the young collec- tors The fifth Canvas Young Collectors issue features 10 budding art protagonists from all over the Middle East. Hailing from Iran, Palestine, Lebanon, the UAE and Saudi Arabia, they share their growing collections and discuss their passion for art. HE Sheikha Maisa Al-Qassimi I’d love to dine with: Bruce Nauman. Latest acquisition: A Catching the Moon artist book by Farideh Lashai. Art is: And will always be a central focus of my everyday life. I would pay monthly instalments forever for: A work by Lucio Fontana. The work I could stare at for hours is: Anything by Rothko. Wishlist: Works by Man Ray, Babak Golkar and Antony Gormley. 94 ith three hands in the art world, “Every W as an artist, curator and a col- lector, as a child, Sharjah native, HE Sheikha Maisa Al-Qassimi used to visit the artwork city’s art school and paint. She bought her first painting when she was just 15. “I used to that I have spend a lot of time at the Dubai International Art Centre too and I would exchange works reminds with other artists,” says Al-Qassimi. “I was just always surrounded by art.” She most recently me of a co-curated a show, Time and Space Matter, at Dubai’s Capital D Studio with Emirati art- moment ist and curator Noor Al-Suwaidi. Al-Qassimi also recently aided the development of the Ta- in time. wasul Orphans Education Fund, a non-profit initiative, which supports orphans’ education. It’s very With a passion for photography, Al-Qassimi’s collection boasts a selection of Contemporary personal.” works by Middle Eastern artists such as Ay- man Yossri Daydban, Tammam Al-Azzam and How do you approach Mahmoud Bakhshi. “I need to connect with collecting? an artwork and it has to have a relationship I don’t plan my acquisitions; to where I am in my life,” she adds. “My col- it’s open to what moves me. I need to feel a Facing page: lection reflects my journey and where I am in personal and emotional connection to the HE Sheikha Maisa Al-Qassimi sits in Zeinab Al-Hashemi’s Monolith Pillar. a specific time” Al-Qassimi graduated with a pieces I buy. Also, there are certain genres 2013. Polystrene and cement. 300 x Bachelor’s in Photography from the Ameri- that I just can’t bring myself to like, such as 150 x 150 cm with a work by Hamra can University in Dubai (AUD) in 2000 and political art. Abbas. Untitled (Paper Plates). 2008. Paper sculpture in Perspex box. 20 x went on to complete a Master’s in Contem- 20 cm; (On the floor): Tammam Al- porary Art from the Sotheby’s Institute of Art What are your objectives as a Azzam. Bleeding Syria. 2012. Archival in 2011. She will soon relocate to the UAE young collector? print on cotton paper. 60 x 60 cm. capital to join the Guggenheim Abu Dhabi’s I don’t collect for the sake of investment but at Edition one of five. curatorial team. the same time, I wouldn’t buy something that is This page: not of value. It’s not the stock market; I should (Top) Pedram Baldari. Irrexxxsible VII How did art factor in to your childhood? be able to enjoy an artwork and want to buy it (2008) and (bottom) Irrexxxsible IX (2007). X-rays on light boxes. My earliest memory is of visiting museums with without thinking of its monetary value. 38 x 44 cm each. my parents when I was about six. Art was some- thing that I grew up with and I was encouraged Your collection leans towards photography. to engage with it and understand it. Is this intentional? young collectors I majored in photography at AUD and no one took the genre seriously at that time because it wasn’t considered an art medium. But I stuck with it and kept creating work. Now, photo- graphic pieces are included in auctions and Middle Eastern collectors have started acquir- ing such works. Although I own pieces from dif- ferent media, I really relate to photography. Do you want your collection to expand to include other media? I don’t have a preferred medium; the one thing I don’t own is a large-scale painting because I don’t have the space for it! I would never want to put an artwork I acquire in storage. I don’t like to say I’m collecting Middle Eastern art; I’m a young collector of all types of art. As the collection grows, I can have many different subsets within the larger collection. I think it’s too early for me to collect a specific genre so I’m currently just developing my collection. I am really into Pakistani art at the moment; I am fas- cinated by it and feel that Pakistani artists see the world in a different way. What piqued your interest in Pakistani art? I guess it’s the Islamic references in the work, the miniature painting and the Islamic geomet- ric design elements. Pakistan really has some great emerging artists. What has been one of your biggest cultural accomplishments? Launching a charity auction in April! As a chairperson at the Sharjah Business Women Council, we created the non-profit programme Tawasul with the Sharjah Chamber of Com- merce and Industries, which supports or- phans in pursuing higher education. We cre- ated an auction to raise money for the fund, which saw 26 artists participate including Farhad Moshiri, Nja Mahdaoui, Hassan Haj- jaj, Ahmed Mater and Lalla Essaydi. Manag- ing the auction was extremely challenging, yet fulfilling. 96 young collectors Facing page: Above: Nadine Kanso. Madonna. 2013. Archival photographic prints. 50 x 50 cm. Edition one of three. Image courtesy Cuadro Fine Art Gallery, Dubai. Below: HE Sheikha Maisa Al- Qassimi with a work by Gauri Gill. Shah Alam Bookstore, Kabul. 2007. Silver gelatin print. 51 x 61 cm. This page: Left: Ayman Yossri Daydban. (Detail) Ilaika Ayuha Al Arabi. 2011. Mixed media on museum quality archival paper. Unique piece. 77 x 55 cm. Image courtesy Athr Gallery, Jeddah. Right: Noor Al-Suwaidi. Encounter. 2011. Acrylic on canvas. 