the young collectors Nine young protagonists mark the third Canvas Young Collectors edition. Hailing from Iran, Bahrain, India, the UAE and Palestine, they share their aspirations for the Middle Eastern art market, their passions for art collecting and how it all began. 78 The artwork I will get by hook or by crook: An Adel Abdessemed Mappemonde work. I’d love to dine with: Alfred H Barr Jr & Peggy Guggenheim. An artist I think is undervalued or underpublicised: Walead Beshty. The museum piece I stare at endlessly: James Turrell’s Meeting , a skyspace at MoMA PS1. Best art advice I ever got: “Don’t speak too soon” and I hope to follow it more often! I would pay monthly instalments forever for: An early Gerhard Richter painting. I know I should like but I just can’t: Richard Prince. Artists need: Other artists. It’s mine when: Not sure I ever think it is. Thinking of buying next: Pieces by Yto Barrada, Sharif Waked and Tala Madani. A rt education began at home for Dana Farouki, the youngest child of renowned Palestinian art collectors Samia and Abulhuda Farouki. “I think my parents are more than col- lectors; they’re patrons and advocates of art,” says Farouki, who was born and raised in Washington DC. Her mother, in collaboration with Palestinian artist Kamal Boullata ( Canvas 4.3) and the late Georgetown University profes- sor Dr Hisham Sharabi, established Alif Gal- lery in 1983 – the first non-profit organisation in the USA that was established to promote Arab culture. From poetry recitals by legendary poet Mahmoud Darwish and the music of Simon Above: Dana Farouki with a work by Yinka Shonibare, MBE. Odile and Odette III 2005–6. C-type print. 124.5 x 161.3 cm. Facing page: Khalil Joreige and Joana Hadjithomas. Wonder Beirut #4, Pigeons Grotto . 1998–2007. Lambda print mounted on aluminium. 70 x 105 cm. dana farouki Shaheen to art exhibitions which included Iraqi artist Dia Al-Azzawi – “and even Emirati artist Abdel Kader Al-Rais’s ( Canvas 1.1) first solo show in the USA” – Alif Gallery sought to bridge East and West. “I spent a lot of time at Alif and around various artists,” says Farouki, “but ulti- mately, the gallery shut down after around 10 years because it was ahead of its time.” 79 Farouki majored in art history, graduating with a BA from Brown University in 2002. “I started off taking courses in almost every ma- jor in order to really find what I was passionate about, and then took an art history course with Kermit Swiler Champa, a great scholar of 20th- century American and European painting,” she says; “He opened my eyes to a different world, a new vocabulary.” After pursuing further stud- ies at the Sorbonne, Farouki completed an MA in 2004 at London’s Courtauld Institute of Art, where she wrote her thesis on the Guggenhe- im being a global museum, and then moved to New York, where she sent her thesis to Thomas Krens, then-director of the Solomon R Gug- genheim Foundation, “urging him to explore a possible Guggenheim in Dubai”. Krens didn’t reply to her numerous emails, but Farouki ran into him at a party and introduced herself. “I said ‘Hi, I’m Dana Farouki’ and he said, ‘Oh yes! The Guggenheim Dubai’,” she laughs, “and he confirmed that they were interested in the Middle East but not specifically Dubai.” Farouki had by then applied for a year-long fellowship programme at the MoMA (page XX) – “the most majestic place in the world” – at a time when the institution had affiliated with PS1 Contemporary Art Center, “an incredible incu- bator for Contemporary art”. By the time she completed the fellowship, the project for the Guggenheim Abu Dhabi had become official and she joined its team in 2006 as a consultant on the Saadiyat Island Cultural District master- plan. She got married to Mazen Makarem in the same year and moved to Dubai in October 2010. Farouki sits on the boards of MoMA PS1 and Creative Time, a non-profit organisation dedicated to public art projects. Alif Gallery was a pioneer in raising awareness of Arab art and culture in the USA in the 1980s. Why do you think such an initiative didn’t succeed then but may well do so now? While the process was handled very profes- sionally, there wasn’t a large enough audi- ence at that time. Alif received grants from all sorts of foundations and organisations. As for now, I think that perhaps the increased global interest is rooted in both politics, and in some people looking to the next ‘big thing’. Certainly the rise of collectors within the region is also partially market-driven. How involved were, and are you, in your parents’ acquisitions? Back then not a lot, but lately yes, a good deal. “For me, it’s the idea behind the work – the artist’s statement – that’s important.” the young collectors 80 When I started to become more passionate about Contemporary art, they gave me truly remarkable support and we’ve imagined a vision together. Their focus is Middle Eastern art, whereas I’m open to other genres. With my parents, there’s a real