the young collectors Nine young protagonists mark the third Canvas Young Collectors edition. Hailing from Iran, Bahrain, India, the UAE and Palestine, they share their aspirations for the Middle Eastern art market, their passions for art collecting and how it all began. dana farouki The artwork I will get by hook or by crook: An Adel Abdessemed Mappemonde work. I’d love to dine with: Alfred H Barr Jr & Peggy Guggenheim. An artist I think is undervalued or underpublicised: Walead Beshty. The museum piece I stare at A endlessly: James Turrell’s Meeting, rt education began at home for Dana Above: Dana Farouki with a work by Yinka a skyspace at MoMA PS1. Farouki, the youngest child of renowned Shonibare, MBE. Odile and Odette III. 2005–6. C-type print. 124.5 x 161.3 cm. Best art advice I ever got: “Don’t Palestinian art collectors Samia and Abulhuda speak too soon” and I hope to follow it more often! Farouki. “I think my parents are more than col- Facing page: Khalil Joreige and Joana Hadjithomas. Wonder Beirut #4, Pigeons Grotto. 1998–2007. Lambda I would pay monthly instalments lectors; they’re patrons and advocates of art,” print mounted on aluminium. 70 x 105 cm. forever for: An early Gerhard says Farouki, who was born and raised in Richter painting. Washington DC. Her mother, in collaboration Shaheen to art exhibitions which included Iraqi I know I should like but I just can’t: Richard Prince. with Palestinian artist Kamal Boullata (Canvas artist Dia Al-Azzawi – “and even Emirati artist Artists need: Other artists. 4.3) and the late Georgetown University profes- Abdel Kader Al-Rais’s (Canvas 1.1) first solo sor Dr Hisham Sharabi, established Alif Gal- show in the USA” – Alif Gallery sought to bridge It’s mine when: Not sure I ever think it is. lery in 1983 – the first non-profit organisation in East and West. “I spent a lot of time at Alif and Thinking of buying next: Pieces by the USA that was established to promote Arab around various artists,” says Farouki, “but ulti- Yto Barrada, Sharif Waked and Tala Madani. culture. From poetry recitals by legendary poet mately, the gallery shut down after around 10 Mahmoud Darwish and the music of Simon years because it was ahead of its time.” 78 the young collectors Farouki majored in art history, graduating with a BA from Brown University in 2002. “I Alif Gallery was a pioneer in raising awareness of Arab art and culture in the “For me, started off taking courses in almost every ma- USA in the 1980s. Why do you think such it’s the idea behind the jor in order to really find what I was passionate an initiative didn’t succeed then but may about, and then took an art history course with well do so now? Kermit Swiler Champa, a great scholar of 20th- While the process was handled very profes- work – the century American and European painting,” she sionally, there wasn’t a large enough audi- says; “He opened my eyes to a different world, ence at that time. Alif received grants from all artist’s a new vocabulary.” After pursuing further stud- ies at the Sorbonne, Farouki completed an MA sorts of foundations and organisations. As for now, I think that perhaps the increased global statement in 2004 at London’s Courtauld Institute of Art, interest is rooted in both politics, and in some – that’s important.” where she wrote her thesis on the Guggenhe- people looking to the next ‘big thing’. Certainly im being a global museum, and then moved to the rise of collectors within the region is also New York, where she sent her thesis to Thomas partially market-driven. Krens, then-director of the Solomon R Gug- genheim Foundation, “urging him to explore a How involved were, and are you, in your possible Guggenheim in Dubai”. Krens didn’t parents’ acquisitions? reply to her numerous emails, but Farouki ran Back then not a lot, but lately yes, a good deal. into him at a party and introduced herself. “I said ‘Hi, I’m Dana Farouki’ and he said, ‘Oh yes! The Guggenheim Dubai’,” she laughs, “and he confirmed that they were interested in the Middle East but not specifically Dubai.” Farouki had by then applied for a year-long fellowship programme at the MoMA (page XX) – “the most majestic place in the world” – at a time when the institution had affiliated with PS1 Contemporary Art Center, “an incredible incu- bator for Contemporary art”. By the time she completed the fellowship, the project for the Guggenheim Abu Dhabi had become official and she joined its team in 2006 as a consultant on the Saadiyat Island Cultural District master- plan. She got married to Mazen Makarem in the same year and moved to Dubai in October 2010. Farouki sits on the boards of MoMA PS1 and Creative Time, a non-profit organisation dedicated to public art projects. 79 When I started to become more passionate about Contemporary art, they gave me truly remarkable support and we’ve imagined a vision together. Their focus is Middle Eastern art, whereas I’m open to other genres. With my parents, there’s a real possibility to build one of the most significant collections of Middle Eastern art and, in a sense, I feel like it’s my collection too. What was your first acquisition? I had become really interested in artists who were conceptually driven – and still am; for me, it’s the idea behind the work – the artist’s state- ment – that’s important. I had read about Kota Ezawa, who had a piece on view in the Con- temporary galleries at the MoMA. Ezawa was one of my first acquisitions and it felt natural. I was at the Art Basel Miami Beach fair in 2005 and there’s always excitement when buying a work at a fair. What has the acquisition process been like since then? Definitely more impulsive! But that’s also be- cause I like to think that I have a profession- ally trained eye and I trust my taste. I take care to do some research on an artist I don’t know before committing to one of their works. Artists teach and expose you to different subjects – for example, Olafur Eliasson explores geometry, the environment and science, and then there’s Walid Raad (Canvas 5.2), whom I adore. I think he’s such a smart artist and more than an aes- thete, he’s a truly innovative thinker. For some, Raad is hard to ‘get’. Yes, but when you do, you totally get him and both Mazen and I did fairly early on. Because 80 the young collectors “It would be great to have an avant- garde grassroots initiative of some sort, not one with a lot of money behind it, but one that puts on shows quickly and nimbly and features young artists.” Mazen is Lebanese, he identified with the ists in the USA complete a BA and go on to do idea of a blurred history and memories jarred an MFA and work for years before they actually by the war and political unrest. I also have a get into the scene, unlike here. The context in thing for academics and Raad is the ultimate which artists in the Middle East are creating of that. art is different – take Lebanon and Iran for example, where lots of artists work in How stark is the difference between the reaction to the political situations. New York art scene and that in Dubai? A museum is missing in Dubai! It would have How does your collection been nice to have a museum before an auction inspire you? house. Effectively, things grew from the market I think it helps me continue this rather than the other way round. It would be process of education that I’ve been great to have an avant-garde grassroots initia- developing for such a long time. I may tive of some sort, not one with a lot of money not be working at the moment, but my behind it, but one that puts on shows quickly collection allows me to be professionally en- and nimbly and features young artists. We also gaged. Looking at Contemporary art becomes need to develop artists’ skills through schools. a mindset. In my opinion, the gallery scene in Dubai is al- Facing page above: Dana Farouki with a work by Ryan McGinness. (Detail) most the same as New York, except here, it’s How do you hope to infuse a passion for Lavender Mist Number 1. 2005. Acrylic one show per night and there, lots of galleries art in your son? on wood panel. Diameter: 122 cm. open the same night. I remember arriving in I definitely want him to be aware. He’s going Facing page below: Shirana Shahbazi. Dubai and thinking ‘this is going to be as busy to grow up in a house where there’s a lot of From the series Flowers, Fruits & Portraits. for me as New York!’ art and he’s curious already. It’s amusing to sit 2006–7. C-print. 120 x 150 cm. and listen to the questions that kids ask dur- Above: Doug Aitken. (Detail) Maps and Seeing as you are more exposed to Middle ing a school visit to a museum, for example, Cycles (Las Vegas Greyhound Station). Eastern art in Dubai, what’s your take on because their comments can be pretty astute. 2004. C-print mounted to aluminium with thin white, wooden frame. Hexagon: the genre’s quality? I plan on having him spend as much time Height, 122 cm. Width, 140 cm. There’s a huge range; you can’t generalise. with me as possible. It’s going to be that way, Education is the primary driver; so many art- whether he likes it or not! All photography by Haider Yousuf. 