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19 MARCH 2015 I CANVAS DAILY I ISSUE 3 I ART DUBAI EDITION 1

19 MARCH 2015 I ISSUE 3 I ART DUBAI EDITION

VIRTUAL EXHIBITION

Marwan Kassab Bachi. Untitled. 1977. Image courtesy Barjeel Art Foundation, Sharjah.

Review of the Sikka Art Fair in the Al-Fahidi Historical Neighbourhood.

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Kaveh Golestan's solo presentation at Art Dubai's Modern section, curated by Vali Mahlouji

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Canvas Daily suggests you don't miss these gallery shows while you are in the UAE.

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ARTISTS ON SITEThe fourth Artist in Residence programme run by the Dubai Culture and ��

��SALES PROVED ELUSIVE for some galleries on day two, with comment around the stands on how greater footfall might help ease an otherwise cautious mood. One European gallerist was prompted to muse, “I thought this year would be busier compared to last, because of the Sharjah Biennial, but it seems people

went to The Armory Show and to Art Basel Hong Kong and then home.”

Even so, whilst some galleries were still struggling to make their first sales, others were pulling off sales to institutions. Beirut’s Agial Gallery

CURATED BY LARA Khaldi, six artists over three months develop projects: Mohammed Ahmed Ibrahim, Hind Mezaina, Sharmeen Syed, Jessica Mein, Mehraneh Atashi and Rheim Alkadhi took part in studios, outreach programmes, talks, readings, screenings, publications… the complete immersive creative experience. It gives artists the chance to pursue their fascinations, providing both the platform and the support to realise their artistic goals.

MOHAMMED AHMED IBRAHIM (UAE) has exhibited extensively throughout local and international biennials. Ibrahim’s AiR work is consistent with his practice of using organic found materials manipulated into gentle ambiguity. However, the wire-bundled stone sculpture maintains its integrity, offering a glimpse into the importance of stones and their “primordial role in different cultures, especially Arab culture” and the naturally occurring environment that create Ibrahim’s physical and artistic environment.

Land Shift And Fresh And Salt, 2015. Land art intervention and sculpture. Variable dimensions.

Day two sales: slow but sure?

SHARJAH – The Barjeel Art Foundation, in collaboration with the Google Cultural Institute, presents Art Project And Archive, an exhibition featuring over 430 works from the collection by artists such as Marwan Kassab-Bachi, Dia Al-Azzawi and Yto Barrada, among others. Visit www.google.com/culturalinstitute

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Kamrooz Aram. Untitled (Palimpsest #35). 2015. Oil and oil crayon on canvas. 213 x 183 cm. Image courtesy the artist and Green Art Gallery, Dubai.

18 – 21 November 2015Manarat Al SaadiyatSaadiyat Cultural District

MODERN.CONTEMPORARY.ABU DHABI ART.

SAVE THE DATE

Abu Dhabi Art offers a multi-disciplinary experience combining an art fair with a diverse public engagement programme which includes art, talks and sensational events.


(M10) sold a Shafic Abboud work to Mashreq Private Bank for between $70,000–90,000, while Latitude 28 (J19) sold two pieces by Dilip Chobisa, one to an institution in North America and the other to a Riyadh-based collector. Meanwhile, Carbon 12 (A23) sold a Sara Rahbar work, Holding Onto Nothing But You, to the Davis Museum in the USA for between $20,000–50,000, and Gallery Isabelle van den Eynde (J18) sold Keys (1995) by Mohammed Kazem for $10,000 to an institution in the UAE.

Elsewhere, a regional collector relieved Pi Artworks (A43) of a large Gulay Semercioglu work for between $50,000–60,000. Green Art Gallery (A26) sold a Kamrooz Aram work for $40,000, and Rodolphe Janssen (A20) had two notable sales: a Walead Beshty transparency for $25,000–30,000 and an untitled Gert & Ume Tobias work for $32,000–37,000.

Pechersky Gallery (A10) were delighted to sell an untitled work by Rachel Lee Hovnanian to a member of the UAE royal family for $35,000, while Kashya Hildebrand (A32) built on its opening day success with the sale of The Funeral by Marwan Sahmarani for $28,000 to a local collector new to the gallery. Albareh Art Gallery (J26) sold a piece by Zuhair Al-Saeed to a regional collector for $15,000, while Leila Heller Gallery (J23) sold a Noor Ali Chagani work for $10,000 to a British collector, with MA2 Gallery (A7) selling Ken Matsubara’s The Sleeping Water Storm In A Glass for $10,900.

Galleria Franco Noero (A12) reported holding two works on reserve.

Selma Feriani (A18) had several sales, including three Pascal Hachem works for $4500–7000 and Yazid Oulab’s Clou for $15,000. Canvas Gallery (J9) sold Ayaz Jokhi’s Marilyn Monroe for $8500, while Nathalie Obadia (J21) sold a work by Ricardo Brey to a Dubai-based collector for $6500. Grosvenor Gallery (A27) sold a work by Faiza Butt for $6000, with Agial Gallery (A42) selling several drawings by Heba Kalache for $3000 each to Lebanese, Egyptian and Emirati collectors. Victoria Miro (A33) sold three works by Idris Khan for undisclosed prices. Among the Moderns, Lisbon’s Perve Galeria (M4) sold several works in the $8000–10,000 range, including by Ernesto Shikhani and Manuel Figueira, with Loft Art Gallery (M15) selling three Mohammed Melehi pieces.

Day two sales: slow but sure?

THE ROAR/MEOW PARADOX

ERRATUM

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Lebanese artist, poet and writer Etel Adnan’s witty text about light and enlightenment graces the cover of Canvas’s March/April issue

IN THE CANVAS MARCH/APRIL ISSUE

Abbas AkhavanThe Iranian artist explores

narratives of domestic space

to comment on notions of

hospitality and hostility.

