49 Premier international art show - Modern and Contemporary artworks - 300 international galleries - Over 2000 artists - 60,000 visitors - 39th edition - Thought-provoking panel discussions - Canvas looks back at Art Basel 2008 1 art lobby 2 middle eastern art in basel 3 vitra middle eastern art sparks interest at this year’s art lobby 1 art lobby hot topic T E X T B Y L U L U A L - S A B A H P H O T O G R A P H Y B Y M Y R N A A Y A D 51 his year saw Art Lobby present a wildly varied programme. With book launches on all sides (including ‘Sound Unbound: Sampling Digital Music and Culture’ by Paul D Miller aka DJ Spooky that Subliminal Kid, and ‘Richard Meier: Complete Works 1963-2008 by Philip Jodidio), as well as artist conversations, it also included numerous panel discussions. While audience members partook in artist conversations with speakers such as artist Jorge Pardo from Los Angeles, Puerto Rican César Reyes and HG Masters, Editor of ‘ArtAsiaPacific’ from New York, a great crowd drawer was the panel discussion ‘Middle Eastern Art - The Latest of the Emerging Art Markets’, organised by Canvas magazine. The speakers of this small but well-constructed panel were Rose Issa, an independent curator and art critic based in London; Saleh Barakat, an expert in Arab art and founder of Agial Gallery in Beirut and Ali Yussef Khadra, the publisher and editor-in-chief of Canvas magazine, Dubai. The panel was moderated by Lulu Al-Sabah, an art journalist from Kuwait. Hot Markets As Middle Eastern art is such a hot market, growing at an unbelievable rate, an empty house was the last thing on anybody’s mind. Despite this assurance, the sheer size of the crowd that the discussion drew was astounding. Over half of those in attendance stood for 60 minutes just to listen in, while those seated in the front row were busy taking notes. Were they gallerists? Collectors? Interested spectators? Audience members furiously jotted down the names of the top Arab and Iranian artists introduced by Issa in her presentation, as well as the investment tips offered by Barakat. Art investment is a particularly pertinent topic given the sheer amount of money pouring into the Middle Eastern art scene, as evidenced by the recent Christie’s and Bonhams auctions in Dubai, and the arrival, and subsequent drawing power, of art fairs such as artparis-AbuDhabi and Art Dubai. In the same vein, Khadra’s presentation was geared towards the new collector, explaining not only where to find information on artists, but where to purchase their works, how to proceed from there, and so forth. Due to time constraints, the presentation was especially focused on Dubai as a Middle Eastern art hub. Middle eastern PowerHouse Issa presented a variety of artists’ works, encompassing painting, photography and sculpture. Of the noteworthy Art investment is a particularly pertinent topic given the sheer amount of money pouring into the Middle Eastern art scene. Rose Issa. Saleh Barakat. Lulu Al-Sabah. 52 Contemporary Iranian artists, she included Mohammed Ehsai, Abbas Kiarostami, Shadi Ghadirian and Shirin Neshat. Of the Arab world and Gulf, she mentioned Mona Hatoum, Paul Guiragossian, Susan Hefuna and Dia Al-Azzawi, among others. Having advised major institutions in the West, such An enthusiastic attendee jots notes as the speakers discuss the state of Middle Eastern art. 1 art lobby as The British Museum and the Victoria and Albert Museum in London, on their acquisition of Contemporary artworks from the Middle East, Issa certainly has her finger on the Middle Eastern art pulse. It is thanks to her contribution that Tate Britain has just opened a major exhibition of the work of Iranian-British photographer and film director, Mitra Tabrizian (see page 148). Furthermore, Issa is also curating a year-long series of exhibitions at London’s Leighton House Museum, featuring Iranian artist Monir Shahroudy Farmanfarmaian, Iraqi-Kurd Walid Siti, Iranian Farhad Ahrarnia and Moroccan Hassan Hajjaj. “With increasing sophistication in architecture and design, art seems the next logical acquisition.” - Saleh Barakat The panellists with Ali Khadra. 53 Over half the crowd stood for 60 minutes just to listen in. 1 art lobby art BooM As the founder of Agial Gallery in Beirut and a founding member of the Kinda Foundation, an organisation dedicated to the promotion of Contemporary Arab artistic expression, Barakat shed light on the factors contributing to the growth of Contemporary Arab art. He spoke of the oil and construction booms, excess liquidity and low taxation, adding that, “With increasing sophistication in architecture and design, art seems the next logical acquisition.” Barakat also mentioned the new breed of gallerists and art dealers who are making themselves more available on the international scene, as well as the increasing presence of public auctions in the region. He concluded by stating that all current signs are pointing towards the lucrative investment potential of Middle Eastern art, noting that, “Any art connoisseur knows instinctively that Middle Eastern art is still very affordable,” no doubt raising eyebrows amongst the many note-takers. Collectors worldwide are turning towards the East, where new treasures wait to be discovered. The booming art market has expanded into the Arab world, and, as proved by the intense interest at events such as Art Lobby, every one wants a piece of the action. Hopefully, more chairs will be available next year. 54 2 middle eastern art in basel canvas surveys the middle eastern art on show at art basel 39 T E X T B Y M Y R N A A Y A D P H O T O G R A P H Y B Y M Y R N A A Y A D A N D C O U R T E S Y O F T H E G A L L E R I E S eastatwest Walid Raad at the Anthony Reynolds Gallery. 