How does creative practice sit within the systems of power and exchange?

Economies/Systems of Power

Power and exchange that exist in the current art world is central to Gerald’s writings as an art critic. This article is published in his book, ‘Interviews’ where this concept is discussed extensively through interviews with many different artists.

The conductor of this interview with Amal Kenawy, Matt Gerald brings attention to the issue of the government in Egypt; the Ministry of Culture- monopolising art institutions. And he questions what the limitations within such system means for practising artists. Kenawy responds that this repressive system centralises not only the opportunities but ideas for artists as well (Gerald 137). But we should note this power struggle does not only deliver negative outcomes. As Kenawy elaborates the effect of counter-active force behind artistic community against Goliath figure of national art institute in Egypt had been positive and the credit is due.
Because private galleries usurping the authority of national institution catalyze artists to move beyond the confines of the national, (Meier 36) stopping the artists from falling back to outmoded narratives of cultural identity fixed by a specific sense of place and time.

Kenawy then identifies the problem that has risen from the issue discussed above. The issue is the monopoly of state art insitutuion had led to a lack of research for artists because some solely rely on the system (Gerald 138). I agree with Kenawy’s concern on this issue. I guess what the state of Egypt does not understand or not wanting to acknowledge is the strength of research-based art in itself. And what they are not seeing is that artistic practice should not be confined to finality of a product for the sake of exhibition. Sean Snyder who’s practice is heavily weighted by the amount of research he carries out tells, practice of art is about questioning rather than illustrating, being self-reflexive without guarantee. (Snyder 3) It is at this point which enables me to come to a conclusion perhaps the exertion of control in the cultural domain in Egypt is due to the anxiety of not wanting to lose control over their representation of national identity. Strictly in fear that new emerging research-based Egyptian artists will not bring something ‘final’ to their table that says something national, something patriotic.


Gerald, Matt. “Amal Kenawy”, Gerald matt ed., Interviews 2, Vienna: Kunstalle Wein, 2008.

Meier, Prita. “Territorial Struggles: Cairo and Contemporary Art”. Journal of Contemporary African Art. Spring/Summer 2003: 34-39

Snyder, Sean. “Disobedience in Byelorussia: Self-Interrogation on ‘Research-Based Art’”, e-flux journal, #5, 04/2009, accessed from http://www.e-flux.com/journal/view/57