REVIEW a curious ensemble For its third edition, the Beirut Art Fair showcased 40 galleries from 13 countries – its largest ever number to date. Myrna Ayad reports on the highs and lows. A lot of tension, fuelled by the cataclysmic events in neigh- bouring Syria, inevitably spilled over to Lebanon and marked the weeks leading up to the third in- carnation of the Beirut Art Fair (BAF, renamed from tary, there were many who didn’t have faith in the fair’s timing (July), nor in its curatorial scope and the quality of the art on show; some even went so far as to wonder whether the region needed another art fair. “But BAF shows art that can’t be MENASART). And yet, despite random skirmishes shown in the Gulf,” added Pascal Odille, the fair’s in the Lebanese capital and beyond, a 72-hour Artistic Director. Not that there was anything near nationwide Internet blackout, the notable absence an abundance of risqué artworks on show. of wealthy Gulf tourists (due to travel bans to Leba- There were, however, works by Andy Warhol, non placed by their governments) and frequent Sam Francis and Antoni Tàpies – probably the tyre-burning on major roads in protest at the first time that pieces by these masters were ex- country’s chronic power cuts, the Lebanese pro- hibited in Beirut. None were sold. The Warhol, a pensity for resilience always seems to kick in. Time 1980 portrait of Las Vegas philanthropist Barbara and again, the nation’s inhabitants have proved the Molasky at Galeria Cordeiros from Portugal, was adage ‘the show must go on’ – a spirit conveyed by priced at $15 million. Interestingly, an edition of French-born BAF Manager, Laure d’Hauteville, who the same silkscreen was sold at Sotheby’s in 2008 asserts that “Lebanon is my country too”. for $283,000. Lebanese visitors, dressed to the Many of her adopted country’s compatriots nines on the fair’s opening night, marvelled at the share her determination to put BAF on the art fair ‘presence of a Warhol in Beirut’ but many were map: “When the Saudi government warns its citi- dismayed with the inclusion of design galleries zens against coming [to Beirut], but a gallery from exhibiting alongside those that show Contempo- Facing page, above: Andy Warhol. Portrait of the Kingdom [Athr Gallery of Jeddah] participates rary (and Modern) visual art. It was, by any stand- Barbara Molasky. 1980. Acrylic and silkscreen ink on at the fair, this is a good sign,” noted Lebanese ard, an awkward marriage between two genres canvas. 101.6 x 101.6 cm. Image courtesy Cordeiros art collector Abraham Karabajakian. “In years to which ought to stand their own ground. If art and Galeria, Porto. come, people will appreciate what’s being shown design are to be exhibited successfully under one Below: A view of here.” Renowned dealer Saleh Barakat of Beirut’s roof, such ventures demand the highest qual- Correspondences curated by Catherine David and Agial Art Gallery is also a staunch backer of art ini- ity and a foolproof curatorial vision – sadly, this featuring an artistic dialogue comprised of letters and tiatives in Beirut: “If there’s an art fair project here, wasn’t the case at BAF. “They’ve brought in fur- works on paper between Syrian artist Marwan and how can I not support it? BAF is making a major niture which brings down the quality of the fair,” Saudi writer Abdul Rahman effort to support the scene and it deserves our commented Yasaman Matinfar of Tehran’s Azad Munif. Photography by Myrna Ayad. reciprocation.”Yet despite such positive commen- Art Gallery. 50 Musk and Amber Lifestyle Concept Store from Tunisia showcased jewellery by Marie Munier alongside works by Mo- roccan artist Hassan Hajjaj; Christina Debs Fine Art and Jewel- lery presented prints on foam board by little-known Lebanese photographers next to jewellery. Yes, there was jewellery – in glass vitrines, velvet cushions et al. “Sure, I don’t think the design and jewellery placed at the fair is a good idea,” commented Ka- rabajakian. “One’s eye is trained to look at art, not jewellery and design at an art fair.” Odille, however, felt otherwise, adding that “There’s a great dynamism between art and design and I think it’s working pretty well [here].” Pluses and Minuses BAF took place from 5-8 July, with no ‘private’ vernissage, which many had assumed would occur on 4 July. However, the Beirut International Exhibition & Leisure Centre (BIEL), where the fair has been held since its inception, “could not offer BAF an additional day,” said Odille. And so, an estimated 4500 visitors attended the fair’s opening, officially inaugurated by the Lebanese Minister of Culture, HE Gaby Layoun. Such a large turnout was due to the fact that fair organisers had distributed invitations by the dozen to pretty much everybody who was anybody. More air-kissing than sales dominated the opening, but nota- ble deals included pieces by Ayman Baalbaki, Tagreed Darghouth and Baya at Agial, whose booth was solely dedicated to works on paper by Modern and Contemporary Arab artists. At new par- ticipating gallery Sabrina Amrani from