81 the young collectors The artwork I will get by hook or by crook: The one they tell me I can’t have! I’d love to dine with: The Shah of Iran. An artist I think is undervalued or underpublicised: My children’s art! The museum piece I stare at endlessly: Anything and everything by Frida Kahlo. The Middle Eastern art scene needs: To take a deep breath. Best art advice I ever got: “Observe the wonders as they occur around you. Don’t claim them. Feel the artistry move through, and be silent” – from a poem by Rumi. I would pay monthly instalments forever for: My favourite piece by Gustav Klimt. negin The artwork that got away was: The one that wasn’t meant to be. Artists need: Collectors! fattahi-dasmal The first thing I do when I buy a new piece is: Call my Mom so that I can share the excitement. 82 I ranian-born, Dubai-based Negin Fattahi- Dasmal will gladly explain the story behind each artwork in her collection, recounting the “Every once in a while I will totally painting’s narrative as well as her initial en- go for something based on what counter with it. She was raised in a family “who are very driven by aesthetics and place impor- I feel in my heart.” tance on being surrounded by beautiful things ing The Grooming Company in 2001 – the Your collection is predominantly Iranian which radiate positive energy”, and her par- parent organisation of award-winning NBar, Contemporary. Is this intentional? ents collected works by some of Iran’s Modern 1847, JetSet and Tilia&Finn. Breast Can- I truly love the work of Iranian artists and then artists, including Iran Daroudi, Parviz Kalantari cer Awareness is a cause she keenly sup- of course, it’s a soft spot for me because I am and Nasser Ovissi. “Appreciating aesthetics ports, after she was diagnosed with Stage 4 Iranian and it feels like I am supporting Iranian was always in me until I knew how to channel breast cancer in 2008 and continues to bat- talent. That said, I am open to art of other na- it,” says the mother of four; “My first artwork tle it. She points enthusiastically to a painting tionalities and own pieces by American, Paki- purchase left me feeling very good; it’s a form by Iranian artist, Nazar Mousavinia: “He is a stani and Lebanese artists. of addiction but it’s a great addiction.” Fattahi- young man who grew up in the shadow of the Dasmal has an acute sense of detail – “I get it Islamic Revolution and the Iran-Iraq war and Do you have a particular approach to from my mother!” – and adores flowers. “I feel is affected by the current regime. You can see buying art? like a child when I buy flowers every week and the darkness and torment in his works,” she I buy based on the emotions that are stirred in arrange them at home,” she says. explains, “but he always incorporates women, After completing a BA in Business Ad- because he feels that no matter how grim a ministration from Marymount College in Los situation can be, women pull us through Angeles, Fattahi-Dasmal joined the family of- and provide strength as they are a symbol fice furniture business, Bafco, before found- of hope.” Facing page: Negin Fattahi-Dasmal with a work by Farhad Moshiri. Large Gold Bowl On White. 2005. Acrylic and oil on canvas. 194 x 266 cm. Courtesy the artist and The Third Line. This page: Four works by Ayaz Jokhio. Inset, clockwise from top left: Untitled. 2008. Oil on canvas in gold frame. 0.9 x 1 x 0.7 cm; Mother and Child. 2008. Acrylic on canvas in gold frame. 1.1 x 1.5 x 0.7 cm; Landscape. 2008. Oil on canvas in gold frame. 1.2 x 1.7 x 0.7 cm; Self-portrait. 2008. Acrylic on canvas in gold frame. 0.9 x 1.1 x 0.7 cm. Courtesy Green Cardamom. 83 Below: Bita Fayazzi. Baby. 2007. Bronze. 47 x 20 x 27 cm. Edition of 10. Right: Khosrow Hassanzadeh. From the series Iranian Wrestlers. 2001. Mixed media, oil on photography and silk screen. Approximately 250 x 270 cm. Far right: Farideh Lashai. Cypress Trees, My Whitened Miniature Series. 2007. Oil, acrylic and pencil on canvas, framed in gold leaf wooden frames. 12 frames, approximately 40 x 40 cm each. All photography by Haider Yousuf. “I buy because I love a work and because it’s an investment. me. I make educated decisions, but every once enced the younger generation but retains a My heart and in a while I will totally go for something based on youthful essence within her works. With the soul are in what I feel in my heart. I know I love a piece when my eye is drawn to it again and again. Reza Aramesh (Canvas 5.5) work, for example, I had just come back from Los Angeles after the artwork my ordeal and I had been praying a lot. I saw and I want Do you sense an instant narrative? At first, I am drawn to it aesthetically and then I the piece from really far away, it spoke to me so impulsively and I fell in love with it instantly. It to know that ‘read’ the story. I love the complexity of Farideh felt so right that it wasn’t impulsive anymore, it Lashai’s (Canvas 3.6) 12-piece artwork framed went beyond that. I had to have it, I didn’t care if I am buying in cedar and which also includes cedar leaves; it was sold; I would’ve found a way around it! something that the missing painting is whatever you want it to be, a mystery. Lashai is an established Iranian Is energy essential for you in an artwork? has value.” artist of the ‘older’ generation who has influ- Yes, by all means because art communicates. With the photograph Fertility by Lisa Ross for example, I felt the energy of the wishing tree. How amazing is it to know that it is an ac- tual tree in the Burmese wilderness with writ- ten wishes tied to it by 60 or 70 people! And here in my home, I have these peoples’ strong hopes. Initially, I liked it aesthetically but knew that there was a powerful message within; it 84 the young collectors was the piece’s energy talking to me, and this colours. And here it is! I love it, it always looks ing artists from all nationalities and not just the is something I abide by when I buy a work. new to the eye. upper crust. Better instalment packages should be offered for those who are committed but not How did you go about commissioning a Do you consider the investment aspect in financially able to make big down payments. work by Farhad Moshiri (Canvas 1.5)? your acquisitions? Nobody told me Moshiri was going to be this I buy because I love a work and because it’s What collecting aspirations do you have? big! I met him at a show at The Third Line – an investment. My heart and soul are in the I just want to continue falling in love with pieces the simplicity and precision of his jars and artwork and I want to know that I am buying and expanding the collection. I would like to ac- bowls with calligraphy is effective, striking and something that has value. I have never sold quire more sculptures but they’re tricky things! original. They’re so perfectly imperfect; I had any of my pieces and I hope I am never in a I’m open to all forms of art. I don’t really look never seen anything like them. I loved piece A position where I have to. There are so many at it as a collection, it’s a passion. I’m not col- but with the colours of piece B and then began more works I want! lecting to be a collector but just because I love conjuring up my own Moshiri artwork! He is it and it’s for my kids. I want art to be part of very amiable, which helps when you make a What are your thoughts on the Dubai art their value system, because it’s enjoyable and purchase – it exudes the artist’s energy and scene now? adds many dimensions to their personalities. that comes into your home. I was building my I think there is enough out there in terms of Every time I put up a new piece at home, they house at the time; it was a construction site shows and Middle Eastern art, but I don’t notice immediately and that, for me, is one of when he visited and I showed him the wall I think there is enough to educate or empower the things I want to teach them very subtly, just had in mind for his artwork. I left the decision a collector in terms of information, knowledge as we teach them values. The collection is not for a jug or bowl up to him because I trusted or reference points. Artwork prices should be just for them to own artworks but for them to him; all I asked was for it to feature earthen regulated; we should be offered more emerg- appreciate art. 85 The artwork I will get by hook or by crook: Alberto Giacometti’s seminal 1960 sculpture, abdul rahman L’Homme qui Marche 1. Wish List: Early Monir Farmanfarmaian (Canvas 4.5), Jacques Majorelle and Afshin Pirhashemi al-zayani (Canvas 6.5). I’d love to dine with: Dr Mohamed Said Farsi and talk about how he put together such a great collection at a time when no one really gave Arab art the attention he did. An artist I think is undervalued or underpublicised: Faisal Samra (Canvas 1.2). The museum piece I could stare at endlessly: I would love to see the Giacometti at the Tehran Museum of Contemporary Art. Best art advice I ever got: “Chase the piece and not the artist” – Isabelle de La Bruyère. I know I want an artwork when: I am thinking about how to pay for it. The artwork that got away was: An Ayman Baalbaki (Canvas 5.2) piece at a Sotheby’s sale. I know I should like but I just can’t: Video installations! I should have but I didn’t: Start to look seriously at Middle Eastern art before the auction houses came to this part of the world. 