Issue #67 Artistic Unity: Art in the UAE

TRACING THE ARTISTIC UNITY OF THE UNITED ARAB EMIRATES THROUGH THE LAST FOUR DECADES

SPRING 2024 - USD 20/EUR 18/AED 74/QAR 73

# 67 ARTISTIC UNITY: BUILDING THE UAE

ARTS-STYLE-CULTURE FROM THE ARAB WORLD AND BEYOND

2

THE LITTLE PRINCE OF GAZA

In memory of the lost lives of innocent children in Gaza.

EDITOR’S LETTER As we leaf through the pages of the past four decades of art in the United Arab Emirates, it becomes evident that the art scene has undergone a remarkable transformation. From the humble beginnings narrated by the first galleries such as Majlis Gallery, Tabari Artspace, Salwa Zeidan Gallery and Green Art Gallery, to the vibrant tapestry of creativity that now defines the region, the journey is a testament to the unity that has shaped the artistic landscape.

Tabari Artspace, one of the pioneering galleries in the UAE, stands as a living chronicle of the evolution of art in the region. Maliha Tabari’s reminiscences reveal a time when the art scene was nascent, and the idea of a flourishing artistic community was but a dream. The archival albums unveiled during our conversation provided a window into the past, showcasing the resilience and determination that laid the foundation for today’s thriving art scene.

In our quest to unravel the threads of unity, we embarked on a journey to explore the perspectives of various stakeholders within the UAE’s art community. Through insightful interviews with galleries, art institutions, and auction houses, a vivid mosaic emerged, depicting how unity has been woven into the fabric of the art scene.

Undoubtedly, a pivotal force driving this transformation has been the unwavering support of the government across the three emirates: Dubai, Sharjah and Abu Dhabi. The visionary leadership has recognised the power of art in shaping cultural identity and fostering international dialogue. It is this support that has allowed galleries and institutions to flourish, providing artists with a platform to express themselves and contribute to the global conversation.

Galleries, once solitary beacons, now stand as interconnected hubs, fostering collaboration and dialogue. Art institutions have become pillars of education and cultural exchange, while auction houses serve as conduits for artists to reach a global audience. The synergy between these entities reflects a shared commitment to nurturing and celebrating creativity.

4

As we celebrate these decades of artistic growth in the UAE, it is crucial to recognise the individuals who have been trailblazers in this journey. Their dedication, coupled with the collective support of the community, has transformed the desert landscape into a fertile ground for artistic expression.

The unity in the UAE’s art scene is not just a convergence of styles and techniques; it is a shared vision, a commitment to fostering creativity, and a celebration of the diverse voices that make up this rich tapestry. As we turn the pages of this issue, let us revel in the achievements of the past, acknowledge the present, and eagerly anticipate the unfolding chapters of the UAE’s art scene in the years to come.

LEAD PARTNER

MAIN PARTNER

PARTNER

STRATEGIC PARTNER

CONTENTS Spring 2024

86 – 91 Meem Gallery – Charles Pocock 92 – 97 Alserkal Avenue – Vilma Jurkute 98 – 102 Ayyam Gallery – Maya Samawi 103 Tashkeel 104 – 105 Safwan Dahoul 106 – 107 Carbon 12 – Nadine Knotzer 108 – 111 Grey Noise – Umer Butt 112 – 117 Abu Dhabi Art – Dyala Nusseibeh 118 – 119 Sharjah Art Foundation 120 – 123 Ramin Haerizadeh, Rokni Haerizadeh & Hesam Rahmanian 7 Introduction 8 – 17 Tabari Artspace – Maliha Tabari 18 – 45 1989 – 2000 20 – 21 Hussein Sharif 22 – 25 Mohamed Ahmed Ibrahim 26 – 29 Mohammed Kazem 30 – 35 Salwa Zeidan Gallery – Salwa Zeidan 36 – 41 Green Art Gallery – Yasmin Atassi 42 Abu Dhabi Music & Arts Foundation 43 Sharjah Art Museum 43 1X1 Art Gallery 44 – 45 Total Arts – Dariush Zandi 46 – 123 2000 – 2010 48 – 51 Munira Al Sayegh 52 – 55 Hazem Harb 56 – 59 Myrna Ayad 60 – 61 XVA Gallery – Mona Hauser 62 – 65 The Third Line – Sunny Rahbar 66 – 69 Christie’s Middle East and North Africa – Dr. Ridha Moumni 70 – 73 Mohammed Afkhami 74 Gallery Isabelle 74 – 75 Maraya Art Center 76 – 77 Art Dubai – Benedetta Ghione 78 – 81 Art Dubai – Pablo Del Val 82 – 85 Art Dubai – Hala Khayat

6

124 – 169 2010 - 2020 126 – 129 Barjeel Art Foundation – Sultan Sooud Al Qassemi 130 – 135 Lawrie Shabibi – William Lawrie 136 – 137 Salsali Private Museum 138 – 141 Andakulova Gallery – Natalya Andakulova 142 – 145 Sotheby’s – Katia Nounou Boueiz 146 – 147 Leila Heller Gallery – Leila Heller 148 – 151 Elmarsa Gallery – Lilia Ben Salah 152 – 155 Chafa Ghaddar 156 – 161 Louvre Abu Dhabi – Dr. Guilhem André 162 – 167 Jameel Arts Centre – Antonia Carver 168 – 169 Ishara Art Foundation – Smita Prabhakar 170 – 172 2020 – Today 171 Zawyeh Gallery 171 Firetti Contemporary 172 Galleria Continua 172 Galerie Perrotin 172 Efie Gallery COVER HAZEM HARB, THE SILK LINE OF IDENTITY, 2020, LAYERS OF COLLAGE OF ARCHIVAL FINE ART C-P PHOTOGRAPHY ON MDF WOOD. DIPTYCH 200 X 300 X 5 CM

Capturing Memories

#67 Founder Rima Nasser Editor-in-Chief Anastasia Nysten Designer Maria Maalouf Project Manager Yasmina Hammoud Copy Editor Helen Assaf Marketing Director Jean Walbaum

Selections Publishing House FZ LLC Advertising Inquiries Jean Walbaum jean@selectionsarts.com

Editorial Inquiries Anastasia Nysten anastasia@selectionsarts.com

selectionsarts.com facebook.com/selectionsarts instagram.com/selections_arts

ARTS-STYLE-CULTURE FROM THE ARAB WORLD AND BEYOND

8

Artistic Unity: Building the UAE

GOVERNMENT FORESIGHT, ARTISTIC PIONEERS, VISIONARY PHILANTHROPISTS AND DYNAMIC INSTITUTIONS HAVE COLLECTIVELY PROPELLED THE UAE INTO A PROMINENT CULTURAL FORCE ON THE GLOBAL STAGE. PUBLIC SECTOR SUPPORT DATES TO THE EARLIEST DAYS OF THE UAE, WHEN, IN 1971, THE GOVERNMENT FORESAW THE TRANSFORMATIVE POTENTIAL OF ART AND ISSUED ART SCHOLARSHIPS. MANY OF THE ARTISTS THAT CAPITALISED ON THIS OPPORTUNITY TO STUDY ABROAD SUBSEQUENTLY BECAME INFLUENTIAL CONTRIBUTORS TO THE BURGEONING ART SCENE, WITH THEIR INFLUENCE REVERBERATING THROUGH SUBSEQUENT GENERATIONS OF ARTISTS. EARLY ON, SHARJAH DEMONSTRATED ITS SUPPORT AND APPRECIATION FOR ARTISTS, WITH THE FOUNDATION OF THE EMIRATES FINE ARTS SOCIETY HERE IN 1980. THE SHARJAH BIENNIAL, INITIALLY LAUNCHED BY THE DEPARTMENT OF CULTURE AND INFORMATION IN 1993, LATER BOLSTERED THIS EMIRATE’S CONTRIBUTION TO ELEVATING THE VISIBILITY OF ARAB ARTISTS AND RESHAPING THE REGIONAL ART SCENE. OVER TIME, DUBAI, WITH ITS DIVERSE AMBIANCE AND COMMERCIAL HUB STATUS, BECAME A MAGNET FOR GALLERIES AND AUCTION HOUSES. PROPELLED BY ITS INTERNATIONAL CHARACTER IN TERMS OF COMMERCE AND A VIBRANT EXPATRIATE COMMUNITY, THE CITY THRIVED, HOSTING PRESTIGIOUS EVENTS SUCH AS THE ART DUBAI FAIR, FIRST LAUNCHED IN 2007. INDEPENDENT SPACES, LED BY PIONEERS WHO CALL THE UAE HOME, HAVE ALSO PLAYED A CRUCIAL ROLE IN FOSTERING ARTISTIC EXPRESSION, CONTRIBUTING TO THE DYNAMIC AND INCLUSIVE NATURE OF THE BURGEONING ART SCENE.

IN ABU DHABI, OFTEN HAILED AS THE ‘INSTITUTIONAL EMIRATE,’ MONUMENTAL MUSEUM PROJECTS LIKE THE LOUVRE ABU DHABI, ZAYED NATIONAL MUSEUM, AND GUGGENHEIM ABU DHABI UNDERSCORED A STRATEGIC COMMITMENT TO CULTURAL DEVELOPMENT. THIS COMMITMENT WAS ALSO PRESENT IN THE EARLIEST DAYS, WITH THE CULTURAL FOUNDATION, ESTABLISHED IN 1971, BECOMING THE UAE’S FIRST CULTURAL AND ARTS CENTRE DEDICATED TO THE CREATION AND APPRECIATION OF ART. THIS HUB HAS CONTINUOUSLY ATTRACTED ARTISTS, HOSTED VISUAL ARTS PROGRAMMES AND OFFERED IMMERSIVE SPACES – CONSTITUTING A CORNERSTONE IN THE CITY’S EVER-FLOURISHING CULTURAL EVOLUTION. EDUCATIONAL INSTITUTIONS LIKE ZAYED UNIVERSITY, SORBONNE UNIVERSITY ABU DHABI, AND NYU ABU DHABI HAVE ALSO PLAYED PIVOTAL ROLES IN NURTURING A NEW GENERATION OF ARTISTS AND CULTURAL LEADERS. INSTITUTIONS, MANY LAUNCHED BY VISIONARY PHILANTHROPISTS COMMITTED TO SHARING THEIR COLLECTIONS AND CREATING CULTURAL CONNECTIONS, HAVE ALSO CONTRIBUTED TO THE ELEVATION OF THE ART SCENE. THROUGHOUT THE DECADES, FROM THE INCEPTION OF ART SCHOLARSHIPS TO THE REALISATION OF PRESENT-DAY MEGAMUSEUM PROJECTS, THE UAE’S ARTISTIC JOURNEY EPITOMISES GROWTH, RECOGNITION AND A CELEBRATION OF DIVERSE VOICES CONTRIBUTING TO ITS CULTURAL IDENTITY. THIS INTRICATE TAPESTRY, INTERWOVEN WITH THREADS OF CREATIVITY AND VISION, NARRATES THE STORY OF AN ART SCENE THAT HAS NOT ONLY TRANSFORMED THE EMIRATES BUT HAS ALSO LEFT AN INDELIBLE MARK ON THE GLOBAL STAGE.

Tabari Artspace . Maliha Tabari

MALIHA TABARI, FOUNDER OF TABARI ARTSPACE, PIONEERED THE GALLERY SCENE IN THE UAE TWO DECADES AGO. THROUGH ITS UNIQUE COMMUNITY, TABARI ARTSPACE STANDS AS A TESTAMENT TO HER COMMITMENT TO FOSTERING MEANINGFUL RELATIONSHIPS AND SUPPORTING THE BROADER ART ECOSYSTEM.

Can you share the story behind establishing Tabari Art Space in the UAE? Tabari Artspace celebrated its 20th anniversary last year. Two decades ago, I took a bold step, driven by a vision to establish one of the first official galleries in the region. Although I hadn’t lived in Dubai, my frequent visits—owing to my parents’ residence— offered an outsider’s perspective, revealing a gap in the cultural landscape. In the late 1990s, the UAE lacked significant cultural touchpoints, with only a modest art centre showcasing ceramics and a coffee shop that displayed a few artworks.

Having immersed myself in the vibrant art scene of the US, I recognised the untapped potential in Dubai. At the age of 22, I saw a bright future in the art scene and the vision of the Gulf and took the leap and decided to invest in the first gallery space.

Initially, opening a gallery wasn’t part of my plans. I intended to pursue a master’s degree abroad.

However, fate intervened when I met my now husband, who not only became my life partner but also shared my vision for a gallery. With his background in real estate, we secured a small space in the Fairmont Hotel—the vibrant hub during those days. From 2002 to 2006, we rented this space and ran the gallery under the name Artspace.

10

Maliha Tabari.

Recognising the complexities of combining business and marriage, we ended our work partnership on the day we got married.

Subsequently, as my other partner exited, I took full ownership, leading to a rebranding in 2017. The transition from Artspace to Tabari Artspace marked a new chapter, the start of my solo journey and a renewed direction for the gallery.

Which artists were the primary focus of your efforts?

My inaugural exhibition, Vis-à-vis, featured three Persian artists, including Shadi Ghadirian. Having grown up in Saudi Arabia the theme of the show resonated with me: female oppression and identity struggles. Despite my initial concerns about addressing such a topic, especially in a new environment like the UAE, the response from people was overwhelmingly positive. At the age of 22, with my youthful boldness, I wanted to empower women through my first exhibition.

Beginning with Persian artists seemed natural, given their global prominence. Many were already making waves internationally, and the Iranian art scene, particularly its women artists, garnered recognition on a global scale through auctions and gallery exhibitions. However, my perspective

Mouneer El Shaarani, exhibition at Tabari Artspace, 2006. Courtesy of Tabari Artspace.

broadened as I travelled to other Middle Eastern countries like Lebanon and Egypt. It was during these journeys that I discovered exceptional artists like Hussein Madi, Adel El Siwi, and Adam Henein.

Unfortunately, their talents were relatively unknown, with minimal representation or curated exhibitions.

Recognising the vital role of galleries in curating and exhibiting artworks, I felt a push to establish a space that would properly showcase these artists’ works.

During that time, I wasn’t known merely as a gallerist selling art; I considered these artists my friends. The dynamic has evolved over the years, and now it feels like working with siblings, given the younger generation of artists I now collaborate with.

However, in the beginning, it felt like working with dear grandparents; creatives that brought a wealth of experience to my life. The journey was marked by learning and discovery. The moments spent with artists like Madi on his Beirut balcony, or in Henein’s garden in Egypt were unforgettable; a unique opportunity to delve into the minds of some of the most significant regional artists of our time.

What is your approach to collecting art?

The first artwork I bought was by Farhad Moshiri, and I still have it. I rarely sell what I own. I have advised many collectors over the years. I believe that whatever you’re collecting should be part of a story. We must ask what the vision is; is it the female gaze? Is it Modern or Contemporary?

How do you select artists and how does this nurture the art scene in the UAE? I’ve consistently relied on my intuition when selecting artists throughout my career. The artists I choose often contribute to emerging movements or bring forth new modes of thinking and practice.

Reflecting on artists that I work with from the Gulf: Maitha Abdalla stands out as a pioneering and influential female artist, inspiring others with her focus on the intimate, internal, gendered, and psychological aspects. She sparks conversations about what is deemed sinful, exploring the inner battles universally faced.

Hashel Al Lamki is another Emirati visual artist who connects his regional experiences to universal concerns, particularly in sustainability. His consciousness about the materials he uses, and his

WHEN EVALUATING ARTISTS, I ENVISION THEM AS CATALYSTS FOR CHANGING FUTURE RESEARCH AND PERSPECTIVES, CAPTURING MOMENTS THAT MIGHT NOT OTHERWISE BE RECORDED AND USING THEIR OUTPUT TO CHALLENGE THE STATUS QUO AND DOMINANT ORDER.

exploration of the UAE’s landscape powerfully unites both local and global connections highlighting the interconnectedness of human experience.

Thinking of the next art movement, I believe we will witness the rise of Gulf artists. The region has recently opened up, and over the next one to two generations, individuals will become more vocal and internationally recognised. Many Gulf artists, whether from Saudi Arabia, Kuwait, or the UAE, have studied abroad exposing themselves and drawing influence from new communities and contexts creating new and unprecedented dialogues.

I’ve always been drawn to art that bears the hand touch, be it in sculptures or paintings. This connection resonates as a form of mark-making

Tabari Artspace . Maliha Tabari Right – Mohammed Abla, exhibition at Tabari Artspace, 2007. Courtesy of Tabari Artspace.

Below – Group exhibition Adel El-Siwi, Adam Henein, Omar El-Nagdi, Yousef Ahmad, Hussein Madi, Paul Guiragossian, 2008. Courtesy of Tabari Artspace.

Below – Ahmed Mater, exhibition at Tabari Artspace, 2009. Courtesy of Tabari Artspace.

2007

2008

12

2009

gains prominence, we often engage in reflective conversations, reminiscing about the challenges and highlights during the initial production stages.

akin to documenting history. While I appreciate historical elements, I also value a connection to the present. Artists like Chafa Ghaddar reinterpret old frescoes in a contemporary context, and Hazem Harb recontextualises 18th-century photographs, offering a historical perspective on modern-day issues. When evaluating artists, I envision them as catalysts for changing future research and perspectives, capturing moments that might not otherwise be recorded and using their output to challenge the status quo and dominant order. Sometimes, I approach the gallery as an archaeologist or historian, considering the transformative impact on the world’s understanding in the future.

Are these artists living in the UAE? The interesting thread we see in all artists is that they’re all interconnected in a way because they all had an education, even if it was abroad. Many are living in the UAE, but they have also been outside of their region. I don’t like labelling this as ‘Middle Eastern art’ because these artists are more than that and I find regional tags a limiting way to understand and engage with art. They’ve been part of this international fabric, they just live in the region, they are so much more than just a geographic context.

Can you tell us more about how you work with artists?

In my collaboration with artists, I prioritise providing support well before their exhibition at the gallery. My commitment to the artists I select is comprehensive; it usually begins with me actively collecting their works. In this process, I often seek out pieces that resonate with the essence of their early artistic journeys. This approach extends to many emerging artists, and as their work

Our gallery ethos is centred around nurturing and supporting artists on a personal level throughout the years whether that be time spent in the studio, long discussions late at night, grant support or our residency programme in Italy. The objective is to unlock their full potential technically and conceptually, empowering them to express their intimate concerns. We believe in creating an environment where artists feel safe and empowered to realise their artistic vision to the fullest.

