OTHER movers THE & SHAKERS fourteen young art professionals mark the first canvas special feature on the people behind the scenes - those who help make it all happen. Hailing from canada, iran, lebanon, syria, the uae and the usa, they share their passion for the middle eastern art market and how they got to where they are. Carol Chehab with an artwork by Saba Innab. Image courtesy Agial Art Gallery, Beirut. What do they never tell you about the job? That you develop art addiction and appreciation. Favourite artwork? Anything by Fernando Botero (Canvas 7.1). What could you live without? carol Paperwork. CHEHAB Creative Director, Agial ART Gallery Carol Chehab studied graphic design at the by everything I’d learnt that before I knew it, it had been I essentially redid everything – from the filing to redesign- Lebanese American University in Beirut, after 10 years! I am just as excited about the next decade. ing the gallery logo and website. first focusing on interior design and business. Saleh is like family and this isn’t just a job anymore. It’s Having been in the art world for 10 years, how has Graduating in 1998, her intention was to join so exciting when an artist brings new work to the gallery; the monetary value of Contemporary art change? her father’s business. A chance introduction to they live in another world, which I enter each time we In the past, artists suffered to get their works recognised. gallerist Saleh Barakat by Chehab’s uncle led to discuss their work over a coffee. There is nothing routine Regrettably, their artworks became worthy only upon their what she thought would be a temporary job about working at Agial death. This has now changed with more artists being rec- at Agial Art Gallery. Ten years later, however, What do you do on a daily basis? ognised during their lifetime, such as Damien Hirst, Jeff Chehab has become an integral part of the They say Agial is a one-man show, but I like to say it is a Koons, Anish Kapoor and Nabil Nahas (Canvas 4.6). I look gallery and, alongside Barakat, spearheads the one-woman show! Joking aside – the fact of the matter forward to seeing more of that in Middle Eastern art. promotion of Agial’s artists around the world. is that each and every member of the Agial team is vital Do you ever get tired of looking at art? to our success and I couldn’t work without them. We trust On the last days of art fairs! But the art virus comes back, w each other blindly. I get to the gallery at 10 am and the and swiftly too. hat have you learnt on the job? most important thing is to be energetic and positive. I do What are your hopes for the future? Patience is the first thing you learn when deal- everything from designing our invitations and the website It’s a dream to see international museums in Lebanon, ing with artists, artworks and clients. Initially, when it came to organising shipping and our participation at art fairs. but that will require a lot of effort. I’m happy to see more to selling artworks, Saleh showed me that in art, as in life, What are some of the highlights? young collectors in Lebanon and across the Middle East it’s all about taking your time and not about the money. I love going to art fairs, especially Art Dubai, for its fresh- and I hope this continues to grow. I used to beg him to sell something, reasoning that we ness. Another high point for me was the Christie’s April Does anything shock you anymore? had to make a profit. Now, I realise that there are more 2011 sale, when Ayman Baalbaki (Canvas 5.2) sold A good artwork gives me a good shock. Artists also important things than just making money, which will come, for $206,500. When people applauded, it made me so shock me sometimes, just in their way of thinking and whether today or tomorrow. proud because I’d been there from Ayman’s very first ex- living. When we discuss their religious, spiritual or even Why is it not about the money? hibition until now, at every step of the way. An artist needs communist worlds, I sometimes say to myself ‘Carol, go Eventually it is, but what stood out for me was that Saleh a good gallerist, it’s a rewarding relationship and even if back to Carol, go back’ as I get so drawn in. really loves what he does and I greatly admire that. More we have some sleepless nights, it’s all worth it. What would you say to those who claim that Middle than making money, this job is about art appreciation. Who are the most difficult people to deal with? Eastern art is nothing more than a bubble? One must first consider the artist, the work and the medi- Art critics and sometimes artists. Also, a collector who We took the initiative to promote Middle Eastern artists um; success comes later. Artists who work with us learn doesn’t know what he wants, or one who buys with his because we believe in them. What we’re doing is wa- not to think of money first. ear and not his eye. tering this little plant, which is our art community, and How was it a learning curve? Are you ever daunted by it all? if we do this consistently, it will grow into a big tree and It took a good five years to fully understand and appre- Yes, sometimes I crash, want to cry or beg for an assist- eventually it may become a mighty oak. The [Modern] art ciate everything about the gallery and my role within it, ant. But when we hire interns, I actually don’t like any- scene in Lebanon is 150 years-old and Agial is 22 years- and more importantly, get to know Saleh and under- body doing my work, so I just give them really easy stuff old, so I can assure the critics that the art scene is real stand how he thinks. I was so excited and motivated to do! When I joined, things were organised differently so and not a bubble. 88 SPECIAL FEATURE Zain Masud was born in Jeddah in 1983, to a Saudi mother and Pakistani father, and later moved What do you like and dislike about your job now? to London. In 2005, she graduated from the School of Oriental and African Studies with a BA in I love the art and meeting people, but the overwhelming History of Art, focusing on Islamic Art and Architecture and Japanese Prints of the Edo Period; attitude of some people involved in Contemporary art can electives, she says she “pursued in homage to my heritage”. In 2006 she enrolled at Oxford be jading. The Middle Eastern Contemporary art scene is University, completing an MA programme in History of Art and Visual Culture after which she more hospitable and gracious than any other, with the ex- moved to Paris to study French. Masud interned with a few galleries; among them, Galerie Chantal ception of the Chinese. I’ve discovered thatº you learn very Crousel. When back in London in 2009, she found an ad in The Art Newspaper for employment at quickly how to deal with people and get the job done. Art Dubai, applied, and was hired in October 2009 as the fair’s assistant director. What does it take to do your job? People skills, stamina and passion; you’ve got to get a w kick out of people and art. I still get genuinely excited when as there an appreciation for art at home? nal and you learn from them. While at Oxford, my interests I see good art and wish I could buy it all. I have a wonderful My father, who studied Islamic history, collect- began to shift from purely historical to purely Contempo- imaginary collection! ed Mughal miniatures and maps of Arabia – which led to rary art. I’d visit London galleries and performances, ex- What about the future? a love for map reading on my part – and on his business ploring my city more than I had ever done. I realised I was I would love to be a patron and remain a professional in trips to central Asia, he would return with paintings.I’d able to apply the art history theories I was studying to pick this business. The five days of the fair are so gruelling and accompany him to the framers; our walls were always whatever I was looking at, irrespective of its period. challenging but so exciting. It’s incredibly rewarding when thoughtfully adorned. Both of my parents are creative How did your time in Paris help train your eye? people talk about how much they discovered there. people and share a love of poetry and music. My mother I went there to study French for a PhD and lived near the How would you describe working in art fairs? is a writer and anthropologist, so I developed a fascina- Marais and felt that I was becoming more discerning. Connections. People. Art. Stress. Gathering