After a long battle with cancer, celebrated Iranian artist Farideh Lashai passed away on 24 February at the age of 68. With a degree in German literature, Lashai pursued studies at the Academy of Fine Arts in Vienna and then worked as a crystal designer in Austria and Germany. Painting had always been an enduring passion and practice for Lashai, who, in her over five-decade-long career, held solo and group exhibitions all over the world and participated in biennials and museum shows. Themes dominating the artist’s oeuvre include issues of identity, politics, nature, the self and her native Iran, which she translated into media such as painting, video, sound and multimedia installations. A large-scale video work, Between the Motion/And the Act/Falls the Shadow (acquired by the Los Angeles County Museum of Art and shown at the Saatchi Gallery last October) will be on display at Art Dubai through the fair’s Projects section, which has been dedicated to her memory. In addition, work by Lashai will be presented through Leila Heller Gallery (A39), which hosts an exhibition of her works in April, alongside another solo at New York’s Edward Tyler Nahem Fine Art Gallery.

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ARNDT, BERLIN, A29Celebrated Belgian artist Wim Delvoye’s elaborate Concrete Mixer draws its inspiration from the graphic arts, architecture, sculpture and other artefacts from art history. The concept of mobility versus rigidity comes into play through seven such mechanical works that the gallery brings to Art Dubai.

An exclusive preview of some of the artworks on show.

Wim Delvoye. Concrete Mixer. 2012. Lasercut stainless steel. 61 x 58 x 33 cm. Image courtesy the artist and Arndt, Berlin/Singapore.

Continued on page 4 >

ANTONIA CARVERART DUBAI’S SEVENTH edition features 75 galleries from all over the world. Canvas Daily speaks with the woman behind one of the region’s most important cultural events.

This is your third year as Fair Director. How has this role changed since you held the reins to Art Dubai?There is a dedicated team of ringleaders who have been part of the UAE art scene for years, so there’s a depth of knowledge and experience; I’ve never worked anywhere with such a committed and passionate team. However, there’s been a shift in the last decade – before there was a prevailing rhetoric of East meets West. Now we’re thinking of a broader local and regional context and becoming more vital on the international stage. There is so much that is fascinating about these historical

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links and that’s what we’re really looking at. There are more than 400 curators and museum directors and over 75 museum groups visiting Art Dubai – these individuals see the fair as a coming together of major players from all over the world.

Art Dubai features 75 galleries this year and a packed programme. What are you hoping visitors will take away from it?We really want to keep the fair 'human-sized' – Art Dubai wants to get bigger in terms of programmes, but not in gallery numbers. We’re aiming for a fair where each booth is a mini curated exhibition. We want visitors to feel that by the time they’ve gone around, they feel like they’ve visited 75 exhibitions.

How do you ensure this?We put a lot of work into nurturing our galleries, clarifying the process and goals of the fair. For the 2013 edition, we had several hundred applicants! We went out of our way to keep the balance of a third each from Europe, the Middle East and the rest of the world. We require a very detailed proposal, ask that new work is presented and that a concept for their booth is described in detail. It doesn’t necessarily have to be a curated exhibition, but there has to be a coherence to their application. We’re a fair of discovery – we want to offer something personalised and get to know artists as well as their galleries do.

How do you plan Marker’s country focus? And how did this year’s West Africa focus come about?We mapped Marker out in 2011 because the research that goes into specific geography and themes is not something we have in-house, so it takes a lot of study and trips. I had visited the Dakar Biennale and saw many cultures coming together; there was a particular dynamism, great art spaces and great directors who are going against all odds to

make it work and I’m happy to see this year’s edition dealing with five countries from West Africa. Next year’s focus is on Central Asia and the Caucasus, and the curator will be appointed later in the spring.

You’ve dedicated the Projects section to the late Farideh Lashai, whose work will be presented within. It is an absolute privilege for us to have worked with a remarkable artist and woman, who always kept a playful approach even throughout her illness. We’ve wanted to commission Farideh for a work at Art Dubai for two years. Discussions ensued with her daughter, Maneli Keykavoussi and the curator Ali Bakhtiari. We talked about the idea of getting the viewer involved with the work and Farideh’s installation has a joie de vivre, very much like the artist herself. She was a great supporter of young artists and it seemed apt to dedicate the Projects section to her.

Will there be any changes to the fair’s selection committee?For the 2013–14 cycle, we will introduce a member who isn’t a gallerist: Philip Tinari, Director of the Ullens Center for Contemporary Art in Beijing. Through discussions with the selection committee, we felt it would be exciting to draw on someone’s curatorial expertise, offer a fresh perspective and make it an annual position. Philip fits the profile, has travelled widely, has an interest in galleries and artists and a great spirit towards looking at new work. It’s a break with fair tradition; most international fairs rely only on peer review, but we wanted to reach out to someone who has the same outlook as Art Dubai.

What are you most excited about at Art Dubai 2013?It’s always exciting to do something new and Sculpture on the Beach, curated by Chus Martinez, is something I’m really looking forward to. We’ve received fantastic proposals from the galleries for works that go on the beach and have imagined this sculpture park that works with the concept of a garden in the desert.

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Seven finalists – Claudia Parwaneh Djabbari, Negar Farajiani, Azin Feizabadi, Mahmoud Mahroumi, Bijan Moosavi, Anahita Norouzi and Behnam Sadighi – were announced at a ceremony held at DIFC last night and were selected from 450 applicants. MOPCAP's judging panel includes Philippa Adams, Senior Director of the Saatchi Gallery in London; Dr Ziba Ardalan, Founder, Director and Curator of Parasol Unit, London; artist Mat Collishaw; Dr Anthony Downey, Programme Director, MA Contemporary Art Sotheby’s Institute in London; Irit Rogoff, Professor of Visual Cultures at London’s Goldsmith’s College; and Payam Sharifi, Co-Founder of Slavs and Tartars. Works by the seven finalists will be exhibited in London in October when the MOPCAP 2013 winner will be announced.

MAGIC OF PERSIA CONTEMPORARY ART PRIZE FINALISTS ANNOUNCED

Art Dubai Ladies’ DayAn exclusive preview for women featuring tours by curators and art experts.

Global Art Forum_7: Frant: Neologism. Maryam Monalisa Gharavi.

Global Art Forum_7: Lecture: Deleuze’s Abecedaire. Charles Arsene-Henry.

Global Art Forum_7: Polemics and Discussion, Middle East Nervous Anxiety (MENA). Hosted by Oscar Guariola–Rivera with Uzma Z. Rizvi and HH Sheikh Sultan Sooud Al-Qassemi.

Global Art Forum_7: Discussion: Careering. Co-hosted by Hans-Ulrich Obrist and Shumon Basar with Michael Stipe.

Art Dubai Opening Night

Tour: Art Dubai Projects*Meet curators and artists participating in a dynamic programme of new commissions, performances, radio and other projects featuring over 40 artists from across the Middle East, Asia and Africa.

Book Launch: Friendship of Nations: Polish Shiite Showbiz. Slavs & Tatars. Arena Foyer.

Book Signing: MinD. DUCTAC's annual alternative art platform.Fort Island.

Tour: Abraaj Group Art Prize 2013*Curator-led tour of 2013 exhibition.

Tour: Marker*Join Bisi Silva on a tour of the curated section of concept stands which focus on West Africa.

Tour: Sculpture on the BeachVisit the sculpture park on the Mina A'Salam Beach to see installation and sculptural works selected by guest curator Chus Martinez.

