Uae GALLERIES SPECIAL ge m p a ss hu o z eve ral enc e, A l-Quo .S to som ery new re n amed m e v n ho al are l. Many h a v e bee e . D IFC is ev e r rs at ts merc ia d , othe and intim r years bu m al. r e lo ca te s m a ll n d fo st ar e co te rn ation have w are u n aro ofit, but m l are truly i o n one Some ils t a fe b e e r b ac k b ac es, wh n dfu l have not-for-p s a h andfu ke up the sp ha ctl y ea m a oth ers. A ple are stri a r t, wher ga lleries to rn ese 2 7 w n . A cou ddle Easte o , th in to i d o n ly on M tever they focus a d wh . h erev e r a n a r t scene W ng A E ’s thrivi of U uae GALLERIES special I t feels just like yesterday that I landed in the UAE to take part in an architectural com- In less than 30 years, the petition. That was 1978. I came back in 1980 to start my career as an architect and town UAE art arena has gone planner. My love for art and my long association with the New York City art scene from humble beginnings (which I had just left behind) led me to join the Dubai Art Centre (DAC), the only art or- ganisation at the time which offered a glimpse of the New York world that I’d indulged in. to its current position as I taught several photography and architectural courses and held the position of Chairman of the one of the major players Photography Group at DAC for seven years. For a very long time, DAC was the only art community in the Middle East. centre in the city offering art classes, with a gallery devoted to students and local artists, many of whom were expatriates. DAC was influential in sowing and nurturing the seeds of culture among Dariush Zandi, one of the various layers of society. It wasn’t too long afterwards that the first galleries – such as Majlis and, the local scene’s stalwart later, Green Art – were established and started to represent select artists. figures, looks at the A lack of large gallery spaces resulted in the exhibition of works in multipurpose halls such as ho- tel ballrooms and lobbies. Artworks were dominated by traditional styles and subjects, which mostly dramatic progress made revolved around camels, the desert, wind-towers and coffee pots. It was the slow progression of art so far and sees rewarding which encouraged me to institute a dedicated space – an alternative – to alleviate the situation, and times ahead. so Total Arts Gallery was established in 1996. I took my dream and contribution to art and culture in the UAE to yet another level when I com- pleted designing and building The Courtyard structure in Al-Quoz as a space dedicated to art and architecture. For its opening in March 1998, and in association with other members of The Courtyard community, we organised the first truly international art exhibition in Dubai, displaying works by masters such as Miró, Du Buffet, Renoir and many more. It was an honour for us that His Highness General Sheikh Mohammed Bin Rashid Al-Maktoum (who was Crown Prince of Dubai at the time), inaugurated the building and the exhibition. A month later, Total Arts Gallery staged the first suc- cessful 12-artist Contemporary Iranian art exhibition. Since then, we have become not only a plat- form for Iranian artists of various disciplines but also an organisation that seeks to find and expose the new generation of artists worldwide. Besides art exhibitions, The Courtyard is also a venue for other artistic genres including music, film, lectures and cultural shows. It was only in the mid-2000s that art in the UAE was taken to another level, a development that coincided with Dubai’s real estate boom. Together with the power of Dubai’s great PR machine, the surge in property values attracted all types of art-related developments and proposals for art or- ganisations, auction houses, exhibition spaces and museums began pouring in. Meanwhile, the easy availability of cash paved the way for investors to acquire art in greater numbers than ever before. A phenomenon occurred in which the intense competition and heightened demand for pieces by a select number of artists prompted prices to rocket skywards. Artworks – especially those by re- gional artists which had been generally affordable – were suddenly out of the price range of all but the few. Auction results not only set new and exaggerated price levels but also served to establish 126 Photography by Matthew Lazarus. Image courtesy Canvas. the reputation and ‘value’ of artists. Meanwhile, ple’s lives is becoming more noticeable. Where Total Arts is proud to have been associated with the emerging galleries in zones like Al-Quoz and art was once acquired for decorative purposes, it them. Some regional artists are now considered DIFC functioned as art spaces, fulfilling the role is now bought for its artistic value. The culture of ‘stars’ internationally, their works acquired by that larger organisations and museums would investing in art is also growing. Terms like ‘art col- numerous public and private collections and otherwise have played. lection’ and ‘art collector’ are a recent phenom- shown in exhibitions alongside those by their Like everything else in the UAE, the art scene enon here but are increasing in number. Art is Western counterparts. The Art Dubai and Abu has gone through dramatic changes in quality, also now considered an alternative and prestig- Dhabi Art fairs, as well as the Sharjah Biennial, quantity and variety in the last few years. New ious field for investment purposes, with auction have closed a gap in the UAE art market, with art organisations have appeared and will hope- results and the establishment of auction houses these events attracting crowds of internationally fully continue to flourish. An increasing number in the UAE affirming this. known collectors, curators, art consultants and of publications – only a few of which are of high Meanwhile, the local art scene has been top-notch dealers. quality, I might add – have appeared, covering growing steadily, with both male and female I’ve been fortunate to contribute to this various forms and genres of art. More people vis- artists establishing their own standing in the once-in-a-lifetime opportunity and to witness it art exhibitions and the influence of art in peo- UAE and on the international stage. As a gallery, the region’s art scene embark on a new era to initiate, produce, exhibit and support art on Knowing that art is something that the path to international levels. Considering that the Gulf is an emerging region based on needs time to nurture, we are fortunate trade and commerce, and knowing that art is something that needs time to nurture, we are to have come so far in such a short fortunate to have come so far in such a short period of time. With all the great developments period of time. we have witnessed so far, I can see a bright future in store. 127 Image courtesy the gallery. Proudest moment: My first huge show in a warehouse space in Al-Quoz. If I could do it all over again, I would: Do exactly Amel Makkawi, owner of Art Sawa, knows what the same thing. she wants and is aiming high. “I wanted to offer I wish the audience artists somewhere that did not constrain them, a would: Be more sensitive place where they could feel liberated and move when viewing art. onto another level,” she says. A background in Five years ago, I would architecture helped provide inspiration for the never have believed that: The UAE would have been such creation of the gallery as a warehouse-style an important centre for the arts. space with a monumental character. In 2008, she opened Art Sawa in Al-Quoz and with over 1100 square metres, it is one of the largest dedicated art spaces in Dubai. Now representing 17 artists, Makkawi aspires “to make Contemporary art ac- cessible to everyone”, adding that she is keen on her artists being “true to themselves as those who are driven by what they think the market wants 1X1 GALLERY are not my interest.” Her grand designs see Art Sawa branch out to DIFC in mid-March, a space which, she says, “will make the lives of our collec- Today, 1x1 is housed in a sleek warehouse in Dubai’s Al-Quoz district, boasting extensive floor tor base in DIFC easier as the trip to Al-Quoz is an space, low lighting and colourful canvases by some of India’s rising stars, making it one of the expedition.” Makkawi has no intentions to leave few venues in the city for Contemporary Indian art. What many do not know is that 1x1 is one the Al-Quoz space though – “my soul is there, I of Dubai’s oldest galleries, originally opening 16 years ago in Satwa. “There was almost nothing can’t abandon it” – and it will continue to host here then and I saw a gap in the market for Indian art,” says founder Malini Gulrajani. Opening the gallery’s education programme; “Art is part a space stemmed from a love of art that was sparked by trips to and from her native India. “I started by buying works for myself, and suddenly found myself buying more and more for inter- ested friends,” she recalls. In 1995, however, the Dubai art scene and that of India were in their nascent stages, some- thing which worked in Gulrajani’s favour. “I simply got a list of some of India’s top artists and phoned them,” she says. “That would be near-impossible today, as these artists are now so busy and well-established.” Moving to a villa in Jumeirah in 2005, the gallery grew steadily over the years as its client base expanded. “Initially it was very hard work to make ends meet,” admits Gulrajani, “and it took a lot of perseverance as the Indian art market was still young – shows were hung as if it were a market place and not many people knew about the artists. It was like starting from zero, but when things began to really take off, I thought, if I don’t give back to the business – if I don’t grow – then there would be no future for 1x1.” The name itself came from Gulrajani’s drive to create something unique for the Dubai art scene. “One is a number that signifies many things,” she explains, “I didn’t want a name like everybody else, and felt a number was catchy – it signifies infinity, that sense that anything is possible, and 1x1 indicates a gallery space where exciting things happen.” Proudest moment: When Now housed in its third and final location, Gulrajani had had her warehouse space for three Rachid Khimoune’s The Children of the World bronze sculptures years, alongside her Jumeirah location, before deciding to consolidate into one space. With its in- were installed in a public space in dustrial feel, the move is also indicative of a new direction. “My collector base has changed over the Abu Dhabi. years,” she says. “A market can also become saturated – older collectors reach a point where they Do you choose the art don’t really buy so regularly. I’m now focusing on young, emerging talents, whose prices are more or does the art choose affordable for young collectors.” Keen on hosting artist residencies in the future and exchanges be- you? Both and it is an extremely complicated relationship. tween the UAE and India, she also hasn’t ruled out opening another branch of the gallery in India, although “Dubai has always been my base and strength and would remain so.”The gallery, she says, What they don’t teach “is an evolution, and, as a gallerist, my tastes have changed and this has been a process of growth you at school is: The impact of Contemporary art in daily life for me.” What has been her motto for 16 years? “I get lots of advice, but I don’t listen,” she laughs, “I and the importance of creativity. do what I want, whether it’s right or wrong, and hopefully I learn from my mistakes.” Managing an artist’s www.1x1artgallery.com career means: Work, work, work and a lot of fun. 128 uae GALLERIES special of lifestyle and that makes a window in DIFC for Egyptian and Lebanese Pavilions respectively. Be- small exhibitions interesting.” Makkawi intends tween the sizeable Al-Quoz space and an outlet to inaugurate the new gallery with works by an in DIFC, costs are challenging, but “it’s not about emerging artist – as she is committed “to show- the money” for Makkawi, who maintains that “we ing the talent and potential of the Middle East”. keep going because it’s a worthy