22 MARCH 2012 I ISSUE 3 I ART DUBAI EDITION

INDIA IMPRINTS

Indian art is making a move these days. The 2011 Venice Biennale marked the country’s inaugural participation and recently, the Tate announced the upcoming launch of an acquisition committee for

Indian art. In addition, this year’s India Art Fair, formerly known as the India Art Summit, attracted an impressive line-up of 91 galleries – half of which were international and from 20 countries. This fair also drew a number of art world power-players such as Tate Modern’s Director Chris Dercon, Indonesian collector Budi Tek and Art Dubai Fair Director, Antonia Carver. Despite a recent decrease in prices after the pre-financial crisis boom, there is recognisable growth in the Indian art market seen through the wealth of new collectors within India and internationally, eager to tap into the excitement of the region’s art scene.

Art Dubai gets a taste of the burgeoning Indian art scene through the participation of four Indian galleries and two international spaces specialising in Indian art.

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Shezad Dawood . My Father’s House. 2011. Acrylic on vintage textile. 98 x 138 x 7 cm. Image courtesy Chemould Prescott Road, Mumbai.

DAY TWO SALES

Middle Eastern art had another good night at the fair; Contemporary international works became a big draw as the second eve brought some major sales.

Galleria Continua (A5) sold Egyptian Moataz Nasr’s 2011 matches on wood work, Khayameya, for $30,000–40,000 to a private collector from the region. Frey Norris Contemporary & Modern (A7) sold British-American artist duo Kate Eric’s Never Even acrylic on canvas work for $45,000 as well as a work on paper by the artists for $6000 – both to international collectors. London-based Green Cardamom (A6) sold a work from Iranian Nazgol Ansarinia’s series, Reflections/Refractions, for $4500 to a Singapore-based collector.

Another good night for mid-range work sets a steady pace for galleries.

Joana Vasconcelos. Montmartre. 2011. Handmade woollen crochet, ornaments and polyester on canvas. 134 x 188 x 38 cm. Photograph by Atelier Joana Vasconcelos. Image courtesy Galerie Nathalie Obadia, Paris/Brussels.

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The Pace Gallery (B14) couldn’t be happier with their day, with the sale of Chinese artist Zhang Huan’s seminal work, Skin, and ash-based Tiger, as well as two works by Japanese artist Sugimoto to collectors new to the gallery. Pace also stated reserves on works by Keith Tyson at the time of press.

Works by conceptual Emirati artist Hassan Sharif drew a lot of attention at Sfeir-Semler (B15); the gallery sold Spoons 3, a mixed media sculpture to a UAE-based collector for an undisclosed sum. Dubai-based Gallery Isabelle Van Den Eynde (B22) had to re-hang part of its booth and reported sales of two works on paper by French-Algerian artist Abdelkader Benchamma for between $6600-14,500; seven collages by Iranian artist Rokni Haerizadeh for $7000 each and a work by his brother Ramin.

Galerie Nathalie Obadia’s (B24) founder was all smiles having sold 10 works to new collectors including a crochet piece by Joana Vasconcelos entitled Montmartre for $92,500 to a European collector and Still Life with Injected Fishes, a collage work by

Ramin Haerizadeh for $10,000, to a French collector who had never seen the Iranian artist’s

work before. Pilar Corrias (B3) continued to do well

with works by Iranian Tala Madani and sold Slide Show to a member of

the UAE royal family as well as Four Empty Cells for $28,000 to a Dubai-based

collector; the gallery also sold Asians Must Eat Rice by Rikrit Tiravanija for $10,000 to

an Indian collector. New York-based Leila Heller Gallery (A37) sold a work by Shiva Ahmadi for $15,000, two works by Kezban Arca Batibeki – Tiger…Tiger…2 for $34,000 and Hairy Tale for $60,000 and numerous works by Ayad Al-Khadi for between

$40,000-55,000 for larger works and $5500 for smaller ones. All were sold to

Dubai-based collectors.

ROUND-UP OF GLOBAL ART FORUM_6 ON 21 MARCH

22 MAR 2012 I CANVAS DAILY I ISSUE 3 I ART DUBAI EDITION 03

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Canadian novelist and visual artist Douglas

Coupland during Marshall, Media and

Me. "Information and media that we use in our daily lives actually neuro-

physiologically rewires our brains after a certain

amount of time," he said.

Douglas Coupland with Serpentine Gallery Co-Director of Exhibitions and Programmes and Director of International Programmes, Hans Ulrich Obrist and

Global Art Forum_6 Director and writer Shumon Basar during the discussion Marshall, Media and Me.

One of the ACAP 2012 winners, Wael Shawky at the discussion Cabaret Crusades: History Through The Eyes of Film and Literature. "I am very fascinated with history, but more so with the human nature of how we record, interpret and write history," he said.

Hans Ulrich Obrist at the discussion Cabaret Crusades: History Through The Eyes of Film and Literature.

Curator Lara Khaldi during the Arabic

Art Glossary Project launch and talk. "Translation can be an incentive

or even an excuse to invent new

forms, structures, expressions, textures

and sounds in the new language."

Presentation: Gwangju Biennale A brunch hosted by Yongwoo Lee, President of the Gwangju Biennale.

Global Art Forum_6 Valued: News and the Markets of Art and FinanceWriter Georgina Adam in conversation with author Parag Khanna.

Global Art Forum_6 Power Less: Art vs Media Polemic (1)A presentation by journalist Negar Azimi.

Global Art Forum_6 The BreakupArtist Michel Rakowitz in conversation with curator Jack Persekian.

Public Access to Art Dubai The HatchA series of artists' talks, films and video screenings.

Global Art Forum_6 Power Less: Art vs Media Polemic (2)A presentation by Egyptian artist Huda Lutfi.

Global Art Forum_6 PowerpointingTM Your Creative Medium Potential: Victoria Camblin.

Performance: Köken Ergun(Book a place on the tour at any of the information desks)

Children’s Workshop: From Morocco to the MoonMoroccan artist Yto Barrada teams up with Zid Zid Kids to create an exploration area for children of film projections and ice cream.(Sign up for daily children’s workshops for 4 to 10 year-olds at the Projects Desk in the Arena Foyer)

Tour: Abraaj Capital Art Prize 2012Exclusive tour of Spectral Imprints by ACAP 2012 Guest Curator Nat Muller. (Book a place on the tour at any of the information desks)

Book Launch: Edge of ArabiaArena Foyer

Performance: Carlos Celdran(Book a place on the tour at any of the information desks)

Artist Talk: Nusra Qureshi Sutton Gallery, B16

Marker - tour the curated section of concept stands launched in 2011 which focus this year on the Indonesian art scene. (Book a place on the tour at any of the information desks)

Artist’s Talk: Yto Barrada and Zid Zid KidsArtist Yto Barrada and Zid Zid Kids discuss educational art projects.Ballroom Foyer

Performance Night: Trace Co-produced by Art Dubai Projects and Traffic, the inaugural Performance Night at Art Dubai features an eclectic line-up of artists, poets, musicians, academics, curators and collectors.(Last entrance is at 21:30. Please arrive via the Mina A’Salam entrance)

11:30–12:30

14:00–15:00

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20:00 – 00:00

All Global Art Forum_6 talks are held at Fort Island

TODAY

04 22 MAR 2012 I CANVAS DAILY I ISSUE 3 I ART DUBAI EDITION

WHAT IS ONE’S ART EDUCATION INCOMPLETE WITHOUT?:

A group of friends with strong opinions on art, an excellent connection to the Internet, an open mind, an honest heart and a love for music.

Manal Al-Dowayan, Saudi artist represented by Cuadro Fine Art Gallery, Dubai

As an artist, I never stop learning. My education and knowledge grow with each piece that I produce. I think there is no standard education in art. Some of the most interesting artists throughout history were autodidacts.

Nadia Kaabe-Linke, Tunisian artist represented by Lawrie Shabibi, Dubai

Already there has been a change in the perception of art as a career for young people and the next step is surely education. We all have a part to play here. The museum projects, galleries, publications and other partners around the region are embracing this opportunity with workshops, small courses and talks.

Hala Khayat, Specialist, Christie’s

Art education would be incomplete without instilling in students the urge and desire to make the world a better place; to infuse in them a commitment, patience and curiosity to engage with the world and through their practices, deal with crucial issues at hand.

Alfred Tarazi, Lebanese artist represented by The Running Horse, Beirut, B25

One’s art education is incomplete without spirituality. The meditative process and repetition involved in making art contribute to tension and beauty.

Ran Hwang, Korean artist represented by Galerie Kashya Hildebrand, Zurich, B6

There are those who are perhaps geniuses and art is their only form of expression; education for them should provide a kind of playground and a support for risk and innovation. There are others who want to make a living as an artist and have that lifestyle; schooling for them should be very disciplined and provide intensive technical training.

Gonkar Gyatso, Tibetan artist represented by Haunch of Venison, London/New York

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Getting educated by art means reading a lot, looking at exhibitions, meeting artists, collectors, curators and acquiring discerning taste. But, there is one thing you need to know: you are never done with learning about art.

Florian Berktold, Director, Hauser & Wirth, Zurich/London

MADE IN THE UAE

The DXB Store returns to Art Dubai this year showcasing limited edition objects, artist’s multiples, clothes and other design products, all of which are designed and made in the UAE.