55 pproaching Middle Eastern art at a fair of such notable renown as Art Basel results in a dual viewpoint. First, Western gallerists and curators emphasise their primary interest in the art itself, paying no heed to its geographic or native source. This standpoint supports the notion that art is art, regardless of race, gender, colour or creed. Second, Middle Eastern representatives - be they curators, artists or art aficionados - tend to seek out art from their region at international art fairs from an emotive stance, as it filters directly to their sense of pride. In parallel with that notion is a desire for art by their compatriots to transcend cultural barriers and media- placed stereotypes of the Middle East. art-centric Dr Christine König, from the Vienna-based Galerie Christine König, is a staunch opposer of classifying art according to nationality. “Do we have to have nationalism in art?” she asks. “An artist is always rooted in his or her origins but I’m not interested in ‘branded’ art, it makes no sense.” Among König’s portfolio of artists is Algerian Adel Abdessemed whose deliberately unhurried career - due to his being “Selective,” according to König - has resulted in worldwide acclaim. “He would never say he is Algerian or North African. In the art world, it makes no difference. His character and passion were formed by his roots and have nothing to do with the nation. In fact, he fled Algeria!” asserts König. Luciana Colapinto, of the New York-based Edwynn Houk gallery, shares König’s view. “We don’t carry art because of nationality or geography. It really depends on the art and the artist’s portfolio,” she says. Case in point, Moroccan artist 2 middle eastern art in basel Adel Abdessemed at the Galerie Christine König. Shirana Shahbazi. From the series ‘Flowers, Fruits and Portraits’. 56 Lalla Essaydi has been a hit in both Eastern and Western collections, a phenomenon that Colapinto believes is due to Essaydi’s convergence of Western Orientalism through a contemporary impression, interlocked with feminine (henna) and masculine (calligraphy) themes. “She leaves a lot to interpret and offers something interesting,” says Colapinto, adding that Essaydi provides, “A modern perspective of old 19th-century paintings using contemporary models in a more neutralised palette.” Political stateMents Notorious for her subtlety in downplaying seemingly ‘aggressive’ symbols, is Palestinian artist Mona Hatoum, whose ‘ Keffieh II ’ was exhibited at the Parisian Galerie Chantal Crousel. Emblematic of Palestinian nationalism, Hatoum’s keffieh was a modification of the traditional headscarf using silk organza with metal - allowing for a plethora of interpretations. “The pattern remains symbolic of jail, security and separation; the iron reflective of aggression. It’s very sweet and hard and violent all at once. She can speak about violence softly,” says the gallery’s Anne-Laure Riboulet. Hatoum is also represented by the Berlin-based Galerie Max Hetzler, who exhibited her work for the first time at this year’s fair, due to a previously limited number of pieces, according to the gallery’s Samia Saouma . Known for his strong work in the portrayal of Lebanon’s contemporary history and civil war, Walid Raad was featured prominently at Art Basel 39 through the London-based Anthony Reynolds Gallery and the New York-based Paula Cooper Gallery. In collaboration with the Atlas Group, a project which seeks to record Lebanon’s modern past, Raad’s two works (of the same name, but of different ‘plates’) at the Paula Cooper Gallery drew great interest. Entitled ‘Civilisationally We Do Not Dig Holes To Bury Ourselves’, the photographs are attributed 2 middle eastern art in basel Left (detail) and right: Mona Hatoum’s artwork at Galerie Chantal Crousel. Shirin Neshat at the Gladstone Gallery. Lalla Essaydi at the Edwynn Houk Gallery. 