening, conveying how it is relevant to the scary obstacles of today's world. Our society seems to be stuck on depressing violence and aggression and if continued on this path, will only continue to result in tragic wars.
Vietnam is a mural-size painting made by Nabil Kanso in 1974 in response to the Vietnam War. It is done in oil on canvas measuring 3.65 by 7.30 meters.
Hiroshima Nagasaki One-Minute is the subject of two mural-scale paintings made by Nabil Kanso in 1978–79. One is titled 49-Second (Hiroshima) done in oil on canvas measuring 3 X 5.50 meters, the other 11-Seconds (Nagasaki) oil-on-canvas triptych measuring 3 X 4.60 meters center, and 2.75 X 1.32 meters each side.
Living Memory is the title of a series of 9 mural-size paintings on the Holocaust painted by Nabil Kanso in 1980, 1990 and 1993–94.
Time Suspended in Space is the title of a mural-size painting on apartheid in South Africa painted by Nabil Kanso in 1980. It is oil on canvas measuring 3.65 X 5.50 meters.
Kuwait is a group of approximately 40 paintings made by Nabil Kanso in 1990–91 on the Gulf War and Iraq’s invasion of Kuwait. The works in the series were first exhibited in Kuwait in March – April 1992 at the Free Atelier Art Center and traveled in June to Caracas for a special exhibit at the Palacio de Gobierno in honor of the Emir of Kuwait’s visit to Venezuela. Then, the exhibition proceeded to Geneva and was held at the Red Cross Museum in July – August 1992.
Jazz (Kanso series) is a series of 20 paintings made by Nabil Kanso in 1978–79. The subjects of the works are based on the jazz music and the entertainments night life in New York and New Orleans. The paintings are done in oil and acrylic on canvas measuring 224 X 182 cm (88 X 72 inches) each. Their compositions reflect predominant red tonality built with broad brushstrokes. Works from the series were exhibited in Atlanta in 1985.
The Crucifixion is the subject of a painting by Nabil Kanso painted in 1983.
Lebanon Summer 1982 is the title and subject of a mural-scale painting made by Nabil Kanso in 1982 on the Sabra and Shatila massacre during the Lebanese Civil War. It is oil on canvas measuring 3 X 5.5 meters
The Vortices of Wrath is a triptych painted by Nabil Kanso in 1977. It is part of the Lebanon series began in 1975 in response to the Lebanese Civil War. The triptych is done in oil on canvas measuring 3×7.60 meters. The center is 3×3 meters and each side 2.75×2.30 meters.
The Floating Shadows is a triptych made by Nabil Kanso in 1986 on the brutality and suffering inflicted during the Lebanese Civil War. The painting is oil on canvas and measures 2.75 x 7.60 meters. It forms part of the Cluster Paintings series that Kanso began in 1986 and marks the transition to a new approach in his compositional framework. The pictorial layout divides the canvas space into various sections reflecting a cluster of interlinked planes depicting floating figures of predominantly dark-blue set against deep orange ground and demarcated by white grayish areas.
Cluster Paintings are a series of paintings created by Nabil Kanso in 1986–1988. They are characterized by compositions that divide the canvas space into sections reflecting a cluster of irregular shaped planes offering variations of contrasts and viewpoints. These characteristics expanded in later works such as the America and Living Memories series.
Apocalyptic Rider is a painting created by Nabil Kanso in 1980. It is oil on canvas measuring 7 X 9 feet, and is part of a series depicting horsemen in compositions dealing with apocalyptic themes.
Apocalyptic Riders is a diptych executed in 1984 and is part of a series begun in 1980 by Nabil Kanso.
Endless Night is a painting executed in 1983 by Nabil Kanso in oil paint on canvas measuring 2.25 by 3 metres. It is part of a group of related paintings made by Kanso in response to the Lebanese Civil War. The painting depicts the ravages war in a scene that "embodies recurrent themes of carnage, suffering and the disintegration of humanity."