cause”. This is an emphasis Makkawi says she inherited Makkawi grew up in Algeria and worked from her father, a collector and art patron who in various countries – from Argentina to Sen- instilled in her the value of promoting artists egal and beyond – before coming to Dubai whose voices might otherwise not get heard. with her husband 11 years ago. “The best way “I like to bring in new blood, new creativity and to understand a country is through its art,” she new ideas,” she enthuses, “and I don’t like restric- affirms, “and when everything else has passed tions.” The gallery’s open-handed approach can by, a country will always have its poets, writers be seen in the representation of non-regional art- and artists.” Interpretation and communication ists; in March, Art Sawa will hold an exhibition by are central to Art Sawa’s ethos and are reflected French artist Karine Roche and plans on partici- in its activities, which include yoga, music ap- pating in international art fairs. In other respects, preciation, art history lectures and children’s Makkawi applies strict ground rules: “The artists workshops. These fulfil Makkawi’s avowed aim must all have strong technique and I like them of reaching out to her audience on various to have been teachers, because this means that levels. “When there are no museums, galler- they know how to explain themselves properly ies have an extra role to play,” she maintains, in their works.” Two of her artists – Wael Darwish “and education is absolutely key to art.” and Camille Zakharia (Canvas 3.4) – will exhibit www.artsawa.com their works at this year’s Venice Biennale at the art sawa “The artists must all have strong technique and I like them to have been teachers, because this means that Photography by Anna Wallace-Thompson. they know how to explain themselves properly in their works.“ 129 If I could do it all over uae GALLERIES special again, I would: Have started collecting Middle Eastern art earlier than 2002. A gallerist’s most important role is to: Have a mission statement and a good reputation in the market. I respect artists who: Believe in me and the gallery. Galleries in the UAE should: Work together more. aging an artist’s career means: It’s a life-long process. Photography by Tala Chukri. artspace Recalling her “push and pull” foray into the art world the Fairmont Hotel but relocated to DIFC in 2007. “I eight years ago, Artspace founder Maliha Al-Tabari never believed that Dubai would become a SoHo admits “I didn’t know much then and thought that New York, which is why I didn’t choose Al-Quoz,” she there was no art scene here at all.” Her decision to smiles. “Art is a whole experience; you want to be open a gallery was “spontaneous”, but Al-Tabari al- able to walk around and have a meal. I believe that ways believed that Middle Eastern art would gain art is a luxury.” In 2006 Al-Tabari says she felt the Mid- momentum. “Just like Chinese and Indian art, I knew dle Eastern art market pick up, especially with “the that the market was going to pick up and decided presence of Christies, which was very significant and that I was going to be one of the first to acquire which truly influenced the market and validated the works by Arab masters and promote them,” she arts”. People, believes Al-Tabari, “no longer wanted to says. Today, Artspace represents 18 artists, many of put cheap works on their walls.” whom are renowned names on the Middle Eastern She enjoys close relationships with her artists art circuit, including Adam Henein (Canvas 2.2), Adel and, over time, believes that she has been able to El-Siwi, Hussein Madi (Canvas 5.4), Omar El-Nagdi detect the market’s pulse, likes and dislikes. “When (Canvas 4.4), Aziza Alaoui (Canvas 4.2) and Kamal you have been a gallerist for this long, you know Boullata (Canvas 4.3). exactly what people want from artists,” says Al- While the Dubai art scene has witnessed a Tabari, “but you can’t impose it [on artists] so you steady growth in galleries over the years, Al-Tabari suggest a direction.” In light of the current political feels that “each space has a different style” and chose situation across the Arab world, Artspace have re- to commit to regional art largely due to her desire worked the programme for their Art Dubai booth, to “stick to my roots because I am Middle Eastern”. opting to show works that centre on the Egyptian Artspace “believes in Modern Arab masters”, but Al- revolution by artists Zakaria Ramhani, El-Siwi, Na- Tabari is quick to point out that the gallery is also dine Hammam, George Bahgory, Hani Zurob, Kha- keen on supporting emerging artists. “You want to led Hafez (Canvas 5.3) and Charbel Samuel Aoun. feel a connection and energy from the artists,” she With a brighter and more hopeful future forecast explains. The gallery’s initial venue was located at following the financial doom and gloom of 2010, Al-Tabari is focusing on developing the gallery’s “[People] no longer wanted to put programme and hopes to represent more bud- ding artists. “Now is the time to push the gas and cheap works on their walls.“ really step on it,” she smiles. www.artspace-dubai.com 130 ayyam gallery Many are familiar with the story of Ayyam Gallery and how an ex-banker’s retirement at the age of 38 led to an immersion in the Syrian art scene and the opening of Ayyam’s first gallery in Damascus in 2006. Then there was Dubai in 2008, followed by Beirut, Cairo and now a new Dubai space in DIFC – the latter opened in October 2010 with a show by Khaled Takreti (Canvas 7.1), I Am a Teenager Again, which marked the official conver- sion of the existing Al-Quoz space to the Ayyam Art Centre. While it seems like a grand expansion plan, founder Khaled Sa- mawi insists that each move is an organic growth. “When we opened in Damascus, the idea was to promote Syrian artists,” he says. “From the onset, we were in touch with Dubai galleries about the possibility of bringing some of those artists here, and in 2008, the time felt right.” Working with Hisham Samawi, who heads the gallery’s Dubai branch, the cousins are keen on art transcending boundaries. “I think we’ve started to move away from peg- ging somebody as a ‘Syrian’ or an ‘Egyptian’ artist,” says Khaled. “We’ve moved to just being ‘Middle Eastern artists’ and that’s sort of reflected in the gallery. At any one time, we represent between 20–30 artists exclusively and giving each at least one solo exhibition per year, means expanding and opening up new spaces.” In its five-year existence, the gallery has formed a close-knit group of artists. “Initially we started out by visiting some 200 artist studios [in Damascus],” says Khaled, “but now, a lot of artists approach us. While I personally have to like a work of art visually, it also has to add value to our roster of artists, all of whom become part of the Ayyam family.” As with all projects venturing into new territory, there have been hits and misses. “We’re all in this together, at the end of the day,” affirms Hisham. “Khaled always uses the allegory of a boat getting from point A to B – we’re either all going to get there together or not at all.” Part of point B, for now, is the expansion of the Ayyam Art Centre into a space open to exhibitions by Hisham and Khaled Samawi. Photography by Anna Wallace-Thompson. artists outside the Ayyam stable, as well as big artists’ retrospec- Khaled Samawi tives. “One of the issues with the old space was that it just didn’t Being a gallerist do the artists justice, thanks to its big size which ended up requires: Deep pockets, a very overwhelming the works,” explains Khaled, “Now we can use it addictive personality, passion as well as patience. as a place to experiment with different shows, including non- commercial exhibitions, and I invite all collectors in the Middle If I could do it all over again, I would: Have been far East who have large collections to show there.” With participa- more aggressive. tion at art fairs and more artist monographs planned, the team A gallerist’s most is focusing on pushing themselves further and raising the bar important role is to: for Ayyam. “The recession has made us a stronger gallery,” says Be honest. Hisham. “Art is, however, a very resilient investment,” adds Kha- I know a work is good led, “and every cent we make is put back into the gallery. We when: It sells. are looking at building a multi-generational company.” I respect artists who: Don’t www.ayyamgallery.com care about sales. 131 I wish the audience would: Explore the art world before making any purchases. Biggest regret: I feel I didn’t contribute enough to art awareness when we first opened. Carbon 12 first opened its doors in October 2008 in Has Carbon 12’s challenging programme – 16 a space in Dubai Marina and relocated to Al-Quoz’s ‘sit-up-and-notice’ exhibitions to date – been too Five years ago, I would Al-Serkal exactly a year later. The gallery’s concept, much for the Dubai audience? It seems not. “If any- never have believed that: We would have this many however, has a much longer pedigree, which thing, we’ve found people here less likely to walk galleries and collectors and I began when owners Kourosh Nouri and Nadine out of a show that they don’t like than in Miami or must say I’m very proud! Knotzer, both collectors who had been living in Vienna,” says Knotzer. “The biggest fear people have What they don’t teach Berlin, were struck by the city’s cutting-edge artsy is of not understanding the work,” says Nouri, “and you at school is: That the atmosphere and hoped to reflect this in a Dubai it’s our job to help them appreciate the art and art business is not just buying and selling art. gallery. “We were in Berlin at a time when it was a gain from it.” Meanwhile, they both cite the increas- very hip, happening place, and that has helped in- ing willingness of some Dubai-based collectors to form our artistic outlook,” says Knotzer. “We always open their collections to view as a very welcome wanted to have a very international mix in our gal- development. “We’d love to see more corporate lery and not restrict ourselves to particular regions collections and sponsorship of artists in residence. or specific genres or media.” That’s what’s missing here now,” explains Knotzer. Nouri began collecting art 16 years ago but With collectors drawn to the gallery from all the Iranian-born gallerist became involved in his over the world, the duo see an interesting evolu- native Contemporary art scene when the genre tion taking place in the market and one that sits was in its infancy, at a time, recalls Nouri, “when I neatly with their wider aims. “People have tradi- bought a work by Rokni Haerizadeh (Canvas 5.6) tionally been a bit too conservative in terms of for $120!” Among Carbon 12’s roster of Iranian art- what they bought, but that is really changing,” ists are Ghazel and Sara Rahbar, with the remaining observes Nouri; “There is real interest in Michael 24 comprising a mix of established and emerging Sailstorfer’s installations now, for example, which international artists drawn from a diverse range of wasn’t the case before.” Both Knotzer and Nouri are backgrounds, all skilfully unified into Carbon 12’s quite clear on where they are heading. “Art is not a overall programme. “We show all our artists initially local battlefield,” says Nouri. “You need to go global, in a group exhibition,” explains Knotzer, “and only and regionally, we need to work towards develop- move onto solo shows when they are more estab- ing a champions’ league rather than turning up at lished.” Boundary-pushing is the name of the game the Olympics every four years.” Uncompromising at the gallery, with “every show we do being more Carbon 12 may be, but fortune favours the brave. or less complete experimentation.” www.carbon12dubai.com carbon 12 Kourosh Nouri Photography by Anna Wallace-Thompson. A gallerist’s most important role is to: Be consistent with the artistic Photography by Myrna Ayad. programme, stay genuine and without a commercial agenda. Nadine Knotzer Sometimes I want to take that artwork home because: I don’t feel it’s being appreciated for its quality, but rather