Performance: Joe NamySpecial performance includes a live Emirati band.Water Terrace.

Absolut Lounge | Absolut Art NightsMina A'Salam Beach.

11:00–14:00

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For more information visit www.artdubai.ae

ANTONIA CARVER (CONT.)Continued from page 1 >

IN THE CANVAS MARCH/APRIL ISSUEFive neon colours celebrate our second annual Power 50 edition, which presents the movers and shakers who galvanise the regional art scene. In tribute to the late Farideh Lashai, each cover features a rabbit from her Catching the Moon artist book.

Gallery feature on Nathalie Obadia's three spaces and

eclectic roster.

Inside Iranian artist Reza

Derakshani’s Dubai studio.

Tunisian-born Nadia Kaabi-

Linke's conceptual practices.

Palestinian artist Shadi Habib

Allah's exploration of new media.

Lebanese-born Abraaj Group Art Prize 2013 winner Rayyane Tabet.

Exclusive preview of Youssef Nabil's

Mediterranean Women.

*Book a place on the tour at any of the information desks. All Global Art Forum_7 sessions are held at Fort Island.

Proceeds from ticket, catalogue and bag sales at Art Dubai will be donated to the

World Food Programme operations to assist families in need through the Arab world, particularly those affected by the

conflict in Syria.

SUBSCRIBE TO CANVAS NOW!VIEW OUR EXCLUSIVE

SUBSCRIPTION PROMOTION

ON PAGE 21

04 19 MAR 2013 I CANVAS DAILY I ISSUE 1 I ART DUBAI EDITION

SELMA FERIANI, LONDON, A1Lebanese artist Pascal Hachem’s recent body of work examines the balance of power, symbolism and significance behind the concept of martyrdom. No Martyr…No My Martyr (price undisclosed), from his new series, Beliefs in Self-Deception, sees Hachem deconstruct everyday objects and transform them into weapons. In doing so, he comments on how people’s perceptions can be falsified by illusion.

HIGHLIGHTS (CONT.)Continued from page 1 >

GALERIE NATHALIE OBADIA, PARIS/ BRUSSELS, J5Pourquoi Pas (priced at $91,000) by renowned Portuguese artist Joana Vasconcelos creates a dialogue between wood and wool. The artist uses this unique combination to revisit formal Portuguese decorative arts (azulejos) and the crochet. The work is a smaller version of Valkyries, which was exhibited at the Château de Versailles last summer.

Pascal Hachem. (Detail) My Martyr…No My Martyr. 2013. Mechanised single engine cylinder, gold engraved sculpture, glass vitrine, steel stand and electrical power unit. 149 x 130 x 40 cm. Image courtesy Selma Feriani, London.

GREY NOISE, DUBAI, A5Healer by Fahd Burki (priced at $10,400) sets the tone for a transitory state, a co-existence that oscillates between two-dimensionality and three-dimensionality. Burki constructs and deconstructs his own personal mythology with the aim of suggesting a truth rendered in geometric form.

Fahd Burki. (Detail) Healer. 2012. Acrylic and collage on paper. 152 x 122 cm. Image courtesy the artist and Grey Noise, Dubai.

ATHR GALLERY, JEDDAH, A22 The extensive urbanisation of Mecca, one of the world’s most historical and sacred places, is documented in Saudi Contemporary artist Ahmed Mater’s Desert of Pharan photographic series. Golden Hour from Artificial Light, an edition of three, is priced at $42,000. The first edition is currently on show at the Sharjah Biennial.

Joana Vasconcelos. (Detail) Pourquoi Pas. 2012. Handmade cotton wool, ornaments and polyester. 85.5 x 67 x 83 cm. Image courtesy Galerie Nathalie Obadia, Paris/Brussels.

Ahmed Mater. (Detail) Golden Hour from Artificial Light – Desert of Pharan. Edition two of three plus one artist’s proof. 2012. Fine art Latex print on paper. 245 x 326.5 cm. Image courtesy the artist and Athr Gallery, Jeddah.

RETURNING AS THE main sponsor of Art Dubai this year, French luxury house Cartier unveils Le Visage Archaïque, a unique high jewellery creation by Italian designer and architect Alessandro Mendini. From March 20–23, Cartier and the Fondation Cartier pour l’Art Contemporain present Mendini’s striking monument made of gold mosaic. On its collar rests a necklace made with three precious gold pendants, which were created at the Cartier workshops in 2002 at the artist’s behest.

Le Visage Archaïque stands at the centre of a square, which is part of a replica of Paris’s 13 Rue de la Paix, Cartier’s 100 year-old home in the French capital. Visitors can discover the link between Paris, the historical heart of the Maison’s expertise and Cartier jewellery workshops, where unique creations are born. They can also visit salons, such as the Jeanne Toussaint salon – named after the house’s legendary designer.

SALON STYLE

Alessandro Mendini. Photography by Philippe Gontier. © Cartier 2009; Alessandro Mendini. Le Visage Archaïque. 2002. Sculpture, gold mosaic and crystal. 208 x 75 x 70 cm. Collection of the Fondation Cartier pour l'Art Contemporain, Paris. © Alessandro Mendini. © Patrick Gries.

Ayang Cempaka. Zoey iPad covers in six colour variations.

Jordy by Ali Rouhani Persian. Super Hero Rostam & Mini Rock Star T-shirts.

Nisreen Krimed's linen scarves.

Pouch by Sehyr Ahmad.

695 AED /$190

190 AED /$52

450 AED /$123

35 AED /$10

The dXb Store returns to Art Dubai this year, showcasing limited edition items all designed and made in the UAE.

MADE IN THE UAE

TAKE TWOLauded a pivotal addition to the growing regional art scene, Design Days Dubai returns for its eagerly anticipated second edition.

WITH SALES OF over $3.5 million made during the first edition of Design Days Dubai (DDD), over 70 per cent of galleries that participated in the inaugural fair are back for its second incarnation. Director Cyril Zammit is confident about the progress and development of DDD – the first design fair in the Middle East and Asia, and he is also extremely pleased with its chosen city. “We are the only design fair in the world bringing galleries from the six continents and we are trusting Dubai’s ability to connect different people, styles, cultures, and tastes,” he says.

This year’s edition hosts 29 participating galleries, a 20 per cent increase from year one. This instalment also focuses more on Contemporary design, with Zammit confirming that 80 per cent of the works on show include Contemporary designs. “They seem to be more of an interest to Dubai audiences,” he tells Canvas Daily. The second edition is also expected to surpass last year’s 8500 visitor mark and Zammit also hopes to attract and educate audiences through a public programme of talks, presentations and workshops in association with the Dubai Culture and Arts Authority (DCAA).

Canvas Daily catches up with Zammit who tells us about opening night and what to look out for at the fair.

How was opening night?We had a great turnout. We are delighted to see that design is not only gaining popularity, but also that collectors have travelled from the entire region – with a strong presence of visitors from Lebanon and Saudi Arabia and beyond – to discover the unique design pieces that our gallery partners have brought to Dubai.

How does the second edition differ from the first?This year, visitors will experience a journey to all parts of the world. We have a larger number of galleries participating and in particular, a stronger presence of Middle Eastern creative minds. We’re showcasing works from over 135 designers, meaning many cultures, traditions, skills and approaches to design are presented alongside each other – it takes your breath away.

Have you noticed a different audience coming through DDD doors?We’ve definitely seen more collectors and a stronger anticipation for the fair this year. As a unique event of its kind in the entire region, DDD is a great chance to purchase and commission beautifully created Modern and Contemporary designs directly from the galleries and their designers.

