a geopolitical exercise SABRINA AMRANI ART GALLERY An Algerian-born sociologist established her eponymous gallery in the heart of Madrid in 2011. Myrna Ayad and Javier Duero meet the lady behind Sabrina Amrani Art Gallery – the first and only space in Spain to present and promote art from the MENASA regions. 84 GALLERY Facing page: Foreground: Zoulikha Bouabdellah. (Detail) Silence Bleu. 2008. Prayer mats and stilettos. Variable dimensions. Edition of 20. Background: Nicène Kossentini. (Detail) What S Water Gave Me. 2009. Nine photographic prints on museum etching paper. 60 x 109 cm. Edition two of five. This page: Sabrina Amrani with a work by Zoulikha Bouabdellah. (Detail) Mirage I. 2011. Laser cut steel and car paint. 193 x 193 cm. Edition of three. abrina Amrani was nervous. She had spent a year working on plans to open a gallery in an economically challenged Spain – a country she is not from and an industry she was not familiar with. Armed with a genuine passion for art from the MENASA regions and a promising roster of its artists, the Algerian-born dealer and her husband and co-partner Jal Hamad met with a Spanish museum director a few months before Sabrina Amrani Art Gallery opened in the historic Malasaña neighbourhood of Madrid in June 2011. “He told me that my biggest strength was not being from the Contemporary art world per se and to just do it,” says Amrani. Two years later, she has no regrets. “Crises offer great opportuni- ties,” says Amrani. “This risk I took was worth it because I believe in and love what I do Facing andMartin page: you Barré. 75-76-D- 123 know what they say – love makes you blind!” x 116. 1975–76. From the start, the couple were keen on presenting art from the MENASA regions, Acrylic on allowing canvas. 123 x 116 cm. the space to function as a hub that strengthens the mix of cultures between East Photography and Westbyand Camille Bonnefoi. North and South. As far as the gallery’s roster is concerned, their criteria is threefold: “First, we Image courtesy ADAGP 2013, Paris choose artists not only considering Spain, but the world. Second, we need to have a strong emo- and Galerie Nathalie Obadia, Paris/Brussels. tional connection with the works and the artist and build a long-term relationship based on trust. And third, we’re keen on emerging artists”. Art, says Amrani “is what makes a societyLeft: Nathalie grow; it should Obadia. Photography participate in social debate and genuinely add to the economy and identity of a country. ” by Luc Castel. 85 GALLERY Looking East, Going West show, given its focus on events surrounding the The gallery’s first show was Mirage, a solo ex- Arab Spring. The artist had tackled ‘mirage’ in a hibition by Algerian multimedia artist Zoulikha double manner – on the one hand, it was inspired Bouabdellah, whose Dansons video Amrani had by Gaddafi’s Mirage aircraft, which was shot down seen in Paris years before and remained etched by rebel forces; and on the other, the actual term, in her mind. “I could so identify with Dansons mirage, signified that which is unattainable. The and with Zoulikha herself – we are both Algeri- show was met with favour by the Spanish audi- ans, we both grew up in Paris and the mixture of ence and generated a great deal of media atten- belly-dancing with the French national anthem tion, but minimal sales. “Many had told me not to in the video really struck a chord with me,” ex- expect sales in the first three years of operation,” plains Amrani, who met Bouabdellah in 2010 explains Amrani. “We opened in the middle of the and signed her on as the gallery’s first artist. “I crisis and the odds were against us – there was no asked Zoulikha how come she agreed to work governmental support, no museum acquisitions with us at a time when we didn’t even have a and we had to initiate a conservative Spanish space and she said that the passion that she saw collector base to art from the MENASA.” In many in me reminded her of herself when she decided ways, says Amrani, the Spanish art market is simi- to become an artist,” laughs Amrani. lar to that of Turkey – both are conservative, “but It was an intention on Amrani’s part to present the Spanish scene is not emerging, so to speak.” Bouabdellah’s Mirage as the gallery’s inaugural Very early on, the couple knew “not to totally 86 GALLERY “We feel like we belong to this region even if we’re based in Madrid.” count on Spain” and the gallery’s focus turned to participation at international art fairs, beginning with Art Casablanca. Though a small-format inter- national art fair, its geographic proximity served as an experience in logistics as well as an exercise in large-scale commercial platforms. The next two fairs in which Sabrina Amrani participated were the JUSTMAD editions in Madrid and Miami and Lebanon’s Beirut Art Fair, making it the gallery’s first interaction with a Middle Eastern public. Though Amrani’s booth was one the best at the latter fair’s third edition – with a work by Bouab- dellah among the show’s highlights – the overall experience proved frustrating given Beirut’s po- litical instability and the imposed travel bans to the Lebanese capital placed by Gulf states. Am- rani knew, however, “that we had to go to Beirut to get to Dubai.” Fair Play subcontinent in Amrani’s roster is Waqas Khan, Facing page: Nicène Kossentini. (Below Over and above Amrani’s desire to promote who is shortlisted for this year’s Jameel Prize and and detail) Shakl. 2012. her space internationally is a fervent desire to whose work caught the eye of Austria-based Ink on glass and canvas. 