What are your expectations regarding the evolution of your gallery and the art scene in the UAE? As new generations emerge, fresh artists naturally bring new concerns, access innovative art-making methods, and engage with a distinct global dynamic. Consequently, our roster of artists evolves to reflect these shifts.

While we continue to showcase and have access to works from established artists from earlier generations, our focus is on promoting the new generation who reflect contemporary living.

These artists in diaspora or those who consider themselves global citizens invest time in the region, contributing to its dynamic in powerful ways.

Tabari Artspace . Maliha Tabari Zoom Art Fair, Miami, 2010.

Courtesy of Tabari Artspace.

Examples include Hazem Harb, a Palestinian artist who lived in Italy before spending a decade in the UAE, and Chafa Ghaddar, a Lebanese expat who considers the region her home, having completed two residencies here. The gallery’s vision aligns with artists who actively engage in shaping a new dialogue grounded in the region.

Below – Hussein Madi, exhibition at Tabari Artspace, 2010. Courtesy of Tabari Artspace.

2010

Below – Monif Ajaj exhibition at Tabari Artspace, 2011.

Courtesy of Tabari Artspace.

2011

14

When collaborating with artists, I am fully committed. Tabari Artspace operates as a collaborative gallery, bringing together like-minded individuals who form a unique community. This community, born out of genuine dialogue, stands out for its lack of competition. Unlike other art communities, our galleries in the region have created a powerful force, each with its narrative, niche, and commitments. The camaraderie among galleries results in cohesion, support, strong relationships, and genuine friendships.

Yousef Ahmed, The Shadows of The Palm Fronds, exhibition at Tabari Artspace, 2012. Courtesy of Tabari Artspace.

2012

Khaled Zaki, Treasuries of Knowledge, Venice Biennale, 2013. Courtesy of Tabari Artspace.

2013

Ahmed Angawi, Musaed Al-Hulis, Rashed Al Shashai, Basma Felemban, Sara Khoja, Eyad Maghazel, Shawis, A Line in the Sand, group exhibition at Artspace Dubai in collaboration with Athr Gallery, 2014. Courtesy of Tabari Artspace.

2014

Tabari Artspace . Maliha Tabari

Above – Art Dubai, 2016.

Courtesy of Tabari Artspace.

Right – Alfred Basbous, exhibition at Tabari Artspace, 2015. Courtesy of Tabari Artspace.

2015

Right below – Nasser Al Aswadi, exhibition at Tabari Artspace, 2017. Courtesy of Tabari Artspace.

I SAW A BRIGHT FUTURE IN THE ART SCENE AND THE VISION OF THE GULF AND TOOK THE LEAP AND DECIDED TO INVEST IN THE FIRST GALLERY SPACE.

16

2016

Adel Siwi, Faces & Beyond, Tabari Artspace, 2017.

Courtesy of Tabari Artspace.

Hazem Harb, solo exhibition, Copenhagen, 2019. Courtesy of Tabari Artspace.

Lulwah Al Homoud, Beyond the Grid, exhibition at Tabari Artspace, 2018. Courtesy of Tabari Artspace.

2017

Alfred Basbous, Modernism Figure and Form, exhibition at Tabari Artspace, 2020.

Courtesy of Tabari Artspace.

2020

Hazem Harb, El Beit, Tabari Artspace, 2018. Courtesy of Tabari Artspace.

2018

Alymamah Rashed solo exhibition at Tabari Artspace, 2022. Courtesy of Tabari Artspace.

2021

2019

Tabari Artspace . Maliha Tabari

Above – Tagreed Darghouth, exhibition at Cromwell Place, London, 2022. Courtesy of Tabari Artspace.

Maitha Abdalla, group show at Basel, 2023. Courtesy of Tabari Art Space.

18

Hashel Al Lamki, Sensu Lato Part 1 and 2, exhibition at Tabari Artspace, 2022.

Courtesy of Tabari Artspace.

1989-2000

In the late 1980s, the UAE’s artistic landscape saw the emergence of a pioneering avant-garde movement, led by visionaries such as Hussain Sharif, Hassan Sharif, Mohammed Kazem, Abdullah Al Saadi and Mohamed Ahmed Ibrahim.

20

These artists, considered the first generation of contemporary creators, planted the seeds for a flourishing art scene that would unfold in the following decades.

During this transformative period, strong government support provided the fertile ground for artistic initiatives. The Sharjah Biennale, established in 1993 by the Department of Culture and Tourism, exemplified the commitment to fostering the arts, offering a platform for international dialogue and creativity, while the opening of the Sharjah Art Museum, showcasing over 500 artworks and offering regular programmes and exhibitions, contributed to the preservation of local and Arab artistic heritage.

Meanwhile, personal initiatives, like the Abu Dhabi Music & Arts Foundation (ADMAF), with its diverse programmes, became cultural beacons, shaping the narrative of artistic expression in the region.

The first initiatives to create cultural communities took place in this period. Notable among the early pioneers was The Courtyard in Al Quoz, a dynamic centre established in 1998, providing a crucial platform for artists to showcase their work.

Other endeavours, like Salwa Zeidan Gallery in Abu Dhabi, Green Art Gallery and 1X1 Gallery in Dubai, each added unique dimensions to the art scene

of the 1990s and laid the groundwork for a more formalised and diverse art community in the years to come.

The strong foundation laid during these early years reverberated across the capital cities of the three emirates of Abu Dhabi, Dubai, and Sharjah. From the avant-garde artistry of the first generation of artists to the institutional support and personal initiatives, this period sowed the seeds for the thriving and dynamic contemporary art scene that defines the UAE today.

Hussain Sharif

Hussain Sharif.

A PIVOTAL FIGURE IN THE UAE’S ART HISTORY SINCE THE 1970S, HUSSAIN SHARIF HAS PLAYED A SIGNIFICANT ROLE IN DOCUMENTING HERITAGE, EMBRACING POST-MODERNISM AND ADVANCING THE LOCAL ART SCENE THROUGH COLLABORATIONS AND HIS COMMITMENT TO ARTISTIC EXPLORATION. What personal experiences or artistic influences drew you into the vibrant UAE artist community, and how have these connections contributed to your growth as an artist in the region?

The activity of the Ministry of Youth and Sports was the first spark in my artistic project. With them, I participated in displaying my first work in an exhibition for young artists in 1975, followed by another participation in the following year. We were a group of young artists at that time, including my brother, the late Hassan Sharif, Najat Makki, Abdul Qader Al Rais, Muhammad Yusuf and others. My brother had the greatest influence on experimentation and training.

He was a cartoonist in a number of local newspapers for several years. I was influenced by this path, so I began drawing cartoons for several local publications at intermittent intervals. We also participated together in local and international exhibitions, learning about various experiences. His keenness and activity to participate and develop enhanced my reading and research in art.

In 1980, the idea came to create an entity that would bring us fine artists together, through which we could hold training workshops and mainly exhibitions. From here, the Emirates Fine Arts Society was born, of which we became members. Later in 1983, I graduated from high school, and founded a bulletin dealing with fine arts topics and publishing.

Artistic culture in our society later became Al Tashkeel magazine, whose implementation and editing I supervised.

22

Hussain Sharif, 2020, pen on paper, 60 x 42 cm. Courtesy of the artist and Salwa Zeidan Gallery.

Reflecting on the evolution of the UAE’s art history since the 1990s, can you describe the ways in which your artistic journey has intersected with this transformation, and in what manner have you actively participated in shaping the evolving art landscape?

To answer this question, we must return to the founding of the state and the establishment of the union in 1971. Looking at history, it becomes clear that we are a modern state that, in the last quarter of the 20th century, entered the post-modern stage.

We began to rapidly transform from a society based on simple businesses and crafts to a state. It is organised nationally, with tall buildings and service and entertainment facilities. The roads are paved and filled with various vehicles. Most of the citizens are government employees or businessmen. This was reflected in our imaginations, which were full of astonishment and enthusiasm. There is no doubt that I and most artists began to pay attention to heritage and documenting the scenes that had begun to disappear. The works were dominated by expression, and the subjects were nature and its components of architecture, fashion and crafts. Then, in the 1990s, I and four artists, Hassan Sharif, Mohammad Kazem, Abdullah Al Saadi and Mohamed Ahmed Ibrahim, formed a group of five.

Our work was dominated by post-modernism. We approached the field of synthetic and conceptual art, which had flourished in the West since the 1970s, and the five of us were influenced by and admired that.

decoration design in Kuwait, which led to my training in a different artistic field, which clashes strongly with composition. From here, I added to my initial comprehensive skills and knowledge related to space and three dimensions. Theatre simply means the audience. The connection to pieces, complex materials and combinations with ambiguous relationships was strengthened within me. In addition to designing theatrical decoration, I began to insist on testing the reactions of certain societies, in works that interrogate pure matter, such as cement, metal, paper, rope, plastics and the like.

In addition to the reduction of shapes and colours in the two-dimensional space represented by the paintings, the composition became more reduced and may have been limited to one colour and one rhythm represented by lines or brush strokes, otherwise known as colour abstraction.

Collaboration and engagement with fellow artists often foster creativity and community growth. Could you share instances where you’ve collaborated with other artists in the UAE, and how have these collaborative efforts contributed to the diversity and advancement of the local art scene?

As I mentioned, since the first exhibition in 1975, I have been in one continuous group workshop: shared exhibitions, which are one of the most important and simplest ways of cooperation and cross-fertilisation of ideas, then working within a team in the Fine Arts Society, issuing Al Tashkeel magazine, passing through the Group of Five, our meetings, our dialogues and our shared exhibitions.

We in the Emirates kept pace with the global artistic movement. We had participations and exhibitions in cooperation with cultural institutions and centres in the country, such as the Cultural Foundation in Abu Dhabi, the Sharjah Art Museum, the British Council and the French League.

Art often serves as a reflection of the cultural and societal shifts within a region. How does your artwork capture and convey the historical and cultural nuances of the UAE, and what specific themes or narratives are central to your artistic expression?

Since its inception, the state has been keen on programmes to empower and develop citizens in various fields, and scholarships to study were one of the most important methods of empowerment.

I obtained a scholarship to study theatrical

Looking ahead to the future of the UAE’s art scene, what prospects or challenges do you find most exciting, and how do you envision your role in driving continued development and innovation within the UAE’s art landscape?

I believe in the principle of the cog in the machine.

If it were not for the machine, the function of the cog would not have emerged, and without the cog the machine would not have worked. I am one element in the whole national artistic movement, and I occupy a good space in the founding stage. I am also one of those still continuing in their artistic work. The art scene in the country is persistent, and it is one of the richest in the region. We have four colleges of art set across more than one city, and in every batch of graduates we are surprised by creative people who add a valuable contribution to the scene. The major artistic demonstrations in the country enhance the presence of the veteran artist alongside the young man. Equality in a unique combination that we all cherish.

Mohamed Ahmed Ibrahim AS A PIONEERING FORCE IN THE UAE’S ARTISTIC MOVEMENT, MOHAMED AHMED IBRAHIM HOLDS A SIGNIFICANT POSITION WITHIN THE COUNTRY’S CULTURAL HISTORY, INCLUDING CONTRIBUTIONS TO GLOBAL PLATFORMS LIKE THE VENICE BIENNALE.

Mohamed Ahmed Ibrahim.

Courtesy of the artist and Lawrie Shabibi.

This page – Mohamed Ahmed Ibrahim, Mesquite Tree, 2020, Cardboard, papier-mâché, leaves, grass, coffee, tea, tobacco, 138 x 83 x 43 cm.

Photography by Ismail Noor. Courtesy of the artist and Lawrie Shabibi.

Opposite page – Mohamed Ahmed Ibrahim, Al Ain Oasis Installation, Al Ain Oasis Farm, Abu Dhabi, UAE, 2023. Courtesy of the artist, Abu Dhabi Art and Lawrie Shabibi.

24

How do you perceive the concept of artistic unity within the UAE’s art scene, and how has it evolved from the 1990s to the present?

When we talk about culture in Emirati society, art is always part of this culture. Emirati society is distinguished by the exchange and acceptance of other cultures, which naturally led to the great influence brought to the Emirates by these different cultures. The audible culture, or music, was influenced, for example,

by African, Indian, Persian, etc., mainly by civilisations that surrounded the Emirates and interacted with it.

Returning to art, it is a new culture that has entered society in the modern era, not only in the Emirates but typically worldwide, knowing that this visual culture is the product of European culture. Therefore, artists, whether local or visitors, Arabs or foreigners, were automatically influenced by this Emirati visual culture, and inevitably added to it. This, from my point of view, created a visual cultural somewhat different from others, specifically European, in the world. There are Arab artists who founded the artistic movement in the Emirates, including the late artist Abdullatif Al Smoudi, as well as Yaser Dweik, Abdul Karim Al-Sayed and Ahmed Haidush, not to mention the critics who visited the local scene and influenced it, including Professor Asaad Arabi, who had a great appreciation, scientifically and intellectually, for the local Emirati art scene. And being one of the first generation and first advocates of the artistic movement, I was truly influenced by these artists as much as I influenced them, and this facilitated the young artists’ acceptance of other cultures or other visual practices.

Your representation at the Venice Biennale is a remarkable achievement. How do you believe this global platform has impacted the recognition and development of the UAE’s contemporary art scene on the world stage?

This event is considered one of the oldest biennales and a prominent global platform. It offers the essence of the world’s visual experiences, whether from artists, critics or from all segments of the world interested in art. This creates some kind of challenge - to be or not to be - whereas in order to be, you must compete with the giant names participating in the event. That said, my challenge began the moment I received the invitation, as I felt a great responsibility, both towards the East and on a personal level, since this was an opportunity to say who I am. This was not easy and like a burden to me, but a beautiful one, helping me to interact with all the producers of visual culture from around the world, an experience that placed us all side by side. This is where the importance of the Venice Biennale lies, offering an opportunity that would not have existed without the support of governmental and private institutions, which creates a driving force for the artist himself to self-develop and engage with others. Whatever it is, there are individual differences, which reminds me of the Chinese proverb that says: “You can lead a horse to water, but you can’t make him drink”. So, this finally depends on the vision of the artist himself and his vision of artistic discourse.

Collaboration with other artists often fosters creativity and growth. Can you share instances where you’ve collaborated with other artists in the UAE, and how have these collaborative efforts influenced and enriched your own artistic work?

Frankly, I love every artist who produces a beautiful work of art. In my early days, I was influenced by the great names who shaped the global artistic movements, such as Paul Klee, Wassily Kandinsky and Mark Rothko.

Through them, the spark was ignited in the artistic movement. Going back to modern artists, it is now easier to read a work of art. Nonetheless, you do not need to only understand the artwork, but rather the artist behind this work. This is because today, in our modern era, it has become possible for the artist to use any existing tool to produce the artwork, which has generated a kind of ease, making it insufficient.

WHEN WE TALK ABOUT CULTURE IN EMIRATI SOCIETY, ART IS ALWAYS PART OF THIS CULTURE.

Mohamed Ahmed Ibrahim Mohamed Ahmed Ibrahim, Untitled, 2020, Acrylic on canvas, 82 x 52 cm. Courtesy of the artist and Lawrie Shabibi. Photo by Ismail Noor.

We need to recognise the artist and hear him talk about the artwork in order to understand it. Many times, I am dazzled by a work of art, but when I meet the artist or initiate a dialogue, I discover the fragility of this artist. In the modern era, this is what I call occasion art, that is, when the artist produces only for a personal exhibition or a specific occasion.

Producing artwork has become self-sustaining, as the artist produces only for himself. After all, a work of art must be authentic and sincere. Additionally, I am influenced by the environment, by the area in which I live, by my city of Khor Fakkan, the nature of its mountains, the sea and its geography. I always spend a lot of time in its beautiful setting, especially in January when I go on a solo trip to the mountains for about ten days. And this is from where my colourful works are born, in the proximity of the mountains where these colours are found in stones, plants, birds.

In what ways do you envision the UAE’s art scene as an ever-evolving masterpiece that captivates, provokes, and inspires audiences, both locally and internationally?

Being one of the founders of the artistic movement in the Emirates, I believe that whenever we talk about art in any culture, it needs a collection of several elements, including the institutes, the observer, the gallerist, the collector, etc., and not only the artist. These elements are what generate the art scene in any society. This is what creates a visual environment, thus supporting the presence of today’s young artists where tools are easily accessible to them, unlike our days when we struggled to find a gallery, for example. I am very optimistic about the Emirati cultural scene following my interaction with young artists, not only Emiratis but also f rom diverse cultures. And as we said before, the beauty of our society lies in its acceptance of all cultures, and these are powerful tools that distinguish Emirati society where dialogue can be carried out smoothly with others.

This is the message of art, the message to break these boundaries because art is human speech, everywhere in the world. I would be happy to discover an artist, for example, in North America, whose language is close to mine. This makes me feel that as an artist, I am not alone in this world.

26

I AM VERY OPTIMISTIC ABOUT THE EMIRATI CULTURAL SCENE FOLLOWING MY INTERACTION WITH YOUNG ARTISTS, NOT ONLY EMIRATIS BUT ALSO FROM DIVERSE CULTURES.

Mohamed Ahmed Ibrahim, My Garden’s Details No. 1, 2021, Acrylic on canvas, 250 x 200 cm. Photo by Ismail Noor of Seeing Things. Courtesy of the artist and Lawrie Shabibi.

Mohammed Kazem MOHAMMED KAZEM, A PROMINENT CONTEMPORARY EMIRATI ARTIST BASED IN DUBAI, SEAMLESSLY COMBINES CONCEPTUAL ART AND PROFOUND INTROSPECTION IN HIS EVOCATIVE CREATIONS.

Mohammed Kazem.

H.H. Sheikh Saif Bin Zayed Al -Nahyan with Mohammed Kazem at Salwa Zeidan gallery at the opening of his solo show 1994

28

How do you see the concept of artistic unity within the art scene in the UAE and how has it evolved from the 1990s to the present?

The Emirates is known for its multicultural scene.

