67 Seven young protagonists mark our fourth annual Young Collectors edition. Hailing from Iran, Palestine, Kuwait and Bahrain, they share their passions for art, their love for collecting, how it all began and their future aspirations. the young collectors iv 68 Wish list: Tala Madani, Hayv Kahraman, Idris Khan, Giorgio De Chirico and Pierre Soulages. I’d love to dine with: Marcel Duchamp. I imagine he would have the best stories to tell. The Middle Eastern art scene needs: More art academies. Next purchase: More vintage photography. Advice to young collectors: Speak to as many gallerists and artists as you can. For me, art: Reflects the world we live in today and helps explain the complexities and beauty of life. Artists need: Freedom. sheikha lulu al-sabah s heikha Lulu Al-Sabah’s passion for the arts was cultivated through courses in modern dance and theatre in New York and Paris, but it was growing up amidst the magnificent art collection of her mother Sheikha Paula Al- Sabah, that solidified her affinity for top quality works of art. “I think once you have an appreci- ation for the visual arts, you can easily appreci- ate other art forms as well,” she says. “Becom- ing an art collector was a natural progression of my artistic passion.” Today, Lulu’s collection is made up of predominantly Arab and Iranian art- works with such names as Adam Henein, Fari- deh Lashai, Paul Guiragossian, Youssef Nabil, Reem Al-Faisal and Ayman Yossri Daydban gracing the walls of her residences in London and Kuwait. Lulu received her Bachelor’s degree from the American University of Paris and her Mas- ter’s from Birkbeck College, University of London, in Social and Cultural History. A Co- founder of JAMM, an arts and events com- pany based in Kuwait, Lulu was a consultant for Christie’s and, later, Middle East Director for Philips de Pury & Company. While there, she conceived and curated the 2009 exhibition Per- spectives: Arab and Iranian Modern Masters , a group show in the Philips de Pury & Company Gallery at the Saatchi Gallery showcasing a survey of pioneering Modern Arab and Iranian artists. Lulu’s art background also led her to be a panellist at Art Basel in 2006 as well as Art Basel Miami Beach in 2008 where she contrib- uted to the discussions The Future of the Mu- seum: Art Institutions in the Middle East . In 2006 she also co-organised an exhibition of paint- ings by Kuwaiti women artists at the Institut du Monde Arabe in Paris. Regardless of Lulu’s artistic upbringing as “Art is an impulse buy – it always needs to be done with your gut.” well as her extensive career in the arts, she originally wanted to be a journalist. In a career which ultimately led her into greater involvement with the art world, her editorial background has included working for the International Herald Tribune , Eastern Art Report and frequent con- tributions to Canvas . “It was through writing about art criticism and the history of Modern and Contemporary art that I began to more greatly understand the field,” she says. Writing about the visual arts accentuated her interest and passion for the field; she finally decided that this was where she wanted to work and it was the knowledge that she had acquired which led Lulu to collect more art. Facing page: Sheikha Lulu Al-Sabah with two works by Ahmad Moualla. Untitled. 2008. Acrylic on canvas. 200 x 120 x 2 cm each. This page, left: Youssef Nabil. Untitled. 2009. Hand-coloured gelatin silver print. 70 x 50 cm. Right: Youssef Nabil. Amani by the Window . 2009. Hand- coloured gelatin silver print. 70 x 50 cm. the young collectors How did growing up surrounded by art influence your decision to start your own collection? I grew up amidst my mother’s wonderful collection. We always had sev- eral ‘art objects’ – as opposed to works on canvas – within our home. By the time I was about 10 years old, my mother had begun collecting more paintings and murals. I remember one work in particular at our home in Paris – a 19th-century oil painting over two metres high of an Ottoman Sultan seated cross-legged under an umbrella. I fell in love with this piece and would often find myself gazing at it. This was one of the first serious works my mother bought. From that experience, I decided that I, too, wanted to be surrounded by beautiful works of art. I started collecting when I was doing my Master’s in London, beginning with small pieces, mostly prints, and then proceeding to larger, more serious works. What was your first purchase? I was in London and living on Primrose Hill and close by was a gallery which sold prints by Chagall, Picasso, Dalí and other Modern greats. I quickly became enraptured by a print of a dancer, made in the manner of Picasso. I bought it over a period of three months, followed by a work by Chagall, also purchased over three months. I learned a lot from the gallerist and would visit regularly; she’d teach me about prints, editions and photography. My collection