What pieces are crowd favourites?Clock, Clock by Humans Since 1982 is a really eye-catching creation, but

Below, clockwise from top: Humans Since 1982. Clock, Clock. 2011. Powder coated aluminium and electrical components. 120 x 45 x 6 cm. Image courtesy Victor Hunt Designart Dealer, Brussels/Antwerp; Vincenzo De Cotiis. Recycled Wood Bookcase. 2012. Wood. 110 x 875 x 217 cm. Image courtesy Erastudio Apartment-Gallery, Milan; Lucy McRae. Broached Colonial Prickly Lamp. 2011. Wood, brass and steel. Variable dimensions. Image courtesy the artist and Broached Commissions, Melbourne.

LUXURY POWERHOUSE Van Cleef & Arpels sponsor Design Days Dubai for a second year running and present stunning jewellery pieces at the fair. Among the iconic examples on show is the Zip Necklace, immortalised by the Duchess of Windsor, who, in 1938 met with Renée Puissant, the House’s Artistic Director and daughter of Alfred Van Cleef, and suggested the creation of a piece inspired by the zip fastener. One of the House’s central philosophies is the art of transformation: the Zip Necklace can also be worn as a bracelet for example, whereas the Souffle des Nuages can be adapted as a necklace in two ways and its clasp can be detached to be worn as a brooch. Visit the Van Cleef & Arpels exhibition at Design Days Dubai from 18–21 March.

Above and right: Zip Antique Duo necklace, white gold, platinum, round and baguette-cut diamonds, asher-cut diamond, onyx and white cultured pearls.

06 19 MAR 2013 I CANVAS DAILY I ISSUE 1 I ART DUBAI EDITION

aside from that, the public has been drawn to installations which have been created especially for DDD, such as the 3D ‘sketch’ by Analogia – it is mesmerising.

How have new additions to your programming added to the scope of DDD? Last year’s launch inspired us to bring on board more design experts for the public programme and so we have covered all subjects this year, from design basics to live workshops and lectures by designers from India and Brazil among other countries. The interactive panels and workshops by leading designers and professionals that were developed with the support of Dubai Culture & Arts Authority have also been really well-attended.

Just as there are young art collectors, do you feel that there are young design collectors? There is a huge demand for high end and collectible pieces, and with time, the market will naturally grow alongside a growing knowledge

and appreciation for great design.

Design Days Dubai runs from 18–21 March. For more information visit www.

designdaysdubai.ae

Above: Cyril Zammit. Image courtesy Design Days Dubai. Right: Based Upon. Ribbon, Sculptural Bar. 2012. Antique platinum, corian, timber and brass. 510 x 110 x 100 cm. Image courtesy Based Upon, London.

THE ART OF TRANSFORMATION

Above: Souffle des Nuages clip, white gold, diamonds, mauve and blue sapphires, Paraiba-like tourmalines, platinum and 11 raw emeralds. Right: Souffle des Nuages necklace, white gold, diamonds, white cultured pearls, pink, mauve and blue star sapphires and 11 raw emeralds. All images courtesy Van Cleef & Arpels.

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The world has recently seen the Yayoi Kusama line for luxury house Louis Vuitton and now, pieces by the eccentric Japanese artist make a debut at Art Dubai through London-based Victoria Miro (A18). “We’ve sold her work in every continent,” says the gallery’s Glenn Scott Wright, “and Yayoi loves having her art all over the world.” A range of paintings, sculptures and fabric-based works priced at between $300,000–600,000 comprise the solo artist booth – a decision, says Wright, which stems from the works’ “universal language and appeal”. The almost three-decade old gallery, which represents the likes of Doug Aitken, Peter Doig and Grayson Perry, sees its participation at the fair as part of its global strategy to branch out. “New territories like Art Dubai are part of that equation,” says Wright, “the fair’s made a lot of impact in the last few years and people reference it all the time.”

News and images of the ongoing violence in Syria triggered memories of the Bosnian conflict for Šejla Kameric , whose works inspired by the parallels between the two countries will be shown at Galerie Tanja Wagner (A6). The Berlin gallery also brings pieces by Lebanese/American Annabel Daou, whose characteristic fusion of the written word and language sees her incorporate the colour green into new works – particularly a shade associated with bombs dropped on Iraq. “What I love about both artists is that they discuss their respective experiences in a very aesthetic way,” says the gallery’s Tanja Wagner. “The heaviness of the topics is lightened by the beauty in their work.” Wagner, who worked with Galerie Max Hetzler for five years before setting up her space over two years ago, presents pieces priced between $3700–13,000. “Art Dubai’s mixture of East and West is a fantastic opportunity for me as a young gallery to present myself and these artists who have a link to the region.”

MENA 29%

LATIN AMERICA 1%

USA 7%

EUROPE 45%

AFRICA 6%

AUSTRALIA 2%

ASIA 10%

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Other new participating spaces include Galerie Campagne Première (A13), Contemporary Art Centre, Lagos (A47), Espace Doual’art (A11), Exhibit 320 (A33) Galerie Imane Farès (A38), GAG Projects (J19), Galerie Jaeger Bucher (J9), Yvon Lambert (A12), Lawrie Shabibi (J23), Lumen Travo Gallery (J2), Maison Carpe Diem (A20), Galeri Mana (J24), Galeri Non (J15), Rampa (A25), Raw Material Company (A31), Rodeo (A16), Galerie Nikolaus Ruzicska (J11), Tasveer Gallery (J28), Galerie Daniel Templon (A44), Edwin’s Gallery (A36) and Nubuke Foundation (A2).

FRESHMEN ON THE ART DUBAI FLOOROf the 75 participating galleries at Art Dubai’s seventh edition, 25 are newcomers.

Šejla Kameric. (Detail) Fragile Sense of Hope. 2013. Gold leaf on glass. 80 x 100 cm. Image courtesy Galerie Tanja Wagner, Berlin.

Yayoi Kusama. Flowers That Bloom Tomorrow. 2010. FRP, metal, and urethane paint. 200 x 340 x 200 cm. Edition one of three plus one artist's proof. Image courtesy Victoria Miro, London.

Three works – two by Iranian/German Timo Nasseri and one by Czech-born Kristof Kintera – priced at between $13,000–45,000 will comprise Schleicher/Lange’s (A26) space. “I can’t bring myself to do a crowded booth,” says the gallery’s Andreas Schleicher-Lange, who aims to present new work by an established (Nasseri) and an emerging artist (Kintera). Bringing in pieces by Nasseri, whose inspiration stems from both Islamic and Western cultures, was an “obvious” choice given the nature of his work and its familiarity within the region; the artist was also awarded the ABRAAJ Group Art Prize in 2011. The 4.5 metre-high sculpture by Kintera embodies the artist’s trademark use of found objects rendered in a playful and humorous manner. “It’s not the kind of work that one would necessarily expect in that kind of setting and I’m very proud to show it at the fair,” says Schleicher-Lange. Art Dubai, says the Berlin dealer, “is an occasion to meet new people, strengthen ties we already have and broaden our perspective; doing fairs in Europe means you tend to meet the same people.”

Timo Nasseri. (Detail) Glance #8. 2013. Polished stainless steel. 86 x 86 x 25 cm. Image courtesy the artist and Schleicher/Lange, Berlin.