possibility to build one of the most significant collections of Middle Eastern art and, in a sense, I feel like it’s my collection too. What was your first acquisition? I had become really interested in artists who were conceptually driven – and still am; for me, it’s the idea behind the work – the artist’s state- ment – that’s important. I had read about Kota Ezawa, who had a piece on view in the Con- temporary galleries at the MoMA. Ezawa was one of my first acquisitions and it felt natural. I was at the Art Basel Miami Beach fair in 2005 and there’s always excitement when buying a work at a fair. What has the acquisition process been like since then? Definitely more impulsive! But that’s also be- cause I like to think that I have a profession- ally trained eye and I trust my taste. I take care to do some research on an artist I don’t know before committing to one of their works. Artists teach and expose you to different subjects – for example, Olafur Eliasson explores geometry, the environment and science, and then there’s Walid Raad ( Canvas 5.2), whom I adore. I think he’s such a smart artist and more than an aes- thete, he’s a truly innovative thinker. For some, Raad is hard to ‘get’. Yes, but when you do, you totally get him and both Mazen and I did fairly early on. Because 81 Mazen is Lebanese, he identified with the idea of a blurred history and memories jarred by the war and political unrest. I also have a thing for academics and Raad is the ultimate of that. How stark is the difference between the New York art scene and that in Dubai? A museum is missing in Dubai! It would have been nice to have a museum before an auction house. Effectively, things grew from the market rather than the other way round. It would be great to have an avant-garde grassroots initia- tive of some sort, not one with a lot of money behind it, but one that puts on shows quickly and nimbly and features young artists. We also need to develop artists’ skills through schools. In my opinion, the gallery scene in Dubai is al- most the same as New York, except here, it’s one show per night and there, lots of galleries open the same night. I remember arriving in Dubai and thinking ‘this is going to be as busy for me as New York!’ Seeing as you are more exposed to Middle Eastern art in Dubai, what’s your take on the genre’s quality? There’s a huge range; you can’t generalise. Education is the primary driver; so many art- ists in the USA complete a BA and go on to do an MFA and work for years before they actually get into the scene, unlike here. The context in which artists in the Middle East are creating art is different – take Lebanon and Iran for example, where lots of artists work in reaction to the political situations. How does your collection inspire you? I think it helps me continue this process of education that I’ve been developing for such a long time. I may not be working at the moment, but my collection allows me to be professionally en- gaged. Looking at Contemporary art becomes a mindset. How do you hope to infuse a passion for art in your son? I definitely want him to be aware. He’s going to grow up in a house where there’s a lot of art and he’s curious already. It’s amusing to sit and listen to the questions that kids ask dur- ing a school visit to a museum, for example, because their comments can be pretty astute. I plan on having him spend as much time with me as possible. It’s going to be that way, whether he likes it or not! Facing page above: Dana Farouki with a work by Ryan McGinness. (Detail) Lavender Mist Number 1 . 2005. Acrylic on wood panel. Diameter: 122 cm. Facing page below: Shirana Shahbazi. From the series Flowers, Fruits & Portraits 2006–7. C-print. 120 x 150 cm. Above: Doug Aitken. (Detail) Maps and Cycles (Las Vegas Greyhound Station) 2004. C-print mounted to aluminium with thin white, wooden frame. Hexagon: Height, 122 cm. Width, 140 cm. All photography by Haider Yousuf. “It would be great to have an avant- garde grassroots initiative of some sort, not one with a lot of money behind it, but one that puts on shows quickly and nimbly and features young artists.” the young collectors 82 The artwork I will get by hook or by crook: The one they tell me I can’t have! I’d love to dine with: The Shah of Iran. An artist I think is undervalued or underpublicised: My children’s art! The museum piece I stare at endlessly: Anything and everything by Frida Kahlo. The Middle Eastern art scene needs: To take a deep breath. Best art advice I ever got: “Observe the wonders as they occur around you. Don’t claim them. Feel the artistry move through, and be silent” – from a poem by Rumi. I would pay monthly instalments forever for: My favourite piece by Gustav Klimt. The artwork that got away was: The one that wasn’t meant to be. Artists need: Collectors! The first thing I do when I buy a new piece is: Call my Mom so that I can share the excitement. negin fattahi-dasmal the young collectors 83 I ranian-born, Dubai-based