of information. tion for the intricacies of ritual and symbolism. Interning at Galerie Chantal Crousel was wonderful and And you have to have tenacity! People also go to fairs to You pursued electives “in homage” to your herit- something of a revelation for me. My understanding of build and nurture their connections and collections. age. How come? beauty changed drastically, I realised you need time with What disappointments have you encountered? I grew up in London knowing I wasn’t English; that Eng- objects; it taught me that your eye evolves. In the Middle East art world – I don’t want to see another land was my home but I had a responsibility to remem- Why did you apply to Art Dubai? veil in a picture! Though it is changing, some still perpetu- ber where I’m originally from. I’d studied art history and It was the first fair I had attended! I realised there was so ate the same visual vocabulary and there is a market that thought it would be very sad to know more about West- much happening in the Middle East and wanted to be a wants more. The audience has to be more discerning – we ern art than my own. part of this. I remember thinking that the fair was the con- need to become more comfortable at being critical of oth- What about your MA degree? text for me. Art Dubai was keen to nurture the relationship ers and ourselves because regionally, people are good at I was accepted to the Courtauld Institute of Art, which per- between its galleries and collectors and help translate cul- clapping. We also need to build confidence and that’ll be haps had a stronger course, but I chose Oxford instead. tural nuances and continue to build on the service it was a long journey. I still encounter a fair degree of patronis- My parents, two uncles and so many heroes had gradu- providing the region. I had a vested interest and a sense of ing in the West on the Gulf and wider Middle East, which ated from there – it’s so imbued with history, it’s just sheer social responsibility; I am a daughter of the region and was is frustrating and short-sighted. The region is indisputably beauty, its professors care so much about your develop- keen to share the exposure of what I had been privileged to part of our future in the art world; most people recognise zain ment and the students are so vivacious, bright and origi- learn abroad. that, but there are others who still need to sit up. MASUD Assistant Fair After art? Director, Art Food. It’s a cultural endeavour. Dubai If not this job, then? A gastronomic writer. First art acquisition? Works by Isabelle Cornaro. Zain Masud at the Art Dubai 2011 fair. Photography by Salahuddin Masud. What is art? A way of life. Wish list? A work by Diana Al-Hadid or Tala Madani (both Canvas 7.3). Your advice to collectors? Love the art that you buy. And if you can, buy the best piece in the show. Hala Khayat manning the phone at auction. Image hala KHAYAT courtesy Christie’s Dubai. SPECIALIST, CHRISTIE’S DUBAI Raised in her native Syria, Hala Khayat’s pursuit of an artistic career was firmly rooted in her desire I attended the first Modern and Contemporary Middle to “find hidden artistic treasures from the region and share them with the public”. After obtaining a Eastern and Turkish art sale back in May 2006 and knew BA in Fine Arts from the University of Damascus in 1999, she pursued an MA from London’s Saint right then and there that it was going to change how peo- Martins College of Art and Design, where she learnt the business side of the field. This stage in her ple viewed Arab art forever. I immediately sensed that career is serving its purpose years later in her current role as Specialist for one of the world’s leading it was the tipping point for the art scene in the region. auction houses. Thanks to auction houses, artists have gained interna- tional recognition and their works are worth something h in the eyes of organisations, foundations and collectors. ow did working with Christie’s come about? me to visit artist ateliers, carpet sellers and exhibitions, Auction houses have helped establish a real Middle It was following a chance encounter with Michael so I was exposed to art from an early age. Eastern art market. Jeha, Managing Director of Christie’s Dubai; he intro- What kind of art catches your eye? What do you feel are common misconceptions about duced me to then-specialist William Lawrie, who needed I love the hidden messages that can be found in works auction houses? someone to write notes for an upcoming Christie’s sale of by Arab artists. Their pieces are quite politicised but Everyone thinks that auction world are only interested in Contemporary Middle Eastern and Iranian art, so I began this reflects our culture, as it is in our nature to discuss the market, but we are equally interested in the art move- freelancing as a consultant, which involved researching, politics. What drives me personally is the Post-War and ment. Without the product, you can’t have a market. Of reading and writing about each lot. A year later, I was of- Contemporary era as the works are so cutting-edge course there is the business side of things, but Christie’s fered the position of Junior Specialist for Contemporary and really tap into my generation. I own works by Sa- offers artworks created by authentic artists, living or de- Middle Eastern and Iranian art. mia Halaby (Canvas 2.1), Ayman Baalbaki (Canvas 5.2) ceased and who have certain ideologies, dreams and What are some of the added responsibilities at- and Asmaa Munawar. I can’t help feeling that it is my opinions. That matters to us, which is why we believe in tached to being a Specialist? responsibility to buy Arab art as I want to support artists raising awareness of each artist and lot. My main job is to find great pieces and secure them, from my region. Looking back at your career at Christie’s so far, what which is a long process that entails researching, pric- What are your views on the current Middle Eastern would you say are the highlights? ing and validating the work with the families, estates and art market? It has to be witnessing the 2008 Christie’s sale of Parviz scholars familiar with the artist. Once the contracts are I think the current scene is great, because it has finally Tanavoli’s (Canvas 4.2) The Wall (Oh Persepolis), which signed, we create condition reports, write the notes, cap- materialised into something concrete, recognising tal- sold for $2.8 million and was the most expensive work of tions, and create the catalogue, designing its layout with ents and placing them in international institutions. The a Middle Eastern art ever sold at auction. Major highlights the team both locally and in London. I am also involved older generation of Middle Eastern artists had to struggle from every sale are always exciting. During the last Chris- with the setup of the exhibition and obviously, the sale of for many years before they were able to support them- tie’s auction in April 2011, the most memorable moment the works. selves. Nowadays, with international galleries adding was when we sold Abdulnasser Gharem’s The Message/ Growing up, were you surrounded by art? Middle Eastern artists to their roster, the situation is dif- Messenger. No one knew it was going to sell for almost You are constantly surrounded by beauty in a city like ferent. Who would have dreamt of this prior to 2006? $1 million. This element of surprise makes my job continu- Damascus; even my classrooms had carved mother-of- What do you think the effect of the auction houses ously exciting. I hope to be involved in more such sales in pearl on their ceilings. My father would also often take has been on regional art? the future. 