Sabrina Amrani of her eponymous gallery, (J7) visited Art Dubai in 2011 where she met and signed Indian-born Dubai-based UBIK to her roster, which includes Waqas Khan, Nicene Kossentini and Zoulikha Bouabdellah, the latter being the gallery’s first artist. Amrani’s may be a gallery based in Madrid, but it is one that is very much rooted in the region given its focus on artists from the MENASA region. The two year-old gallery brings in new works by the aforementioned artists priced from as low as $1800 for a drawing by Khan, to as high as $22,000 for a work by Bouabdellah inspired by Islamic architecture. “We realised we’d like to be part of Art Dubai from the beginning,” says Amrani, who applied to the fair last year knowing she would be rejected given Art Dubai’s requirement for participating galleries to be at least two years old. “It’s not just a commercial sphere; curators and museum directors come through this fair,” she says.

Waqas Khan. (Detail) Closer. 2012. Archival black ink on white wasli paper. 160 x 130 cm. Unique piece. Image courtesy the artist and Sabrina Armani Art Gallery, Madrid.

PARTICIPATING GALLERIES BY REGION

Louvre Abu Dhabi presents

22 April – 20 July 2013Manarat Al Saadiyat, Saadiyat Cultural District, Abu Dhabi

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Get the floor plan and come up with a navigation strategy so no booths are missed. Ask about works you’re interested in and take pictures. Pace yourself – the onslaught on the senses can be overwhelming! Visit as often as possible because you’ll discover new things each time. Sleep on your decisions. Wear comfortable shoes!

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pre-plan. Art fair websites always upload programmes. Mark out events, talks, performances or satellite shows that you really don’t want to miss and put them in your schedule. By managing time, the whole fair can be easily seen.

Youssef Nabil, Egyptian artist showing through The Third Line (A40) and Galerie Nathalie Obadia (J5)

A hearty breakfast in the morning (possibly enjoying the beautiful sea view of Dubai), but more importantly during the fair, enjoy talking with nice and stimulating people.

Lorenzo Fiaschi, Director, Galeria Continua (A3)

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Edwin Rahardjo, Director, Edwin’s Gallery (A36)

ONE ON ONE WITHTARYN SIMONTHE AMERICAN ARTIST presents two bodies of work, An American Index of the Hidden and Unfamiliar (2007) and Contraband (2010) on until 6 May at The Pavilion, Downtown Dubai. The former presents hidden aspects of contemporary American culture through a photographic and textual investigation. The project led to Contraband, which saw Taryn Simon take images of items seized by US customs at New York’s JFK International Airport. Contraband comprises 1075 images of over 1000 forbidden articles – from counterfeit clothing and pharmaceuticals to Cuban cigars and firearms. Abdullah Al-Turki and Princess Alia Al-Senussi interview Simon on her fascination with images, text and the cultural reception to her work. AS/AT: Would this have been your first time to Dubai?TS: I visited Dubai five years ago; I wanted to experience its rapid development and I produced a work at the ski slope. I’ve spent a lot of time in the Middle East, primarily Lebanon and Syria. AS/AT: To have your work travel, and its content being about disparate places, does that make you a cultural ambassador? TS: No. The interesting component of its movement across borders is what it enacts in each location. The reception can’t help but be guided by certain cultural differences and interpretations. An American Index of the Hidden and Unfamiliar was produced just after 11 September when there was an effort by the American government and media to seek the hidden, secret and unknown beyond its borders. I wanted to look within American borders at that time and confront the boundaries between public and expert access and knowledge. But, what that effort looks like with changing times and changing administrations is not constant. The work looks different under the Bush administration than it does under Obama's. The work looks different in Germany than it does in China or Dubai. It mutates. My medium is photography, text and graphic design – but it’s also the invisible space between all of these elements where translation, misinterpretation and ambiguity reign. Photography and text are vulnerable and not stationary spaces. They are always in flux and subject to context, time’s passage and history’s unfolding. AS/AT: In cross-cultural terms, you’ve incorporated image and text in www.imageatlas.org Imageatlas.org is a search engine I developed with programmer Aaron Swartz, who tragically passed recently. In it, you type in any word like ‘gentleman’ or ‘America’ and it will translate that word into every language; it then enters that word into the local search engines in every country and pulls up the top images associated with that term. You can thereby look at the cultural differences and similarities in visual interpretation throughout the world. As writing and verbal communication fade with the onset of abbreviated text communication, symbols and image sharing, I wanted to explore the possibility of a visual language. Emotions tend to reveal a flattening response whereas politics, religion and gender bring about radical differences. AS/AT: You packed in a crazy year last year. Are you slowing down or ready for the next project? TS: I’m already in the next project. I’m not good at stopping, that’s when depression sets in.

ABU DHABI – The Louvre Abu Dhabi is set to stage Birth of a Museum, its second exhibition (after Talking Art: Louvre Abu Dhabi in 2009) which reveals its recent acquisitions. The museum, expected to open in 2015, will showcase 130 artworks from the Louvre Abu Dhabi’s growing collection at the Saadiyat Cultural District’s art and exhibition centre from 22 April–22 July.

ART NEWS

MARSEILLES – The 2013 European Capital of Culture hosts a number of exhibitions featuring Contemporary Middle Eastern artists, including Ici, Ailleurs curated by Juliette Laffon (on until 7 April) at the 4000 square-metre Tour Panorama. The show explores questions of identity, nationality, immigration and exile through work by 39 artists born between 1960–70, including Etel Adnan, Lara Baladi, Mona Hatoum, Youssef Nabil, Hrair Sarkissian and Mounir Fatmi among other Middle Eastern artists, as well as those from Europe.

DUBAI – The Mobile Art Gallery (MAG), a travelling truck filled with artworks, will tour various locations throughout the city during Art Week. Curated by Isabella Ellaheh Hughes and Angelle Siyang-Le, MAG presents The Nonfictional Fantasy, an exhibition featuring work by UAE-based Azim Al-Ghussein, Shamsa Al-Omaira, Rami Farook, Rania Jishi, Karim Mortada, Sharmeen Syed and Sara Al-Haddad. Stops include Sikka Art Fair on 14 March, Alserkal Avenue on 17 March, Art Dubai on 18 March, the American University in Dubai on 19–20 March, Safa Park on 21 March and DIFC on 22–23 March.

ART FAIRSURVIVAL TIPS?

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Taryn Simon; Nuclear Waste Encapsulation and Storage Facility, Cherekov Radiation, Hanford Site, U.S. Department of Energy, Southeastern Washington State. 2005/2007. Chromogenic colour print. 94.6 x 113 cm. Edition of seven. © Taryn Simon. Images courtesy Gagosian Gallery.

Osman Hamdi Bey. (Detail) A Young Emir Studying. Istanbul, 1878. Oil on canvas. 45.5 x 90 cm. © Louvre Abu Dhabi.

Lara Baladi. (Detail) El-Horeya Gueya Lahon. (Freedom is Coming Here). 2013. Iron and leather. 240 x 220 cm. Image courtesy the artist.

REZA DERAKSHANISOLO

18.03.13 - 09.07.13WWW.SALSALIPM.COM

12 19 MAR 2013 I CANVAS DAILY I ISSUE 1 I ART DUBAI EDITION

Canvas hosted its annual Collectors Dinner on 18 March in collaboration with Christie’s and Ahmed Seddiqi & Sons. Guests

gathered at Mina A’Salam’s Layali Tent for the exclusive event, which marks Art Dubai’s seventh edition,

running from 20–23 March. The keynote speech was given by

Canvas Publisher and Editor-in-Chief Ali Khadra.

HRH Princess Wijdan Al-Hashemi.Hind Abdul Hamied Seddiqi of Ahmed Seddiqi and Sons Ltd.