Negin Fattahi- Dasmal will gladly explain the story behind each artwork in her collection, recounting the painting’s narrative as well as her initial en- counter with it. She was raised in a family “who are very driven by aesthetics and place impor- tance on being surrounded by beautiful things which radiate positive energy”, and her par- ents collected works by some of Iran’s Modern artists, including Iran Daroudi, Parviz Kalantari and Nasser Ovissi. “Appreciating aesthetics was always in me until I knew how to channel it,” says the mother of four; “My first artwork purchase left me feeling very good; it’s a form of addiction but it’s a great addiction.” Fattahi- Dasmal has an acute sense of detail – “I get it from my mother!” – and adores flowers. “I feel like a child when I buy flowers every week and arrange them at home,” she says. After completing a BA in Business Ad- ministration from Marymount College in Los Angeles, Fattahi-Dasmal joined the family of- fice furniture business, Bafco, before found- ing The Grooming Company in 2001 – the parent organisation of award-winning NBar, 1847, JetSet and Tilia&Finn. Breast Can- cer Awareness is a cause she keenly sup- ports, after she was diagnosed with Stage 4 breast cancer in 2008 and continues to bat- tle it. She points enthusiastically to a painting by Iranian artist, Nazar Mousavinia: “He is a young man who grew up in the shadow of the Islamic Revolution and the Iran-Iraq war and is affected by the current regime. You can see the darkness and torment in his works,” she explains, “but he always incorporates women, because he feels that no matter how grim a situation can be, women pull us through and provide strength as they are a symbol of hope.” Your collection is predominantly Iranian Contemporary. Is this intentional? I truly love the work of Iranian artists and then of course, it’s a soft spot for me because I am Iranian and it feels like I am supporting Iranian talent. That said, I am open to art of other na- tionalities and own pieces by American, Paki- stani and Lebanese artists. Do you have a particular approach to buying art? I buy based on the emotions that are stirred in Facing page: Negin Fattahi-Dasmal with a work by Farhad Moshiri. Large Gold Bowl On White . 2005. Acrylic and oil on canvas. 194 x 266 cm. Courtesy the artist and The Third Line. This page: Four works by Ayaz Jokhio. Inset, clockwise from top left: Untitled. 2008. Oil on canvas in gold frame. 0.9 x 1 x 0.7 cm; Mother and Child . 2008. Acrylic on canvas in gold frame. 1.1 x 1.5 x 0.7 cm; Landscape . 2008. Oil on canvas in gold frame. 1.2 x 1.7 x 0.7 cm; Self-portrait 2008. Acrylic on canvas in gold frame. 0.9 x 1.1 x 0.7 cm. Courtesy Green Cardamom. “Every once in a while I will totally go for something based on what I feel in my heart.” 84 me. I make educated decisions, but every once in a while I will totally go for something based on what I feel in my heart. I know I love a piece when my eye is drawn to it again and again. Do you sense an instant narrative? At first, I am drawn to it aesthetically and then I ‘read’ the story. I love the complexity of Farideh Lashai’s ( Canvas 3.6) 12-piece artwork framed in cedar and which also includes cedar leaves; the missing painting is whatever you want it to be, a mystery. Lashai is an established Iranian artist of the ‘older’ generation who has influ- enced the younger generation but retains a youthful essence within her works. With the Reza Aramesh ( Canvas 5.5) work, for example, I had just come back from Los Angeles after my ordeal and I had been praying a lot. I saw the piece from really far away, it spoke to me so impulsively and I fell in love with it instantly. It felt so right that it wasn’t impulsive anymore, it went beyond that. I had to have it, I didn’t care if it was sold; I would’ve found a way around it! Is energy essential for you in an artwork? Yes, by all means because art communicates. With the photograph Fertility by Lisa Ross for example, I felt the energy of the wishing tree. How amazing is it to know that it is an ac- tual tree in the Burmese wilderness with writ- ten wishes tied to it by 60 or 70 people! And here in my home, I have these peoples’ strong hopes. Initially, I liked it aesthetically but knew that there was a powerful message within; it “I buy because I love a work and because it’s an investment. My heart and soul are in the artwork and I want to know that I am buying something that has value.” Below: Bita Fayazzi. Baby . 2007. Bronze. 47 x 20 x 27 cm. Edition of 10. Right: Khosrow Hassanzadeh. From the series Iranian Wrestlers . 2001. Mixed media, oil on photography and silk screen. Approximately 250 x 270 cm. Far right: Farideh Lashai. Cypress Trees, My Whitened Miniature Series . 2007. Oil, acrylic and pencil on canvas, framed in gold leaf wooden frames. 12 frames, approximately 40 x 40 cm each. All photography by Haider Yousuf. 