The art scene in the Emirates began specifically in the 1970s, when the first generation obtained foreign scholarships from the government. Upon their return, they founded the Emirates Fine Arts Society in 1980, which was based in Sharjah and was responsible for organising the annual exhibition, an opportunity for all Arab, national and foreign artists who were also members of the society. We also shouldn’t forget the role of the Department of Culture and Tourism, which established the Sharjah Biennial in 1993, with the participation of most of the artists in the first and second generations, especially those who were interested in Modern art, including Asaad Arabi, Nazih Khater, Mahmoud Amhaz, Abdulatif Al Somoudi, Ahmed Moualla, and myself, among others.

The radical change occurred after the return of Sheikha Hoor Al Qasimi f rom her studies in Britain, where she invited the biennial’s first curator, Peter Lewis, and built an integrated and experienced work team. This biennale represented a major transformation, not only at the local level, but at the Arab level as a whole. It was a shock to the traditionalists, as participation became very strict.

Today, we are witnessing a great diversity in the Emirates. There is, for example, the Guggenheim Museum, which is considered a wealth for the country with a collection of works from various parts of the world, offering many opportunities for the new generation to interact significantly with these activities. Also, the Sheikha Salama Foundation, which invites not only Emiratis but also residents of the country to join the list of artists and display their works after a year, under the supervision of foreign groups. Additionally, the Cultural Foundation and its director, Reem Fadda, organise group or individual exhibitions over a period of six months. Not to forget the phenomenon of galleries that developed about 20

H.H. Sheikh Saif Bin Zayed Al -Nahyan with Mohammed Kazem and Salwa Zeidan at the opening of his solo show 1994

THE ARTISTIC COMMUNITY IN THE 1980S WAS VERY INFLUENTIAL. years ago, and the exhibitions organised by New York University Abu Dhabi, along with scholarships.

There is also the Sikka Art & Design Festival in Dubai. This is in addition to the external invitations we receive as artists, such as from the Arab Expression exhibition in Tokyo and the Venice Biennale, and of course the great role of the Ministry of Culture. All of this changed people’s perception of the visual art community.

In your opinion, who are the main players who contributed significantly to shaping the vibrant artistic renaissance in the UAE? We can say, firstly, that all institutions played an important role, such as the Ministry of Culture, the Department of Culture and Tourism, the Cultural Foundation, the Abu Dhabi Authority, the Sharjah Arts Foundation... As for the artists, the first generation contributed greatly to our education in the second generation. Among those who contributed, there was Hassan Sharif, who played an individual role. After coming from England in 1984, he founded the Art Atelier, Youth Theatre and Arts, in 1987, and from 1984 he supervised art courses, and I was one of the students who studied with him.

He then translated hundreds of historical texts from English to Arabic and published them weekly in local newspapers, such as Al-Bayan newspaper, Al-Khaleej newspaper, and Al-Tashkeel magazine, which he founded with his brother, Hussain Sharif.

Therefore, he was the main player from an educational standpoint. Then in 1999, when we realised there was no third generation in the

Emirates, he handed over to me the Studio, where I taught the young generation for 10 years and gave them an opportunity to participate in the Sharjah Biennial, whose system had become very strict.

In your opinion, how has your presence in Venice and the representation of the UAE in Venice impacted the contemporary art scene?

Contemporary art began in the Emirates in 1979, specifically with Hassan Sharif. We had poets and writers who began their revolution in modern poetry, and most of them worked in journalism.

The artistic community in the 1980s was very influential. This cooperation between us and the writers had a great impact, as we would meet and discuss several issues, whether in philosophy, literature or poetry, which was reflected in us as artists and on our experience as a whole, although our number did not exceed five people: Hassan Sharif, Hussain Sharif, Mohamed Ahmed Ibrahim, Abdullah Al-Saadi, and myself. People thought we were a group or created a manifesto, but what united us was our similar way of thinking. For this reason, we used to organise group exhibitions together, and we participated with foreign artists who lived with us, such as Jos Clevers, Vivek Vilasini and others, in artistic workshops between the Netherlands and the Emirates. Then, at the same time, we were careful not to mix tradition with contemporary. In 2005, I organised an exhibition entitled Window for the first, second and third generations. The third generation of those I taught participated in the Sharjah Biennial, the Singapore Biennial, and the Mori Gallery in Japan.

Mohammed Kazem

Above – Measuring Nothing, 2022, LED light and aluminum, overall dimensions variable.

Ludwig Museum, Koblenz, Germany.

Left – Mohammed Kazem, Collecting waves. 2022, LED light and Acrylic, set of 12, overall dimensions variable exhibition at Ludwig Museum, Koblenz, Germany.

30

Based on your previous achievements, how did your artistic journey contribute to the broader narrative of art history in the UAE? In my early days as an artist, I was influenced by the Western experience. At the age of fourteen, I began officially participating in local and foreign exhibitions. In that period, I was influenced by traditional European standards and impressionist artists such as Cézanne, Van Gogh, Matisse, and Picasso.Then, in the late 1980s, I began to enter the abstraction phase and my work changed. The elements found in traditional works are present in my experience, such as a work entitled Scratches on Paper, or works related to performance and physical gestures. I began to use photography in my artistic experience and interact with the city from a social and urban perspective. My interests became different from traditional experiences, and Hassan used to document all of my work through photography. The change that occurred in my personal experience was influenced by important events in the Emirates such as the Sharjah Biennial, the Department of Culture and Tourism in Abu Dhabi and the support of the Ministry of Culture.

The general atmosphere and surroundings helped me, as well as many people. Today, our role as artists is to keep pace with this, to present works fit for the Louvre’s or the Guggenheim’s collections. As for me, I do not only create artwork for a specific event. I also make sure to work on a daily basis as I must not leave a gap between my way of thinking and production because new work is only born from daily practice. I also curated a number of exhibitions, with other curators, one of which was the Sharjah Biennial in 2007. The last exhibition I curated with Cristiana de Marchi was called UAE Unlimited under the patronage of Sheikh Zayed bin Sultan bin Khalifa. This, in addition to many other events and residencies and the support of the country.

In your opinion, do resident artists contribute to creating an artistic history for the Emirates?

Of course, they are part of the visual movement.

When we held the UAE Unlimited exhibition, we deliberately chose resident artists to participate because they had contributed to the Biennale, to the Richard Mille Prize, where I am a member of the

jury with the curator Maya Khalil. This is one of the most important exhibitions, not only for Emiratis, but also for the Gulf region and different nationalities, without forgetting the residents who represented the UAE at the Venice Biennale.

How do you see the future of the art scene in the Emirates?

We feel very optimistic as every day brings new ideas and experiences. This is thanks to the efforts of the wise leadership in the country, which has developed a huge plan to organise these types of exhibitions. Today, we are witnessing new exhibitions and new ideas. We are not focusing on quantity, but rather quality. The Emirates has everything. We have original works that everyone can see over many years, in addition to the huge art wealth in the country.

Mohammed Kazem, Directions, Standing on Mingcui Lake 2016 exhibition at the Yinchuan Biennial For An Image, Faster Than Light.

Salwa Zeidan Gallery . Salwa Zeidan SALWA ZEIDAN, FOUNDER OF THE FIRST UAE ART GALLERY IN ABU DHABI, HAS PLAYED A CRUCIAL ROLE IN SHAPING THE CITY’S ART LANDSCAPE, FOSTERING LOCAL AND INTERNATIONAL TALENTS.

Can you share your journey into bringing art to the UAE? How did it start, what inspired you to do so and what were the challenges?

Salwa Zeidan Gallery, the first art gallery to open in the United Arab Emirates, specifically in Abu Dhabi, began its journey in January 1994. With the esteemed patronage of Sheikh Abdullah Bin Zayed, who is recognised today as the Minister of Foreign Affairs, the gallery embarked on a mission to showcase the rich and diverse art scene of the region.

In its early days, Salwa Zeidan Gallery played a vital role in shaping the art landscape of Abu Dhabi, paving the way for contemporary artists to express their visions and creations. The gallery became a platform for local talents as well as international artists, fostering a vibrant exchange of ideas and cultural dialogue.

Over the years, Salwa Zeidan Gallery has had the privilege of exhibiting works from renowned artists, both emerging and established. From captivating paintings and sculptures to thought-provoking installations, the gallery has curated a diverse range of exhibitions, each with its own unique narrative and artistic expression.

Salwa Zeidan, Founder of Salwa Zeidan Gallery.

Opposite page – Top right –Salwan Zeidan Gallery, 1994. Courtesy of Salwa Zeidan Gallery.

Bottom right – Curated by Salwa Zeidan in Abu Dhabi in 1989 Maha Beirakdar and Ambassador of Lebanon.

Courtesy of Salwa Zeidan Gallery.

Top left – Salwan Zeidan Gallery, 1998. Courtesy of Salwa Zeidan Gallery.

Bottom left – Hussain Sharif, Faces, in Manarat Saadyat, 2016. Courtesy of Salwa Zeidan Gallery.

32

During its inception, the art scene in Abu Dhabi was in its nascent stages, with a growing interest and appreciation for Contemporary art. Salwa Zeidan Gallery played a pivotal role in nurturing this burgeoning art scene, offering a space for artists to showcase their works and attracting art enthusiasts, collectors and connoisseurs from across the region.

As the first art gallery in the UAE to open its doors, Salwa Zeidan Gallery remains a beacon of creativity, pushing boundaries and promoting artistic excellence.

Its legacy continues to shape the ever-evolving art landscape of Abu Dhabi, inspiring future generations of artists and art lovers.

Which artists were the primary focus of your efforts? Did your choice change over time?

As both an artist and the gallery owner, I had the opportunity to showcase my own work through the first solo exhibition at Salwa Zeidan Gallery’s opening.

This served as a stepping stone for me, allowing me to establish myself within the art community.

Alongside my own artistic journey, I had the privilege of collaborating with some of the most influential names in the UAE art scene today.

One of the notable solo exhibitions held at the gallery was that of Mohammed Kazem, who has risen to become one of the most renowned artists in the UAE. Additionally, I had the honour of working closely with other prominent artists, such as Hassan Sharif, Mohamed Ahmed Ibrahim, Hussain Sharif and Mohammed El Mazrouie, among others. These artists have significantly contributed to shaping the art scene in the Emirates, leaving a lasting impact on the local and international art community.

Throughout the years, my gallery has provided a platform for numerous museums and private collectors to enrich their collections. I have had the privilege of collaborating with many art enthusiasts, assisting them in acquiring remarkable artworks and fostering a deep appreciation for art. Notable among them are Fairuz and Jean Paul Villain, Ramin Salsali, Dr. Zaki Nusseibeh and many other private collectors

THIS INFLUX OF FRESH PERSPECTIVES HAS LED TO AN EXCITING AND DYNAMIC ART SCENE, WHERE TRADITIONAL TECHNIQUES FUSE WITH CONTEMPORARY THEMES.

Salwa Zeidan Gallery . Salwa Zeidan Below – Ayman Baalbaki.

Courtesy of Salwa Zeidan Gallery.

Right – Serwan Baran.

Courtesy of Salwa Zeidan Gallery.

Right – Hassan Sharif.

Exhibited at Salwa Zeidan Gallery in the show Contemporary Emirati Art, 2009. Courtesy of Salwa Zeidan Gallery.

34

Dia al-Azzawi. Courtesy of Salwa Zeidan Gallery.

whose names I can’t mention but whose collections today stand as a testament to their pride and passion.

Additionally, I had the privilege of curating and creating an exquisite private collection from scratch for the Rakolta family, whom I first met during Art Abu Dhabi 2019. After they developed a deep appreciation for Middle Eastern art, we embarked on a journey to build a remarkable art collection. This year, they will be establishing their very own private museum to showcase this extraordinary collection.

In addition to this endeavour, I had the pleasure of curating another outstanding art collection for the Fishers family. Starting from the ground up, I

Salwa Zeidan Gallery . Salwa Zeidan meticulously selected approximately 40 pieces from the most prominent names in the art scene. These works resonated with their unique aesthetic sensibilities and personal taste.

As someone passionate about building art collections from the ground up, I am fortunate to have strong connections with esteemed galleries and talented artists who are my friends. This invaluable network makes it much easier for me to curate exclusive collections that truly capture the essence of art.

Having developed an eye for exceptional art, I’ve been able to form a strong bond of trust with the collectors I’ve worked with. This trust has allowed me to help talented artists gain confidence and ascend within the art scene. By recognising their talent and providing a platform for their work to be showcased, I have played a part in nurturing emerging artists and contributing to the growth of the art community.

Could you outline the key elements of your gallery programme and how it evolved?

One incident that truly left a mark on me was after the opening of Mohammed Kazem’s first solo show. At the young age of 19, Mohammed’s talent shone brightly, and the exhibition was a resounding success. However, what followed was an unexpected and rather funny turn of events. After the opening, I tried to reach out to Mohammed as he had to drive back from Abu Dhabi to Dubai, where he resided. To my surprise, there was no answer to my calls. Concerned for his well-being, I continued calling him the next day and in the following days without any luck. Eventually, I discovered the reason behind his unavailability - he had been detained in jail for driving too fast! It turned out that in his excitement from the success of his solo show, he had unknowingly exceeded the speed limit and ended up in trouble with the law. It was a hilarious story, as he tried to explain to the authorities that he was returning from his exhibition, filled with joy and enthusiasm. This incident not only provided an amusing anecdote but also highlighted the passionate and adventurous spirit of the artists I worked with. It was a reminder that art and creativity often transcend boundaries, including the need for speed limits!

Another incident that left a lasting impact on me was the first major group show I curated in 1989, titled Contemporary Lebanese Art. This exhibition took place during a tumultuous period in Lebanon’s history, amidst the backdrop of a civil war. The purpose of the exhibition was to express a resounding ‘No to war’ through the collective voice of the participating artists. I carefully

36

selected some of the most influential names in Lebanese art, including Paul Guiragossian, Mohamed El Rawas, Hussein Madi, Rima Amyuni and Rose Husseiny, among others. Additionally, I also included a few promising up-and-coming artists. The artworks were shipped to the venue in Abu Dhabi and the exhibition itself proved to be a powerful statement against the ravages of war. However, fate had a unique twist in store for us. Shortly after the opening, the airport closed due to the ongoing conflict, leaving us stranded in Abu Dhabi. Determined to return to Lebanon, we embarked on an extraordinary journey, boarding boats from Cyprus to make our way back home. This unforgettable experience served as a testament to the unwavering spirit of the artists and their commitment to their craft, even in the face of adversity.

In what ways has this endeavour played a role in nurturing the art scene in the UAE? Before I delve into my thoughts on the art scene in the Emirates today, I must highlight one of the most significant initiatives undertaken by Salwa Zeidan Gallery. In collaboration with Zayed University and the Municipality of Abu Dhabi, we organised an international sculpture symposium in 2009, which stands as a pivotal moment in the gallery’s history. This ambitious project brought together 13 esteemed international artists who were invited to create monumental sculptures in Abu Dhabi. The logistics involved in shipping the stones from Turkey and hosting the artists as our guests for two months were complex, but it was undoubtedly a labour of passion.

The symposium was graced by the presence of our guest of honour, Adam Henein, and witnessed a grand

ceremony attended by Sheikh Nahyan and numerous VIP guests. It is important to note that this monumental initiative was made possible through the generous funding and under the esteemed patronage of His Highness Sheikh Mohamed Bin Zayed, who now serves as the ruler of the UAE. This project not only showcased the gallery’s commitment to pushing boundaries but also highlighted the UAE’s dedication to fostering creativity and artistic expression on a global scale.

Can you provide an overview of the current state of the art scene in the UAE? The art scene in the Emirates today is a vibrant tapestry of creativity and cultural diversity. Over the years, it has evolved into a thriving hub that nurtures and showcases local talents while also attracting renowned international artists. One of the most remarkable aspects of the art scene in the Emirates is the continuous support and investment in cultural institutions, such as museums, art foundations, galleries, art centres and art festivals. These platforms have become instrumental in promoting artistic expression and fostering meaningful dialogue.

Moreover, there has been a remarkable rise in the number of emerging artists who are pushing boundaries, experimenting with new mediums and sharing thought-provoking narratives. This influx of fresh perspectives has led to an exciting and dynamic art scene, where traditional techniques fuse with contemporary themes.

The Emirates has also become a destination for international art fairs and other cultural events, attracting art enthusiasts, collectors and curators from around the world. This global exposure has not only elevated the local art scene but has also catalysed cultural exchange and collaboration on an international scale. In essence, the art scene in the Emirates today is thriving, diverse and brimming with creative energy. It is a testament to the rich cultural heritage of the region and the unwavering passion and dedication of artists, curators and art enthusiasts who contribute to its growth and success.

What are your expectations regarding the evolution of the art scene in the UAE over the next two decades?

In closing, I would like to extend my deepest gratitude and admiration to the visionary rulers of the UAE. Their unwavering commitment to the promotion of art and culture has had a profound impact on society.

Through their initiatives, such as the establishment of four museums and the support of more than three

major foundations solely dedicated to the arts, they have elevated the cultural landscape of the country.

Their belief in the power of art and culture to inspire, educate and foster unity is truly commendable. The rulers’ dedication to providing platforms for artists and incorporating art into the fabric of society has created an environment where creativity and expression can flourish. I am honoured to have witnessed and been a part of this incredible journey, and I look forward to the continued growth and development of the art scene in the Emirates under their wise guidance.

Opposite page – Ogata Water Mark, Monumental sculpture exhibited at the Abu Dhabi International Sculpture Symposium. Courtesy of Salwa Zeidan Gallery.

This page – Hussain Sharif, 1993. Exhibited at Salwa Zeidan Gallery, 1994. Courtesy of Salwa Zeidan Gallery.

Green Art Gallery . Yasmin Atassi FOUNDED IN 1995, GREEN ART GALLERY BECAME A PIONEERING FORCE IN DUBAI’S ART SCENE, AS ONE OF THE CITY’S EARLIEST DEDICATED ART SPACES. DIRECTED

BY YASMIN ATASSI, THE GALLERY PLAYS A VITAL ROLE IN SHAPING THE RICH TAPESTRY OF DUBAI’S ARTISTIC HISTORY, FOSTERING A DIVERSE ROSTER OF ARTISTS FROM THE MIDDLE EAST, NORTH AFRICA, SOUTH ASIA AND BEYOND. Can you share both your and your mother’s journey of bringing art to the UAE? Originally, we are from Homs, Syria. In the 1980s, my mother and her sister, Mouna Atassi, had inherited a small shop in the souk from their mother. They decided to open a cultural project, which was an important bookstore at that time and probably one of the few in the city. It was a meeting point for artists, historians and intellectuals. Through this network, they started meeting many artists from across Syria and decided to convert the small bookstore attic into an art gallery.