Mehmet Ali UysalUysal breaks away from the

confines of the four walls of

the gallery to comment on the

process of Contemporary art.

Common GroundArtists reflect on narratives

pertaining to violence, gender,

transport and consumerism to

create works using cars.

Today's ScheduleGLOBAL ART FORUM 9: DOWNLOAD UPDATE?Values, Virtues And The VirtualBy Georgina Adams, Sebastian Cwilich, Thomas Galbraith and Anders Petterson15:15–16:15

GLOBAL ART FORUM 9: DOWNLOAD UPDATE?We Live In The Exoskeleton Of The InternetBy James Bridle and Omar Kholeif16:15–16:45

BOOK LAUNCH: Shafic Abboud by Pascale Le ThorelAgial Gallery (M10), Art Dubai Modern, Mina A’Salam16:00

BOOK LAUNCH: Ramin Haerizadeh, Rokni Haerizadeh and Hessam RahmanianGallery Isabelle van den Eynde (J18), Gallery Hall 2, Madinat Jumeirah 17:00

FILM SCREENINGBeatrice Bulgari’s The LackA4 Art Spaces, Alserkal Avenue18:30

TOURModern*18:30–19:00

TOURMarker*19:00–19:30

Book a place on the tour at any of the information desks. All Global Art Forum 9 session are held in Mina A’Salam, next to Art Dubai Modern.

For more information, visit www.artdubai.ae

CONTINUED FROM PAGE 1

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ISSUE 2

Light is shining – indeed, it is shining over our region, because where there is most darkness, there are also the brightest spots. Canvas is one of them, since it be-�� Light is shining in the resistance to despair and we are resisting. We’re going further: with every poem, every concert, every technical invention, every building in the Gulf, every tree on Mount Lebanon, with every look at the sky, with every meal cooked with love, we’re going further. Because we are here and shall be. And whoever wished our disappearance, whoever thought we were doomed, whoever thinks that it’s too late for us, is up to a great disappointment. We’re in trouble, oh yes! But the sun is rising every morning; it has done it for us for a long time and will still do it, we know it. And somehow we’re very happy.Etel AdnanLebanese artist, writer and poetER PRINTING_2.indd 1

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2 Light is shining – indeed, it is shining over our region,

because where there is most darkness, there are also

the brightest spots. Canvas is one of them, since it be-

��

Light is shining in the resistance to despair and we are

resisting. We’re going further: with every poem, every

concert, every technical invention, every building in

the Gulf, every tree on Mount Lebanon, with every

look at the sky, with every meal cooked with love,

we’re going further. Because we are here and shall

be. And whoever wished our disappearance, whoever

thought we were doomed, whoever thinks that it’s too

late for us, is up to a great disappointment. We’re in

trouble, oh yes! But the sun is rising every morning; it

has done it for us for a long time and will still do it, we

know it. And somehow we’re very happy.Etel Adnan

Lebanese artist, writer and poet

2/24/15 2:52 PM

She is the small woman hovering near the life-sized taxidermy lion perching on a plinth. Its energy implies ferocity with realistic bared teeth, but on closer inspection, it becomes apparent that this lion is a knit skin-sack made of mohair. No cuddly toy – Shauna Richardson intentionally avoids twee characteristics in what intrinsically should be so by avoiding pattern, focusing on linear patterning and attempting realism as far as her crochet-needle and wire frame work will take her. Popular in its unorthodoxy, Richardson explains that one work takes several months as she produces it by hand, usually for commission. The individuality of her work is mirrored by the collectors; she has never had to create the same animal twice.

While a shocking discovery in Design Days Dubai, a space filled with all that glitters (but not necessarily gold), Richardson’s design at the Crafts Council booth is a palette cleanser: kitsch but realistic and unapologetically out of place. “When you look at accessible things like animals, it makes people uncomfortable to accept it as contemporary, but that is why I use subjects like that, to be accessible,” she says. However, a work that is willing to embrace itself on the merits of its own values? About as contemporary as it gets. But unlike the unfathomable non-boundaries of contemporary creations, Richardson’s ‘crochetdermy’ has limits – “I’ve said no to a hare with a veil on it.”

Shauna Richardson. Crochetdermy Lionness. 2009. Mohair wool and black walnut plinth. 102 cm. Image courtesy the artist and Design Days Dubai.

Shafic Abboud. Composition. 1958. Oil on panel. 92 x 64 cm. Image courtesy Agial Gallery, Beirut.

Gulay Semercioglu. Untitled. 2014. Wire, screw and wood. 210 x 215 cm. Image courtesy Pi Artworks, London/Istanbul.

Sara Rahbar. Holding On To Nothing But You. 2014. Bronze with black wax. 140 x 15 x 13 cm. Image courtesy Carbon 12, Dubai.

In Issue 1, Canvas Daily mistakenly reported that Gallery Isabelle van den Eynde (J18) sold a work by Rokni Haerizadeh for $130,000. The work is a collaboration between Rokni, Ramin Haerizadeh and Hesam Rahmanian. Also, in One On One with Abdelmonem Alserkal on page 8, the date of Ayyam's opening in Alserkal Avenue is 2008.

19 MARCH 2015 I CANVAS DAILY I ISSUE 3 I ART DUBAI EDITION4

GLOBAL ART FORUM 9

CHRISTIE'S DUBAI AUCTION SIKKA at 5

Shumon Basar opened the first day of the Global Art Forum:

Download Update? at Art Dubai with, “We are promiscuous in our

interests. Art, either contemporary or otherwise, is not given VIP

treatment in the Global Art Forum. Curiosity, unlike fossil fuels or

polar bears, is, we believe inexhaustible.”