85 was the piece’s energy talking to me, and this is something I abide by when I buy a work. How did you go about commissioning a work by Farhad Moshiri ( Canvas 1.5)? Nobody told me Moshiri was going to be this big! I met him at a show at The Third Line – the simplicity and precision of his jars and bowls with calligraphy is effective, striking and original. They’re so perfectly imperfect; I had never seen anything like them. I loved piece A but with the colours of piece B and then began conjuring up my own Moshiri artwork! He is very amiable, which helps when you make a purchase – it exudes the artist’s energy and that comes into your home. I was building my house at the time; it was a construction site when he visited and I showed him the wall I had in mind for his artwork. I left the decision for a jug or bowl up to him because I trusted him; all I asked was for it to feature earthen colours. And here it is! I love it, it always looks new to the eye. Do you consider the investment aspect in your acquisitions? I buy because I love a work and because it’s an investment. My heart and soul are in the artwork and I want to know that I am buying something that has value. I have never sold any of my pieces and I hope I am never in a position where I have to. There are so many more works I want! What are your thoughts on the Dubai art scene now? I think there is enough out there in terms of shows and Middle Eastern art, but I don’t think there is enough to educate or empower a collector in terms of information, knowledge or reference points. Artwork prices should be regulated; we should be offered more emerg- ing artists from all nationalities and not just the upper crust. Better instalment packages should be offered for those who are committed but not financially able to make big down payments. What collecting aspirations do you have? I just want to continue falling in love with pieces and expanding the collection. I would like to ac- quire more sculptures but they’re tricky things! I’m open to all forms of art. I don’t really look at it as a collection, it’s a passion. I’m not col- lecting to be a collector but just because I love it and it’s for my kids. I want art to be part of their value system, because it’s enjoyable and adds many dimensions to their personalities. Every time I put up a new piece at home, they notice immediately and that, for me, is one of the things I want to teach them very subtly, just as we teach them values. The collection is not just for them to own artworks but for them to appreciate art. the young collectors 86 The artwork I will get by hook or by crook: Alberto Giacometti’s seminal 1960 sculpture, L’Homme qui Marche 1 Wish List: Early Monir Farmanfarmaian ( Canvas 4.5), Jacques Majorelle and Afshin Pirhashemi ( Canvas 6.5). I’d love to dine with: Dr Mohamed Said Farsi and talk about how he put together such a great collection at a time when no one really gave Arab art the attention he did. An artist I think is undervalued or underpublicised: Faisal Samra ( Canvas 1.2). The museum piece I could stare at endlessly: I would love to see the Giacometti at the Tehran Museum of Contemporary Art. Best art advice I ever got: “Chase the piece and not the artist” – Isabelle de La Bruyère. I know I want an artwork when: I am thinking about how to pay for it. The artwork that got away was: An Ayman Baalbaki ( Canvas 5.2) piece at a Sotheby’s sale. I know I should like but I just can’t: Video installations! I should have but I didn’t: Start to look seriously at Middle Eastern art before the auction houses came to this part of the world. abdul rahman al-zayani 87 I nterestingly, it was a fascination with fine jewellery which marked Abdul Rahman Al- Zayani’s first foray into the art world. He was pursuing an MS in International Business Law from the University of Westminster in London and “picked up” an interest in jewellery, making his first purchase at a Christie’s Geneva sale in 2002. Encouraged by his parents – “My father supported me financially with that first pur- chase” – Al-Zayani credits his father: “His advice was simply: ‘Make sure it’s a good buy’.” In 2006 Al-Zayani joined Christie’s as a re- gional consultant in addition to managing his family’s real estate and investment portfolio, a job which, he exclaims, “isn’t exactly nine to five!” He made his first Contemporary art acquisition in 2007 with a work by Andy Warhol. “I had purchased artworks before this, but my first acquisitions were more for decorative rea- sons, which isn’t really ‘collecting’, per se,” he muses. “Even with jewellery, I’ve flushed out a lot of my first purchases – your taste evolves and I had bought items simply because they were a ‘good buy’, rather than being actual quality pieces.” Al-Zayani’s interest in Contem- porary Middle Eastern art was prompted by Christie’s Dubai auction catalogues, which he received alongside those for adjoining jewel- lery sales. “I got very interested in what was coming from the region,” he says, “but in 2008, the market was at its peak and I