60 x 90 cm. Image courtesy the artist. Photography by Zan Nakari unless otherwise specified. “I think I can help artists by being a mentor, an ‘artist manager’ and giving them guidance thanks to my background as an artist.” What does your collection say about you? The last time I made art was in 2005; if I want Every artwork that I have reminds me of a mo- to be a true artist, I must focus on that and only ment in time. It’s very personal. For example, I that. I think I can help artists by being a mentor, have a paper plate by Hamra Abbas, which re- an ‘artist manager’ and giving them guidance minds me of my Master’s abroad, but focuses thanks to my background as an artist. on a concept and theme that is very close to home. Another example is Mahmoud Bakhshi’s Are there certain artists that you’re keen Viva Dubai, Viva Abu Dhabi, which I bought as on supporting? I will now be moving to Abu Dhabi to join the I am interested in the Middle Eastern Contem- Guggenheim Abu Dhabi curatorial team. This porary art scene as well as Emirati artists such artwork will serve as a memory of the over- as Noor Al-Suwaidi, Maitha Demithan and even whelming excitement I feel about this change. the younger emerging artists such as Zeinab Al-Hashimi and Shamma Al-Amri to name a How does being an artist support your few. I have a different relationship with these curatorial role? younger artists as I work closely with them. 97 Dana and Raed DANA Saqfelhait Art is: Food for the soul. The work I could stare at for hours upcake fans in the Emirates were treated to a series of art-inspired is: The Impressionist artworks of Monet and Manet. I would pay monthly C desserts last March courtesy the Hey Sugar Bakeshop, owned by Raed and Dana Saqfelhait. In celebration of Art Week, the couple introduced a new line of cupcakes frosted with iconic artworks – by Picas- instalments forever for: A work so, Matisse and Warhol to Abdulnasser Gharem, Farhad Moshiri, Zoulikha by Fernando Botero. Bouabdellah and more. “We run a kids’ design and bakery workshop twice a week and this is where the idea came about as we saw that many had painted RAED each other’s faces on the cupcakes,” says Raed. “We felt it was important The artwork I will get by hook or to feature recognised artworks but also present some of the Middle East’s by crook: A piece by Ayman Baalbaki. renowned artists.” His foray into the art world began while he completed his undergraduate degree at the American University in Cairo. During this time, The artwork that got away was: A jar painting by Farhad Moshiri. he bought a painting by Egyptian artist Georges Bahgory, “which I paid for in instalments for about four months!” Best art advice I ever got: Listen Dessert may be one thing the Saqfelhaits are enthusiastic about, but fur- to those who know. niture, design and art are also among their many passions. Throughout the homes in which they have lived between Amman, Riyadh, Cairo and now Dubai. The couple stuck to a minimalist modern palette – a style that influenced their 98 Left: Dana and Raed Saqfelhait with a work by Mohamed El-Ganouby’s Umdah. 2002. Mixed media on canvas. Nine pieces. 32 x 32 cm each. Below: Zaha Hadid. Flow. 2007. Polyutherine. 117 x 120 cm. art acquisitions early on, beginning with a monochromatic abstract calligraphic piece by Rana Chalabi. Though their col- lection is mainly comprised of works by Middle Eastern artists, the couple also collect artworks from countries they’ve visited including Indonesia, Greece and Nepal, among others. This tradition stems from the first trip Dana made alone to London when she was 15 to visit her aunt. “My father set a condition that I had to visit at least two cultural institutions and write a report on them,” she says. “So I went to the V&A, the Natural History Museum and a Dalí exhibition – it was all about discovering something new. Since Raed and I married, we’ve made it a rule during our travels.” USA and Europe a lot and for my parents, the Dana’s father’s rule had a long-lasting most important thing was to visit museums. Of impact. How did your parents infuse an course, I used to hate it, but it’s amazing how in appreciation for art? hindsight you understand the amount of things Raed: Growing up, my family travelled to the you learned along the way and how it has “I credit my understanding of Contemporary Middle Eastern art to living in Egypt.” young collectors young collectors This page: helped developed your taste. I started realising this when I was 14 years-old Left: Dana Saqfelhait is flanked by and travelled to Cyprus with my friends – subconsciously, I was looking out works by (left) Rokni Haerizadeh. Shirin and Farhad. 2006. Watercolour on for museums. Later at university, I chose to write about Picasso in an English paper. 55 x 75 cm; and (right) Rana class. I didn’t realise how much I knew about him, but this was because of Chalabi. (Detail) Bismillah. 2003. everything I’d heard through the audio guided tours at museums. Chinese ink on rice paper. 65 x 63 cm. Right: Farideh Lashai. (Detail). Catching What art ‘highlights’ from your travels are particularly memorable? the Moon. 2012. Mixed media on paper. Raed: I remember seeing Dalí’s The Persistence of Memory and at the time, 30 x 41 cm. Edition 33 of 50. Image I didn’t get it. I thought: “Hey, I can do this!” Of course, I can’t do this! I was courtesy ABBOOKNESS and the Estate of Farideh Lashai. also so wowed by Michelangelo’s David, which Dana first took me to see. Dana: We’d seen a fantastic exhibition of works by Magritte on a trip to Lake Facing page: Como; it included about 35 pieces from all his periods. I also saw Picasso and Left: Bhairaj Maharjan. Braga in Black Marie-Therese, L’amour Fou at the Gagosian Gallery in London in 2011 – it was and White. 2011. Acrylic on canvas. 135 x 102 cm. incredibly overwhelming. Right: Raed Saqfelhait with a work by What was your introduction to Contemporary Middle Eastern art like? Shawki Youssef. Dislocated Femininity. 2010. Mixed media on canvas. Raed: It was through the work of Egyptian artist Mohammed El-Ganouby. 170 x 125 cm. A friend showed me his works and recommended I buy some, and I did, though I remember thinking that they were quite expensive. Now that friend Photography by Zan Nakari unless otherwise specified. really wants them! I credit my understanding of Contemporary Middle Eastern art to living in Egypt. The country is amazingly inspiring for a lot of people and if there’s anything I regret, it’s that I didn’t buy enough art while I lived there. “We’re interested in younger artists, so whenever we travel, finding them is part of the thrill.” Your collection isn’t limited to art from the the prices here are a bit too crazy. I’m not sure Middle East. What guides your acquisitions? if that’s a tribute to Middle Eastern art or the Raed: Whenever we buy art, we want something opposite. There’s still some amazing work out with positive energy. Our taste is very diverse. there, but in the same way that investors and It’s all about talent and beautiful things that fit buyers got greedy and pushed prices up, the within our house. We don’t buy to invest – each artists who get into the scene right now start and every piece has a story. off with really high prices. I believe art should Dana: Some people buy trinkets as souvenirs be accessible to more people and I think the from their trips, we buy art. If we don’t really scene was simpler and more genuine back love it, we won’t buy it. We’re in a new phase then – we went to galleries to see art, not for in our lives now where we’re learning and I’m the free wine! sure we’ll be looking at different things. What we have now is the story of us over the past How do you buy your art today? 