Cushions by OTT.

Trust by Amar Abu Zahr & Lubna Mobied.

Bookends by Abjad Design.

250 AED

Necklaces byNisreen Krimed..

450 AED EACH

1250 AED EACH

700 AED

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rtes

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A Letter Can Always Reach Its Destination

06 22 MAR 2012 I CANVAS DAILY I ISSUE 3 I ART DUBAI EDITION

Four Indian art galleries – Chemould Prescott Road (A24) from Mumbai; Experimenter Gallery (A13) from Kolkata; Galerie Mirchandani + Steinruecke (B2) from Mumbai and Seven Art Limited (B28) from New Delhi present a mix of Modern masters and rising Contemporary artists from India. In addition, two London galleries specialising in Asian art – Grosvenor Vadehra Gallery (B18), which is paying tribute to the late MF Husain through a mini-retrospective of some of the artist’s most pivotal works, and Aicon Gallery (B21), presenting an array of India’s Modern and Contemporary artists including Debanjan Roy, Angolie Ela Menon, Raghu Rai and Ram Kumar, similarly, reveal the artistic diversity in Indian art. “There seems to be many progressive-minded galleries in Dubai similar to what is taking place in India,” says Ranjana Steinruecke from Galerie Michandani + Steinruecke which are exhibiting at the fair for the first time. “It’s a great feeling to take part in something new and to build our identity through an artistic dialogue with a region so close to India.”

The works on display at these galleries bring together Modern Indian Masters with esteemed Contemporary names. Among the works on show is one by Adip Dutta at Experimenter Gallery is an untitled stainless steel and fibreglass sculpture resembling that of a carcass-like archaeological discovery. However, upon closer investigation,

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MUSEUMS OF CONTEMPORARY ARTDevi Foundation, New Delhi www.devifoundation.orgKiran Nader Museum, New Delhi www.knma.inNational Museum of Modern Art, New Delhi, Mumbai and Bangalore www.ngmaindia.gov.in

MOST HYPED CONTEMPORARY ARTISTSSubodh Gupta, Bharti Kher, Jitish Khallat, Ranbir Kaleka, Atul and Anju Dodiya and Raqs Media Collective.

MODERN MASTERS MF Husain, SH Raza and Francis Newton Souza.

NOTABLE ART COLLECTORS Lekha and Anupam Poddar and Kiran Nader

ART FAIRS India Art Fair, 23–26 January 2013 www.indiaartfair.inArt Chennai, Chennai, March 2013 (dates TBA) www.artchennai.com

BIENNALESKochi-Muziris Biennale, Kerala, 12 December 2012–mid-January 2013 www.kochimuzirisbiennale.org

the viewer beholds what is in fact a large hair clip. Chemould Prescott Road shows London-based Pakistani and Indian artist Shezad Dawood’s My Father’s House, an acrylic on vintage textile work exploring the artist’s investigation of breaking down literal images to re-examine the visual make-up of the world through various patterns. Suhasini Kejriwal’s 4.3-metre-high installation made from everyday objects such as clothes, toys and cheap sunglasses on top and fruits and vegetables on the bottom attempts to commemorate the seeming socio-economic achievements of modern Indian through a monumental and hierarchical structure at Seven Art Limited. Another entry at the fair is young Dubai-born Indian artist Ubik, who engages the public in a dialogue about art fairs through an interactive installation using fortune cookies containing imprints of his bank statements. The installation comments on the changing state of finances for artists in relationship to the nature of art fairs. Such a mixed variety of artworks juxtaposed with the mini-retrospective of late Modern Master MF Husain, depict a country embedded within a conceptual and formal artistic exploration.

In past years, Art Dubai has displayed work by leading Indian artists such as Subodh Gupta, Jitish Kallat, FN Souza and Anju and Atul Dodiya, among others. “Global interest in art from India is growing steadily,” says Carver. “The fair’s support by esteemed Indian art patrons and collectors is indicative of its importance as a crucial hub in which to buy and sell art from India.” Among the fair’s advisory board sits esteemed art patron and collector Lekha Poddar and art connoisseur Smita Prabhakar. In addition, Gallerist Shireen Ghandy of Chemould Prescott Road, which has exhibited at Art Dubai since its inception in 2007, is a member of the selection committee, and lastly, Indian native and South Asian art historian Savita Apte, is co-director of the fair. “Art Dubai was the first art fair we participated in,” says Ghandy. “Since then, we’ve gone on to participate in Art Basel, FIAC, Art Hong Kong and India Art. The fair was the gateway.” It is seemingly this great blend of old and new, regional and international which endows Art Dubai with its unique vision and creative edge.

Adip Dutta. The Book of Pain. 2012. Stainless steel and iron nails. 99.1 x 66 x 38.1 cm. Image courtesy the artist and Experimenter, Kolkata.

INDIA IMPRINTS (CONT)

Beirut-based Galerie Janine Rubeiz (A28) sold two works by Rim El-Jundi for between $8000-10,000 and a piece by Lebanese artist Hanibal Srouji for $26,000 to German and Lebanese collectors, respectively.

Zurich-based Kashya Hildebrand (B6) had a good day with sales of two works on paper by Lebanese artist Marwan Sahmarani to the British Museum and Whimsical Dreams 1 by Korean artist Ran Hwang for between $40,000-60,000.

Casablanca-based L’Atelier 21 (B10) sold Love Supreme, a 2011 photograph on Plexiglas by Mohammed El-Baz for $10,000 and a mixed media on canvas work by Fouad Bellamine for $30,000; both pieces sold to Middle Eastern buyers. Pi Artworks (B11) sold the first ever circular work by Gulay Semercioglu for between $30,000-40,000 to a collector new to the gallery as well as Gaze Series, an oil-on-canvas by Irfan Onurman for $40,000 to a Dubai-based collector.

Viltin Galeria (B31) sold Colour Code H3, a light box that moves through a spectrum of colours, by German light-sculpture artist Hans Kotter for $14,000 to a European collector. Marianne Boesky Gallery (A23) sold an untitled C-print by Anthony Pearson for $18,000. Beirut's Agial Art Gallery (A16) sold an acrylic on canvas work by Lebanese artist Nabil Nahas for $65,000. Selma Feriani Gallery (A4) sold Burj Khaifa #2, a black-and-white silver print by Ziad Antar to a UAE-based collector for $14,000 and two editions of La Tour by the same artist for $9600 and $10,500 to private collectors from the region.

First-timer The Running Horse (B25) sold 14 works by Lebanese artist Alfred Tarazi for between $2000-12,000 and Selective Memory by California-based Lebanese artist Heba Kalache for $8000.

New York and London-based Aicon Gallery (B21) sold three works by Saad Qureshi – Reflections for $12,000, Between Oracle and Doubt for $4500 and Concussion for $4500 to a French collector. It also sold a Debanjon Roy work, Crushed 2, for $7500 to an international collector. Tunisian Galerie El-Marsa (A25) saw the sale of Isolation, an oil-on-canvas by Thameur Majri, for $12,000 and Graphèmes by Nja Mahdaoui for $80,000.

London gallery Rose Issa Projects (A8) sold three works by Omar D – one to a Swiss collector and two to UK-based collectors, each edition was approximately $13,000. The gallery also sold two works from Farhad Ahrarnia’s Bury My Heart series, for more than $10,000 each to a local and regional collector along with two works by Hossein Valamanesh, Shams 7 and Life Blood 5, to a Swiss collector for less than $10,000 each. Other sales included a Baal (Mohamad Said Baalbaki) oil on canvas work to a local collector for almost $30,000 and five editions of Hassan Hajjaj’s Hindiii series to regional and international collectors for almost $10,000 each.

Atassi Gallery (A3), which is only showing works by Fadi Yazigi, sold two ceramic plates for between $2500–3000, one mixed media on canvas work for $15,000 and three cigar boxes for $3000 each. All the works went to private collectors from the Middle East.

Hong Kong-based Connoisseur Contemporary Gallery (A39) sold Jim Morrison with Treble Meanings No 4 by Chan Yu for $20,000 and Bruce Lee with Treble Meanings No 6 by the same artist for $30,000 to separate UAE-based collectors.

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Hans Kotter. Colour Code H3. 2012. Plexiglas, slide, colour-changing led lights, stainless steel. 200 x 13 x 13 cm. Single edition.

SOLD (CONT)

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EXHIBITING ARTISTS:MORTEZA AHMADVAND

MOHAMMED QASIM ASHFAQ

MAHMOUD BAKHSHI

HAZEM HARB

SHOREH MEHRAN

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A TRIBUTE TO MF HUSAIN

Known to zoom around the city’s roads in his red Ferrari, the late Indian Cubist artist MF Husain found a home in Dubai during the latter years of his life. Residing in an apartment complex in the upscale Emaar Towers, Husain was known to many in the city as ‘Baba

Uncle.’ Nine months have passed since the artist died last June at the age of 97. Art Dubai commemorates the late artist with a mini retrospective of Husain’s work organised by London-based Grosvenor Vadehra Gallery.

