The disappointment is great. “The planned exhibition ,The Tehran collection. The Tehran Museum of Contemporary art in Berlin' in the Berlin Gemäldegalerie will now not take place as planned," said the Prussian cultural heritage Foundation (SPK) on Tuesday a little bumpy. President Hermann Parzinger, expressed great Regret that you have decided to take this step: “It had become necessary, because Iran has not yet granted still no export licence for the works of art.”
The responsibility for the cancellation bear as a result, the Iranian leadership; which panel and what kind of Person the stays, for the time being open. For Western observers is not always easy to detect, anyone who has been in Iran Say that. The government has not the power of attorney, as it is in democratic and legal States. On the government’s perched President Hassan Rouhani, in the Background, and without parliamentary control in a very world – act – but- spiritual.
As always: The for months as a Sensation and a breakthrough in the German-Iranian cultural relations, announced the exhibition of 60 works from the collection of the Tehran Museum of Contemporary Art in Berlin, and after this failed start-up is concluded, currently certainly not in the foreseeable future.
The negotiations dragging on for 14 months. At the beginning of a visit by foreign Minister Frank-Walter Steinmeier in October 2015; at that time, a first Declaration of intent was signed. Thus, the Quench-driven project was open to the public. The Prussian cultural heritage Foundation announced in its annual calendar, the December 2016 as the opening month, and was trying to leave the Tehran-based guest game as normal as possible. Irritation came, as the English can not be tolerated, forgave the negotiations with Berlin leading Tehran Museum Director in the case of a Holocaust-cartoon exhibition prices and to mind Statements about the Holocaust, part simply.
The negotiations have been deprived of Majid Mollanoroozi, however, as it now shows, went out to the “Momentum”. The export permit, for one transaction only a matter of form, was the pivotal point, not least probably because it is not in all of the works of the valuable collection of the Classic Modern art with works by Warhol and Pollock, but also Kandinsky and Gauguin, the property relations have not yet been completely clarified. As always, the key signature was missing – the state President himself had to resort to filler, it was said, finally, it was time for Tehran’s machinations.
Cui bono, who benefits from it? What should apply to the interpretation of German foreign policy as a Signal for a thaw in relations with Iran, and in Iran itself, scourged oppositional artists behind their hands, as a kowtow to the rulers. Conservative hard-liners in Iran saw in the loan of on behalf of the Shah’s wife, Farah Diba gathered collection, a revaluation of the 1979 deposed Shah’s regime. The confiscation of individual loans because of “unclear ownership” is likely to be excluded due to the international usual state guarantee of repatriation: it is Hardly conceivable that the Foreign office has negotiated amateurish, with cultural and political tightrope walks you in the house Steinmeier experience.
Just yesterday, Tuesday, in front of the German cultural Council, the new issue of his monthly magazine “politics & culture”, the twelve pages on the topic of “culture in Iran”. “The hopes”, must grant to cultural Council managing Director Olaf Zimmermann, “have just been set by Western countries, President Hassan Rouhani, considered a moderate, have not yet been fulfilled to a considerable Share.” The cultural policy, it says in a post from an Iranian spring, will be directed by the “High Council of cultural revolution”, in accordance with the main objective of “spreading the message and the essence of the Islamic Revolution in the Iranian society and the world.” The foreign policy spokesman of the Bundestag group of the Greens, the Iranian-born Omid Nouripour, a judge in the magazine, the collection of the Tehran Museum is “perhaps the most striking Symbol of the last years of the Shah’s time – to be an expression of the unconditional will of the Iranian Elite, part of the Western cultural Modernity.”
If this is the case, and the Tehran collection of predominantly Western art must indeed be considered as the Symbol of the Shah’s regime, is the Hesitation of the Iranian side as an expression of internal political fights are only too understandable. One way or the other, Steinmeier’s tenure as Foreign cultural politician ends up with a defeat.
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