Sonja Junker, Tate Director Chris Dercon, Galleria Continua's Lorenzo Fiaschi and collector Madga Baltoyanni.

Arif Naqvi, Founder and Group Chief Executive of the Abraaj Group.

HE Sheikha Maisa Al-Qassimi.

HH Sheikha Zayed Bin Sultan Al-Nahyan with Canvas Publisher and Editor-in-Chief Ali Khadra.

Guests at the Majlis Al-Salam ballroom.

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CANVAS COLLECTORS DINNER

Zain Masud, Assistant Fair Director, Art Dubai.

Beatrice Bulgari with Ramin Salsali, Founder of Salsali Private Museum, Dubai.

Paula Askari, HE Sheikha Paula Al-Sabah and Nahid Milani.

Michael Jeha of Christie's, Agial Art Gallery's Saleh Barakat and his wife Hala.

Sharifa Al-Sudairi of The Pace Gallery.

Mohammad Hafiz of Jeddah's Athr Gallery with Creative Time's Anne Pasternak.

HE Sheikh Terky Al-Khalifa.

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PERMANENT COLLECTION

An extensive collection of Masterpieces,

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14 19 MAR 2013 I CANVAS DAILY I ISSUE 1 I ART DUBAI EDITION

FOUR SIGNIFICANT ‘FIRSTS’ pertain to the 11th Sharjah Biennial (SB11): it is the first time since its seventh edition that a non-member of the Sharjah Art Foundation (SAF) is selected as curator; it is the first time in a decade that a non-Middle Easterner takes the curatorial reins; it is Japanese-born Yuko Hasegawa’s first show in the Middle East; and this edition sees the inauguration of five new multifunctional art spaces (designed by Mona El-Mousfi), which provide an additional 1860 square metres of interior space.

From hundreds of applications for SB11, SAF President and Director HE Sheikha Hoor Al-Qassimi selected Hasegawa because “her theme resonated with Sharjah itself and did not come from a Eurocentric point of view.” Hasegawa’s curatorial strategy for SB11 proposes to engage audiences through surveying art void of ‘isms’ that often impact perception. Over 100 artists, collectives, filmmakers, architects, musicians and performers participate in Re: Emerge, which presents over 35 new commissions. “When working on the concept for SB11, I started by surveying Sharjah’s past and present from its local perspective. During this process, I became interested in the involvement of migrants and the influence and interactions of the Far East and North Africa in Sharjah both today and in the past.” Drawing upon the concept of the courtyard vis-à-vis Islamic architecture, Hasewaga says, “Islamic courtyards can both be public or private spaces and I wanted to delve into this

Above: Exhibition view of Monir Farmanfarmaian’s works at the Sharjah Biennial; Francis Alys. (Detail) Don’t Cross the Bridge Before You Get to the River. 2008. Installation, videos, paintings, drawings, sculpture and photographic documentation. Photography by Myrna Ayad.

AT THE HEART OF SHARJAHUnder the curatorship of Yuko Hasegawa, the 11th Sharjah Biennial presents over 100 artists from 41 countries.

concept further by exploring them and even creating interventions in them.” Her approach to the biennial sees her proposing a new cultural cartography that re-examines the world’s relationships with different cultures, making this exhibition one of the most comprehensive editions of the biennial to date. SB11 sees the addition of a film programme curated by Thai filmmaker Apichatpong Weerasethakul and a music and performance programme, which presents over 10 commissions organised by Lebanese sound artist Tarek Atoui.

Among the eagerly anticipated works and programmes are Egyptian artist Wael Shawky’s new film Within, which is a reflection on the previous biennial; original work by renowned Chinese filmmaker Fudong filmed both in Sharjah and Alhambra; and a performance by Egyptian artist Hassan Khan called Live Ammunition: Music for Clapping, String Quartet, and Electronics.

“After 22 years, the Sharjah Biennial is now considered one of the major international art events and a place where artists, art professionals and representatives of art institutions around the world can meet each other and learn about this region,” says HE Sheikha Hoor, who has been involved with the event for over 10 years.

The Sharjah Biennial runs from 13 March –13 May. For more information visit www.sharjahart.org

Pablo Lobato. (Detail) Overturned Bronze. 2011. Video installation. Four minutes and 52 seconds. Image courtesy the artist.

HAMMER TIMEAuction season hits the Gulf this April and presents some of the region's best Modern and Contemporary works.

ANYONE WHO VISITED the Arabicity show at the Beirut Exhibition Center in September 2010 would not have forgotten the 120-stencil Icons of the Nile by celebrated Egyptian/Armenian artist Chant Avedissian. Having been widely exhibited in various cities, the fantastic work is set for auction at the Sotheby’s Contemporary Art sale in Doha on 22 April and is estimated at a whopping $1-1.5 million. “It was very tricky to price,” says Lina Lazaar, International Specialist, Sotheby’s. “The value of the whole is larger than the sum of individual parts.” Perhaps what is particularly interesting about the work’s price point is that “it is the first time in the history of Contemporary Arab art that such an estimate is put down in writing,” says Lazaar. The 47-lot sale is the auction house’s first in the Qatari capital since 2010 and comprises works by international artists such as Ai Weiwei, Donald Judd and Damien Hirst, alongside those by Contemporary regional names including Adel Abidin, Ahmed Alsoudani, Monir Farmanfarmaian and Ayman Baalbaki. “It’s not a mixed bag,” adds Lazaar, “it’s different from any other Middle Eastern art auction.” This is because Sotheby’s has toured varied lots to London, New York, Jeddah (during the city’s Art Week last month) and Dubai, where pieces were on show for two days (the last being today) at the Royal Mirage Hotel. In addition, the “time and effort that has gone into this curated sale,” says Lazaar, will see all lots on exhibit for eight days, “[to allow] for a strong educational element.” Interestingly, only two Modern Arab works (by Egyptian-born Mahmoud Said) are included in this Contemporary art auction, whereas rival auction house Christie’s present a number of pieces from this genre at their two-part sale in Dubai on 16 and 17 April.

Modern Arab art has proven time and again to be of sound value, but sourcing works from this field has become increasingly difficult, says Hala Khayat, Head of Sales, Associate Director, Modern and Contemporary Arab, Iranian and Turkish Art at Christie’s. “People are not very willing to part with higher value work,” she adds. “The selection is getting tougher with the due diligence and provenance that we are conducting.” Despite the challenges, over eight Modern Middle Eastern lots comprise the Christie’s Part I sale, including “one of the two largest Shafic Abboud works”, estimated at $200,000-250,000 and consigned from London’s The Park Gallery, which specialises in Modern Arab art. Of the 29 lots in Part I are two works by Modern Abstractionist Saliba Douaihy from a private collection in the US, and two pieces by Iranian Pop artist Farhad Moshiri; one of which, Secret Garden, priced at $300,000-500,000 is among the sale’s highlights. “It is exceptional,” says Khayat, “and people expect exceptional pieces from Christie’s.” Indeed, there are some stellar works in both sales – including those by Latifa Echakhch, Jaber Al-Azmeh and Youssef Nabil. “There’s a buyer for any amazing work of art,” says Khayat. Judging by the pieces at both Christie’s and Sotheby’s sales, a vibrant air dominates the upcoming season.