1. Farhat Al-Nuba (The Happiness Of Nubia). 1965. Oil and gold leaf on paper laid

down on canvas. 130 x 251.5 cm. 2. Babel. 2005. Acrylic on canvas. 260 x 200 cm.

3. Hemisphere. Digital print and industrial lacquer paint on rubber stamps on

aluminium in three parts. 240 x 360 cm each. 4. Zahra's Image. 2009. Mirror mosaic,

reverse-glass painting and plaster on wood in aluminium. 185 x 135 x 19 cm.

18 MARCH

Too Long, Didn't Read involved Christopher Bevans in conversation

with Turi Munthe & who, following the fashion-based discussion,

noted, “You just re-spelled ‘textiles’ as tech-styles!”

Strangers, Welcome: New Invisible Publics saw Gala Berger, Gabriel Perez-

Barriero and Jack Persekian discuss the presence and importance of the

Internet in their respective institutions. “In this era, everyone is trying to

digitise whatever they have for fear that these things might get lost. In

the context of Palestine, maybe destroyed. A lot of these institutions are

doing that, or trying to, or looking for solutions. What is so ridiculous is

that each and every one is trying to do it on their own, an island on their

own. Trying to create the wheel,” said Persekian.

Architecture Effects: Moving On After Progress saw Troy Conrad musing

on new frontiers, the digital age and pop culture, lamenting before his

talk was cut short due to time constraints, how “Off the record, it may

be a Greenberg-ian view, but art should be experienced.”

In the Al-Fahidi historical neighbourhood of Dubai, mixed media artist Jalal Luqman curates, with the support of the Dubai Culture and Arts Authority, a platform of commissioned works from 48 artists with multidisciplinary approaches.

One artist, Hazem Mahdy, has taken the opportunity of the environment SIKKA provides to expand upon his usually photographic practice, saying, “My piece is called Hic, a Turkish word for void or nothingness. It is a plastic 3D print of interconnected arms in an upwards spiralling motion in a room covered in black trash bags to absorb the light so the piece fills the space with its shadows. It invites the viewer to become part of this mystical experience of whirling in nothingness as the Sufis of Turkey do.” SIKKA is an environment that pushes artistic and curatorial independence and some experimentation. For example, Wael Hattar presents A Heaven For Sale, a black-walled enclosure with peep-holes and ‘for sale’ signs both at the location and online. “It’s a tongue-in-cheek look at making the public private,” says Hattar, of the work that indicates that the repercussions of presentation can turn the for-granted into the conceptual. Further indicative of the SIKKA expansion, Mobius Design Studio overtakes and commissions a work for dedicated space – this year’s thematic being ‘Re-ornament’ and interpreted by Sawsan and Bahar Al-Bahar’s LUZ light sculpture in spatial deconstruction of muqarnas geometry.

Other works include Michael Conduit’s drawings which he, as a teaser, describes as, “de-orientalising ‘the other’”; architect Noor Jarrah’s collaborative work with graphic designer Sara Al-Aqroobi, Ayn, a hallway installation that deals with jealousy and protection from it via manipulated planes of view; and Sumaya Al-Rais’s still-life watercolour.

Hazem Mahdy. Hic. 2015. Plastic 3D print. Variable dimension.

Sawsan and Bahar Al-Bahar. LUZ. 2015. Light installation. Variable dimension. Images courtesy Sikka.

All images courtesy Art Dubai.All images courtesy Christie's.

The top four lots from the Christie's Modern and Contemporary Arab, Iranian and Turkish Art, which was ��%��

SIKKA 2015 marks the fifth edition of the artist-led satellite fair for emerging UAE-born or based talent, occurring in tandem with ��(��

Bestselling lot on the night was Tahia Halim Farhat Al-Nuba (The

Happiness of Nubia), which went under the hammer for $749,000

against its high estimate of $180,000, representing a new world record

for the artist at auction.

Ayman Baalbaki's Babel also sold for a world record price for the artist

at auction, going for $485,000 against its high estimate of $200,000.

Third highest selling lot was Abdulnasser Gharem's Hemisphere, which

also sold well above its high estimate, at $400,000 against $180,000.

Monir Shahroudy Farmanfarmaian's

Zahra's Image achieved a hammer

price of $395,000 against its low

estimate of $350,000. New York's

Guggenheim opened a show for

the celebrated Iranian artist on

13 March, curated by Suzanne

Cotter, who presented a show for

Farmanfarmaian at the Serralves

Museum in Porto last October.

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Ziad Antar. Intensive Beirut (XVI). 2014. C-print. 120 x 180 cm. Edition of four. Image courtesy Selma Feriani Gallery, London/Tunis.

“Beirut,” says Antar, “is a city where monuments cannot thrive. […] What it leaves you with is a thought; an idea of a city, its vibrancy, its intricacies.” He photographs his native Lebanon from ashore, part of a photographic series/book collaboration with architect Youssef Tohme. Exploring Beirut’s architecture, where one sees only a faint outline in the distance, the image ($12,000) invites the viewer to come closer to the slightly pink tones to attempt visual clarity and fill in the blanks independently.

Safwan Dahoul. Dream 93. 2015. Acrylic on canvas. 180 x 200cm. Image courtesy Ayyam Gallery.

The Syrian-born artist explores the corporeal and psychological effects of solitude and longing, a notion continued in his Dream series. This painting (price undisclosed) incorporates Cubist elements in its monochromatic variance. Alluding to "death and hope simultaneously", Dahoul merges the back– and foregrounds into indefinable planes both on and off canvas, as well as figurative confrontation and isolation from the contradictory yet void body language of the fragile subject.

Gil Heitor Cortesao. Between Tides. 2014. Oil on Plexiglas. 168 x 218 cm. Image courtesy Carbon 12, Dubai.