Madrid, a neon work by Algerian artist Zoulikha Bouabdellah was snapped up for $8700 on opening night. “It was instant love,” said Sabrina Amrani of the Lebanese collector who acquired Bouabdellah’s Two Lovers. The young gallery’s roster boasts an impressive line-up of emerging artists from the MENASA region, including Waqas Khan, UBIK and Amina Benbouchta, all of whose works were shown at BAF. A trio of elephants in the room by Lebanese artist Nadim Karam trum- peted to the tune of $1 million at Ayyam; the metal works were still on reserve at the time of press. The booths of Agial, Sabrina Amrani, Ayyam and Art Sawa were among the best on show in terms of display and curatorial vision. Credit is also to be given for the impressive Correspondences – a space curated by Catherine David, and which showcased an artistic dialogue comprising works on paper and letters be- tween Syrian artist Marwan and Saudi writer Abdul Rahman Mu- nif. It was a shame that Correspondences was tucked away into “There is a lot of interest a rather obscure corner of the fair; the exhibition was neverthe- less supplemented by a panel discussion between David, Mar- in the works, but I haven’t wan and political commentator and historian Fawwaz Traboulsi. Attendance at the talk was reasonable, but much better than at come across any seasoned other panel discussions, which were either poorly attended or cancelled without notice due to almost negligible attendance collectors.” Camilla Chaudhary – such was the case for Pakistani artist Simeen Farhat, who had flown in specifically to give a talk. Two of Farhat’s wall pieces 51 REVIEW “The fair needs more rigorous curation, it’s too uneven and it’s at a confused level.” Siham Derradji sold for between $8-10,000 to Lebanese collec- Grey Skies tors through Karachi-based ArtChowk. “There is Amazingly, Lebanon’s political situation did not Above, left: Zoulikha Bouabdellah. Mirage I. 2011. a lot of interest in the works, but I haven’t come faze foreign participating gallerists or museum Steel and car paint. 193 x 193 cm. Image courtesy the across any seasoned collectors,” said the gallery’s representatives either – Venetia Porter of the artist and Sabrina Amrani Art Gallery, Madrid. Camilla Chaudhary. This statement was further British Museum and Jessica Morgan of the Tate augmented by Siham Derradji of Paris’s Galerie were in attendance at BAF. Interestingly, the Right: Nadim Karam. The Elephant Family. 2012. Super Trait Noir, which exhibited a curious mix of pieces: fair’s selection committee does not include any shiny mirror and stainless steel. Ranging from 300-70 photographs by Moroccan Mohamed El-Baz and Lebanese nationals – an issue raised by some cm. Image courtesy the artist. one work on paper each by Sam Francis, Sol LeWitt local dealers – but which is intentional on the and Joan Miró (the latter was just Miró’s signature organisers’ part. “We really wanted an external in colourful crayon). “The fair needs more rigorous committee,” asserts d’Hauteville, “and didn’t or lost between gallery booths, as was the case curation, it’s too uneven and it’s at a confused lev- want any dealers from within either.” While with Odille’s This is Not a Wonderland, a curated el,” noted Derradji, who, along with fellow dealers, BAF operates an art collectors circle compris- exhibition of monumental art; The Comics Cor- was also annoyed with the fair’s overall standard of ing “100 collectors, of which 80 per cent are ner of original comics from the MENASA region; finish. While the booth walls were painted in white, Lebanese”, d’Hauteville’s sole requirement of and From Street Art to VJing: The Urban Creation blotches of paint permanently stained the grey car- this group is to serve as ambassadors of the of Beirut, which featured graffiti art by young peting – not a good look by any standards. Lighting fair “and for each member to bring in about Lebanese artists. With any luck, September 2013 was also meagre and another point of contention four collectors”. will bring better days to the region’s political was BIEL’s parking policy (about $3) and Internet For its fourth edition in 2013, BAF will take arena. “Given the political situation, this edition fees ($230) – the irony was the country’s Internet place in September so as not to clash with the was a success,” noted Chaudhary. Perhaps bet- blackout for most of the fair’s duration. There was Holy Month of Ramadan. D’Hauteville intends ter organisation, a tighter curatorial strategy and also the curious case of live Lebanese rap music, dedicating a “real corner” for design galleries a calmer political climate will help strengthen which, coupled with loud sound testing done on and maintaining the “boutique nature” of BAF. BAF’s fourth edition. BIEL grounds for an impending concert, posed a Hopefully other sections of the next instalment serious threat to works hanging on vibrating walls. will be allotted spaces and avoid getting diluted For more information visit www.menasart-fair.com 52
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