Above, clockwise from left: Mahmoud Said. (Detail) Le Port a Marsa Matrouh. 1948. Oil on canvas. 57.7 x 76 cm. Image courtesy Sotheby’s; Farhad Moshiri. (Detail) Secret Garden. 2009. Oil, acrylic, beads, Swarovski crystals, nails, metallic and glitter paint on canvas laid down on board. 197 x 197 x 5.5 cm. Image courtesy Christie’s; Saliba Douaihy. (Detail) Untitled. Circa 1970. Acrylic on board. 41.9 x 59.1 cm. Image courtesy Christie’s.

Chant Avedissian. (Detail) Icons of the Nile. 2010. Gouache, hand-coloured stencil, gold and silver acrylic paint on cardboard. Each 52.6 x 72.6 cm; Overall: 315.6 x 1452 cm. Image courtesy Sotheby’s.

Organised by:

BE PART OF MODERN. CONTEMPORARY.ABU DHABI ART.20 - 23 November 2013UAE Pavilion and Manarat Al SaadiyatSaadiyat Cultural DistrictAbu Dhabi, UAE

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

Application closing date: 3 April 2013For more information call +971 2 406 1501 or email abudhabiart@tcaabudhabi.ae

abudhabiartfair.ae

16 19 MAR 2013 I CANVAS DAILY I ISSUE 1 I ART DUBAI EDITION

TUNISIAN ‘CALLIGRAFFITI’ ARTIST eL Seed quite literally spent the night of 17 March at the Louis Vuitton Mall of the Emirates store, where he styled one of the luxury house’s store windows inclusive of a stack of Alzer suitcases. His trip to Dubai is part of his collaboration with Louis Vuitton’s Foulards D’Artistes project this year, which sees the commission of four recognised street artists – Japanese Aiko, American Retna, Brazilian Os Geméos and eL Seed – each interpret one of the brand’s iconic scarves.

The Louis Vuitton eL Seed scarves went exclusively on sale in Dubai yesterday before anywhere else in the world and retail at $836. Recognised the world over for his vibrant Arabic script that tackles the human condition, el Seed’s inspiration for his two Louis Vuitton scarves stems from trade relations between Venice and the Arab world from the ninth to the 12th centuries. It is a period, he says, which marked, “tolerance, acceptance and unity” between East and West. eL Seed’s Louis Vuitton window is up until 18 April. Work by the artist is also presented through Tashkeel (A37) at Art Dubai.

EL SEED AT LV

BEAUTY THROUGH THE Raw was the theme of the third annual START Royal Gala Dinner, held on 16 March,at Mina A'Salam's Majlis Al–Salam Ballroom whose auction and private pledges raised $1.1 million that will fund art education programmes for underprivileged children, orphans and refugees across the UAE, Palestine, Jordan, Lebanon and India.

The sale, which included lots by recognised Contemporary Western artists such as Aaron Young, Cindy Sherman, Arman, David Mach, Lita Cabellut and Mr Brainwash, alongside those by regional artists Athier, Mehdi Nabavi, Safwan Dahoul, Nadim Karam and Sacha Jafri, was led by UK-based TV presenter Jonny Gould. Highlights included Young’s untitled work, which sold for $140,000, Dahoul’s acrylic on canvas for $67,000 and Cabellut’s The Secret Behind the Veil No 14 for $85,000. Two watches by Harry Winston were also auctioned, totalling $50,000; and a light piece by Lonneke Gordijn and Ralpha Matua, donated by London-based Carpenters Workshop Gallery, sold for $35,000. New York-based Young, who is represented by Gagosian Gallery, was present at the gala and was particularly passionate about START’s mission: “What most attracted me to the programme was that it directly benefits children and young adults by physically engaging in the art process.”

START also announced the names of three scholarship winners who are recipients of the UAE Start Scholarship Award, the Jordan START Scholarship Award and the Dubai Autism Scholarship Award. Educating over 1000 children every week, START is supported

THIRD TIME’S A CHARMNon-profit organisation START raises $1.1 million at annual gala dinner.

by a dedicated committee of philanthropists and art enthusiasts. While the organisation extends its programming across the region and recently to India, START Director Tanaz Dizadji hopes to expand to yet another Middle Eastern

country: Syria. “We do already reach out to many Syrian refugees as they have relocated to camps in Lebanon and Jordan, but until we can fully serve the country,

we are focusing on our current efforts.”

Clockwise from left: Mehdi Nabavi. Cannon. 2012. Mirrors on MDF. 120 x 125 x 250 cm. Image courtesy Ayyam Gallery; Aaron Young. (Detail) Untitled. 2013. Burnout rubber on aluminium. 243.84 x 203 cm. Image courtesy Anonymous Gallery, New York; Safiea Ahmad Khalfan, recipient of the UAE START Scholarship Award and Elda Choucair, General Manager of PHD. Image courtesy START.

Top: eL Seed styling the Louis Vuitton window at Mall of the Emirates. Bottom: Both editions of eL Seed’s Louis Vuitton scarves. All images courtesy Louis Vuitton.

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20 19 MAR 2013 I CANVAS DAILY I ISSUE 1 I ART DUBAI EDITION

DUBAIAlif Art Gallery

Until 31 March

Myths and Legends

A solo show by Russian artist

Timur D’Vatz.

Tel: +971 505280150

www.alifgallery.com

Art Couture

Until 30 March

Figure It Out

Figurative art featuring works by

French artists Corine Pagnys, Yolanda

Hessenbruch and Guillaume Delorma.

Tel: +971 46010101

www.artcoutureuae.com

Art Sawa

Until 7 April

Bug Soldiers

Zena Assi examines the Arab uprising

and its effects on the common man.

Tel: +971 43408660

www.artsawa.com

Twitter @ArtSawa

Artspace

Until 10 April

Saudi Group Show: A Line in the Sand

In collaboration with Athr Gallery, six

emerging Saudi artists exhibit works

through a variety of media.

Tel: +971 43230820

www.artspace-dubai.com

Twitter @artspace

Ayyam Art Centre (Al-Quoz)

Until 4 April

Popcornographic

Kuwaiti-born artist and poet Shurooq

Amin alludes to the practice of the

subjective censorship of artworks.

Tel: +971 43236242

www.ayyamgallery.com

Twitter @AyyamGallery

Ayyam Gallery (DIFC)

Until 25 April

The Wrong Women

Iranian-born Afshin Pirhashemi

presents work examining the

hardships of modern Iran.

Tel: +971 44392395

www.ayyamgallery.com

Twitter @AyyamGallery

Carbon 12

Until 30 April

Camelops Femina

Olaf Breuning presents a series of

photographs going back 10,000 years

in history to excavate an extinct species

of camels.

Tel: +971 43406016

www.carbon12dubai.com

Twitter @Carbon12gallery

Cuadro Fine Art Gallery

Until 2 May

3. 13

A monographic exhibition showcasing

the works of seven artists including

Manal Al-Dowayan, Athier and

Mohammed Ahmed Ibrahim.

Tel: +971 44250400

www.cuadroart.com

Twitter @CuadroArt

Design Days Dubai

Until 21 March

Downtown Dubai

The fair’s second edition features 29

international and regional galleries.

Tel: +971 43842000

www.designdaysdubai.ae

Twitter @DesignDays

Dubai Community Theatre and

Arts Centre

Until 10 April

MinD/Body

This exhbition showcases the works

of several artists including Abdullah

Al-Saadi, Anas Al-Shaikh and

Mohammed Kazem.

Tel: +971 43414777

www.ductac.org

Twitter @DUCTAC

The Empty Quarter

Until 25 April

Open Wounds

Four Lebanese artists, George Awde,

Rhea Karam, Sirine Fattouh, Rima

Maroun and Randa Mirza examine life

in war-torn Lebanon.