The Portuguese painter takes the concretely banal and gives it a nostalgic effervescence by using oil on transparent Plexiglas. Using textural brushstrokes that contradict the flatness of the painted planes, Cortesao ventures into new visual separations with this quadriptych (priced between $26,000–32,000). While tonally uplifting, the dulled quality of the vibrant hues and turned-backs of the figures remain characteristic of Cortesao’s ability to offer melancholic stillness.

Nikhil Chopra. Rehearsal 1. 2014. Ink and watercolour on paper. 14 x 39 cm. Image courtesy Chatterjee & Lal, Mumbai.

Indian-born Nikhil Chopra’s practice revolves as much around drawing and painting as the perfomative act of doing so. Using this drawing ($7500) to indicate his relationship to drawing and painting, it is a vehicle of rehearsal towards site-specific performances. The improvisation of live drawing can be seen in the delicately gestural qualities of his monochromatic scenes capture everyday elements such as waterscapes.

Jaber Al-Azmeh. Untitled. 2015. Printed on cotton rag fine art archival paper. 80 x 105 cm. Image courtesy Green Art Gallery, Dubai.

Syrian-born photographer Jaber Al-Azmeh presents an unnamed photograph (priced between $3000–5000) that depicts an equally anonymous environment in Qatar in greyed-out tones. Interrupted only by the residual traces of vehicles that fade out towards the sea, is it reminiscent or ominous? “Where are we now? What paths did our dreams take? Are we lost, or going in vicious circles?” Al-Azmeh's practice would indicate that a heavy bleakness resides in the still displacement of the shots captured.

WET SAND��)��the particular solitude that remains at the beach when the sun sets and ��

SHIVA BALAGHI, CULTURAL HISTORIAN, BROWN UNIVERSITY In the summer of 2000, I went to Andrea Rosen Gallery with my dear friend Anthony Shadid (the Pulitzer Prize-winning journalist who died tragically in Syria). We looked at Abbas Kiarostami’s first-ever US photography exhibit in preparation for our interview with the master. As we left the gallery and walked through Chelsea’s streets, Anthony spoke of how much he wanted to purchase some of the works. They were relatively affordable, but still too expensive for us. At the time, he was an AP reporter and I was an NYU professor. So we joked that we should get a credit card, buy a few of the photographs and consider it an investment. The joke was on us, because it actually would have been an incredibly sound financial investment! Those photographs now fetch amazing prices at auction.

HOW SUSTAINABLE IS THE MARKET FOR MODERN REGIONAL WORKS?

VALERIE HESS, CLIENT LIAISON AND SALE MANAGER, CHRISTIE’S Browsing through the 158 lots in the Christie’s Dubai 18 March catalogue should provide a clear indication of the depth and sustainability of the Modern Middle Eastern art market. Still young, this market covers a wide geographical area

and there are still new names being introduced all the time, as demonstrated in the March sale with the likes of Ramses Younan, Kamel El-Telmissany and Marguerite Nakhla. Furthermore, the Contemporary of today will become the Modern of tomorrow, which will further broaden the supply chain. Whilst there may be periods where the quality of works can vary depending on availability, overall the supply chain of Modern Middle Eastern art remains extremely strong.

LEILA HELLER, FOUNDER, EPONYMOUS GALLERYI believe that the market for Modern Middle Eastern art is actually very undervalued for many artists. I think that as more museums and institutions recognise its importance by acquiring and exhibiting such work and placing it within a global context, the stronger the

market will become. The market for some Modern Middle Eastern artists grew too quickly and will probably plateau soon. But in many other cases, markets are steadily and healthily growing. For example, I work with the estates of both Marcos Grigorian and Farideh Lashai, and feel that neither of their markets have fully matured yet. I think that if we work strategically and don’t rely solely on auctions to legitimise an artist’s market, then there is still the potential for these artists’ markets to continue to grow.

Image courtesy Valerie Hess.

Image courtesy the Davis Museum at Wellesley College, Boston.

© Canvas Archives.


LIBRARY

SUMMER AUTUMN WINTER… AND SPRING. CONVERSATIONS WITH ARTISTS FROM THE ARAB WORLD BY SAM BARDAOUIL AND TILL FELLRATHPUBLISHED BY SKIRA$34

A small book, visually subdued in tones of grey, does little to indicate the wealth of polemic thought present within the documented conversations between curators Sam Bardaouil, Till Fellrath and 10 established artists from the Arab world, between 2012–13. Bardaouil says, “the book is a response to the reductionist discourse concerning the type of political engagement expected from artists in regard to the upheavals that have since been labeled the ‘Arab Spring.’” Featuring artists originating from Morocco, Algeria, Egypt, Palestine, Lebanon, Iraq, Saudi Arabia and the UAE, such as Mounir Fatmi and Ghada Amer, it “highlights the heterogeneity of artistic practices, political topologies and social positions that permeate the Arab world; a region often framed within the worn-out rhetoric of identity politics and post-colonial theory.” The publication offers a diversified approach and refreshed insight into these contemporary artists through candid discussion.

To order, visit www.rizzoliusa.com or www.amazon.com

ART NEWS

HAJJAJ ROCKS THE USANEWARK – Celebrating two years of collecting African art, My Rock Stars Experimental, Volume 1 (2012) by Hassan Hajjaj is on view at the Newark Museum until 9 August. A video installation inspired by the Moroccan artist’s own personal ‘rock stars’, the work consists of nine performances by musicians of varying musical genres. Works from this series can also be seen at the Wexner Centre for the Arts in Ohio until 12 April.

THROUGH NEW EYES STOCKHOLM – Akram Zaatari’s Unfolding (until 16 August) at Moderna Museet explores photographs through multiple perspectives, from archival to conceptual, acting as an artist-archaeologist that breathes new life into literally forgotten material. The exhibition also includes video works and objects to reveal a history relating to Zaatari’s hometown of Saida in south Lebanon.