Within the space's 40 square-metre booth are around 12 watercolour and oil paintings including the artist’s signature horses made in the 1960s. Also on view is an 18-minute short movie, Through the Eyes of a Painter, the first film directed and scripted by the artist, who also experimented with filmmaking. This 1967 documentary is set in the Indian state of Rajasthan and won a Golden Bear award at the Berlin Film Festival that same year. The works on display span different periods from Husain’s career, from the 1950s through to the 1990s. Among them is a 1963 Untitled (Three Heads – Rajasthan) oil on canvas work as well as Horses, a circa 1961 oil on canvas piece highlighting the artist’s interest in stallions. Husain’s work has been exhibited at every Art Dubai since 2007 with the artist himself attending several editions. Prices for the works on show start at around $80,000.

Owais Husain, the artist’s youngest son, was especially touched by the commemoration. “As a son and an artist, it is very inspiring,” he says. “My father was an extremely generous person – this is the fruition of his work.” Owais hopes to release his own documentary entitled Letters to My Son About My Father next year. The film was created over three years and traces his father’s life in Dubai, London and Qatar. “We were very similar but also very independent artistically,” he explains. “Through the assimilation of various chapters of his life I learnt more about my father. I was like a hungry child; I wanted to grow closer to him.” The late artist also wrote letters to Owais’s now six-year-old son. These writings reveal many thoughts and ideas pertinent to the artist. Owais hopes the film will act as a memoir for posterity as well as offer his son a glimpse into his own father-son relationship. An intimate glimpse into the artist’s career, this special retrospective showcases MF Husain’s pivotal oeuvre to international and local guests and links the late artist once again to Dubai.

A mini-retrospective at London-based Grosvenor Vadehra Gallery showcases paintings, photo prints and a short documentary of the late Indian artist MF Husain.

MF Husain. (Detail) Untitled (Three Heads-Rajasthan). 1963. Oil on canvas. 61.1 x 80 cm.

MF Husain. (Detail) Trio.1967. Oil on canvas. 53 x 89.5 cm. Both images courtesy Grosvenor Gallery, London.

08 22 MAR 2012 I CANVAS DAILY I ISSUE 3 I ART DUBAI EDITION

SPOTLIGHT ON SAUDI ART INSIGHTTate Modern Director on Edge of Arabia’s latest show in Jeddah, We Need to Talk, which ran from 20 January until 28 February this year.

We have been closely following the development of Edge of Arabia through its different presentations abroad since its inception in 2008. Indeed, in the jigsaw puzzle of the new art of the greater Middle East, this piece – an important edge – was lacking. It is important that in its fourth year, [We Need to Talk, Edge of Arabia’s Jeddah show] is a home-play for the ‘edge’. The great number of young locals – their curiosity and enthusiasm – is proof of that! Edge of Arabia’s organisers are experienced art professionals, the proof is their credibility both abroad and at home. This show was the most mature so far through its themes, choice of artists, interpretation and display. The works of Maha Malluh, not in the least because of her age; Ahmed Mater, because of its pointed criticality; and of Manal Al-Dowayan; deserve great interest and a following also in Europe. The fact that there are very strong works by ‘strong women’ is an important sign. The outspokenness and boldness of the works of these three artists is striking, especially set off against many ‘decorative’ works in the art of the greater Middle East. They give us ‘outsiders’ an unparalleled insight in the psycho-social tensions read; contradictions and paradoxes, which can be traced in the Kingdom. The fact that most of these artists have other professional careers is also evidence of the fact that the greater Middle East is the birthplace of a new type of Contemporary art as well as a new role for Contemporary art beyond the artificiality and superficiality of new art markets. These artists are true intellectuals with a great eye for form and immanence. That the organisers of Edge of Arabia went out of their way to show and tell guests of the complexities and absurdities of historical preservation in the country is proof their openness and intelligence.

Four young British artists toured 12 countries in the Middle East as part of a cultural journey in 2002. A year later, they founded the Offscreen Education Programme, which saw a series of international exhibitions

of works inspired by their grand voyage. But it was a chance encounter with Contemporary Saudi artists in the Al-Meftaha Arts Village in Abha in 2003, which shocked not only a member of the foursome, Stephen Stapleton, but almost everyone else. He later took his findings to cultural organisations, patrons, magazines and pretty much all those who make up the fabric of the Contemporary Middle Eastern art world. Of course eyebrows were raised. Saudi art? Did the genre even exist? Was it any good? More importantly, how long of an expiration date did it have?

The fact of the matter is that Contemporary Saudi art, like the Kingdom it originates from, was a victim of stereotyping and was also insular, but it had not been forgotten, nor was it disregarded. One of its primary supporters, who is widely recognised as the ‘patron of Saudi artists’, is HRH Princess Jawaher Bint Majid Bin Abdulaziz Al-Saud. In 1999, she established the Al-Mansouria Foundation, which seeks to promote Saudi art through the staging of exhibitions in the Kingdom and overseas. “Princess Jawaher comes to every single show we stage,” says Mohammed Hafiz of Jeddah’s Athr Gallery (A1) – an institution which, since its establishment in 2008, continues to serve as a catalyst in the Saudi art scene. In 2001, the Foundation acquired a studio for artist residencies at the Cité International des Arts in Paris. There may have been a lull post 9/11 around the world and in Saudi, but it didn’t deter the Kingdom’s artists. “Saudi art was good, it just needed to be guided and promoted,” adds Hafiz.

Stapleton and artists Ahmed Mater and Abdulnasser Gharem – the former a physician and the latter a lieutenant colonel in the Saudi army – established Edge of Arabia (EoA), an organisation which seeks to promote art, both from and within the Kingdom. Its first show at the Brunei Gallery in London’s SOAS in 2008 attracted 13,000 visitors and good

It isn’t a recent phenomenon, but it is a phenomenon nonetheless: Contemporary Saudi art is making headlines.

Left: Hamza Serafi's installation at Edge of Arabia's We Need to Talk in Jeddah, January 2012. Image courtesy Edge of Arabia. Right, Michael Govan. © 2010, Museum Associated/LACMA.

news travelled fast. A year later, Abdullah Al-Turki came on board as the organisation’s Creative Director; a series of exhibitions in Europe and the Middle East were subsequently staged. More good news travelled. And in 2010, EoA participated at the Global Competitiveness Forum in Riyadh, where Michael Govan, CEO and Wallis Annenberg Director of the Los Angeles County Museum of Art (LACMA), met some of the organisation’s artists. “It was a combination of a certain isolation and traditional terms of environment where you become an artist; and yet, the language that the artists were speaking was quite knowing,” says Govan, whose organisation acquired a video work by Gharem soon after. LACMA’s Linda Komaroff went on to attend EoA’s Berlin show in the same year and commissioned a work by Mater (the piece is part of LACMA’s Gifts of the Sultan exhibition staged in 2011 and currently on show in Doha). “What’s so interesting is that LACMA is an encyclopaedic museum, and here we are, an American institution, which organised an exhibition of Islamic art that travelled to the Middle East,” adds Govan.

In the last year or so, monographs on Mater and Gharem were published. Saudi participated through a National Pavilion for the first time at the Venice Biennale in 2011. EoA artists donated works in aid of the organisation’s education programme through Christie’s Dubai; the auction made Gharem a record-breaking living Arab artist with $842,500 achieved for his Message/Messenger installation. “[By donating the proceeds to EoA], I made sure that everything I didn’t have or experience as a child – museum visits, art books etc – was given to the next generation of artists,” says Gharem. Works by EoA artists were exhibited through a collateral event at the last Venice Biennale; some are showing at the British Museum’s Hajj: Journey to the Heart of Islam. Saudi artists have been picked up by international galleries – there’s talk of Maha Malluh being added to a London gallery’s stable; Ayman Yossri Dayban is represented by Athr but also by London’s Selma Feriani Gallery (A4) and Dubai’s Cuadro Fine Art Gallery where he’s just completed a residency and is holding a show. “Saudi artists are questioning the world around them in a mature way,” says Cuadro’s Bashar Al-Shroogi. “They are conceptualising artwork at a very contemporary level and producing artworks at global standards.” This was profoundly evident in EoA’s January show in Jeddah, We Need to Talk, which many have suggested is the organisation’s best to date.

The question is where to from here – almost light years away from Al-Meftaha Arts Village in Abha? “Let Saudi artists keep doing what they’re doing, the quality already shows,” says Komaroff; “the success of these artists will enable the next generation to produce art.” There’s no stopping Al-Turki, who cites “greater output and a more involved Saudi audience keen on nurturing a creative economy”; the organisation is yet to announce the appointment of a new curator before their next show in London in October this year. “My advice is to speak to the environment; education is key,” adds Govan; “In Saudi I think there’s an openness to create an environment for thinking and exchange among artists.” Hafiz, Al-Turki, Al-Shroogi and many more of their peers are doing just that: cultivating the seeds of a genre that’s gaining solid momentum.

A view of Manal Al-Dowayan's installation, My Name, at Edge of Arabia's We Need to Talk in Jeddah, January 2012. Image courtesy Edge of Arabia.

Ahmed Mater, German artist Wolfgang Tillmans and Tate Director Chris Dercon at Mada'in Saleh, a World Heritage Site in Saudi Arabia. Photography by Myrna Ayad.

at Toby Arts, Al-Quoz until 31 Marchwww.jamm-art.com

is the eleventh month in the solar calendar. Bahman was a famous cinema that was destroyed during the 1979 Islamic Revolution. And, as we have been told, Bahman cigarettes are the preferred brand of Iran’s intellectual circles. Through the interweaving of several pasts by the overlapping of ongoing decorative forms, destroyed cultural sites and intangible social modes, Bakhshi succeeded in constructing a poignant and complex commentary on both, the material and the political realities of an ever shifting reality that is based on his own experience of living in post Revolutionary Iran.

