REVIEW stately patronage Her Royal Highness Princess Jawaher a call for action,” explained El-Khalil, of the visual of two boxers, one of whom is Mohammed Ali, who finds himself pushed onto the boxing ring’s ropes. The subtitle? “Get back into the middle, Ali!” Priced at $14,300, the work served as a meta- FUTURE PROSPECTS Even with internationally renowned artists on dis- play at MENASART, the Lebanese art scene remains relatively underdeveloped. Even so, there has been considerable growth in the local art market in re- phor. “Where are we?” asked El-Khalil rhetorically, cent years, with further growth forecast. This devel- Bint Majed Bin Abdul Aziz Al-Saud “even amongst ourselves, we are sidelined.” opment can be attributed to – but is not limited to Lebanese-Senegalese Hady Sy’s Not for Sale, – the impact of regional cultural powerhouses such at Dubai’s Empty Quarter Fine Art Photography as Abu Dhabi and Dubai. “The UAE is in fact front- Gallery depicted an assortment of X-rayed au- ing the cultural movement in the whole region tomatic weapons. Sy’s oeuvre is connected by and fast establishing itself as the main reference the common themes of injustice, terrorism, war, point for culture. It is amazing to see how much se- racism and violence. The monochrome shots in rious investment has gone into expanding the cul- Not for Sale are not just weapons chosen ran- tural sector in such a short period of time,” added domly; each piece is labelled, first by name and Zeidan. “However, we need two [art] focal points,” second, as the chosen weapon in the murder of noted Decrop, “and they should not compete.” Du- several high-profile leaders and innocent civil- bai, he explained, should bring together the GCC ians. From Gandhi, Yitzhak Rabin and Kennedy nations and Lebanon ought to gather Levantine to the fatalities of Columbine, Not for Sale serves and North African artists, with both cities “comple- as an historical reference outlining some of the menting each other as two art capitals.” Atassi in- Nedim Kufi. Soap/Soul. 2010. Red soap on biggest events that have shaped the past. sisted that Dubai and Beirut “cannot be compared”, canvas. One of four pieces, 150 x 90 cm each. Image courtesy the artist. Some pieces compelled onlookers to adding that “the idea is not even to create a fair like brood on the current situation across the re- Art Dubai; Beirut has grassroots movements, foun- gion. This was apparently the case with Ayman dations and so on.” Baalbaki’s (Canvas 5.2) work, chosen by Saleh Works on show at MENASART were priced at Barakat, founder of Beirut’s Agial Gallery. The between $4000–30,000, with a select few on of- 2007 conceptual piece made of painted cow fer above this range. Only a handful sold, leading hide represents a stylised map of Lebanon, participating galleries to agree that this was due to divided by sectarianism. “Behind all the glitter insufficient marketing and communication; even Her Royal Highness Princess Jawaher of reconstruction and development, it seems the fair talks witnessed minimal attendance. “If the Bint Majed Bin Abdul Aziz Al-Saud is symbolic to remind visitors of the existing prob- participation rate [of $1000] is the same as next year, affectionately known as “the patron lems still lying behind the attractive façade,” I would consider coming back,” said Atassi. “[It is] year of Saudi artists”. Myrna Ayad meets added Barakat. zero of this art fair,” said Issa, affirming her support Rose Issa Projects chose to bring three works for any initiative in Lebanon, hopeful that the com- the Princess in her Jeddah home by Moroccan-British artist Hassan Hajjaj (Canvas ing year would be more successful. The next edition, and discusses her impressive art 4.3), based on the premise that he has never (11–16 July, 2011) will bring a larger number of gal- collection, the establishment of the shown in Lebanon. Hajjaj’s pieces, all depicting leries and artists into a bigger space. The majority women dressed in a fusion of traditional and of the gallerists have already made up their mind Al-Mansouria Foundation and the modern Moroccan attire and seated on scoot- about next year’s event, and will be present – if only future of Saudi art. ers, were secured within vibrant frames. Proud as a show of support for the Lebanese art scene. and confident, the women break through cul- tural ‘norms’ and exude empowerment. For more information visit www.menasart-fair.com 89 This page: Mahmoud Mokhtar. La Porteuse d’Eau. 1931. Bronze. 82 x 17 x 16.5 cm. Centre page: A view of the main staircase in the house, designed with hand-sculpted limestone, by interior architect Gilles Saint Gilles. Last page: Adam Henein. Rest. 1955. Bronze. 