thus started with prints because they were small and affordable, but also beautiful in their own right. How do you decide what to buy? Most of the time I have a very emotional response to a work, which prompts me to buy it. Sometimes I won’t know the artist or have any knowledge about the piece, but I’ll just love it so much and start researching it to learn more. I think that’s the most important thing that needs to take place in the beginning: one needs to fall in love with a work of art. Many people put themselves on a waiting list for a specific work, but I’ve never done this. I always have a ‘coming across’ moment, whether I am meeting an artist or a collector or just stumble upon a work. It’s a bit of an addiction, once you start collecting – you can’t stop! Art is an impulse buy – it always needs to be done with your gut. Does your mother play a role in your art collecting? Yes, as I do with hers. I am fortunate because I not only have my own private collection but also access to my mother’s Dar Noor Collection, which I very much hope to manage one day. I sometimes propose works of art to be included in that collection. When this occurs, it is always pieces by Arab and Iranian artists rather than works by Western artists, which my mother always purchases on her own. How does working at JAMM affect your collecting habits? Sometimes my work and my personal collecting collide. When I was working at Philips de Pury I was assigned to do the first auction in Dubai. Consequently, I made a lot of trips around the region to meet col- lectors and artists, as well as to consign artworks for the auction which, in the end, never took place because of the recession. When consign- 71 ing works, I would often find pieces that I liked and hoped to buy for myself – certainly a case of when my work influenced my personal col- lecting! I also receive many images through my current work at JAMM, which similarly prompts me to buy certain pieces. What do you hope to do with your collection in the future? I don’t have any specific plans yet. I think may- be in 10 years, when my collection has grown, I will have a better idea of what I would like to do. I’d like to pass most of my works down to my children. I also don’t have a problem with lending my works to be showcased in an exhibition or public institution. Children often come to see my mother’s collection in Kuwait and I think that’s what it is there for; it is impor- tant to expose her collection to as many people as possible. I would be open to doing the same with my collection someday; I believe it is im- portant to educate people through art. “I believe it is important to educate people through art.” Facing page, above: Rokni Haerizadeh. Ghoghnous for Bahman Mohasses . 2012. Ripped magazine pages, watercolour and gesso on paper. Approximately 36 x 27 cm. Image courtesy the artist and Galerie Isabelle van den Eynde, Dubai. Below: Akim Monet. Deep from the Homage to Gaudi series. 2000. Ilfochrome exhibition prints. 152 x 101 cm. This page: Sheikha Lulu Al-Sabah with a work by Thilleli Rahmoun. Sautrelles dans Alger . 2009. Mixed media on paper. 150 x 200 cm. All images courtesy Apache Photography unless otherwise specified. the young collectors 72 The artworks I’d rob a bank for: One of the Rothkos from the Seagram Murals and another from the Rothko Chapel. Art motto: Art must illuminate. The Middle Eastern art market needs: To be less market-driven. Best art advice I ever got: “Make your collecting a rich, personal and profound intellectual journey.” The one that got away: I don’t like to think that any did! What puts me off a work or an artist: Superficiality and copycats. As soon as I buy an artwork: I start focusing on the next on my list! sheikh terky al-khaliFa 73 s heikh Terky Al-Khalifa’s foray into the art world began in 2006, when he was stationed in Wash- ington DC as a diplomat for the Bahraini embas- sy. The city wasn’t new to him – he had graduated from Georgetown’s School of Foreign Service with a degree in International Relations in 1997 – but something about being away from his native Bah- rain struck a chord with Terky. “I was furnishing a place in Washington at the time and wanted things to remind me of home and of the region,” he says. During a subsequent visit to Bahrain, Terky toured some of the Kingdom’s galleries; intrigued, he be- gan reading avidly about Contemporary Middle Eastern art and eventually bought what he deems his “first serious acquisition” – a piece by Iranian art- ist Golnaz Fathi. In a twist of serendipitous fate, the artwork features a blotch of red paint in its centre, which Terky likened to the map of Bahrain. “It was like an added bonus,” he laughs, adding that “My life took an artistic turn and I have been consumed by art since!” Terky had completed a course at Oxford University’s Foreign Service Programme for a year before pursuing a Master’s degree at Tufts University’s Fletcher School of Law and