There are big questions that are being raised urgently and form an individual monologue with oneself or a dialogue or more by the artists themselves , critics and recipients , centered on the issue of value and standard in what is produced of modern and Contemporary Arts , and whether these arts are really without controls , without professional standards , scales and determinants , especially with the authoritarianism that accompanied the production of these arts the question, in other words, is : Has modern art and then contemporary art reached the station where it is permissible and is available to anyone who wishes with a guarantee of recognition of the eligibility of the work Is modern art that the artist produces one work and repeats it in a variety of ways under the title of style, where viewing one work sings about viewing a personal exhibition as well as personal experience , and why did this matter apply to the plastic achievement, so that many exhibitions and exhibitions look like a single experience, overlapping or very close, or coincide with a Western and eastern , But here it is done for modern and contemporary experiences Questions that may seem shocking and Strange in the local intelligentsia of what is the practical reality in the production and circulation of modern contemporary art, and they clearly stand out in the Iraqi and regional plastic art – Certainly, this appearance has its reasons, justifications and circumstances, including the absence of the specialized Monetary Authority and its influential governance, which is able to limit and contain this phenomenon in order to preserve the status of Iraqi formation, while it is not possible to produce music, as well as its creativity, who does not know its professional requirements, and it is not available to everyone to produce poetry Here we show a detailed issue that we see as a pillar that basically marks the professional formation, as some elements of art have been transformed by modernization and modernity , To the point of overturning and comprehensively undermining – the balance was replaced by anxiety, the marginal was replaced by the center, the mental progressed over the sensual, and the conceptual over the objective, and the role of form and subject, line and Point declined with their traditional specifications, replaced by elements with contemporary identities realized-after five centuries – Da Vinci’s dream, which saw him painting with his brush before his hand, was strengthened by some other artistic elements, including the script, which appeared in advanced formats in contemporary composition, and became an identity and a prerequisite for it .As the critical, aesthetic and analytical statistics of the contemporary global plastic achievement are sorted out , the scenario was characterized by stability in the face of modern transformations , and even increased its consolidation through its transformation from phenomenological to secondary, so it stands out among the neighboring artistic elements that have been swept by change, transformation and transformation , through the conceptual qualities acquired by contemporary , It is able to create a generative effectiveness with its metaphysics that implants its effects in the recipients after the preview and the end of the event and receiving more efficiently than the act of direct receipt of the work , including the effectiveness of the authority of the image sent to the work required by the format of trading and commodification ,and in accordance with the requirements of liquid modernity , where the artistic accordingly, the
The scenario in contemporary plastic art represents a watershed for the professionalism of the work , and its absence makes the work more like a joke in front of a professional examiner , because contemporary plastic work requires both performance skill and concept skill.

Salam Jabbar
23 January 2023