By Annieli
Artwork in Iraq gets destroyed by Daesh/ISIS-ISIL (Video)
Polytheistic idolatry is the only thing that gets destroyed, says Daesh, which somehow rationalizes the destruction of historical antiquities, as though there can only be one history, apparently a Sunni and/or Ba’athist one. Only statues that are deemed idolatrous would get destroyed or apparently as originals resold with copies destroyed for social media documentation. But what counts as idolatrous in a modern commodity economy.
Daesh is only controlling the mythology reproduced by the media in order to further not the goals of actual religious beliefs, as they are simply looters maximizing accumulatable wealth. One can say that they are even projecting a pre-modern accumulation of dominance and subjugation returning West Asia and North Africa to some pre-capitalist mode of production. Of course the ideological contradictions will flourish as Daesh elites will keep their modern networked social media and slick magazines as well as their modern weapons in an attempt to reduce all other variants of Islam to their hegemony. Daesh are not the Sentinelese or the Auvergnats – they are common crooks, the lowest form of banditry tarted up when they refer to their genocidal barbarism as a “management of savagery“.
ISIS’ efforts to erase pre-Islamic pictorial art successfully communicates their brand image. What ISIS fails to mention is that they are destroying fakes. Blouin Art Info reports that upon the release of the Mosul Museum video, experts determined that “most, if not all’ of the statuary on view were plaster fakes. The officials at the Mosul Museum had previously transported the originals to the Baghdad Museum. The New York Times reported that many of these sculptures were replicas of ancient objects and a portion of the sculptures on display were reconstructed from fragments which included original shards of ancient sculptures.
Fox News’ misreading is that this is something more immoral than the actual activity of the market in art forgery, made complicit often in human history by an entire discipline of art history and archaeology so that Fox’s headline “How ISIS created a terrorist art market“, is simply that they are following practices of pillaging going back even before the period to which Daesh wishes to return if only symbolically.
Of course the killing of suspected homosexuals will deprive Daesh of many of the population from which the making of such artwork come. These are the premodern warlord-despots of an imagination-free fundamentalist world of gender, class, and ethnic subjugation. They predictably lack the civility of the Greeks upon losing their (Elgin) Marbles.
Palmyra is home to a massive Roman theatre where ISIS reportedly executed 20 foreign fighters earlier this week who had been fighting alongside forces loyal to Syrian President Bashar al-Assad.
ISIS militants have reportedly executed at least 400 people in Palmyra since capturing the ancient Syrian city, Syrian state media said earlier this week.
ISIS captured Palmyra – and Iraq’s Ramadi – earlier this month despite months of U.S.-led airstrikes.
A YouTube account believed to be affiliated with ISIS posted a video on May 26 showing parts of the city’s ancient ruins and colonnades. It was not clear when the video was shot.
An activist with an anti-regime group in Palmyra said the ruins have not been damaged adding that ISIS said they would only destroy statues they deem idolatrous.
“They haven’t been damaged and members of the organization [ISIS] told residents that they will not damage the city’s antiquities, but will destroy the idols,” the activist with the anti-regime Local Coordination Committee for Tadmur, was quoted by the Guardian as saying.
“Perhaps it’s because the Palmyra antiquities are mostly columns and large buildings and not statues of people, which they consider idols that must be destroyed, and they have no problem with the other antiquities.”
Whether worthless or priceless the verdict for destruction is the same. The current terrorist art and antiquities market is dictated by two factors: (1) can an item be transported to a location where a buyer exists for it, and (2) can the artwork be passed off as legitimate once it arrives.