Diplomacy, graduating in 2011 and returning to Bahrain where he is now based. A self-proclaimed movie, music and book buff, Terky’s initial art orientations were “somewhat safe” and veered towards abstract and “elegant” art. He then discovered that his favourite palette is black and white, a colour scheme which dominates his collection. “It’s not at all intentional,” he says, “but after I’ve acquired a work, I’ll realise that it’s black and white again!” Since his first purchases in 2009, Terky continues to feed his appetite for art by at- tending international art fairs, the Venice Biennale and “reading on art, 24/7”. He has also expanded his collection to include Western Contemporary art- works. “I’m very conscious of where I was and where I am in terms of progression,” he says. “If someone told me five years ago that I’d be an art collector, I wouldn’t have believed them.” Terky primarily buys artworks from galleries, but has not ruled out auc- tions. He is also a fan of emerging artists, believing that “they represent creative potential”. Market hype is not something of interest to him, nor is an artist’s commercial viability. “I’ve put a lot of thought and research into this,” says Terky, who has recently en- rolled in an online course at the Sotheby’s Institute of Art. “The collecting bug hit me hard. Art has con- sumed my life in such a good way and I’m happy that this is a hobby and a passion,” he says. “I seek a combination of aesthetics and intellectual engagement, with the main criteria being intelligence and elegance.” Facing page: Sheikh Terky Al-Khalifa with a work by Idris Khan in the background. Untitled III . 2009. Digital bromide print mounted on aluminium and rag board. 119.4 x 137.2 cm. This page: Mounir Fatmi. The Machinery . 2009. 30 saw blades. Variable dimensions. Edition two of five. Image courtesy the artist and Paradise Row, London. the young collectors 74 What shocked you about Contemporary art? Its intelligence, which has become my number one criterion when buying art. Three artists come to mind – Shezad Dawood and the duo Adam Broomberg and Oliver Chanarin; the first for his iconic tumbleweed works, which are a synthesis of East meets West and include an Islamic aspect, as well as the tumblew- eed which symbolises the Wild West. The latter two are fascinated with interrogating the mean- ing of photographic images and in a day and age where we have become jaded with “I really enjoy trying to decipher what my collection says about me and the world.” This page, above: Sheikh Terky Al-Khalifa with a work by Adam Broomberg & Oliver Chanarin. The Fixers Execution , June 7, 2008 . Unique C-type print mounted on aluminium. 76.2 x 600 cm. Below: Babak Golkar. Proposal for Negotiating Space, No 4 . 2010. Persian carpet, wood, polystyrene, Plexiglas, glass and paint. 95 x 155 x 116 cm. Image courtesy the artist and The Third Line, Dubai. Facing page: Garder Eide Einarsson. In the Dust of This Planet . 2011. Acrylic, gesso and graphite on canvas. 182.9 x 152.4 cm. Image courtesy Maureen Paley, London. All photography by Andrew Weaver unless otherwise specified. images of war, I find their work fantastic. The pair joined the British Army in Afghanistan as war photographers, but instead of shooting ac- tual images they took a roll of film and exposed it; the events that took place on that day make up part of the title of the work I own, The Day That Nobody Died. How did things progress since your initial acquisition? At first, I bought Contemporary Middle East- ern art and as I researched and educated my- self, the Iranian art scene was at the forefront. I learned of Rokni Haerizadeh, whose work may not have adhered to my style, but I couldn’t deny that he was an important artist. I bought a work by him which satisfied my criteria in that it is a social commentary and one which is uni- versal and not particularly nationalistic. Buying that piece was like opening Pandora’s Box! I stepped out of my comfort zone and this co- incided with my first visit to Art Dubai in 2009. I made it to the last day of the fair and fortuitously met Nick Hackworth of Paradise Row, who has been instrumental to me on my art journey. 75 What do you look for in an artwork? I seek a combination of aesthetics and intel- lectual engagement, with the main criteria be- ing intelligence and elegance. Another meas- ure often is when I learn about an artwork and when something about it – its cleverness or wit – makes me smile. Sometimes I see a piece and the appeal is instant, but I like to sleep on it, although I’m aware that I will get it nonethe- less! I like to get opinions from my wife as well as Nick and close friends. Everything about the process is organic and following my heart brings me peace of mind. Do you believe in collecting in depth? I don’t rule it out. I have more than one work by certain artists; there are artists whose work I will collect more of simply because I like their mis- sion and