STORIES TELLING STORIES DOHA – Egyptian artist Wael Shawky’s traveling exhibition Cabaret Crusades And Other Stories fuses storytelling with documentary in a personalised reiteration of Middle Eastern literature by Amin Maalouf and Mohamed Mustagab. An exhibition curated by Abdellah Karroum at Mathaf reveals two recently completed film trilogies that address an ever-present fight for power. Works from the same series can be viewed at MoMA ps1 New York until 31 August.

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Hassan Hajjaj. Wamuhu Legs. 2014. Image courtesy Taymour Grahne Gallery, New York.

YOU WERE BORN TO A PAKISTANI FATHER AND A WELSH MOTHER AND GREW UP IN BIRMINGHAM AND YET YOUR WORK IS ISLAMIC. I think what I’ve always tried to do is not lose a connection with my heritage. At art college, I wondered why I was into repetition – well, we pray five times a day and I remember how my father would tell me to repeat after him when I wouldn’t understand something in prayer. I realised all I wanted to do is layer, especially with the stamp work, it’s very cathartic, I lose myself in it, like you lose yourself in prayer.

DO YOU FEEL THAT YOUR ART IS THERAPEUTIC? Absolutely. When I first made the stamp paintings, I had lost my mother and needed a way to remove myself from the grief. I had an exhibition at Yves Lombard in New York, where I showed a piece composed of 21 drawings based on The Stoning of the Devil (part of the Hajj pilgrimage in Islam); I took the idea of the stone and how you’re throwing it and removing it from yourself and I imagined the stone hitting the paper and exploding into words.

IN THAT VEIN, ISN’T IT DIFFICULT TO PART WITH SUCH PERSONAL WORK?No. I like the fact that they’re out in the world. Of course, I make things for myself but it’s nice for an artist to let their story out in the world.

YOU HAVE SAID THAT A LOT OF YOUR WORK STEMS FROM PHOTOGRAPHY. HOW SO? It’s like layering pages of the Qur’an on top of each other and then that triggered the idea of taking it into steel and sculpture and compressing time – through a photo, but then through material and then now with the stamp works, creating a palimpsest, a new surface, is how I like to think about it. A lot of people come into my studio and think it’s very clinical. Everything is clean, organised and systematic in the way it’s done. A teacher at the Royal College of Art once told me it’s obvious I’m a photographer because I’ve been observing my father, who is a surgeon and surgery is about cutting up; photography is about slicing the world.

YOUR WORKS ON PAPER INVOLVE A HEAVY TECHNIQUE BUT FEEL LIGHT.Because of gesso and ink, the paper sucks it in and it looks embedded; you have to treat it differently, you can’t stamp as hard, you have to be softer. You get a real delicacy to the image. I adapted a way of painting, I don’t think I’m a painter yet, so for me, the stamp is a sense of wood-block printing, it has allowed me a way of making paintings as these are process-led works.

WHAT IS THE MESSAGE THAT YOU’D LIKE TO CONVEY THROUGH THE BOOTH’S CURATION? The problem with an art fair is that you don’t get what you want size-wise – Seven Times is a large work, but it is being shown at Victoria Miro on a smaller scale. In terms of curation, I suppose the booth showcases the artist in me, the inquisitive me. What I strive for is making a comment on peace and philosophy and on some sort of meditative level, I want people to feel calm and contemplative. They should be led away from the world they live in. When they look at that deep black paper, can they fall into something else?

ONE ON ONE with Idris KhanLondon’s Victoria Miro returns to Art Dubai for the third time with a solo booth for Idris Khan and presents new stamp paintings and works on paper that are shown alongside Khan’s iconic Seven Times��/��3��Canvas Daily about the booth and how its contents communicate 4��6�� Akram Zaatari. Twenty Eight Nights And A Poem. 2012.

Image courtesy Sfeir-Semler Gallery, Hamburg/Beirut.

Wael Shawky. Cabaret Crusades: The Path To Cairo. 2012. Image courtesy Mathaf: Arab Museum of Modern Art, Doha.

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A4 SPACE, AYYAM GALLERY, CARBON 12, DESERT FISH PHOTOGRAPHY, FN DESIGNS, GALLERY ISABELLE VAN DEN EYNDE, GREEN ART GALLERY, GREY NOISE, GULF PHOTO PLUS, LA GALERIE NATIONALE,

LAMMTARA ART PRODUCTION, LAWRIE SHABIBI, MOJO GALLERY, SALSALI PRIVATE MUSEUM, SATELLITE, SHOWCASE GALLERY, THE CARTEL, THE FRIDGE, XPOZE.

MARIA THEREZA ALVES*Wake: Fl ight of Birds and People in Dubai

Location: The Yard

MEHREEN MURTAZA*Deep Earth Object

Location: The Yard

HAZEM HARB**Untit ledLocation: Warehouse E47

RCA FLUX IN DUBAIAlserkal Avenue is pleased to present an exhibit ion of works by current students in the RCA School of Fine Art .Location: A4 Space - Project Space

ARTIST VIDEOS IN A4 SPACEAdel Abidin, Rokni Haerizadeh, Ramin Haerizadeh, Hesam Rehmanian, Michael John Whelan & Micheael Sai lstorfer Location: A4 Space - Cinema Room

ART WEEK ATALSERKAL AVENUE

16 - 21 MARCH

HOMEGROWNPROGRAMMING

CINEMA AKILThe Cinema Aki l Outbox Short Fi lm Festival :

“Space Under Construction”

Date: 16-18 + 20-22 MarchLocation: Cinema Aki l / Warehouse G58

MANAL AL DOWAYAN I Had No Wings

Location: Nostalgia Classic Cars /Warehouses J89

THE THIRD LINE A Musl im Man (scenes 1-16)

Rami FarookLocation: The Third Line / Warehouse H80

SVENMLight and architecture instal lat ionLocation: Warehouse H79

alserkalavenue.ae

Time: 9am - 7pm

POP-UPPROGRAMME

* Commissioned by Art Dubai Projects in col laboration with Alserkal Avenue.** Commissioned by Alserkal Avenue.