37.5 x 62 x 28.5 cm. All photography by Rabih Andraos. art patron I could feel the temperature gently fluctuate between different parts of the house – the thermostat finely tuned to protect artworks – and no- ticed how a group of rare Islamic manuscripts hung underneath a 17th-century Mamluk Qur’an holder, facing Mahmoud Mokhtar’s bronze La Porteuse d’Eau at the base of a winding marble staircase. The after- noon sun’s rays flickered through three Ottoman glass windows – two others of which, I later learn, are part of the Islamic collection of New York’s Metropolitan Museum. Eight paintings of Mecca by French Ori- entalist Etienne Dinet circled the domed alcove; bathed in beautiful light, they hung above 17th-century Ottoman consoles inlaid with bone and ivory. It felt as though there was a curatorial intent in the house’s overall arrangement. “Your house is like a museum,” I said. “My house is a museum, in terms of light, space, height and circulation,” replied Her Royal Highness Princess Jawaher Bint Majed Al-Saud, daughter of the late Prince Majed Bin Abdul Aziz Al-Saud, who was Emir of Mecca for 21 years. We sit in one of her favourite rooms, where volumes of books line the shelves, punctuated by framed family photos, sculptures and other artworks. Facing page and below (detail): An Ottoman Paravan inlaid with turtle shell and ivory. 16th century. 210 x 280 x 3 cm. Photography by Rabih Andraos. I spot Pablo Gargallo’s bronze Masque de Kiki de Montparnasse – another edi- tion of which is housed in the Louvre – and the Princess regales me with the story of how she purchased it decades ago. On the coffee-table is a copy of Orhan Pamuk’s Museum of Innocence, dotted with Post-It notes. It isn’t too long before one realises that the Princess’s home is very much an exten- sion of her personality, expressed particularly through an arrangement of individual items that is anything but random. “Decoration,” she says, leaning forward, her tone cautious, “is there to hide mistakes made by architects. So if you have no mistakes, you have nothing to hide!” She then laughs heartily, “So you see, decoration in this house is minimal.” 88 93 “I am an Islamic person, I feel strong in my identity... the Islamic civilisation is one of the greatest civilisations and I This page: Ziad Dalloul. Quintette Fluvial. 2005. Oil on canvas. 130 x 162 cm. want to celebrate this, surround Photography by Rabih Andraos. Facing page above: Faisal Samra. Head No 15. 2000. Wire mesh, mixed media, glass and myself with it and steel. Steel stand, glass and head measure 150 x 20 x 20 cm, 20 x 30 cm and 30 x 22 cm, respectively. Photography by Rabih Andraos. Facing page below: Shadia Alem. From the book Jinniyat Lar with text by Raja Alem. 2000. One of 12 hand-finished original come back to my roots.” silk-screen prints, on Vélin de Rives paper. Limited edition of 200 copies, each encased in a hand-bound box. 42 x 60 cm. 94 95 art patron “After personally collecting art, I realised I should have a stronger role on the Saudi art scene.” From The Ground Up than its individual parts. The synergy by The preliminary premise for the house’s construc- which all elements fall into place is tion was for it to accommodate the Princess’s art absolutely seamless. collection, which ranges from Orientalist paint- ings and Islamic artefacts to Modern and Con- temporary Arab and Western artworks, among The Bigger picture others. Even before ground was broken on the The house is also the seat of the Al- home which would take 11 years to complete, Mansouria Foundation, an organisation the Princess had intended for her Jeddah resi- established in 1999 by the Princess to dence to become her legacy – a gift and a focus promote Saudi art. “This country gave me for those who appreciate art and culture. Through so much, from love and security and more,” a lifetime of intellectual pursuit – studying books, she says, “and so shouldn’t I give something back scouring exhibitions and travelling the world – to it?” The Foundation was named after its pre- the Princess’s home was built around a careful ad- mier supporter, the Princess’s husband, Prince herence to Islamic architecture and design, and Mansour Bin Bandar Bin Abdul Aziz Al-Saud, “who is a thorough reflection of her own personality. stood beside me and without whom this would “I am an Islamic person, I feel strong in my iden- not have been made possible.” The Foundation tity,” she asserts; “The Islamic civilisation is one of is another legacy which the Princess would like the greatest civilisations and I want to celebrate to impart to her daughters. “After personally col- this, surround myself with it and come back to lecting art, I realised I should have a stronger role my roots.” on the Saudi art scene,” she says. For two years After meeting numerous architects and in- after the inception of the Al-Mansouria Foun- terior designers, she settled on Gilles Saint Gilles, dation, the Princess, together with her team of making her home his first project in contempo- leading art experts, held exhibitions for Saudi rary Islamic architecture. The Princess lent Gilles artists – both in the Kingdom and overseas, in 102 books on Islamic art and architecture, com- France, Switzerland, Korea, Egypt and Lebanon, plete with notes on her likes and dislikes. “I told among others – and organised a series of pub- him, ‘I’m going to let you see what I see through lications on their work. “We have very good art- my eyes’.” As opposed to artworks adapting to ists in Saudi Arabia and what my Foundation is Facing page: Above: Works by Etienne Dinet. rooms and halls, the Princess was intent on just trying to do is document their experiences, buy Prayer at Sunset. 