intelligence. I veer towards artworks that are not necessarily in-your-face; I like messages that are hidden beneath the surface. With regards to media, I’m open; it’s really a case of whatever hits me. What has art added to your life? I enjoy tremendously the intellectual stimulation it provokes. Apart from a very basic answer that art is something that occupies my time, I really do enjoy it. Art is very emotional and visceral and can be aesthetically pleasing. There are many varied strands to your collection. Was this intentional? My collection has progressed organically and I am intrigued with how it has assumed a life of its own and how patterns have emerged. One art- work leads to another, there’s a common thread between them, and I believe that curating a col- lection is an art form in itself. The first strand to emerge had a Contemporary Islamic slant to it; another is the war slant, the strongest strand of my collection and one with which I am fascinat- ed, perhaps because of our times. In examining the Contemporary art world we must consider that, unfortunately, war is an enduring aspect. Do you feel that your collection teaches you more about yourself? Absolutely. I have to stress that I feel that art can illuminate. My artworks are a part of me; they’re a reflection of my journey and I really enjoy try- ing to decipher what my collection says about me and the world. I’m aware of its many strands, how I can build upon them and the possibility of others surfacing. I’ve become conscious of how my current and future acquisitions can strength- en these strands. I view my collection as an exhi- bition and in many respects, I am a curator. How can art solve problems? Art is “soft power”, as Tate Modern Director Chris Dercon said during the Art and Patronage Middle East Summit last January. It can also shed light on issues in an intelligent, emotional manner but because of art’s universality, it can show that the world is one. When art crosses borders and resonates beyond boundaries, it tells us that we’re all the same. Where do you want to take your collection? I’m keen on putting it on public display in the future. I want to change people’s perception of art – that it isn’t simply something decorative and pretty for our walls – and hopefully nurture enthusiasm and a culture of art appreciation. the young collectors 76 Art motto: Buy with knowledge and buy what you love. The work I could stare at for hours: Anything by Richter, Soulages or Fontana. The artwork I will get by hook or by crook: A Fontana. I’d love to dine with: Toulouse-Lautrec, Picasso and Dalí. Living artists: Gilbert & George, Ali Banisadr and Matthew Day Jackson. I know I want an artwork when: I ask about the artist and get excited every time I see the work. My earliest art memory was: Seeing Nikki de Saint Phalle’s work for the first time and being in complete awe. Thinking of buying next: Works by Sam Falls, Jacob Hashimoto and Oscar Murillo. kaMiar Maleki 77 h aving lived in eight different countries dur- ing his life, Iranian-born Kamiar Maleki’s art collection reflects the cultural dichotomies of his globetrotting upbringing. And although the walls of his London home are adorned with pieces by the likes of Matthew Day Jackson, Ali Banisadr, Shirana Shahbazi, Tomoaki Maki- no, Dan Rees, Vicky Wright and Oliver Clegg, Kamiar hasn’t completely immersed himself in the maelstrom of the Contemporary art scene. “My true passion lies in Impressionist and Mod- ernist works but, given my budget, I can’t quite indulge in it just yet!” he laughs. Born in 1978, Kamiar was seven months old when he left his homeland in the lead-up to the 1979 Islamic Revolution; from there, his family fled to France, Germany and the USA before settling permanently in the UK. “I have never gone back to Iran but remain very proud of my heritage,” says Kamiar. “However, I don’t believe that an art collector’s cultural identity should interfere with his love of art or artists.” In 1997 Kamiar studied International Relations at Bucknell University in Pennsylvania and then moved to Paris, first working in Carr Futures,a futures broker (now Newedge/So- ciété Générale) before enrolling at the American University of Paris in 2000. Today, the UK-based trade broker attributes his worldly artistic sensibility to his nomadic life- style as well as to parents Fatima and Eskander Maleki – highly-respected art patrons in their own right. “A love for the arts was instilled in me early on,” says Kamiar. “My family has amassed pieces by European Old Masters such as An- gelica Kauffman, Jan Breugel, Nicolas Maes and Cohelo Meytens, as well as Contemporary works by the likes of Keith Haring, Gerhard Rich- ter, Anish Kapoor, Anselm Reyle, Chris Ofili and Shirin Neshat.” Growing up surrounded by such works meant that art education for Kamiar and his younger brother Shahriar began at home. “My parents have a tremendous understand- ing of the arts,” he says. The family household was also a stomping ground for artists, allowing Kamiar to keep close to the pulse of the art cir- cuit and get to know the faces behind the works. “There is an inexplicable sense of pride and excitement each time you buy a piece.” Facing page: Kamiar Maleki with a painting by Ali Banisadr. The Merchants . 