for its ‘value’. (Nadine) 132 uae GALLERIES special courtyard gallery Samia Saleh is busy refurbishing her 10 year-old gallery, which opened in April 2001 with a group show of works by Pierre-Auguste Renoir, Bernard Buffet and Salvador Dalí. Originally called Courtyard Gallery & Café, the gallery has now done away with the café and rebranded as Courtyard Gallery (CG), as Saleh believes “it’s high time we take the gallery to the next level.” Run by Saleh and Gallery Manager Reema Karram, CG has exhibited artists such as Karim Rashid (Canvas 2.5), Mustafa Ali (Canvas 4.5), Mounir Lak- kis, Kevork Mourad, Zaman Jassim, Hassan Alameddine, Riyadh Neama and Hoda Baalbaki. In addition to commissioning Horse 2007 from Fernando Botero (Canvas 7.1), situated in downtown Burj Khalifa, and organising the gallery’s annual Women in Art exhibition (now in its seventh edition), Saleh’s vision drives her on. “When we first opened, there weren’t that many collectors here and the number that have since emerged is incredible,” she says; “The market changed with the arrival of the auction houses and their impact on the emergence of Middle Eastern art. Change is good, and we have to evolve with the market.” For the Emirati-born gallerist, audience awareness has also grown, much to her delight: “Ten years ago, I had to explain every single thing to my visitors, from pricing – such as prints versus paintings – and different art eras to the concept behind the work itself,” she smiles. “People, and especially Emiratis, were simply not as aware of art as they are today.” With a BA in graphic design from the American Uni- versity in Washington DC, Saleh grew up surrounded by art, visiting international museums, galleries and art fairs with her parents, who are collectors. “The thing about art,” she muses, “is that just when you think you might know it all, you meet somebody who makes you realise just how much there is still to learn.” Working closely with her artists, Saleh does not sign them up on an exclusive basis, preferring instead “to give them their freedom, advice and not restrict them to working only with me.” Once the new gallery space is complete, Saleh plans to organise artist talks alongside other expansion plans. “It’s always exciting for a young collector to be able to engage with an artist and hear the story behind the work. That one-on-one contact is vital,” she says. “I’d also like to eventually organise exchanges of both established and emerging artists from Europe, the USA and even the Far East.” With art fair participation also on the cards, Saleh reflects on the gallery’s career so far: “There is not an awful lot I would have changed, but I must say that the process of selecting artworks and communicating with artists was a learning curve. I’ve seen a lot of art, but looking back, I would have made more of an effort to explore Emirati art – we have such a rich culture and I think it is so important to support that.” But surely having been one of the first galleries in Dubai must have been exhausting at times? “For me, this isn’t work,” smiles Saleh, “I live it.” www.courtyardgallerydubai.com “People, and especially Emiratis, were simply not as aware of art, as they are today.“ 133 Being a gallerist requires: Multiple hats. Most days I feel like a consultant, analyst, advisor, boyfriend, father and shrink. If I could do it all over again, I would: Have become an artist! I wish the audience would: Learn to judge the artwork for artistic, not financial, political or national merit. What they don’t teach you at school is: How to be a gallerist. You can learn to be an artist or an art historian. No one Photography by Ayaad Damouni. Image courtesy Cuadro. ever goes to school to be a gallerist. cuadro fine art gallery At 1200 square metres and spread over four levels, Al-Shroogi. “We’ve leaned towards younger artists, Working closely with the artists, Al-Shroogi is Cuadro has never really been ‘just’ a gallery. It has something that goes hand-in-hand with our resi- focusing on long-term growth for both the gal- an artist’s studio, lecture room, restoration room dency programme. I felt that they could hold the lery and artists alike. “In most cases, dealers buy and 240 square metres of storage units. Since it same walls in different parts of the gallery as some and sell works,” he says. “A curator will manage the opened in November 2008, a host of exhibitions of the older masters. When the works complement artist’s career and that difference is paramount.” as well as publications and an all-important artist each other, we don’t look at nationality or age.” So, with all these plans, does Cuadro plan to be- residency programme have marked its steady rise Open-mindedness to nationality has been an come a foundation? “‘Foundation’ is a big word on the UAE art scene. “My parents, especially my integral part of Cuadro’s outlook from the start, and and one which needs the right structure. We are mother [owner, Fathima Al-Shroogi], had wanted has remained at the forefront of Al-Shroogi’s curato- trying to set up a gallery as a platform for artists, to set up an artist residency and art education pro- rial view. “Since we’ve opened, it’s been interesting residencies and education. The survey shows are gramme,” says director Bashar Al-Shroogi. “All pro- to see which artists gravitate towards Cuadro,” he something we’ll continue to do – although costly ceeds from gallery sales go back into the residency says, “and it’s a very organic process. It does take a and taking a lot more to do academically, they programme, so it’s a self-sustaining machine. The while to figure out which artists you really want to are important for the local market,” concludes Al- residencies came long before the gallery itself.” represent, and which ones the market will react to, Shroogi. “Our main focus remains on expanding While Al-Shroogi plans to formalise the applica- and then there’s a fine-tuning process.”This progres- the residencies. We hope that by the end of 2011 tion process for residency programmes, Cuadro sion involves a review board with which Al-Shroogi we’ll have 12 more studios open, dotted around has hosted three artists to date, including Alex de consults, beginning with “the work itself”, he stresses. the Gulf. It’s important to have more grassroots Fluvià and Manal Al-Dowayan (Canvas 2.4). “Does it fit with the overall message at Cuadro? How initiatives to engage with communities. Hope- The gallery has shown a mixture of large-scale does it work within our international collection? fully, these small studios can act as hubs that will survey shows and solo exhibitions of regional Once these questions are answered, we look at who help achieve that.” talent, as well as those of Middle Eastern heavy- the artist is and, finally, at their nationality.” www.cuardoart.com weights including A Rahim Sharif (Canvas 1.6) and “When the works complement each Devrim Erbil. In fact, for an international gallery, there has been a fair amount of Middle Eastern art other, we don’t look at nationality or age.“ shown lately – is this intentional? “It just happened that the gallery got programmed that way,” says 134 uae GALLERIES special the empty quarter Holding the torch for the art of photography in the region, and the Middle East’s only dedicated photography gallery, DIFC-based The Empty Quarter (TEQ) is renowned for the high standards of its cura- torial programming. Flying the flag for photography regionally is not always easy with an art form which “has taken people here a while to embrace,” says TEQ’s Creative Director Elie Domit, who co-founded the gallery with Her Royal Highness Princess Reem Al-Faisal (Can- vas 2.1). Lines are blurred in the distinction between photography as ‘art’ versus photojournalism – something which TEQ sought to address early on via the potential establishment of a top photogra- phy school in Dubai. “Between the Ministry of Education rejecting the idea and costly rents, we were forced to drop it,” explains Domit; “We couldn’t increase tuition fees to make the business plan work.” In an age which “has made it possible for anyone to take a picture”, the art of photography has been “somewhat trivialised” believes Domit. “When the world faces a tsunami, newspapers aren’t go- ing to wait for, say, Simon Norfolk or Edward Burtynsky to fly in and do a shoot,” laughs Domit. “People need to look back at how the first photographers experimented and how close their work was to Impressionistic painting.” In fact, “there is a strong link between photography and cinema within the Arab world,” adds Domit, citing the Lumière Brothers’ early films, which were shown in Cairo, Alexandria and Tangiers. TEQ’s programming includes varied shows – from whirling dervishes and India to fashion, Mongolia and the Hajj pilgrimage – the latter show, Mecca: A Dangerous Adventure, being hosted in collaboration with Dutch Leiden University and Hes & De Graaf Publishers. Because of the show’s nature and an opening deliberately scheduled during Hajj 2010, Domit had expected Middle Easterners to attend the vernissage and possibly acquire works. In the event, pieces did sell but to Europe- an collectors, as was the case with The Worst Journey in the World which showcased an Antarctic expedition shot by Herbert Ponting. Overall attendance was disappointing, however, but Domit isn’t deterred. Al- though just two years old, TEQ has already participated in Paris Photo twice, won the BMW Paris Photo Award (in 2009) and just published its fourth book, Oman 1971, in collaboration with Magnum photogra- pher Bruno Barbey. The gallery also hosted the Prix Pictet Earth world tour in 2009. “There are pockets of connoisseurs and our international collectors are a blessing,” Domit says, “What’s missing here though is the will, plain and simple.” TEQ is the only gallery in Dubai open from Being a gallerist 10am–10pm, seven days a week, a service designed, Domit adds, “to requires: True vision, a heart, combat the mall mentality and provide an alternative because, after passion, lots of patience and loads of money. Photography by Myrna Ayad. all, public spaces are for the public.” Perseverance is part of TEQ’s meth- odology; from its beginnings, Domit had to “argue the case of a gallery I know a work is good when: It has something to say versus a café at DIFC” and when the space was sealed, faced the tor- beyond what I just see. rent of the global recession. “We stuck to our guns,” he smiles, “it’s not just pretty pictures on the wall; this is an engagement with history.” Managing an artist’s career: Is like managing a rock www.theemptyquarter.com band – you always hope for the next big hit. 135 Aly Afshar A gallerist’s most important role is to: ETEMAD gallery Always smile and give insight about his/her artists. Biggest regret: Not being born in the early 20th century to buy early Picassos, Balthus, De DIFC and Al-Quoz’s Al-Serkal Avenue have become two of Dubai’s Kooning and Pollock. hottest gallery locations, with the latter now augmented by the I know a work is good arrival of a new space primarily dedicated to international art: when: I am immediately wowed Etemad Gallery. For Amir-Hussein Etemad and his cousin, Aly Afshar, by it. founders of Tehran’s Etemad Gallery, it was imperative for the Dubai The UAE art scene is: branch to be located within Al-Serkal’s specific artistic perimeter. Young and growing. “We were looking for a central place in Dubai. DIFC is a good vitrine but if we want to have a practice with an ambitious programme, the spaces there are too constricting,” explains Afshar. “It was really about being part of that close hub of wonderful gallerists.” Nine years after the establishment of the Tehran branch, which focuses on Iranian artists, the decision to open a second outlet in Dubai largely stemmed from the opportunities the duo sought in expanding towards a more global vision. Choosing Dubai was a natural decision for “an international programme”, given the city’s expanding art scene. “We had been discussing this move for years, watching Dubai mature from afar and were very encouraged,” admits Afshar. “When