NARRATIVES AND NATIONALISM C NOHAD AND LAYLA MACHNOUK The Beirut-based couple takes pride in a deep sense of Arab nationalism, which also extends to their collection. Myrna Ayad meets Nohad and Layla Machnouk in Beirut and discusses art, identity and politics. ut off mid- the dichotomy between his zeal for art and celebrated Lebanese artist Amine El-Bacha to sentence, a stern look washes over Nohad his profession as a politician becomes crystal create the logos for the Lebanese Parliamentary Machnouk’s face as he answers his incessantly clear. “I know,” he smiles in acknowledgement, Elections as well as for Hariri’s Solidere, the real ringing phone. “Yes?” he asks hurriedly, “My whole mood changes; I mean, compare a estate firm responsible for Beirut’s planning and eyebrows furrowed. His wife Layla whispers to meeting with a Prime Minister with a discussion redevelopment. In addition, he secured the me, “Watch his face when the call ends”. The on art, wouldn’t your mood differ?” he asks. acquisition of artworks by some of Lebanon’s tense facial expression immediately recedes Nohad has done much to fuse the realms of art preeminent artists for display at the Ottoman- and Machnouk returns to the jovial, light- and politics: during his tenure as Senior Political style Grand Serail governmental palace. Nohad, hearted art enthusiast he was just a moment and Media Advisor for former Prime Minister – along with Hariri's art advisor, the late Rima ago. Over the course of our four-hour interview, Rafic Hariri’s government, he commissioned Takieddine – has also ensured that heads of state 64 ART PATRON “I am an Arab nationalist and this belief extends to my collection.” Nohad Machnouk and dignitaries are gifted artworks by Lebanese heated capitals – Cairo, Damascus and Baghdad masters during state visits. “Politicians to name a few – and always made the time to sometimes find my passion for art bizarre, visit exhibitions and meet with each country’s questioning what my conversations with artists cultural intelligentsia. “Iraq had an incredibly entail,” he laughs. “As a politician, you need to vibrant art scene at the time,” recalls Nohad. “I listen and analyse; as an art lover, you need to was a firsthand witness to these environments. do the same.” I knew the cultural ‘coteries’ of each country This page: Two works by Samir Sayegh. (Left) Hiya and and I’d accompany them to shows to hear their (right) Huwa. 2003. Ink on carboard. comments and later debate ideas.” He went so 60 x 60 cm each. GROUND WORK far as to visit artists in their studios and acquire Facing page: Nohad and Layla Machnouk in their Beirut Interestingly, his fervour for Arab art began works by the likes of Iraq’s Mohammed Ghani home with works by (on the wall) Mohammad El-Rawas. Souk Al-Afranj. 1974. Oil on over three decades ago at the start of his Hikmat, Layla Al-Attar and Qutaiba Al-Sheikh canvas. 159 x 129 cm; (on the chimney, left) career as a journalist specialising in the Arab- Nouri, Egypt’s Adam Henein and Syria’s Mustafa Ismail Fattah. Ishq. 1986. Bronze. 36 x 21 x 9 cm; (on the chimney, right) two works Israeli conflict. While in the line of duty, Nohad Ali, among many others. Indeed, the couple’s by Mohammad Ghani Hikmat. Untitled. 1993–94. 12 x 8 cm each. Photography by frequented some of the region’s most politically collection boasts pieces by some of the Arab Mansour Dib. 65 ART PATRON “I’m a politician. I don’t understand the nature of investments and what they entail, but with time, I came to realise that art is a great investment.” Nohad Machnouk world’s most renowned Modern artists and reads like a visual history of the Middle East. “I am an Arab nationalist,” he asserts. “And this belief extends to my collection.” Unsurprisingly, the theme of politics features in some of the works, not solely due to the region’s tumultuous reality but also in terms of an extension of Nohad’s profession as a Member of Parliament. “Look at these paintings by Louay Kayyali,” he says, motioning to a wall where four works from the 1970s by the Syrian master hang. “He drew the poorer class and in doing so, inadvertently criticised the regime.” Near the Kayyali quartet is Al- Mulatham, a 2007 acrylic painting of a martyr by Lebanese artist Ayman Baalbaki, one of the first Contemporary artworks that the couple bought. Nohad roars with laughter when I tell him that Baalbaki is currently working on a series of portraits of the Vendetta Group inspired by the infamous Guy Fawkes mask used in protests against tyranny. “The martyr is a very important symbol,” explains Nohad. “I knew the fidayeen (Arab commandos or guerrillas) personally when I was a journalist and this work is the only one I believe Baalbaki made that features a Kalashnikov.” Layla laughs: “Nohad had it hung in his office at first and I told him to bring it home; at work, it can have different interpretations, while at home, it’s art as it should be.” THE ART OF DIVERSITY Though he frequents exhibitions in Beirut and elsewhere, Nohad maintains that the nature of his 66 job vis-à-vis the region’s political atmosphere he is amazed by the figures attained for Middle over the last few years has not afforded Eastern works and is wary of the “commercial him the time to visit as many shows as he aspect” of the art arena. “I’m a politician,” he says. would like. This leaves Layla with the task of “I don’t understand the nature of investments “reporting back” after visiting fairs, biennials and what they entail, but with time, I came and gallery exhibitions. “After every auction to realise that art is a great investment.” of Middle Eastern art, you’ll find us up late at Nohad’s buying