2009. Oil on linen. 152 x 203.2 cm. This page: Shirana Shahbazi. Flowers, Fruit and Portraits . 2007. C-print on aluminium.150 x 120 cm. Edition five of five plus one artist’s proof. “My parents support and socialise with many artists and organisations and have opened their home by hosting dinners and supporting chari- ties and trusts such as the Tate; this gave me great exposure and helped me understand the concepts and ideas behind their pieces,” he says. Describing his approach to acquisitions as guided by “thorough research on the piece and artist”, it is clear that a quest for knowledge lies at the core of Kamiar’s collecting ethos. the young collectors 78 How did you start collecting? When my brother and I were younger, we were given art budgets to buy pieces that we loved. The first piece that I ever bought was a C-print by Japanese artist Tomoaki Makino entitled Shizuko , in 2005 from London’s Museum 52. The woman in the photograph is holding a handball adorned with the colours of the Ira- nian flag; I felt that the work was so strong and it just grabbed me very quickly. This was my first foray into the art market and, as many col- lectors will tell you, it becomes an addiction! Why do you think that art collecting has such an effect? It becomes a passion and an obsession because it truly is a self-gratifying act: there is an inexpli- cable sense of pride and excitement each time you buy a piece. Also, you can look at your works and see how both the artists and the collection have grown since you made the purchase. There is such a joy in finding an unknown emerging artist that you feel is going to become established one day. Finally, your collection is also a legacy that you leave behind for your children. At the mo- ment, my collection is not very big but the works will eventually become part of a family trust. You are getting married this summer. Will you be deciding on acquisitions as a couple? Of course! It is going to be a family collection now and my fiancée’s input is very important to me. She works for Candlestar, a UK-based cultural consultancy, so she is an art-lover as well. We have similar tastes but sometimes dis- agree, so it will be interesting to see how both styles integrate into a single collection. Your collection mostly features works by Contemporary artists. What is it about this genre that catches your eye? To be honest, I don’t want my collection to focus on a specific genre or have a curatorial theme and I’m hoping that, with time, it will become more diverse and multifaceted. But I do own works mostly by emerging talents and I’m now trying to focus on established artists. This page, above: Kamiar Maleki with a work by Matthew Day Jackson. Dresden . 2010. Burnt wood and lead on panel. 248 x 165 cm. Facing page, left: Dan Rees. (Detail) Untitled. 2011. Plastercine and wood. 142 x 102 x 6.5 cm. Right: Marcus Oehlen. (Detail) Sohn von Zwielicht . 2001. Oil on canvas. 260 x 250 cm. All photography by David Levenson. 79 Where do you buy from? I find art at galleries in London as well as art fairs such as Art Basel (Miami and Basel) and Frieze. And of course, I love going to auctions as I learn a lot about the market there. Your background is in sales. Do you ever buy art as an investment? Maybe it is the trade broker in me, but when you invest your love, time and money in anything, you also think about what you can do with your re- turns. So I’ve definitely sold some pieces, but the beauty of it is that it all goes back into an art fund. At the end of day, it is a market. I always buy art that I love but if I feel that the artist is not develop- ing the way he/she should or I sense that I am not enjoying the work as much as I used to, and the timing is right, then I sell the work. I prefer to use the space for a work that I truly appreciate. What does your purchasing process entail? I never buy on the whim of the moment and al- ways research the artist and artwork prior to pur- chasing. I believe that knowledge is power, so I “I’ve definitely sold some pieces, but the beauty of it is that it all goes back into an art fund.” try to find out the concept behind the work and biography of the artist. I also have a small group of close friends and loved ones whose advice I take, such as my parents, our close friend Amir Shariat and my gallerist cousin. Roxana Afshar who works for Hopkins Coustot in London. What is the first thing you do when you buy an artwork? I just admire it for hours on end. I study it, look into every detail, research it and take a pic- ture of it so I can show it to my friends. Every time I buy a piece that I love, I am proud