Hossein Hashempoor: In the Post-War Era, Do Not Begin Austerity with the Arts
Founder and Managing Director of ArtDayMe: In the Post-War Era, Do Not Begin Austerity with the Arts Art is beautiful in times of peace, but in post-war periods it becomes essential—a vital part of social recovery and a healing force for collective psychological wounds.
ArtDayMe | By Hossein Hashempoor, Founder and Managing Director of ArtDayMe
One:
In wars, the first losses are measured in human lives, infrastructure, and economic damage. Yet what often remains unseen is the injury inflicted upon the collective spirit of society.
War does not merely destroy buildings; it also erodes hope, social trust, the sense of security, and confidence in the future.
For this reason, in developed countries, the post-war period is not defined solely by the reconstruction of roads, factories, and power plants. The revival of art and culture forms a central pillar of recovery.
Two:
Regrettably, in many societies, whenever discussions of austerity and resource management arise, arts and culture are among the first sectors to face budget cuts.
It is as if art were a luxury—something nonessential that can be postponed until better days arrive.
At first glance, this approach may seem rational. Global experience, however, has repeatedly proven otherwise.
Europe did not recover from the devastation of the Second World War through investment in industry and economics alone. Museums, orchestras, cultural institutions, festivals, and support for artists were all integral components of Europe’s reconstruction and modernization project.
European governments had understood—since the Renaissance—that societies exhausted by conflict need hope, creativity, and a renewed sense of identity above all else. Art proved capable of fulfilling that restorative role.
Three:
In the aftermath of every crisis, governments are often tempted to reduce cultural spending. Yet a forward-looking vision requires that art not become the first casualty of austerity policies.
From an economic perspective, downgrading art within national and regional priorities is also a strategic mistake.
The art market is no longer a marginal activity. Art has become a significant component of global economic exchange, cultural diplomacy, national branding, and even the attraction of foreign investment.
Four:
In post-war conditions, societies need hopeful—and at times critical—narratives more than ever.
Artists are among the few individuals capable of transforming collective suffering into historical memory, human experience, and ultimately a force that enables society to move forward.
Five:
If cultural production comes to a halt; if galleries, art centers, festivals, and creative projects are weakened by restrictive policies, then part of the social recovery process will inevitably be interrupted.
A nation that focuses solely on rebuilding walls while neglecting the restoration of its social spirit will, sooner or later, face even deeper social fractures.
Therefore, if we must economize, let us not begin with art.
Art is beautiful in times of peace, but it is indispensable in times of reconstruction.
Just as a patient requires medicine to heal the body, a wounded society needs art to heal its psyche and restore hope.
Six:
Under such circumstances, supporting living artists becomes even more important.
One of the most visible weaknesses of the Middle Eastern art market is that the true value of many artists is often recognized only after their death, whereas the contemporary art economy has long focused on supporting active, productive generations of artists.
A society seeking to emerge from crisis must protect its most creative forces, for they constitute the intellectual engine and human-capital think tank of the nation.
Seven:
Art can serve as a powerful driver of the creative industries—sectors that encompass design, architecture, graphic arts, art tourism, media, fashion, handicrafts, and more.
Many countries have relied on these industries during periods of economic stagnation to create new employment opportunities and stimulate economic growth.
Conclusion:
Investment in art is not an expense for today; it is an investment in the future that is currently being built.
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