10 22 MAR 2012 I CANVAS DAILY I ISSUE 3 I ART DUBAI EDITION

EXCAVATING THE PAST, ILLUMINATING THE PRESENT

Paradise Row Gallery (B29)Adam Broomberg and Oliver Chanarin - The Prestige of TerrorBroomberg and Chanarin’s set of prints were created in Cairo in 2010 for an exhibition at the Townhouse Gallery that commemorated an artist collective that was founded in Cairo on 19 January 1939 and called itself Jama’at Al-Fann Wal-Hurriyyah. (The Art and Liberty Group) The Group comprised of a core number of intellectuals and artists who aligned themselves primarily with Surrealism. While many of the artists who were affiliated with the Group did not work in a Surrealist style, they seem to have been attracted, or at least sympathetic towards Surrealism’s leftist revolutionary project. Through the Group’s activities, artists could implement a number of both, creative and political projects alike, that resonated with a rejection of what they perceived as an imported salon-like artistic academicism endorsed by an oppressive Colonial/Monarchic regime and a conservative middle class bourgeois morality. The duo reprinted several slogans or statements they excavated from some of the groups publications on a printing press from the same period and presumably on the same paper on which the original pamphlets were printed.

Gallery Etemad (B9)Mahmoud Bakhshi The work by Mahmoud Bakhshi at Etemad is another manifestation of a larger project entitled Wall. It is made of hundreds of real cigarettes. At first, the geometrical construct of the work seems reminiscent of a traditional aesthetic expression common in many of the region’s architectural and decorative art forms. Yet, the artist’s premeditated choice for transforming them into building blocks tells of a more complex semantic. Bahman, the cigarette’s brand,

Adam Broomberg & Oliver Chanarin. (Detail) Excerpt from The Prestige of Terror (A Cloud Passing Over Cairo). 2010. Ink on paper. 28 x 21.5 cm. Edition of eight plus two artist proofs. Image courtesy Paradise Row, London.

Mahmoud Bakhshi. (Detail) Untitled. 2011. Straws. 50 x 50 x 16 cm. Image courtesy Etemad Gallery, Tehran/Dubai.

Aicon Gallery (B21)MF Husain – The MirageThe timely tribute to late Indian artist MF Husain staged by the Grosvenor Vadehra is a noteworthy endeavor. Yet, an unassuming gem lies at Aicon Gallery, tucked in a corner, almost unnoticed.

The 1960 abstract work stands out as a pointer to a short-lived phase during a period mostly known for the artist’s more iconic horses. The work manages to elude the prevalent rhetoric that has framed the at times reductionist or Western-centric discourse surrounding the artist’s work. This painting posits the case for a re-investigation of a less explored aspect of the artist’s work and makes for an argument that maybe there is something more to search for in his collective opus.

Curators Sam Bardaouil and Till Fellrath take us on a tour of Art Dubai and highlight their favourite pieces. Looking at things from a curatorial perspective, both describe their picks as falling under the theme of looking to the past to understand the present. As a common thread developed, the works’ dual nature of straddling two worlds creates a unique rhythm when walking through the fair.

Galerie Krinzinger (B1)Kader Attia – Modern GeneologyAttia’s collages, Modern Genealogy, are part of the artist’s larger concern with the question of the interrelatedness of colonialism and modernity. The architectural quality of the collages themselves allude to the aesthetic of modernist architecture, or to be more exact, a more economic rigid manifestation of it in the type of community buildings that were constructed in the suburbs of Paris to accommodate the incoming waves of mostly Algerian and African immigrants from the 1950s to the 1970s. Kader’s references to the banlieues evident, his clusters of individuals dwarfed by images of the Expositions Coloniales emphasise the continuity between colonial modernity and current economic, political and cultural realities amongst immigrant communities scattered along the North South Mediterranean axis. The work contests with the dominant historiography by which modernity has been inscribed as a Western construct that was aped, to a less successful extent, by the colonised periphery.

Kader Attia. (Detail) Modern Genealogy #1. 2011. Collage. 36 x 47 cm.

Grey Noise (A10)Mehreen Murtaza – Crisis ApparationsWe think there’s a beautiful blend between fact and fiction, framing and representation and an intervention of things that exist and the elements the artist adds on top to add a level of complexity to the story and add all these references to ideas such as conspiracy theories and historiography. What is very interesting is that it refers to how the geography and boundaries of the region were created by powers that weren’t from the region. The lines were drawn, the histories were written, the boundaries were set without keeping in mind the ‘local’. In a sense, the crisis refers to the crises that continue to current day. They tell a story as a whole but tell individual stories as well. In a way, the artist is an archaeologist and

an archivist that is constructing a story that oscillates between not only fiction and myth but also reality.

Mehreen Murtaza. (Detail) Ottoman Flags Fly Over the Nabi Musa for the Last Time, in 1917. 2012. Inkjet print on Hahnemühle photo rag. 16.51 x 21.59 cm. Edition of four plus one artist proof.

Alexander Gray Associates (A22)Hassan Sharif and Luis CamnitzerIt’s hard to pick a specific piece in this installation; it is more about an art dialogue. The artists have much in common – Sharif was a pioneer in the UAE while Camnitzer was a pioneer in Latin America; they’re both very conceptual artists, and for lack of a better saying there’s a fantastic dialogue. These are two artists who grew up in completely different places where it was uncalled for them to create Conceptual art and they were making work that was so Avant-garde and visionary. Put them together and you could even have a hard time telling which piece is by which artist. There’s a certain fragile and ethereal quality to the way the works sit in a three-dimensional space, it's very unassuming and whispers to you. The more time you spend with it, the more layers it reveals – you have to allow time to share the space with the works.

Alexander Gray Associates at Art Dubai.

MF Husain. The Mirage. 1960. Oil on board. 121 x 76 cm. Image courtesy Aicon Gallery, London.

BE PART OF MODERN. CONTEMPORARY.ABU DHABI ART.7 - 10 November 2012Saadiyat Cultural DistrictAbu Dhabi, UAEabudhabiartfair.ae

Applications now open for modern and contemporary art and design galleries.

Application closing date: 1 May 2012For more information call +971 2 406 1501 or email abudhabiartfair@tdic.ae

Organised by:

14 22 MAR 2012 I CANVAS DAILY I ISSUE 3 I ART DUBAI EDITION

ART FOR ALL

LESS THAN $5000:

1. At Green Cardamom: Nazgol

Ansarinia. (Detail) Reflections/

Refractions (Second Trial Session

for Egypt’s Dictator in Cairo Hosni

Mobarak’s Second Trial Session

Behind Closed Doors). 2011.

Newspaper collage. 40 x 60 cm

(framed). Image courtesy the artist

and Green Cardamom, London. Price: $4400

Iranian artist Nazgol Ansarina’s Reflections/Refractions series explores the various patterns that can be found in news, and how these pre-planned fixed systems are interpreted through popular media. “She takes these articles from various newspapers in Tehran, cuts them out and re-assembles them to recreate a different pattern,” says Green Cardamom’s Hammad Nasar.

2. At Espace Kettaneh-Kunigk

(Tanit): Zena El-Khalil. Double

Trouble. 2007–8. Mixed media

on wood. 25 x 5 x 25 cm. Image

courtesy, Espace Kettaneh-Kunigk

(Tanit), Beirut/Munich.

Price: $3000

For her work Double Trouble, Lebanese artist Zena El-Khalil draws

inspiration from the revolutionary Arab Spring. “She is very conscious of the socio-political context of the Middle East,” says gallerist Naila Kettaneh Kunigk. “The artist asked me to precisely bring affordable small-scale works to Art Dubai because she wants her pieces to be distributed to a wider public.”

3. At Atassi Gallery: Fadi Yazigi.

Untitled. 2012. Ceramic plate.

Diameter: 40 cm. Image courtesy

Atassi Gallery, Damascus.

Price: $2500–3000.

Syrian artist Fadi Yazigi’s one-man show at Atassi Gallery’s booth features works inspired by the current political events of

his homeland. “All the works on show comprise the classic ‘Yazigi motifs’ and trademark colours,” says gallerist Mouna Atassi. His untitled ceramic plates aim to shed light on his ability to apply his signature style on various media, be it canvases, plates, cigar boxes or sculptures.

4. At Jogja Contemporary: Agus

‘Baqul’ Purnomo. Allahu Akbar

#2. 2011. Acrylic on canvas. 150

x 200 cm.

Price: $2800

Indonesia artist Agus ‘Baqul’ Purnomo’s piece Allahu Akbar #2 examines

the importance of Islamic prayers in the daily life of Indonesian Muslims. “We wanted to bring sometimes that is a strong link between the Middle East and Indonesia – Islam,” says Jogja Contemporary’s Valentine Willie.

$5,000 TO 25,000

1. At Rose Issa: Hassan Hajjaj.

(Detail) Dot 2 Dot. 2011. Metallic

lambda print. 111.8 x 76.2 cm.

Image courtesy the artist and

Rose Issa Projects, London.