ONE OF THE highlights of this year’s Art Dubai Modern section is also one of the most beguiling shows in the entire fair. Curated by Vali Mahlouji, Az Div o Dad is an exhibition of extraordinary polaroids by the Iranian photographer Kaveh Golestan and contains images not seen in public for over three decades.

Born in 1950, Golestan was a seminal figure in the development of Iranian photography. As a photojournalist he covered many key historical events, from the conflict in Northern Ireland to the two Gulf Wars and including the tumultuous upheavals in his own country during 1978–79. He was awarded the Robert Capa Gold Medal for “superlative photography requiring exceptional courage and enterprise abroad” and would doubtless have gone on to achieve even greater accolades were it not for his untimely death in 2003 after treading on a landmine in Iraq.

Golestan was particularly focused on social issues, most famously perhaps in his project with the prostitutes who lived and worked in the citadel section of Tehran in the 1970s. He documented these women in a moving and enigmatic series of images, all taken on the eve of the Islamic Revolution which was to see the area torched and its inhabitants displaced or worse.

Two years earlier, Golestan had created a series of remarkable polaroids by moving collaged fragments in front of an open shutter over long exposures. This allowed him to create surreal compositions featuring a bewildering array of different subject material that draws on many aspects of Iranian and broader culture. Military figures in 19th-century attire assume animal heads and architectural dimensions, while inanimate objects are anthropomorphised in a highly original juxtaposition of modern and Qajar heritage. This is surrealism with a peculiarly Iranian twist.

The polaroids went on show at the University of Tehran in 1978 but were banned by the authorities within two weeks and have not been shown in public since. They provide a captivating view of a lost world by a much-missed artist. Highly experimental in tone, they are a defining chapter in the history of Iranian photography, according to Mahlouji: “Golestan’s archive contains over 500,000 individual images, one of the most important collections of its type and a unique record of the social and political history of Iran.”

Mahlouji has been collaborating with Golestan’s widow to catalogue, protect and secure the archive of images for posterity. Some photographic prints are being offered for sale as a means of raising funds to conserve the main collection. Meanwhile, the polaroid exhibition is travelling from Dubai to London, where it will be shown at the Whitechapel Gallery and Somerset House during April and May.

EXPLORING THE LOST AND THE SURREAL

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Collage polaroids from the Az Div O Dad series. 1976. Images courtesy Kaveh Golestan Estate.

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S A A D I Y A T C U LT U R A L D I S T R I C T. A E

Selections from the Guggenheim Abu Dhabi Collection

LAST CHANCE TOVISIT, OPEN UNTIL26 MARCH 2015Manarat Al Saadiyat, Saadiyat Cultural District Abu Dhabi, UAE

ABU DHABI TOURISM & CULTURE AUTHORITY PRESENTS

UNDER THE PATRONAGE OF

His Highness General Sheikh Mohamed bin Zayed Al Nahyan Crown Prince of Abu DhabiDeputy Supreme Commander of the UAE Armed Forces


ARTISTS ON SITE

Canvas Daily��;�<�%��#��=��3��

CONTINUED FROM PAGE 1

THE OTHER VIEW

SALSALI PRIVATE MUSEUMHAZEM HARBTHE INVISIBLE LANDSCAPE AND CONCRETE FUTURES UNTIL 1 JUNEIn collaboration with Jeddah’s Athr Gallery, Palestinian artist Hazem Harb stages an exhibition curated by Lara Khaldi, and which questions architecture as a tool of power and hierarchy. Via a cleanly presented series of sharp Constructivist-esque works, decrepit

architecture is combined with monochromatic geometric forms, recalling the basic architectural forms that are visually missing… or perhaps censored. Harb may ask visitors, “When does architecture cease to be an oppressive status? How do certain styles museumize a people while other styles shelter others?,” but if this is the face of architectural subversion, then we should all join the underground.

GALLERY ISABELLE VAN DEN EYNDEHASSAN SHARIFIMAGESUNTIL 5 MAYHassan Sharif is exhibited in his past and present glory, showing works from the 1970-80s in conversation with 2015 creations. While the consistency of Sharif’s practice is to be admired, the qualities of something as traditionally disposable or banal as newspapers, magazine pages and printouts, are recontextualised

into densely voluminous, organic sculptures that appear simultaneously ragged and a little twee. Layers upon literal layers of materiality and artistic process conceptually substantiate the works which cause us to stop and observe our literal paper trail. However in a space so visually compacted with these bits of paper, we may not want to be so face-to-face.

EAST WINGGROUP EXHIBITIONSURVEILLANCE.02UNTIL 30 APRILStrategic or innocent voyeurism is the question in the multidisciplinary works that consist of camera, satellite and drone perspectives. Caught

red-handed or perfectly composed, the question is not necessarily of freedom vs control, privacy vs public, but authenticity. Can the candid ever truly be captured when the knowledge of peering, or leering, eyes are upon us (and there always are)? Artists include: Edmund Clark with a first-ever showing of a new audio-visual work, and a special screening of Stephane Degoutin and Gwenola Wagon’s new film, amongst others.