73 x 103 cm. endorse her artists, some of whom are solely Krinzinger Gallery. Known for his labour-inten- This page: represented by the gallery and whose work is sive works evocative of spirituality, the Pakistani Younes Baba-Ali. Carrousa Sonore. 2012. therefore reliant on it for international expo- artist’s solo show coincided with Sabrina Amra- Sound installation. Variable dimensions. sure. One such artist is Indian-born Dubai-based ni’s first anniversary – an event that was marked Image courtesy the artist. UBIK, whom Amrani met in 2011 during a visit with a book on Khan’s works and is the gallery’s to Art Dubai. Struck by his sarcastic and witty first publication. social commentary through Conceptual works, The couple describe the time before the Amrani signed him on and exhibited his pieces last edition of Art Dubai as a “beta period”, in at fairs in Madrid, Miami and more recently, at which phases of experimentation have now al- the gallery’s freshman participation at Art Dubai. lowed them a finer idea of where and how to “We are really keen on supporting young art- take the gallery’s programme forward. The Art ists, especially at art fairs,” she says, “and given Dubai experience was a success, with Amrani that UBIK is not represented by a Dubai gallery, selling out works by UBIK and Khan and making we felt it was necessary to present his works in several sales of pieces by Bouabdellah and Tuni- his hometown.” Another artist from the Asian sian-born Nicène Kossentini. “It is so important 87 GALLERY “I don’t look back, I look ahead and right now, I’m looking at we what we need to do by 2015.” to be a part of this fair and exhibit alongside great galleries; it’s not just a commercial platform – Art Dubai means forging ties with curators and museum groups and is an opportunity for us to see other artists from the region,” insists Amrani. “We feel like we belong to this region even if we’re based in Madrid.” Cultural Roots This passion and zeal for the region and its art practices stems from Amrani’s childhood in Paris. Though she was born, raised and educated in the French capital – graduating with a degree in Sociology from the Sorbonne – Amrani’s family always retained and prized Arab culture. “My mother is a huge fan of Egyptian cinema,” laughs Amrani, who recalls the music of Umm Kulthum playing at home and a “great familial respect” for Arab literature and philosophy. “I have Arab values and cherish the culture, but I am also French,” she explains. “Recently, I feel that my connection with my Arabian-ness has gotten stronger.” She worked as a business development strategist with a large multi- national corporation in Paris for a few years and moved to their Madrid offices in 2008 after “a gruelling travel schedule”. It was in the Spanish capital that she met and married Hamad, who is of Syrian origin but was born and raised in Madrid. “I think Jal being origi- nally Arab and a collector of Contemporary art definitely encouraged my own passion for art,” says Amrani. With the onset of the global economic crisis, she chose to resign and take time off to consider launching her gallery, whose roster now includes Moroccans Younes Baba-Ali and Amina Benbouchta, Pakistani Ayesha Jatoi, Turkish Sümer Sayın and Palestinian Larissa Sansour (page 140) for whom Amrani presents a solo show in May. Though none of the gallery’s artists reside in Spain, the couple advocate long-term stays prior to shows. “We do not want a solely commercial relationship. We consider our 88 artists as our allies,” explains Amrani. “We have the same relationship code with collectors and we are mindful of who we sell artworks to.” International art fairs aside, the couple is keen on collaborations with spaces, dealers and institu- tions in the region and beyond. They are currently working on a series of educational and artistic activities for Casa Arabe and its International Insti- tute of Arab and Muslim World Studies – a con- sortium formed in 2006 by the Ministry of Foreign Affairs and Cooperation and the Spanish Agency artists to share their visions about art, women and Facing page: UBIK. One State Solution. 2011. for International Development. The gallery col- their lives in North African countries,” says Amrani. Digital print on canvas. 60 x 84 cm. Edition of three. laborated with the Traits d’Union (Art Absolument) As they prepare to stage Sansour’s first solo project, a travelling group exhibition that presents show in Spain, followed by solo exhibitions for This page: An exhibition view of Waqas Khan’s the work of 13 Arab artists who have either lived in Benbouchta and Bouabdellah, the couple main- Abstraction Contained. or maintain close links with Paris. For the inaugu- tain their interest in working on concepts “related Inset: Waqas Khan. Forming Spaces IV. 2012. Archival white ink ral Jeddah Art Week, held last February, the gallery to socio-political issues, architecture, identity and on black wasli paper. 30 x 22 cm. donated a work by UBIK to the Pen to Paper auc- space” but are also looking East for artists. “We’d Unique piece. tion, organised by Athr Gallery and the Al-Madad like to consolidate what we built in the last two All images courtesy Sabrina Amrani Art Gallery, Madrid, unless Foundation and which raised funds for Palestinian years and focus on the Middle East,” says Amrani. otherwise specified. refugees. Amrani also placed works by Bouabdel- “I don’t look back, I look ahead and right now, I’m lah, Benbouchta and Kossentini in the first edition looking at we what we need to do by 2015.” of Madrid’s Perspectives of Women Festival last March, organised by Community MAV (Women in For more information visit the Visual Arts). “It was an opportunity to invite our www.sabrinaamrani.com 89
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