Price: $12,000

Moroccan artist Hassan Hajjaj’s works at Rose Issa Project’s booth are layered with visual references to the

relationship between the tradition and modernity of his homeland. “Dot 2 Dot is an example of a playful and fun work by Hajjaj,” says the gallery’s Omar Mazhar. “Here he juxtaposes a variety of found objects such as empty meat cans with an image of a Moroccan woman to create his own form of Orientalism.”

2. At Alexander Gray Associates:

Luis Camnitzer. (Detail) Untitled.

1968. Etching on paper. 66 x 63.5

cm. Image courtesy Alexander

Gray Associates, New York.

Price: $19,000

Luis Camnitzer’s Untitled 1968 etching on paper work is imbued with the

word sun repeated four times in a visual descent. “It is typical of the late 1960s work by the German-born Uruguayan Conceptual artist,” said the gallery’s Alexander Gray. “It is from a series of prints which are also housed in the Museum of Modern Art (MOMA) in New York.”

3. At Artspace: Zakaria Ramhani.

(Detail) Faces of the Other

38. 2010. Acrylic on canvas.

240 x 240 cm. Image courtesy

Artspace, Dubai.

Price: $24,000

Moroccan artist Zakaria Ramhani’s Faces of the

Other 38 uses intricate Arabic calligraphy to portray the human face. “This work goes more in-depth visually than the artist’s previous oeuvre found through the multitude of vibrant colours used to portray and lighten the mood of the numerous faces within the piece,” says Artspaces’s Sossy Dikijian.

4. At Pilar Corrias Gallery: Shazia

Sikander. (Detail) Prolonged

Exposure to Agitation (9a). 2009.

Ink and gouache. 45.7 x 35.6

cm. Image courtesy Pilar Corrias

Gallery, London.

Price: $25,000

Pakistani artist Shazia Sikander’s Prolonged Exposure to Agitation

(9a) is part of a series which merges Persian miniature figuration with abstract formations imbued with a biological semblance. “This is a beautiful and intricate work on paper by this pioneer in Contemporary Pakistani art,” says the gallery’s owner Pilar Corrias. “Similar pieces by the artist can be found in the collection of the Museum of Modern Art (MOMA) in New York.”

MORE THAN $50,000:

1. At Agial Art Gallery: Louay

Kayyali. (Detail) View from Ras

Baseet. 1976. Oil on canvas. 100

x 80 cm. Image courtesy Agial Art

Gallery, Beirut.

Price: $85,000

Syrian Modern artist Louay Kayyali’s oil on canvas work View from Ras Baseet is perfectly in line with

the booth’s curatorial theme of trees. “I wanted to examine the perception of a tree by Arab artists,” says Agial Art Gallery’s Saleh Barakat. “The piece has a fantastic pedigree and it a true collector’s item.” The Aleppo-born artist passed away two years after the work was produced.

2. At Galeria Filomena Soares:

Jean-Marc Bustamante. Ozelot.

2011. Silk-screen on Plexiglas

and metal frame. 150 x 150 cm.

Edition one of one plus one artist

proof. Image courtesy Galeria

Filomena Soares, Lisbon.

Price: $65,000

Inspired by architectural space, French sculptor and

photographer Jean-Marc Bustamante’s portrays landscapes in his oeuvre. “He always starts with photography and develops the piece from there,” says Galerie Filomena Soares’ Bruno Muireas. “This mixed media work is from a new series, which is why we thought it would be perfect for Art Dubai.”

3. At Carbon 12 Gallery: Andre

Butzer. (Detail) Apfel und Birnen

(Apples and pears). 2010. Oil

on canvas. 80 x 60 cm. Image

courtes Carbon 12, Dubai.

Price: $20,000-26,000

This work by German artist Andre Butzer is a fun and animated piece typical

of the artist’s trademark anarchic visual codes. “It’s one of the highlights of our stand,” said the gallery’s Kourosh Nouri. “The work announced a new series of works in Butzer’s oeuvre called N Paintings.”

4. At Connoisseur Art: Oscar Satio

Oiwa. (Detail) Mangrove. 2008.

Oil on canvas. 227 x 333 cm.

Image courtesy Connoisseur Art,

Hong Kong.

Price: $90,000

Brazilian-born Japanese artist Oscar Satio Oiwa’s Mangrove is imbued with natural motifs referencing the Brazilian landscape. “The work is typical of the

artist’s oeuvre which seeks to transform scenes from Contemporary society into an imaginary and poetic apocalypse,” said the gallery’s Hannah Chin.

The sixth edition of Art Dubai offers art collectors a wide spectrum of both artworks and price brackets.

Gallery Isabelle Van Den EyndeI Put It There, You Name ItUntil 3 May A group show featuring works by Iranian artists Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian, the gallery space has been structured by the artists in order to offer an interactive exhibition. In form of collages, the works on display create narratives inspired by the artist’s personal experiences and perceptions. They aim to blur the boundaries between the artists and the audience through the presentation of contextualised observations which could be shared by all. For more information visit: www.ivde.net

Etemad GalleryGOOD NEWS BAD NEWS NO NEWSKamran DibaUntil 24 AprilParis-based Iranian artist and architect Kamran Diba’s solo exhibition of recent works features a series of paintings based on recent news footage derived from international media. The Front Page series, for example, depicts abstracted newspaper articles while Narratives addresses the worlds of cinema, crime, art and sport and the installation GOOD NEWS BAD NEWS NO NEWS, tackles the inability of certain broadcasting news outlets to communicate their stories globally.For more information visit: www.galleryetemad.com

Carbon 12Restless ViolenceSara RahbarUntil 28 AprilThis exhibition presents 10 works by Iranian artist Sara Rahbar stemming from two new series, War and Confession of a Sinner. Rahbar’s work draws inspiration from cultural memory and ideological symbols and comprises vintage textiles and collected objects. As a result, the work deconstructs both personal history and historic momentum. Each work on show is titled after a short poem and is characterised by an acute hint of German Romanticism. For more information visit: www.carbon12dubai.com

Lawrie ShabibiBlack is the New WhiteNadia Kaabi-LinkeUntil 28 AprilWork by one of the 2011 Abraaj Capital Art Prize winners Tunisian artist Nadia Kaabi-Linke is presented in this exhibition exploring themes related to the socio-cultural context of the Middle East and North Africa. The works on display are inspired from historic buildings in Tunis, dilapidated walls, desert bugs, traditional attire and shadow and light. Kaabi-Linke aims to expose the state of ambiguity and inner conflict currently facing modern Middle Eastern society.For more information visit: www.lawrieshabibi.com

Green Art Gallery Brute OrnamentUntil 5 MayCurated by Murtaza Vali, this exhibition features works by Iranian-born New York-based Kamrooz Amran and Pakistani artist Seher Shah. The pieces on show explore the conflicted relationship between the decorative tradition of ornament and Western modernism, revealing the evolution of both styles throughout art history. This two-person show suggests a dialogue between Islamic iconography and Modernist theory.For more information visit: www.gagallery.com

A look at this month’s exhibitions in Dubai’s Alserkal Avenue.

DUBAI HIGHLIGHTS

It’s been said that you use your body in performance art because you feel it’s the best way to connect with yourself. Do you feel it is the most ‘honest’ medium for

you?When I made performance art 20 years ago using my body, I felt that the body can know, can generate feelings, that it includes spirit and soul and that I can, through performance art, know how all of this works together. When I’m performing, I always want to forget life and reality and separate my soul and my body. Performance art is the most honest medium; it is the most direct expression for me. At the time, only my body was my art; any other material – sculpture, painting or anything else – felt too distant. But I’ve changed since; I lost the harmony because with age. When I was younger, my body had a lot more energy and harmony.

While Skin, your 1997 work at The Pace Gallery booth is composed of 20 photographs, it also strikes as a performance piece. It is a performance piece. When I made it, I had no money to buy materials to make art with and so I tried to create art in a very simple way. This piece is really just an idea, it’s just me; it’s

just myself. People always change both on the outside and the inside. Buddhists say that life changes everywhere and at every moment and this is what I was trying to express. Physically, you can see a lot of changes through my face and my gestures, but I’m also trying to say that Skin is about life, that we don’t know what happens tomorrow. I just want to find the truth in my performances.

Your performance pieces – Original Sound of 1995 involved you placing earthworms in your mouth and in the 1994 12 Square Metres, you covered your skin in honey and allowed flies to swarm over your body in a public toilet. Do you still think about these experiences? I think that this is life; that this is my life. It’s art from life. With Original Sound, the worm comes from the earth and for me, people are the same – they come from the earth and they go back into the earth.

Your early performance pieces dealt with the difficulties of living in China. When you moved to New York, they were more flexible, so to speak. Does China ever leave you?I was born in China, worked in Beijing for eight years, lived in New York for another eight and have been living in Shanghai for six. China is my country, my land, my earth; I am planted there and those ‘seeds’ that are planted in China can’t grow in the USA – it’s a different culture, a different system. Without China, there’s no me. But both countries are important to me. Living in New York allows me to see my culture and my art from a distance – like the sides of the earth, I can see one side better when I go away and this is very important for me. My performances look like sculptures in a way – they’re very quiet and beautiful, like paintings. I think this is the more traditional Chinese form. A lot of young artists always ask me which way their art is headed and I always answer that their direction – their way – is in their name, birth date and birthplace. For example, my name is Zhang Huan, it’s my identity, it’s who I am; I was born in 1965 – this birth date means I’m living now, so my art has to reflect this time, today. I was born in China, meaning my art should reflect my culture and my country. This is my philosophy.

