Bulletin de liaison et d'information - Institut kurde de Paris

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Revue de Presse-Press Review-Berhevoka Çapê-Rit;•.,fa Stampa-Dentro de la Prensa-Basm Özeti Défenseur des Droits de l'Homme et éditeur en Turquie Ragip Zarakolu est venu spécialement pour l'inauguration Il. I ...t:lt K \M ITAS a lWuemi.lU'
Revue de Presse-Press Review-Berhevoka Çapê-Rivista Stampa-Dentro de la Prensa-Basm Özeti A Kurdish Conundrum The Kurdish pain ter Rostam Aghala talked to Chris Kutschera MOStKurdish and Iraqi painters are haunted by the effect Saddam Hussein's dictatorial .regime has had on the minds and personal freedoms of the country's people. However, these influences are not apparent in the work of Rostam Aghala, not immediately at least. His colourful paintings explore relationships between p'eople and are rife with romanticism. Their exuberant style is unique in Kurdistan but not perhaps for those familiar with the work of the 20th century Austrian artist Gustav Klimt. As with Klimt, closer examination of Aghala's spectacular canvases will often reveal another, darker, side to his work. Born in 1969 in the small Kurdish town of Koy Sinjak, Aghala became a painter by' cha~ce. He recalls how at school he was regarded as a poor student by his art teacher. On one occasion, in order to secure a good mark, he submitted work that had been painted by one of his brothers. At 15 came his first big love, Nisrin. In order to impress her he copied a picture of a caique, or boat, and gave it to her as a token of his affection. It was the beginning of his career. "This girl is the reason I became a painter," he explains. Aghala decided to apply to the Art school in neighbouring Suleimania. As part of the portfolio he was required to submit, he copied some portraits of women, originally the work of a famous Iranian woman artist. However, Aghala made some slight modifications - he painted his women without clothes. Despite his inventiveness he was not even offered an interview. The second time around, he dropped the naked women and was finally admitted in 1984. Aghala laughs as he tells his story, but clearly these years ,,\ere difficult years for him. His father was a lowly municipality employee and he had a large family of Il children to support on his meagre wages. Rostam had no money, and had to borrow. cash from his friends - moscly gi~ls- at school in order to continue with his work. Eventually the time came when the girls refused to loan him money. Because he did not have enough to buy even the canvas, he decided to kill himself. He explains how he attempted to throw himself under a car, bur the car stopped in time. It was not the last time Rostam would try to kill himself which, after meeting him, is difficult to believe: always smiling or laughing, Rostam looks like the happiest painter on earth.To graduate from his Art schoo\, Rostam was asked to present a copy of a masrerpiece. In an Iraqi magazine he saw a reproduction of a painting he instantly admired - Love. Th,Midd1eEast Mo:y2003 58
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