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 49 1 art lobby hot topic middle eastern art sparks interest at this year’s art lobby TE X T BY LU LU A L- S A B A H PH O T O G R A P H Y BY M Y R N A AYA D Lulu Al-Sabah. Rose Issa. Art investment is a particularly pertinent topic Saleh Barakat. given the sheer amount of money pouring into the Middle Eastern art scene. his year saw Art Lobby present a wildly varied anybody’s mind. Despite this assurance, the sheer size programme. With book launches on all sides of the crowd that the discussion drew was astounding. (including ‘Sound Unbound: Sampling Digital Over half of those in attendance stood for 60 minutes just Music and Culture’ by Paul D Miller aka DJ to listen in, while those seated in the front row were busy Spooky that Subliminal Kid, and ‘Richard Meier: Complete taking notes. Were they gallerists? Collectors? Interested Works 1963-2008 by Philip Jodidio), as well as artist spectators? Audience members furiously jotted down the conversations, it also included numerous panel discussions. names of the top Arab and Iranian artists introduced by Issa While audience members partook in artist conversations with in her presentation, as well as the investment tips offered by speakers such as artist Jorge Pardo from Los Angeles, Puerto Barakat. Art investment is a particularly pertinent topic given Rican César Reyes and HG Masters, Editor of ‘ArtAsiaPacific’ the sheer amount of money pouring into the Middle Eastern from New York, a great crowd drawer was the panel discussion art scene, as evidenced by the recent Christie’s and Bonhams ‘Middle Eastern Art - The Latest of the Emerging Art Markets’, auctions in Dubai, and the arrival, and subsequent drawing organised by Canvas magazine. The speakers of this small power, of art fairs such as artparis-AbuDhabi and Art Dubai. but well-constructed panel were Rose Issa, an independent In the same vein, Khadra’s presentation was geared curator and art critic based in London; Saleh Barakat, an towards the new collector, explaining not only where to find expert in Arab art and founder of Agial Gallery in Beirut and information on artists, but where to purchase their works, how Ali Yussef Khadra, the publisher and editor-in-chief of Canvas to proceed from there, and so forth. Due to time constraints, magazine, Dubai. The panel was moderated by Lulu Al-Sabah, the presentation was especially focused on Dubai as a Middle an art journalist from Kuwait. Eastern art hub. Hot Markets Middle Eastern Powerhouse As Middle Eastern art is such a hot market, growing at an Issa presented a variety of artists’ works, encompassing unbelievable rate, an empty house was the last thing on painting, photography and sculpture. Of the noteworthy 51 1 art lobby The panellists with Ali Khadra. An enthusiastic attendee jots notes as the speakers discuss the “With increasing sophistication in architecture state of Middle Eastern art. and design, art seems the next logical acquisition.” - Saleh Barakat 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 Contemporary Iranian artists, she included Mohammed (see page 148). Furthermore, Issa is also curating a year-long Ehsai, Abbas Kiarostami, Shadi Ghadirian and Shirin Neshat. series of exhibitions at London’s Leighton House Museum, Of the Arab world and Gulf, she mentioned Mona Hatoum, featuring Iranian artist Monir Shahroudy Farmanfarmaian, Paul Guiragossian, Susan Hefuna and Dia Al-Azzawi, among Iraqi-Kurd Walid Siti, Iranian Farhad Ahrarnia and Moroccan others. Having advised major institutions in the West, such Hassan Hajjaj. 52 1 art lobby Over half the crowd stood for 60 minutes just to listen in. Art Boom as the increasing presence of public auctions in the region. He As the founder of Agial Gallery in Beirut and a founding concluded by stating that all current signs are pointing towards member of the Kinda Foundation, an organisation dedicated the lucrative investment potential of Middle Eastern art, noting to the promotion of Contemporary Arab artistic expression, that, “Any art connoisseur knows instinctively that Middle Barakat shed light on the factors contributing to the growth of Eastern art is still very affordable,” no doubt raising eyebrows Contemporary Arab art. He spoke of the oil and construction amongst the many note-takers. booms, excess liquidity and low taxation, adding that, “With Collectors worldwide are turning towards the East, where increasing sophistication in architecture and design, art new treasures wait to be discovered. The booming art market seems the next logical acquisition.” Barakat also mentioned has expanded into the Arab world, and, as proved by the intense the new breed of gallerists and art dealers who are making interest at events such as Art Lobby, every one wants a piece of the themselves more available on the international scene, as well action. Hopefully, more chairs will be available next year. 53 2 middle eastern art in basel eastatwest canvas surveys the middle eastern art on show at art basel 39 TE X T BY M Y R N A AYA D PH O T O G R A P H Y BY M Y R N A AYA 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 Walid Raad at the Anthony Reynolds Gallery. 