You once said “the body is proof of identity, the body is proof of language”. The body for me is the most beautiful thing; it gives off the best feelings, more so than any other thing. It doesn’t matter whether the body is older, younger, a Western man or an Eastern woman – it is the best ‘material’. Using the body means I can understand myself, my soul, my feelings and see my heart and my life. Today, the way I continue to try to understand my body is by playing golf in the morning and walking backwards every night at a distance of two kilometres and over two hours; it’s good for the mind and good for the back. Also walking backwards means I go back to history – to understand history, we need to go back in order to go forward. It allows me to relax and think a lot.

What’s it like seeing your own works at Pace’s booth?First, I thought it’s unbelievable that these are my works! It’s been a long time since I’d seen these pieces and seeing them again was a very strong feeling for me. It’s strange to see my artwork here because in a sense, they were babies in my studio and now they’ve grown up.

16 22 MAR 2012 I CANVAS DAILY I ISSUE 3 I ART DUBAI EDITION

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Internationally renowned Chinese artist, Zhang Huan, comes to Dubai, his first ever visit to the Middle East. In addition to holding a talk with Michael Govan of the Los Angeles County Museum of Art on 21 March, Huan’s works are shown through The Pace Gallery (B14).

ALSERKAL AVENUE ANNOUNCES EXPANSION

One of Dubai’s foremost art districts, Alserkal Avenue, has witnessed steady growth since its inception in 2007 through the vision and support of Emirati Abdelmonem

Alserkal. Following this new investment – scheduled to begin in the next few months with 2014 as an expected completion date – the district will be able to accommodate more galleries as well as artist studios. The expansion will include 62 new units and an events centre large enough to house 1000 guests in an estimated 92,000 square-metre-space.

The area currently houses over 10 Contemporary art galleries including Ayyam Art Centre, Carbon 12, Etemad Gallery, Isabelle Van Den Eynde Gallery, Green Art Gallery, Satellite, Lawrie Shabibi, Mojo, Gulf Photo Plus and the Salsali Private Museum, all of which are located on one avenue, allowing the public to explore the work of artists from across the globe within a one-block radius. This month also sees the arrival of new galleries and creative spaces to Alserkal such as La Galerie Nationale, Grey Noise Gallery, Barakat Gallery, Showcase Gallery as well as Lammtara Pictures and FN Designs. Two galleries from Alserkal Avenue – Green Art and Isabelle Van Den Eynde – will participate in this year’s Art Basel. .

Alserkal Avenue, the art district located in Dubai’s Al-Quoz industrial area, will double in size following yesterday’s announcement of a $13.6 million development project.

Abdelmonem Alserkal. Photography by Sophia Dadourian.

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20 22 MAR 2012 I CANVAS DAILY I ISSUE 3 I ART DUBAI EDITION

5 MINUTES WITH...

THREE WORDS THAT COME TO MIND WHEN YOU THINK OF DUBAI:

Modern. Interesting. Different.

MY FIRST IMPRESSION OF DUBAI WAS: Good.

THE ARTWORK I WOULD ROB A BANK FOR IS: One of Francis

Bacon’s Pope paintings.

ARTISTS I’D LOVE TO HAVE LUNCH AND DINNER WITH: Lunch with

Andy Warhol and dinner with Francis Bacon.

FIVE PREREQUISITES FOR SURVIVAL IN THE ART WORLD: Knowledge of

art history. An open mind. A good network. A smart phone. An iPad.

MY BIGGEST ART WORLD GOOF WAS: Not taking Francis Alys

seriously in 1991.

LOOKING BACK AT MY CAREER IN THE ART WORLD, I WISH I HAD:

Moved to New York in 1991.

IN THE ART WORLD, IT’S NEVER TOO LATE TO: Discover an artist.

I WAS LOST FOR WORDS WHEN: I saw the Guernica.

THE ART WORLD’S BIGGEST CRIME IS: The VIP Art Fair.

ONE OF THE ART WORLD’S GREATEST UNSUNG HEROES IS:

Betty Tompkins.

IF THERE IS ONE ERA I WOULD GO BACK TO, IT WOULD BE: The 1960s.

YOU WOULD BE SHOCKED TO KNOW THAT: I called my goldfish Larry.

IT WOULD MAKE MY MOTHER PROUD TO KNOW THAT: I sold to

Stephanie Seymour.

AT ART FAIRS, I WISH THEY WOULD SERVE: Good food.

I FEEL LIKE A CHILD AGAIN WHEN: I drink.

THE MOST THOUGHT-PROVOKING QUESTION I HAVE EVER BEEN

ASKED IS: “Is it all by the same artist?” at a group show.

IF I HAD TO SUMMARISE, I WOULD SAY THAT ART IS: Great fun.

RODOLPHE JANSSEN FOUNDER OF EPONYMOUS GALLERY (A33)

THREE WORDS THAT COME TO MIND WHEN YOU THINK OF DUBAI:

Indulgence. Contradiction. Sand.

THE ARTWORK I WOULD ROB A BANK FOR IS: Three Love Songs by

Adel Abidin

ARTISTS I’D LOVE TO HAVE LUNCH AND DINNER WITH: Both meals

with German artist Matthias Bitzer.

FIVE PREREQUISITES FOR SURVIVAL IN THE ART WORLD: Patience.

Patience. Patience. Patience. Patience.

MY BIGGEST ART WORLD GOOF WAS: I had no idea who Mario

Testino was when he walked into my gallery.

LOOKING BACK AT MY CAREER IN THE ART WORLD, I WISH I HAD:

Looked at the bigger picture.

IN THE ART WORLD, IT’S NEVER TOO LATE TO: Pull a crazy.

I WAS LOST FOR WORDS WHEN: I met Shirazeh Houshiary.

THE ART WORLD’S BIGGEST CRIME IS: Ignorance.

ONE OF THE ART WORLD’S GREATEST UNSUNG HEROES IS: Hanif,

the gallery’s handler/cleaner/driver.

IF THERE IS ONE ERA I WOULD GO BACK TO, IT WOULD BE:

Surrealism, it looked liked so much fun.

MY BIGGEST VANITY IS: Shoes.

YOU WOULD BE SHOCKED TO KNOW THAT I: Studied computer science.

IT WOULD MAKE MY MOTHER PROUD TO KNOW THAT: We got

into Art Basel.

AT ART FAIRS, I WISH THEY WOULD SERVE: Gummy bears.

I FEEL LIKE A CHILD AGAIN: Regularly.

THE SILLIEST QUESTION I HAVE EVER BEEN ASKED IS: “What kind of

things do you sell?”

YASMIN ATASSI DIRECTOR, GREEN ART GALLERY (A30)

Louis Vuitton: Art, Fashion and Architecture Contribution by Jill Gasparina, Glenn O'Brien, Taro Igarashi, Ian Luna and Valerie SteelePublisher: Rizzoli International Publications Edited by Ian Luana This coffee table book presents the fashion and architectural beauty

created by Louis Vuitton. Consisting of 400 pages filled with numerous glossy coloured photographs, it illustrates the inspiration and design process of the collections with shots of limited edition products, photo shoots and fashion shows. Merging fashion and art, the book details various collaborations from an elite assortment of artists, designers and photographers. Price: AED 445/$121

The Phaidon Atlas of 21st Century World Architecture Edited by Phaidon EditorsThis tome comprises the greatest works of 21st century architecture constructed since 2000 in countries all over the world. Featuring works by emerging architectural talents alongside internationally recognized architects, projects have been chosen through an expert panel

and specialist advisors. The publication presents a variety of building types, ranging from single houses, cafes and wineries to museums, airports and embassies, as well as specially commissioned maps and graphic data of architecture’s global contexts.Price: AED 575/ $157

A look at some of the publications available at the Jashanmal bookstore.

LIBRARY

Aquestion I am often confronted with regarding my profession is: Why can Contemporary art be difficult to grasp? The way to approach this question requires some

consideration as the possible answers are always evolving. Some of the underlying reasons are perhaps because Contemporary art has to do with our current context, the here and now. Perhaps we do not yet have enough distance to enable a retrospective understanding? Yet one could also propose that we are in a period of a ‘paradigm shift’ in which Contemporary art is already part

of art history. Proposing a perspective on an understanding of Contemporary art is at the core of the profession of curating.

Curating is increasingly about the mediation of ideas, be it through the medium of exhibitions, publications or symposia. It can be perceived as a gateway to Contemporary art, to artists and the presentation of their practices. In the art scene, we are indeed witnessing symposia and publications for which the concept has been developed by curators in dialogue with artists. Similarly, editors are increasingly taking on the role of curators with regards to publications on art and culture.

These developed concepts offer insights into the workings and underlying subject matters that feed the art world. Contemporary art not only pertains to our context, our contemporaneity, but in addition to offering its representation, it allows for reflection and criticality. These reflections permeate through an array of disciplines, be it music, literature, politics or society at large. Art being an integral part of our visual culture offers new ways of seeing the world in which we live in.