we saw that the art world had survived the storm of the crisis, we knew it was time to move in. The artistic envi- ronment here is vibrant and the cultural scene is the most cosmo- politan.” Proximity to other projects fostering the region’s art indus- try was another key factor in their decision: “Abu Dhabi’s Louvre and Guggenheim, as well as Qatar’s Mathaf: Arab Museum of Modern Art are also why we’ve come here,” adds Etemad, “and of course, the auctions, which have had a major impact on Iranian art.” New Wave–British Art Today, Etemad’s inaugural show, features works by five artists now represented by the Dubai gallery and who have held shows in the West – Tasha Amini, Tom Ellis, Dan Perfect, Mustafa Hulusi and Petroc Sesti. The choice to inaugurate the gallery with works by international artists is intentional, as Afshar asserts: “We are trying to carve out a more global identity and internation- alise our programme. These British artists are part of the new wave taking the UK by storm.” In communicating to “a large British com- munity here”, the gallerists were keen to “highlight the differences Amir-Hussein Etemad and Aly Afshar. Photography by Tala Chukri. under that umbrella, as their works speak right across borders.”While the Tehran gallery represents Iranian artists such as Shahriar Ahmadi (formally represented by Gallery Isabelle van den Eynde) and Asareh Akasheh, the Dubai space will eventually share a selection from this stable of emerging and established talents, but that is as far as the venues’ interdependence goes. Afshar dismisses the idea that these artists will find solace in Dubai’s less-restrictive environment and create more political works. “I don’t want to overstress the political side of our artists, it is not our focus.” With an ambitious line-up of 11 exhibitions a year, attendance at various fairs in the region – Art Dubai and possibly Beirut’s Menasart in July – the gallery also hopes to expand geographically and cement itself as a strong component in Dubai’s gallery scene. www.galleryetemad.com 136 uae GALLERIES special One of the catalysts for the creation of Ghaf flavour, a less hardnosed commercial aspect ing’ are words that spring to mind. “I sometimes Gallery was the aftermath of an exhibition that which we felt sat well with our ethos.” A few feel that I wrote the book on ‘Pushing the Enve- Emirati artist Jalal Luqman had held in 2004. His months after the gallery opened came the an- lope’,” laughs Luqman, “but there’s a very serious unconventional works – light years away from nouncement for the cultural development of point behind our programme. We want to raise the hackneyed Gulf art world of falcons, horses Saadiyat Island, and the UAE capital’s art scene people’s eyebrows and get them thinking.” and desert scenes – had made it difficult to find has not looked back since. Ghaf, meanwhile, set With an average of 15 shows a year, the a suitable exhibition venue. “My work is not about creating a different type of opportunity pace is furious but the rewards rich. Luqman beautiful, it’s rather raw, and I had a hard time from that usually provided by regional art galler- and Kanoo have seen the gallery’s profile and convincing galleries to take it. They were just ies. For a start, it aims at a much more informal activities grow in line with the art market. Par- interested in works they could make a profit and supportive arrangement with artists than ticularly innovative have been Jalal’s Art Trips, in from. There was no interest in art for art’s sake,” is often the case. “We don’t represent artists which a group of up to 15 artists are taken to explains Luqman, who, along with Mohammed as such,” explains Luqman, “preferring instead an inspiring location and then given six weeks Kanoo, founded Ghaf in 2006. “The idea had to offer a relationship based on mutual trust thereafter to create works for potential exhibi- been brewing for 12 years or so,” recalls Luq- and friendship rather than legalistic contracts. I tion at Ghaf. The future might include more man; “We were not looking at it commercially hate the idea of binding people. Artists should such ventures, as well as participation in art but in terms of ‘Here are expressions we want be free and able to ‘fly’.” This fluid approach is fairs and possible art consultancies, but there to show’.” reflected equally in the gallery’s international are enduring principles at stake to consider. The obvious question is, why Abu Dhabi? dimension – it has held shows by artists from “We plan to grow but also to stay true to what “Everyone kept telling us to open in Dubai,” every continent – as well as in the nature of the we started,” affirms Luqman, “which means art smiles Luqman, “but Abu Dhabi has a different works presented. ‘Challenging’ and ‘eye-open- for art’s sake, and providing a place where art- ists can be worth more than simply the works “Artists should be free and able to ‘fly’.” they create.” www.ghafgallery.blogspot.com GHAF GALLERY Photography by Anna Wallace-Thompson. A gallerist’s most important role is to: Be honest to the art and the artist. I wish the audience would: Understand how important it is to attend opening nights at galleries. Biggest regret: Not starting all of this sooner. In the next 10 years the UAE art scene will be: Dazed with all the influences from all over the world. 137 At the age of only 29 and in a span of just three Repositioning GAG as a Contemporary art GAG moved to Al-Quoz’s Al-Serkal, “specifically” years, Yasmin Atassi’s achievements as director of gallery was Atassi’s first challenge and one that what Atassi had wanted. Green Art Gallery (GAG) are impressive. In 2007 she required “a slow, gradual path” as she sought Trips to Istanbul furthered her Contempo- inherited GAG from her late mother, Mayla Atassi, to “maintain the space’s history” while taking rary quest and cemented her desire to “push the who, along with Amna Dabbagh, founded the gal- the gallery’s collectors into account. “History boundaries of the Dubai art scene”. Some may lery in 1995. Taking the reins was not an unwanted shouldn’t be forgotten and neither should those have thought bringing Contemporary Turkish familial burden, but an exciting challenge Atassi who supported GAG throughout the 1990s, art to Dubai was premature or risky – “I was criti- was keen to embark upon. “I could always see what when no one really bought art, and so I didn’t cised for not being ‘nationalistic’ enough with I wanted to do,” she says, “the difficulty was just in want to leave them behind or confuse them in regard to Arab art” – but Atassi admits: “I took getting there.” For Atassi, the road to “there” begun any way,” she explains. “In retrospect, I can say a gamble based on my instinct and that’s how primarily with the massive undertaking of guiding that it’s much easier to close down a gallery I work.” Among the Turkish Contemporary art- GAG more towards Contemporary Middle Eastern rather than rebrand one which had already ex- ists GAG represents today are Nazif Topçuoğlu art as opposed to Modern, the latter being the isted for 16 years!” she laughs. “If I’d listened to (Canvas 6.5) and Ebru Uygun, the latter marking genre in which the gallery had traditionally spe- many people, I wouldn’t have reopened GAG, GAG’s opening show at its new space last Janu- cialised. “Back then, artists such as Fateh Moudarres but I love challenges.” Next on her list was the ary. In synch with its “experimental” approach, and Louay Kayyali weren’t considered ‘Modern’ and space – a pivotal matter for Atassi and one which GAG will show a seven-channel video piece by focusing on the Modern meant we would operate went hand-in-hand with GAG’s repositioning. Turkish artist Hale Tenger in March at its Al-Quoz more as dealers rather than gallerists,” she explains; Contemporary art – in all its varied forms and space alongside Iranian-born New York-based “We still deal their works in the secondary market, media – greatly depends on its placement and artist Kamrooz Aram – “a coup for us” – through but I opted to concentrate on Contemporary art so began the hunt for a space that was “experi- the gallery’s participation at Art Dubai. “It’s been because I genuinely enjoy working with artists and mental”, as Atassi wanted GAG’s programme to a gradual transformation and it will continue to managing their careers.” be “a lot more edgy”. After a two-year search, gradually transform until the gallery programme is as I want it to be,” says Atassi; “It’s a long term GREEN ART vision and I don’t look for short-term gains.” www.gagallery.com GALLERY Photography by Myrna Ayad. Being a gallerist requires: Charisma, honesty, dynamism, lots of energy and comfortable heels! Proudest moment: When I opened our new gallery space in Al-Serkal. I wish the audience would: Be more critical. uae GALLERIES special If I could do it all over again, I would: Have specialised in Emirati art earlier. I wish the audience would: Be more interested in Emirati art. In the next 10 years the UAE art scene will be: Brilliant. There is an amazing future ahead. Gallerists will never tell you that: They are doing well or they are doing badly. UAE Minister of Higher Education and Scientific Research with Alanood Al-Warshow. Image courtesy the gallery. His Highness Sheikh Nahyan Bin Mubarak Al-Nahyan, HUNAR ART GALLERY UAE national Alanood Al-Warshow knew that she mosphere where they are free to move around,” was taking a gamble when she decided to open explains Al-Warshow. Representing 30 artists to Hunar Art Gallery in Dubai in 1998. “Back then, peo- date, including Al-Rais, Salim and Dr Najat Makki, ple – and especially the local community – weren’t the gallery features Middle Eastern works and, thinking about the arts,” she recalls. “Some thought since 2001, has had a special focus on Emirati art, the idea was strange. More than that, the question a new direction which came about as a result of was: who was going to buy this art?” Fast-forward Dubai’s fast-growing art scene. “Being in the mar- 13 years and the city is swarming with collectors ket for so long and seeing what was happening and aficionados of Middle Eastern art. “Things have around me, with all the galleries opening and definitely changed,” smiles Al-Warshow. auction houses booming, I decided that Hunar Deciding to open a gallery in the first place Art Gallery should be a platform to serve Emirati was hardly a new idea for Al-Warshow. Having artists. I want to be there for them,” emphasises Al- collected art since the age of 16, she felt it was Warshow. “People need to know that we have art her duty to share her pieces with the public. “I here. We need to raise more awareness.” was thinking about it for a long time and had Today Al-Warshow is pleased to see a varied “I decided that been collecting works by Contemporary Middle public coming to her doors, and one that includes Eastern artists such as Nja Mahdaoui (Canvas 4.3), Emiratis: “Of course I have international collectors, Hunar Art Gallery Abdul Kadir Al-Rais (Canvas 1.1) and Abdul Rahim but the Emiratis are more prominent. Initially, I Salem,” she says. “But the concept of the gallery only saw local men at art events, but now I see should be a was not just about selling art; I also wanted to couples and entire families. Expatriates already play a role in educating the local community. I know the value of art and appreciate it, but see- platform to serve remember going to beautiful houses with very ing interest from locals has been very rewarding.” nice furniture, but absolutely no art, so I knew With plans to expand the gallery, publish books Emirati artists. that there was a gap in the market.” Nestled in a and create an art consultancy division, plus a two-storey villa in Rashidiya, Hunar Art Gallery keenness to participate in international art fairs, I want to be there provides a relaxing environment and intimate Al-Warshow only has one request to add to her setting far away from the hustle and bustle of wish list: “I would like to see the corporate world for them.” the city. “I chose a villa because I wanted peo- and government