Iraq's improving economy and security situation, despite regional conflict, is fueling a revival in its art scene. Artists who fled violence are returning, and curators from the Arab region are touring the country. Key initiatives include Tarkib, a Baghdad art platform co-founded by Hella Mewis that offers workshops and exhibitions, and Babil Performance Art, set up by Zurich-based artist Wathiq Al Ameri to focus on performance work. These efforts reflect a generational shift spurred by the 2019 Tishreen protests, particularly among young women.
This revival matters because it challenges a deeply conservative, painting-dominated art scene and a stagnant educational system where curricula have not been updated in 50 years. Institutional infrastructure is weak—the National Museum of Modern Art was looted and remains dilapidated—and public funding is nearly nonexistent, with available money tied to propaganda or political compromise. By refusing state funds, platforms like Tarkib and Babil Performance Art are forging an independent path, but their sustainability remains uncertain. The article highlights both the thirst for new art in Iraq and the structural obstacles that persist.