In my view – next to following the developments of artistic practice and engaging in dialogue with peers – this is one of the aspects I find fascinating about Contemporary art: through art, one can gain understandings of different disciplines and the interdisciplinarity of art becomes more evident. There is a constant process of education and of re-evaluating our acquired knowledge that is worthy of noting. Contemporary art challenges my perceptions, my understandings and requires me to widen the scope to expand my knowledge of different disciplines. Perhaps one of the things to bear in mind with Contemporary art is that it enables us to perceive in a way that we have not experienced nor considered before.

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OPINION: AMIRA GAD ON UNDERSTANDING CONTEMPORARY ART

From 22–24 March, the Artbus departs from Dubai's Souk Madinat Jumeirah at 10 am where passengers will be able to visit Art Dubai. Routes included are the Al-Quoz Route, DIFC Gate Village, Downtown Dubai Route and the Jumeirah/Bastakiya Route. Galleries included in this tour are 1x1 Art Gallery, Ara Gallery, Art Connection, Art Sawa, Art Space, Ayyam Art Centre Ayyam Art Gallery, Carbon 12, Cartoon Art Gallery, Cuadro Fine Art Gallery, Etemad Gallery, Fann-A-Porter, Fn Designs, Funoon, Gallery Isabelle Van Den Eynde, Green Art Gallery, Grey Noise, Gulf Photo Plus, Hamail Art Galleries, Hunar Gallery, Lawrie Shabibi Gallery, Marsam Matter, Mojo Gallery, Opera Gallery, Pro Art Gallery, Salsali Private Museum, Satellite, Shelter, SIKKA Art Fair, Tashkeel, The Courtyard Gallery, The Empty Quarter, The Farjam Collection, The Majlis Gallery, The Pavilion, The Third Line, The jamjar, Total Arts, Traffic and XVA Art Hotel. Tickets priced at 50 AED.

For more information call +971 43417303 or email artbus@artinthecity.com

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LISTINGS

ABU DHABIAbu Dhabi Festival 11 March – 6 April Various venues Organised by the Abu Dhabi Music and Arts Foundation, this is a classical arts event featuring music, dance, painting and sculpture. Tel: +971 26510300 www.admaf.org Twitter @abudhabi_fest

DUBAI Art Couture 2 – 30 March Art Contemporary 2012 Works by Gerald Huber, Corine Pagny and Cynthia Reta Richards on show. Tel: +971 46010101 www.artcoutureuae.com

Gulf Photo Plus 4 March – 15 April Soul Rebel Rare photographs capturing Reggae legend Bob Marley through the eyes of award-winning photojournalist David Burnett. Tel: +971 438545 www.gulfphotoplus.com Twitter @gulfphotoplus

Tashkeel 6 March – 30 April Mawtini Works by local and UAE-based artists who explore the concept of home. Tel: +971 43363313 www.tashkeel.org Twitter @tashkeel

Artspace 7 March – 5 April Yousef Ahmed A new selection of works by the renowned Qatari artist. Tel: +971 43230820 www.artspace-dubai.com Twitter @artspace

Total Arts Gallery 19 March – 30 April Sinking Ship An exhibition of works by Iranian artists Dariush Zandi and Shaqayeq Arabi. Tel: +971 43475050 www.courtyard-uae.com

Hunar Gallery 10 – 31 March Group Exhibition This exhibition comprises works by Emirati artists including Abdul Rahim Salim, Musab Al-Rais, Asma Al-Ghurair and Mona Al-Khaja. Tel: +971 42862224 www.hunargallery.com Twitter @HunarGallery

Ayyam Art Centre (Al-Quoz) 12 March – 26 April The Samawi Collection II This show's second edition presents over 60 artworks from the private collections of Ayyam's Khaled and Hisham Samawi. Tel: +971 43236242 www.ayyamgallery.com Twitter @AyyamGalelry

Meem Gallery 12 March – 30 April Art Morocco Works by Moroccan Masters Mohammed Melehi, Ahmed Cherkaoui and Jilali Gharbaoui on show. Tel: +971 43477883 www.meem.ae Twitter @MeemGallery

Salsali Private Museum 12 March–22 March

Magical Nights, Exhibition of Auction Highlights Highlights from Magic of Persia’s upcoming Dubai auction. Tel: +971 43809600 www.salsalipm.com Twitter @SalsaliPrivateM

Sikka Art Fair 15 – 25 March Bastakiya Sikka's second edition features an entirely commissioned programme of new work by Emirati and UAE-based artists. Tel: +971 507383932 www.sikkaartfair.ae Twitter @SikkaArtFair

The Majlis Gallery 15 February – 25 March Microcosms Within the Macrocosm: Elements of a Bigger Picture This exhibition showcases works by Lynette Ten Krooden. 15 March – 25 March Off the Wall Works by international and national artists on show. Tel: +971 43536233 www.themajlisgallery.com Twitter @majlisgallery

Mottahedan Projects 15 March – 15 June Without Hope Without Fear Inaugural show presents works by Reza Aramesh, Carroll Dunham, Barnaby Furnas and Tala Madani, among others. Tel: +971 43805525 www.mottahedan.com

The Pavilion Downtown Dubai 17 – 31 March Annual Banner Commission: Flea-Ing Me Egyptian-Lebanese artist Lara Baladi's 40-metre banner wraps around the corner of the building’s façade. 17 March – 30 June Living with Video Curated by Chantal Crousel, the show presents video works by nine Contemporary artists. Tel: +971 44477025 www.pavilion.ae Twitter @PavilionDubai

Gallery Isabelle Van Den Eynde 17 March – 3 May I Put It There, You Name It Group show featuring mixed media works by Iranian artists Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian. Tel: +971 43235052 www.ivde.net

Design Days Dubai 18 – 21 March Downtown Dubai The fair's first edition features collectible and limited edition furniture and projects presented by international and regional galleries. Tel: +971 43842000 http://designdaysdubai.ae Twitter @DesignDays

Toby Art Projects 18 – 31 March The Michael Haddi Exhibition JAMM hosts its inaugural exhibition in Dubai featuring works by French/Algerian photographer Michel Haddi. Tel: +44 7899795432 www.jamm-art.com

The Third Line 18 March – 19 April Lebanese Rocket Society

Lebanese artists Joana Hadjithomas and Khalil Joreige present three new works which continue their ongoing research on the Lebanese Rocket Society. Tel: +9714 3411367 www.thethirdline.com Twitter @thethirdline

Showcase Gallery 18 March – 18 April Nothing Beats the Blunderbuss The gallery inaugurates its new location with works by British artist Amartey Golding. Tel: +971 43488797 www.showcasedubai.com Twitter @showcasedubai

FN Designs From 19 March Sketch An evening of live sketch and art marking with all creations produced available for immediate sale. Tel: +971 43488515 www.fndesigns.blogspot.com Twitter @FannDesigns

La Galerie Nationale 19 March The gallery inaugurates its new space through rare objects and furniture spanning the early 20th century to the 1970s. Tel: +971 43549212 www.galerie-national.com

The Farjam Collection 19 March – 19 June Girl's Night

Solo show of photographs, drawings and mixed media pieces by Iranian artist Shirin Aliabadi.

Tel: +971 43230303 www.farjamcollection.org Twitter @FarjamMuseum

The jamjar 19 – 31 March The Tension of Balance Rebecca Rendell presents new works following her residency programme. Tel: +971 4 3417303 www.thejamjardubai.com Twitter @thejamjar

Mojo Gallery 19 March –10 April Terra Incognita: Unmapped Identities A collaboration between Indian photographer Binu Bhaskar and Angolan painter Alex da Silva. Tel: +971 43477388 www.themojogallery.com Twitter @MojoGallery

Courtyard Gallery 19 March – 19 April The Other Body Show presents works by Saudi artist Zaman Jassim inspired by the human form. Tel: +971 4 3479090 www.courtyardgalerrydubai.com Twitter @CourtyardG

Art Sawa (DIFC & Al-Quoz) 19 March – 19 April Figure Out: Contemporary Turkish Art Group exhibition features work by 19 Contemporary Turkish artists. Tel: +971 4 3408660 www.artsawa.com Twitter @ArtSawa

Grey Noise 19 March – 22 April Truth of the Matter The gallery's inaugural show in Dubai features works by Ehsan Ul-Haq and Iqra Tanveer. Tel: +971 501752080 www.greynoise.org Twitter @GreyNoiseDXB

Etemad Gallery 19 March – 24 April Good News Bad News No News Iranian artist and architect Kamran Diba's abstracted actual news articles. Tel: +971 4 346 8649 www.galleryetemad.com Twitter @etemadgallery

Carbon 12 19 March – 28 April Restless Violence Iranian-American artist Sara Rahbar presents 10 new works from two new series. Tel: +971 43406016 www.carbon12dubai.com Twitter @Carbon12gallery

Lawrie Shabibi 19 March – 28 April Black is the New White Works by Tunisian artist Nadia Kaabi-Linke focus on contradictions and inner conflicts regarding the Middle East. Tel: +971 43469906 www.lawrieshabibi.com Twitter @LawrieShabibi

XVA Gallery 19 March – 30 April Toy Story Iranian artist Morteza Zahedi’s fascination with toys and how they can be used as forms of expression. Tel: +971 4 358 5117 www.xvagallery.com Twitter @XVAGallery