10 years. Dana: We buy fewer pieces, but we do a lot more research and turn to our more knowledgeable You’ve witnessed the growth of the Dubai friends for advice. But most importantly, it has art scene over the last few years. How has to speak to us. We don’t put aside a budget it changed for you? every month to buy art; we buy as we go along, Dana: Buying a work by Rokni Haerizadeh was whenever we find something. We’re interested our first experience here and it was great. But in younger artists, so whenever we travel, buying art was never reasonable after that – finding them is part of the thrill. 101 Art is: What I want to be living with for the rest of my life. I would pay monthly instalments forever for: A painting by Rembrandt. My favourite works in my collection: Every parent has a favourite child, but you just don’t disclose that kind of information! Sharifa An artist I think is undervalued or under- publicised: Maha Al-Malluh. The Middle Eastern art scene Al–Sudairi is: Stifled. The artwork I will get by hook or by crook: One by Robert Rauschenberg. 102 S “I am Saudi Arabian and I believe harifa Al-Sudairi once had her heart set on being an artist, but when that tremendously in supporting our dream just didn’t feel right to her any- more, she did the next best thing: she studied art scene, which is flourishing.” art. When she left her home country to attend boarding school in Lugano, Switzerland, lit- tle did Al-Sudairi know that she would have a life-changing experience when she took her in what she calls “the other side”. Today, at 25 Facing page: first few art history classes. “The Renaissance, years-old, this Jeddah native is the Associate Sharifa Al-Sudairi with a work by Manal Al-Dowayan. (Detail) that’s what intrigued me,” she says. Al-Sudairi Director at The Pace Gallery in London. And We Have No Shared Dreams. dreams of one day buying a Vermeer or a Rem- Diptych. 2010. Archival Gicle±e brandt, but meanwhile, she surrounds herself How did you start collecting? prints mounted on dibond, aluminium lettering and LED with art that she feels a deep connection with, I took my first art history classes when I moved backlights. 134 x 89 cm. gathering within her home the memories of to Lugano and the Renaissance period is what her experiences with artists who inspire her. had the biggest impact on me – every painting This page: Al-Sudairi obtained a degree in Fine Arts from told a story. Coming from a place like Jeddah Kamrooz Aram. Untitled (Flag #2). 2010. Oil on canvas. the University of Richmond in London and then where there was no such thing as art history, it 152.4 x 213.4 cm. Image courtesy pursued a Master’s degree in Contemporary was a revelation. At university, I was studying the artist. Art and a minor in Business at the Sotheby’s in the hopes of becoming an artist. But then I Institute of Contemporary Art and got involved saw that people around me were much more young collectors young collectors talented than me, so I decided if I couldn’t be an artist, I wanted to be in this world and hover around artists, watching them create. I first bought an artwork by one of my fellow stu- dents; it’s a big painting, a portrait of a fictional character. I fell in love with it. What has the collecting process been like for you? I am fortunate to have been able to meet the art- ists whose works I have in my collection. Most of the time, I was able to spend time with the artists and see the process of how the pieces I’ve acquired have been made. I know what I like and I know the artists I like – I don’t dwell on a decision for too long. What are your thoughts on the Middle Eastern art scene? I work on the international art market and I don’t just focus on Middle Eastern art, but lately that’s what I’ve been pulled into. It wasn’t inten- tional, but I was just drawn to artists like Maha Al-Malluh, Manal Al-Dowayan, Nasser El-Salem who I’m a huge fan of, Youssef Nabil, Akram “I want to be a part of this world somehow and so I do it by buying an artwork and living with it.” Zaatari, Ziad Antar, Ayman Yossri Daydban and Yto Barrada. Having lived in London for the past eight years and studied and interned at Sotheby’s, I’ve seen everything from big Con- temporary sales to some focused on regional art. I now work at Pace and we deal with some of the most incredible artists in the world such as Rothko, de Kooning and Calder – but I am Saudi Arabian and I believe tremendously in supporting our art scene, which is flourishing. I have been inviting guests to come and discover Jeddah for years, dating to my time working at Sotheby’s. Last year, I was involved in bringing the international art community to Jeddah and then more recently I was also involved with the first Jeddah Art Week, which was more catered to the local art community. We have no excuses anymore; we cannot say we are not up there. We are part of the international scene now and it’s my duty to support that. Do you think you’ve made any mistakes while building your collection? All the time! I have a problem being called a collector; I am aspiring to be a collector. I have What draws you to an artwork? Facing page: no shame saying I’ve made many mistakes It’s the connection with artists. I want to take a Above: Tadashi Kawamata. Nest Plan 6. 2011. Wood and and will continue to make some; it’s part of memory away from an experience I’ve shared glue. 60 x 45 x 15 cm. Image the process. If you want to commit to this and with them and keep it in my home. If I can’t be- courtesy the artist. dedicate your time and effort to it, then you’re come an artist myself, I want to be a part of Below: Sharifa Al-Sudairi bound to make mistakes. this world somehow and so I do it by buying an with a work by Rob Sherwood. artwork and living with it. I feel like I’m with them (Detail) Hopscotch. 