NYUAD ART GALLERYSLAVS & TARTARSMIRRORS FOR PRINCESUNTIL 30 MAYThey say the older you get, the bigger you like things to be. Slavs & Tartars, a self-described, “faction of polemics and intimacies devoted to an area east of the former Berlin Wall and west of the Great Wall of China” is essentially saying they cover everything. And so it seems with this sizeable exhibition combining academic research and artworks with witty irreverence to explore medieval

guidebooks shared by Christians and Muslims, for example, Machiavelli’s The Prince. The expansiveness of the topic is mimicked in the broad installation: travel through three distinct immersive environments: a mirrored room with multi-language audio works, a dark psychedelic space of sculptures… and then a tea house. A room for every preference, flavour, desire; perhaps in the ‘big picture’, bigger is better?

JAMEEL PRIZE EXHIBITIONVARIOUS ARTISTS SHORTLIST SELECTION UNTIL 6 JUNE An international art award inspired by Islamic heritage and awarded by London’s V&A in conjunction with Art Jameel and ALJCI, the works submitted continue to bridge the tradition of Islamic art with the practices of Contemporary art and culture. Winner Dice Kayek’s Istanbul Contrast consists of three garments referencing the architectural and artistic past of Istanbul in varying degrees of contemporaneity. With the line between past and present, tradition and modernity, being so

fluid, the exhibition rages with an ability to offer multiple perspectives from an unceasing scope of personal interpretations.

Nasser Al-Salem. Kul. 2012. Image courtesy the artist and Athr Gallery, Jeddah.

Hazem Harb. Untitled #12. 2015. Image courtesy Salsali Private Museum, Dubai.

Hassan Sharif. Images No 2. 2014. Image courtesy the artist and Gallery Isabelle van den Eynde, Dubai.

SHARMEEN SYED (Pakistan) focuses on themes such as cultural geography and sociology of space using analogical devices and her AiR contribution is a visual exercise in geometric precision. The monochromatic work is dotted and layered with mappings of the horticulture and gardening histories of Dubai, the explanation of the work stating, “In the garden, plants sit quietly in a gravel garden bearing witness to a history of migrations while playing the welcoming host to the audience.”

Of A Radical Hospitality: Episodes Of Conditions, Transgressions And Impossibility. 2015. Audio and installation (gravel, plants, drawings, text, hotel furniture). Variable dimensions.

RHEIM ALKADHI (Lebanon) uses inner reflection as a research methodology and creates four relational art “contact points” in corridors and halls throughout the fair venue. On The Labors Of Lovers consists of sewn and folded moist towelettes; Synaesthetic Fragrance is a coloured, scentless smell to question the senses; Supplication Activity is inspired by an amulet vendor from the Deira Souq where desires are written down, inserted into the amulet, and sealed; finally, Hairs Of The Oppressed are giant eyelashes cast to perform.

Objects At An Art Fair: Program Of Four Interventions. 2015. Durational work; moist towelettes, fragrance, amulets and giant hair. Variable dimensions.

JESSICA MEIN (Brazil) is a Dubai-based multimedia artist whose practice is visually conceptual and merges creation with devastation in monochromatic hues. Revealing discord between inspiration and artistic manifestation, Mein intervenes with intentional human-error on various billboard structures throughout Dubai to question the “structure and supports that hold up and make up images.” AiR has been “a great opportunity to be involved with Dubai itself and have a deeper dialogue with the arts community here.”

Safety First And Avesso. 2015. Three on and off site installations, photographic prints, construction panels, and hoarding. Variable dimensions.

MEHRANEH ATASHI (Iran) is an Amsterdam-based photography/video/installation artist who frequently pursues alchemy and entropy as an artistic concept. Atashi is interested in a pool of thought that suggests, “Nature is a form of anthropocentric narcissism that renders us blind to some of the properties of the world beyond the human.” Thus her project is an attempt to practice an anthropology that does not radically separate humans from non-humans via an installation that assembles contradictory, fragmented objects.

This Is A Surface Where Violence Passivity And Dream Convert To Landscape. What If The Only Witnesses Are The Birds. 2015. Plexiglas, transparent colour, sculptures, dough, paint, LED light. Variable dimensions.

HIND MEZAINA (UAE) is a Dubai-based photographer who has been involved in researching the changes in the city since the 1970s. Her AiR creation is an amalgamation of photographs, archival information, “fiction, fact and especially PR language” of Deira. This is presented alongside more monitors displaying news reports from the 1960–70s to represent the rapidly evolving urban landscape and deconstruction of the public space and memories.

It May Have Been Where The Tales Of Sinbad And Aladdin Came From. 2015. Video installation (projection on wood and two monitors, sound). Variable dimensions.

Yann Mingard. Deposit 141. 2013. Image courtesy the artist, East Wing and deCODE geetics, Reykjavik.

Slavs and Tartars. Lektor (Speculum Linguarum). 2014–present. Image courtesy the artists and The Third Line, Dubai.

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CROSSWORDEuropean Galleries at Art Dubai

It was 2am as I stood protectively near the enormous crate in the blistering heat at the loading dock deep within Sharjah airport. “What is this?” asked the burly customs officer. “A painting,” I replied. We opened the case and he allowed us to proceed to the office where they could scrutinise the paperwork. “FIVE HUNDRED THOUSAND?” he exclaimed, refusing to sign the paperwork, concluding that there was no way this work was worth this value in US dollars. After my discussion with his supervisor, the form was stamped. The piece was a Contemporary Iranian artwork dated 2008.

Why this example is relevant to art handling is because awareness at all levels in the art logistics process is important, and a customs officer is an integral link in the course of an artwork’s journey to the end consumer. In this industry, we cannot control every part of the operation; an airport handler or a delivery driver is often unaware of how sensitive or valuable their cargo can be.