must admit, I found the prices quite high, which made me reluctant to step in.” Today the 32 year-old owns some 20 works, including pieces by Youssef Nabil ( Canvas 1.1), Hassan Hajjaj ( Canvas 4.3), Rokni Haerizadeh ( Canvas 5.6), Rachid Koraïchi ( Canvas 4.3), Mustafa Khalidy and Hayv Kahraman ( Canvas 5.6). “Once a year I like to make what I call a ‘serious’ purchase,” he explains. “Collecting can be addictive and you really need to be put on a leash or you’ll never stop!” This col- lecting addiction is not limited to Modern and Contemporary art but includes jewellery too, and among the pieces he would like to acquire are some by Joel Arthur Rosenthal or an old Cartier sautoir “from the 1920s–40s”. Al-Zayani cites the craftsmanship of older pieces as part of their appeal: “ Just look at the Van Cleef and Arpels necklace for Princess Fawzia when she married the Shah of Iran,” he explains, “Usu- ally, older pieces were re-set by jewellers with the owners’ own stones to different designs to match the style of the current period. Many of these were one-offs with stones from mines which simply don’t exist anymore.” What was the first Middle Eastern work that you bought, from where and why? Initially, I bought primarily from auction, probably because I worked with Christie’s then. My first Middle Eastern art acquisition was a work by Hossein Kashian from Art Curial in 2009. I had wanted a Kashian for a “Bahrain has a wonderfully rich history and heritage, but I find it has a bit of catching up to do in terms of Contemp- orary art.” Facing page: Abdul Rahman Al-Zayani with sculptures by Ahmed Al-Askalany. Untitled. 2006–9. Four raw polyester sculptures. Large: 90 x 45 x 25 cm. Small: 80 x 40 x 25 cm. Below: Dia Al-Azzawi. (Detail) Red Movement . 2002. Oil on wooden round panel. Diameter: 100 cm. the young collectors 88 while and couldn’t buy it because his prices were not ‘normal’ during 2007–8. My time at Christie’s was hugely rewarding in terms of what I learnt about collecting and from being surrounded by different people who provided so much information and knowledge. I found myself completely sucked into the world of art. When I left, I had made so many contacts and friends in that world and started to focus more on developing my collection. I have to say that Isabelle de La Bruyère has been the most in- spiring source for my jewellery and art collec- tions, which wouldn’t be where they are today without her. You have work by artists from all over the Middle East. Any preferences? Not at all. I actually began with a slant towards Contemporary Iranian art, but I’d love to ex- pand my collection to include South American and Asian Contemporary pieces – there is some amazing Contemporary Chinese work out there. Do you see a development in awareness pertaining to the Middle Eastern art scene in general? Regionally, yes. Locally, no. Bahrain has a won- derfully rich history and heritage, but I find it has a bit of catching up to do in terms of Con- temporary art. We have some great protago- nists working towards that, such as HE Sheikh “Get to know gallerists, because they are a fountain of knowledge.” the young collectors Rashid Al-Khalifa ( Canvas 6.3), Hayfa Al-Jishi of Albareh Art Gallery and Bayan Kanoo of Al- Riwaq Art Space, but we have a lot of young, local talent which is crying out to be nurtured. I would love to see something similar to what Latifa Al-Maktoum is doing with Tashkeel and Wafa Al-Maktoum with Fn Design (both in Du- bai) happen here in Bahrain; or what Lulu Al- Sabah and Lydia Limerick are doing in Kuwait – these are young, dynamic women working hard to get young artists out there. What needs to be done for Bahrain then? First of all, we need a university with a fine arts faculty, more than two Contemporary art gal- leries and a reactivation of art societies. We do have an arts scene full of committed people, but it could do with fresh blood. I greatly ad- mire what Sheikha Mai Al-Khalifa has done for the heritage areas of Muharraq, but in terms of Contemporary art, there needs to be more support for emerging artists through whatever channels are available and I look forward to the opening of the Museum of Contemporary Art Bahrain. Whatever I become involved in would definitely have to be non-profit, otherwise I find it becomes all about the business and doesn’t really end up being art for art’s sake. Do you think the market readjustment was a blessing in disguise? Honestly, I don’t think Bahrain ever really felt the art bubble. Its art scene has managed to grow more gradually, and while worldwide prices have readjusted to a more realistic level, here we’ve seen a steadily growing audience. We have – for the first time now – exhibitions which are presold before their openings and, 89 personally, the market crash has made it pos- sible to own pieces that were unattainable for me in 2008. What do you think the effect of the auction houses has been on regional art? Prices changed a lot with