2011. Oil What have you learnt along the way? all the time. on canvas. 190 x 170 cm. Never fall for that one thing that people fol- This page: low. Of course there are trends, but it doesn’t What do you plan to do with your collection? George Condo. (Detail) Head mean I have to buy a piece. There is no right I’ve been thinking about this a lot, but I don’t of Butler. 2011. Pencil on or wrong, you have to make up your own ver- have plans for the near future. Every collector paper. 57 x 79 cm. © George Condo. Image Courtesy Spruth sion of things along the way. Art shouldn’t be hopes they can one day share their passion Magers, Berlin/London. intimidating; I used to be so scared to even and what they’ve built over the years. I see all go up to an intern at a gallery and ask about a of this as a learning experience for me, but I still Photography by David Levenson unless piece. Now, nothing scares me and whatever don’t know where it will take me. Perhaps one otherwise specified. mistakes you make, you can handle. Don’t be day I will donate it to a museum or build a foun- afraid to ask! Most of the time, you’ll find people dation that could house them properly. I don’t are happy and eager to answer questions and want to give myself a specific end point – it’s all build connections. about the experience. 105 Talal I would pay monthly instalments forever for: Open Field by James Turrell. An artist I think is Ranya and undervalued or under- publicised: Annabel Daou. I know I should like but I just can’t: Anything by Andy Warhol. Ranya An artist I think is undervalued or under- Talal Ghandour publicised: Lutz Bacher. ew to the growing Dubai art scene, Ranya and Talal Ghandour have quickly developed a knack The first thing I do when I buy a new piece is: Set up a Google alert for that artist. N for Conceptual art. Talal, an engineering and finance graduate from Kings College in London, admits that he was a late bloomer when it came to art and that the real brains behind their collec- tion is his wife. “It’s all Ranya,” he says. “When we were dating, I had to quickly educate myself because art was such a huge part of her life, and the more I learned about it, the more I became fascinated by it. It The artwork that got away was also the quickest way to her heart!” Ranya, who has worked at Christie’s and Ruth|Catone – a New was: A work on paper by York-based art advisory firm – for the past five years, is a graduate of Columbia University with a BA in Art Monir Farmanfarmaian. History and an MA in Modern Art and Curatorial Studies. The newlyweds began their collection only a year ago by acquiring pieces by Tala Madani and Mounira Al-Solh at the sixth Art Dubai edition, as it provided Talal with an easy and accessible introduction to the international art scene. 106 young collectors Did either of you collect art before you Did you aim to start your collection under Facing page: were married? a certain theme? Ranya and Talal Ghandour with works Talal: I used to collect vintage movie posters, Ranya: I’m interested in various stylistic by (left) Tala Madani. which, unsurprisingly, Ranya wasn’t too and conceptual artistic practices, but there Four Empty Cells. 2012. fond of! However, the first art piece I bought was one tiny, very particular thematic related Oil on canvas. 91.4 x 50 cm; and (right) Ramin was by Youssef Ahmad in 2010 before we to the psyche of the Middle Eastern man Haerizadeh. Hijab is Our were married. that seemed to keep resonating with Talal, Business. 2011. Collage Ranya: I actually never collected before Talal so we used that as our jumping-off point. on canvas. 70 x 50 cm. and I got married. Working at Ruth|Catone, I Our collection is really newlywed itself (just This page: was a bit of a purist and I was happy living with a year old) and we are still very much in the Yto Barrada. (Detail) the things I loved vicariously and from afar. I process of determining our areas of common Papier Plies. 2007. wasn’t really ready for collecting at that stage ground as we develop and define its curatorial C-print. 20 panel pieces. 40 x 30 cm each. Edition in my life. framework. This year at Art Dubai, we bought of five plus two artist’s a photographic work by Shahzia Sikander proofs. Image courtesy When and where did you buy your first and a 20-panel piece by Yto Barrada, which Sfeir-Semler Gallery, Beirut/Hamburg. artwork together? clearly represent a move towards a different set Ranya: We bought a few works during last of interests. year’s Art Dubai – even though an art fair is not necessarily the ideal place for a new collector How do you decide on acquisitions? to start, given that it offers only a rather cursory Ranya: It’s imperative to ask whether within point of entry into an artist’s greater career. With that artist’s greater body of work, is this the Talal’s busy schedule, this was an undeniably series that speaks to us the most and can this convenient way to introduce him to a range of particular piece be considered amongst the works from galleries and artists from all over strongest examples of his or her work? Given the world in one quick, concentrated dose. my experience both in art advisory and at “I used to collect vintage movie posters, which, unsurprisingly, Ranya wasn’t too fond of!” young collectors This page: Christie’s, I am fortunate to be able to quite quickly and comfortably discern an Ranya and Talal Ghandour with a work by advantageous moment for an acquisition according to how confident I am about Walid Raad. (Detail) Preface to the Second Edition. 2012. Archival ink jet print. the work. The most important thing to consider is how well the work fits within our 200 x 150 cm. Edition seven of 21. personal sensibilities and long-term collecting ambitions. Talal: We do sometimes argue over a certain piece or a specific artist, so before Facing page: buying anything, we must come to a mutual agreement. I believe an acquisition Above: Mounira Al-Solh. (Detail) Bassam Ramlawi Paintings, Blacksmith. 2010. has to be driven by both passion and the understanding of the underlying piece. Acrylic and collage on canvas. 