86 the young collectors I “Bahrain has nterestingly, it was a fascination with fine including pieces by Youssef Nabil (Canvas 1.1), jewellery which marked Abdul Rahman Al- Hassan Hajjaj (Canvas 4.3), Rokni Haerizadeh Zayani’s first foray into the art world. He was (Canvas 5.6), Rachid Koraïchi (Canvas 4.3), a wonderfully rich history pursuing an MS in International Business Law Mustafa Khalidy and Hayv Kahraman (Canvas from the University of Westminster in London 5.6). “Once a year I like to make what I call a and “picked up” an interest in jewellery, making ‘serious’ purchase,” he explains. “Collecting and heritage, his first purchase at a Christie’s Geneva sale in can be addictive and you really need to be 2002. Encouraged by his parents – “My father put on a leash or you’ll never stop!” This col- but I find it supported me financially with that first pur- chase” – Al-Zayani credits his father: “His advice lecting addiction is not limited to Modern and Contemporary art but includes jewellery too, has a bit of was simply: ‘Make sure it’s a good buy’.” and among the pieces he would like to acquire catching up to do in terms In 2006 Al-Zayani joined Christie’s as a re- are some by Joel Arthur Rosenthal or an old gional consultant in addition to managing his Cartier sautoir “from the 1920s–40s”. Al-Zayani family’s real estate and investment portfolio, cites the craftsmanship of older pieces as part of Contemp- a job which, he exclaims, “isn’t exactly nine of their appeal: “Just look at the Van Cleef and to five!” He made his first Contemporary art Arpels necklace for Princess Fawzia when she orary art.” acquisition in 2007 with a work by Andy Warhol. married the Shah of Iran,” he explains, “Usu- Facing page: Abdul Rahman Al-Zayani with “I had purchased artworks before this, but my ally, older pieces were re-set by jewellers with sculptures by Ahmed Al-Askalany. Untitled. first acquisitions were more for decorative rea- the owners’ own stones to different designs to 2006–9. Four raw polyester sculptures. Large: 90 x 45 x 25 cm. Small: 80 x 40 x 25 cm. sons, which isn’t really ‘collecting’, per se,” he match the style of the current period. Many of muses. “Even with jewellery, I’ve flushed out a these were one-offs with stones from mines Below: Dia Al-Azzawi. (Detail) Red Movement. 2002. lot of my first purchases – your taste evolves which simply don’t exist anymore.” Oil on wooden round panel. Diameter: 100 cm. and I had bought items simply because they were a ‘good buy’, rather than being actual What was the first Middle Eastern quality pieces.” Al-Zayani’s interest in Contem- work that you bought, from where porary Middle Eastern art was prompted by and why? Christie’s Dubai auction catalogues, which he Initially, I bought primarily from received alongside those for adjoining jewel- auction, probably because I lery sales. “I got very interested in what was worked with Christie’s then. coming from the region,” he says, “but in 2008, My first Middle Eastern art the market was at its peak and I must admit, I acquisition was a work found the prices quite high, which made me by Hossein Kashian from reluctant to step in.” Art Curial in 2009. I had Today the 32 year-old owns some 20 works, wanted a Kashian for a 87 the young collectors while and couldn’t buy it because his prices Rashid Al-Khalifa (Canvas 6.3), Hayfa Al-Jishi were not ‘normal’ during 2007–8. My time at of Albareh Art Gallery and Bayan Kanoo of Al- Christie’s was hugely rewarding in terms of Riwaq Art Space, but we have a lot of young, what I learnt about collecting and from being local talent which is crying out to be nurtured. surrounded by different people who provided I would love to see something similar to what so much information and knowledge. I found Latifa Al-Maktoum is doing with Tashkeel and myself completely sucked into the world of art. Wafa Al-Maktoum with Fn Design (both in Du- When I left, I had made so many contacts and bai) happen here in Bahrain; or what Lulu Al- friends in that world and started to focus more Sabah and Lydia Limerick are doing in Kuwait on developing my collection. I have to say that – these are young, dynamic women working Isabelle de La Bruyère has been the most in- hard to get young artists out there. spiring source for my jewellery and art collec- tions, which wouldn’t be where they are today What needs to be done for Bahrain then? without her. First of all, we need a university with a fine arts faculty, more than two Contemporary art gal- You have work by artists from all over the leries and a reactivation of art societies. We do Middle East. Any preferences? have an arts scene full of committed people, Not at all. I actually began with a slant towards but it could do with fresh blood. I greatly ad- Contemporary Iranian art, but I’d love to ex- mire what Sheikha Mai Al-Khalifa has done for pand my collection to include South American the heritage areas of Muharraq, but in terms and Asian Contemporary pieces – there is of Contemporary art, there needs to be more some amazing Contemporary Chinese work support for emerging artists through whatever out there. channels are available and I look forward to the opening of the Museum of Contemporary Art Do you see a development in awareness Bahrain. Whatever I become involved in would pertaining to the Middle Eastern art scene definitely have to be non-profit, otherwise I find in general? it becomes all about the business and doesn’t Regionally, yes. Locally, no. Bahrain has a won- really end up being art for art’s sake. derfully rich history and heritage, but I find it has a bit of catching up to do in terms of Con- Do you think the market readjustment was temporary art. We have some great protago- a blessing in disguise? nists working towards that, such as HE Sheikh Honestly, I don’t think Bahrain ever really felt the art bubble. Its art scene has managed to “Get to know gallerists, because grow more gradually, and while worldwide prices have readjusted to a more realistic level, they are a fountain of knowledge.” here we’ve seen a steadily growing audience. We have – for the first time now – exhibitions which are presold before their openings and, 88 personally, the market crash has made it pos- What are some of the things you’ve learnt Facing page: Hossein Kashian. (Detail) Composition. Undated. Oil on canvas. 100 x sible to own pieces that were unattainable for along the way? 60 cm. © Artcurial. me in 2008. Try to be a smart buyer. I see people bidding at auction simply because they want to or Above: Abdul Rahman Al-Zayani with works by (from left to right): Khader What do you think the effect of the auction because they want the piece and don’t care Al-Shakreji. Untitled. 1994–95. Oil houses has been on regional art? about the price. Don’t do that – you should al- on canvas. 50 x 70 cm; Nja Mahdaoui. Prices changed a lot with the arrival of the ways look at what you’re buying, what period Untitled. 2002. Black ink with gold leaves on deer skin. 70 x 15 cm; Hamed Nada. auction houses, but at the end of the day the artist produced it in and what amount was Les Chanteuses. 1990. Oil on canvas. 60 they created a platform through which people last paid for such a work. How many works by x 45 cm; Hassan Hajjaj. (Detail) Miriam could trade and find a published price – the that artist are available on the market? Who Green. 2007. Metallic lambda print, walnut frame with plastic Lego. 86.4 x auctions created a benchmark for the market. are his/her biggest supporters? And most im- 61.9 cm. Edition of 10; Andy Warhol. We should always look at the estimates they portantly, can you live with it? Get to know gal- Dollar Sign. 1982. Screenprint on Lenox publish and not the hammer price. lerists, because they are a fountain of knowl- Museum Board. 50.1 x 39.9 cm. edge, and not necessarily just about their own All photography by Andrew Weaver unless What grabs you in an artwork? artists. We’re lucky to have the Internet and art otherwise specified. The technique of course, but also a feeling. Take literature on Middle Eastern art these days, the works of Monir Farmanfarmaian, for exam- something that was not available as little as ple – her work is all about technique, but a good 15 years ago. I also don’t think one should Farmanfarmaian gets to you. I also make it a focus on art because it is Middle Eastern or principle not to buy simply for the sake of own- Asian or Western – at the end of the day, no ing a work by a certain artist – I try to go for the matter what your preference is, or where you best that I can get my hands on by that artist. are from, art is art. 89 fawaz kanoo The artwork I will get by hook or by crook: A piece from the Takashi Murakami show at Versailles. I’d love to dine with: Andy Warhol in the 1960s–70s. Artists I think are undervalued or underpublicised: Camille Zakharia (Canvas 3.4) and Maitha Bin Demithan. Best art advice I ever got: “Buy what you like and not what people want you to like.” I would pay monthly instalments forever for: Henri Matisse’s 1911 canvas Les Coucous, Tapis Bleu et Rose from the YSL Private Collection. The artwork that got away was: A Nasrollah Afjehi piece in a Bonhams Dubai sale. The work I could stare at for hours is: The Chrysler Building. I should have but I didn’t: Minored in artt at college. It’s mine when: I just can’t get it out of my head. Thinking of buying next: Waiting to see 90 what’s at Art Dubai. D “When I see a work I like, I tend to go ominating an upstairs bedroom in Fawaz Kanoo’s residence is an untitled 2006 painting by Sabhan Adam (Canvas 1.2), which away and