the arrival of the auction houses, but at the end of the day they created a platform through which people could trade and find a published price – the auctions created a benchmark for the market. We should always look at the estimates they publish and not the hammer price. What grabs you in an artwork? The technique of course, but also a feeling. Take the works of Monir Farmanfarmaian, for exam- ple – her work is all about technique, but a good Farmanfarmaian gets to you. I also make it a principle not to buy simply for the sake of own- ing a work by a certain artist – I try to go for the best that I can get my hands on by that artist. What are some of the things you’ve learnt along the way? Try to be a smart buyer. I see people bidding at auction simply because they want to or because they want the piece and don’t care about the price. Don’t do that – you should al- ways look at what you’re buying, what period the artist produced it in and what amount was last paid for such a work. How many works by that artist are available on the market? Who are his/her biggest supporters? And most im- portantly, can you live with it? Get to know gal- lerists, because they are a fountain of knowl- edge, and not necessarily just about their own artists. We’re lucky to have the Internet and art literature on Middle Eastern art these days, something that was not available as little as 15 years ago. I also don’t think one should focus on art because it is Middle Eastern or Asian or Western – at the end of the day, no matter what your preference is, or where you are from, art is art. Facing page: Hossein Kashian. (Detail) Composition. Undated. Oil on canvas. 100 x 60 cm. © Artcurial. Above: Abdul Rahman Al-Zayani with works by (from left to right): Khader Al-Shakreji. Untitled. 1994–95. Oil on canvas. 50 x 70 cm; Nja Mahdaoui. Untitled. 2002. Black ink with gold leaves on deer skin. 70 x 15 cm; Hamed Nada. Les Chanteuses . 1990. Oil on canvas. 60 x 45 cm; Hassan Hajjaj. (Detail) Miriam Green . 2007. Metallic lambda print, walnut frame with plastic Lego. 86.4 x 61.9 cm. Edition of 10; Andy Warhol. Dollar Sign . 1982. Screenprint on Lenox Museum Board. 50.1 x 39.9 cm. All photography by Andrew Weaver unless otherwise specified. 90 The artwork I will get by hook or by crook: A piece from the Takashi Murakami show at Versailles. I’d love to dine with: Andy Warhol in the 1960s–70s. Artists I think are undervalued or underpublicised: Camille Zakharia ( Canvas 3.4) and Maitha Bin Demithan. Best art advice I ever got: “Buy what you like and not what people want you to like.” I would pay monthly instalments forever for: Henri Matisse’s 1911 canvas Les Coucous, Tapis Bleu et Rose from the YSL Private Collection. The artwork that got away was: A Nasrollah Afjehi piece in a Bonhams Dubai sale. The work I could stare at for hours is: The Chrysler Building. I should have but I didn’t: Minored in artt at college. It’s mine when: I just can’t get it out of my head. Thinking of buying next: Waiting to see what’s at Art Dubai. fawaz kanoo 91 D ominating an upstairs bedroom in Fawaz Kanoo’s residence is an untitled 2006 painting by Sabhan Adam ( Canvas 1.2), which springs out of the wall in an outburst of colour. Like a crazed fairytale monster, the great red head is, in a way, a metaphor for Kanoo’s col- lecting ethos – bold, impetuous and just a little ‘off the wall’. “It’s a pretty challenging work,” admits Kanoo with a laugh. “I just love the col- ours, the entire composition. It’s a bit of a weird piece, compared to all the other Adams I’ve seen on the market, and I guess that’s what at- tracted me to it most.” When not busy as Gen- eral Manager at Kanoo Vehicle Leasing, the 30 year-old Bahraini is a self-confessed “art ad- dict”. In 2002 he graduated from Boston’s Suf- folk University with a BA in management and began collecting art in 2006. “I had just moved into my new house in 2007 and wanted to start buying art,” explains Kanoo; “It was around then that Christie’s came to Dubai and I fell in love with some of the Figurative works in those sales – the Adam and Fadi Yazigi ( Canvas 4.2) – and before I knew it, Middle Eastern art had grabbed me. It’s an addiction and I hate it!” he laughs. With over 30 pieces in his collection, Kanoo works closely with family members and friends such as Isabelle de La Bruyère of Christie’s and Lydia Limerick of JAMM. “Purchasing art is an experience, especially during auctions,” he says. Kanoo’s collection spans a diverse range of styles and countries, with paintings and photography by Iranians Roya Akhavan, Reza Derakshani ( Canvas 4.4), Hossein Kashi- an, Faramarz Pilaram and Shadi Ghadirian ( Canvas 3.1) joined by Syrians Yazigi, Kais Sal- man and Fateh Moudarres. From North Africa, works include those by Moroccans Hassan Hajjaj ( Canvas 4.3) and Lalla Essaydi ( Canvas 6.4), Algerian Hamza Bounoa and Egyptian superstars Youssef Nabil ( Canvas 1.1) and Chant Avedissian ( Canvas 1.6). And from the Gulf, Saudi Faisal Samra ( Canvas 1.2) and emerging Emirati artist, Maitha Bin Demithan. “I do tend to lean more towards painting than sculpture,” admits Kanoo. “I have also noticed that I prefer the Figurative to the Abstract. In a sense, mine is a house full of faces.” With plans to open an art gallery one day – “maybe in 20 years if I’m lucky enough” – cultures. I still treasure the friendships I made in those days.” “When I see a work I like, I tend to go away and think about it for a while.” Facing page: Fawaz Kanoo with works by Hassan Hajjaj. On the wall: Sista . 