30 x 40 cm. When Ranya has high conviction and she really loves something, she pushes for it Image courtesy Sfeir-Semler Gallery, and this in turn forces me to take a serious look – that was the case with our Walid Beirut/Hamburg. Raad piece. Below: John Divola. (Detail) Zuma #12. 1977. Archival pigment print on rag paper. What was the process of acquiring the Raad like for you? 61 x 76.2 cm. Edition two of 10. Image Talal: While the image itself admittedly left me a little cold at first, it has served as courtesy the artist and Laura Bartlett an important lesson in how sometimes the most challenging work can be the most Gallery, London. rewarding in the end. One must keep an open mind and read, learn and listen as Photography by Zan Nakari much as possible. Ranya wrote a great deal about Raad’s work in her graduate unless otherwise specified. thesis, so needless to say she threw plenty of material at me that I could chew on “I very much look forward to expanding our collection to include more artists from beyond the region.” until I began to slowly understand the complex conceptual ground that he is treading on and why it is so poignant. How do you see your collection expanding? Ranya: Our collection is very new and I’m sure that with time we will develop themes within our collection in terms of several different curatorial pockets that will hopefully still sing together. Even from only a year ago, our collection has matured and has moved in quite a different direction. The four paintings we bought last year all share a certain visual boldness, whereas our newer acquisitions such as the Raad, John Divola and Barrada are much quieter in terms of their aesthetic sensibility but more deeply conceptual. Are you keen on collecting both Western and Middle Eastern art? Ranya: Of course I want to support artists in the Californian Conceptual artist from the 1970s and region, but I don’t really believe in the existence 80s who I think resonates with Raad in a very of a stable definition of what Western or Middle interesting way that has absolutely nothing to do Eastern art is to begin with. These kind of with nationality. restrictive cultural categories have become rather exhausted and obsolete in today’s world; it’s What is next on your list? kind of like defining French art, it’s too broad, too Ranya: I would love a work by Rayanne Tabet, reductive and too problematic. While the majority he’s so talented and so young! Also, Latifa Echa- of our collection admittedly consists of works by khch has been on my wish list for a while. There Middle Eastern artists, these are all artists that are also several very exciting young American critique such identity-based narratives in some Abstract painters and photographers I have way or another. I very much look forward to my eye on at the moment: Alex Olson, Julia expanding our collection to include more artists Dault, Zak Prekop and Liz Deschenes, among from beyond the region. Divola, for example, is a several others. 109 I’d love to dine with: Pablo Picasso. Art motto: Buy what you love and can afford. The first thing I do when I buy a new piece is: Insure it! James I know I should like but I just can’t: Damien Hirst. Thinking of buying next: Anish Kapoor, Peter Beard and Louay Kayyali. The artwork that got away was: One by Ayman Baalbaki. Khazaei 110 or James Khazaei, growing up in f his London home was like living in a museum. Filled with antiques and 16th century furniture courtesy of his father’s gallery, he gradually became obsessed. Indeed, Khazaei’s “art side” was set alight when he was just six years-old: “We had a rob- bery at the house and the police had scouted the residence, but I found a broken piece of ivory in the garden that served as the main lead in the case. It was then that I started look- ing through catalogues to try and identify the piece and match it,” he says. In addition to be- ing surrounded by tapestries, chandeliers and antique furniture at home, Khazaei developed “an entrepreneurial side” while spending time at his father’s gallery. “I was about eight years old and I was in the gallery when Michael Jack- son walked in – he was a regular buyer. So I “I would also like to see established got the secretary to ask him to autograph a piece of paper for me,” laughs Khazaei. “I then artists assist emerging artists and photocopied it and sold the copies at school!” After attending St Paul’s School, he opted to share their experiences.” study Business Management at King’s Col- lege in London, graduating in 1996 and then say my collection now is 65% Iranian, 25% Facing page: James Khazaei with works by venturing into investment banking. Khazaei Arab and 10% Western”, he adds. Though (on the wall) Charles Hossein moved to the UAE in 2002 and worked in real some pieces hang in friends’ homes and of- Zenderoudi. First Name. 1977. estate and asset management before setting fices due to Khazaei’s limited wall space, the Acrylic on canvas. 131 x 209 up his own real estate development fund in main collection is in storage and is something cm; (on the shelf) Lorenzo Quinn. Gravity. 2007. Bronze. 2008. he hopes to one day show in a public space. 42 x 28.5 x 9.5 cm. Edition 484 His foray into the Middle East’s Contempo- of 495; (right) Adam Henein. rary art world began with his childhood friend, How did you come to decide to buy your Marie Nilus – Harraniya. 1969. Bronze. 130 x 25 x 25 cm; (on the Michael Jeha, Managing Director of Christie’s first piece at auction? table, right) Aninat & Swinburn. Middle East & Head of Department and art I thought that a Christie’s auction would con- Sins & Virtues. 2012. Gold plated consultant Dina Nasser-Khadivi. Iran Map I by sign the best of whatever there was. It was plaques. Each 19.5 x 15 cm. Farhad Moshiri marked his first acquisition at also a learning curve for me – it was a nas- Edition two of three; and (on the table, left) Andisheh Avini. the inaugural Christie’s Dubai auctions in May cent market, so there was an opportunity for Spider Skull. 2007. Plastic. 