think about it for a while.” springs out of the wall in an outburst of colour. Like a crazed fairytale monster, the great red head is, in a way, a metaphor for Kanoo’s col- lecting ethos – bold, impetuous and just a little ‘off the wall’. “It’s a pretty challenging work,” admits Kanoo with a laugh. “I just love the col- ours, the entire composition. It’s a bit of a weird piece, compared to all the other Adams I’ve seen on the market, and I guess that’s what at- tracted me to it most.” When not busy as Gen- eral Manager at Kanoo Vehicle Leasing, the 30 year-old Bahraini is a self-confessed “art ad- dict”. In 2002 he graduated from Boston’s Suf- folk University with a BA in management and began collecting art in 2006. “I had just moved cultures. I still treasure the friendships into my new house in 2007 and wanted to start I made in those days.” buying art,” explains Kanoo; “It was around then that Christie’s came to Dubai and I fell in love with some of the Figurative works in those sales – the Adam and Fadi Yazigi (Canvas 4.2) – and before I knew it, Middle Eastern art had grabbed me. It’s an addiction and I hate it!” he laughs. With over 30 pieces in his collection, Kanoo works closely with family members and friends Hajjaj (Canvas 4.3) and Lalla Essaydi (Canvas Facing page: Fawaz Kanoo with works by Hassan Hajjaj. On the wall: such as Isabelle de La Bruyère of Christie’s 6.4), Algerian Hamza Bounoa and Egyptian Sista. 2000. C-print on board set in and Lydia Limerick of JAMM. “Purchasing art superstars Youssef Nabil (Canvas 1.1) and a wooden frame. 129.8 x 94 cm. On is an experience, especially during auctions,” Chant Avedissian (Canvas 1.6). And from the floor: Colorado Stool - Flowery and Astral Stool – Pink and White. Both he says. Kanoo’s collection spans a diverse Gulf, Saudi Faisal Samra (Canvas 1.2) and 2000. Bucket and fabric. 59.5 x range of styles and countries, with paintings emerging Emirati artist, Maitha Bin Demithan. 36 cm each. Photography by and photography by Iranians Roya Akhavan, “I do tend to lean more towards painting than Andrew Weaver. Reza Derakshani (Canvas 4.4), Hossein Kashi- sculpture,” admits Kanoo. “I have also noticed Above: Sabhan Adam. Untitled. 1999. an, Faramarz Pilaram and Shadi Ghadirian that I prefer the Figurative to the Abstract. In a Oil and charcoal on canvas. 210 x (Canvas 3.1) joined by Syrians Yazigi, Kais Sal- sense, mine is a house full of faces.” 218.5 cm. Image courtesy Christie’s. man and Fateh Moudarres. From North Africa, With plans to open an art gallery one day works include those by Moroccans Hassan – “maybe in 20 years if I’m lucky enough” – 91 the young collectors Kanoo is a keen supporter of raising the re- then of course I ended up buying the Adam in gion’s cultural awareness. “There is a new a subsequent Christie’s sale. generation that’s coming up in Bahrain and it needs to be aware of where we come from, our What does your purchasing process art and of Middle Eastern art in general,” he ex- consist of? plains. “Art should be accessible to everyone, I need to see myself in it. When I see a work I starting from the ground up, and this begins like, I tend to go away and think about it for a at a young age. You really do just need to take while. I’ll show it to friends and family and get things step by step.” their opinions as well and think about how it fits into my collection and where I would want “Collecting What was your first acquisition and how was the experience like? to hang it in my home. It’s a pretty long proc- ess, to be honest; in the end, I just follow my art may be It was actually a toss-up between Adam and own instincts. addictive, but Yazigi and I bought the latter first. It was a pretty big decision, not to mention a pretty big invest- What are some of the things you’ve learnt you never ment back then when I think about it, but there was something about the faces in the piece, its along the way? I think I’ve fine-tuned my eye, as well as un- regret it.” colours and size, which sealed it for me. And derstanding the importance of buying a good 92 Facing page: Fadi Yazigi. Untitled. 2007. Ink and acrylic on canvas. 135 x 202 cm. Image courtesy Christie’s. This page: Lalla Essaydi. Les Femmes du Maroc: After the Bath. 2008. C-Type print, mounted on aluminium. 102 x 76 cm. Edition of 15. Image courtesy Waterhouse & Dodd. piece, and one that you like, not simply buying tic, especially in Bahrain. It’s important to raise What’s the most useful piece of advice something by an artist for the sake of having awareness and appreciation of art. Travelling you’ve been given? something by that name in your collection. You is also a great eye-opener, but at the end of That you should chase the piece and not the should always go for the best in a collection the day you need both education and knowl- artist. Do not buy randomly simply for the sake because that’s what lasts, and ultimately it’s a edge. The Middle Eastern art scene needs of buying something from a particular artist – piece that you want to live with. I’ve found my more books on artists and more Modern and buy works that you like and works that are of taste has changed somewhat since I first start- Contemporary art museums. a high quality. ed collecting and I’ve cooled down on some of the artists I purchased early on, having since How do you educate yourself on art? Is there anything on your wish list? discovered others. I also learnt how competi- I try to immerse myself in it. I read a lot, wheth- There are so many pieces, I don’t even know tive the art world can be. I think things have er on the Internet or books and art magazines. where to begin, to be honest. They don’t gotten quite commercial and perhaps it would I love visiting galleries and museums. I think necessarily have to be expensive or popu- be good if things calmed down a bit and we visiting art fairs is really important and keep- lar, but at the end of the day, simply what I focused more on the art itself, as it’s meant to ing in touch with gallerists, collectors and like. However, I suppose right now, I’d have be, not just as a commodity. curators is vital. Most important is to have a to say that big pieces by Mohammed Ehsai group of friends who share the same love so and Louay Kayyali are pretty high on the list. How can we change that? you can constantly discuss and learn a lot from Collecting art may be addictive, but you never More museums and galleries would be fantas- each other. regret it. 93 the young collectors farshad mahoutforoush Art Motto: Always buy, buy and buy! When in doubt, keep buying! I’d love to dine with: Obama! An artist I think is undervalued or under- publicised: There are so many, I wouldn’t know where to begin, especially in our region. My top three art fairs: Art Basel Miami Beach, Frieze and, of course, Art Dubai. The museum piece I stare at endlessly: The amazing Walking Man by Alberto Giacometti at the Tehran Museum of Contemporary Art. The Middle Eastern art scene needs: To be taken much more seriously, which in all fairness, it has been in the past few years. My favourite artworks from my collection: Those by Bahman Mohasses (Canvas 6.6). I would pay monthly instalments forever for: A museum which would help young artists get off their feet and give them a place to promote themselves, especially those working underground in Iran. It’s mine when: It has been paid off! Thinking of buying next: Old masters of Iran. 94 f ollowing Iran’s Islamic Revolution, Far- shad Mahoutforoush, then five years old, and his family fled to the South of France. Here they remained until 1997, when they returned to Iran. France, adds Mahoutforoush, is where he “grew up with art”, having been exposed to art- ists such as Matisse, Picasso and Raul Duffy. “One of my friend’s mothers was an artist who had been friends with César,” he says, “and it was amazing to visit his house.” Mahout- foroush pursued studies in Montreal with the aim of joining the family textile firm, but instead chose the restaurant business. “I came back because Iran is my country and, at the time, all of my friends were returning to Iran from Eu- rope as well,” he says. “There were really no good international restaurants in Tehran and, gastronomically, you are spoilt for choice in the empire, Mahoutforoush hopes South of France.” Mahoutforoush teamed up to devote more time to visiting art fairs, with his childhood friend Ramin Varasteh and focusing on publications and expanding his Facing page: Farshad Mahoutforoush with works by Bahman Mohasses (on in 1999 opened up Monsoon, a fusion Asian collection, which is mainly composed of Con- right). Photography by Hooman Nobakht. restaurant, which is still going strong today. temporary Iranian art with a handful of Western It was at this time that Mahoutforoush pieces. “I’d love to acquire Middle Eastern art Above: Reza Derakshani. (Detail) Qajar Woman from the Mirror of Time, Love Is turned his eye to art, albeit for purely “deco- as well,” he beams, “I think works by Youssef In the Air series. 