1901. Grisaille on board. 33 x 50.8 cm; The Sa’y. 1901. Grisaille on board. 33 x the opposite – the structure would be built to their work and showcase it around the world,” 50.8 cm. Two of a set of eight. Below: An Ottoman console inlaid with bone and ivory. 17th century; accommodate pieces from her collection – one says the Princess. Through the Foundation, re- A Mamluk Qur’an holder and Qur’an boxes. 16th century. Photography by Rabih Andraos. example being the dining room’s centrepiece, a nowned Saudi-born Bahrain-based Faisal Samra 16th-century Ottoman paravan inlaid with turtle (Canvas 1.2) held his first exhibition in his home This page: Pablo Gargallo. Masque de Kiki de Montparnasse. 1928. Bronze. 20 x 18 x 12 cm. shell and ivory. The result? A sum that is greater country; and among the roster of Saudi artists Photography by Rabih Andraos. 96 art patron “We are committed to celebrating Saudi Arabia’s perspective.” which the Foundation supports are Zaman Jas- month stay. For its 10-year anniversary in 2011, sim, Shadia Alem and Mahdi Al-Jeraibi, whose the Foundation is planning to present the Atelier’s careers have been propelled internationally by Collection – a catalogue and exhibition of works the Foundation’s patronage. “We are committed donated by artists who the Atelier has hosted. to celebrating Saudi Arabia’s perspective,” says Following the completion of Mecca-born Al- the Princess, “and we are keen on setting up a Jeraibi’s residency, the Foundation had organised dialogue with other cultures within the global Dialectics, an exhibition scheduled for October Contemporary art movement.” 2001 and in which it had invested a great deal of In tandem with this vision, the Foundation time curating, organising, promoting and pub- purchased a studio – the Al-Mansouria Atelier – lishing a catalogue. But then tragedy struck the in 2001 at the Cité Internationale des Arts in Paris. world with 9/11; severe political ramifications Since its opening in 1965, the institution has ac- followed and with it came an intensely negative commodated over 18,000 international artists perception of the Middle East. Profound stere- as part of its mission to further artistic practice, otyping intensified, and to date, the Princess is discourse and techniques. Residency selections “unsure and confused” as to how deep the ef- are made by the Foundation and the Cité Inter- fects of 9/11 remain on Saudi art, emphasising This page: A coloured glass window. nationale des Arts, and among the Arab artists however that “art and culture are the victims of 1893. Moulded and carved stucco who have completed residency programmes at political situations.” Al-Jeraibi’s show went ahead produced in Egypt during the Ottoman period. 82 x 60 x 3.5 cm. One of a set of the Atelier are Samra, Jassim, Al-Jeraibi, Abdulaziz as planned, awarding the conceptual artist par- three. Photography by Rabih Andraos. Ashour, Rafa Nasiri, Mohammed Omar Khalil ticipation in La Force de l’Esprit, an exhibition and Facing page: A group of rare calligraphy manuscripts produced in 1495 and Ehab El-Laban. Some have enjoyed sell-out auction at Paris’s Drouot Montaigne in Septem- AD(901h) and 1858 AD (1275h) and shows and stayed at the Atelier more than once, ber 2002, as well as in Babel 2002 at the National a 17th-century AD Mamluk Qur’an holder. Photography by Rabih Andraos. often for much longer than the minimum two- Museum of Contemporary Art in Korea. 98 This page: Two works by Youssef Jaha. Above: Untitled. 2000. Oil on canvas. 99 x 91.4 cm; Below: Untitled. 2000. Oil on canvas. 98.5 x 91.6 cm. Facing page: Zaman Jassim. Remains of a Memory–2. 1998. Acrylic on canvas. 61 x 46 cm. 100 101 art patron “They [Saudi artists] really deserve to be recognised now, while they’re alive, and that is what my Foundation is trying to do.” The Written And The ous cultural endeavours, among them the Cairo Recognised Biennial; pieces by Al-Jeraibi formed part of Edge “At the time [following 9/11], I thought it would of Arabia’s debut at London’s School of Oriental the Arab world,” she says, “art appreciation can be and believes that “to get to Contemporary, you’ve Facing page: A large ceramic bowl on a stand. 