14.6 x 2006; the piece is also one of many works by me to watch it develop. I was hooked and ob- 12.7 x 20.3 cm. Unique piece. the Iranian Pop artist in Khazaei’s collection. sessed, but I now have a different mentality to This page: “I was really attracted to Iran Map I,” he says. acquiring pieces. Abbas Kiarostami. Snow. Triptych. “It reminded me of my father and I suppose 1978–2006. Photographic print it spoke to my Middle Eastern roots; in many How so? on canvas. Unique piece.165 x respects I feel more Eastern than British.” I don’t attend vernissages and now prefer to be 225 cm. Image courtesy Christie’s Images Ltd, 2007. More acquisitions followed and though pre- the anonymous bidder in the room, because it dominantly Contemporary Iranian, his collec- got to the point where some people would fol- tion now boasts works by Arab and European low what I did and that became a real issue as Modern and Contemporary artists. “I would this would drive up the price on a piece and young collectors young collectors “A lot my purchases are based on my intuition and advice from others, in addition to educating myself on the region and its artists.” on the rare occasion, I would lose out on it. I was also approached to buy things the minute I walked out of the auction room, which I found quite tasteless. What are your thoughts on the Contemporary Iranian art scene? It’s very different now compared to what it was a few years ago. Collectors then were just in- nocently enjoying buying, but there was a small percentage who looked at this as a gold rush – they took advantage of artists who didn’t under- stand the process, or in some cases, dictated what to produce. As a result, those particular artists weren’t able to sustain quality or price. Some burnt themselves, others even predated their works, and now no one wants to own such pieces. Thankfully, I feel this attitude has been flushed out and credit must go to how the art environment has evolved organically. Now, it’s more about the quality of works. Galleries have matured and worked hand in hand with artists, and I give them a lot of credit for sticking it out during the crisis. Artists have also engaged in this process and there is a certain trust and kindness in these relationships now. Everyone is doing their bit – it’s like a family environment with a sense of unity and this can only benefit artists and collectors. Do you have any regrets about art that you’ve bought? None! I’m keeping what I want and slowly pruning out the rest, which is not a lot and not an active process either. I did sell a work by Moshiri that I loved to a very big European collector; it was the right decision as it meant creating awareness about regional art to that calibre of collector and he now collects art from this genre. Facing page: Above: Shirin Neshat. Turbulent. 1993. Ink on gelatin silver print. 100 x 150 cm. Edition two of five. Image courtesy Christie’s Images Ltd, 2007. Below: Farhad Moshiri. (Detail) Iran Map 1. 2000. Mixed media on canvas. 170 x 170 cm. Image courtesy Christie’s Images Ltd, 2006. This page: James Khazaei is surrounded by works by (from left to right) Rokni Haerizadeh. (Detail) Bosom of Motherland (Bombardment). 2007. Acrylic on canvas. 200 x 200 cm; Paul Guiragossian. (Detail) La Promenade. Undated. Oil on canvas. 100 x 90 cm; Farhad Moshiri. (Detail) Allah Akbar. 2006. Acrylic and black crystal glitter on canvas. 150 x 200 cm; Nabil Nahas. (Detail) Sedona. 1998. Acrylic and pumice on canvas. 157.5 x 157.5 cm; and (on the table) Andisheh Avini. Spider Skull. 2007. Plastic. 14.6 x 12.7 x 20.3 cm. Unique piece. Photography by Zan Nakari unless otherwise specified. Would you open your own gallery? for them in advance, then this allows the artist I’ve been approached to and would like to, but to focus on producing top quality works and there’s a big difference between being a col- be less worried about how to pay their bills. I lector and a gallerist and I’m not a trader in would also like to see established artists assist that sense, but never say never. emerging artists and share their experiences. How do you plan acquisitions? How do you involve your son Michael in A lot of my purchases are based on my in- your art collecting? tuition and advice from others, in addition to Firstly, this is his collection. I am simply the educating myself on the region and its artists. gatekeeper. This has become a real father- I began developing two collections – my own and-son bonding experience. He is only six and a museum one. I always bought the best, years-old, yet we look through auction cata- even if it did not sometimes serve my taste. I logues together and I already see he has the did this because I believe that it takes years to eye for it. I’m building a legacy for him to in- build a museum quality collection and no one herit while teaching him as he grows. He’s al- was really doing this a few years ago. ready got his favourite pieces – one by Moshiri and another by Charles Hossein Zenderoudi. How do you support emerging artists? Michael picked out a sculpture at Art Dubai by It’s something I am very keen on. For example, Sahand Hesamiyan, which we both liked, so if I buy several pieces from one artist and pay we bought it. 113 Mojeh I’d love to dine with: Hooshang Seyhoon. The artwork I will get by hook or by crook: A Herb Ritts photograph of Stephanie Seymour or Cindy Crawford. The artwork that got away was: Farhad Moshiri’s The Sky Climber. Shahab I would pay monthly instalments forever for: The work by Jackson Pollock at the Tehran Museum of Contemporary Art. The artist’s name I can never pronounce: Roy Lichtenstein. Thinking of buying next: Anselm Reyle. Mojeh and 114 Shahab Izadpanah young collectors ojeh and Shahab Izadpanah’s pas- was when he purchased a piece by an Iranian M Facing page: sion for Iranian art stems from a portrait painter. Mojeh and Shahab Izadpanah with a work by Koorosh Shishegaran. Untitled. deep admiration for Mojeh’s father 2008. Acrylic on canvas. 140 x 200 cm. and the collection he amassed throughout his Even though you have lived abroad for life. Works by Modern and Contemporary artists the majority of your life, your collection is This page: surrounded Mojeh as she was growing up, with very much Iranian. Is this something you Left: Ali Ajali. Untitled. 2005. Acrylic on canvas. 150 x 150 cm. © Christie’s her father’s interest in a diverse range of Iranian strive for? Images Ltd, 2011. art styles leaving a long-lasting impact on her. Mojeh: Despite living in the West for most “Shahab was inspired by my father’s passion for of my life, my family has always been very Right: Parviz Tanavoli. Standing art and actually got into collecting first,” recalls much Persian; we weren’t allowed to speak Heech (Nothing). 