support more Emirati artists.” ple to feel at home. Most art lovers want an at- www.hunargallery.com 139 gallery isabelle van den eynde In global art conversations on galleries in the Middle East, Gallery Isabelle van den Eynde (IVDE) is among the very few names often cited, not solely for a roster that includes some of the region’s ‘startists’ – among them, Rokni and Ramin Haerizadeh (Canvas 5.6), Reza Ara- mesh (Canvas 5.5) and Farideh Lashai (Canvas 3.6) – but also for its strategic, progressive approach in managing its artists’ careers. This methodology has, among other aspects, led to works by some of IVDE’s artists being acquired by major international institutions and collectors, including the British Museum, Mathaf: Arab Museum of Modern Art, JP Morgan Chase and the Rubell Family, as well as collec- tors extraordinaires Charles Saatchi and François Pinault. A feather in van den Eynde’s cap to be sure, but not one that she feels is a vital fac- tor or ultimate objective in IVDE’s stratagem: “We still have a lot more to do in terms of communication and awareness and when Western institutions acquire Middle Eastern art, it is because there is a realisa- tion that the works speak a universal language.” While the Belgian-born gallerist has carved out a name for her- self on the Dubai art scene, she is equally renowned in Iran where she makes frequent trips, scouring the country for emerging talent. IVDE recently held What Lies Beneath – a sold-out group exhibition of six Contemporary Iranian artists gathered by Rokni Haerizadeh. Like many of her counterparts, van den Eynde’s decision to show fresh tal- ent in a budding art scene is a great gamble, but one which combines instinct and fearlessness. “The art has to be immensely interesting, original and grounded in intelligent reasoning, reflective of the artist’s practice,” she explains, only to be interrupted by her husband, Arnaud Rivieren – “a key figure behind the scenes, involved in decision-mak- ing” – who puts it simply: “Ah, the famous eyes of Isabelle!” The pres- entation of “original” art has met with obstacles, primarily the issue of censorship, and while IVDE “tries to represent the works of our artists as loyally as possible, we want to respect the sensibilities of the com- munities in which we do business.” How does the gallery manage? “I’m like an Iranian artist,” laughs van den Eynde, “I find subversions.” Van den Eynde asserts that the credit is first and foremost owed to her artists, with whom she “started from scratch, at a time when A gallerist’s most there was no reference on Contemporary Iranian art”. It is a path, she important role is to: ‘Place’ your artist’s works. adds, that has led to “mutual loyalty”. IVDE moved to a new space in Al-Quoz’s Al-Serkal in March 2010 and was rebranded to IVDE from Do you choose the art or does the art choose you? the former B21 Gallery, where van den Eynde had partnered with Ira- Is there a difference? nian art patron Farbod Dowlatshahi, for whom she has “a lot of affec- tion”. IVDE’s ambitions are many and varied, including participation Photography by Myrna Ayad. It would be an honour if: Larry Gagosian visited my gallery. in international art fairs (Art Brussels this year, for example) and book publishing. Like any small, efficient team, its members wear many Five years ago, I would never have believed that: hats and van den Eynde is quick to acknowledge IVDE’s key players, Two art fairs would coexist here. comprising her husband, and sister, gallery manager Tessa de Caters. “I’m surrounded by family,” she smiles, “and I persevere.” Galleries in the UAE should: Develop more urban www.ivde.net art projects. 140 uae GALLERIES special Hetal Pawani Being a gallerist requires: A bit of eccentricity, mad attention to detail and patience, among other things! I wish the audience would: Be more interested in the art than the champagne. In the next 10 years the UAE art scene will be: Hopefully sustainable. Artists will never tell you that: On the contrary, sometimes they tell you more than you want to know! Hetal Pawani and Rachael Brown. Photography by Tala Chukri. the jamjar From its beginnings in 2005, thejamjar has here for meetings or to read while absorbing events; and the ArtMap, a triennial publication evolved from a gallery space with a studio, which the art.” featuring art listings and a map outlining the city’s offered paint materials, easels and canvases for Representing five artists – Fahd Burki, Nadia art venues. would-be painters, to a full-fledged arts organi- Khawaja, Subodh Kerkar, Lantian Xie and Alastair Despite the Middle Eastern art boom, thejam- sation with an ambitious programme. Since its Newton-Brown – thejamjar has recently set up a jar has resisted caving in to market trends, instead inception, director Hetal Pawani has abided by residency programme to work with more locally remaining committed to its community-focused the same principle: to give the local community based artists and young curators. “It allows us to vision. “Dubai’s art scene has grown very organi- a chance to embrace the arts. “It was a very new build a relationship with artists and if the equation cally but the art spaces we see are very com- concept when we first opened and we wanted works, then we look to represent them. This year, mercially led. One of the main interests for me is to give people a chance to come, touch, feel and we are also launching a new gallery programme to develop new audiences,” says Rachael Brown, appreciate art,” she explains. “We have grown with our next show, HEAR ME ROAR, curated by At- Head of Special Projects. “This is a transit city, so very naturally, because our objective from the teqa Ali,” explains Pawani. Seeking to shed light on the idea is to retain people here and I think art beginning was to build audiences, remove in- local and international Contemporary artists, and and culture play a big role in that. We need to hibitions and promote artists.” The initial venue with an extensive studio programme encompass- have more than just glitzy openings – we need was a modestly-sized outlet near Oud Metha’s ing music, film, theatre and literature, thejamjar events to engage people in the arts.” Also offering Lamcy Plaza area, but in 2007 thejamjar moved serves as both a catalyst and platform for artists in an art advisory service, creative learning work- to a 372 square-metre space in Al-Quoz which the UAE. ArtintheCity is another important com- shops and tours and the organisation of corpo- also features a small café. “The gallery runs its ponent of thejamjar special projects umbrella; it rate art events, thejamjar plans on “expanding to own programme and anyone can come in and includes the famous ArtBus, which transports art cities with which we have a close connection and use the studio,” smiles Pawani. “People even come enthusiasts to fairs, biennials and other related participating in more fairs,” adds Pawani. “There is also the potential to segregate what we do as an “We need events to engage people organisation, so that each division can become a separate entity,” she says; “After all, the world is our in the arts.” playground.” www.thejamjardubai.com 141 Asmaa Al-Shabibi and William Lawrie. Photography by Myrna Ayad. uae GALLERIES special Asmaa Al-Shabibi Five years ago, I would never have believed that: I would be opening my own art gallery. What they don’t teach you at school is: You don’t need to know fractions in order to be successful. If I could do it all over again, I would: Make the same mistakes so I could learn the same lessons. I know a work is good when: I stalk the artist. lawrie shabibi One of the strengths behind this new gallery is would be as a gallerist. “At auction, you’re dealing the fact that the duo behind Lawrie Shabibi are with really specific pieces and not looking at whole no strangers to the art scene. Aside from an art- bodies of work,” he explains; “Being a gallerist is a lot ist mother, a curating stint at the Bastakiya Art Fair more open and fun, especially when spending time 2010 and over two years as Art Dubai manager, with artists at the grassroots stage.” Lawrie Shabibi Asmaa Al-Shabibi had long wanted to open a gal- was made official on 25 January through an email lery in Dubai and sought the advice of her friend, which announced the gallery’s inaugural show, by William Lawrie. Coincidentally, the ex-Christie’s renowned Lebanese artist Nabil Nahas (Canvas 4.6). Middle Eastern art specialist had been consider- Also on the gallery’s roster are Turkish artist Selma ing becoming a gallerist “for a very long time” but Gürbüz, Iraqi Sama Al-Shaibi, Tunisian Nadia Kaabe- the decisive factor depended on “partnering with Linke (page 196) and Lebanese Marwan Sahmarani someone who I can trust, get along with and who (Canvas 3.1) – the latter already familiar to Al-Shabibi, brings something to the table.” The decision to join as she had been dealing his works. A multinational forces, sealed during Art Dubai 2010, “was made mix is intentional, adds Lawrie, “ as it makes it possi- in like five seconds” laughs Al-Shabibi. By June, ble for us to widen the scope of the Dubai art scene.” “Artists get a she had found a space in Al-Quoz’s Al-Serkal but This begs the question: can the market sustain an- needed the go-ahead from Lawrie, who had to other gallery, especially given the cloud of the glo- lot more out “view it really early in the morning without anyone bal recession? “I heard this every month during my seeing him!” During the summer, the gallery was six years with Christie’s and, if it’s true, how come we of books than designed by Dubai-based Traffic. are where we are now?” asks Lawrie. Securing a physical space was imperative for Lawrie Shabibi features a project space for anyone else does the duo, not least in communication with the artists emerging artists and video work, and an advisory they were approaching. “It was a couple of months service, for which they already have a few private and that’s the of: ‘where is your gallery, ‘who are your other art- collectors. The gallery will also build its own collec- ists’, ‘who is your partner’, ‘where’s your logo’, ‘who tion and is open to a silent partner for financing key: to look is your first show’,” says Al-Shabibi, “and without a book publishing – “Artists get a lot more out of space, nothing is real yet.” Lawrie sent an email on 4 books than anyone else does,” says Al-Shabibi, “and after them.” October to friends and colleagues announcing his that’s the key: to look after them.” resignation, but few imagined that his next pursuit www.lawrieshabibi.com 142 majlis gallery One woman’s love for the UAE led to her raising her family in a house in the heritage area of Bastakiya, saving it from demolition and finally converting it into an art gallery in 1989. With a thriv- ing artist-in-residence programme, as well as a series of art exhibi- tions, framing and art consultancy services and the sale of furni- ture and crafts, its owner, Alison Collins, remains open to the gal- lery’s future direction. “We never really took a conscious decision to focus on anything, so our collection is really quite eclectic,” she explains. “From Bahraini Jamal Abdul Rahim and the Iranian Dare- hbaghi brothers to Syrian Khaled Al-Saai (Canvas 3.3) or Emirati Abdul Kader Al-Rais (Canvas 1.1, page 200) alongside artists such as Julian Barrow and Paul Wadsworth from the UK, I suppose the common thread between them is the humanist quality to their works.” Relocation, despite the fact that Bastakiya is no longer the hub it was before, is out of the question. “The fact of the matter is that this place is the Majlis gallery. How do you replicate it? To do that would be a purely commercial move, and that’s just not what we’re about,” affirms Collins. Among Majlis’s cornerstones is a gallery-artist relationship based on a certain freedom and whole-hearted support. “I’ve al- ways felt the role of a gallery isn’t just to curate,” says Collins. “We’re there as a complete support system. Our relationship with our art- ists is more of a friendship – they may show in other places, even