54 2 middle eastern art in basel 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 Shirana Shahbazi. From the series ‘Flowers, Fruits and Portraits’. standpoint supports the notion that art is art, regardless of race, gender, not interested in ‘branded’ art, it colour or creed. Second, Middle makes no sense.” Among König’s Eastern representatives - be they portfolio of artists is Algerian Adel curators, artists or art aficionados - Abdessemed whose deliberately tend to seek out art from their region at unhurried career - due to his being international art fairs from an emotive “Selective,” according to König - stance, as it filters directly to their sense has resulted in worldwide acclaim. of pride. In parallel with that notion is “He would never say he is Algerian a desire for art by their compatriots to or North African. In the art world, it transcend cultural barriers and media- makes no difference. His character placed stereotypes of the Middle East. and passion were formed by his Adel Abdessemed at the Galerie Christine König. roots and have nothing to do with Art-centric the nation. In fact, he fled Algeria!” asserts König. Dr Christine König, from the Vienna-based Galerie Christine Luciana Colapinto, of the New York-based Edwynn König, is a staunch opposer of classifying art according Houk gallery, shares König’s view. “We don’t carry art because to nationality. “Do we have to have nationalism in art?” she of nationality or geography. It really depends on the art and asks. “An artist is always rooted in his or her origins but I’m the artist’s portfolio,” she says. Case in point, Moroccan artist 55 2 middle eastern art in basel Left (detail) and right: Mona Hatoum’s artwork at Galerie Chantal Crousel. 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 Shirin Neshat at the Gladstone Gallery. 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 . Lalla Essaydi at the Edwynn Houk Gallery. Lalla Essaydi has been a hit in both Eastern and Western Known for his strong work in the portrayal of Lebanon’s collections, a phenomenon that Colapinto believes is due contemporary history and civil war, Walid Raad was featured to Essaydi’s convergence of Western Orientalism through a prominently at Art Basel 39 through the London-based Anthony contemporary impression, interlocked with feminine (henna) Reynolds Gallery and the New York-based Paula Cooper and masculine (calligraphy) themes. “She leaves a lot to Gallery. In collaboration with the Atlas Group, a project which interpret and offers something interesting,” says Colapinto, seeks to record Lebanon’s modern past, Raad’s two works (of adding that Essaydi provides, “A modern perspective of old the same name, but of different ‘plates’) at the Paula Cooper 19th-century paintings using contemporary models in a more Gallery drew great interest. Entitled ‘Civilisationally We Do Not neutralised palette.” Dig Holes To Bury Ourselves’, the photographs are attributed 56 2 middle eastern art in basel 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 Farhad Moshiri at Galerie Rodolphe Janssen. 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. “[Hatoum] can “You won’t believe how well he is doing. We’re selling like crazy speak about and this is precisely why we are here - to expose him to a violence softly.” Western audience and it is them who are buying his works.” - Anne-Laure A selection of works from Shahbazi’s ‘Fruits, Flowers Riboulet, Galerie and Portraits’ series were on show at the Zurich-based Galerie Bob van Orsouw. A Zurich resident, Shahbazi’s style reflects Chantal Crousel 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 to a fictitious figure (Dr Fadi Fakhouri) who bequeathed attractive and deep. She knows how to put it all together,” notebooks, videotapes, photographs and films to the Atlas noted the gallery’s Eleonora Holtfhoff. Group upon his death in 1993. “He’s a good artist who is well- Interestingly, one cannot help but notice that it is known and shows worldwide. His work