2005. Bronze. H: 106 cm. Edition five of six. Mojeh, founder of the eponymous fashion and anything but Farsi at home and would always © Christie’s Images Ltd, 2011. lifestyle magazine. travel to see our family. That is how we were The couple met in Geneva, where they both lived and completed their undergradu- ate degrees, with Shahab focusing on finance “I approach art on a and Mojeh on Business Administration, Arts and Media Communication. In 2006, Shahab, very emotional basis who had operated a finance firm in the Swiss city, moved to Dubai where he set up a pri- – I either like it or I don’t.” vate company that manages investments and trusts and Mojeh followed the same year. Fash- ion and publishing had always been a lifelong dream for the young founder of Mojeh, and, after a year of fashion school, she decided to launch her first magazine in 2010; a second, Mojeh Men, was launched earlier this year. The Izadpanahs’ foray into collecting began with Iranian art – a focus they opted for in support of their fellow countrymen – and hope to expand their collection and diversify in media, style and nationality. When did you first start collecting? Shahab: I started seven years ago and was inspired by Mojeh’s father and our good friend and art advisor Dina Nasser-Khadivi. Mojeh: Shahab was interested in art before me, but we had both been inspired by my father, who has been collecting for as long as I can remember. When I was younger, I was always dragged to galleries and museums and I used to dread going. But my father was relentless; the first time I began to become interested in art “We are very strong supporters of the work that comes out of our country and its people.” 116 young collectors still able to maintain our heritage, culture Shahab: I definitely think Iranian art is still Facing page: and language. exciting and there is still very good work Above: Mojeh and Shahab Izadpanah with a work by coming out of Iran. Although we are looking at Mohammed Ehsai. Allah. As a couple, how do you agree on what expanding our collection so it includes various 2011. Acrylic on canvas. to acquire? nationalities and styles, we are very strong 192 x 142.2 cm. Mojeh: I approach art on a very emotional basis supporters of the work that comes out of our Below: Ali Shirazi. The – I either like it or I don’t. If I like it, then whatever country and its people. Children of Humanity Are the price is, it’s worth it – and that’s where Each Other’s Limbs, When Shahab comes in! I never go thinking I want to How do you intend to instill art app- One Limb Passes Its Days in Pain. 2011. Acrylic on buy a certain piece. I want to explore. For me, reciation in your son? canvas. 200 x 300 cm. the piece has to be happy, because I can’t deal Mojeh: I want to give him the same © Christie’s Images with art that has negative connotations. We are encouragement that I grew up with and Ltd, 2011. surrounded by art and I want to have a happy hopefully more. I’m going to make sure that This page: and colourful home, especially for my son. we broaden his horizons. I think he will have a Lalla Essaydi. Harem Shahab: I look for the meaning behind the piece bigger window into the art world, a little bit of #18. Triptych. 2009. and the connection I develop with it. I also look at fashion and a little bit of art. Chromogenic print mounted on aluminium. the investment value of the work. If Mojeh doesn’t Shahab: Also, it has to come naturally to him, 102 x 249 cm. Edition like a piece that I buy, it comes to the office! we don’t want to push him towards anything or 14 of 15. Image courtesy force him to like our interests. the artist. What are your thoughts on the Contem- Photography by porary Iranian art scene? Mojeh, your magazine is a fashion and Zan Nakari unless Mojeh: I think it has changed after the financial lifestyle publication. How do you feel otherwise specified. crisis, but it is definitely alive and kicking. The fashion and art overlap? lesser-known Iranian artists who weren’t able to Fashion is art and design is art. Maybe that is establish themselves in the market before have why I love art so much, because it is very visually disappeared, but if we look to prominent artists and aesthetically beautiful, very much like fash- like Parviz Tanavoli, everyone is still dying to ion. Art and fashion can play off of one another have a Heech! and draw inspiration from each other. Latest acquisition: A small print by Ernesto Neto. I am a young collector because: I couldn’t help myself! Best art advice I ever got: Try and block out the noise. I know I should like but I just can’t: Martin Kippenberger. Thinking of buying next: Walead Beshty. The artwork that got away was: Paper Drop by Wolfgang Tillmans. Bobby Molavi 118 young collectors ondon-based Bobby Molavi had visited concerned, the Iranian-born investment banker L Facing page: shows at the Tate, Whitechapel and appreciates the work of Shadi Ghadirian, Shi- Bobby Molavi with a work by Idris Khan. Holy Quran. Hayward galleries as cultural enthusi- rin Neshat and Walid Raad, among others, but 2004. C-print. 194 x 152 cm. asts do, but it was a visit to the 2004 edition doesn’t approach art based on nationality. “I’m Edition of three. of Frieze that altogether changed his outlook as anglicised as can be, but in terms of value This page: towards Contemporary art. “It was a sensory set, my cultural heritage is a big part of my life,” Two works by Izima Kaoru. overload,” says Molavi, “The zeitgeist at the time adds Molavi. “I have great respect for where I (Left) Koike Eiko Wears said that the art on show was good but I didn’t come from; though it has never been my home, Gianni Versace, #421. 2004. know why and the process of discovery was I’d like to reconnect with it.” C-print with diasec. 508 x 671 cm. Edition three of seven plus fulfilling.” Though he had taken photography two artist’s proofs; (right) courses during his Bachelor’s (2002) and Mas- You walked into the Contemporary art Kuroki Meisa wears Gucci. ter’s (2003) degrees in politics and philosophy world in 2005 – they were exciting times. 2006. C-print with diasec. 