L'artiste Ghada Wali a dépeint l'ex-président égyptien comme un clown ou le diable. Mais sa satire aurait été plus "courageuse" si elle l'avait publiée au moment où Morsi était encore président, et non après !
Sometimes creativity is a reaction to what terrifies or angers us. For Egyptian artist, illustrator and graphic designer Ghada Wali, the bogeyman is Mohamed Morsi. “After the Arab Spring and the fight to establish a democratic state, Egyptians fell quickly into the trap of religious fascism.” Wali explains in the introduction to her Film Ikhwany poster series. “We were surprised to find that the Muslim Brotherhood was more powerful than the revolutionaries who had ousted Mubarak. Egyptians for the very first time were overrun by Islamists in numbers no-one would have imagined...” Wali describes the changes she observed in Egyptian society after the Brotherhood took power, citing the “sudden appearance of bearded men and niqabi women in the streets” and Egypt’s descent into a “state of no law & order.”
At first sight Wali’s striking red-and-black poster series in which the deposed president is pictured as Satan, a pharaoh, a monkey and a mafioso, seems brave, well-designed and surprisingly subversive. The posters “sarcastically portray Morsi as having a dual personality, which mirrors the features of both the Muslim Brotherhood and current affairs in Egypt” Wali writes. The posters are also controversial. P21, a London gallery, found itself accused of censorship when it decided not to exhibit Wali’s work. “I was shocked to find my work censored because it was deemed ‘too risky,’ Wali said on her website. “The exhibition then relocated to Hardy Tree Gallery in London and was retitled ‘The censored’.” P21’s discomfort may have had to do with timing. Wali’s series appeared just after Morsi was deposed by General Abdel Fattah Al-Sisi and the Egyptian military establishment. Despite Wali’s undoubted talent, her intentions were, and remain, unclear. Is releasing her work after Morsi’s fall an act of political opportunism? The art remains, and it’s undoubtedly beautiful but what it now aims to achieve is unclear.