Their first show was by the Syrian pioneer Fateh Moudaress. This was in the late 1980s, when Syria was in a particularly difficult state. Art was the last thing on people’s minds, but they were real pioneers and believed in the project. The relationship between Syria and Lebanon at that time was important for their business, both in terms of books being brought from Lebanon to sell in Syria and in terms of cultural exchange between Syrian artists and Lebanese practitioners. In 1990, my parents decided to move to Dubai and Mouna decided to move to Damascus, where she opened Atassi Gallery, which became a major centre for arts and culture. Mouna was also a pioneer in bringing some wonderful contemporary art to Damascus, including Samia Halaby, digital works and performances.

When my mother moved to Dubai, setting up a space quickly was quite difficult. We had a villa in Dubai, and she decided to convert the guest room into an art space. After a couple of years, she built up her portfolio and was introduced to Amnah Al Dabbagh, her Saudi business partner, and they decided to open Green Art Gallery in 1995. She brought in artists from Iraq, Lebanon and Syria, and it became a centre for art from the region specifically.

38

My journey started much later. I studied computer science and had zero interest in art until I was in my early 20s. At that time, my mother was unfortunately diagnosed with cancer and she passed away at the age of 51. I decided to take over the gallery, which was a difficult decision, as this was 2005 and the market in the UAE had already changed drastically. Our gallery was seen as very old school and more akin to a salon than a professional gallery. I decided to keep the name in homage to my mother. We started with my own generation of artists or artists that I felt were quite interesting. I also expanded as I wasn’t only interested in the Middle East. I was one of the first galleries to look at Turkish contemporary art, for example. Then we expanded beyond those borders to look at the Global South, intercultural exchange and whatever made sense within the context that we are in.

What inspired you and what were the challenges?

I’m not sure what inspired me. All I know is that I was 25 years old and didn’t want to do anything else except this, even though my father tried to convince me otherwise. There were many challenges. It’s much harder to rebrand an existing space; it would have been easier to close and reopen a new space under a different name. I lost many of my mother’s collectors, who didn’t understand what I was doing. I had to go slowly, because for financial reasons I couldn’t just suddenly lose my old collectors while still trying to build up a new generation of collectors who would understand what I was doing. This was quite challenging, then in 2008 there was a financial crash. I had to tread very carefully. Finally, I saved up enough money and we moved to Alserkal Avenue in 2010. Our first show was in 2011 and we’ve been there ever since. At the beginning, we couldn’t survive with just the primary market. We did a lot of work on the secondary market, using my mother’s collection of modern art from the gallery. In more recent years, my reliance on the secondary market became much less to now being almost non-existent. Today, I mainly work with primary artists.

Which artists were the primary focus of your efforts? Did your choice change over time?

When I first took over, the gallery had a completely different programme and focus. I had to go extremely slowly and conservatively. I was really interested in artists of my generation, but also in a much more global look on contemporary art while still rooted in context. My first representations included Kamrooz Aram and other Iranian artists based in New York that we’ve been working with since 2012. Early on, and still today, we worked with Seher Shah. There was an interest in research-based practices and artists who had an affinity to the region, but also a global outlook. In 2013, I started working with Nazgol Ansarinia, another Iranian artist who lives and works in Tehran and looks at daily life in a place as complex as Tehran. My choice changes over time. The work became more difficult, more challenging. You can see that the programme has morphed organically into a place of deep thinking and intellectuality, while of course form does matter.

We’ve recently started adding some Emirati artists.

Two of them, Asma Belhamar and Afra Al Dhaheri, are wonderful female artists who are part of a growing generation of artists and I’m very excited to see them here in the UAE. There are things that I show today that even one or two years ago I would never have dreamed of showing, mostly because since then the audience has really matured.

Yasmin Atassi, owner of Green Art Gallery. Photo by Marwah Al Haddad.

Green Art Gallery . Yasmin Atassi Atassi Gallery, Homs, 1980s.

Courtesy of Green Art Gallery.

40

In what ways has this endeavour played a role in nurturing the art scene in the UAE? Green Art Gallery has played a role in nurturing the art scene. We had many firsts: the first gallery to set up here and the first to bring modern Iraqi, Syrian or diaspora art to the UAE. It’s also not about being the first but about having a consistent programme that constantly challenges us and I think that’s still quite important to me today.

YOU CAN SEE THAT THE PROGRAMME HAS MORPHED ORGANICALLY INTO A PLACE OF DEEP THINKING AND INTELLECTUALITY, WHILE OF COURSE FORM DOES MATTER.

Can you provide an overview of the current state of the art scene in the UAE? We are miles away from where we were when we started in the mid1990s, when my mother had to sell art prints to hotels to survive. The market is bigger and more mature.

There are fairs, auction houses and so many wonderful galleries - my colleagues on Alserkal Avenue in particular. We can no longer say that we are a small art scene. Obviously, we are smaller than London, Paris or New York, but the collectors, the patronage and the community we have here are important.

What are the expectations regarding the evolution of the art scene in the UAE over the next two decades?

That’s a tough question. It’s been incredible to see how the UAE has grown and it will continue to grow.

The art scene will be reflective of the audience here.

It used to be mostly Arabs and European expats, and now it’s such a cosmopolitan global audience. Our programme needs to reflect that, and the art scene needs to be as inclusive as possible.

Above – Af ra Al Dhaheri, Give Your Weight to the Ground, installation view at Green Art Gallery, Dubai, 2023. Photo by Seeing Things.

Right – Nazgol Ansarinia, Lakes Drying, Tides Rising, installation view at Green Art Gallery Dubai. Photo by Anna Shtraus.

Opposite page – Michael Rakowitz, installation view at Green Art Gallery, Dubai, 2022. Photo by Anna Shtraus.

42

Green Art Gallery . Yasmin Atassi

Abu Dhabi Music & Arts Foundation Established in 1996 by Huda AlkhamisKanoo, the Abu Dhabi Music & Arts Foundation (ADMAF) has been a pivotal force in fostering creativity throughout the UAE for more than two decades.

Positioned as a leader in the country’s arts sector, ADMAF inspires young individuals, the public and artists through arts education, community arts, and special projects. Its diverse array of programmes and initiatives not only encourage creative expression but also embed arts and culture at the core of the nation. Huda Alkhamis-Kanoo, a dedicated philanthropist and arts patron, has played a central role in the foundation’s achievements, earning recognition through numerous awards for her commitment to arts, education and women’s development.

ADMAF’s notable initiatives include the Abu Dhabi Festival, established in 2004, which stands as the largest cultural celebration in the region. The foundation actively participates in arts education, community art, and special projects, aiming to contribute to society and advance Abu Dhabi’s cultural vision. With a steadfast commitment to nurturing creativity, ADMAF believes that culture serves as the key to unlocking a nation’s creative potential and transcending boundaries. The foundation’s broad range of initiatives, encompassing grants, awards, educational programmes and cultural events, underscores its dedication to fostering and promoting artistic, cultural, and creative endeavours in the UAE and beyond. As it continues to enrich the nation’s cultural landscape, ADMAF’s strategic partnerships and international collaborations further solidify its role as a cultural beacon that unifies communities and advocates for artistic expression.

44

WITH A STEADFAST COMMITMENT TO NURTURING CREATIVITY, ADMAF BELIEVES THAT CULTURE SERVES AS THE KEY TO UNLOCKING A NATION’S CREATIVE POTENTIAL AND TRANSCENDING BOUNDARIES. THE FOUNDATION’S BROAD RANGE OF INITIATIVES, ENCOMPASSING GRANTS, AWARDS, EDUCATIONAL PROGRAMMES AND CULTURAL EVENTS, UNDERSCORES ITS DEDICATION TO FOSTERING AND PROMOTING ARTISTIC, CULTURAL, AND CREATIVE ENDEAVOURS IN THE UAE AND BEYOND.

Sharjah Art Museum

The Sharjah Art Museum commenced its operations on April 17, 1997, and today falls under the umbrella of the Sharjah Museums Authority (SMA). The latter, conceived in 2006 by His Highness Sheikh Dr Sultan bin Mohammed Al Qasimi, the Supreme Council Member and Ruler of Sharjah, aspires to serve as a cultural landmark that enriches Sharjah’s identity on both local and global scales. Its mission involves cultivating a community that recognises the significance of museums as cultural, educational and enjoyable destinations. Housed in a three-story structure, Sharjah Art Museum boasts expansive galleries that exhibit a diverse collection of artistic creations, encompassing over 500 artworks across various mediums and techniques.

Visitors to the museum can delve into the region’s history through the masterpieces of local and Arab artists who have left a lasting impact on the art world. The museum’s ongoing programmes, workshops and temporary exhibitions, held throughout the year, enhance the cultural experience for art enthusiasts and the wider public. The Art Library, containing more than 4,000 titles in multiple languages such as Arabic and English, along with visual and audio materials, contributes to the educational dimension of the museum. As the Sharjah Art Museum consistently captivates visitors with its realm of artistic marvels, it assumes a pivotal role in preserving collections and fostering an appreciation for culture and learning within the community.

1X1 Art Gallery Initially located at the Diyafa art centre in Satwa, Dubai, 1X1 Art Gallery, founded

by Malini Gulrajani, has been a pivotal force in presenting South Asian Modern and Contemporary Art, for almost three decades. Today, from its location at Alserkal Avenue, the gallery serves as a dynamic platform for both established and emerging Indian artists, fostering a rich cultural exchange. Actively engaging in structured collaborations with local and international galleries, art fairs, museums, curators, and art organisations, 1X1 Art Gallery has expanded its focus to include Emirati and Middle East-based artists. The cosmopolitan ambiance of Dubai has allowed the gallery to curate exhibitions that feature a diverse range of international and Middle East-based artists, enriching its platform for artistic expression. Spanning 7500 sq ft, the gallery provides a space for project-based experimentation, nurturing local talent.

A dedicated bookstore on South Asian Art and Literature enhances community interaction, solidifying 1X1 Art Gallery’s integral role in the region’s vibrant art and cultural landscape.

Sharjah Art Museum, Sharjah, UAE.

Total Arts . Dariush Zandi own gallery and studio. In the beginning of the 1990s, I put forward a proposition for a multicultural, multifunctional, multidisciplinary artistic centre. Land was allocated to it on an empty lot in the Al Quoz area of Dubai and I happily began designing and building what came later to be called The Courtyard.

The Courtyard opened its doors in 1998 and became the first cultural organisation in Al Quoz and an anchor for what was to come. In 2023, we celebrated its 25th anniversary. And as I look back at the beginnings of it all, I can say that even though I saw the UAE’s artistic potential, I never imagined it would grow to the extent it has. Today, The Courtyard houses our art gallery, Total Arts, along with a theatre with a 70-seat capacity, an incubator business centre, spaces for interior designers and artists, printing, film and photography studios, restaurants and unique creative boutiques.

Dariush Zandi, Founder of Total Arts. Photo by Elias Daaboul.

DARIUSH ZANDI, FOUNDER OF TOTAL ARTS AND THE COURTYARD (ESTABLISHED IN 1998), HAS SIGNIFICANTLY SHAPED AL QUOZ’S VIBRANT ART COMMUNITY, FOSTERING EXPERIMENTATION ALONG THE WAY. Can you share your journey into bringing art to the UAE? How did it start, what inspired you to do so and what were the challenges?

When I first established myself in Dubai in 1980 as an architect of municipal and private buildings across the city, I became involved in the restoration of historical buildings and their conversion into museums, whilst I was simultaneously developing my practice as a photographer. Dubai was quite magical with its special atmosphere and its growing potential, but I felt it lacked a platform for artists. Alongside a group of close friends and colleagues, we started developing the first art institute in Dubai called Dubai Art Center. In the same spirit, I later felt the need to establish Total Arts, my

46

Which artists were the primary focus of your efforts? Did your choice change over time?

The Courtyard’s concept was to create a viable, multidisciplinary community centre which could house a variety of functions, exhibitions and cultural activities in a city that is home to many different nationalities and ethnic backgrounds. It was created to be a place for people to meet, interact and learn about each other while engaging in art and culture.

This broadness of the spectrum was deliberate, and our primary focus was to create an art institute, rather than focusing on any particular artist.

This choice of approachability and this broad-minded line of action remained and developed over time as our knowledge of the geo-social context grew. Being located in Dubai, we naturally directed our attention to the artists of the region, especially the UAE, Iran and the Arab World. And we always rose above any considerations of race, religion, types of arts or special entities, while keeping an open mind, free from any conventional notions in conceiving arts and culture.

Could you outline the key elements of your gallery programme and how it evolved?

Total Arts had always been a place for rich creative exchange, and over time it diverged more and more into becoming a space of experimentation, learning and collaboration. With fine arts at its core, it transcended being a gallery or an art centre into becoming an artistic community where artists feel welcome, valued, propelled to interact, create and experiment.

And as the art scene developed in Dubai and the UAE, as more art institutions and galleries sprung up, we felt the liberty to free ourselves from the restrictions that commercial galleries usually have. The move was to divert from the commercial gallery format towards becoming a non-profit entity, an interdisciplinary space fostering learning, cooperation and crossexperimentation, where we explore the less-obvious, the unpaved ways and the fresh, new trials from which we grow. And with time, this led to a changeover in the conventional perception of art that came to be more relaxed about itself, less concerned about delivering prominence but rather playfully liberated from the stress of opinion and ready-made judgement. Art was freed from the definition of what ‘real art’ is or ought to be. Putting down that responsibility changed the standards for art. The bold simplicity of the concept rallied to our spaces’ variety and originality, found interest in artists and gave a new, much-needed freedom.

government designated Al Quoz a special creative zone. This transformation of an industrial quarter into a creative one is a beautiful example of the transformational power of art.

In what ways has this endeavour played a role in nurturing the art scene in the UAE? Everything is of help at the commencement of things. And it is really an interaction with the milieu.

This idea of starting and being a member of the art community in a villa in Jumeirah - immediately taking charge of the photography group and starting the dark room, was met by the passion of a group of people interested in the field of photography.

Launching exhibitions of all sorts with others in the community, especially the members of the art centre, helped the growing community of art enthusiasts in Dubai. This led to the need to develop the field even further by taking land in Al Quoz and designing and building a dedicated platform to this cause. As an urban designer I felt the need to fulfil my aspiration and goals and to put this idea across, but it is really the enthusiasm of the like-minded people that was the catalyst. The attraction of the people and artists to organise art events or exhibitions and to take up residence in a place that was not necessarily in the middle of the city was key.

As those galleries and cultural organisations grew, they expanded into new headquarters elsewhere in the area or in the city. They became some of the most recognisable names in art and culture in Dubai today. Since the opening of the Courtyard in 1998, the area has changed significantly. Many galleries and art studios have flourished in the neighbourhood to make an artistic and cultural hub. In 2022, the Dubai

Having been in AlQuoz for the past 25 years, my expectations would be very positive ones. As a witness and active participant of the immense growth in the art scene since first arriving in Dubai in 1978, I expect the same speed of development over the next two decades, if not more. With the ever-increasing number of galleries, museums, art institutions, art authorities and cultural events in the area, the UAE and the region in general, I imagine the growth and evolution of the art scene would even surpass the previous. The level of knowledge and the art programmes have risen to new heights. Many art institutions have brought new learnings and experiences from the rest of the world. In addition to this first-hand information, the connection between the UAE and the rest of the world has grown, as has the exchange and connections between local artists, educational institutions here and worldwide artists and institutions. All these elements have brought the standards of the field to a new level.

Funding has tremendously increased. The rising competition, participations, workshops and seminars in the field over the last three years has given me the indication that we are going to be reaching a very high level in the standards of the arts and art institutions through the next 20 years. This also can be said of the UAE’s different emirates and of the entire region because we are observing in many of the neighbouring countries an increasing participation under the vector of defying the social and artistic boundaries, and all this is indisputably reflected through art.

Can you provide an overview of the current state of the art scene in the UAE? What are your expectations regarding the evolution of the art scene in the UAE over the next two decades?

It has been a joy and pride to witness and be part of the evolution of art in the UAE, rallying the contemporary, the traditional and the experimental, and making the past, the present and the future dialogue together. The transformation of the art scene has seen a growing interest from perhaps a handful of individuals who were not widely recognised into a vibrant community with an increasingly growing number of galleries and numerous young and promising artists and designers contributing to the city’s creative scene and hence shaping the cultural landscape of the region.

2000-2010

The first decade of the 21st century stands as a transformative chapter in the narrative of the UAE’s burgeoning art scene, marked by an unprecedented surge of cultural institutions, galleries and milestones that would lay the foundation for the vibrant landscape we witness today.

48

The dawn of the millennium saw the seeds of artistic exploration taking root, with Tabari Artspace and XVA Gallery inaugurating the era in 2003. Founded

by Maliha Tabari, Tabari Artspace sought to preserve the rich craft histories of the MENA region while providing a global platform for emerging Gulf artists. Meanwhile, Mona Hauser’s dream of opening an art gallery in Dubai materialised with the establishment of XVA Gallery, nestled in the historic district of Al Fahidi.

The year 2005 marked a turning point as The Third Line, Christie’s, and Maraya Art Centre stepped onto the scene. The Third Line, born out of a vision to provide a platform for artists in the MENA region, embarked on a journey to support artists’ voices in the aftermath of 9/11. Christie’s, as the first international auction house in the region, opened a permanent office in the UAE, solidifying the demand for Arab art and setting the stage for record-breaking sales. In Sharjah, Maraya Art Centre emerged, offering a multifaceted platform for artists and designers through various initiatives.

Art Dubai, established in 2007, became a catalyst for local, regional and international conversations on Middle Eastern art, driving engagement with the cultural heritage and contemporary practices of the region. The same year witnessed the inception of Meem Gallery, Alserkal Avenue, and Ayyam

Gallery, each contributing uniquely to the growing cultural landscape. Tashkeel, founded in 2008

by Sheikha Lateefa bint Maktoum bin Rashid Al Maktoum, became a dynamic hub for visual art and design, fostering a culture of lifelong learning and innovation.