2000. C-print on board set in a wooden frame. 129.8 x 94 cm. On floor: Colorado Stool - Flowery and Astral Stool – Pink and White . Both 2000. Bucket and fabric. 59.5 x 36 cm each. Photography by Andrew Weaver. Above: Sabhan Adam. Untitled. 1999. Oil and charcoal on canvas. 210 x 218.5 cm. Image courtesy Christie’s. 92 Kanoo is a keen supporter of raising the re- gion’s cultural awareness. “There is a new generation that’s coming up in Bahrain and it needs to be aware of where we come from, our art and of Middle Eastern art in general,” he ex- plains. “Art should be accessible to everyone, starting from the ground up, and this begins at a young age. You really do just need to take things step by step.” What was your first acquisition and how was the experience like? It was actually a toss-up between Adam and Yazigi and I bought the latter first. It was a pretty big decision, not to mention a pretty big invest- ment back then when I think about it, but there was something about the faces in the piece, its colours and size, which sealed it for me. And then of course I ended up buying the Adam in a subsequent Christie’s sale. What does your purchasing process consist of? I need to see myself in it. When I see a work I like, I tend to go away and think about it for a while. I’ll show it to friends and family and get their opinions as well and think about how it fits into my collection and where I would want to hang it in my home. It’s a pretty long proc- ess, to be honest; in the end, I just follow my own instincts. What are some of the things you’ve learnt along the way? I think I’ve fine-tuned my eye, as well as un- derstanding the importance of buying a good “Collecting art may be addictive, but you never regret it.” the young collectors 93 piece, and one that you like, not simply buying something by an artist for the sake of having something by that name in your collection. You should always go for the best in a collection because that’s what lasts, and ultimately it’s a piece that you want to live with. I’ve found my taste has changed somewhat since I first start- ed collecting and I’ve cooled down on some of the artists I purchased early on, having since discovered others. I also learnt how competi- tive the art world can be. I think things have gotten quite commercial and perhaps it would be good if things calmed down a bit and we focused more on the art itself, as it’s meant to be, not just as a commodity. How can we change that? More museums and galleries would be fantas- tic, especially in Bahrain. It’s important to raise awareness and appreciation of art. Travelling is also a great eye-opener, but at the end of the day you need both education and knowl- edge. The Middle Eastern art scene needs more books on artists and more Modern and Contemporary art museums. How do you educate yourself on art? I try to immerse myself in it. I read a lot, wheth- er on the Internet or books and art magazines. I love visiting galleries and museums. I think visiting art fairs is really important and keep- ing in touch with gallerists, collectors and curators is vital. Most important is to have a group of friends who share the same love so you can constantly discuss and learn a lot from each other. What’s the most useful piece of advice you’ve been given? That you should chase the piece and not the artist. Do not buy randomly simply for the sake of buying something from a particular artist – buy works that you like and works that are of a high quality. Is there anything on your wish list? There are so many pieces, I don’t even know where to begin, to be honest. They don’t necessarily have to be expensive or popu- lar, but at the end of the day, simply what I like. However, I suppose right now, I’d have to say that big pieces by Mohammed Ehsai and Louay Kayyali are pretty high on the list. Collecting art may be addictive, but you never regret it. Facing page: Fadi Yazigi. Untitled. 2007. Ink and acrylic on canvas. 135 x 202 cm. Image courtesy Christie’s. This page: Lalla Essaydi. Les Femmes du Maroc: After the Bath . 2008. C-Type print, mounted on aluminium. 