57 to a fictitious figure (Dr Fadi Fakhouri) who bequeathed notebooks, videotapes, photographs and films to the Atlas Group upon his death in 1993. “He’s a good artist who is well- known and shows worldwide. His work is so compelling,” says Paula Cooper. Raad’s work at the Anthony Reynolds Gallery featured 30 explosions in miniature that occurred during Lebanon’s July 2006 war. Individually placed on A4 sheets of paper along with a legend stating the area where the bombs exploded, the artwork was completed last year but Raad chose to show it now. “It’s very strong and pure Walid Raad. People spend a lot of time with it. I think it’s beautiful but tough as well. Some say he’s gone to the next level,” says the gallery’s Maria Strathi. While internationally appealing and globally successful, Raad’s work is very much linked to his background; his very subject matter as much a product of his hands as it is of the events that shaped his country. Is it, then, ever truly possible to separate a work from its artist, to enjoy the ‘art for art’s sake’? Persian Preference While Contemporary Iranian art continues to achieve record- breaking prices at Dubai auctions, three celebrated artists continue to feature popularly at international fairs: Farhad Moshiri, Shirana Shahbazi and Shirin Neshat. Represented by the New York-based Gladstone Gallery, new large-scale portraits scripted in Persian calligraphy by the ever-evolving Neshat echo the face-to-face confrontation of a culture that is covered by the media and yet seldom represented in Contemporary art. Rodolphe Janssen of the Brussels-based Galerie Rodolphe Janssen was all smiles when asked about Moshiri. “You won’t believe how well he is doing. We’re selling like crazy and this is precisely why we are here - to expose him to a Western audience and it is them who are buying his works.” A selection of works from Shahbazi’s ‘Fruits, Flowers and Portraits’ series were on show at the Zurich-based Galerie Bob van Orsouw. A Zurich resident, Shahbazi’s style reflects a complete mastering of technique in her manual artwork. “What’s really special is that she is a smart artist with a lot of theoretical implications about her work. Sensually, it’s very attractive and deep. She knows how to put it all together,” noted the gallery’s Eleonora Holtfhoff. Interestingly, one cannot help but notice that it is generally the same Middle Eastern artists who are shown at these prominent international art fairs. Does this risk pigeon- holing the region’s art or leading to the same names being shown over and over again? Surely their exposure at leading global art fairs is a result of the thriving emerging art scene of the Middle East. Future fairs will tell all. 2 middle eastern art in basel “[Hatoum] can speak about violence softly.” - Anne-Laure Riboulet, Galerie Chantal Crousel Farhad Moshiri at Galerie Rodolphe Janssen. something old, something new 3 vitra The entrance to ‘Dubai Next’ at the Zaha Hadid-designed firestation, with Reineke Otten’s stained-glass window installation. emirati art explores the changing landscape of dubai at the vitra design museum T E X T A N D P H O T O G R A P H Y B Y L U L U A L - S A B A H he word on everybody’s lips at this year’s Art Basel was ‘Vitra’. From the storming success of ‘Living Under the Crescent Moon: Domestic Cultures in the Arab World’ to the much anticipated ‘Dubai Next: Face of 21st Century Culture’, a site-specific exhibition organised by the Dubai Culture and Arts Authority (DCAA), the Vitra Design Museum in Weil am Rhein had plenty to offer. People are curious about Dubai, an ever-changing city that remains something of a mystery even to those who live there, and with a population composed of over 200 nationalities, local Emiratis account for less than 20 percent. Michael Schindhelm, Director for Culture, Arts and Heritage at the DCAA, believes that this factor, along with the rapid urban development underway, “Provokes a fascinating stage for cultural production.” 3 vitra 60 ePic transforMations It is in this charged context that the DCAA commissioned seven artists to produce an image of the city reflecting the current age. Dutch architect Rem Koolhaas and Jack Persekian of the Sharjah Biennale curated the exhibition, on show until 14 September at the firestation of the Vitra Design Museum in Weil am Rhein, Germany. It is a well- chosen location since it reflects Dubai itself in its collaboration with international architects; big names such as Zaha Hadid, Alvaro Siza and Tadao Ando, among others, had designed the Vitra Campus 20 years ago; in doing so, they put this sleepy Rheinland factory town on the map. On a completely different scale, similar strategies are being employed in Dubai: Hadid’s ‘Dancing Towers’ and ‘Opus’ building in the city’s Business Bay development come to mind, not to mention her breathtaking Dubai Opera House, a mock-up of which formed part of the exhibition. Upon entering the firestation, one is faced with the stunning black-and-white photographs by Jalal Abuthina. Invoking a sense of loneliness and isolation, his work is a study of contrasts - architectural and completely ‘silent’. This is evident in the image of a lone shadow figure peering through the window of a skyscraper, and also in a shot of a woman, dressed in traditional attire, clasping her baby within a maze of scaffolding. Another image, of a woman dressed head-to-toe in black and walking towards an unknown horizon with the unfinished Burj Dubai tower in the distance, was a crowd favourite. Abuthina’s work has an underlying sense of unease, a trait found in nearly all the works at the exhibition. Commenting on the whole project, Persekian noted that, “It is basically a reflection or juxtaposition between the old, or the nostalgia for the old, and 3 vitra Artist Tarek Al-Ghussein. Photograph by Jalal Abuthina. Work by Reem Al-Ghaith. 