in Dubai, which doesn’t matter because this is a big market, but at the end of the day, there is a mutual loyalty.” Times are changing and the gallery has seen its opening nights moved to weekends, for example, to accommodate the shift in demographics caused by an expanding urban environment. How else has Majlis managed change? “I think the market always changes and we’ve never tried to be too market-driven,” says Collins, “but you do have to be aware of where it’s going. In that sense, I feel the market crash was an ex- cellent thing. There is a new integrity and honesty in the art world. It has made people sit back and focus on quality, ethics and sincer- ity.”This is partially the reason that Majlis has focused on expanding its artist residency programme, coupled with a busy schedule of workshops. “There’s a feeling in the art market that people would rather spend money on experiences than on things,” she says. Collins has also witnessed an increased awareness of art in Photography by Anna Wallace-Thompson. the local population, adding that the inclusion of art education in If I could do it all over again, I would: Do it all over again. the UAE’s national curriculum is “the most wonderful thing”. With plans to perhaps hold an exhibition of UAE-based expat painters A gallerist’s most important role is to: Listen. in London, Collins adds that there will be some “really cutting-edge work” in the near future. Looking back over the past 21 years, she What they don’t teach concludes, “I think the biggest lesson in all of this is not to box you at school is: The difference between cash flow yourself in. If you’re too defined in your planning, it leaves no room and profit. for serendipity.” Managing an artist’s www.themajlisgallery.com career means: Investing a lot of time. 143 I respect artists who: Are great draughtsmen, have a style of their own and engage with other artists. Sometimes I want to Al-Serkal’s Mojo Gallery’s inaugural show in take that artwork home because: It is a work of genius November 2009 of South African artist Gail Cat- and totally inspiring. lin’s interactive liquid works was unique, some- how epitomising what Gallery Director Kurt Galleries in the UAE should: Work together, not Blanckenberg has been trying to achieve ever against each other. since: providing a different outlook. Since then, What they don’t teach the gallery has hosted an eclectic series of ex- you at school is: The art hibitions by artists as diverse as Indian-Austral- world is cut-throat and not as ian Binu Bhaskar, Iranian Ali Azarmi, UK-based rosy and honest as it makes out. Image courtesy the gallery. Hatty Peddar and German René von Boch. It has also hosted group shows, most notably the University of Sharjah’s senior design show and two of the four-part series As It Is!, featuring art- meem ists from the African continent and for which, along with Shannon Ayers Holden and Anna- belle Nwanko-Mu’azu, Mojo have produced GALLERY impressive catalogues. With its past two exhibitions dedicated to Contemporary African art, one wonders if the Opening its doors in 2007, Meem began with exhibitions by Ali Omar Ermes (Canvas 6.4) and Nja gallery, which Blanckenberg owns alongside Mahdaoui (Canvas 3.3), and went on to represent Parviz Tanavoli (Canvas 4.2), Abbas Kiarostami partners Mark Rogers and Bob Peddar, is leaning (Canvas 6.6), Dia Al-Azzawi, Nedim Kufi (Canvas 4.1), Hamza Bounoua and Mona Saudi. Publications towards this genre. “We will definitely carry on have also been produced, including weighty tomes on Tanavoli and Al-Azzawi. “The more informa- engaging with Africa,” says Blanckenberg, “but it’s tion you give a collector, the more confidence they have to buy a great work of art and, in general, it is so important to archive exhibitions due to the limited documentation in the region,” explains Managing Partner Charles Pocock. Image courtesy the gallery. Founded by Pocock, Sultan Sooud Al-Qassemi and Mishal Hamed Kanoo, Meem’s mission has included education and documentation from the start. “A gallery should be a neutral space. Is the space there to sell the work? No, the work should sell itself. A gallery is just a white box with good lights,” says Pocock. Within this space is the Al-Noor Institute of Middle Eastern Art (NIMEA) library. Recently displayed at Abu Dhabi Art 2010, it holds an impressive 2500 auction catalogues and 4500 books, many of them rare editions, and is also open to post-graduate research. “The tragedy is that there aren’t a lot of libraries in the region,” says Pocock. “A lot of books were printed in the 1960s and 70s, but a lot of material became inaccessible.” Dealing with institutions such as The British Mu- seum, Tate, Mathaf: Arab Museum of Modern Art and Guggenheim, Pocock sees the gallery’s role as a producer of good-quality bilingual artist books. It is a process which “has been a bit exhausting, as there’s been no benchmark to follow. But NIMEA really allows us to do vital research in an area where so much has been destroyed or lost.” I wish the audience would: Publications are costly and so is running a gallery, especially in a downturn. “I’ve been pleas- Look more. Think deeper. Drink antly surprised at how few galleries shut down at the peak of the recession,” observes Pocock. less. And buy plenty. “There is now less investment in hype and marketing and more investment in the work itself. The I respect artists who: flip side is that many people believe galleries should take on the duties of museums. Dubai needs Achieve the balance between a permanent pubic exhibition space where quality shows can be held.” Meanwhile, Meem takes art and business without selling their soul. pride in organising non-commercial shows, which Pocock admits are “incredibly satisfying”, despite the costs involved. “It would be great to show an exhibition exploring Picasso and Al-Azzawi, or Sometimes I want to take that artwork home Jawad Salim alongside Henry Moore at the Guggenheim Abu Dhabi, for example, so audiences because: I get the chance to can see how different art movements are interlinked.” indulge in it on my own terms. So what does the future hold? “Middle Eastern art needs more publications, especially bilingual It would be an honour if: ones. People have a right to read about their own culture in their own language. We need art to be Steve Martin visited my gallery. accessible at school. The Arab culture is one of the richest in the world.” Artists will never tell www.meemartgallery.com you that: They watch The X Factor. 144 uae GALLERIES special too early to be an area in which the gallery will would love to see more universities getting in- specialise. I’ve found these shows very reward- volved and more school trips coming down our ing, being South African myself, and by interact- way, because the value that art and culture add ing with these artists I’ve seen that there’s a real to a local scene is invaluable.” Opening a gallery talent there, a history and a magic that reveals at the peak of the recession in a competitive art a side of Africa few people get to see.” In fact, market must have been a challenge, but Blanck- the exhibition line-up is part of Mojo’s mission enberg maintains that, aside from rewards and to introduce art that is new to the UAE art arena. frustrations, the gallery’s biggest achievement “An art scene is not going to evolve if people are “above all, is to have contributed to a base of exposed to the same things,” he says, “and much people that collect art here and have a wide of the feedback we’ve had is that it’s refreshing taste”. He hopes that Dubai’s positioning as a to be exposed to art that is perhaps a little dif- global city will eventually be reflected in the ferent to what is the mainstream here.” It is this local art scene. Working with international gal- freshness that defines the gallery’s outlook, with leries, as well as hoping to organise more artist Blanckenberg keen on “conceptual integrity, how talks, Blanckenberg also engages with emerging well the work is executed, and how it pushes a artists – both Middle Eastern and international – particular genre” when looking at new artists. as the gallery sees its mission to promote these Based in the UAE for 15 years, Blanckenberg rising talents both locally and abroad. “I’m trying is also adamant about the need for government to get these artists out there,” he says, “and that, support to fund arts programmes and increase at the end of the day, is what I’m supposed to audience awareness. “Things are moving a lit- be doing.” tle slower than I would want them to, but the www.themojogallery.com scene is definitely improving,” he observes. “I mojo gALLERY “An art scene is not going to evolve if people are exposed to the same things.” 145 Proudest Moment: When we partnered with Etihad Airways to create the first onboard sale of artworks. This is a world premiere! OPERA gallery Five years ago, I would have never believed that: I would run two galleries in Dubai. Galleries in the UAE Two of Opera Gallery’s 12 branches worldwide are located in Dubai; should: Support the creativity One in DIFC, which opened in 2008, and another in Dubai Mall since of the new generation of regional artists, who truly need August 2010. Known for its blend of works by international Modern guidance and support. and Contemporary artists – including Renoir, Hirst and Picasso – Op- What they don’t teach era’s Dubai galleries also feature works by Middle Eastern artists Pooya you at school is: Listen Aryanpour and Alireza Fani, among others. At any one time, the galler- to your heart and follow your ies can hold up to 400 works each. Dubai director Bertrand Epaud was instincts. They are never wrong. a collector familiar to Opera and was asked to lead the Dubai opera- tion as part of the organisation’s “major expansion programme”. The city’s cosmopolitanism, geography and multinational society were strong incentives prompting Opera’s venture to Dubai. “The target was the expatriate and local communities who were buying from our other galleries,” explains Epaud, “and we are the only gallery in the re- gion, from Syria all the way to India, that sells Western masterpieces.” Despite the global economic recession raging at the time, Epaud ac- cepted the challenge and strove to look beyond the Dubai market initially. “We were hit in a very major way by the downturn,” he says, “so I took some paintings and travelled across the region.” The first stop was Oman, where Opera joined forces with the municipality of Muscat to showcase works by masters in Bait Al-Baranda gallery. “We sold 15 artworks in the first evening,” smiles Epaud, who went on to hold simi- lar exhibitions in Beirut, Doha and Abu Dhabi. Opera Dubai recently held an exhibition of monumental Dalí sculptures and jewellery in the Bahrain Financial Harbour Fine Art Gallery. Also in its regional pipeline is a major photography competition aimed at discovering budding Middle Eastern artists; the prize includes a scholarship to an acclaimed visual arts school in New York and the financing of an arts project of the winner’s choice. Plans in the UAE this year include an exclusive partnership with Etihad Airways, whose lounges and in-flight maga- zine will showcase artworks from Opera. “An in-flight video will also explain the concept of buying art,” adds Epaud, “and will include foot- age of artists in their studios, explaining their works.” The gallery’s Dubai Mall outlet is in a location far removed from the traditional arts sphere, but it is one which Epaud defends unequiv- ocally. “When you live in this region, what is the culture?” he asks; “It’s living in malls, in which people spend a lot of time. And this isn’t any mall – it is the biggest in the world!”While the gallery’s collector base in the DIFC consists primarily of those working in the financial sector, the new site has attracted audiences that aren’t typically exposed to such artworks. Epaud cites “incredible footfall, with visitors from the Gulf, Pa- kistan, India, Russia and Iran. We are educating them and provide full Photography by Myrna Ayad. access.” In spite of its