By 2009, the stage was set for Abu Dhabi Art, a pivotal event expanding beyond the traditional art fair model, emphasising public engagement, and providing a platform for ambitious installations and site-specific works.

The decade encapsulates the birth of Alserkal Avenue in 2007, which, under the visionary thinking of founder Abdelmonem Bin Eisa Alserkal, cultivated a vibrant creative community, turning Dubai into a global destination for contemporary art. As the first galleries, including Ayyam Gallery, opened their doors in Alserkal Avenue in 2008, the complex became a nucleus for the convergence of diverse art forms, nurturing the growth of local and international talents.

Munira Al Sayegh MUNIRA AL SAYEGH, AN INDEPENDENT CURATOR AND CULTURAL INSTIGATOR BASED IN ABU DHABI, IS THE FOUNDER OF DIRWAZA CURATORIAL LAB, A UAE-BASED CURATORIAL INCUBATOR. SHE IS A PUBLISHED AUTHOR AND PROMINENT PUBLIC VOICE IN THE REGION, HIGHLIGHTING THE IMPORTANCE OF GRASSROOTS INITIATIVES, LANGUAGE AND NARRATIVE RECLAMATION WITH REGARDS TO THE GULF. SHE HAS CURATED AND ADVISED ON EXHIBITIONS, PROJECTS AND PROGRAMMES WITH ESTEEMED REGIONAL AND INTERNATIONAL INSTITUTIONS, INCLUDING NYU ABU DHABI, GUGGENHEIM ABU DHABI,

50

ABU DHABI ART AND ART DUBAI. AL SAYEGH’S DIVERSE PORTFOLIO INCLUDES PREMIERING COMMISSIONED WORKS, LEADING CURATION FOR EXPO 2020 DUBAI, AND BEING PART OF THE DUBAI COLLECTION’S STEERING AND CURATORIAL COMMITTEE.

Munira Al Sayegh.

Based on your experience, how have you seen the art scene in the UAE change over the years?

I’ve been in the field for almost the last 11 years. I started off working with NYU Abu Dhabi. When I left, it was a pivotal moment. I started working for Art Dubai as a co-curator of a residency programme, where I got to meet a pioneering artist named Mohamed Ahmed Ibrahim, now a dear friend. I remember sitting down with him, and learning from him via stories about how organic and raw the art scene was at the time. You begin to realise that there’s a lot of misconceptions around the art scene in the UAE from the outside in with the idea that everything is imported, fresh and new, whereas what is happening now is a continuation of what was happening in the past, where people - creatives, thinkers, writers, filmmakers, etc. - were organically coming together to produce within a conceptual space of thinking. What we see today is a lot of movement and progression in continuation to the past creative movements initially from a more topdown approach. In this sense the government has highlighted and taken into consideration the role and importance of art as a soft power and utilized it as a visual language that speaks on behalf of the space that we inhabit, which is the UAE. It’s interesting to see how much the scene has matured in the last 10 years and how much things have changed.

The change that I can point towards is within this space where people are much more organised, and there are more outlets for experimentation and collaboration, etc. What we have begun to see, in the last five or six years, is the return to grassroots movements, a rebirth of the creative scene, that is very strongly felt within the UAE. You’ve done a lot of non-institutional work. How important is this and how has it changed over time?

I am from Abu Dhabi, and I used to work for institutions here. I left considering this question of what it means to have these major institutions, yet there being a separation between them and the ‘ground’ that is creating. I always return to this metaphor of you don’t plant a seed in the sky, you plant it in the ground, and then you have to cultivate it. I left my nine to five in the cultural institutional space in 2017- 2018 and I started to really take this into consideration. What does it mean to curate outside of an institutional voice? What does it mean to curate independently? And what are you going to be curating? I think art is a tool that reflects society. If you open up that dialogue, then you will

have visual archives via these exhibitions that tell a story that exists within the framework of society. I started to test this idea, slowly but surely. Initially, I was told, you’re never going to make it - you have to be in an institution, if you’re ambitious and want to get to places. For me, it wasn’t about the places that I wanted to get to, it was more about the stories I wanted to tell via my exhibitions. These institutions will not have vigour, if the ground is not planted correctly. My belief is that you have to create a bridge between these two spaces. Accessibility became really important to me very quickly. If art is for the people, then how do we make it an inclusive space? I ended up opening up my space, Dirwaza Curatorial Lab. The word dirwaza refers to the small door set in a larger door in the gates that traditionally existed outside houses. This word of Indian origin that migrated to usage in the Arab Gulf is interesting to me because of the relationship between the two regions historically and also today. My mother was talking to me about the dirwaza of the house she grew up in, and the visual of this little door inside a big door stuck with me. The intimacy of it served itself for the space. Since the launch of Dirwaza, alongside my team of three, Dania Al Tamimi, Hessa Al Nuami, and Anita Sheshani, I’ve curated shows across the UAE and internationally. The international experiences, brought to light just how highly politicised, and most often misunderstood, the Gulf region is. So, these exhibitions became a really important place for me to play with narratives and introduce a social bridge of sorts, to attempt a connection. How do you bridge one culture with another? How do you also elevate a culture that’s always misunderstood? Then through art you see how it becomes an active tool of storytelling, and how people’s perceptions can change via the stories that are told.

My argument is always to make the language around an exhibition digestible for any visitor and allow everybody to participate in the narrative discussed within an exhibition. How do you make it inclusive?

How do you humanise the language and the vocabulary around it? The power of stories is what I personally believe in, and what I am seeing is that a lot of people gravitate towards that. Moving away from institutions gave me the freedom to explore my personal belief system within the art world. I was able to think, explore and then expose these ideas, which have been very well received. And working with various artists along the way is extremely rewarding.

Munira Al Sayegh What kinds of artists do you work with? Do you have a specific medium, are they established or up and coming?

Generally, my practice focuses on artists in the region and specifically in the UAE. That’s where my interests are because these are the stories and the histories that I know and that I want to tell. I always encourage people to use the term artists based in the UAE or UAE-based curator, because that’s the kind of language that becomes encompassing, one that doesnt glorify a specific citizenship over the other. I don’t curate or prefer a particular medium; it just depends on if the artist fits the narrative I am working on.

What types of challenges have you encountered with Dirwaza, exhibitions or other institutions?

Within the framework of day-to-day challenges, I think it becomes interesting how much of an educational force you must be as an individual or a space, especially when you’re working alongside non-arts institutions, or even other arts institutions where you have to always be patient. I tell my team, take a deep breath, take a step back and realise that this person perhaps doesn’t know or hasn’t been told otherwise. As much as it is a challenge, it’s a lot of unlearning and relearning, how to really formalise the space and what it means to be working with a curatorial group or with artists. I always play the devil’s advocate. If something doesn’t sound right, I will explain why it doesn’t and in the hope that we can carry a conversation from which both sides can learn.

I think there’s a lot of excitement around what it means to be a creative in the region, let alone in the UAE, but that the infrastructure is still being built alongside us. I guess these infrastructural issues are slowly starting to fade away, but then at the same time you have other issues. For example, when I opened up Dirwaza, my legal license was for an interior decorating company. I remember having this conversation with the individual that I needed to open up Dirwaza, and there was so much back and forth. I said, “I will refuse to put interior decorating company on my license!”.

He replied, “This is what is available, and this is the closest thing to what you do. You tell me that you put together exhibitions, which means you put art on walls, and interior decorators do that, too”. These are very innocent challenges and I’ve seen it opening up in the past few years. A freelance license has

52

become super easy, but opening up a bank account, for example, has been a nightmare that continues to haunt me. You try to explain what you’re doing, but you realise the banking sphere works very differently to that of the creative field. You also have what I would call the challenges around perspectives within the region and the UAE, which have been and will continue to be interesting. People come with their preconceived notions. They just assume that the only culture that exists are camels and Bedouins.

The reality is that thehistory of the UAE, let alone the Gulf, is very rich and extremely diverse. The peak of it was when I was in Basel in Switzerland opening this exhibition that I had worked on relentlessly for three years with the artists.

I had people ask me the strangest questions, like: “Oh, were there people in the Gulf or in the UAE before they found oil?” This is wilful ignorance, because, in this day and age, the world is at your fingertips, to research and get to know the reality of things, if you are that interested or invested. In contrast, arriving in Tokyo and putting together a show, people were very attentive and did not come with preconceived notions. Year after year, exhibition after exhibition, art has really proven to be a powerful source to correct these kinds of challenges.

THE POWER OF STORIES IS WHAT I PERSONALLY BELIEVE IN, AND WHAT I AM SEEING IS THAT A LOT OF PEOPLE GRAVITATE TOWARDS THAT. How do you see it evolving in the next 10 to 20 years?

At the pace it’s going, the creative sphere is going to mature very quickly. I think that people have begun to cultivate the ground and lay the foundation stones that lead to a particular path. I’m expecting to see more and more innovation within the cultural

and creative sphere. I feel governmentally there’s a lot of attention being given to this creative sphere, understanding the role of it socially and its impact. I think the push of soft power through culture is going to become much more elevated. I really do hope that culture continues to exist in a way where the doors are open to anyone and that it does not become a space just for the elite. You see that in the many individuals coming in and out of the main art schools in Abu Dhabi and Dubai, or public government universities, creating the next frontline of creatives. I feel it’s moving in the right direction, and I hope that it continues to formalise in the spaces that it needs to and open up in the spaces that it needs to.

Can you tell us more about Tabari Artspace and the show you’re curating with Hazem Harb?

I started working with Hazem give or take a year ago.

The show was meant to open a long while ago before all the serious events that started to take place in Gaza. Hazem was an artist that Maliha Tabari insisted that I meet. I knew him from a distance and from things that I had read, but then we started to get to know each other through what we were aiming for in relation to the initial exhibition. I become very interested when I work with an artist who thinks and feels in Arabic. All our conversations were in Arabic, and that space is much more freeing, as the Arabic language is richer and denser.

For me, the persistent question was how to tie the beginning of Hazem’s work to what we see now, which is very polished. What’s interesting is at the beginning of his practice you see the brush or the work controls Hazem, and then in the present what we see is Hazem taking control of the work.

In the beginning, his work almost engulfs you and drowns you. When you see his work today, it’s very architectural. You begin to understand the human through the work, that there is a sense of stability within the self that he reached. Now, since the escalation of violence that has taken place, what you see is this return to a space outside control. And then if you had seen the work that he presented at Abu Dhabi Art, he went back to utilising his hand, with charcoal or a brush, to directly reference his feelings on paper. It looks like his older work, which is quite interesting. It was his departure from Gaza to Rome when he started to move slowly towards a more pristine space. Hazem’s work is highly research based and it’s very powerful. But then there is a power when you outpour your own emotions into a

THE REALITY IS THAT THE HISTORY OF THE UAE, LET ALONE THE GULF, IS VERY RICH AND EXTREMELY DIVERSE.

space or spheres. What initially became interesting was how to tie all this together, but also how do we break away from the things that we already know?

And how does this older chapter really bring us closer to understanding his practice outside of the framework that we use to know his work by? I always ask him, “What does it mean to romanticise a place that you left? You sought refuge elsewhere for your own reasons?” We haven’t revisited any of these questions since the event started. It’s not easy what he’s going through. We’re not trying to glamorise anything that’s taking place in Gaza through this exhibition, but sometimes it’s not up to you how an audience is going to take in a space or an exhibition.

Most of the time you can never nail someone to an opinion that you wish they would have. So, it’s interesting to bring forth this exhibition with, given the timing, the extremely loaded emotions, and see how an exhibition that wasn’t going to be politicised or political has become even more politicised in a very escalated way because of things that have changed. For me, I think overcoming the initial heavy emotional reality is going to be really important as to how we continue to define the way the exhibition is going to be presented.

Hazem Harb

HAILING FROM GAZA, PALESTINIAN ARTIST HAZEM HARB INTRICATELY WEAVES HIS IDENTITY INTO THE VIBRANT FABRIC OF THE UAE’S ART SCENE, CONTRIBUTING PROFOUND REFLECTIONS ON EXILE, MEMORY AND ARCHITECTURE. What personal experiences or artistic influences drew you into the vibrant UAE artist community, and how have these connections contributed to your growth as an artist in the region?

During a challenging period when my mother fell ill, and I was navigating between Dubai and Italy, Gaza was experiencing its own tumult. The convergence of these personal and global upheavals immersed me in a heavy, surreal state of mind, which found expression in my artistic practice. As 2012 unfolded, I found myself in a profound self-interrogation, both as an individual and as an artist. This internal exploration spurred extensive experimentation on my part. Crossing disciplinary boundaries, I delved into various mediums, seeking the one that would most effectively convey my concepts and introduce themes that persistently occupy my artistic focus: identity, memory, exile and the dynamics of power.

As an artist I was aware that I was in exile from Gaza.

In 2013 I embarked on a significant chapter of my artistic journey by making Dubai my permanent residence - a city I now call my adopted home. In Dubai, I cultivated meaningful connections with fellow members of the Palestinian diaspora and engaged with the city’s diverse international creative community.

A pivotal moment unfolded through an encounter with curator and artist Rami Farook. This meeting led to a game-changing opportunity - a six-month residency at Farook’s warehouse gallery, Satellite Space, known for its innovative programming. Under

54

Hazem Harb. Photo by Bernard Jouaret.

Farook’s mentorship, I found the intellectual and creative freedom necessary to refine my artistic direction. It was during this immersive residency that I began incorporating raw materials into my compositions, marking the inception of the Beyond Memory series. In this collection of collages, I applied stark geometric shapes to archival images of Palestinian social scenes, separating the subjects from the stark reality of their daily lives.

In Beyond Memory, which I created in 2012, I introduced a theme that resonates deeply throughout my artistic practice - the concept of architecture as the tangible imprint of the values ingrained in the society that gave rise to it. I contend that architecture plays a pivotal role in shaping the identity of cities, influencing the inhabitants and contributing to the collective memory of a community. In my exploration, concrete emerged as my metaphor, symbolising both the tangible and intangible elements that have left an indelible mark on the community in Gaza. This overarching idea has become a recurring motif in my work, revisited at regular intervals across various bodies of art. It’s palpable in collections like Archaeology of Occupation in 2015, Reformulated Archaeology in 2018, and Bauhaus as Imperialism in 2019. Through these artistic expressions, I delve into the intricate relationship between architecture, societal values and the layers of history that shape the character of a place.

Reflecting on the evolution of the UAE’s art history since the 1990s, can you describe the ways in which your artistic journey has intersected with this transformation, and in what manner have you actively participated in shaping the evolving art landscape?

During my time in the UAE I’ve been involved with various individuals and institutions that have come to shape my pathway and career. In 2015, I presented a solo exhibition at Salsali Private Museum, in Alserkal: The Invisible Landscape and Concrete Futures. This collection, comprised of collages merging remediated photographs from pre-1948 Palestine with concrete slabs, architectural models, installations and a short video projection, aimed to provide a comprehensive exploration of questions that had long occupied my artistic contemplations.

The exhibition served as a deliberate effort to materialise these lingering questions, offering insights into my artistic concerns. Central to my inquiry were questions like: When does architecture transition from being an oppressive apparatus? How do specific architectural styles transform a people into museum artefacts while others provide shelter?

Can sculpture serve as a counterpoint to architecture, and if so, how can it achieve a non-monumental quality? The endeavour not only marked a significant moment in my artistic journey but also contributed to a deeper understanding of the intersections between architecture, identity and the transformative potential of sculpture.

Later, in 2017, I transitioned to representation by the Dubai-based Tabari Artspace Gallery, a platform founded by the Palestinian figure, Maliha Tabari.

Beyond the shared national bond that unites Maliha and me, a compelling synergy defines our connection - we engage in a continuous dialogue.

Our partnership is characterised by a mutual appreciation for conceptually-driven art and a shared desire to present diverse narratives. This collaborative spirit not only underscores the artistic vision we both uphold, but also fuels our commitment to foregrounding suppressed narratives and meaningful expressions within the art world.

My work has been acquired by several institutions in the UAE, including the Barjeel Art Foundation and Sharjah Art Foundation, in addition to private collectors.

Collaboration and engagement with fellow artists often foster creativity and community growth. Could you share instances where you’ve collaborated with other artists in the UAE, and how have these collaborative efforts contributed to the diversity and advancement of the local art scene?

Art, by its very essence, thrives on community, connection and collaboration - manifesting itself in diverse ways, organically through friendships and more formally through avenues like exhibitions. The spectrum of collaboration within this realm is broad and dynamic.

Specifically, in the UAE as a member of the Palestinian diaspora, I consistently find myself connecting with artists who share a common background or experience.

While not always manifesting as a direct artistic collaboration, these connections often evolve into a supportive community, fostering the exchange of shared stories, reflections on loss and the nuances of an exilic existence. Here, I have curated exhibitions including that of friend and fellow Palestinian artist Mohammed Joha, Fabric of Memory at Tabari Artspace in 2019. Such an opportunity allows art to be reflected upon and framed anew when cast through an artistic gaze rather than that of the gallery, for example.

Hazem Harb, The Silk Line of Identity, 2020, layers of collage of archival Fine Art C-P, photography on MDF wood, diptych, 200 x 300 x 5 cm.

Hazem Harb At present, I am engaged in a collaborative endeavour with Emirati curator Munira Al Sayegh for my upcoming exhibition, Gauze. This solo presentation delves into the multifaceted significance of the material ‘gauze’ within Palestinian collective histories, particularly in the context of the corporeal.

Launching in January 2024, the exhibition invites viewers to explore the profound connections between materiality, the body, the broader context and my personal journey as a Gazan native living in exile.

Looking ahead to the future of the UAE’s art scene, what prospects or challenges do you find most exciting, and how do you envision your role in driving continued development and innovation within the UAE’s art landscape?

As an artist and a human being, the journey of evolution is inherent and inexorably shaped by our surroundings. Consequently, I anticipate a continued evolution within the dynamically changing Emirates.

It’s heartening to witness the dedication of galleries, institutions and leadership to the advancement of an organic and holistic art community. This commitment manifests itself through various means, including robust support for artists, the arrival of international museums and institutions, engaging public programming and the vibrant presence of art fairs and biennials.