61 the new...it is a very unsettling time... their search for identity, for their position, and for their habitat or home. It is basically this polemic that is reflected in all of their works, which is very interesting.” Haunted sPaces The large-scale photographs of up-and-coming Reem Al- Ghaith are quite literal in the juxtaposition between the old and the new. “The whole concept of the ‘old’ Dubai and the ‘new’ Dubai, and the idea of framing myself, is that it is me being held back from our traditions,” says Al-Ghaith, adding that, “I am trying to hold myself back from what is becoming of Dubai.” Her series ‘Held Back’ depicts a self-portrait taken in the old town of Bastakia, and an image of an old building from the neighbourhood, placed within a 3 x 4 metre frame, which is then transported to one of Dubai’s newer landscapes. The result is a frame-within-a-frame effect that shows the enormous transformation between the old and the new. Well-established Contemporary artist Mohammed Kazem’s photographs are similar in that he uses the flags that were put up in 1997 between Sharjah and Dubai by companies who participated in the building and infrastructure of that area. Once the work was finished, the flags were removed. He says, “The flag is a reminder of the building that took place. Its purpose is to remember what the area was like before and to visualise what is to come.” 3 vitra Photograph by Tarek Al-Ghussein. Photograph by Jalal Abuthina. “It is basically a reflection or juxtaposition between the old, or the nostalgia for the old, and the new...it is a very unsettling time...” - Jack Persekian 62 3 vitra Another artist of the new generation, Lamya Gargash, a graduate from Central Saint Martins in London, documents spaces that are abandoned or about to be abandoned in the city. There is an eeriness to the rooms depicted in ‘Pink Ninja’ and ‘ Meelas Yadee ’, among others; a ghostly feeling that occurs when places meant to be inhabited are left deserted. Speaking of her work, Gargash explains, “I wasn’t dealing with the culture of Dubai 50 years ago but the culture of my age, the 1980s and early 1990s. Based on what was around me, with everything developing so quickly, I felt that our identities were changing as well and I thought the best way to document this was through spaces.” This project, part of her Masters degree in Communication Design, is one that she plans to revisit in the future, and has already exhibited at Dubai’s The Third Line gallery. constructive colour Tarek Al-Ghussein’s photographs are displayed in light-boxes because, as he says, “Light-boxes are used for advertising, invoking contemporary issues... I wanted to play with the old and the new.” A professor at the American University of Sharjah, Al-Ghussein has lived in the UAE for the last 10 years. Speaking of the blue plastic sheet that is evident in his images, he says, “Initially the blue came about because I saw that a lot all over Dubai, usually on construction sites. So in the beginning, it was all about development for me. Then it had to do with identity and change.” His ‘D’,‘C’ and ‘Blue’ series are all part of a larger body of work that explores different aspects of identity. Also playing with colour was artist Reineke Otten, whose ‘Streetology’ series was placed upon the glass wall towards the end of the firestation, resulting in a beautiful stained-glass The probing works of Mohammed Kazem take over a wall at the firestation. The installation by Charlie Koolhaas. 63 3 vitra window effect. Charlie Koolhaas’s work was also displayed in an original fashion; her images were superimposed on a soft canvas that was draped across metal racks, allowing the viewer to sift through her images in the same way a shopper would look at clothes. When asked about her work and method of display, Koolhaas explained: “[It is] the difference between inside-out and outside-in; it is a visual code. So the art is about beauty, preciousness, a single image, and how one image makes a total statement. We created a code that was completely different to that. Something that was textile, something that was immediate, something that was totally our impression and something that kind of captures the souqs , the energy, the street energy, and this kind of throwaway temporary energy of Dubai. It is raw and unfinished and is all about the now.” ‘Dubai Next: Face of 21st Century Culture’ runs until 14 September. For more information visit www.design-museum.de “I am trying to hold myself back from what is becoming of Dubai,” - Reem Al-Ghaith Photograph by Reem Al-Ghaith. Photograph by Jalal Abuthina. 64