globalist nature, Opera Dubai is trying to channel initiatives both locally and regionally and is currently working with re- gional universities to organise workshops. “We are trying to really affect the community,” says Epaud, “and one way to do this is by supporting the creativity of a new generation of artists in the Middle East.” www.operagallery.com 146 uae GALLERIES special In a sense, Salwa Zeidan Gallery (SZG) has had two lives. Its first incarnation opened in Abu Dhabi in lieve in the power of positive energy,” she says. “And I’ve been on the receiving end of aloof “I want 1994, before owner Salwa Zeidan left the UAE a year later and it closed. “Afterwards I kept up to gallerists overseas, so I strive to always be open- minded and approachable. It doesn’t matter how the gallery speed on the developments in the UAE and par- ticularly in Abu Dhabi,” she says, “and I noticed the informed or not somebody is about art, if they visit the gallery we always take time to walk them to become changes with the coming of the auction houses in Dubai and the construction on Saadiyat Island. through it and communicate with them.” With plans to attend international art fairs a hub.” Audience awareness started to develop and the and expand the gallery space, Zeidan also hopes Abu Dhabi government showed a real commit- to increase the amount of activities taking place. ment to art and culture.” SZG opened in Janu- “I want the gallery to become a hub,” she says, ary 2009 with an exhibition of works by Emirati “a space where people can gather, whether for artists and the gallery has since participated in poetry, comedy, workshops, live music or per- Abu Dhabi Art and organised the inaugural formance art; it would be great to turn this into Abu Dhabi International Sculpture Symposium a cultural centre.” Representing some 15 artists, (ADISS). “You have to be proactive,” she says. “In a her stable, like her clients, is diverse and spans few years the museums in Abu Dhabi will open, from Middle Eastern to Western and Asian. Zei- so we have only that time in order to help raise dan’s only prerequisite is that an artist is “genu- art awareness for local audiences. There are so ine in his or her expression.” Meanwhile, she is many things happening at the moment and I’m pleased with the increase in Emirati collectors the sort of person who just has to give it her all.” in recent years. “It makes me so happy to see a Zeidan works closely with her artists, seeing young Emirati walk into the gallery,” she smiles. herself in a mentoring role to help them work “I’m so in love with this place and appreciate the on their strengths and weaknesses – something initiatives the government is taking. Art is so im- which has been important to her from the start. portant, and without it, our lives would be dull An artist herself, she puts great emphasis on and empty.” communication and accessibility. “I really do be- www.salwazeidangallery.com SALWA ZEIDAN GALLERY Image courtesy the gallery. I respect artists who: Are not afraid to venture beyond their comfort zones to raise their own benchmarks. Five years ago, I would never have believed that: Art would be centre stage within the UAE. Galleries in the UAE should: Nurture local and regional talents. 147 Lateefa Bint Maktoum I respect artists who: Put their heart and soul into their art. Do you choose the art or does the art choose you? The art chooses you. In the next 10 years the UAE art scene will be: Diverse and compelling. Galleries in the UAE should: Create a collaborative schedule for all of their openings and events. Gallerists will never tell you that: An artwork is over-priced. Artists will never tell you that: They have not finished yet. Image courtesy Tashkeel. TASHKEEL Tashkeel is based on a mission to provide a them to start using their hands again.” While it bers’ gallery opened in Bastakiya. “The Dubai space for artists to not only create, but to cre- does not represent artists, Tashkeel boasts 167 Culture and Arts Authority (DCCA) offered it to ate collectively, and was founded by Lateefa Bint members to date and seeks to nurture talent us and I am always up for the challenge of creat- Maktoum and Jill Hoyle. Maktoum had studied living and working in the UAE through provid- ing an energised venue,” Maktoum explains. “The at Zayed University (ZU), where she enjoyed ing facilities and ultimately introducing artists’ studios in Nad Al-Sheba are communal, but the spending time with “a community of artists”, creations to the public. “The emerging artists one in Bastakiya will allow members to have a but it dawned on her that upon graduation “we are showing the experienced ones how to use whole studio to themselves.” would no longer be able to work side by side.” new technology and the established artists are Tashkeel also hosts international residency She considered the possibility of bringing such teaching the up-and-comers the classical way of programmes; the next, organised in partnership communal creativity into “real life” and discussed doing things,” she smiles. “The meeting point of with DCCA, Art Dubai and The Delfina Foundation the idea with Hoyle, who was her supervisor at these two minds brings forth new ideas.” with the support of the British Council, is taking ZU. Tashkeel was formed in 2008 and the roots Although members pay a fee to use the fa- place in the lead-up to Art Dubai and features art- of its location (in Nad Al-Sheba) run deep for cilities, there is an application process for artists ists Abbas Akhavan and Tobias Collier. “By bringing Maktoum – the space was formerly Lateefa Col- looking to showcase their works in the space. people from different cultures, we create artistic lege, a fine arts institute set up by her father. “They don’t have to be members, but we do have dialogue,” adds Maktoum. “We are actively search- “When it was closing down, we didn’t know a vetting process. Jill and I filter them out and try ing for artists who live here. I call them ‘hidden what was going to happen to all the facilities to help artists grow until they are ready to show,” gems’, because they might be creating in isolation so we got permission to take it over,” she says. says Maktoum. Among those whose works have and not know how good they truly are,” she says. Today, the space offers a gallery alongside state- been displayed are Alia Al-Shamsi, Gita Meh and With plans to eventually represent artists, Tash- of-the-art facilities ranging from dark rooms and Reem Al-Ghaith. Exhibitions run on a bimonthly keel’s creative nucleus has its sights clearly set on textile-printing and sewing machines to draw- basis and in January this year a new space com- undiscovered talent. ing tables, jewellery-making stations, 3D studios, prising six artist studios and a dedicated mem- www.tashkeel.org a MAC suite, a reference library, workshops and a “We are actively searching for artists who live photography studio. The organisation encourages a ‘back to ba- here. I call them ‘hidden gems’.“ sics’ approach. “People don’t go for pencil and paper anymore,” explains Maktoum, “we want 148 uae GALLERIES special the third line One of the UAE’s hottest galleries, The Third Line (TTL) has come a long way since it burst into the limelight six years ago. “When we talked about opening a space, we thought we wouldn’t last more than six months,” smiles Sunny Rahbar, who, along with Claudia Cellini and His Excellency Omar Ghobash (page 102), are TTL’s founders. The gallery has instead stayed ahead of the market, amassing an impressive stable of artists, including Farhad Moshiri (Canvas 1.5), Susan Hefuna (Canvas 3.6) and Youssef Nabil (Canvas 1.1). Dedicated to Contemporary Middle Eastern art, TTL boasts 24 artists, nine of whom are Iranian. The gallery has – albeit not intentionally – played a key role in supporting the wave of Iranian artists that has taken the Middle Eastern art scene by storm, including Golnaz Fathi (Canvas 5.1), Pouran Jinchi (Can- vas 5.5) and Monir Shahroudy Farmanfarmaian (Canvas 4.5). “It’s easy to have an Iranian emphasis, simply because there are more artists from Iran now,” concedes Rahbar. Located in Al-Quoz, TTL was able to expand to adjoining premises last March. With “more people wanting to see other works than those on show”, this expansion brought more storage and of- fice room, as well as a project space in which unrepresented artists can show alongside established ones. Drawing collectors from the region and abroad, TTL also prides itself on fostering a generation of young collectors. Up to 50 per cent of our buyers are young, and include Arabs, Indi- ans and Europeans.” The gallery, however, has not been reces- sion-proof. TTL opened a short-lived second venue in Doha’s Al-Waqif Centre in 2008. A seemingly attractive endeavour in a Sunny Rahbar and Claudia Cellini. Photography by Mohammed Somji. Image courtesy The Third Line. city with “a whole checklist of ‘pros’,”it closed in 2009 due to the mounting pressure of the recession. Rather than waiting for the economic storm to pass, TTL sprung into action, focusing more on their art consultancy and communications division (recently branded as three Consulting & Communications). “We’ve done consultancy since day one and offer advisory services on individual and corporate collections and also have a database of journalists that we know, so we also do regional Sunny Rahbar communication,” says Rahbar. Clients have included DIFC, Being a gallerist requires: the Radisson Hotel and recently, Mathaf: Arab Museum of Patience, a lot of love and Modern Art. a BlackBerry. This year sees the publication of books on Huda Lutfi A gallerist’s most (page 208) and Farmanfarmaian under the gallery’s publishing important role is to: Understand. Represent. Protect. arm, Works on Paper, founded in 2007 and which has published Lamya Gargash’s Presence as well as Tarek Al-Ghoussein’s (Can- What they don’t teach you vas 1.4) In Absentia. Having survived the turndown and with at school is: Exactly what matters most. projects in the pipeline, Rahbar’s perspective is optimistic: “Whoever is still in it now,” she avows, “is in it for the long run.” Managing an artist’s career means: Being sensitive, www.thethirdline.com listening carefully and being there all the time, all the you. 149 Being a gallerist requires: Patience. If I could do it all over again, I would: Have become: A psychiatrist. A gallerist’s most important role is to: Educate. I wish the audience would: Be curious. I respect artists who: Are modest. Gallerists will never tell you that: They make money. Image courtesy the gallery. traffic Originally opening in 2007 as a design space, Ahmed Mater (Canvas 7.1) and Faisal Samra as Traffic has always been my place to experiment Traffic was rebranded by owner Rami Farook after (Canvas 1.2). It also houses PRINT, a store and art has been a part of it. This has been more of success with artist James Clar at Art Dubai 2010. stocked with Contemporary art publications. a natural evolution than an abrupt change.” The art gallery opened its doors in a new 1000 “Ideally, I would have liked a larger space to ac- As an Emirati gallerist, Farook is keen on di- square-metre Al-Quoz warehouse in November commodate more storage and artist studios,” ex- versifying the art pool and The Farook Collection 2010 with the dual shows, Hit Me With Your War plains Farook. “The plan was to have a residency features a mixture of international and Middle Tune by Hesam Rahmanian and THE STATE: Works programme.” So far, the transition from design Eastern art. “I’m all about non-national art,” he from the Farook Collection. “I have a collection initiative to art gallery has been smooth, with Fa- insists. “And Dubai itself has been growing or- of some 300 works which I’ve had for years; I’ve rook finding audiences receptive to the change. ganically. Over the past five years, we’ve seen an showed them, enjoyed them, documented them “Traffic has managed to build itself as a successful increase in artists, galleries and collectors. Abu and loaned them. Art is worth sharing,” affirms Fa- brand,” he says, “and art has always been a part of Dhabi is taking the museum-direction, which in rook, who sees his personal collection as helping Traffic, so we didn’t actually go for a big advertising turn complements the gallery scene in Dubai. It’s fill a gap caused by the lack of non-commercial campaign in the lead-up to our official reopening.” a nice balance.” All in all, Farook is optimistic about shows in Dubai. “It would be nice to have a mu- Working together with Associate Director Nina the future. “The biggest mistake is when you get seum here,” he says, “and a proper art school, more Trojanovic, Traffic is also focusing on educational yourself into something bigger than you can han- bloggers and art writers and, above all, critics. We talks – with figures such as Don Thompson of dle. If something is meant to be, it will be, you need more critique in order to grow.” The $12 Million Stuffed Shark fame – and carefully have to go with the flow,” he says. “This is some- Showcasing commercial and non-commer- documents its artworks and shows. “The biggest thing I want to continue. My joy is curating the cial shows, Traffic now represents artists such as challenge so far has been changing people’s per- collection, the shows and working with artists.” Ayman Yossri Daydban, Abdulnasser Gharem, ceptions of Traffic,” says Farook. “We kept the name, www.viatraffic.org “The biggest mistake is when you get yourself into something bigger than you can handle.” 