to share it with others. I obviously also hang the piece in my house, as I don’t generally like to keep art in storage. Art is something to look at! the young collectors 80 s hahriar Maleki’s mother was pregnant with him when the Islamic Revolu- tion swept their native Iran in 1979. The family fled to Nice, where he was born, and subsequently lived in the USA, France and Germany before finally settling in London. “I grew up Iranian; my parents tried as much as they could to teach my brother Kamiar and me about the morals and ethics of Persian society,” says Shahriar, “but I am as European as they come!” His parents Fatima and Eskandar – “my mentors” – are reputed art patrons who have amassed an impressive collection of Old Master, Western and Middle Eastern Contemporary artworks and it is this context which characterised the brothers’ childhood. Their appreciation for the arts was fuelled by visits to art galleries, museums, the opera and musicals, and by family art discussions. Shahriar was first introduced to Contemporary art through Kamran Diba, an artist and architect of the Tehran Museum of Contemporary Art, to whom he is related. He attended boarding schools in Switzerland and the USA, graduat- Advice to young collectors: Buy what you really, genuinely love. Wish list: Another piece by Dan Shaw-Town and works by Mark Titchner, Gerhard Richter and Mark Rothko. ‘Me time’ involves: Looking at my art. My take on the art world: It’s becoming very social, like it’s ‘in’ to buy art, and when the scene becomes too fake for me, I stop enjoying it. Art motto: If you collect from the heart, it’ll always be valuable. A collection is: A whole story, the sum of stories made up of discoveries. I’d love to dine with: Michelangelo, Picasso and Warhol and I’d ask them all of the above. shahriar Maleki 81 “Every piece has its own aura, a story to tell – that’s why I collect art.” ing from the latter where, inspired by Richard Serra and Richard Long, he dabbled with wire sculptures, believing that “a good way to un- derstand art is to make it” and exhibited at a student show. Shahriar then followed his elder brother to Pennsylvania and pursued a degree in International Relations and Economics from Bucknell University. He opted for an art fund as a graduation present from his parents “after having seen them seriously collecting and re- alising that I wanted to be a part of that”. It took Shahriar three years to decide what to acquire, finally buying a work by Grayson Perry which, he says is “by far, one of the works I am most proud of.” He is open to all art media – “I’ve never limited myself or my collection” – and orientates towards works by emerging artists. Shahriar has worked in the telecommunica- tions industry in London and also managed part of the family business in Switzerland, but after “about 250 days a year on airplanes” he decided to work at a vineyard in Bordeaux for six months. It was a “humbling” experience, and one which he cherishes for enabling him to “work with my hands, which teaches you and grounds you, especially as I felt an urge to produce something.” Shahriar con- siders London as “the place to be” vis-à-vis the art world for its access to galleries, artists collec- tors and collections. He “gallery-hops” every Sat- urday and is now working as a consultant. What ‘art’ memories do you recall from childhood? Many! One of my first was see- ing Gustav Klimt’s The Kiss ; I became very curious and started reading about art. You move on and end up in Contemporary art, where my most significant early memory of that genre Facing page: Shahriar Maleki with a work by Donald Baechler. Hommage à Picasso . 1984. Acrylic on canvas. 162 x 162 cm. This page: Mondongo Group. SerieRoja – Ovalo No 4 . 1999. Modelling clay, serigraphy and wood. 50 x 70 cm. the young collectors was the 1997 Sensation show in London, which my mother took us to. That, for me and anyone in my age group, has to be ‘it’! Sensation was a real shock and it opened my eyes to Contemporary art. What is your approach to buying art? At work in the ‘real world’, I make big decisions quickly. In the art world, I take my time and, as a result, I’ve sometimes lost out on pieces. I get really nervous, not so much when I buy it but when it arrives, and I need to consider where to hang it! At first, I thought of collecting as an investment, so I had a strategy in mind, but that changed when I got emo- tionally attached to some pieces. I realised that art is not a business, but something very personal and I can go so far as to say that it’s actually rather private. What was the turning point in your collecting? It was when someone advised me to sell a work “because the market is ripe and the work’s value won’t increase”. I refused categorically and decided to keep the work, know- ing full well that the person may be right from an investment point of view. Have you ever sold a piece? Only one, and that was because I met the artist! You