1800. Produced in Central Asia. Bowl: 46 x 50 x be better to concentrate on the publishing of and African Studies in October 2008; and He- nurtured and we simply have to do it.” The Prin- got to go through the classics first.” Her passion for 50 cm; Stand: 112 x 30 x 30 cm. Photography by Rabih Andraos. books,” says the Princess. The Foundation has, nein’s Umm Kulthum sculpture was donated to cess is aware that reaping the fruits of cultural Islamic art grew with every trip to the Middle East, This page: Mahdi Al-Jeraibi. (Detail) Untitled. to date, published eight titles, all of which are The Fourth Pyramid, a travelling exhibition begin- labour requires time – enough time to plant, nur- especially to Istanbul and Cairo – cities which re- 1997. Oil on canvas. 40 x 60 cm. bilingual, with the exception of a hefty mono- ning at the Institut du Monde Arabe in Paris and ture and cultivate – and yet, she remains resolute main her favourites. “Because I was exposed to Eu- graph on Adam Henein (Canvas 2.2), whose which celebrated the late singer’s legacy. The that it must be done. “Otherwise, I would feel very ropean culture at such a young age, I started to feel All images © The Al-Mansouria Foundation. 345-page tome, co-published with Skira for Princess remains adamant that cultural educa- bad if I hadn’t tried my utmost best,” she says. She like I wanted to withdraw to my roots,” she says, “I English and French versions and Dar El-Shorouk tion must begin domestically. “It requires many maintains that her ambitions for her Foundation don’t know how that happens, but eventually you for Arabic, covers the Egyptian artist’s 55-year people in different fields to make an impact,” she are “utopian”, but stresses that “it is nothing but a realise that this is who you are and it’s what you feel career. Featuring paintings and sculptures, the says, “one entity alone cannot bring this about, pleasure and a gratitude to the Arab world.” comfortable with.” book was launched after Henein’s retrospec- we are talking about influencing an entire com- A friend who owned a gallery in the Eastern tive at the Prince Taz Palace in Cairo, which the munity.” Efforts to promote Contemporary Saudi Province introduced the Princess to local art, and Foundation organised in 2006. Other books in art have been on the rise in recent years, begin- A Saudi Legacy so began a mission to support Contemporary the Foundation’s roster are Images of Saudi Ara- ning with the Edge of Arabia show. Christie’s Du- The drive to widen the impact of art and culture Saudi artists. “I have the biggest and best Saudi bia, Hammas, monographs on Faisal Samra and bai pioneered the sale of Contemporary Saudi is rooted in the philosophy instilled in the Princess art collection,” she beams, “and I am known as Dia Aziz Dia and Signs and Jinniyat Lar (which art during their April 2009 auctions and more since childhood. She spent the formative years of the mother of Saudi artists.” The Princess re- combines art and poetry). The Foundation’s lat- Saudi artists are being represented by regional her life between Riyadh and Jeddah, in homes that fers to her vast collection as her “emotional est venture is The Door – launched on the occa- and Western galleries. Jeddah’s Athr Gallery’s were steeped in Islamic architectural traditions. documentation”, likening the works to music sion of the King Khaled exhibition in May of this sophomore participation at Art Dubai this year Classical music, the recitation of Arabic poetry and and its ability to transport one to another time year. The Door celebrates the door of the Holy reported great sales, and next year the Kingdom a great deal of reading were predominant aspects or place. “But, when you get older, you start to Kaa’ba, one of the late King’s legacies [through will host a pavilion at the Venice Bienniale. of her youth – and still are. Her foray into the world consider how you want to be remembered,” she his tireless patronage of it], alongside texts by “They [Saudi artists] really deserve to be rec- of art began after she married, when, “like any says, “and this is how I would like to be remem- distinguished writers and five etchings by the ognised now, while they’re alive, and that is what woman, I wanted beautiful things to put in my bered – by giving to others the pleasure I have renowned Ziad Dalloul (Canvas 1.2), which por- my Foundation is trying to do,” says the Princess, home.” European fairs and galleries provided the had with my collection.” tray the variation of light at each of Islam’s daily citing poor marketing and a sparse local art scene basis for her art education, as did extensive read- prayer times. as disadvantages in the promotion of Saudi art. ing, “which allowed me to become quite the con- Aside from publishing and holding exhibi- “There are so many exhibitions to see in Paris on noisseur,” she says. As far as her tastes went, she be- For more information visit tions, the Foundation also lends works to vari- a weekly basis and this is precisely what I miss in gan with classical art, veering towards Orientalism, www.almansouria.org 102 103
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