90 SPECIAL FEATURE Describing her foray into the art world as “inevitable”, 23 year-old Aya Mousawi owes much of I have always felt that Saudi art had not been given as her artistic exposure to growing up in London to Iraqi parents who are avid collectors of Modern much of a platform as other art from the Middle East. I and Contemporary Iraqi art. It was during her second year studying History of Art at London’s used to visit Mecca and Medina as a child and so, to me, School of Oriental and African Studies that Mousawi first began interning for Edge of Arabia, a the prospect of showing works from Saudi artists was London-based arts initiative promoting Contemporary art from Saudi Arabia. Fast-forward four always exciting. As a Muslim and Arab living in London, I years and Mousawi is now assistant curator for the non-profit organisation, proving that a strong believe it is important to tell a different story than the one desire to “educate people through art” goes a long way. portrayed in the media.I want to show works by Saudi artists that the public would never expect. w Do you have a favourite Edge of Arabia artist? hat does your role entail? longer. I would take more time to appreciate where I am and I can’t use the term ‘favourite’ as I am very close to all At first, I was working closely with the artists the people I have met. the artists and respect and admire many of their works. I as a mediator between them and the curators. As Edge What has been your most memorable experience ? think Manal Al-Dowayan (Canvas 2.4) and Ayman Yossri of Arabia developed further, I began working closely with There were two significant moments: the delegation Daydban have developed hugely as artists and I find their patrons and sponsors. I am involved in the events that I led with Qatar’s HRH Sheikha Mozah Bint Nasser Al- work truly inspiring. But the two that I have worked clos- coincide with the exhibitions, as well as in supporting the Missned at Edge of Arabia’s Istanbul exhibition Transi- est with, and whose oeuvre and story I know in-depth, curators and designers to create a brand that is visu- tion in December 2010 and the April 2011 Christie’s are Ahmed Mater (Canvas 7.1) and Gharem. I see them ally accessible and corresponds to the show. Of course, sale of Modern and Contemporary Arab, Iranian and as the trailblazers of the Saudi Contemporary art move- there is also the administrative aspect of the job such as Turkish Art. When Abdulnasser Gharem’s The Message/ ment. Their work is so accessible on so many levels and sending visuals and invoices, paying invoices for ship- Messenger sold for $842,500, it was such a euphoric their ideas are so rich. Cowboy Code by Mater is my cur- ping and setting up opportunities for future events. moment for me. I felt as if we’d had this amazing se- rent favourite work. It is so simple, and yet I can’t help but Having studied history of art, what do you feel has cret for so long that suddenly went public and, at that get goose-bumps when I look at it! I wait with anticipation been the main learning curve for you on the job? moment, everyone realised that what we were doing to see the next body of work that they produce. All of it. Art schools don’t teach you the ins and outs of was special. What grabs you in an artwork? how to organise an exhibition or develop relationships What disastrous situations have you come across? It’s the concept that grips me. Of course it has to be vis- with artists, sponsors, collectors, curators etc; no books Well, shipping and logistics are always a bit complicated, ual as well, but when a work has multiple meanings that tell you how to do that, so you need to learn from ex- especially doing as many exhibitions as we do. Some- come across instantly, I really appreciate it. perience and the people around you. I owe nearly all of how, we accidentally shipped 100 of our Istanbul show What do you think the current Middle Eastern art what I know to Stephen Stapleton, the founder of Edge Transition’s catalogues, 500 of Dubai’s show Terminal’s scene needs more of? of Arabia, who has been my mentor throughout the past catalogues and about 30 copies of Rolling Stones and More people from the Middle East who have an educa- four years. Esquire magazines to Israel! tion in the arts. So many scholars and professors working If you could go back in time, would you have done As an Iraqi/British national, why do you feel it is in the industry are actually not Middle Eastern. So, I think anything differently in your career? important to raise awareness of Contemporary art we need to educate ourselves to forge the next genera- aya Probably savour a few more moments and make them last from Saudi Arabia? tion of curators, journalists, artists and gallerists. MOUSAWI Assistant Curator, What do you dislike about Edge of Arabia the art scene? Having to deal with all the egos! Wish list? Ahmed Alsoudani (Canvas 5.5 ). In five years... I will definitely still be in the art scene! Aya Mousawi with Ahmed Mater’s Evolution of Man. Photography by Hatem Awidah. Victoire de Pourtalès with Strut, a work by Richard Deacon. Photography by Jean Luce Huré. What is the most difficult aspect of your job? Having to say no. Advice to art world freshmen? Be patient! What do you think Middle Eastern artists need more of? Being placed in more museum collections. victoire DE POURTALÈS Drawing Department, Galerie Thaddaeus Ropac Throughout her youth, French-born Victoire with the job, such as sending visuals, making phone temporary Iranian artists. Their works weren’t reminiscent de Pourtalès had a fascination for “works calls and writing emails, as I am the mediator between of anything done before, they were purely original and from various periods of art history”, which the artists, curators and collectors. I am also constantly creative. I find their references to poetry and literature propelled her to pursue a career in the arts. doing research on artists, curating shows, visiting artist unbelievably fascinating. Their works are educational, After studying at Paris’s Ecole du Louvre, de studios, attending fairs and selling works. as they are mostly reactions to current events but are Pourtalès enrolled at the city’s Institut Des Do you think there is a personality to selling art? conveyed poetically. Carrières Artistiques in 2003, which required When you really believe in the artist and his work, it is What is your most memorable experience so far at students to complete internships at numerous easy to sell, no matter your character, because you un- the gallery? art institutions. This led to months spent at derstand all aspects of the piece and can explain it to My most memorable moment was when we held the Christie’s Paris and Galerie Florence de Voldère, the collector. group exhibition Raad O Bargh in 2009. It featured 17 art- the latter solidifying her desire to “work with What grabs you in an artwork? ists from Iran and they all came, so I was very touched, artists directly, as well as understand their It is all about sensitivity and since art is a human creation, especially since they became friendly with each other mind frame and process of creation.” She you need to meet the person behind it. and were all happy with the final show. It was a great mo- then joined Galerie Thaddaeus Ropac in 2006, What do art schools not teach you about the industry? ment. That is the real reward of the job – when everybody going on to establish its drawing department They don’t teach you how to actually deal with artists. I is happy with what has been accomplished. where she has been working since. definitely learnt that aspect of the job from Ropac, as he Have you ever had to manage a disaster at the gallery? is so professional and advised me, from the very begin- For the Raad O Bargh catalogue I chose a special w ning, to be generous with artists. type of paper, as we were including interviews with the hat does your role entail? You initially introduced the gallery to the Iranian art- artists, so it was quite different from anything we had Since I opened the drawing department, we ists now on its roster. What drew you to this genre? done previously. But when the catalogues arrived, we hold exhibitions within it alongside exhibitions in the main I have always been interested in Persian culture and art, realised that it was too matte and all the colours of the space. Thaddaeus Ropac and I were keen on adding this but knew mostly of the older generation of artists, such works had come out too dark. We had to reprint every- unique element to the gallery, as works on paper really as Monir Farmanfarmaian (Canvas 4.5) and Charles thing all over again! shed light on an artist’s talent and technique. As there Hossein Zenderoudi (Canvas 5.5). I didn’t have much What has been a professional learning curve for are only a few people at the gallery who actually take access to the younger generation but through word- you in the past five years? care of the artists, my role also entails working on the of-mouth knew that interesting things were happening. I