With art transportation, the pressure is on to deliver, to deliver promptly and (most of the time) in an extremely cost-sensitive manner. It can be confusing when the likes of Abu Dhabi’s Louvre and Guggenheim demand the highest quality of fine art shipping services, in order to demonstrate to the global institutions that they are fully equipped, capable and trustworthy to handle any loan. Then there is the commercial gallery market, with low margins and need to cut overheads anywhere they can in order to be profitable. This necessity to nominate a low-cost

transport solution invariably leads to suppliers who lack a great deal of art handling knowledge. This is where mistakes occur. Yes, it is possible to take calculated risks, but what happens when, as what happened in Dubai several years ago, when the forklift driver clumsily pierced the shell of a case containing a painting by Claude Monet? It was written off and the unsupervised driver had most likely never heard of the artist.

As the value of art increases in the region, so does the necessity for better handling, planning and storage. Important works created in the Middle East from the early to mid-20th century and before are irreplaceable. It is widely known that within the region, desert temperatures and humidity levels soar and it is vital that these works are properly preserved. To be aligned with a trusted logistics partner like Hasenkamp, Masterpiece, Momart or Crown and insisting on only using them, raises this credibility.

As in Europe and the Americas, the art logistics industry is a vital link in the chain of the commercial and public art community. It should be respected. Treating important art with under-calculated risk is simply bad practice. Why, after acquiring a beautiful piece would you take a risk? The Middle East art market is moving forward. And so is the need for qualified handling. It pays to invest.

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OPINION

Image courtesy Ben Franklin.

FIVE PREREQUISITES FOR SURVIVAL IN THE ART WORLD: Profound love for art, open mind, patience, patience and patience. THE ART WORLD’S BIGGEST CRIME IS: Speculation. IF I WERE STRANDED ON AN ISLAND THAT HAD ABUNDANT FOOD, SHELTER AND ELECTRONICS, THE THREE THINGS I WOULD TAKE WITH ME ARE: My dog, red wine and a good classic book. FOR INSPIRATION, I: Travel. I OWE MY SUCCESS TO: My stubbornness. THE THREE THINGS I LOOK FOR IN AN ARTWORK ARE: Sense, skill and strength. MY BEST ART INVESTMENT IS: We’ll see in 10-15 years.

MY BIGGEST VICE: Smoking. THE SONG I CAN LISTEN TO OVER AND OVER AGAIN IS: Erik Satie’s Gnosienne #4. MY FAVOURITE FICTIONAL CHARACTER IS: Chewbacca. BAD ART IS: Art that doesn’t touch people. I’D LIKE PEOPLE TO REMEMBER MY: Sense of humour. THE ACTOR WHO WOULD PLAY ME IN A MOVIE ABOUT MY LIFE: Kirsten Dunst. I WISH PEOPLE WOULDN’T: Be so cruel to each other. CREATIVITY CAN BE CRUSHED BY: Yourself only.

FIVE PREREQUISITES FOR SURVIVAL IN THE ART WORLD: An open mind, commitment, great friends, a place of sanctuary and a strong liver. ONE OF THE ART WORLD’S GREATEST UNSUNG HEROES IS: Carol Rama. IF THERE IS ONE ERA I WOULD GO BACK TO, IT WOULD BE: The 1600s. MY BIGGEST VANITY IS: Driving/riding fast. IF I HAD TO SUMMARISE, I WOULD SAY THAT ART IS: Unlimited. MANKIND IS CAPABLE OF GREAT: Chaos. FOR INSPIRATION, I GO: Anywhere new. THE SONG I CAN LISTEN TO OVER AND OVER AGAIN IS: Van Morrison’s The Smile You Smile. I WOULD HAVE LOVED TO BE A FLY ON THE WALL WHEN: Francisco Goya painted the Black Paintings. IF I WEREN’T DOING WHAT I DO, I WOULD HAVE BEEN: Destructive. THE MOST OVERUSED ART TERM: ‘The work forces the viewer to question’. THE ARTIST I’D WANT MY PORTRAIT CREATED BY: Lucas Cranach the Elder. BAD ART IS: A great disservice to inspiring younger artists. WITHOUT ART, THE WORLD WOULD: Have no reflection. CREATIVITY CAN BE CRUSHED BY: Complacency.

ANASTASIA BLOKHINA OF YAY GALLERY (J10)

5 Minutes With...

SHAUN MCDOWELLARTIST SHOWING THROUGH HANNAH BARRY (A8)

WORD SEARCHMarker 2015 Artists

BEDOYA CALLE CRUZVILLEGASCUEVAS DAMIANI

IANNIKOCH KURI LUPINI

MACCHI PRIETO REDINRENNO RESTREPO SALCEDO

ACROSS6. An old establishment, this London-based space shows

art from Britain and India

8. First opened in Thessaloniki

10. This Moscow’s space’s last show was titled

Warm It Up!11. The founder’s wife is Nathalie Obadia

12. This Parisian space represents Mona Hatoum

13. Three spaces – Les Moulins, Beijing and

San Gimignano

14. In addition to London, it has also opened a branch

in Tunis

DOWN1. London-based, presents a solo booth for

Marwan Sahmarani

2. Brussels and Farhad Moshiri, Stephen Shore and

Walead Beshty

3. In the Spanish capital with artists from the MENASA

4. Celebrates 30 years in Hamburg in April

5. Contemporary Hungarian art

7. Established by Gorczyca and Kaczynski in 2001

8. Now represents Saudi artist Maha Malluh

9. Last year, this gallery’s artist won the John Jones

Work on Paper Award

Across: 6. Grosvenor 8. Kalfayan 10. Pechersky 11. Templon 13.

Continua 14. FerianiD

own: 1. H

ildebrand 2. Jannsen 3. Amrani 4. SfeirSem

ler 5. Viltin 7. Raster 8. Krinzinger 9. Fares

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