508 x 671 cm. Edition of at the University of Edinburgh, Molavi delved It was an amazing, two-tiered world – White seven. Images courtesy Fa into research mode, buying tomes on Modern Cube, Gagosian, Victoria Miro and a huge flock Projects, London. and Contemporary art and visiting galleries in of small galleries, most of which are now de- East London every weekend. “I met all the deal- funct. Everyone was open-minded and you had ers, started appreciating artwork, looked at new access to the big boys. It was a real commu- pieces and began identifying more,” he says. nity – comforting and suffocating at the same “I am a visual person and I enjoyed it all from time, a kind of nepotism, lots of people in one the perspective of looking, seeing and under- small pool. In 2008, the money in the art world standing.” Molavi’s first purchase happened a year later at Frieze with a photograph by Luisa Lambri, a piece whose “use of light, sensual- “A great way of reconnecting ity and Oscar Niemeyer staircase” resonated with him. “I got quite carried away afterwards,” with history and promoting laughs Molavi, “once you cross that Rubicon, it’s endless – I bought about 120 works in the culture is through the arts, next two years.” Visits to the Venice Biennale, Art Basel but I’m a great believer in editions and The Armory show followed with more photography acquisitions, most of which cultural relativism – you must hang in his London home and the remaining pieces in storage. As far as Middle Eastern art is love that piece of art.” This page: changed and there were four ranks of VIPs. I Above: Ola Kolehmainen. Composition with a Tree. 2010. C-Print Diasec. 105 x 165 cm. thought maybe the recession would clean that Edition two of three. Image courtesy the artist. out, but it didn’t. There are very few differentiat- ing asset classes but suddenly, everyone could Below: Luisa Lambri. (Detail) Untitled (Palacio afford luxury items and buying a Francis Bacon dos Arcos #05). 2003. Laser-chrome print mounted on Plexiglas. 122 x 146 cm. Edition triptych became a status symbol. I started buy- three of five plus one artist’s proof. Image ing smaller inexpensive things that I liked. Once courtesy Gallery Marc Foxx, Los Angeles. I felt things were detached from reality, I didn’t Facing page: lose interest but I became cautious. I saw more Bobby Molavi with a work by Atlas Group. things about the art world that I didn’t like. (Detail) Untitled, from the series We Decided to Let Them Say “We are Convinced” Twice. It What kind of things? Was More Convincing this Way. 1982–2004. Inkjet print. 121 x 179 cm. Edition one of Artists would have a show and sell out immedi- three plus one artist’s proof. ately. They’d have sold works for $5000 and then start selling at $100,000! It got very frenzied. You Photography by David Levenson unless otherwise specified. had 10 seconds to make a decision and I found that hard. It was art that was in fashion and I didn’t want to be the person chasing the hot things. In a slightly self-righteous way, I felt morally superior that I was not doing this for financial gain. Did Contemporary Middle Eastern art appeal to you at all? Things moved in such an exaggerated way and suddenly it became a ‘thing’. As such, I made a conscious decision not to look at it. I think foolish- ly, I was being stubborn. I like Shadi Ghadirian’s work – it was quite telling, this vision of domestic- ity in the Middle East and what that said about the place of women in the region. I also love Shi- rin Neshat’s work – I find her work very power- ful, aesthetically simple and beautiful, particularly the Farsi text on photos. I like subtle work like that where the message is harsh and clear. What about acquiring Middle Eastern art? I’ve never collected it per se as a thing to. I was always interested in it, but I’ve never treated art as something driven by nationality. If I went to an exhibition and saw an artwork that hap- pened to be Middle Eastern, I’d buy it because I liked it and not for anything else. A great way of reconnecting with history and promoting cul- ture is through the arts, but I’m a great believer in cultural relativism – you must love that piece of art. It’s art for art’s sake. Is buying art an instant decision for you? Yes. It is initially instant and then I have to go and research it. I have done impulse buys but I do prefer to do some research first. If you really love something, you can’t live without it. 120 “I like for things to represent me, and we change as people over time.” Do you adhere to a particular theme in in terms of space and cost would never hap- your collection? pen. My interest in photography through an art- No theme really, it is just predominantly com- ist like Andreas Gursky means I can’t afford to prised of photography works – I think that is buy all that. So as time passes, I’ll know what because initially it was the most approachable I like; my second wind will be less work, but and affordable. More importantly, it’s because bigger and better work. It is a journey that in- of my history of taking photographs and having volves fewer artists with pieces by those that an understanding of the process. I’ve always I believe in. been a visual person, but not oriented to real- istic painting. Would you consider selling works? I never have but I might to refresh the collection What about collecting in depth? and get rid of pieces that don’t mean the same I’d like to and have done it with a few artists to me anymore. I’ve never been a hoarder; I like like Walid Raad, who I think is an incredible art- for things to represent me, and we change as ist. His work is powerful and challenging and I people over time. think it’s very interesting that he’s created a ficti- tious world. I’m happy to own three pieces by What has art collecting as a journey been him and would love to buy more. Over time, I’d like for you? like to deepen the collection, but it’s a question I fell into art in a very obsessive way. The way of of affordability. life was incredibly alluring – new places, faces and art. A collection is a reference to oneself, to What will you do with your collection? one’s personality and to our interests. It makes From the very beginning, I wanted it to be deep you look at your likes and dislikes. I found that and expansive. In reality, the feasibility of that journey incredibly fulfilling. young collectors written by Myrna Ayad Rania Habib Hawazen Alnuweiri 122
Enter the password to open this PDF file:
-
-
-
-
-
-
-
-
-
-
-
-