have definitely had to learn how to deal with the pres- shows and placing artworks in appropriate collections. I went to Tehran to see for myself in 2007 and was as- sure of the industry, as well as the importance of being There are also administrative tasks that go hand in hand tonished by the quality, technique and diversity of Con- on time. 92 SPECIAL FEATURE Despite having always been passionate about culture, Belgian-born Tessa de Caters’s involvement speak of this strong artistic legacy, into which they were with art was unplanned. After obtaining a BA in Advertising from the Brussels Institute for Higher born and which has informed, in undeniable ways, their Studies in Social Communications, she went on to earn two MA degrees from the Ichec Brussels artistic language and thematic interests. The world that Management School and the city’s Solvay Business School. De Caters then worked at a TV production their work has opened to me was one which I was imme- company in the UAE for two years prior to joining her elder sister Isabelle van den Eynde’s Dubai- diately drawn to and which the gallery seeks to share with based gallery (formerly B21 Gallery) in 2006. The space has since rebranded to Gallery IVDE where a greater audience. I am very confident that the recent de Caters is its Gallery Director. surge of interest in Iranian art is justified and promising. Yet while our roster of artists has indeed been predomi- y nantly Iranian, it also includes a number of other Middle ou joined the gallery in its nascent stag- What has surprised you the most about the UAE Eastern artists. We are, of course, hoping to become a es in 2006. How has your role evolved art scene? platform for international talent as well. since then? Its variety and versatility. The UAE is comprised of seven What does IVDE Gallery look for in artists? In the beginning, I was involved in all aspects of bringing emirates, three of which have strong artistic ambitions. Du- Their works need to be unique; we also search for artists it to the high standards it maintains today, from building bai has established itself as the market place, Sharjah is who marry themes and aesthetics in convincing ways. We the database to graphic design work, logistics, develop- filled with wonderful museums that serve the local popu- are drawn to those who are willing to take risks, pave the ing the brand, nurturing the artists and expanding the lation in important ways, and Abu Dhabi is building the way for others and evolve creatively. collector base in Dubai and beyond. My role now entails world’s most ambitious artistic institutional projects to date. What are the benefits of running a family business? more ‘big picture’ responsibilities, such as scanning the What is your most memorable experience working Our relationship is built on trust and that is essential market for opportunities, determining, with my sister, the in the art world so far? when you work in a small team. Our commitment to the gallery’s long-term strategy – where the artists are now, Drawing from recent experiences, I would say participat- gallery is unconditional and that is something we both where should they be in five years – as well as establish- ing in the Art Brussels fair this year for the first time was appreciate in each other. As sisters, we also know each ing, beyond our space in Dubai, appropriate platforms definitely a highlight. On the opening night, a Belgian col- other very well, which saves precious time! for Middle Eastern art to gain the international visibility it lector bought a piece by one of our Iranian artists. He had What are your thoughts on the current Contempo- needs and deserves. discovered the gallery and our artists by reading about rary Middle Eastern art scene? Why are you passionate about Middle Eastern art? us in a magazine and told us he was really happy to see It’s impossible, today, to ignore what’s happening in Art has always been a part of Middle Eastern culture. The Middle Eastern artists finally showcased at Art Brussels. the Middle Eastern art scene. The museum projects premise of traditional Islamic art was to add beauty to For my sister and I, who were both born and raised in at different stages of completion in Abu Dhabi, Qatar everyday life. Centuries later, the underlying principles Belgium, it was rewarding to take the gallery back home and Saudi Arabia are shifting the zones of influence of Contemporary art are different, but the region’s cul- and witness such a positive response. away from Western hegemony. Despite the increasing ture still values, beauty and art to an extraordinary ex- IVDE’s gallery roster is predominantly Iranian. Why amount of Middle Eastern artists and art professionals tent. In addition, Contemporary Middle Eastern art has are you so drawn to this genre? on the global art world radar, they still remain unknown an important role to play not only within the region itself, Iranian culture is fascinating. The country was a cradle or misunderstood by a large number of people. This is but internationally, as an alternative perspective to what of civilisation and helped influence the artistic develop- true not only for Middle Eastern art, but for the region’s tessa is portrayed in the media. ments of the region at large. The artists we work with culture and people at large. DE Favourite art fair? CATERS Art Dubai for having brought art from this region to the international stage. Best career advice you’ve been given? It is when you fight for the last bite that you risk losing Gallery Director, everything. IVDE What is art? A glimpse into a part of ourselves that we didn’t know existed. Tessa de Caters with works by Farshid Maleki. Photography by Tala Chukri. Lauren Pollock and Anahita von Plotho with works by Shahram Karimi. Image courtesy Leila Heller Gallery, New York. Photography by Lauren Peltzman. LAUREN How do you unwind? I take a long walk along my favourite New York City streets. Ever been star-stuck? A little, when I met Jeffrey Deitch and shook his hand. Favourite artwork? Anything by Jean-Michel Basquiat. ANAHITA How do you unwind? Lots of yoga and time with family and friends. If you could come back as an art world personality who would it be? Marcel Duchamp. Favourite artwork? Cy Twombly’s Lepanto series. POLLOCK lauren & anahita VON PLOTHO Gallery Directors, Leila Heller gallery w hat does a typical day entail? LP: My main responsibility is to oversee exhibi- tions and art fairs, work closely with our artists and help Growing up, Lauren Pollock loved learning about history and other cultures. A trip to Europe develop the gallery’s relationship with collectors, curators during her teenage years ignited her love for art, as well as inspired her to pursue a BA in Art and critics. We are extremely active in the secondary mar- History from Boston College. Straight after graduating and certain of her desire to work in the ket, so a large portion of my day usually involves research- arts, she enrolled for an MA in Modern and Contemporary Art History at Hunter College in ing and working with artworks that have rich histories from New York. While obtaining her degree, Pollock met Leila Heller, founder of Leila Heller Gallery, different time periods. who offered her the position of gallery assistant in 2008. She is now Gallery Director. AVP: I manage artists’ careers, liaise with estates, cu- rators and clients, and oversee exhibits and art fairs. I work on sales in the primary and secondary markets and Anahita von Plotho grew up in a family of avid art collectors. Raised in Munich, Germany also work closely with our press department and write but of Iranian origin, von Plotho received a BA in Communication from the University of press releases. Massachusetts, Amherst in 2003, after which she returned to Germany and worked in What is the most challenging aspect of your work? marketing at a communications firm. Keen on the arts, she went on to obtain an MA at LP: The need to wear so many hats. Working as a gallery Christie’s Education in New York in 2009, where she wrote her thesis on Iranian artist YZ director is in no way boring. There is always a lot to do Kami (Canvas 5.3). After lengthy correspondence with Leila Heller, who had given Kami his in terms of administrative work, as well as shipping and first show in New York in the 1980s, von Plotho was hired as Gallery Director