2010. Mixed media on rative” reasons related to his new apartment. Nabil (Canvas 1.1), Mona Hatoum (Canvas 6.1) canvas. Diameter: 170 cm. Photography “I didn’t know anything about Iranian artists, and Ghada Amer (Canvas 6.1) are amazing, by Mostafa Alizadegan. so I asked my friends and ended up buying but to date, I’ve just been so passionate and works that I thought would suit my apartment,” excited about Iranian art.” he says sheepishly. In just a few months, Ma- houtforoush had become “seriously interested What were some of the mistakes you made in the Iranian art scene”, and now showcases works from his 450-piece collection in his res- as a collector in the beginning? That first painting I bought to furnish my apart- “I think taurants – Terrace, Bix, Boulevard, Monsoon ment was a mistake! Since then, I think I’ve the world needs to Lounge and Tamasha. “My grandfather and un- developed an eye, but back then I’d see paint- cle were collectors of antiques before the Revo- ings and not know much about either them or lution,” smiles Mahoutforoush, “so collecting is in the family blood. Even my mother is collect- the artists, let alone the techniques involved. So I started to educate myself with the help of my know about ing now!” Although busy running his restaurant brother, Mehrdad. Iranian art.” 95 Below: Parviz Tanavoli. Red Heech. 2006. Fibreglass. Height: 100 cm. Photography by Mostafa Alizadegan. “I really want to help out, [whether Facing page above, clockwise from left: Farshad by offering] a space to use as an atelier or helping with expenses.” Mahoutforoush with three untitled works by Sadegh Tirafkan (on wall, left). From The Children of Dog City series. 2003. Mixed media. 140 x 90 cm each; On top of stairs: Shirin Fakhim. Untitled from How do you now know if an artwork Where do you buy from? the Tehran Prostitutes series. 2008. Assemblage of mixed media. Height: approximately 170 cm; is good? A lot of the time I purchase works directly from On floor: Two oil on canvas works by Bahman It’s just a feeling. It’s having the eye, I guess. artists, but I also get pieces from dealers, col- Mohasses. Left: Still Life. 1969. 70 x 100 cm; Right: When I first see an artwork and love it at first lectors and auctions. Sometimes auctions are Blind Eagle. 1968. 100 x 70 cm. Photography by Hooman Nobakht. glance, then I have to buy it and never think really great places to get rare pieces. twice about it. In the few times that I haven’t Facing page below: Koorosh Shishegaran. (Detail) bought the work at that first glance, I can’t sleep You’re known in Iran as having ‘discovered’ Snowman. 1988. Oil on canvas. 188 x 144.5 cm. Photography by Mostafa Alizadegan. and end up dreaming about it the whole night! some of its most celebrated Contemporary I think art has to be expressive and I like funky, artists. What are your thoughts on that? edgy things. I wouldn’t say I ‘discovered’ anybody, per se; I was simply one of the first to buy their early Has art collecting changed in Iran since works, such as with Moshiri, the Haerizadeh you first began 12 years ago? brothers (Canvas 5.6), Bita Fayyazi, Shirin Fa- Definitely. At the time, I was one of the only peo- khim and Nargess Hashemi. ple to focus on Contemporary Iranian art as op- posed to Modern. I remember being criticised Why collect? for buying Farhad Moshiri’s (Canvas 1.4) work, A lot of people buy art as an investment, which for example, especially by the older genera- I understand, but most of these artists are my tion of collectors, because some didn’t think of friends, so I advise them on their art and encour- that as ‘art’. But I always loved his work and age them. If I really like somebody’s work, I’ll end believed in him. up buying several pieces, sometimes to encour- age a struggling artist or support their work. I What do you plan to do with your collection really want to help out, so whether it’s offering in the future? a space to use as an atelier or helping with ex- My dream is to eventually open a private mu- penses, it’s a good feeling to know that you’ve seum or foundation in Tehran. It has to be in helped somebody. Iran. I also want to acquire more works by Iran’s Modern masters. I adore Bahman Mohasses What is missing in the support of (Canvas 6.6) and also have works by Charles Iranian artists? Hossein Zenderoudi (Canvas 5.5), Parviz Finance. The new generation often don’t have Tanavoli (Canvas 4.2), Monir Farmanfarma- money for canvases or better quality paint, for- ian (Canvas 4.5), Mohammed Ehsai and Leyly get the ateliers! Take Mahmoud Bakhshi (Can- Matin Daftari. vas 6.5), for example – we worked with him on 96 the young collectors graphic design projects for our restaurants a few years ago and when I visited him then, he had those amazing flags but was really struggling to make ends meet. I ran into him a few years later and learnt that he won the Magic of Persia Contemporary Art Prize (2010) and was shown at Saatchi! What’s the first thing you do when you buy an artwork? I bring my friends over and we have a party! Many of my friends have now begun to collect art as well, including my business partners Ram- in and Rana Varasteh and my younger brother Amir. That’s how it all starts, I guess. You seem very proud to be Iranian. I am. Even though I grew up overseas, we were a very close-knit community. I think the world needs to know about Iranian art – that’s why I collect it. We have amazing pieces coming out of this country. How do you find new, emerging artists? It’s mostly word-of-mouth or we’re introduced by friends. Over the last few years, Mehrdad and I have been approached more and more, and of course when we attend gallery openings and private shows, one door leads to another. What do you think of what auction houses have done to market? I don’t know if the effect was all that good for the artists themselves. Many ended up in a rut and simply repeated themselves and became commercial in order to maintain their prices. Of course, on the other hand, it brought them inter- national exposure, which is great for Iranian art. But perhaps there was more harm than good. 97 I’d love to dine with: Salvador Dalí as well as Antoni Gaudí. Latest acquisition: The Patience of Childhood and the Dark Days of Adulthood by Ahmad Morshedloo and a Gholamhossein Nami. I know I want an artwork when: I can’t stop thinking about it. Art is: For everyone. I would pay monthly instalments forever for: A Giacometti sculpture. I am a young collector because: Art enhances my life and is a pleasure that will last throughout my lifetime. The work I could stare at for hours is: The Kiss by Gustav Klimt. My favourite works in my collection: Mohammed Ehsai’s Allah polyptych, Reza Derakshani’s (Canvas 4.4) Khosrow and Shirin and Jazeh Tabatabai’s Dancing Girl. Wishlist: Tchar Bagh by Zenderoudi (Canvas 5.5), a Parviz Tanavoli (Canvas 4.2) bronze of either Heech Lovers or Poet and Cage; anything by Roy Lichtenstein or Fernando Botero (Canvas 7.1). Art motto: Only buy what you like. sanaz ameri 98 the young collectors B “[Iranian art] orn in Tehran, Sanaz Ameri left Iran with her is a statue of a dancer by Jazeh Tabatabai, her family at the time of the 1979 Is- made from scrap metal and standing next to lamic Revolution. They moved first to Vienna, the fireplace. It is a typical Ameri acquisition in has offered me where her grandfather had served as Iranian the sense that, with no background or training ambassador, but after two years relocated to in art, when she started collecting she simply a great way London, where she has lived ever since. “I was a toddler when we left Iran and have no mem- bought what appealed to her. “I just went by instinct and bought works I really liked,” she to rediscover ories of how it was then,” she explains. “And says. Does this mean that she shoots from the my culture.” I have been growing into my ‘Iranian-ness’ hip when it comes to acquisitions? “Not at all,” ever since.” she laughs. “I’m not an impulsive buyer. I think School was followed by an honours de- about how much I really like a piece before I Facing page: Sanaz Ameri with a painting by gree in economics at the London School of actually buy it.” Farideh Lashai. Untitled. 2004. Oil and pencil on canvas. 90 x 90 cm. On mantelpiece: Two Economics (LSE) and then – somehow inevi- sculptures by Salvador Dali.± Les Caducees. tably for LSE graduates – a stint in finance, al- Did you grow up with art around you as Circa 1960. Bronze with 18-karat gold plating. beit very brief. “Looking back, it wasn’t really a child? Height: 28 cm each. On floor: Jazeh Tabatabai. Untitled. 1957. Welded scrap metal. my thing,” says Ameri with a wry smile, “and Yes and no. My father was an architect and ob- 100 x 44 x 38 cm. whilst I do have the required numbers-based tained his PhD at the Academy of Fine Art in Below: Farhad Moshiri and Shirin Aliabadi. rationale in me, I didn’t find that the financial Vienna and my mother has degrees in art his- Operation Supermarket (You Are the Fearless environment per se had enough in it to sus- tory and fashion design, so there was always Rose that Grows Amidst The Freezing Winds). tain me.” She subsequently left and spent five a strong sense of the aesthetic in our home. 2006. Lambda print. 