Cairo: Interview with Karim Francis

CAIRO: Interview with Karim Francis Olu Oguibe This interview was conducted by Olu Oguibe at Espace Karim Francis in Cairo during the Cairo Biennale, December 1998. Karim Francis is a gallerist who represents several important Egyptian Artists who live and work in Cairo and abroad, in addition to a few foreign artists who reside in Egypt. 00: Would you introduce some of the artists thatyou represent? KF: Before I do this, I'd like to say that artists in Cairo are isolated from one another. There is a lack of solidarity between them, there are no artists associations, there is no exchange of ideas. I think that an atmosphere of mutual support and exchange in Cairo is crucial, not only for art but for artists as well. This said, I work with artists like Assem Sharaf, Sherif Abdel Badie, Hazem El Mestikawy, Omar El Fayoumi as well as Ahmed Nosseir. These artists are part of the same generation, even if each one has his or her particular style. They think alike, and they studied fine arts at the same time. Then most of them went abroad before deciding to return to Egypt; Sharaf went to China, Omar went to Russia, Hazem went to Switzerland, Ahmed is now in Argentina. I actually began to exhibit their works as a group before their return to Egypt. Ghada Amer is another artist whose work I exhibit. I had heard a lot about her, was very interested in her work and thought it was important that she show in Cairo. I have in mind her erotic stitched canvases. We finally exhibited her work last month and it was a great success. She was very happy with the show, I was very happy with it, and the public loved it as well. 00: Why were you particularly interested in her work? Why did you think it's important for her to show in Cairo? KF: It's important for her personally and it's important for the public in Cairo. First, as you know, Egypt is an Islamic country where women are suppressed. For instance, it is forbidden to work from nudes in fine arts schools. Art students do not study from models and do not know how to paint the body. Women have to deal with so much pressure; pressure from the family, from the husband, pressure from society, religious constraints, 1 mean she has to deal with pressure from all sides. Second, Ghada is outspoken about such impositions on women. Moreover, she does have a prolific artistic career—having shown in New York, Paris, London, everywhere. Finally, she is Egyptian. It is important to highlight her perspective through her work so as to help break this wave of conservatism we are currently experiencing in Egypt—every time we take one step forwards in being a liberal society, we also take one step backwards. Ghada has the freedom to show her work anywhere in the world. She should also be able to exhibit in her country regardless of what Egyptians think about the kinds of subjects she examines in her work. Her art should not be censored, neither should she feel excluded in her own country. Ghada can influence how others think. Her work can change something in the mentality of people, men and women alike. 00: Regarding the group of artists that you talked about before in addition to bringing them back together as contemporaries, was there any other reason whyyou thought it's important to show them? KF: Yes, of course. I looked at each work individually and saw that each artist has his or her distinctive style, that each is creating very interesting work. They are probably the best artists of the present generation. It's my job to support them, so they may, for Ghada Amer Majnun, 1997,64 x 69.75" (163 x 176.9 cm), 7 storage closets, embroidery on plastic 86 • Nka Journal of Contemporary African Art Amina Mansour The Revelation of Legion, 1999, cotton, polyester fiberfill on styrofoam background 35 x 35 x 14 cm. instance, devote their entire time to being full-time professional painters or sculptors without having to work other jobs. OO: And...