make a tremendous effort to buy art, consider where to hang it and look at it day in and day out – the work I sold hung in my office for six years. The artist was visiting our house and I walked up to him to say that I was a fan, that I’d scraped money together to buy his work. He was so arrogant to the point where I really wanted him to leave. I couldn’t look at his piece anymore. I didn’t care that I sold it at a tremen- dous loss and, after that experience, I make sure to meet the artist; if I can’t, then I educate myself enough to try and understand him or her. What does your collection say about you? I recently moved into my first home, a 1990s mews house by British architect John Pawson. I fell for the wall space and it’s the first time that I’ve been able to hang my entire collection in one go and, somehow, it worked! There is a harmony there, I can see a development of taste and quality, but I have a feeling that if you really know me and you come to my house blindfolded, you’d know this is my place. As a collector, you certainly grow as a person and I think artworks also grow with you. Every piece has its own aura, a story to tell – that’s why I collect art. the young collectors 83 Have you made any mistakes? Plenty! Anyone who tells you they haven’t is ei- ther lying or in denial. I have about six pieces by artists who you have never and will never hear of, so my collection is a kind of museum for them. They’re unknowns and some will remain unknowns. There are 50,000 registered artists in the UK and 70,000 in France – there might be 10 that ‘make it’, but what happens to the rest? From an investment point of view, I’ve made plenty of mistakes, but from an emotional point of view, I haven’t made any. What about rotating artworks? It’s a huge effort, because I focus on curating. A piece doesn’t look the same on all walls and I think that’s a very important factor for a collector, because a work’s placement must give it justice. I think every collector should curate their surround- ings and no, there’s never enough wall space! You’ve got to consider what the piece is saying to you – is it talking to you more in the bedroom or the living room? Is it a conversation piece? Is it the first thing you see when you walk through the door? What do you hope to do with your collection? Donate it to a museum, which is something I’ve always thought about. It’s the way I look at life – you live once, make the best of it and when you’re gone, you can’t take it with you but at least you create something that other people can enjoy. What about Middle Eastern art? It hasn’t spoken to me yet, but I think we’re go- ing to have fantastic art come out from coun- tries with new beginnings. People will express themselves better or differently and I’m looking forward to that because, it’s now, it’s what I’ve lived and not something that happened before I was born. Would you consider buying art online? At first I thought buying or viewing art online was a great idea, given that we’re in the 21st century, but I like to see things live. I’m very ‘old school’; I’ve never bought a piece over the phone or through a JPEG file. I don’t see art as something virtual. “I think every collector should curate their surroundings and no, there’s never enough wall space!” Facing page, above: Josh Smith. Untitled. 2007. Oil and acrylic on canvas. Nine panels, 22.9 x 22.9 cm each. Below: Dan Shaw-Town. (Detail) Untitled. 2010. Graphite and spray paint on paper, grommets, steel grommets and bulldog clip. 100 x 66 cm. This page: Shahriar Maleki holding Man is Born by Grayson Perry. 1989. Ceramic jug. Variable dimensions. On the wall: Keith Haring. Untitled. 1982. Black ink on paper. 182 x 315 cm. All photography by David Levenson. 84 I’d love to dine with: Salvador Dalí. Art motto? Make sure your wife says OK before the piece pops up at your front door! An artist I think is undervalued or: Sohrab Sepehri. His work can still be found for a good price, but as one of the pioneers of Modern Iranian art, he deserves greater global recognition. The Middle Eastern art scene needs: More art institutions and educational programmes. Thinking of buying next? I’ve never planned ahead. I usually come across works by chance and then pursue them. For me, art is: A chance encounter. The first thing I do when I buy an artwork is: Find the right spot for it on my wall. KAMrAn MAhDAVI I ranian-born Kamran Mahdavi is happy to explain how each artwork in his collection adds to the energy and flow of his residence. They become “part of the family,” he says with delight. Growing up, his parents expressed a fervent appreciation for the art and antiquities of his native homeland. However, Kamran hasn’t been back to Iran since the age of two, when his family left the country for London. Today, his col- lecting has taken root in works by Modern and Contemporary Iranian artists, which he says al- lows him to “reconnect with his heritage through