76 x 101 cm. years working for the BBC in media planning, followed by three years with the management consultancy firm Accenture in their media practice. “It was a very corporate set-up,” she recalls, “but by then I had started to become interested in art and that provided a welcome creative release from the hothouse of my day job.” She has recently left Accenture to pur- cultures. I still treasure the friendships I made in those days.” sue other interests and is applying to business school for an MBA. Ameri’s collection contains approximately 100 pieces, all of them Contemporary Iranian. Her London apartment is festooned with works by the likes of Massoud Arabshahi, Reza De- rakshani (Canvas 4.4), Mohammed Ehsai, Golnaz Fathi (Canvas 5.1), Bita Fayyazi, Rokni Haerizadeh (Canvas 5.6), Farideh Lashai (Can- vas 3.6), Farhad Moshiri (Canvas 1.5) and Shi- rin Aliabadi. Particularly engaging and dear to 99 “If you collect on the premise of buying what you like then you can’t go wrong.” Below: Golnaz Fathi. Untitled. 2007. There were also childhood expeditions to mu- How and why did you start collecting? Acrylic on canvas. 145 x 127 cm. seums and galleries, but to be honest, I don’t I’d renovated my flat and had acres of wall Facing page: Pooya Aryanpour. think I was totally thrilled by them at the time! space I needed to fill! So I went to galleries Untitled. 2007. Acrylic on canvas. My parents weren’t art collectors as such, al- looking for art that could do the job, hoping 122 x 90 cm. though my mother has many collections rang- something would pop out and grab me, but it ing from coffeehouse paintings and Kashan didn’t. Then I attended the preview of the inau- All photography by David Levenson. pottery to fashion illustrations, theatrical cos- gural Christie’s Contemporary Arab and Iranian tumes and beyond. sale and suddenly everything fell into place. It was ‘my road to Damascus’ moment! Although there were only a few Iranian pieces in the sale, they sparked something within me. I remember works by Charles Hossein Zenderoudi (Canvas 5.5) and Faramarz Pilaram, and in particular a photograph by Shadi Ghadirian (Canvas 3.1) of a girl in traditional Qajar dress holding a Pepsi can. It was really different and fun, and in fact my very first purchase ended up being three pictures from the same series. How has collecting affected your feelings about Iran and being Iranian? It has had something of a push-pull effect. On the one hand, I was drawn to the art because it was Iranian, but on the other, it has offered me a great way to rediscover my culture. Revisit- ing Iran last year was a revelation. I spent sev- eral weeks travelling around the country and also got to know the local art scene and met gallerists and artists. Art has an ability to transcend cultural differences and challenge prejudices, which is a powerful tool – es- pecially for Iran vis-à-vis the Western media’s portrayal. 100 the young collectors What is it about a work that catches inexperienced, you can feel that it’s more ex- If you collect on the premise of buying what you your eye? pensive to buy at auction than from galleries. like then you can’t go wrong, because you’ll al- I have a strong tendency for Abstract and cal- I’m not sure that I’d subscribe to that thought ways derive pleasure from looking at it. First and ligraphic works and am rarely drawn to land- now. What I would say, however, is that galleries foremost, you have to love a work in order to live scapes or anything Figurative. Calligraphy is are key to introducing and supporting artists, with it. Also, do your research and speak to peo- such a great craft and I find it intensely beautiful and that the relationships you build with galler- ple who are experts and whose advice you trust. and moving. The balance of shape and form is ists are invaluable – I’m deeply grateful for the what I look for, rather than what the letters sig- advice local Iranian gallerists have given me. Where next on your collecting quest? nify – for example, Golnaz Fathi’s (Canvas 5.1) You don’t get that with auction acquisitions, but I’m becoming increasingly interested in instal- calligraphy often has no meaning, but its crea- auctions do offer the rarer works and all the ex- lation pieces, although I’m still not sure how to tive power is stunning. I also love things that citement, of course. My first purchase at auc- show, display or live with them! My tastes are are fun and Pop-ish. tion was a work by Farhad Moshiri (Canvas 1.5) certainly broadening. The other new direction and Shirin Aliabadi. that I can feel myself going towards is Western What’s your view on buying works of art art, both Modern and Contemporary. But Iranian at auction? What advice would you offer to potential art will always be a priority and hold a fascination When you first start collecting and you’re a bit art collectors? for me as I feel so connected to it. 101 the young collectors his excellency Wish List: Works by Francis Bacon and works on paper by an Arab artist who may not omar ghobash yet exist. I’d love to dine with: One big group of young Arab artists. An artist I think is undervalued or underpublicised: All young Arab artists. My top three art shows: The fairs in Abu Dhabi and Dubai and the Sharjah Biennial, because they are indigenous and are today’s platforms in our part of the world. The museum piece I stare at endlessly: Francis Bacon’s works always mesmerise me. I also love Lucien Freud. The Middle Eastern art scene needs: Technical art schools. Loud, clear and open discussion. More media coverage. Greater political support and cross-border interaction. And finally, more confidence. Best art advice I ever got: Buy what you like. Get rid of it when you see past it. I know I want an artwork when: I forget where I am when looking at it. My earliest art memory was: Walking around art galleries and museums with my father when I was very young. Art is: Oxygen for the inner eye. The first thing I do when I buy a new piece is: Breathe a sigh of relief. 102 H e is the UAE Ambassador to Russia, a an art and fash- member of the Guggenheim Abu Dhabi ion project with and Louvre Abu Dhabi Acquisitions Commit- Sauce. Grate- tee, an investor in the Artists Pensions Trust, ful for the support sponsor of The Saif Ghobash–Banipal Prize for shown to the then- Arabic Literary Translation, and co-founder of new boutique, the Dubai-based gallery, The Third Line (TTL). Yet, Ghobashes gladly ac- despite having all this on his plate, His Excel- cepted an invitation in lency Omar Ghobash is also exceptionally keen October 2004 to Home on “creating platforms and supporting” Middle is Where the Art Is, a Eastern art and culture – a passion he shares show which Rahbar curated with his wife Fatima, co-founder of Sauce, one at Five Green, one of Dubai’s of the UAE’s hippest fashion boutiques. His earliest cultural platforms. With no 16th birthday present from his mother was a “pre-planned intentions to buy anything”, the lithograph by Matisse, which led to the pur- Ghobashes came away with a work by Rokni chase of more such works, although today the Haerizadeh (Canvas 5.6). “It was really instant couple’s collecting is focused on Middle East- and simple: we didn’t know who Rokni was, but ern art. “After 9/11, it became very difficult for we liked the work and bought it,” smiles Fa- me to understand whether we, as Muslims and tima. After a meeting, TTL, comprising Omar, Facing page: His Excellency Omar Arabs, were being in any way positive or crea- Sunny and Claudia Cellini, was formed – albeit Ghobash with a work by Rokni Haerizadeh. Queen of Hearts. 2004. tive,” he explains.“I wanted immediate access with no physical space yet, but with an ambi- Acrylic on canvas. 152.5 x 201.5 to Arab creativity, in any form. I felt that there tious agenda that was soon taking shape. cm. Photography by Haider Yousuf. was an absence of platforms to bring different Meanwhile, the Ghobashes continued to Above: Susan Hefuna. (Detail) groups together.” collect. Among their earliest purchases were Structure. 2006. Bronze cast. 40 In 2003 Sunny Rahbar [TTL co-founder] works by Youssef Nabil (Canvas 1.1), Sabhan x 35 x 35 cm. Image courtesy the collaborated with Arabian Woman magazine on Adam (Canvas 1.2) and Chant Avedissian artist and The Third Line. “I got very depressed at the state of the glorious Arab world and felt I had to do something.” 103 “Prices have really risen and that first platform I got involved in was TTL and that was important for me because I needed visual makes me uncomfortable.” stimulation. I didn’t know what was out there and that’s why I relied very much on Sunny and (Canvas 1.6). As far as making decisions on ac- Claudia. Other platforms I was involved in are quisitions, “when Fatima says ‘you will like this’, the International Prize for Arabic Fiction and I totally trust her because she knows me well New York University Abu Dhabi. enough,” explains Ghobash, who attributes his love for art to “[its ability to] stimulate and pro- As a founding member of TTL, do you get vide reference points”. first pick on great artworks? Not at all. They’re actually very strict. Anyone Why did you choose to get involved in Middle can come to the gallery and get whatever Eastern art via a gallery? piece they want. Quite honestly, I got very depressed at the state of the glorious Arab world and felt I had Any regrets pertaining to the gallery? to do something. The way I see what I do, even My only regret is that it is not as focused on Arab as a diplomat, is creating platforms. Once it’s artists as I wish it was. The Iranians are amaz- up and running, I move on to other things. The ing, but what is the regret? That we can’t find the art? When the liberation of Iraq took place, I really expected an explosion of expression. In- stead it seems that it was just explosion! With what’s happened in Egypt and Tunisia recently, you’d expect there to be an outpouring of artistic expression and perhaps there will be. The point has always been that the quality is elsewhere. Maybe the quality in Iran is low-hanging fruit and easily accessible. Some have purported that the Middle Eastern art scene is a bubble. Your thoughts? In terms of prices, it might be; in terms of activity, it’s fine. Why are you driven to do so much for the Arab world? I think it’s for myself, to be honest. Each of us has the right to try to create the world in which we live. I have a view of the arts and life that I would like to see around me. 104 the young collectors Facing page: Youssef Nabil. Youssra, Sinai. 