My collaborative synergy with my gallerist, Maliha Tabari, is also a testament to the power of shared experiences and backgrounds as Palestinians. Our collaboration unfolds effortlessly, allowing for the exchange of ideas in a way that feels inherently natural and deeply understood, which allows my work to be presented in the best possible context, where meaning, communication and intent are prioritised beyond commercial aspects. Furthermore, I actively mentor several emerging artists from the region - talented individuals from the new generation eager to exchange experiences and ideas. Through these mentorship relationships, we collectively evolve and grow.

56

While I don’t view it as my responsibility to singlehandedly propel innovation in the regional art landscape, my commitment lies in an art practice that probes structures and systems of control in the Palestinian context. I aim to uncover lesser-known aspects of reality and delve into the nuances of Palestinian existence - themes that have consistently informed my work. I firmly believe that if artists in the UAE collectively remain devoted to producing work grounded in genuine interests and a commitment to authenticity, the local art landscape will naturally and positively continue to develop. It’s a shared responsibility, and by staying true to our artistic motivations, we contribute to the evolving cultural scene in a way that carries meaning.

Hazem Harb, 1# Temporary Monuments, 2017, collage of C-P archival photography of the Nakba 1948, on old wooden suitcase box, and refugee camp canvas tent, 50 x 70 x 28 cm.

Hazem Harb, Survey for a Colonial Map 2#, 2021, UV Fine art print of acrylic sheets mounted on linen canvas on polywood, unique, 121 x 151 cm.

Myrna Ayad

Myrna Ayad, Art consultant and cultural strategist.

58

MYRNA AYAD, A PROMINENT BEIRUT-BORN, DUBAIBASED ARTS CONSULTANT AND CULTURAL STRATEGIST, FOUNDED HER CONSULTANCY IN 2018, ADVISING CLIENTS LIKE PEPSICO AND THE UAE MINISTRY OF CULTURE. FORMER DIRECTOR OF ART DUBAI, AYAD IS A LEADING CULTURAL COMMENTATOR IN THE MIDDLE EAST, RECOGNISED FOR HER CONTRIBUTIONS TO PRESTIGIOUS PUBLICATIONS AND HER EDITORIAL ROLE AT CANVAS MAGAZINE. FORBES ACKNOWLEDGED HER AS ONE OF THE 100 MOST POWERFUL ARAB BUSINESSWOMEN IN 2017, AND SHE WAS AMONG THE 50 MOST INFLUENTIAL WOMEN IN THE ARAB WORLD IN 2018.

You’ve played a significant role in the development of the art scene in the UAE. Could you share the key initiatives or contributions that you believe have had a lasting impact on the country’s art landscape?

I really owe it to the women who came before me.

There are a few heroes in the UAE art scene that we need to pay tribute to, and this also applies to the wider region. Women played a very important and crucial role long before anyone even talked about Saadiyat Island or Alserkal Avenue, or any of these initiatives. We had women artists and patrons, both Emirati and expatriates, supporting the scene.

Among those who come to mind and whom I admire tremendously are Sheikha Salama bint Hamdan Al Nahyan, wife of the UAE President, who used to collect art by local, UAE-based and Arab artists, long before establishing her namesake foundation. Another is the late Mayla Atassi, who founded Green Art Gallery in a villa in Jumeirah in 1995 and presented work by Arab Modernist artists like Fateh Moudarres and Dia al-Azzawi. There is also the Emirati artist Nujoom Al-Ghanem, who was part of a larger group of artists working with Hassan Sharif and his disciples, whose art was not always understood, but who persevered and is among those pioneers. There are others, and they have birthed this gorgeous art scene in the UAE that is essentially led by women. During my time at Art Dubai, Western journalists would ask, “So what does it feel like to be a woman at the helm of a cultural institution in the Gulf?” And I would say, “Maybe that’s an issue where you are from, but where I am from this is a non-issue.

On the contrary, we have been endorsed and empowered from the start.” On a much wider level, the UAE encouraged cultural expression and appreciation. This has been the case for as long as I can remember. There was never any objection. We were always pushed to do more, from the community and government levels. It is also important to note that government support existed before the UAE’s establishment in 1971 – artists like Hassan Sharif and Dr Najat Makki were granted scholarships for study abroad.

Can you share more on your academic background?

I studied political science for two years at the American University of Beirut with dreams of becoming a war correspondent. Later, I graduated from the American University in Dubai, before

DURING MY TIME AT ART DUBAI, WESTERN JOURNALISTS WOULD ASK, “SO WHAT DOES IT FEEL LIKE TO BE A WOMAN AT THE HELM OF A CULTURAL INSTITUTION IN THE GULF?” AND I WOULD SAY, “MAYBE THAT’S AN ISSUE WHERE YOU ARE FROM, BUT WHERE I AM FROM THIS IS A NON-ISSUE. ON THE CONTRARY, WE HAVE BEEN ENDORSED AND EMPOWERED FROM THE START.” working in publishing. The idea of being a war correspondent still appealed to me, and I worked at Reuters during the Iraq War in 2003, but became very depressed. It was then that I realised that a reporter must be factual rather than descriptive and I felt that I couldn’t be expressive.

How did you become involved in the art world?

I worked with a now-defunct publishing house that produced three weekly papers. One focused on students and was published in the UAE and in Kuwait, and the other, a kind of Village Voice publication, documented the early art scene.

Because of it, we attended The Third Line’s

Myrna Ayad exhibitions pre-Al Quoz, often hosted in ballrooms at places like the Royal Mirage Hotel and Le Reve.

Maliha Tabari’s Artspace on Sheikh Zayed Road showcased Farhad Moshiri; Jeffar Khaldi had an open studio in Al Quoz which Isabelle van den Eynde then converted into B21 Progressive Art Gallery and exhibited artists like Bita Fayyazi, Rokni Haerizadeh, Ramin Haerizadeh, Hesam Rahmanian, and Khosrow Hassanzadeh, contributing to the Iranian contemporary art scene. In those days, invitations to these exhibitions were adorned with special effects and sent in the mail. These were semi-formal evening events for which attendees dressed up. In 2003, my uncle, Ali Khadra, founded Canvas magazine, urging me to join. Hesitant due to my lack of knowledge about Middle Eastern art and reservations about working with family, I eventually embraced the opportunity. Despite not being exposed to contemporary art museums per se, our family valued cultural institutions and events, attended museums, musicals, the opera and theatre. We grew up in an environment highly appreciative of art. Attending exhibitions in Dubai sparked a desire to learn more. I began freelancing with Canvas, and then worked there for a decade. After I left, I freelanced for a year, writing about regional art for Western publications. I then joined Art Dubai as its director, before eventually establishing my own consultancy, specialising in cultural strategy and publishing. I’m a fervent believer in the written word.

As a founding member of the UAE’s arts community, what inspired you to become actively involved in nurturing and promoting the local art scene?

To explain how I entered this space is one thing, but the more significant question is why I’ve remained. I am of Lebanese origin with French citizenship, and I’ve called Dubai home for 42 years. The seemingly straightforward question, “Where are you from?” has been and continues to be one of the most challenging for me to answer. After four decades, I’ve come to realise that I am not from one place, but rather, from many places, yet my blood is Arab. Living in Dubai has afforded me a unique privilege – the opportunity to connect, engage, and befriend people from diverse corners of the world. Our daily experiences, from the food we savour to the literature we immerse ourselves in, and the events we celebrate, embody remarkable multiculturalism and richness. This diversity is something I cherish deeply.

Through my interactions, I’ve fostered a love for this cultural amalgamation, and I desire the same for my

60

children. It is within this multicultural tapestry that tolerance, understanding and respect for others flourish. Throughout this, art has played a crucial role in allowing me to understand who I am. When asked about my origin, I point to the art that surrounds me, whether it’s from Iraq, Saudi Arabia, Turkey, or Iran.

Working in visual art continues to tell me a lot of things I didn’t know about my heritage and my history. I didn’t know that Lebanon joined the space race in the 1960s, but discovered this through Joana Hadjithomas & Khalil Joreige work. I didn’t know that in the process of building the Aswan Dam, Gamal Abdel Nasser uprooted thousands of Nubians who had been living there for so many years. But I learned about it because of the work of Inji Efflatoun and Tahia Halim. There are so many things that I came to know thanks to art, and I’m going to continue doing everything in my power to promote art from our region, because it’s important that we all know and that we feel proud of where we’re from. We have such great stories, and we should be telling them.

You’ve been actively involved in promoting the work of local and regional artists. Could you highlight a few artists from the UAE whose work has left a lasting impression on you, and what makes their contributions to the art scene unique?

Without a doubt, you can’t get very far in a conversation about art in the UAE without mentioning Hassan Sharif, who is a forefather and a pioneer. It must have been very hard to be a conceptual artist in the UAE in those days when the country had just been established and was working on its basic infrastructure. There’s also Rokni and Ramin Haerizadeh and Hesam Rahmanian, who are very dear friends. The wonderful thing about them and other artists whom I admire is that they have made, and continue to make, me think. What excites me today is this younger crop of contemporary Emirati artists from Sarah Almehairi to Afra Al Dhaheri and Asma Belhamar. When I started out in the art scene in the early 2000s, we didn’t have that many Emirati artists. Today, we have a crop of young talent with different messages, modes, and practices.

It’s incredible. They genuinely excite me.

The UAE’s art landscape has witnessed significant growth over the years. How have you seen the art community in Dubai evolve?

I think human beings naturally want to express and these young Emiratis saw their leadership announcing a project like Saadiyat Island; they saw

galleries, auction houses, art fairs, non-profits, foundations and institutions set up, and they thought, ‘this is a legitimate career’ – which it is – and they also have the support of the private sector. I think that the growth is in line with the positioning of each of the emirates. Dubai is the marketplace – more people are collecting art, attending gallery exhibitions and taking a deeper interest in the art scene. This is nationwide.

But again, this is another area where I think it needs more. We need more of everything.

What role do universities play?

Zayed University has produced artists like Afra Al Dhaheri, and I think that they’re stepping up their game. There’s also the American University in Sharjah, where the late Tarek Al-Ghoussein taught and was working on his practice at the same time.

So, the students’ professors were also artists and photographers. I think that we have some way to go when it comes to academic institutions, but I am so proud and delighted of where we are and what we have achieved in such a short period of time.

And what role do artists take in shaping this transformation?

I firmly believe that when artists receive support, empowerment, and funding, it results in positive outcomes for all of us. Personally, when I seek a deeper understanding of something, I turn to art.

This conviction has driven me to author books, with a focus on supporting local artists. I recall when during the then-called Art Paris Abu Dhabi Art Fair I had a conversation with Nada Shabout, questioning why one of the opening exhibitions for Mathaf in Doha had been titled Sajjil. She gazed at me intensely and responded, “Sajjil ana Arabi” (Record, I am an Arab).

This moment left a profound impact on me, emphasising the importance of recording, remembering, and retelling. It became a metaphor I live by - to record our stories so they are known, remembered, and passed down. I have immense respect for the written word and a deep need to write. It’s not a cliché: the pen is mightier than the sword. Recording is essential for us, and writing is the way we remember, value, tell stories, and celebrate.

It’s how we convey our narratives to others.

As someone who has contributed to the cultural and artistic discourse in the UAE, what changes or developments do you anticipate in the coming years for the country’s art community?

I am so optimistic because the only way is up. Look at

WORKING IN VISUAL ART CONTINUES TO TELL ME A LOT OF THINGS I DIDN’T KNOW ABOUT MY HERITAGE AND MY HISTORY. where we are and what we have achieved in 52 years.

We are moving full steam ahead, but I feel we have so much work to do. I’m looking forward to more documentation, both films and books, which is essential. I’d also like to see some more art criticism.

How do you envision the role of art and artists in fostering unity and a shared cultural identity in the UAE as it continues to develop as a cultural hub?

I think that we already practise this by virtue of seeing art from different places, different people, different expressions, and we start to understand one another. Art really rewires the way you think and your impressions. Somehow in this multicultural atmosphere that we live in, we developed our own culture. We understand one another. When you develop tolerance, you develop appreciation and respect for the other.

XVA Gallery . Mona Hauser EMBARKING ON A CREATIVE ODYSSEY IN 1993, MONA HAUSER, FOUNDER OF XVA GALLERY, HAS PLAYED AN INTEGRAL ROLE IN SHAPING THE UAE’S ART LANDSCAPE, FOSTERING LOCAL TALENT WHILE SUPPORTING THE COUNTRY’S CULTURAL METAMORPHOSIS, FROM THE HEART OF DUBAI’S HISTORIC AL FAHIDI DISTRICT. district, Bastakiya, now known as Al Fahidi. It was there that I found inspiration to open my gallery within the captivating old windtower houses featuring central courtyards. However, life had other plans, and we welcomed our second daughter, causing me to put my gallery dreams on hold until our children left for boarding school in 2003.

Mona Hauser, Founder of XVA Gallery. Courtesy of XVA Gallery.

Can you share your journey into bringing art to the UAE? How did it start, what inspired you to do so and what were the challenges?

In 1993, I arrived in Dubai alongside my husband, Dr. Michael L. Hauser, who had taken on the role of a veterinarian for H.H. Sheikh Mohamed’s racehorses.

He was to establish the Dubai Equine Hospital and Godolphin Racing Stable, and it was an exhilarating time for both of us. Prior to embarking on this adventure, my original plan had been to open an art gallery in the Miami area, but circumstances led me to envision my gallery in our new home, Dubai. Upon our arrival in this vibrant city, I asked to see its oldest

62

Which artists were the primary focus of your efforts?

Did your choice change over time?

My primary aspiration was to create a gallery showcasing the artistic creations made in Dubai, delving into the city’s artistic underground. While Majlis Gallery and Green Art Gallery were already established, I aimed to collaborate with local artists at XVA Gallery. Over the years, as more artists arrived from various countries, I broadened the scope of art on display. In the early days, Dubai lacked university art classes, and students had to enrol in design courses. Art was gradually finding acceptance, and I took great pleasure in these early exhibitions featuring young artists with innovative practices. It has been immensely gratifying for me to encourage these artists, witnessing their unwavering passion and exceptional talent.

Could you outline the key elements of your gallery programme and how it evolved? In what ways has this endeavour played a role in nurturing the art scene in the UAE? From 1993 to 2023, the UAE’s art scene has experienced remarkable growth. Hosting art history classes at XVA has been a source of fascination and revelation, and I’m excited to continue this journey in November with Suheyla Takesh, curator of the Barjeel Foundation in Sharjah. This experience has opened my eyes to the early global influences that have enriched Middle Eastern art, a tradition that continues to evolve in all directions. Nonetheless, I do harbour concerns about the insufficient documentation of recent UAE Modern art history, perhaps attributed to my age and my devotion to preserving and maintaining XVA, housed in historical buildings. I am aware that the history of Al Fahidi’s houses and the families that once resided there is slowly fading with time, underlining the urgent need to collect these old stories.

Exhibition opening at XVA Gallery. Courtesy of XVA Gallery.

Time Out Feature, October 2008. Courtesy of XVA Gallery.

Can you provide an overview of the current state of the art scene in the UAE? What are your expectations regarding its evolution over the next two decades?

The past two decades have been a privilege to witness, and I have great hope that the next two decades will build upon the foundation we’ve laid. My aspiration is to see the establishment of a Dubai Museum of Art, which would fulfil our cultural responsibility and duty to introduce visitors to the remarkable artistic creations, art collections and Middle Eastern curated exhibitions.

The Third Line . Sunny Rahbar

Sunny Rahbar, Founder of The Third Line.

Photo by Kristina Sergeevay.

THROUGH THE THIRD LINE GALLERY, SINCE 2005 SUNNY RAHBAR HAS OFFERED A PLATFORM FOR MENA REGION ARTISTS WHILE CATALYSING CULTURAL DIALOGUE WITHIN THE GLOBAL ART DISCOURSE.

64

Can you share your journey into bringing art to the UAE? How did it start, what inspired you to do so and what were the challenges?

I grew up in Dubai, and Dubai is my home. I had an interest in the arts from a very young age, and after I went to London and then New York for my further studies, which were also in the arts, I came back in 2001 with a vision to provide a platform for artists in the MENA region. I started by organising independent exhibitions in different venues around Dubai, and in 2005 I met my partners, Claudia Cellini and Omar Ghobash, and we decided to open a permanent gallery space, which is how The Third Line came to be. I was inspired after the events of 9/11 to show artists from this part of the world that I felt had to be supported as their voices were very important and they didn’t have a platform at that time. It was challenging at first as there were no contemporary art galleries doing what we were doing, so there was a lot to do and to build. However, this was also a great learning experience for us.

Which artists were the primary focus of your efforts? Did your choice change over time?

The primary focus of the gallery was emerging artists from the MENA region, both those living in the region and also in the diaspora. This felt very urgent at the time as there was very little representation of these artists in the West, and therefore we were filling this gap in the conversation and creating a possibility for a dialogue to exist. Our choice hasn’t really changed; the gallery’s main focus is still artists from the MENA region and its diaspora, however we have expanded this to include other parts of Africa and Asia.

Could you outline the key elements of your gallery programme and how it evolved?

Our programme has grown over time. Aside from our regular gallery exhibition programme and supporting our artists, we work on publications for our artists in both English and Arabic. We also host non-profit events including artists’ talks, film screenings and lecture performances. We have also opened the Third Line Shop. Launched in 2018, The Third Line gallery’s in-house shop focuses on local and regional makers, stocking exclusive limitededition prints, artisanal crafts, artists’ multiples, books, design and more.

In what ways has this endeavour played a role in nurturing the art scene in the UAE? When we first opened in 2005 there was very little Contemporary art programming happening in Dubai.

There were the Sharjah museums, which at the time were hosting the majority of the art exhibitions and programming in the UAE. There were no institutions in Dubai then. So, we were a part of the beginning of building the art scene in Dubai and that has now flourished and continues to grow.

Can you provide an overview of the current state of the art scene in the UAE? The art scene in the UAE is on a rapid growth path, with new galleries, exhibitions and cultural events opening everywhere. Artists are also gaining global recognition, thanks to strong government support and institutions like the Sharjah Art Foundation and Jameel Arts Centre, the Cultural Foundation in Abu Dhabi and the soon to be opened Guggenheim Abu Dhabi. There is also Art Dubai, which has become the leading art fair in the region, and Art Abu Dhabi. I feel that the art scene in the UAE will only continue to grow stronger and become one of the most important centres in the MENA region for arts and culture.