in 2009. registrar tasks and even assisting with the accounting of 94 SPECIAL FEATURE the gallery. It is sometimes difficult to constantly switch trying to reach out to the public to promote a wider un- What were your preconceived notions of working in from one area to the other. derstanding and knowledge of Middle Eastern art. It also the art world? AVP: Shipping and customs sometimes pose a chal- helps that many American institutions are now acquiring LP: That it was all glamorous! I probably thought that the lenge. We receive so many artist portfolios and one of Contemporary Middle Eastern Art. While it is definitely a art world was smaller than I am discovering it is! my responsibilities is to bring to Leila’s attention those challenge to be the only gallery in New York City special- AVP: I had always heard that the art world was really who could fit into our programme. The hard part is that ising in this field, we have come very far and our collec- small but I was amazed when I found out how small it 99 per cent of the time, we have to say no. While we tor base of American and European collectors continues really was! have naturally developed a specialisation in Iranian art to grow. Why do you believe in Middle Eastern art? (due to Leila’s background), we also exhibit Arab, Turk- AVP: I’ve definitely noticed a growing interest in Middle LP: The artists from the region and the Diaspora are creat- ish, American and European art. It’s not about national- Eastern art in New York City since I started working at the ing what is, in my opinion, some of the most dynamic and ity; it’s about art. gallery. American art institutions are increasingly expanding innovative art today. It is exciting, but it is art that I believe What is your most memorable experience at Leila to include art from the East. We haven’t had any problems will also sustain. Heller Gallery? with censorship, which enables us to place artists from the AVP: It’s definitely going someplace. The market is re- LP: Some include working with Iranian artist Reza Der- East and West more freely in dialogue with one another. ally flourishing. I believe in it art because I encounter akshani (Canvas 4.4) on his January 2009 show, which What do you feel it takes to do your job? the depth of artistic creation on a daily basis. I see an was the first exhibition at the gallery that I helped organ- LP: You definitely have to be able to multitask! Having a increasing number of international collectors gravitating ise; another was the group exhibition, Selseleh/Zelzeleh- creative sensibility is also important. Above all, though, towards art from the Middle East. What is so important Movers and Shakers in Contemporary Iranian Art, which you need passion for what you do. is that artists are continuing to do their work and I have coincided with the Chelsea Art Museum’s groundbreak- AVP: Passion for the arts, empathy for the artists, interest no doubt that the market will grow and that the econ- ing exhibit Iran Inside Out. It was truly a breakthrough in the art market and the skills to work well in a very fast- omies of the Middle East will play an integral part exhibition for Iranian art in New York – a huge crowd of paced environment. in this. people amassed on opening night! AVP: I have many! Over a year ago, I went to Anahita von Plotho and Lauren Iran on behalf of the gallery to look for artworks to Pollock surrounded by works by Farhad Moshiri, Shirin Aliabadi be included in our Tehran-New York exhibition. I like and Shirin Fakhim. Image courtesy working with artists, the excitement of the secondary Leila Heller Gallery, New York. Photography by Lauren Peltzman. market and dealing with clients who have Post War Contemporary artworks, as we often come across very special pieces that have rarely or never been seen on the market. In order to find a buyer for these works, we need to conduct quite a bit of research, which I love as it allows me to use my art history background and investigative skills. How is the Middle Eastern art scene developing in New York City? LP: It’s developing more slowly than in other parts of the world, including Europe, but there is increasing inter- est. Many American clients are now starting to enquire about specific artists and pieces. The gallery places a significant emphasis on its educational programming, which includes producing exhibition catalogues with es- says by important scholars and writers in the field. We organise many panel discussions and are constantly My favourite artwork: Jung-Yeon Min’s Chute Vers Mille Soleil. She combines the myth of Icarus with Deleuze – it’s incredible. Painting or photography? Painting. Art motto: Big, bold and beautiful. Jolaine Frizzell with works by jolaine FRIZZEL Guerra de la Paz in the gallery’s storage room. Photography by Sonja Ruckstuhl. Assistant Director, Galerie Kashya Hildebrand For Canadian Jolaine Frizzell, undergraduate studies in Art History at the University of Calgary in ing work and a privilege to be able to travel and meet Alberta led to a degree in Photography, followed by a return to art history for her postgraduate people from various backgrounds. I’m learning so much. studies at the University of Western Ontario. After internships at various arts organisations working For example, I don’t have a lot of experience with the on their fundraising programmes, Frizzell relocated to Zurich, where freelance writing projects histories and cultures of the Middle East, but through the led to a full-time position at Galerie Kashya Hildebrand in 2009. She now oversees its exhibitions, art, I’m beginning to hear the region’s voice and really catalogues and participation at art fairs. see what’s going on. I love that about what I do. That said, I don’t think I want to open my own gallery. I think w it takes a special kind of person to meet the challenges hat is exciting about working at the gallery? find hardware stores in unfamiliar cities. When you couple involved in having a gallery. It also requires a lot of financial I get to work with so many talented artists this with artworks being delayed by customs, or delayed risk – I don’t know if I could handle the sleepless nights. I from all over the world. Really, the gallery functions as in general, it can cause a little bit of stress. admire how Kashya can juggle all the demands and still a kind of nexus where all these artists and their ideas Any disasters? be inspired. interconnect. What is exciting for me is that I get to aid I once spent 20 hours at Dubai airport because I didn’t have What’s a typical day like? this process work more smoothly by helping artists ex- a visa (my fault), or when we set up at Art Asia Miami without We come in at 11 am. I usually check emails, follow up any press, share their ideas and write about their art. I get to air-conditioning because the fair organiser only got it for the administration, do invoicing and so forth. Our next exhibi- facilitate between what the artist is trying to do and how days of the fair proper – very sweaty! Also, in my first week tion is with Marwan Sahmarani (Canvas 3.1), so I’m deal- the gallery, visitor or collector can come into it. I also find at the gallery, I accidentally set off the alarm. It was a hor- ing with the transport company about getting his works to the sales side of it all very interesting, being at an art fair rible, loud, solid five minutes of ringing, passers-by were Zurich. Once that’s done, we’ll have to frame them – and and meeting people. staring at me and the alarm company only spoke German! I’m writing a text on his new series. We’re also in the midst What has been part of the learning curve? What inspires you? of applying for a bunch of art fairs coming up. Simple things like multi-tasking – you’re doing so much Every single time we go to an art fair, after we’ve set up, Do you ever get arted out? that you’re constantly having to learn to prioritise what struggled and finally finished, Kashya walks into the booth No way! I find the art inspiring – it gives me energy. needs to be done. I also think that the job is so much and with absolute sincerity says, “This is really the best Sometimes, though, the pace can be a little exhausting. bigger than just sitting in the gallery and waiting for peo- booth ever”. It is the greatest way to start a fair. Working I was in Venice for the opening weekend of the