Green Art Gallery 19 March – 5 May Brute Ornament Curated by Murtaza Vali, the show presents works by Kamrooz Aram and Seher Shah. Tel: +971 43469305 www.gagallery.com Twitter @greenartgallery

Ayyam Gallery (DIFC) 19 March – 26 April The Throne Othman Moussa's first solo in Dubai reveals pieces of inanimate objects reflecting Syrian life. Tel: +971 4 3236242 www.ayyamgallery.com Twitter @AyyamGallery

Cuadro Fine Art Gallery 19 March – 9 May 7 Seven solo shows by Manal Al-Dowayan, Jaffar Al-Oraibi, Athier, Nadine Kanso, Roberto Lopardo, Aidan Salakhova and Ayman Yossri Daydban. Tel: +971 4 369 3575 www.cuadroart.com Twitter @CuadroArt

Traffic 19 – 25 March Launch of ‘The State’ This sociohistorical forum investigates print and audio-visual experiences and how they transition into mediated online forms. 22 March Trace Co-produced by Art Dubai Projects and Traffic, the inaugural Performance Night at Art Dubai features an eclectic line-up of artists, poets, musicians, academics, curators and collectors. Tel : +971 43470209 www.viatraffic.org Twitter @viatraffic

1x1 Art Gallery 20 March – 18 April Terrestrial Bodies This group show presents works by Indian artists Anju Dodiya, Chittrovanu Mazumdar, Jagannath

Panda, Mithu Sen and Shibu Natesan. Tel: +971 43411287 www.1x1artgallery.com

The Empty Quarter 20 March – 30 April Women on the Verge Works by Middle Eastern female photographers presenting a personal view of the region’s social and political instability. Tel: +971 43231210 www.theemptyquarter.com

SHARJAHMaraya Art Centre 14 –19 March Migrasophia Curated by Sara Raza, this is the first show on Contemporary art practices in the post-Soviet terrain of Central Asia to be staged in the UAE. Tel: +971 65566555 www.maraya.ae Twitter @MarayaArtCentre

Sharjah Art Foundation 8 March – 12 May What Should I Do to Live Your Life? Introduces work by seven international artists whose works are placed in a space which was originally a family home. 16 March – 16 May Portrait of a Territory Curated by Christine Macel, the show presents new works by Lebanese photographer Ziad Antar. 17 March – 19 March March Meeting 2012 The annual meeting of artists, art professionals and institutions surveys the present situation, future aspirations and relationships between artists and institutions. 17 March – 25 March 1395 Days Without Red Movie screening by Šejla Kameri and Anri Sala in collaboration with Ari Benjamin Meyers. 18 March – 18 May Farther Than the Eye Can See Works by Kuwaiti-born artist Basma Al-Sharif from her residency project. Tel: +971 65444113 www.sharjahart.org Twitter @SharjahArt

Sharjah Museums 20 March – 31 May Ibrahim El-Salahi: A Visionary Modernist Traces El-Salahi’s journey of five decades from his time in Sudan to his self-imposed exile in the UK, Qatar and the USA.

21 March – 15 July Owen Jones: Islamic Design, Discovery and Vision Architect and designer Owen Jones’s meticulous study of objects and architecture of India, Turkey and Moorish Spain. Tel: +971 65197233 www.sharjahmuseums.ae Twitter @Sharjahmuseums

Barjeel Art Foundation 24 March – 28 September Alienation The works on show tackle the idea of alienation and marginalisation. Tel: +971 65566555 www.barjeelartfoundation.org

22 22 MAR 2012 I CANVAS DAILY I ISSUE 3 I ART DUBAI EDITION

RIVINGTON BAR & GRILL, SOUK MADINAT JUMEIRAHRECEIVE 20% OFF* AT RIVINGTON BAR & GRILL.

Back-to-basics British cuisine, using only the highest quality seasonal ingredients and offered at reasonable prices. This Shorditch original is a favourite with the London modern art scene and has just opened in Souk Madinat Jumeirah.

To make a reservation call +971 (0)4 366 6464 or emailreservationsmj@rivingtongrill.ae

*TERMS AND CONDITIONSPlease mention promotion code ART2012 in the restaurant at the time of settling the cheque. This offer is not valid in conjunction with any other offer and is subject to availability. This offer is valid for guests of Art Dubai and may change without prior notice.Valid until 31 May 2012.

DINING

Publisher and Editor-in-Chief Ali KhadraEditor Myrna Ayad

Consultant Editor James ParryEditorial Assistants Tala Chukri and Rebecca Anne Proctor

Editorial Interns Nadine Fattouh, Lameese Hajissa and Sara Japanwalla

Art Directors Kate Scott and Gyorgy VarszegiPhotography Haider Youssef and Jihad Adnan

Production Manager Parul AryaMarketing & Distribution Fiza Akram, Sara Yassine

and Gladys AlogFinance & Administration Eid Sabban Commercial Manager Carol Al-Hayeck

Advertising Consultant Elias Mouawad International Sales Manager Firas Khouja

IT Mohammad PrimuswalaPrinters United Printing and Publishing, Abu Dhabi

Mixed Media Publishing FZ LLC PO Box 500487, Dubai, UAE

Tel: +971 43671693 | Fax: +971 43672645 info@mixed-media.com | www.mixed-media.com

www.canvasonline.com

VENUE MAP

CARTIER NATURELLEMENT

ABRAAJ CAPITAL ART PRIZE

ENTRANCE FROM MADINAT JUMEIRAH

VIP DESK

TO SOUK MADINAT JUMEIRAH

GLOBAL ART FORUM_6FORT ISLAND

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ABRAAJ CAPITAL ART PRIZE 2012

ANOTHER BOOKSTORE

ART DUBAI BEACH BRASSERIE

CARTIER NATURELLEMENT

DXB STORE

GLOBAL ART FORUM_6

FORUM-FORUM

JUMEIRAH EATERIES

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TERRACE TALKS

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MARAYA MARKER

Fayçal BaghricheNothing More Real

Yto Barrada with Zid Zid KidsMorocco to the Moon

Carlos CeldranLivin' La Vida Imelda: Arts and Culture, Disco, True Story

James Clar and UBIKStudy for Oil and Water

Curatorial DelegationRadio for Example (R22)

Köken Ergun

The Hatch

Setu LegiPseudophobia

Magdi MostafaElements of the Unexpected

Trace: A Performance Night for Art Dubai

Deniz ÜsterSomewhere in the middle of two; southwest of one, and north of the other

UBIKPortrait of an Artist through his Statements

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ARENA GALLERIES

A1 Athr Gallery

A2 D Gallerie*

A3 Atassi Gallery

A4 Selma Feriani Gallery

A5 Galleria Continua

A6 Green Cardamom

A7 Frey Norris Contemporary

& Modern

A8 Rose Issa Projects

A9 Galerie Perrotin

A10 Grey Noise

A11 Bischoff/Weiss

A12 Aidan Gallery

A13 Experimenter

A14 Kalfayan Galleries

A15 Carbon 12

A16 Agial Gallery

A17 Cardi Black Box

A18 The Third Line

A19 Galeria Filomena Soares

A20 Ark Galerie*

A21 Aaran Gallery

A22 Alexander Gray Associates

A23 Marianne Boesky Gallery

A24 Chemould Prescott Road

A25 Galerie El Marsa

A26 Biasa ArtSpace*

A27 Galerie Canna*

A28 Galerie Janine Rubeiz

A29 Artside Gallery

A30 Green Art Gallery

A31 Galerie Chantal Crousel

A32 Arndt

A33 Galerie Rodolphe Janssen

A34 Ayyam Gallery

A35 Jogja Contemporary*

A36 X-ist

A37 Leila Heller Gallery

A38 Tashkeel

A39 Connoisseur Contemporary

A40 Espace Kettaneh Kunigk

(Tanit)

A41 Hosfel t Gallery

A42 October Gallery

JOHARA GALLERIES

B1 Galerie Krinzinger

B2 Galerie Mirchandel +

Steinruecke

B3 Pilar Corrias

B4 Goodman Gallery

B5 Artspace

B6 Galerie Kashya Hildebrand

B7 Nettie Horn

B8 Galerie Hussenot

B9 Gallery Etemad

B10 L'Atelier 21

B11 Pi Artworks

B12 Hunar Gallery

B13 CRG Gallery New York

B14 The Pace Gallery

B15 Sfeir -Semler

B16 Sutton Gallery

B17 Galerie Teresa Anchorena

B17 Galeria Ana Maria Stagno

B18 Grosvenor Vadehra

B19 Galerie Piece Unique

B20 Priska C. Juschka Fine Art

B21 Aicon Gallery

B22 Gallery Isabelle Van

Den Eynde

B23 Bolsa De Arte

B24 Galerie Nathalie Obadia

B25 The Running Horse

Contemporary Art Space

B26 Laura Bulian Gallery

B27 Lombard Freid Projects

B28 Seven Art Limited

B29 Paradise Row

B30 Platform China

B31 Viltin Galeria

*Participating in MARKER, a section of concept stands focusing in 2012 on Indonesia.

VISIT THE CANVAS STAND

GALLERIES

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“1932” COLLECTION

80TH ANNIVERSARYDUBAI MALL, +971 4 339 85 33 - WAFI MALL, +971 4 324 04 65