Tel: +971 43231210

www.theemptyquarter.com

Twitter @EmptyQuarterUAE

Etemad Gallery

Until 27 April

Defaced

Portraits by Shohreh Mehran tackle

themes of body language, resistance

and defiance.

Tel: +971 43468649

www.galleryetemad.com

Twitter @etemadgallery

Green Art Gallery

Until 5 May

Evacuated Containers

Shadi Habib Allah’s first solo at the

gallery stems from an incident when

he was interrogated about his work at

Tel Aviv's Ben Gurion Airport.

Tel: +971 43469305

www.gagallery.com

Twitter @greenartgallery

Grey Noise

Until 30 April

Hossein Valamanesh: Selected Works

1992–2013

Surveying the Iranian artist’s personal

history and other aspects of his life

through over two decades of works.

Tel: +971 43790734

www.greynoise.org

Twitter @GreyNoiseDXB

Gallery Isabelle Van Den Eynde

Until 21 April

Beginning at the End

The multimedia practice of Idris Khan

responding to the works of ninth-

century Islamic philosophers.

Tel: +971 43235052

www.ivde.net

thejamjar

Until 23 March

Out of the Box

This film screening is part of a series of

experimental contemporary films.

Tel: +971 43417303

www.thejamjardubai.com

Twitter @thejamjar

JAMM

Until 18 April

Marilyn

Images of the iconic Marilyn Monroe

by legendary American photographer

Bert Stern.

Tel: +971 43285169

www.jamm-art.org

Khak Gallery

Until 13 April

From Modern to Contemporary

A group exhibition of works by Iranian

artists such as Fereydoun Ave, Reza

Derakshani and Kourosh Shishegaran.

Tel: +971 43475050

www.khakgallery.com

Lawrie Shabibi

Until 18 April

Symphony

A solo exhibition by Adel Abidin

examines the stoning and killing of

90 Iraqi students in Baghdad in March

last year.

Tel: +971 43469906

www.lawrieshabibi.com

Twitter @LawrieShabibi

Meem Art Gallery

Until 2 May

Moving Forward by the Day

Inspired by Ancient Egyptian

iconography, Khaled Hafez's works

focus on ideas relating to personal and

collective identities and memories.

Tel: +971 43477883

www.meemartgallery.com

Twitter @MeemGallery

Mojo Gallery

Until 25 April

Happening Now

A collective exhibition of works by

Viye Diba, Mohammed Abouelnaga

and Sonya Rademeyer.

Tel: +971 43477388

www.themojogallery.com

Twitter @MojoGallery

Mottahedan Projects

Until 18 April

Direction

Peter Halley’s new series centres on

the idea of the Ka'aba.

Tel: +971 43805525

www.mottahedan.com

The Pavilion

Until 18 March 2014

Annual Banner Commission: Change

Multimedia artist Ayman Yossri

Daydban in collaboration with

Jeddah's Athr Gallery.

Tel: +971 44477025

www.pavilion.ae

Twitter @PavilionDubai

Rira Gallery

Until 13 May

Lines & Links

Two solo exhibitions by Iranian artists

Parviz Kalantari and Ali Shirazi.

Tel: +971 43699339

www.riragallery.com

Salsali Private Museum

Until 9 July

Reza Derakshani

The Iranian artist presents new work,

drawing from his heritage and modern-

day conceptual preoccupations.

Tel: +971 43809600

www.salsalipm.com

Twitter @SalsaliPrivateM

Sikka Art Fair

Until 24 March

Al-Fahidi Historical Neighbourhood

The fair's third edition features over

70 commissioned works by Emirati and

UAE-based artists.

Tel: +971 507383932

www.sikkaartfair.ae

Showcase Gallery

Until 18 May

RECONNECT

In collaboration with South Africa-

based KZNSA Gallery, Hendrik Stroebel

explores the use of pattern and texture

in the Islamic and Arab art world.

Tel: +971 43790940

www.showcaseuae.com

Twitter @showcasedubai

The Third Line

Until 19 April

Monir Shahroudy Farmanfarmaian

Presenting over a decade of works by

the renowned Iranian artist.

Tel: +971 43411367

www.thethirdline.com

Twitter @thethirdline

XVA Gallery

Until 30 April

Eternal Love

A solo exhibition showcasing unseen

photographic works by Iraqi artist

Halim Al-Karim.

Tel: +971 43585117

www.xvagallery.com

Twitter @XVAGALLERY

SHARJAH

Barjeel Art Foundation

Until 22 November

RE: ORIENT

The exhibition examines Modernism in

the Arab world between the 1950s–70s.

Tel: +971 65566555

www.barjeelartfoundation.org

Twitter @BarjeelArt

Maraya Art Centre

Until 31 December

The Hierarchy of Being

Wafaa Bilal explores the visual

culture of pioneering Islamic

sciences and examines how it has an

impact on current thinking.

Until 31 December

Art Production in a Post Arab

Spring Era

Artists Adel Abidin and Wafaa

Bilal combine art, photography,

architecture and science.

Tel: +971 65566555

www.maraya.ae

Twitter @MarayaArtCentre

Sharjah Biennial

Until 31 May

Re: Emerge

The theme of Islamic architecture is

explored in the 11th edition, curated

by Yuko Hasegawa.

Tel: +971 6568 5050

www.sharjahart.org

Twitter @SharjahBiennial

Sharjah Museum

Until 13 May

Journey Through Egypt

Presenting works from the collection

of HH Sheikh Dr Sultan Bin

Mohammed Al-Qasimi, Ruler

of Sharjah.

Tel: +971 65566002

www.sharjahmuseums.ae

Twitter @sharjahmuseums

LISTINGS

Bert SternMarilyn

18 March—18 April 2013

Hasa Road, Street 8Warehouse 11, Al Quoz 1PO Box 127440, Dubai, UAE

jamm-art.org

T: 971 4 328 5169F: 971 4 328 5179info@jamm-art.org

22 19 MAR 2013 I CANVAS DAILY I ISSUE 1 I ART DUBAI EDITION

AS DIRECTOR OF the Delfina Foundation, a significant aspect of my role involves supporting artistic development beyond our own residency programme, whether this is by advising institutions on establishing new programmes to nurture creative talent or giving presentations to cultural practitioners about charting their own path in our complex art ‘eco-system’. Recently, I was a ‘guest tutor’ at Campus Art Dubai, a six-month alternative education programme produced by the fair for artists and curators. As the workshop morphed into group therapy about the relationships between artists and gallerists, curators and collectors, one artist explained how she was struggling to ‘find herself’. “I keep working with different media,” she said. “Sometimes, I’m painting. Sometimes, it’s photography. I feel like I haven’t yet developed my practice and I’m running out of time.” She is 22 years-old.

There are a number of reasons why this artist and others like her feel pressurised. Dubai has an incredibly young cultural scene and a strong, thriving commercial sector. This fast-paced growth has far exceeded that of grassroots organisations and philanthropic initiatives – from non-profit spaces to scholarship programmes – which traditionally offer a platform for artists to take risks and experiment in ways that the marketplace will not allow. Emerging artists are particularly vulnerable in such a context, where they may feel rushed to develop themselves at the same speed as the rest of the city. This situation is not only indicative of the UAE, however; generally, there has been a flip in our value system towards profile over patience, ego over experimentation, celebrity over content and fortune over failure.