is so compelling,” says generally the same Middle Eastern artists who are shown at Paula Cooper. these prominent international art fairs. Does this risk pigeon- Raad’s work at the Anthony Reynolds Gallery featured holing the region’s art or leading to the same names being 30 explosions in miniature that occurred during Lebanon’s shown over and over again? Surely their exposure at leading July 2006 war. Individually placed on A4 sheets of paper along global art fairs is a result of the thriving emerging art scene of with a legend stating the area where the bombs exploded, the the Middle East. Future fairs will tell all. 57 3 vitra something old, something new The entrance to ‘Dubai Next’ at the Zaha Hadid-designed firestation, with Reineke Otten’s stained-glass window installation. 3 vitra 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 BY LU LU 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 Photograph by Jalal Abuthina. Work by Reem Al-Ghaith. Artist Tarek Al-Ghussein. 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. a maze of scaffolding. Another image, of a woman Upon entering the firestation, one is faced with the dressed head-to-toe in black and walking towards stunning black-and-white photographs by Jalal Abuthina. an unknown horizon with the unfinished Burj Dubai Invoking a sense of loneliness and isolation, his work is a tower in the distance, was a crowd favourite. Abuthina’s work study of contrasts - architectural and completely ‘silent’. This is has an underlying sense of unease, a trait found in nearly evident in the image of a lone shadow figure peering through all the works at the exhibition. Commenting on the whole the window of a skyscraper, and also in a shot of a woman, project, Persekian noted that, “It is basically a reflection or dressed in traditional attire, clasping her baby within juxtaposition between the old, or the nostalgia for the old, and 60 3 vitra Photograph by Tarek Al-Ghussein. 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.” “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 Photograph by Jalal Abuthina. 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 61 3 vitra 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 The installation by Charlie Koolhaas. The probing works of Mohammed Kazem take over a wall at the firestation. Another artist of the new generation, Lamya Gargash, of the blue plastic sheet that is evident in his images, he says, a graduate from Central Saint Martins in London, documents “Initially the blue came about because I saw that a lot all over spaces that are abandoned or about to be abandoned in the Dubai, usually on construction sites. So in the beginning, it was city. There is an eeriness to the rooms depicted in ‘Pink Ninja’ all about development for me. Then it had to do with identity and ‘Meelas Yadee’, among others; a ghostly feeling that and change.” His ‘D’,‘C’ and ‘Blue’ series are all part of a larger occurs when places meant to be inhabited are left deserted. body of work that explores different aspects of identity. Speaking of her work, Gargash explains, “I wasn’t dealing with Also playing with colour was artist Reineke Otten, whose the culture of Dubai 50 years ago but the culture of my age, the ‘Streetology’ series was placed upon the glass wall towards 1980s and early 1990s. Based on what was around me, with the end of the firestation, resulting in a beautiful stained-glass 62 3 vitra Photograph by Reem Al-Ghaith. “I am trying to hold myself back from what is becoming of Dubai,” - Reem Al-Ghaith Photograph by Jalal Abuthina. window effect. Charlie Koolhaas’s work was also displayed was completely different to that. Something that was textile, in an original fashion; her images were superimposed on a something that was immediate, something that was totally our soft canvas that was draped across metal racks, allowing the impression and something that kind of captures the souqs, viewer to sift through her images in the same way a shopper the energy, the street energy, and this kind of throwaway would look at clothes. When asked about her work and temporary energy of Dubai. It is raw and unfinished and is all method of display, Koolhaas explained: “[It is] the difference about the now.” between inside-out and outside-in; it is a visual code. So the art is about beauty, preciousness, a single image, and how ‘Dubai Next: Face of 21st Century Culture’ runs until 14 September. For more information visit www.design-museum.de one image makes a total statement. We created a code that 63 64
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