102 x 76 cm. Edition of 15. Image courtesy Waterhouse & Dodd. 94 Art Motto: Always buy, buy and buy! When in doubt, keep buying! I’d love to dine with: Obama! An artist I think is undervalued or under- publicised: There are so many, I wouldn’t know where to begin, especially in our region. My top three art fairs: Art Basel Miami Beach, Frieze and, of course, Art Dubai. The museum piece I stare at endlessly: The amazing Walking Man by Alberto Giacometti at the Tehran Museum of Contemporary Art. The Middle Eastern art scene needs: To be taken much more seriously, which in all fairness, it has been in the past few years. My favourite artworks from my collection: Those by Bahman Mohasses ( Canvas 6.6). I would pay monthly instalments forever for: A museum which would help young artists get off their feet and give them a place to promote themselves, especially those working underground in Iran. It’s mine when: It has been paid off! Thinking of buying next: Old masters of Iran. farshad mahoutforoush the young collectors 95 f ollowing Iran’s Islamic Revolution, Far- shad Mahoutforoush, then five years old, and his family fled to the South of France. Here they remained until 1997, when they returned to Iran. France, adds Mahoutforoush, is where he “grew up with art”, having been exposed to art- ists such as Matisse, Picasso and Raul Duffy. “One of my friend’s mothers was an artist who had been friends with César,” he says, “and it was amazing to visit his house.” Mahout- foroush pursued studies in Montreal with the aim of joining the family textile firm, but instead chose the restaurant business. “I came back because Iran is my country and, at the time, all of my friends were returning to Iran from Eu- rope as well,” he says. “There were really no good international restaurants in Tehran and, gastronomically, you are spoilt for choice in the South of France.” Mahoutforoush teamed up with his childhood friend Ramin Varasteh and in 1999 opened up Monsoon, a fusion Asian restaurant, which is still going strong today. It was at this time that Mahoutforoush turned his eye to art, albeit for purely “deco- rative” reasons related to his new apartment. “I didn’t know anything about Iranian artists, so I asked my friends and ended up buying works that I thought would suit my apartment,” he says sheepishly. In just a few months, Ma- houtforoush had become “seriously interested in the Iranian art scene”, and now showcases works from his 450-piece collection in his res- taurants – Terrace, Bix, Boulevard, Monsoon Lounge and Tamasha. “My grandfather and un- cle were collectors of antiques before the Revo- lution,” smiles Mahoutforoush, “so collecting is in the family blood. Even my mother is collect- ing now!” Although busy running his restaurant empire, Mahoutforoush hopes to devote more time to visiting art fairs, focusing on publications and expanding his collection, which is mainly composed of Con- temporary Iranian art with a handful of Western pieces. “I’d love to acquire Middle Eastern art as well,” he beams, “I think works by Youssef Nabil ( Canvas 1.1), Mona Hatoum ( Canvas 6.1) and Ghada Amer ( Canvas 6.1) are amazing, but to date, I’ve just been so passionate and excited about Iranian art.” What were some of the mistakes you made as a collector in the beginning? That first painting I bought to furnish my apart- ment was a mistake! Since then, I think I’ve developed an eye, but back then I’d see paint- ings and not know much about either them or the artists, let alone the techniques involved. So I started to educate myself with the help of my brother, Mehrdad. Facing page: Farshad Mahoutforoush with works by Bahman Mohasses (on right). Photography by Hooman Nobakht. Above: Reza Derakshani. (Detail) Qajar Woman from the Mirror of Time, Love Is In the Air series. 2010. Mixed media on canvas. Diameter: 170 cm. Photography by Mostafa Alizadegan. “I think the world needs to know about Iranian art.” 96 How do you now know if an artwork is good? It’s just a feeling. It’s having the eye, I guess. When I first see an artwork and love it at first glance, then I have to buy it and never think twice about it. In the few times that I haven’t bought the work at that first glance, I can’t sleep and end up dreaming about it the whole night! I think art has to be expressive and I like funky, edgy things. Has art collecting changed in Iran since you first began 12 years ago? Definitely. At the time, I was one of the only peo- ple to focus on Contemporary Iranian art as op- posed to Modern. I remember being criticised for buying Farhad Moshiri’s ( Canvas 1.4) work, for example, especially by the older genera- tion of collectors, because some didn’t think of that as ‘art’. But I always loved his work and believed in him. What do you plan to do with your collection in the future? My dream is to eventually open a private mu- seum or foundation in Tehran. It has to be in Iran. I also want to acquire more works by Iran’s Modern masters. I adore Bahman Mohasses ( Canvas 6.6) and also have works by Charles Hossein Zenderoudi ( Canvas 5.5), Parviz Tanavoli ( Canvas 4.2), Monir Farmanfarma- ian ( Canvas 4.5), Mohammed Ehsai and Leyly Matin Daftari. Where do you buy from? A lot of the time I purchase works directly from artists, but I also get pie