Over the last six years of working collaboratively with the Middle East, the Delfina Foundation has been promoting residencies, working with partners and patrons to provide time and space to artists and curators to develop professionally – and personally too. Residencies provide an opportunity for artists to step outside of their comfort zones to see how their ideas connect to global ones – and how things actually move at a much slower pace elsewhere. Artists rarely ‘find’ themselves in 22 years, and entire cities rarely emerge in twice that time.

Three years ago, we initiated Artists-in-Residence (A.i.R) Dubai in partnership with Art Dubai, Tashkeel and the Dubai Culture & Arts Authority. Each year A.i.R Dubai brings three international artists and one curator to Dubai to work alongside three Emirati artists. Over three months, the artists share research and produce new works for an open studios exhibition as well as Art Dubai Projects. A series of workshops, talks and open studios engage the local art scene more widely. This is a prime example of the types of discursive spaces that are needed throughout the region, where process is just as important as product. It is interesting too that a commercial art fair has joined forces on both A.i.R. Dubai and Campus Art Dubai. It is such public-private partnerships that can begin to shift not only our thinking about artistic development, but also our sense of how long this may just take.

From 21–23 March, the ArtBus leaves from Dubai’s

Souk Madinat Jumeirah roundabout at 10:00,

returning between 17:00–18:00. Tickets are priced at

50 AED per seat per day, and the ArtBus runs three

routes daily.

Galleries and spaces on the Al-Quoz route: Art

Sawa, Ayyam Gallery, The Barakat Gallery, Carbon

12, The Cartoon Art Gallery, The Courtyard Gallery,

Create! @ Sofa Studio, Etemad Gallery, Fn Designs,

Gallery Isabelle Van Den Eynde, Green Art Gallery,

Grey Noise, Gulf Photo Plus, J+A Gallery, thejamjar,

Khak Gallery, La Galerie Nationale, Lawrie Shabibi,

Meem Gallery, Mojo Gallery, Mottahedan Projects,

Mussawir Art Gallery, Salsali Private Museum,

Satellite, Showcase Gallery, The Third Line, Total Arts

and Traffic.

Galleries and spaces on the DIFC Gate Village

and Downtown Dubai route: Alif Art Gallery,

Ajyad Gallery, The Ara Gallery, Art Sawa, Artspace,

Ayyam Gallery, Cuadro Fine Art Gallery, Cube Arts,

The Empty Quarter, The Farjam Collection, Opera

Gallery, The Pavilion, Tashkeel and XVA Gallery.

Galleries and spaces on the Jumeirah and Al-

Fahidi Historical Neighbourhood route: The

Archive, Art Connection, Beautiful People from

Mawaheb, DUCTAC, Hunar Gallery, The Majlis Gallery,

Pro Art Gallery, SIKKA Art Fair, Tashkeel Bastakiya

and the XVA Art Hotel.

To book your seat on one of the three

routes, or for more information contact

ArtintheCity on +971 4 341 7303 or email

artbus@artinthecity.com

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AARON CEZAR ON THE NEED FOR ARTISTS TO PACE THEMSELVES

AI WEIWEI: CIRCLE OF ANIMALSText by Larry Warsh, Paola Dematte, Karen Smith, Charles Merewether, Marco Musillo, Kristina Kleutghen, Lark E Mason, Joe-Hynn Yang and Colin Jones. Edited by Susan Delson.Susan Delson explores Ai Weiwei’s monumental works of art and compares his Circle of Animals/Zodiac Heads sculptural works to the original 18th century zodiac fountain from which he was inspired. The book also includes interviews conducted at different times during the making of the sculpture.Price: AED 180/$49

VITAMIN D: NEW PERSPECTIVES IN DRAWINGText by Emma Dexter. Published by Phaidon Press Ltd.This book is a collection of the different works of 109 artists – including Andrea Bowers, Gabriel Orozco and Jesse Bransford – who all use descriptive drawings as their major means of communication with the world. It also explores the medium’s evolution in the art world.Price: AED 336/$92

SALON TO BIENNIAL: EXHIBITIONS THAT MADE ART HISTORY. VOLUME I: 1863–1959Text by Bruce Altshuler. Edited by Bruce Altshuler and Phaidon Press Ltd.A comprehensive survey of art exhibitions, this publication showcases rare images from different shows, alongside material such as publications and reviews from the period. It reflects the importance of documenting the history of exhibitions. Price: AED 328/$90

All books available at the Jashanmal bookstore.ARTBUS

5 MINUTES WITH...

ZOULIKHA BOUABDELLAH ALGERIAN ARTIST SHOWING THROUGH SABRINA AMRANI GALLERY (J7)

IN THE ART WORLD, IT’S NEVER TOO LATE TO: Question.

THE ART WORLD’S BIGGEST CRIME IS: Le Sacré Cœur in Paris.

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

Italian Renaissance.

THE THREE THINGS I LOOK FOR IN AN ARTWORK ARE: Depth,

visual pleasure and meaning.

THE EXHIBITION THAT LEFT A BIG IMPACT ON ME WAS: Bruce

Nauman at Centre Georges-Pompidou.

THE SONG I CAN LISTEN TO OVER AND OVER AGAIN IS: Inta

Omri by Umm Kulthoom.

I WOULD HAVE LOVED TO BE A FLY ON THE WALL WHEN:

Michelangelo sculpted David.

MY FAVOURITE FICTIONAL CHARACTER IS: Scarlett O’Hara.

THE ARTIST I’D WANT MY PORTRAIT CREATED BY: Vermeer.

WITHOUT ART, THE WORLD WOULD: Not be civilised.

THE ACTOR WHO WOULD PLAY ME IN A MOVIE ABOUT MY

LIFE: Jeremy Irons.

I WISH PEOPLE WOULDN’T: Be contemptuous.

THE ARTWORK I CAN STARE AT FOR HOURS: The Death of

Sardanapalus by Eugène Delacroix.

CREATIVITY CAN BE CRUSHED BY: Ideology.

WENDI NORRIS OWNER OF EPONYMOUS GALLERY (J12)

THE IDEAL MEAL WITH ONE ARTIST IS: Sunday lunch with Marcel

Duchamp at the French Laundry in Napa Valley, California.

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

Paris, 1924.

YOU WOULD BE SHOCKED TO KNOW THAT I: Take Hip Hop

dance classes.

THE EXHIBITION THAT LEFT A BIG IMPACT ON ME WAS: Francis

Alÿs’s A Story of Deception at Tate Modern.

I JUST DON’T UNDERSTAND: Rugby.

THE ARTWORK THAT BEST DESCRIBES ME IS: My six-year-old’s

Crayola portrait of me.

MY FAVOURITE FICTIONAL CHARACTER IS: Luke Skywalker.

THE ARTIST I’D WANT MY PORTRAIT CREATED BY: Francis Bacon.

BAD ART IS: Everywhere.

I’D LIKE PEOPLE TO REMEMBER MY: Advice.

WITHOUT ART, THE WORLD WOULD: Be flat.

I WISH PEOPLE WOULDN’T: Negotiate.

THE ARTWORK I CAN STARE AT FOR HOURS: Picasso’s Guernica.

CREATIVITY CAN BE CRUSHED BY: Inhibition.

Ayad Alkadhi, Untitled (Umbilical Series), detail, 2012, Charcoal, acrylic, pen and pencil on canvas, 96 x 132 in / 243.8 x 335.3 cm (4 panels)

ART DUBAI, MARCH 20 - 23, BOOTH A34

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SPEAKING ABOUT WHAT THEY WOULD

HAVE STOLEN FROM ART DUBAI, AKA THE

THOMAS CROWN LISTS.

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