Biennale ple to come in and buy the art. I’ve learnt that being an with an artist for months to plan an exhibition, from choos- this year and later in Basel and then for a break in Munich artist requires more than making great art. It also involves ing the pieces to designing the layout and then seeing for the weekend and I was done. But just when you feel meeting deadlines, writing texts about your work and people respond to it – that’s also a thrill. Or receiving an totally over-stimulated and run off your feet, you’ll see a working with people in a team. email from an artist who said that she cried on the subway piece that pushes all that away, and you lose yourself in What stresses you out? reading a text I wrote about her practice for a catalogue it all over again. On the days before we leave for a fair, there are a lot of last- because she felt that I got what she was doing – those Does anything shock you anymore? minute things to do – from updating artist CVs to adding moments are amazing. No, I don’t think so. A particular artwork will never shock images to the iPad and packing everything necessary for Where do you see yourself in 10 years? me, but I’ll be interested in why an artist would want to the installation when, for instance, there isn’t much time to I would definitely like to curate more. It’s such interest- make a work like that. 96 SPECIAL FEATURE Born in the USA in 1987, but raised in Beirut, Rana Nasser Eddin was fascinated by the link between from my exposure to the art scene; it taught me to be science and art and pursued a BA in chemistry from the American University of Beirut (AUB), in the conscious of several things to eventually, produce a show, hopes of becoming an art restorer. Two years into her course, she switched to art history, which, enter an art fair, promote an artist etc. at the time, had just been offered as a degree at AUB. Nasser Eddin heard about Sfeir-Semler What are some highs and lows on the job? Gallery and began working there as a gallery assistant for over a year while continuing her studies. The highs are the months before a show, welcoming the She graduated in the fall of 2008 and completed an MA in Art History from Oxford University in artist and hanging the works and when it’s all done, you October 2010. She has since re-joined Sfeir-Semler Gallery as its Beirut branch Director. feel like you’ve accomplished something. The low is the end of the show when the visitor numbers dwindle. w Where do you see yourself headed? hat led to choosing chemistry as a major? Why did Contemporary art appeal to you? I plan on being at the gallery for a long time and then pos- I was very science-oriented but also always in- I learned the fundamentals of art at school and developed sibly pursuing a PhD, but I don’t know if, for political rea- terested in the arts. In my early teens, I had even found the my knowledge of Contemporary art at the gallery, and sons, this might be halted. On my first day in 2008, Beirut art restoration school I wanted to attend! I was fascinated that’s why I consider my work at Sfeir-Semler a huge part was taken over by gunmen and I called the gallery to say with playing a part in preserving memory for the future. I of my education. At school, you’re not living in the ‘now’ of I couldn’t come in! In the future, I’d like to curate a show did chemistry to satisfy this, which is required for art resto- the art scene. When I left Oxford, I realised so much had and see some young artists make their debut; it’s some- ration, but because the view was very limited to something happened in the art world because we were immersed in thing I’d like to be a part of. A museum of Modern art in scientific at university, I switched to art history in 2007. a past art scene. Immersing oneself in a current art scene Lebanon is also a dream so many people share here. Did you grow up surrounded by art? is the education one will really use and I value it just as What are some challenges you face in Beirut? My sister painted and would always bring home books much as my education. It’s unbelievable that so many years after the Civil War on the arts. My father, who also collected vintage photo- What surprised you about working in the Contempo- ended, we still suffer power cuts! It teaches you to always graphs, was always a fan of the Saturday Evening Post; he rary art world? save your work! Things can be extremely challenging es- collected the first page, which Norman Rockwell painted. You can get somewhat disenchanted when you work be- pecially when we have political disputes in the country, The first art book I ever read was on Rockwell. hind the scenes. It may start at the printers, but it’s realis- which means legal or bureaucratic things aren’t done and What were your undergraduate years like? ing what it takes to produce the final outcome; the creative everything is at a standstill. There were only three of us enrolled in the course! I applied process amazes you. There is art in the Contemporary art What do you feel is missing in the Middle Eastern to Oxford because I felt as though there was a weakness world which I don’t like; I’m not in a position to say ‘this art scene? with the AUB curriculum with it being such a young pro- is not art’ and neither are a lot of people, but I have to It’s great to see the same faces and establish relation- gramme, but when I went to Oxford, I looked up the read- consider this art I see. I’ve never been shocked, but I have ships but it’s good to open up more. If the crowd is more ing list and found that I had read 60 per cent of it and was been disappointed. diverse, that will help support the market. pleasantly surprised. AUB was a really positive experience, Why did you choose to return to Sfeir-Semler after What is dealing with artists like? as was Oxford. I really enjoyed the intense courses where your MA? So far, so good! I haven’t had a diva yet! They are no dif- we study very specific works or theories for a whole semes- I felt I needed to learn more from the gallery. I felt I could ferent from anyone else, but just have another way of say- rana ter. Those classes make you think critically and analytically. develop more in the gallery. The bulk of learning came ing things or want to say different things. NASSER What is art? Telling a story. Hardest people to deal with? The framer, graphic designer or shipper, with all the back and forth! EDDIN Gallery Director, Sfeir- Semler Gallery, Beirut What appeals to you in an artwork? The story, but also intricate craftsmanship. Image courtesy Sfeir- Semler Gallery, Beirut. ALEXANDRA Which art world personality would you come back as? Jonathan Monk or John Baldessari. Favourite artwork? Cory Archangel’s Continual Partial Awareness (2008). Star-stuck moment? It was quite a big deal when I first met Hans Ulrich Obrist! GOLI If you could come back as an art world personality, who would it be? Tracey Emin. Favourite artwork? Air Pollution of Iran by Mahmoud Bakhshi (Canvas 6.5). Star-struck moment? Alexandra Terry and Goli Nili Bumping into David Hockney with a work by YZ Kami in the outside a pharmacy two background.. Image courtesy years ago! Magic of Persia. alexandra terry w hat attracted you to the art world? GN: I wanted to make a difference in people’s lives. I gave up law without knowing what I wanted to do in the arts and went to Iran to visit various galleries so that & goli I could start my own collection. I met with many inspiring artists and subsequently established the Nili Gallery in London, with the aim of encouraging emerging Iranian nili artists to expose their work more effectively outside the country. I don’t just show their work online, I also rent out exhibition spaces for exhibitions every 12-18 months. AT: My mother is a painter and my extended family is Art Coordinators, Magic of Persia involved in the arts, so growing up, I was constantly surrounded by art. When I first began studying at Gold- Raised in Denver, Colorado by an Iranian mother and American father, Alexandra Terry smiths, I didn’t know which direction in the arts to take. I always knew she wanted to work in the arts. She initially studied photography and film in had no drive to make my own work for other people, but Colorado and then went on to obtain a degree in curating from Goldsmiths in London in I loved working with artists. I discovered that I was really 