art”. The CEO of an international commodi- ties trade house, Kamran explains how he is especially fond of works by the older generation of Iranian artists, in particular those of Sohrab Seperhi, Monir Farmanfar- maian, Parviz Tanavoli and Nasrollah Afjei. “You can’t mistake a [Farhad] Moshiri or a Tanavoli; both artists imbue their work with such distinct formal qualities that it is nearly impossible to confuse them,” he says. “I really like this; it validates the work that I buy. I think it is important for an artist to create his or her own mark and this is what attracts me to certain Iranian artists. It similarly spurred my desire to start an art collection.” Kamran and his wife Alessa also collect works by artists from outside Iran, with names such as Gerhard Richter, Andy Warhol, Abdulnasser Gharem and Mark Evans featuring among their col- lection. Apart from collecting, Kamran is also dedicated to assisting the development of art and culture in the MENA region through educational programmes. He is a member of the UK-based Caspian Arts Foundation, which supports students from the Middle East seeking postgraduate studies in fine art, film and photography at one of the six colleges at the Univer- sity of the Arts in London. “I buy a piece because I need it and want to live with it.” Facing page: Kamran and Alessa Mahdavi with works by Narsrollah Afjehi. Above, left: Untitled. 2007. Ink on canvas. 195 x 195 cm. Below: Siah Mashq . 2007. Ink on canvas. 214 x 214 cm. Right: Farhad Moshiri. Nothing Serious . 2010. Embroidery on canvas mounted on board. 120 x 270 x 50 cm. This page: Parviz Tanavoli. The Wall and the Heech . 2008. Bronze. 142 x 103 x 48 cm. Edition two of five. Image courtesy Christie’s. The organisation believes that harmony and unity can be achieved between Middle Eastern cultures through the arts. Similarly, the art which Kamran chooses to live with both links his present life back to his homeland as well as creates an ambiance of beauty and creativity. the young collectors 86 How did you start collecting art? By accident! In 2006 my childhood friend Dina Nasser-Khadivi invited me to the preview of the inaugural Christie’s Dubai sale in London. At the time, I didn’t take the auction business that seriously. However, a couple of years later, a Sotheby’s catalogue my father was browsing through found its way onto my desk. Looking through the various artworks, I decided to pur- chase a work by Nasrollah Afjei entitled Siah Mashq as well as a few other pieces to deco- rate my walls at home. Once the works were delivered, I was able to set my eyes on them more closely and became instantly amazed by the level of creativity, as well as by the in- tricate details I found within each work. That’s when my appreciation for art really set in and I soon found myself bidding in more and more auctions. Dina and a friend from Sotheby’s, as well as my family, who collect Iranian art, edu- cated me about various artists and art forms. Collecting soon became an addiction. Given my origins, Modern and Contemporary Iranian art was initially what attracted me, but I have now branched out into acquiring works by Mid- dle Eastern and Western Contemporary artists. Much of my collection has been bought with the help of my wife Alessa. We both enjoy buy- ing art, as well as deciding on the right location for each work within our home. How do you buy a work of art? I purchase a piece because I am attracted to it. It is true, however, that most of the artists I buy from are considered to be a good investment. I don’t buy their work for this reason, though. I buy a piece because I need it and want to live with it. In the beginning, I was just buying art- works because I liked them immediately, but then I began to do more research as well as visit art galleries and fairs to uncover the variety of art that is out there. I now attend Frieze each year with my wife, where we select artworks based on what we love and what will immedi- ately go well in our home. What about an artwork’s eventual place within your home? I get very attached to my art. Once I’ve hung it in a certain space, I find it hard to move or replace it. The apartment I have in London is an ideal space in which to place works of art, due to the high ceilings and spacious rooms. Before I got married, I never got around to hanging artworks, but when I did, my wife and I hung the works together and that’s when I learned to appreciate them so much more. Finding the right space means that there needs to be a certain flow between that place and the other artworks juxtaposed nearby. The pieces you position should look similar and have complementary colours and forms. If I acquire a really loud work full of bold and vibrant colours, I usually try and place it on its own so that it gains the attention that it commands. “It’s nice to impart something of value, heritage and beauty to someone you love. Art is something I want to live and grow with.”