I WAS INSPIRED AFTER THE EVENTS OF 9/11 TO SHOW ARTISTS FROM THIS PART OF THE WORLD THAT I FELT HAD TO BE SUPPORTED AS THEIR VOICES WERE VERY IMPORTANT AND THEY DIDN’T HAVE A PLATFORM AT THAT TIME. Ala Ebtekar, Amir H Fallah, Under the Indigo Dome, 2007, installation view.

Courtesy of the Artist and The Third Line, Dubai.

The Third Line . Sunny Rahbar What are your expectations regarding the evolution of the art scene in the UAE over the next two decades?

I only hope that the scene continues on this path and that there is more institutional and governmental support for arts and culture, so that the next generations can benefit from what has been achieved and continue to build upon it.

Sunny Rahbar’s notes on shows Havy Kahmaran Gut Feelings: Part II, The Third Line Dubai, 2023 Gut Feelings: Part II was Hayv’s fifth solo exhibition with us since our last show with her in 2016. This show was also held in our newly renovated space in Alserkal Avenue.

Above – Art Dubai, 2009.

Courtesy of the Artist and The Third Line, Dubai.

Below – Havy Kahraman, Gut Feelings Part II, 2023, installation view. Courtesy of the Artist and The Third Line, Dubai.

Youssef Nabil I Saved My Belly Dancer, The Third Line, Dubai, 2016 I Saved My Belly Dancer was an incredibly special exhibition to work on as it was the premier event of the film in the Middle East.

Monir Shahroudy Farmanfarmaian Recollection, The Third Line, Dubai, 2007 This was our first show with Monir Shahroudy Farmanfarmaian at our very first space in UAE behind Alserkal Avenue opposite Courtyard Theatre.

Opposite page – Above – Joana Hadjithomas and Khalil Joreige, Messages With(out) a Code, 2022, installation view. Courtesy of the Artist and The Third Line, Dubai.

Left – Monir Shahroudy Farmanfarmaian, Recollection, 2007, installation view. Courtesy of the Artist and The Third Line, Dubai.

66

Right – Youssef Nabil, I Saved My Belly Dancer, 2016, installation view.

Courtesy of the Artist and The Third Line, Dubai.

Christie’s Middle East and North Africa .

Dr. Ridha Moumni DR. RIDHA MOUMNI, AN ART AND ARCHAEOLOGY HISTORIAN, SERVES AS THE DEPUTY CHAIRMAN OF THE MIDDLE EAST AND NORTH AFRICA DIVISION AT CHRISTIE’S AUCTION HOUSE. RECOGNISED FOR HIS SCHOLARLY CONTRIBUTIONS, HE HAS DELIVERED LECTURES GLOBALLY AND RECEIVED ACCOLADES, INCLUDING FELLOWSHIPS AT THE VILLA MEDICI AND HARVARD UNIVERSITY AS AN AGA KHAN FELLOW. SPECIALISING IN THE CULTURAL HISTORY OF THE MAGHREB, DR. MOUMNI HAS CURATED SIGNIFICANT EXHIBITIONS, SPANNING PHOTOGRAPHY, 19TH-CENTURY ART AND MODERN ARAB ART, WHILE PLAYING A KEY ROLE IN ENHANCING CHRISTIE’S PRESENCE AND STRATEGY IN THE MIDDLE EAST AND NORTH AFRICA.

68

Dr. Ridha Moumni, Deputy Chairman, Christie’s Middle East and North Africa.

Christie’s made a significant move by establishing a presence in the UAE. What were the driving factors behind this decision, and how did the initial experience align with the expectations of the auction house?

In April 2005, we established a permanent presence in the UAE as the first international auction house in the region. Our decision was motivated by multiple factors, not least the growing demand for Arab art, our existing and growing client base across the GCC and our involvement in Gulf-related projects.

Opening a permanent office enabled Christie’s to cultivate and enhance our relationships with regional clients and collectors while also expanding our educational initiatives.

Christie’s inaugural sale of Modern & Contemporary Art took place in May 2006 and achieved a number of world records. This success confirmed our vision of establishing a strong foothold in the region which has continued to grow including the addition of experts and specialists based in Dubai, a testament to our dedication to meeting the evolving needs of the thriving Middle Eastern art market.

Beyond our sales, we aim to expose collectors and art enthusiasts to the rich creativity of the Arab world and the GCC globally. A testament to our reputation in the UAE was the collaboration with the UAE Ministry of Culture and Youth and the Barjeel Art Foundation in Sharjah in 2023. Together, we curated

Christie’s cover, May 2006, Paul Guiragossian, Spring Festival, 1987, oil on canvas, 120 x 100 cm. Private collection, UAE. © Courtesy of the Paul Guiragossian Foundation.

the Modern & Contemporary Art of the Arab World Exhibition at Christie’s London, which took place throughout July and August. This exhibition, the largest of its kind in London featuring over 100 works, celebrated Arab art holistically and highlighted Emirati art, garnering significant interest from international visitors to the capital.

How does Christie’s perceive the current state and future potential of the artistic scene in the UAE, and what role does Christie’s envision playing in this context, whether locally or globally?

The current artistic scene in the UAE and the broader Middle East is a dynamic and continually evolving environment with great potential. In 2022 and 2023, the successful sales of Modern and Contemporary Middle Eastern art showcased both high-profile and emerging Emirati artists, emphasising the importance of their art histories and talents. We are witnessing a shift where clients, once focused on 20th and 21st-century works, now also embrace Arab art, highlighting growing global appreciation for the creativity of the diaspora.

Locally, the UAE’s notable investment in arts, culture and creative industries has set the stage for profound development, and we believe this journey is only in its initial stages. Christie’s takes immense pride in being a trusted partner, collaborating with newly established museums, and actively engaging in exhibitions, discussions and educational initiatives.

Our Dubai office has played a key role, hosting online auctions, private exhibitions and talks, and showcasing highlights from global sales which encompass both fine art and luxury categories.

Christie’s is an active partner in the local arts and culture ecosystem in the region. Moving into 2024, our commitment remains steadfast to further enrich the global artistic dialogue around Arab art through several promising projects under discussion.

How does Christie’s perceive the current state and future potential of the artistic scene in the UAE, and what role does Christie’s envision playing in this context, whether locally or globally?

The current artistic scene in the UAE and the broader Middle East is a dynamic and continually evolving environment with great potential. In 2022

WE ARE WITNESSING A SHIFT WHERE CLIENTS, ONCE FOCUSED ON 20TH AND 21ST-CENTURY WORKS, NOW ALSO EMBRACE ARAB ART, HIGHLIGHTING GROWING GLOBAL APPRECIATION FOR THE CREATIVITY OF THE DIASPORA. and 2023, the successful sales of Modern and Contemporary Middle Eastern art showcased both high-profile and emerging Emirati artists, emphasising the importance of their art histories and talents. We are witnessing a shift where clients, once focused on 20th and 21st-century works, now also embrace Arab art, highlighting growing global appreciation for the creativity of the diaspora.

Locally, the UAE’s notable investment in arts, culture and creative industries has set the stage for

Christie’s Middle East and North Africa .

Dr. Ridha Moumni profound development, and we believe this journey is only in its initial stages. Christie’s takes immense pride in being a trusted partner, collaborating with newly established museums, and actively engaging in exhibitions, discussions and educational initiatives. Our Dubai office has played a key role, hosting online auctions, private exhibitions and talks, and showcasing highlights from global sales which encompass both fine art and luxury categories.

Christie’s is an active partner in the local arts and culture ecosystem in the region. Moving into 2024, our commitment remains steadfast to further enrich the global artistic dialogue around Arab art through several promising projects under discussion.

From your perspective, how has the demand for specific artists or art movements changed in the UAE, and how does Christie’s respond to these shifts?

The current art market is witnessing a significant rise in demand for contemporary artists f rom the Arabian Gulf. Artists f rom here are experiencing unprecedented global visibility, participating in international fairs and exhibiting their work in major institutions. An important element symbolising this change is the permanent participation of both the UAE and Saudi Arabia at the Venice Biennale, reshaping the perception of the region and its artistic contributions among international collectors and curators. At Christie’s, we have actively responded to these evolving demands and market interests, which can be seen through our auction strategies, partnerships, Private Sale exhibitions and participating in further educational initiatives in the region.

Can you elaborate on the role of technology and online platforms in the art market, especially considering the recent global shift towards digital experiences? How has Christie’s adapted to this trend?

During the pandemic Christie’s adapted by pivoting its programmes to focus on online activities and sales. The business undertook an accelerated approach to online sales (which were already a core part of the business), as well as adopting the very latest technologies available to bring sales and exhibitions to life. Currently, we hold online sales of Modern & Contemporary Art

70

f rom our Dubai office, alongside online watch auctions. We also introduced Christie’s 3.0, a cutting-edge platform tailored for digital users, providing an end-to-end experience.

As someone with experience in the art auction sector, including witnessing Christie’s presence in the UAE and its subsequent recalibration, how do you perceive the evolving dynamics of the art market in the region? From your perspective, what insights or lessons can be drawn from Christie’s experience, and how might this knowledge shape strategies for future engagement and growth in the UAE’s vibrant cultural landscape?

Art remains a powerful means of expression.

Particularly amidst cultural shifts in the Gulf, there is a

Opposite page – Christie’s cover, April 2013. Safwan Dahoul, Untitled, 1993, Oil on canvas, 80 x 57 cm. Private collection.

Courtesy of Safwan Dahoul.

growing interest in both historic, Modern and Contemporary artists who embody the national cultural identity. Today, there is a growing acknowledgment regarding the significance of recognising Modern artists who have contributed to the cultural national identity through their process of artistic decolonisation. This shift has created a more localised perspective and artistic vocabulary, which was not as prevalent before. Currently, we are witnessing the impact of this evolving perception of national artistic heritage on collectors’ approaches and their engagement with artworks in auction houses. In addition, collectors in the region are increasingly drawn to the global evolution of collecting practices, with a particular focus on female artists who, historically, have not received as much recognition as their male counterparts. Female artists like Etel Adnan, Saloua Raouda Choucair, Inji Efflatoun, Safia Farhat, Helen Khal and others are gaining attention and visibility as they are being more extensively researched by important collectors and collections.

Can you share some key milestones or moments that stand out during your tenure?

I am particularly proud of the recent Modern & Contemporary Art of the Arab World held in JulyAugust 2023 at Christie’s London. Featuring Kawkaba: Highlights from the Barjeel Art Foundation and Emirati Art Reimagined: Hassan Sharif and the Contemporary Voices, this successful collaboration was made possible through partnerships with the Barjeel Art Foundation, led by my dear friend Sheikh Sultan Al Qassemi, and the UAE Ministry of Culture and Youth. This exhibition presented an outstanding collection of 148 exceptional Arab works, celebrating both the historical and contemporary creativity of the region. Alongside the exhibition, we hosted insightful panel discussions and educational programmes.

Another standout moment was organising the panel discussion Say Her Name: Iranian Women Artists and Revolution at Christie’s New York last spring. I moderated the talk with the curator and scholar Layla S. Diba. This discussion showcased four prominent Iranian contemporary artists: Shirin Neshat, Soheila Sokhanvari, Shahrzad Changalvaee and Hadi Falapishi.

Being part of this event and witnessing these incredible artists sharing their stories and artistic voices, especially during such a sensitive time for their

community, was deeply moving, and offered us the opportunity to express our solidarity and support for the Iranian people and their artistic community.

A more recent milestone for Christie’s was the Marhala: Highlights from the Dalloul Collection, a single-owner collection sale, held on November 9.

This auction featured 48 remarkable works from the Dalloul Art Collection in Beirut, Lebanon, marking the first time that works from this exceptional private collection of Arab art were brought to the market. It was a great honour to present Mahmoud Said’s masterpiece, Fille à l’imprimé (Girl in a printed dress).

The sale also achieved records for artists Kamal Boullata, Marwan, and Faeq Hassan. In addition, Christie’s hosted two panel discussions alongside the sale. The first discussion featured Dr. Basel Dalloul and myself, while the second celebrated the release of Abdel Hadi El-Gazzar: The Complete Works, a catalogue raisonné co-authored by our colleague, Valerie Didier. Experiencing the success of the sale within such a complex cultural context filled me with immense pride.

TODAY, THERE IS A GROWING ACKNOWLEDGMENT REGARDING THE SIGNIFICANCE OF RECOGNISING MODERN ARTISTS WHO HAVE CONTRIBUTED TO THE CULTURAL NATIONAL IDENTITY THROUGH THEIR PROCESS OF ARTISTIC DECOLONISATION.

Mohammed Afkhami MOHAMMED AFKHAMI IS FOUNDER AND MANAGING PARTNER OF MAGENTA CAPITAL SERVICES, WHICH ACTS AS AN ADVISOR IN CAPITAL PLACEMENT TO PRIVATE EQUITY, REAL ESTATE AND INFRASTRUCTURE FIRMS ON CAPITAL PLACEMENT IN THE GULF REGION, BRUNEI AND MALAYSIA. HE IS ALSO FOUNDER AND MANAGING PARTNER OF MA PARTNERS DMCC AND VICE CHAIRMAN OF LONDON STRATEGIC LAND. AS A PROMINENT FIGURE IN THE ART WORLD, HE COCHAIRS THE GUGGENHEIM MUSEUM MIDDLE EAST AND NORTH AFRICAN ART ACQUISITION COMMITTEE, SERVES ON THE ADVISORY BOARD OF ART DUBAI, AND IS A FOUNDER MEMBER

72

Mohammed Afkhami.

OF THE BRITISH MUSEUM MENA ACQUISITION COMMITTEE. ADDITIONALLY, HE HAS SHOWCASED HIS IRANIAN ART COLLECTION IN EXHIBITIONS INTERNATIONALLY AND PUBLISHED BOOKS ON IRANIAN ART. AFKHAMI IS THE FOUNDER AND CHAIRMAN OF THE MOHAMMED AFKHAMI FOUNDATION, WHICH SUPPORTS SCHOLARSHIPS FOR MIDDLE EASTERN STUDENTS AND FINANCES PUBLICATIONS AND ART SHOWS RELATED TO THE MIDDLE EAST ART SCENE.

You have a diverse background that spans both finance and art. Could you tell us about the transition from a career in finance to becoming actively involved in the art world? What inspired this shift?

To give some background, my career in finance has spanned over 25 years and remains my active profession to this day and really has endowed me with the possibility of becoming more active in the arts by providing the means to collect art, fund artist related programmes, contribute to newly created museum acquisition committees, publish art books, sponsor museum shows and digitise art archives.

Personally, this transition has been a life-long one, having come from a family that not only collected art but which was entrenched in the academic universe surrounding the family’s collection that covered primarily Islamic art and antiquities and was built up by my late grandfather, Senator Mohammad Ali Massoudi, and my mother, Maryam Massoudi.

Growing up, I have only fond memories of our house being filled with art scholars and works from this period. My own journey started when I veered towards Modern and Contemporary Middle East art on a trip to Tehran in 2005, where I was introduced to the beauty of Iranian Contemporary art from this period. I bought my first two works from Mah Gallery and over the next few years I combined efforts with my mother and started amassing a collection with the intent to create a leading archive of Iranian art spanning from 1950 to the present day. We have strived for this goal ever since by being supportive of artists and various art related initiatives that help elevate the profile of these very talented artists.

You have held senior positions in finance, including with Standard Bank, O’Connor & Associates, and UBS Warburg. How has your financial expertise influenced your approach to collecting and supporting art?

I would say the biggest influence of finance has been to generate the means to collect and support artist initiatives. In addition, having a career in finance has instilled a discipline to make a sustainable plan when undertaking a five- or 10-year commitment to support various artist projects as well as continuing to collect. For example, there will no doubt be

MY OWN JOURNEY STARTED WHEN I VEERED TOWARDS MODERN AND CONTEMPORARY MIDDLE EAST ART ON A TRIP TO TEHRAN IN 2005, WHERE I WAS INTRODUCED TO THE BEAUTY OF IRANIAN CONTEMPORARY ART FROM THIS PERIOD. opportunities to support curatorial shows, publish new books and potentially contribute towards an acquisition of an artist by a museum. These events require sufficient financial allocation, such that when they arise in the future, one can provision to be supportive. I think a career in finance helps you have discipline and the foresight to plan.

As the co-chairman of the Guggenheim Middle East & North Africa (MENA) Acquisition Committee and a founder member of the British Museum MENA Acquisition Committee, you play a key role in shaping the acquisitions of these institutions. What drives your interest in building their collections?

These global institutions have succeeded in the test of time, while individual collectors largely have not.

It is imperative to be supportive as these museums rely heavily on private patronage and, given my goal is to elevate art from the Middle East, I can think of no better platform than to support these institutions as they create permanent collections that will no doubt outlast any individual. In addition, the footfall they achieve in terms of visitor numbers is in the millions, so this achieves tremendous exposure, which I believe is a critical part of achieving longterm recognition, relevance and sustainability for Middle Eastern artists, especially those in Iran who have limited access to funding.

Mohammed Afkhami

You are a patron of the Agha Khan Museum, a member of the David Rockefeller Council at the MOMA in New York, and an advisory board member of Art Dubai. How do these roles contribute to the cultural exchange and enrichment between the Middle East and the rest of the world?

We live in a world that is increasingly polarised and history has taught us that in such periods, unexpected and adverse situations may arise. Art has served in the past to create cultural bridges and better common understanding, which allows for the meeting of minds. Personally, I am proud of my Iranian roots and feel that there is a disconnect between global perceptions of Iran and what the country has to offer humanity through its rich history and cultural heritage. I believe art can foster a softening of hard fixed views and the Agha Khan Museum, MOMA New York and Art Dubai all serve as excellent global platforms to showcase Iran’s deep-rooted contribution to global culture and civilisation.

The Mohammed Afkhami Foundation, of which you are chairman, supports various cultural and educational initiatives. Can you share some of the foundation’s key objectives and achievements in the realm of art and culture?