150 uae GALLERIES special Ensconced within Bastakiya’s historic setting, XVA Gallery – which also boasts an art hotel and vegetarian café – has been flying the flag for the cultural district since 2003. Its owner, Mona Hauser, even took it upon herself to establish the Bastakiya Art Fair in 2006, an annual independent fringe art fair that runs during Art Dubai and promotes emerging local and international artists. Now located in DIFC, XVA opened its new doors with the group show Between the Lines in January 2011 – a move that, whilst in stark contrast to the gallery’s original premises, does not signify an exit from the city’s traditional quarter. “We are not leaving Bastakiya,” confirms Hauser. “XVA Art Hotel and café will stay there and the gallery space will be in DIFC, where exhibitions will take place. There will still be art on display at the hotel.” DIFC has grown steadily into an important art hub perfectly fitting XVA’s need for a “vibrant atmosphere”. Also, with the city’s notorious traffic congestion affecting access to Bastakiya, the new space will inevitably improve the gallery’s exposure to the public. “It will be great for the exhibitions because of the accessibility. I am also attracted to the communal and lively feeling found here,” says Hauser. Through assiduous research and the constant pursuit of new talent, XVA has amassed an im- pressive stable of artists, both international and Middle Eastern, including Al Braithwaite, Halim Al-Karim, Morteza Zahedi, Simeen Farhat and Hadieh Shafie. The new space will not hamper the gallery’s artistic mission, but provide superior conditions to showcase works. “It has given us the chance to elevate the programme and we’ve made a few changes as a result. The Bastakiya space will be used for experimentation by emerging artists,” says director Madeline Yale. Hauser also be- lieves that minor changes within the gallery’s configuration will be required to accommodate the move. “There will definitely need to be an adjustment. Staff will probably go back and forth between both venues and we will bring in more people.” Despite an already-heavy exhibition schedule for 2011 and plans to procure more artists as well as to publish books, the gallery also intends to participate in more art fairs, both in the region and abroad. “We have attended the Asian Contemporary Art Fair, ShContemporary and the Hong Kong International Art Fair, but we are now also interested in Europe,” says Hauser. Almost a decade after it first opened, XVA’s programme con- tinues to reflect the energy that has helped confirm its place on the local art circuit. www.xvagallery.com xva gallery I wish the audience would: Grow. I respect artists who: Challenge me. In the next 10 years the UAE art scene will be: Without training wheels. Image courtesy the gallery. The UAE art scene is: Happening. What they don’t teach you at school is: How to spot emerging talent. Artists will never tell you that: Their work took five minutes and a lifetime to make. 151 foundations Sultan Sooud Al-Qassemi A gallerist’s most important role is to: Educate the community on art. I wish the audience would: Bring their families and children more often. I respect artists who: Tell me if they were inspired by other artists and don’t repeat artworks. Galleries in the UAE should: Coordinate openings. Gallerists will never tell you that: They’re saving that piece for a friend of yours. My long nights are spent: Tweeting. Mandy Merzaban and Sultan Sooud Al-Qassemi. Photography by Anna Wallace-Thompson. BARJEEL ART FOUNDATION Since the Sharjah-based Barjeel Art Foundation Moudarres, Nabil Nahas (Canvas 4.6), Ismail Fattah by Al-Qasba, yet stresses the importance of public (BAF) opened a year ago, it has loaned works as (Canvas 1.3), Ali Omar Ermes (Canvas 6.4), Adel support for the arts. Another key element, he says, far and wide as Morocco, the USA, Germany and El-Siwi, Susan Hefuna (Canvas 3.6), Ghada Amer is that of education. “We are working hard to hold Turkey, as well as to neighbouring emirates Abu (Canvas 6.1) and Jeffar Khaldi, among others, the talks, panel discussions and workshops here,” adds Dhabi and Dubai. The Foundation is the brain- emphasis leans towards the Contemporary, with gallery manager and exhibitions curator Mandy child of Sultan Sooud Al-Qassemi and houses Al-Qassemi citing the restricted availability of Merzaban, “and we want to activate this space to some 500 works, predominantly by Arab artists. Modern works as a reason for this slant. “The ob- make it more dynamic by approaching universi- The word ‘Arab’, is paramount, for Al-Qassemi – jective of the Foundation is to create a dialogue ties and cultural institutions.” The Foundation has who also contributes regularly to The National on Arab art,” he says. Featuring emerging, estab- already seen visits by international journalists and and is a partner at Dubai-based Meem Gallery, lished and Diasporic artists, as well as those who student groups and is focusing on its future struc- in addition to sitting on the board of Art Dubai live in the region and those “who may have left ture. “We need to look at documenting the work, – sees the collection as a documentation of the the region a long time ago and don’t even speak cataloguing and preserving material and at really state of the Arab world today. With works by Arabic, but use their art as a way of connecting doing our homework,” says Al-Qassemi. All in all, Western, Turkish and Iranian artists in his private to their roots”, Al-Qassemi is keen on promot- BAF hopes to continue the dialogue it has started, collection, Al-Qassemi sees the focus of Barjeel as ing dialogue between the works and the public. locally and abroad. “It’s really important for people set squarely on the Arab dimension. “I want to ex- “Ultimately, the whole purpose is to make sure to see how the Arab world perceives itself, and art plore the evolution of the Arab mind,” he explains. that art from the region has as many patrons and is a really powerful medium to do that,” concludes “Is there such a thing as an ‘Arab’ mind? Are we a supporters as possible,” he says. “In this sense, we Al-Qassemi. “We have museum-quality works be- creature that is trying to conform to certain stand- still have many challenges to overcome.” ing produced here that have a powerful ability for ards, thoughts and beliefs or is an Arab as free as Citing everything from storage to upkeep, in- self-criticism and reflection. The Arab art move- any other Westerner or Easterner?” he asks. surance and security costs, Al-Qassemi is thankful ment is anything but passive.” With works by the likes of Louay Kayyali, Fateh for the donation of space in the Maraya Art Centre www.barjeelartfoundation.com 152 uae GALLERIES special When it opened in March 2009 with an exhibition of islamic Art, the Farjam Collection was something “It’s also important that our events remain of an anomaly on the Dubai arts scene. Strictly non-profit, the space showcases works from the informal and community-centred.” private collection of Dr Farhad Farjam through a series of curated exhibitions. It is, however, located have the advantage of interacting with experts international museums,” says Faure. “However, smack-bang in the centre of DIFC, amidst a host from different circles.” Now working with schools there is so much material in our own collection of commercial art galleries. “People still come in and universities, the collection serves as an im- that we want to prioritise. It would be great to and ask the price of a work of art,” smiles Collection portant resource. “This is particularly important have travelling shows interspersed within our and Exhibitions Manager Emilie Faure. “We had for children, for whom learning outside the class- own programming.” to differentiate ourselves very quickly in order for room can be very memorable and therefore all the Of the challenges and rewards so far, Faure is our name to be associated with museum shows, more effective.” enthusiastic.“We try to keep our finger on the pulse but new visitors are a good opportunity for us to The decision for Farjam to open his collection and react quickly to feedback,” she says. With an explain what we do and people are always hap- to the public was an easy one. Based in Dubai internship programme targeting young art writ- pily surprised and intrigued to learn that we are since the 1980s, the “the question of Dubai was ers, the Collection is keenly focused on research, non-commercial.” natural,” says Faure. Feeling it was important to documentation and audience development. “Part Featuring a programme that covers Contem- showcase his collection to the public in order to of our commitment to education is to make sure porary Middle Eastern as well as Modern and Con- encourage other collectors to do the same, Far- that researchers and students have access to the temporary international art, the Farjam Collection jam saw it as “an interesting challenge to bring works in our collection and that we send out the is committed to education, an integral part of its this to the art scene and felt that it was impor- message that this resource is available,” she says. structure from the onset. “The first programme tant for the community here,” explains Faure. Fo- “It’s also important that our events remain infor- we ran, and one that is still very popular today, is cusing on producing well-researched yet acces- mal and community-centred. People need to feel First Wednesdays when every first Wednesday of sible catalogues, school programmes and talks, comfortable debating ideas, and hopefully we the month, we organise a guided tour of the ex- the Collection has also hosted the exhibition serve as one of the forums in which that critical ex- hibition led by a different speaker each time,” says Iran Inside Out, from the Chelsea Art Museum change can take place – it’s important to engage Faure; “This provides a different perspective on in New York. “It was a good experience and we with people.” the works on view. As our collection is diverse, we would definitely be open to working with other www.farjamcollection.org THE FARJAM COLLECTION Image courtesy The Farjam Collection. The Collection has to: Pitch to an audience that is already very knowledgeable as well as those who have never seen Contemporary art or been to a museum before. We try to: Keep our finger on the pulse and are very reactive to feedback from different audiences. It’s an exciting time in Dubai because: Art-wise, that is part of what attracts people. 153 Text Myrn by aA Tala C yad hukri Anna Ja m es Walla Parry ce-Th omps on 154
Enter the password to open this PDF file:
-
-
-
-
-
-
-
-
-
-
-
-