approach is instant and he night studying artworks and hammer prices,” says Layla, who also paints, is more cautious she says. The couple seldom buy at auction, and contemplative as she takes into account preferring instead to acquire artworks from shipping and space for their two Lebanese galleries or artists directly. The decision-making residences and Nohad’s office. The mother process is sometimes aided by “advisors who of one with a background in the television have become close friends” says Nohad, citing industry and a passion for Modern art credits This page: Beirut-based Agial Gallery’s Saleh Barakat and her husband for infusing in her a deep passion Nohad and Layla Machnouk in their living room with a Ghiath Machnouk of Damascus’s Art House. for Arab art for which she has taken courses in 19th century Barbarian gun Hanging artworks, however, is a painstaking the genre. box and (on the cabinet) a collection of Ottoman and practice in the Machnouk home, which, says The couple’s collection, however, is not Persian derwish tarbouches and kashkouls; and a Layla, involves a lot of “trial and error” and limited to Modern and Contemporary Arab art 500-year-old Holy Qu'ran. Photography by Mansour Dib. thematic consideration. but also extends to Persian carpets and Islamic Facing page: From the start, Nohad’s collecting habits art and artefacts from all over the world, lending Adam Henein. Sheikh El- were inspired by a pure appreciation for art and their Beirut duplex an eclectic mix of different Balad. 1974. Bronze. 57 x 25 x 15 cm. were never influenced by asset value, though eras. “It’s funny,” muses Nohad. “Collecting 67 ART PATRON 68 ART PATRON This spread: Four paintings by Louay Kayyali. (From left to right) The Argileh Smoker. 1971. Oil on canvas. 80 x 100 cm; Cotton Collectors. 1976. Oil on canvas. 120 x 90 cm; The Fisherman. 1974. Oil on canvas. 75 x 95 cm; Boy Selling Sweets. 1974. Oil on canvas. 60 x 76 cm. Photography by Mansour Dib. becomes a memoire, a travel journal.” In the salon hangs a 1974 oil painting by Lebanese artist Mohammad El-Rawas above a 19th century marble chimney bought in Buenos Aires; in the adjacent space is a room filled with Islamic manuscripts, calligraphic works, textiles and Ottoman headwear. “I never saw one like it again” – a favourite Nohad statement – is reiterated each time he walks to an artwork or object and excitedly narrates its history as well as the colourful circumstances surrounding its purchase. “Every single piece has a story,” adds Layla. The couple actively seek art and culture on trips abroad and often acquire objects that are aesthetically beautiful, “but which we always find a function for” says Nohad, pointing to an ornamental box from Seoul which he has transformed into a humidor. “His overseas official meetings are short and packed with appointments,” adds Layla, who sometimes attends such trips, “but you should see the accompanying cultural schedule that is equally packed!” CULTURAL AGENDA Architecture is another passion of Nohad’s, and one which, in 1994, led him and a friend to acquire an Ottoman-style house built in 1820 in Beirut. The mansion features four-metre-high ceilings adorned with Iznik 69 ART PATRON “Beirut should be a stronger centre of art in the region. What the Gulf States have done to promote art and culture is commendable.” Layla Machnouk 70 ART PATRON tiles, an elaborate 18th century wooden door and for which the Machnouks lent a painting from Egypt and an antique Turkish chimney. by the founding father of Lebanese Modernism. Now refurbished and rented out, Nohad has “I am really so proud of our culture,” insists considered placing his collection in the house Nohad. “But I do feel that some Arab artists one day and opening it up to the public, have not been given the recognition that they much in the same vein that the couple loans deserve.” The couple cite the improvement of artworks, particularly those from the Modern the annual Beirut Art Fair over the years, noting Arab strand of their collection, to major the benefits of cultural exchange through the exhibitions. “Lebanon has all the raw material – varied participating galleries. “Beirut should be a history, tradition, nature, culture and language,” stronger centre of art in the region,” says Layla. This page: A view of the Machnouk home he says. “But it needs time and better political “What the Gulf States have done to promote art with (left) Ayman Baalbaki's Al-Mulatham. 2007. Acrylic circumstances in order to flourish.” and culture is commendable.” In the background, on canvas. 148 x 198 cm; and (right) an untitled work by Aside from a calmer political climate, Nohad Nohad’s phone keeps ringing, only this time, Ismail Fattah. 2000. Oil on emphasises the role that Lebanese corporations it’s an urgent call. The same facial expressions canvas. 147 x 198 cm. ought to play as patrons of the arts, and goes appear and disappear. “Politics doesn’t let Facing page: Above: Aref Rayess. Untitled. on to praise the recently established Rose and your mind rest,” he says flatly. “I do get tired, 1974. Oil on canvas. 120 x 120 cm. Shaheen Saleeby Museum at the American but right now, especially after this discussion, Below: Adel El-Siwi. University of Beirut. The gallery’s inaugural show I feel we need a proper Ministry of Culture Blue Eyes. 2008. Oil on canvas. 100 x 140 cm. featured a collection of works by Khalil Saleeby, and a museum of Contemporary Lebanese art. Photography by Albert Saikaly donated by his descendant Dr Samir Saleeby I have ideas and I want to implement them.” unless otherwise specified. 71
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