Ahmed Baroudi is a 48 years old artist and communication specialist from Tripoli. The father of three, he is co-founder of the “Dwaya” art association.

How is it to be an artist in Tripoli?

It’s not easy.

I create art in Tripoli. However, little in Tripoli is easy. There is a shortage of everything, from typical household goods to art equipment.

As an artist I feel that I have a social responsibility to the people I am living with. I have to focus on the bright sight of life despite the conflict, I have to stick to this responsibility and keep it in mind when I start work.

This work here, for example, shows three canvases together, because I could not find the right size at the market, so I had the idea to put the three together. This is my message to the local artists in Tripoli, you don’t have to complain and look at the negative side, or doing nothing. There is nobody from abroad or outside who will save you, or make your life easier for you. We have to do it ourselves.

You are working as the communication manager at Al Mardar Company in Tripoli.  When did you decide to invest your free time in art?

I’ve been interested in art since I was a child. However, in Libya we prioritize the practical, so I studied communication. However, art remained my passion. Even when I was a student, I worked as a graphic designer or photographer. However, for that you have to go out, take pictures, but when the war in Tripoli started in 2014 it was really unsafe to go out and do that. So, we just became stuck in houses. I had to do something, because the sound of the bombs within the house’s small space would drive you crazy if you let it. You need to do something interesting, something beautiful. We gathered as a group of four friends and decided to do a workshop about Hurufyat, a kind of calligraphy. We wanted to do something beautiful and played around with the colours for 10 days. The result of that workshop, these artworks, came from there. We held a small exhibition, just for family and friends.  I learned to like the colours and kept going.

When was this family exhibition?

Towards the end of the war in 2014, September.

So, you were creating artwork to the sound of bombs. The art exhibition was staged after the war had just finished?

Yes.

Did you live near the fighting?

We all lived near the fighting. It was everywhere. Some militias were here, some were around another corner.  I remember the birth of my first son. My wife was at the hospital and on the day of his birth, there was conflict within the street just two kilometers away. It was a bad situation but we survived.

Fuad told me once that he started to play music because of a girlfriend. But the father would never have accepted musician was a serious job. Would you be a respected man as an artist in the Libyan society?

I don’t know if it a matter of respect, but there is a paradox in our society. If you tell people that you do art, they show respect. They even start to talk about the art scene, history of art or techniques. But when it gets personal, a marriage or a family situation, everyone thinks practically. Then they say, you cannot make a living with art. It is unfortunately kind of true. Right now, I can’t think of any artist who makes a living through their work in Libya. My uncle was an artist, he lived abroad for quite a long time. He left when he was 15 and came back as a full-time artist and made his living by selling artwork.

How was it to be an artist in Gaddafi Libya?

There were a few artists, but they were all from the older generation. I cannot remember if there were any famous artists born after 1969.

Why was there an age gap in the art scene?

I remember that the first expatriate artists that brought back new art were all born in the 1940`s , the time of the king of Libya. It was a time when art was appreciated and when there was an investment in art. However, when the colonel took over, the art scene was closed down. I still remember that the material my uncle was working with where from the 70s. Even the art supplies were old, it was hard to find. Especially in the 80`s and 90’s, it was difficult to find any art supplies. Nobody was specialized in these materials, most of them were buying art at work. I cannot say why the colonel was trying to suppress the art scene, but this is what I lived with.

What happened after 2011?

After 2011 there came another revolution of digital photography in Libya. There was a boom of projects, events, stories. This revolution of digital photography made them produce something fresh. It was one of the most encouraging things to come out of those years. However, since 2014 most of them stopped. They didn’t keep working in this field because of security concerns. I could not hold a camera on the street anymore either, so I switched to mobile phone photography.  I still have the passion. I suppose there’s always a solution if you want.

What would happen if you ran around with a big camera?

When they, (the militias) see a professional camera, they think you are working for a TV channel. And a big media house means you have an agenda, because all channels are either on the one or the other and are sponsored by one of the countries that are involved in the conflict. Some of these suspicions might be genuine, but you cannot judge anyone because they work for the TV. However, that became the reality for all photographers.

Are the stories about espionage new to Libya, or had there been these suspicions before the revolution as well?

Both the current narrative and the old accusations of spying are essentially the same idea. Before the revolution, the regime was afraid of cameras because of their security. Everyone with a camera was seen as a spy. That meant you were going to harm the country and its people with your camera. After 2011 it became the same thing. Carrying a camera indicates that you are working for a TV channel sponsored from abroad- it the same insane concept.

What’s the concept of Dwaya?

We are doing art for ourselves, as in 2014. It’s a way to survive the war and keep mentally fit. Since we are doing exhibitions, we are responsible. Our message to the visitors is to stand up and start working. Don’t complain, it is leading nowhere. You will find no solution. If you’re a painter paint. If you are a politician, do your job. But not all of us have to sit around and talk about politics. Life doesn`t work like that. We have one message: live your life, you can live your passion, as we did.

For those from abroad, we would like to show them the civilian scene. I am annoyed that Libya is always only seen in terms of tanks, and guns, It hurts me a lot. We have to work a lot so people see more to Libya than simply war.

How do you see the situation in Libya? Is it a civil war? How would you like the world to understand the situation?

Since 2011 it is a civil war. It is Libyans fighting each other.

How is life during a civil war. Can you give us some insights of your routine?

I go to work from 8 to 3:30 I play football twice a week. Every Thursday evening, we drink coffee and never speak about politics.  Every Friday, I spend time with my family. If you focus on these moments, you’ll just see a man like any other.

There is a dark side as well. When there is fighting in some areas, I need to change my route to work. Besides that, the sun is rising every day and that’s my philosophy.

Do you believe that art is changing the perceptions of Libyans?

I believe that if we can affect just one person then we have achieved something. We can’t change the way everyone see Libya, but if we can change the way just one person sees it, then I would say that Dwaya was a successful project.

Interview and photo: Mirco Keilberth

Blackbox Libya is a cooperation of Heinrich Boell Foundation and Breaking the Ice

https://tn.boell.org/en/blackbox-libya-political-dynamics-and-spaces-artistic-intervention