1996. Hand-coloured gelatin silver print. 26 x 39 cm. Image courtesy the artist and The Third Line. Left: Amir H Fallah. Filled With the Forbidden Drink. 2008. Acrylic, ink, pencil, colour pencil on paper mounted on canvas. 213 x 152 cm. Photography by Haider Yousuf. Seeing as you live in Moscow, what works should adopt him for six months and put him in boundaries here, break taboos or do anything from your collection would you take for your our salon to paint! particularly daring or innovative. I cannot afford home there? the art that I want to buy and I cannot find good All the Roknis. What changes in the Middle Eastern art quality art that is more affordable. scene have you noticed? Do you ever sell artworks? Prices have really risen and that makes me What do you eventually want to do with Sometimes you outgrow a piece or it begins to uncomfortable. Galleries need to focus on the your collection? appear gimmicky. The silver lining is that it was 18 year-olds and give them a break. If we are I would like to work on enlarging it and, of gimmicky when you bought it, gimmicky when to help in any way and define the future, we course, above all, look at it. However, to cre- you sold it, but there’s a positive difference in ought to support those who have no name, no ate an institution involves a large amount of price. I can’t outgrow any Rokni pieces though! background, no education and who cannot money. I also don’t really want to deal with rely on nepotism. But to take established art- bureaucrats and lobby bodies to persuade Can you ever have enough works by ists and bump them up to the next category, in uneducated people that this is valuable. I an artist? my opinion, is valuable but not enough. Also, want to continue supporting all the things I We can never have enough Roknis. In fact, we I don’t think anyone is seriously trying to cross support now. 105 the young collectors Wish List: Farhad Moshiri (Canvas 1.5), Tracey Emin, Damien Hirst’s Memories of Love, Antony Gormley and a fibreglass piece from the 1970s by Parviz Tanavoli (Canvas 4.2). I’d love to dine with: Pablo Picasso. An artist I think is undervalued or underpublicised: Hamra Abbas. My top three art fairs: Art Dubai, Abu Dhabi Art and Art Basel. The museum piece I could stare at endlessly: Kandinsky’s Cossacks at the Tate. The Middle Eastern art scene needs: Solid institutional shows abroad. I know I want an artwork when: I completely ignore what’s in my bank account! dina The artist’s name I can never pronounce is: Yaşam Şaşmazer. I know I should like but I just can’t: nasser-khadivi Jean-Michel Basquiat. Thinking of buying next: Nadim Karam (Canvas 3.6). 106 M “I feel lucky any members of her family thought on reviving the Orientalist market, which had pursuing a degree in art history would slowed down after 2001. be “a tricky choice for a solid career”, but Dina In 2007 she resigned as a full-time spe- to work with Iranian art – it Nasser-Khadivi was totally convinced. “I knew cialist to become an independent consultant. it had to be art, no matter what,” and so she Her first project was to curate the Shafik Gabr went ahead, graduating with honours with a BA from Northeastern University in Boston in collection and publish a book on the Egyp- tian collector’s Orientalist holdings. Mean- almost feels 2000 and with a minor in business adminis- while, Nasser-Khadivi had been involved in like I get to tration. Among the cultural institutions she fre- quented as an undergrad was the Museum of the Christie’s Dubai operation from its incep- tion and continued to help develop the Middle know my Fine Arts, home to a famous work by French Eastern art platform regionally, with Modern country on a daily basis.” Orientalist painter Jean-Léon Gérôme. “Initial- and Contemporary Iranian art becoming her ly, Orientalism had an impact on me because primary focus. In 2008 she founded DNK Art it almost felt like a connection to the Middle Consulting (DNKAC), a private advisory and East and in a way was closer to home, though consultancy structure based between Geneva unrelated to Iran,” says the 33 year-old, who and Dubai, and among her clients are Chris- had lived between Europe and the USA since tie’s and various private institutions, as well as her family’s exile from their native Iran follow- young and established collectors. Facing page: Dina Nasser-Khadivi with a ing the 1979 Islamic Revolution. Nasser-Khad- “DNKAC just happened to come together work by Russell Young. Elizabeth Taylor. ivi had completed an internship with Christie’s at a time when I felt I wanted something other 2009. Enamel and diamond dust screen print on linen. Diptych. 87 x 66 cm each. Geneva in her junior year and subsequently than just being in the auction business,” she Photography by Chris Chammartin. joined the auction house on a full-time basis explains, “it’s a combination of all the experi- upon graduation, touring the Impressionist ence I’ve accumulated over the years in dif- Below: Manal Al-Dowayan. We Were Together, Speaking Through Silence. and Modern department in London before fi- ferent countries and in markets to which I’ve 2010. Neon with matte black paint. 120 nally becoming a specialist in the 19th-Century been exposed.” Art may be her trade, but x 30 cm. Image courtesy the artist and Art department in New York. Here she focused Nasser-Khadivi maintains that her success Cuadro Fine Art Gallery, Dubai. 107 “My collection is a story of me is totally due to her passion for art: “I breathe it, I love it, I’ve always been driven by it,” she – all the things in my life that admits, “I wake up every morning and I am have had an impact on me.” just happy doing what I do.” Her overriding passion, however, is her native Iran and its prolific artists, whose work Nasser-Khadivi en- countered for the first time in February 2001, when Christie’s held an exhibition of Modern and Contemporary Iranian works in collabora- tion with the Tehran Museum of Contemporary Art at the auction house’s London headquar- ters. “Today my job often combines two of my passions: my country and art; I am nostalgic about where I come from and this thread has become stronger over time,” she explains; “It is important for me to promote Middle Eastern art, as it not only makes me reconnect with my roots, but also helps fight clichés.” For someone who has lived outside their This page, above: Rachel homeland all their life, you appear to have Hovnanian. (Detail) The Glance. 2007. Lightbox such an affinity for Iran. How come? with transparency of I have lived outside Iran since the age of one narcissus flowers in Botox and yet I feel very happy to be Iranian. How- viles. 71 x 71 x 10 cm. Photography by Kevin ever, this sense of absence is the one thing Noble. Image courtesy the that has affected me considerably. My gen- artist and LTMH Gallery, eration didn’t have the chance to experience New York. Iran before the Revolution and many aren’t This page, below: Farhad able to go back – that’s a very difficult thing to Ahrarnia. Sepas Googoosh. live with sometimes. Iranian art has been one 2006–7. Embroidery with needles on printed of the first things which I believe has recon- cloth. 110 x 98 cm. Image nected the Diaspora with their homeland in courtesy Rose Issa Projects. recent years. It is also the most diverse in the Facing page: Yaghoub Middle East, mainly because Iran itself is full Emdadian. Untitled from of contradictions, history and emotions. I feel the Moonlight series. 2007. lucky to work with Iranian art – it almost feels Acrylic on canvas. 100 x 100 cm. Photography by like I get to know my country on a daily basis, Chris Chammartin. despite never having lived there. 