2009. In October 2008, she began working at Magic of Persia, a non-profit charity dedicated interested in the process of making an exhibition. One to the contribution of Persian culture to society, where she currently holds the title of Art of my mentors advised me to do the curating course at Coordinator. Terry’s work at Magic of Persia has allowed her to exercise her creativity, passion Goldsmiths. I don’t know where this will take me, but I for curating and love of working with emerging artists. love what I am doing. My work at Magic of Persia has greatly assisted the development of my career. What is the most challenging aspect of your work? Iranian-born Goli Nili grew up in an artistic family but was encouraged to pursue a degree GN: We deal with a lot of talented artists and when we in law, which she did at City University, London. She then pursued a Master’s in Law from have to refuse their works, it often becomes difficult for Kings College in 2002 and worked as a legal consultant in London before deciding to work them to accept. in the arts. In 2008 she launched the Nili Gallery, an online gallery which promotes emerging AT: When we have to set up events and exhibits – it is Iranian artists. Passionate about art from her homeland, in 2008 Nili also volunteered at always a hectic as well as an exciting time. We work Magic of Persia and in 2009, the organisation’s director Shirley Elghanian promoted her to throughout the year and everything comes down to those Art Coordinator. few days before a big event. International shipments can 98 SPECIAL FEATURE be very difficult, especially when dealing with customs. a winner will be announced. I’m responsible for gather- and seeing their work mature. What do you want to be doing in five years? ing all the information together, which includes tedious AT: Working with the artists. I love taking ideas and mak- GN: I am sure things will evolve, but I am generally happy tasks such as taking care of shipments. I am constantly ing them a reality. In a way, I am the artists’ caretaker and with my career as it is. I love working with artists and with in touch with the artists and often need to brainstorm with encourage their development. Magic of Persia. The organisation is growing stronger them to help sort out potential issues. I also work with the Magic of Persia is a charity and charity means every day. We now work with the Tate, Christie’s and the judges as well. I need to be there for everyone. giving. What else would you like to give to the art Saatchi Gallery, among others. This is incredible for an What is your most memorable experience working scene? organisation which began with just four ladies working for Magic of Persia? GN: I would like to be in a position one day where I could out of their homes. GN: Christie’s had just finished our fundraising auction personally fund art residencies, as I’ve seen the tremen- AT: I love working for Magic of Persia, but my ultimate last November at the Yas Hotel in Abu Dhabi and I was dous difference they make to artists’ lives. dream is to own my own non-profit Contemporary art or- doing the calculations. My heart stopped when I saw that AT: It’s so important to support young and emerging art- ganisation. I want to be in a position to help artists realise we raised $1.1 million! It was the most rewarding expe- ists. London has such a vibrant community for them and their dreams. rience of my career. It was wonderful to know that we there are varied platforms in which there is a great deal How do you see the Iranian art market developing? were going to make such a difference to so many lives of support offered. I wish similar support systems were GN: It has flourished over the last 10 years. Those in Iran – it meant we could put more art residencies in place more widely available. are not given the conventional means to express them- and support more film scholarships and workshops at What advice would you impart to those wanting to selves and so they turn to the arts. Iranian art is a sus- the British Museum. It’s just such an amazing feeling to work in the art world? tainable genre. Originally, there was only a small group know that, in a very small way, I was a part of that. GN: Absolutely never take no for an answer and always of collectors, while today more Europeans as well as AT: The culmination of nine months of work leading up go with your gut instinct even if your brain disagrees. It Americans are interested in Iranian art. It is evolving and to the MOPCAP Shortlist exhibition at Traffic in Dubai last will all make sense in the end! growing in appreciation and Magic of Persia has been March. MOPCAP is by far the biggest project I’ve ever AT: Immerse yourself! Read as much literature on a part of this. worked on and I was extremely pleased with the exhibi- art, go to as many exhibitions and look at as much art AT: I didn’t know much about Middle Eastern art before tion and the panel discussion. as possible. It’s important to be aware of what’s going on working at Magic of Persia. It has tapped into my Iranian What do you love most about your work? at every level, from the grassroots groups to interna- heritage in a way I didn’t know was possible. There is GN: Being in direct contact with such amazing talents tional institutions. so much more meant to be said for Iranian and Arab art around the world. In London alone, Middle Eastern art is attracting more and more recognition. What is your typical day like? GN: I liaise with artists daily to handle their donated art- works. I manage artwork appraisals; set scholarships in place and coordinate with the London Film School and their involvement with Magic of Persia Contemporary Art Prize (MOPCAP). I deal with 10–20 artists daily who want us to promote their work. I also set up interviews and correspond with curators. A big part of my work is to help select the artists for the Magic of Persia biannual char- ity art auction conducted by Christie’s, where I deal with established mid-career Iranian artists. AT: I am responsible for emerging Iranian artists who constitute 90 per cent of our artist roster. I call and email the artists on a daily basis and inform them about what needs to be submitted for the Magic of Persia Contem- porary Art Prize (MOPCAP) which will take place this year from 11–15 October at the Royal College of Art in London. There are eight shortlisted finalists, from which Image courtesy Magic of Persia. Hend Al-Otaiba at Abu Dhabi Art 2009. Image courtesy TDIC. What have you learnt on the job? Patience. Advice to art world freshmen? Maintain a positive attitude, focus on your goals and always think of the bigger picture. Proudest moments? hend The opening of every exhibition and the completion of every project. al-otaiba Cultural Department Communications Manager, TDIC Emirati national Hend Al-Otaiba was born in the UAE and grew up between the UAE, Morocco and project is phenomenal and to be part of it from the begin- England. In 2007, she graduated with a BA in Psychology with a minor in Business and Computer ning is fantastic. I just know that I want to be part of this Applications from London’s Regent’s College at Webster University. She began working with the UAE story, to see these museums open, welcome visitors and capital’s Tourism Development and Investment Company (TDIC) in March 2007 as PR Coordinator continue growing, learning and being challenged. Some and eventually found her place within its cultural division where she is now the Cultural Department people don’t want to get old, but I feel like I want to just Communications Manager. In 2010, Al-Otaiba completed an MA at the Paris-Sorbonne University to look back and see what’s happened! Abu Dhabi (PSUAD) in Marketing, Communications and Management, where her thesis was on the What’s working on Abu Dhabi Art like? Louvre Abu Dhabi and how the institution communicates universality. The fair is great, it’s a necessary platform, I enjoy look- ing at the art. As for what I enjoy working the most on, it w would be the museums and specifically the Louvre Abu hy psychology? as PR Coordinator and worked on all sorts of projects, Dhabi. I like what it stands for and I like the idea of uni- I am intrigued by people. Psychology came from Desert Island and Qasr Al-Sarab to the Cultural versality. My entire life has felt universal and I feel like I easily to me