REPRESENTATION’S AUTHORITY OF IN THE CONTEMPORARY IRAQI FORMATION

Abstract

Power is one of the philosophical concepts that were popularly mentioned at the beginning of the nineteenth century, taken by the contemporary Iraqi artist to be a storm force capable of changing the formulations of the entire artistic reality by destroying the fixed foundations to summon a new differential system that falls within a systemic shake-up that was established according to an authoritarian hegemony established by contemporary contexts. Its function is to undermine and dismantle all the classical laws and systems that were proposed in the past, which were limited to simulating the Mesopotamian and Islamic heritages that have long been adhered to by the contemporary Iraqi formation methods. The importance of the research lies in the fact that it presents a cognitive orientation to enrich those interested in a critical and aesthetic study that opens new horizons for different ways from the structural and stylistic sides, given that the concept of power gives vibratory visions that worked to change the scales of contemporary Iraqi formal patterns and migrate them to visual texts bearing various reasons as a result of the concept’s interrelationship with intellectual frameworks A fluctuating culture spreads a fragmented culture that brings down the ancient sacred taboo to adhere to the axis of change. The reason for choosing the study topic is due to the reason for choosing the research topic because of its importance on the academic level, as well as the fluctuating reality that the contemporary Iraqi artist is experiencing at the present time at all levels and fields. The aim of the research is to identify the representations of power in the contemporary Iraqi formation. Research hypotheses: The representations of power formed a positive impact within the intellectual and performance project of the contemporary Iraqi artist. Research limits: included the limits of the research within spatial limits (Iraq) and within a period that occurred between 1977 AD-1999 AD, which is a stage The intellectual and performance advancement of the contemporary Iraqi plastic movement. Method used: The researcher used the descriptive analytical method to analyze the research sample in proportion to the with the title of the research, its objectives and limits. The results of the study summarized that the combination between the discourse of contemporary power, with its fragmented nature, and classical power generated regenerative formal patterns that had a great impact in modernizing the artist’s performance, especially in the process of intellectual presentation.

Keywords: power, contemporary, formation.