108 This interview reveals your own art acquisi- its purpose. Sensations changed my vision of which make me happy, those I find beautiful tions, which some may take as free advice art forever. Shirin Neshat (Canvas 3.5) once and those which evoke nostalgia for my ori- from an art consultant! told me that art needs to be disturbing – it’s gins. I will always have more of a penchant What I advise and what I buy are sometimes something I agree with, but I’d add that art for Iranian and other Middle Eastern works be- different. If I had $10 million as a budget for should create an impact or an emotion. cause I’m from the region and connect to it. just art, I would probably be buying different However, I buy what I like and can afford, and things! But I am a young collector when it When did you start collecting? that is open to international artists. My collec- comes to budgets. My friends sometimes buy My first piece was a Shadi Ghadirian in 2007 tion is a story of me – all the things in my life what I buy and I have inspired a few people to which I saw in Canvas (3.1) and that’s how I that have had an impact on me. However, you begin collecting. I think that is also thanks to met the gallerist Isabelle van Den Eynde. After are never really the true owner of a piece be- the general trend and boom that is happening that purchase, I started going back to Iran and cause art stays forever, whilst you don’t. in the Middle Eastern art scene. collecting art became a regular activity. I must admit that I now probably spend a good 50 What advice can you impart to other What artworks or exhibitions have affected per cent of my income on art. It has become young collectors? you most? an addiction! Buy what you really love and make a budg- At university I wrote a thesis in defence of Con- et for art because it is really worth it. Every temporary art being ‘real’, based on Saatchi’s Why do you buy art? collector starts somewhere and it’s never Sensations exhibition, which was a big eye- I just love it and really, really enjoy it. I believe too late! I very much encourage young col- opener for me. The fact that I am still thinking art is very powerful and has the ability to cre- lectors because they are the collectors of about it 10 years later means it has achieved ate very special emotions. I usually buy pieces the future. 109 the young collectors Art Motto: Buy what you love and not what you think you should love! I’d love to dine with: Michael Bloomberg, Stephen Fry, Marisa Tomei, Cate Blanchett and Salvador Dalí, all at the same time! An artist I think is undervalued or underpublicised: Yassine Belferd. The Middle Eastern art scene needs: More attention. The artist’s name I can never pronounce is: Dale Chihuly. I should have but I didn’t: Buy Blue Mohammed Ali by Andy Warhol. Art is: Very personal Artists need: Support. It’s mine when: I say it is! The first thing I do when I buy a new piece is: Stare at it! dipesh depala 110 w “I believe hat began as freelance PR support art. “People either stick to a particular national- for his fashion designer wife, Ayesha ity because they relate to it or they pick a cer- Depala, eventually led to a full-fledged career tain artist because he/she is a status symbol, art is: to see something for Indian-born PR guru Dipesh Depala, co-di- meaning that if you have acquired a work by rector of Dubai-based luxury brand manage- so and so, you’ve ‘arrived’,” he exclaims, “and ment, brand consultancy and public relations company, Image Nation. Raised in Abu Dhabi that, for me, is the most ludicrous, disgraceful and unthinkable notion.” Depala confesses that you love and and London before settling in Dubai 18 years he tours his own home on a daily basis to ad- want to bring ago, Depala obtained a BA in business admin- istration and management from the American mire his artworks. “I believe in looking at some- thing, falling in love with it and putting it in your it home.” College of Switzerland in 1991 and went on home,” he smiles. to work in the family food distribution busi- ness, “a rite of passage,” in which he is still in- How did you begin art collecting? volved. Although British by citizenship, Depala In the early 1990s I went to Paris for a fashion- feels “very much Indian” – a sense he owes related business venture. I saw two striking Facing page: Dipesh Depala with a to being “connected to and immersed in the works in the Opera Gallery window on Rue work by Rokni Haerizadeh. (Detail) Fairies. 2005. Acrylic on canvas. Indian culture”. Saint-Honoré and stopped to stare at them. I 105 x 205 cm. Photography by Like most who have witnessed Dubai’s walked on, but every time I had some free time, Alpana Depala. transformation into a cosmopolitan city, Depala I would unconsciously walk down to the gal- Below: Chant Avedissian. Tahiya has seen its cultural development progress lery to see them again and finally I went in. I Karioka. Circa 2005. Colour over the years. In 2005, before The Third Line could have had all the works by Ernesto but I pigment on cardboard. 50 x 70 cm. acquired its physical space, it had held exhi- just couldn’t leave without his Madame est Sor- Image courtesy Green Art Gallery. bitions in various Dubai locations – a vacant apartment in Le Rêve residential tower was used to exhibit works by Iranian artists Rokni Haerizadeh (Canvas 5.6) and the late Bahman Jalali. It was an invitation to this show which caught Depala’s eye, prompting him to attend the vernissage. “I remember walking in and get- ting goose bumps when I saw Paria by Rokni,” smiles Depala, “Ayesha and I didn’t leave the room in which it was hung and bought it on the spot!” When the gallery hosted another exhibi- tion for Haerizadeh, Depala – by then became “a huge fan of Rokni’s” – bought a second work by the celebrated artist. Since then, Depala has continued to acquire pieces he “instantly falls in love with” but has felt disconcerted by the “wrong reasons” given by people for buying 111 “Let’s have tie.That really was the beginning of it all – the power of appreciating art. criteria beforehand. Usually we don’t differ, but when we do, we still buy what we like and just some new, fresh find an appropriate place for the work where the and affordable How did you immerse yourself more? I was bitten by the art bug but wouldn’t actively other won’t see it! Looking at our collection, you would see humour more than anything else and work for seek it out; it depended on whether or not I was that’s the most important aspect. struck at any particular time. It’s perhaps a very collectors with simplistic attitude, but that’s what I believe art is: What about the artwork’s eventual home humbler means.” to see something you love and want to bring it home. I would walk around cities and pop into within your home? I designed our house and worked very closely galleries and it would just happen. with the architect; we have tons of wall space, which means we don’t need to rotate the works As a couple, how do you go about deciding as such. I know exactly how I’m going to frame on acquisitions? a piece to make that picture ‘pop’, and also Ayesha and I have a very similar aesthetic and where it will be hung. I quite like that the works we make decisions together, without any set stay where they are, it’s their home. 112 the young collectors Facing page: Rokni Haerizadeh. (Detail) Paria. 2004. Acrylic on canvas. 150 x 200 cm. Image courtesy the collector. Left: Jagath Ravindra. (Detail) Born Through The Earth III. 2005. Mixed media on canvas. 121 x 76 cm. Image courtesy the artist and XVA Gallery. How would you summarise your approach What aspects do you feel are missing, the door but don’t have lots of money. There to collecting? negative or disadvantaged? are no options for such people. The majority of I view myself as someone who is more pas- Aside from the scene – and sometimes the art amazing works shown in Dubai are priced at a sionate than serious. I’m sure most young – being too tedious, I remember receiving an minimum of $13,000 or so, which is crazy be- collectors have a purpose and are a lot more exhibition invitation which featured work very cause there’s so much incredible art out there serious, whereas for me, I am serious, but for similar to Rokni’s. Why would someone display for much less than that. I don’t see galleries myself really. I suppose I’m a collector of a this, knowing how established Rokni is? And here bringing affordable works. It seems to be different ilk. then for a while, the scene was dominated by all about the ‘showy’ work, to be honest. Iranian or Indian artists – not that there’s any- What do you dislike about the art scene? thing wrong with their art – but there was some What do you eventually want to do with Once you buy from a gallery, some gallerists ‘art fatigue’ in the sense that when something your collection? can be distastefully pushy, which is very off- was hot, everyone jumped on the bandwagon. I don’t really know. I’m as curious as anyone putting; they might not be the best marketing Variety is necessary! Let’s have some new, else would be about their collection – how it people. I am continuously bombarded with fresh and affordable work for collectors with fares over the years, how important the art- “You must have this one!” I don’t think there is humbler means. ists become and how the artworks’ value a ‘must’ – I will only have it if I like it. I feel re- changes over time – but that is not my reason pelled by this sort of attitude and this is why I’ve So you don’t feel that regional galleries are for buying, ever. There is a certain commer- stopped going to exhibition openings. Also, doing enough to help young collectors? ciality and investment approach to art, which everything seems very ‘same old, same old’ Not at all. Firstly, helping a young collector I don’t subscribe to at all. Frankly, I couldn’t and the atmosphere doesn’t feel like it’s purely means giving them options; they appreciate care less what my pieces are worth. I simply about art appreciation. art, want to own it and need to get their foot in enjoy them! 113 Text by Myrna Ayad James Parry Anna Wallace-Thompson the young collectors
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