and I enjoyed going to classes. As for my District. The team began to specialise and I felt that the connect to what this museum represents. minor, I felt that business was necessary and interesting. cultural domain was the most interesting for me. Why do you appreciate art? I never intended on working in psychology per se, yet it How do you apply psychology to your job? It’s a beautiful way of expressing how you feel; it’s pleas- has taught me so much and helped me in my job. I’ve learnt how to deal with different personalities and it ing to look at but also interesting to delve into to see It must be interesting for a student of psychology also helps when dealing with people on a daily basis. I’m something which everyone considers different. Why be to look at artworks. You must have a different ‘read- able to sit back, reflect and look at the bigger picture. selfish and keep it to yourself? We need these museums ing’ of them. The scope of the many projects TDIC is handling to share, benefit others and open minds. That’s true. Art has been used in psychology – in play means a lot of hard work. How do you cope? How can one nurture an appreciation for the arts? therapy, Rorschach Tests and so on. I always look at It’s exciting and unique and when you enjoy it, it isn’t a Through exposure, exhibitions and workshops – you something and wonder what is behind that brushstroke chore. Where in the world can a young person have this have to be a part of it. It’s been challenging for the team and what was going on in the artist’s mind to trigger that much exposure working on such projects with great part- to find ways to attract audiences and we target different specific style and theme. ners and a diverse team of experts? I can’t emphasise segments. The Cultural District attracts a variety of peo- How did a job at TDIC come about? enough on what it’s like working with people of different ple and each person is bound to find something they en- My brother had told me about TDIC and its projects and backgrounds and expertise; you really learn so much. joy. Positioning Abu Dhabi as a cultural hub is something I felt it would be a dream job especially, as I had devel- Why an MA? big and important; if the government is pushing this and oped an interest in tourism and sought a governmental My family encourages education; I wanted to learn believes in it, then I believe the people will develop inter- position. Naturally, I have an affinity for Abu Dhabi be- more and always will, and also hope to do a PhD. The est and curiosity. It’s then up to the museums to maintain ing Emirati, and grew up knowing of the ruling family’s Sorbonne opened here and it made sense to pursue it. that interest. beliefs, visions and values. When I first joined TDIC, I felt Stopping work to do my MA was not an option – it was What’s your take on Emirati art? that the communications department would be the most important for me to progress professionally as well. It’s interesting, it’s growing and we have a lot of talents. appropriate for me, and that’s where my degree came How does being Emirati fare into your job? I think they need support and TDIC and other cultural into play because you deal with so many people. I began I am so proud. The scale and importance of this entire institutions are trying to do that. 100 SPECIAL FEATURE Born in Sharjah, UAE in 1984, Tarané Ali Khan attended boarding school in the Himalayas before Is it a juggling act? completing her Bachelor of Fine Arts at York University, Toronto, with a minor in 2D animation The priority is the gallery, but the more consulting projects and studying projects such as Disney and The Simpsons. After five years in Canada, she returned we have, the more my day is divided. It really does all to Dubai in 2007 and explored the emerging art scene, impressed with its exponential growth. boil down to time management and it’s exciting to have Ali Khan worked briefly with a design firm before joining The Third Line in 2008 as a PR Assistant; something different to work on. she has recently become their Communications Director and also handles PR for the gallery’s What moments make everything worthwhile? consulting branch, t h r e e consulting and communications. The artist should always be happy. What you’re doing is not just because you’re doing it or to get a pay cheque at d the end of the month, it’s because you truly enjoy doing it. id you hit the ground running? the next shows or art fair and ensure printing and de- Without the artists, there’s no us and without us, there’s I probably started at the most pivotal time of the sign deadlines are met. Getting images and information no them. It’s a relationship. When people come into the art scene here. I joined two months before Art Dubai 2008 in is crucial, as we have to send all this to the press gallery and say “Wow, this is a great show”, that makes a and just after Farhad Moshiri (Canvas 1.5) had broken the and every publication has a different deadline. If I don’t difference; or those moments you share with the artists – million-dollar record at a Dubai Bonhams auction. Mo- get the information out, we don’t get published – it’s as they mean a lot. shiri, Shirin Aliabadi, Susan Hefuna (Canvas 3.6), Monir simple as that. It’s important to work with your press de- Do you ever get arted out? Farmanfarmaian (Canvas 4.5) – just about everybody was mographic and local, regional and international media Art fairs are the classic cases. We call it an AOD – an Art here. I was new and being introduced to all these names are all different. Overdose. During the last Art Dubai, we had an opening and I essentially had to go out and get them press cover- What’s a really bad day for you? at the gallery the day before, then the fair vernissage, age. It was tough but great because that sort of challenge When we need to go to print and don’t have high resolu- then an opening at The Pavilion Downtown Dubai, which ends up being a make or break moment. tion images! No images means no catalogue, which is we do the PR and programming for, and the day after What’s a typical day like? the worst thing ever. The other disaster would be ship- that there was an opening at another gallery, and I felt like I love the hours. We work 10–7, although sometimes ping – if the works don’t arrive, we have no show! I just wanted to go to the park and sit on a swing! much later, depending on events. I rock in and spend How does your role at t h r e e consulting and com- Where do you see yourself in the future? an hour on administration, emails, publications and so munications fit in with that at the gallery? I go with the flow, to the extent that the flow is going in the forth, then we have to start structuring our day for up- The Third Line has always been involved in arts consult- general direction of where I want to go. Right now, I think coming shows. We also have alternative programming, ing, but officialised a year and a half ago as ‘t h r e e’. Our I’m doing what I should be doing. which includes events such as Pecha Kucha – a forum first official project branded as t h r e e was the opening What’s your proudest achievement? for designers and artists to share an idea – a monthly of Mathaf: Arab Museum of Modern Art. As the PR point Whenever somebody says “Oh yeah, I know The Third book club and film screenings, so there’s a lot of pri- for the gallery, strategising and communicating for the Line”, it’s like a silent high five in my head. It makes oritising and structuring of our time. Then I check in consulting division is my responsibility and, depending on me happy because somebody saw what was writ- on artists and any pending interviews or to follow-up/ the project, we decide who works on it according to their ten somewhere and came to the gallery and that’s tarane schedule any, make sure we have images of works for capabilities and capacity. my achievement. ali khan ∞ COMMUNICATIONS One historical period I DIRECTOR, THE THIRD LINE would’ve liked to witness: The Renaissance. Favourite artwork? Kandinsky’s Gelb Rot Blau. Twenty five years from now: I want to pick up a magazine and read ‘The Third Line opens sixth space in Milan’. Image courtesy The Third Line, Dubai. Photography 101 by Christopher Calumberan. text by MYRNA AYAD TALA CHUKRI REBECCA ANNE PROCTOR ANNA WALLACE-THOMPSON
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