The primary purpose of the foundation is to promote Modern and Contemporary art from the Middle East with a focus on Iran. We have achieved this by pursuing a multi focused effort through a few initiatives including backing Rebel, Jester, Mystic, Poet: Contemporary Persians, a show that displayed Contemporary artists from Iran and its diaspora at the Agha Khan Museum (2017), the Houston Museum of Fine Art (2017) and the Asia Society in New York (2021-22). In addition, we have published a major retrospective of the collection with Phaidon Press called Honar, which was released in 2017 as well as supported numerous other publications.

On the digital front, in spring 2023, we launched the iii (www.iii.art) , which is a free virtual museum to showcase Iranian art from the collection and create a cultural bridge to the rest of the world.

74

Phase one revealed about 15% of the collection and will be evergreen and launch more of the collection as well as future collaborations with other individual collectors and museums. In addition, the Mohammed Afkhami Foundation website will go live in early 2024, which will allow students and the public to have free access to the collection as an academic archive. As the world continues to go online, we feel it is important to maintain an active presence in this arena.

With your background in finance and your involvement in art, how do you see the intersection of these two worlds contributing to the UAE’s evolving art and cultural landscape?

The UAE has been my home since 2001, and I am deeply grateful to the leadership of the country who have created such a tolerant hub for people of all ethnicities and religions. In addition, they have built an unbeatable inf rastructure that has allowed both the f inance sector and art scene amongst others to thrive. This has been achieved through a brilliant vision that combined the right balance of state support while encouraging individual capitalism. Today, the UAE is unquestionably the f inance hub of the Gulf region by continuing to attract the leading f inancial institutions and key f inance executives to the country. In tandem, the government has invested heavily to create the Abu Dhabi Louvre, and will, over the course of this decade, open the Zayed Museum and the Guggenheim Abu Dhabi, which will cement the UAE as a leading global destination for arts and culture. Combine this with capital coming into the country and individual art patronage will explode, making the UAE a hotbed for the arts. In the private sector you have many interesting initiatives, but two distinct success stories are the Jameel Arts Centre, funded by the Jameel Family with its exceptional space and superb programming, and the Alserkal Avenue, where an organic local cultural scene spanning art galleries, f ilm, fashion and gastronomy has emerged under the helm of art philanthropist AbdulMonem Al Serkal. I have no doubt that these trailblazers will set the example for other inspiring projects over the coming years.

You obtained your BA in economics with a concentration in finance f rom the Wharton School of the University of Pennsylvania. How has your education in finance shaped your perspective on art and cultural investments?

On a high level, I don’t think my background in finance has shaped my perspective on art and cultural investment other than to realise its importance to any growing society and making a city or country more attractive. The UAE has been exemplary as more and more cultural investment takes place at both the state and private sector level, making the country more inviting and culturally rich to those contemplating making the UAE their home, which clearly has a quantifiable dividend to the development and long-term success of the country.

You currently sit on the international advisory board of the Huntsman Programme. How do you view the importance of international collaboration and education in the fields of art, finance and culture?

I think it is very important to promote this intersection of finance, art and culture, and the Huntsman Board allows me to influence the next generation of leaders who will have to take the baton of patronage from my generation to the next.

History has shown that the most successful societies indoctrinated the support of the arts through financial philanthropy and the future will be no different in terms of fostering the same mindset.

Art often transcends boundaries and has the power to provoke thought and inspire change.

Can you share instances where art, through your involvement, has sparked meaningful dialogues or contributed to cultural understanding and unity?

There have been numerous personal instances where I have seen how art shapes opinion. This has been in formal settings where there have been seminars to discuss culture to more intimate settings, where I have made presentations to students at universities and where the questions posed have shown newfound interest in the Middle East away f rom the politics of the region.

To give one personal illustration that was

particularly poignant to me, when we displayed Rebel, Jester, Mystic, Poet: Contemporary Persians at the Asia Society in New York in April 2022, I watched a school group of 10-year-olds interact with the art works. I heard one boy, who was clearly f rom New York, turn around to his teacher and say that he wanted to visit Iran as he thought the works were “so cool”. I was touched by his reaction, and it made me feel that this is what makes this cultural effort all worthwhile.

Looking to the future, what are your aspirations and goals for your continued involvement in the art world and its connection to finance and cultural institutions in the UAE and beyond?

My aspiration is to indefinitely serve as an informal cultural ambassador for the regional arts scene, continue to be a voice for Iranian artists striving to showcase their artworks globally and financially support where possible sustainable initiatives that continue to nurture and promote Middle Eastern art. Our region is very dear to me, and I feel that the arts is a unifying force that builds bridges and so I will do all that I can to help support this important area.

THERE HAVE BEEN NUMEROUS PERSONAL INSTANCES WHERE I HAVE SEEN HOW ART SHAPES OPINION.

Gallery Isabelle

Maraya Art Centre

A trailblazer in shaping the UAE’s early commercial art scene, Isabelle Van Den Eynde established her first gallery, B21, in 2006 within Dubai’s Al Quoz industrial district, during a pivotal era when contemporary art galleries were emerging in the local cultural landscape.

She showcased avant-garde artists such as Rokni and Ramin Haerizadeh, Hesam Rahmanian, Mohammed Kazem, and the late Hassan Sharif, known as a pioneer of contemporary art in the UAE. In 2010, she founded her eponymous space in Alserkal Avenue, expanding the roster to include artists from the Middle East, North Africa and beyond. The gallery became synonymous with challenging exhibition conventions, including a six-month takeover by Rokni and Ramin Haerizadeh and Hesam Rahmanian (We Are Open for Installation, 2019). Beyond physical spaces, the gallery’s influence extends to publishing ventures, online activities and international projects in collaboration with curators and collectors.

Established in 2006, Maraya Art Centre stands as a non-profit creative institution situated in Sharjah, dedicated to fostering artistic innovation. Through a variety of initiatives and public outreach endeavours, such as workshops, lectures, talks and other art-related events, Maraya Art Centre offers dynamic programmes that engage the community.

76

Aiming to provide comprehensive support for emerging artists and designers, Maraya Art Centre facilitates continual growth opportunities through research, exhibition and project development. The diverse range of initiatives under its umbrella includes The Maraya Art Gallery, 1971 Design Space, Maraya Art Park, Maraya Residencies, Jedariya and Maraya Project Space.

In addition to its physical spaces and initiatives, the Centre hosts a growing resource library and video archive, accessible to the public. This commitment to accessibility and diverse avenues of artistic development underscores Maraya Art Centre’s dedication to nurturing creativity and supporting the artistic community in Sharjah.

Maraya Art Centre, Sharjah, UAE.

Art Dubai . Benedetta Ghione ROLES AT SOTHEBY’S LONDON, LUXEMBOURG & DAYAN GALLERY, AND BONHAMS AUCTION HOUSE, SHE BRINGS A WEALTH OF EXPERTISE TO HER LEADERSHIP. GHIONE LEADS ART DUBAI’S INSTITUTIONAL,

Benedetta Ghione, Executive Director, Art Dubai.

BENEDETTA GHIONE, THE EXECUTIVE DIRECTOR AT ART DUBAI SINCE 2015, OVERSEES THE STRATEGIC DIRECTION AND DELIVERY OF THE FAIR, EMPHASISING YEARROUND PROGRAMMING AND PARTNERSHIPS. WITH NEARLY TWO DECADES OF EXPERIENCE IN INTERNATIONAL ART BUSINESSES, INCLUDING

78

GOVERNMENTAL AND COMMERCIAL PARTNERSHIPS, AS WELL AS PROFESSIONAL DEVELOPMENT AND EDUCATION INITIATIVES, CONTRIBUTING SIGNIFICANTLY TO THE FAIR’S SUCCESS. How has Art Dubai, under your leadership, evolved its vision of curation to reflect a global south perspective and differentiate itself in the international art fair landscape?

Art Dubai is the meeting point and platform for the global art community to discover art from the Global South. I strongly believe we are more than just an art fair. We have assumed the responsibility of an institution by consistently being at the forefront of innovation and thought leadership in culture.

Unlike other fairs, Art Dubai has a highly curated approach to exhibiting art across Contemporary, Digital, Modern and Bawwaba sections, each meticulously developed in collaboration with leading critics, scholars and visionaries who not only shape conversations about history and art originating from the region but also

drive them forward. The Global Art Forum, the annual transdisciplinary summit which takes place at the fair, has also grown into a significant platform aimed at nurturing original thinking and questioning around contemporary culture.

The fair is also dedicated to creating educational programmes and opportunities for the next generation of artists, audiences and leaders. We work with corporate partners who share our commitment and long-term vision such as A.R.M. Holding, and together, we deliver the largest children’s arts education programme in the UAE, which started at the fair and since expanded to engage with more than 15,000 children in 100 schools across the UAE. Additionally, we’ve successfully run Campus Art Dubai, the fair’s flagship professional development programme, for over a decade, providing traineeship and professional development opportunities for fresh graduates looking to work in the art market.

Our commitment to scholarship, combined with the art market’s gradual yet consistent growth, has led to a holistic and robust expansion of the region’s art scene.

In terms of clientele, could you provide insights into any notable shifts or changes compared to the previous year? How has Art Dubai adapted to the evolving interests of its audience?

We are witnessing the expansion and maturation of the region’s art scene. New institutions are emerging to contextualise modern and contemporary art in new and exciting ways. Collecting art, whether for pleasure or as an investment, has become popular in mainstream society. Notably, many wealthy individuals, including ultra-high-net-worth individuals, have moved here and now call Dubai their home.

Artists are actively developing their markets, both locally and internationally. Simultaneously, there has been a steady rise in the quality and diversity of galleries, along with artists who have established their bases in Dubai. We are confident that the market here is experiencing resilient and sustained growth.

Building on the growth of the UAE, how has the fair’s focus shifted over the years, and what key aspects define the current direction of Art Dubai in the context of the ever-changing global art landscape?

At the Art Dubai Group, our mission has been to build thriving ecosystems with a global impact through initiatives that encompass world-class events, the commissioning of creative talent, innovative professional development programmes, and the provision of industry expertise to private and government institutions.

Over the past two decades, we have seen Art Dubai’s growth mirroring Dubai’s remarkable development.

The fair has evolved to showcase not only artists, galleries, and partners from the Middle East but also from South and South-East Asia, Africa, Latin America and Europe on the global stage, reflecting the diverse cultures and communities that make up our home city. The recent post-pandemic boom has solidified Dubai’s status as the centre of the Global South, and we take pride in championing the voices of these regions at the fair.

Beyond the fair, the group now encompasses over 30 initiatives, including Dubai Design Week, the Middle East’s design platform; Downtown Design, the region’s leading design fair with a focus on high quality and original design; Prototypes for Humanity, the world’s largest and most diverse assembly of academics addressing social and environmental challenges, among others. Cumulatively, all these initiatives have played a significant role in building capacity, attracting talent and opportunities in the creative industries.

From the perspective of the UAE’s growth, who are the new clients acquiring art on an international scale, and how has Art Dubai played a role in attracting and engaging this emerging clientele?

Over the years, we have built strong relationships with collectors, patrons and curators from around the world. We design special programmes to not only invite them to the fair but also educate them about Dubai’s fast developing art scene through exhibitions in galleries, museums and alternative spaces taking place across the city, particularly during Art Dubai month.

In addition, we also focus on supporting the next generation of collectors through a range of initiatives.

Whether through the Dubai Collection, the first art collection for the city of Dubai, to supporting corporate patronage for the arts at the highest level through our partnerships with Julius Baer––which boasts one of the world’s leading corporate collections––or engaging in more local initiatives like Art Salon, a club for established and aspiring collectors who not only meet regularly here in Dubai, but also travel to different cities to seek new experiences and engage with non-Western and alternate scenes.

Furthermore, each year, we host a series of talks covering modern greats and art collecting. I am particularly pleased that as a growing centre, Art Dubai will once again host The Art Business Conference, offering a deep dive into trends into the art market.

Art Dubai . Pablo del Val PABLO DEL VAL, THE ARTISTIC DIRECTOR AT ART DUBAI, BRINGS DECADES OF EXPERIENCE AS A CULTURAL MANAGER, CURATOR AND DIRECTOR OF CONTEMPORARY ART GALLERIES WORLDWIDE. SINCE JOINING ART DUBAI IN 2015, HE OVERSEES THE CURATORIAL VISION OF THE FAIR AND THE INTERNATIONAL COLLECTORS PROGRAMME, CONTRIBUTING SIGNIFICANTLY TO DUBAI’S PROMINENCE IN THE GLOBAL CONTEMPORARY ART SCENE. DEL VAL’S EXTENSIVE CAREER INCLUDES FOUNDING, DIRECTING AND CURATING AT LA CONSERVERA, MANAGING INTERNATIONAL ART FAIRS SUCH AS EXPOARTE GUADALAJARA, AND SERVING AS THE ARTISTIC DIRECTOR AT ZONA MACO FOR FIVE YEARS.

Pablo del Val, Artistic Director, Art Dubai, Image Courtesy Augustine Paredes.

Pablo, as the Artistic Director at Art Dubai since 2015, could you share some key initiatives or strategies you’ve implemented to contribute to the growth and international prominence of the fair?

I have always thought that providing the visitor with a structured fair helps them navigate it in a more comprehensive way. Creating sections where you give visitors a certain focus allows them not to get lost in the immense gallery halls.

For example, at Art Dubai 2019 we introduced Bawwaba, meaning ‘gateway’ in Arabic, which is a section devoted to solo presentations of artists from the Global South. Each year, we invite a curator from one of the regions that are part of the Global South to make the selection and each time, the curator’s sensibility, knowledge and geographical origin shapes the selection in beautiful ways. In 2024, Emiliano Valdes, who is the Chief Curator at the Medellín Museum of Modern Art (MAMM) in Medellín, Colombia since 2015, is curating the section. Titled Sanación, it will be an exciting dialogue between Latin America and South Asia, exploring the concept of healing and fostering hope in navigating these challenging times.

This year, we also decided to turn Art Dubai Modern into a more thematically curated section. Brought together under the scholarly eye of Dr. Christianna Bonin, the focus for this year is a clear example of how we can highlight lesser-known connections and revisit historical readings of modernism. Thirdly, was the addition of a first-of-its-kind section devoted to digital

80

art – Art Dubai Digital. It’s now in its third year and is being curated by Auronda Scalera and Alfredo Cramerotti, who promise to bring curation and conversation around art and advanced technologies.

In some ways, this evolution is a culmination of the work we’ve been doing over the past eight years— promoting, raising and bringing on board a very specific profile of galleries. The ultimate goal has always been to differentiate ourselves from other fairs and to bring together artists and energies not commonly seen in the main Western forums. In other fairs, art from these places makes up 5%, for Art Dubai, it’s over 60%.

This year, we are proud to say that we’re come closest to this goal. We are the window to the Global South. Now, how do we define the Global South? Where is it? This is an exciting question that the presence of proposals from artists in cities spanning Cairo, Tehran, Beirut, New Delhi, and cultural minorities and diasporic communities in centres like New York, Paris, Los Angeles, and London will help to answer.”

Avafstudio, Parada Vertical, 2023, Acrylic on duplex corrugated kraft paper, 203 x 172 x 4 cm. © avafstudio.

In your role at Art Dubai, how have you worked to expand gallery exhibitions and collector programmes? What impact has this had on the fair’s global recognition within the art community?

Art fairs have a much larger social responsibility; we are more than just marketplaces. What is exhibited, seen and acquired shapes different communities of collectors, institutions and artists. The quality of the collections in a city reflects the nature of the art fair held there.

Our VIP team has a distinct approach to caring for our galleries and collectors. Our manageable size enables us to cultivate close relationships, facilitating personal introductions and providing everyone with a unique and special experience. We go beyond renting floor space, we ensure that galleries connect with the right people and vice versa.

Each year, we extend invitations to collectors, curators, and museum directors from around the world. It’s incredibly satisfying for us when we witness young artists showcased at Art Dubai being discovered and subsequently featured in major biennales, solo exhibitions and museum shows. We take pride in being a platform for discoveries and success stories.

Coming from ZONA MACO, known as a significant meeting point in Latin America, how have you applied your experience to enhance Art Dubai’s outreach across various global markets?

Mexico and Latin America have more in common with the Middle East than people might think, from social and cultural structures, sensibilities, as well as migrations and displacements. My most significant lesson has been that a fair’s identity must be unique.

Judging its quality based on the number of well-

Debashish Paul, Me with My Pet, 2022-23, 9 Archival print on 350 gsm Hahnemuhle paper, 20 x 30.5 cm, Varanasi Unsigned Edition 1 of 10 + 1 AP. Courtesy of the artist and Emami Art.

Art Dubai . Pablo del Val

82

This page – Farhad Khalilov, Evening in the Buzovny, 1979-2000, Acrylic on canvas, 100 x 140 cm. Courtesy of Gazelli Art House.

Opposite page – Dia alAzzawi, Figures in Red, 1968. Copyright of the artist.

Courtesy of Meem Gallery.

known Western galleries doesn’t necessarily reflect its excellence. It’s possible to build a high-quality fair without relying on the usual suspects. Why visit Mexico City or Dubai to see the same exhibitors as in London, Paris, Basel, or Los Angeles? Plus, our commitment extends beyond hosting a once-a-year event. Art Dubai has an extensive and dedicated educational non-profit programme, from the Global Art Forum and Campus Art Dubai, to the everexpanding Children’s Programme we have developed in partnership with A.R.M. Holding to working with the government on the Dubai Collection and Public Art Strategy, all aimed at providing a continuous and enriching experience.

During your tenure at ‘La Conservera’ Centre of Contemporary Art in Murcia, Spain, from 2009 to 2012, how did your curation of solo exhibitions shape the Centre’s identity and standing in the contemporary art scene?

La Conservera was a unique experience and place— an old canned food factory converted into a thematic dinosaur park and later transformed into an exhibition production Centre. Every three months, a new cycle of four exhibitions was curated to illustrate

a specific subject. Renowned artists such as Lily van Der Stocker, Elena del Rivero, Xavier Veilhan, Valentin Carron, Eva Rothschild and Diana Al Hadid held impressive exhibitions there.

Reflecting on your directorship at Expoarte Guadalajara from 1994 to 1998, how did this early experience influence your later roles, particularly at ZONA MACO and Art Dubai?

This was the beginning of everything—not only the internationalisation of the Mexican art scene but also the first instance where various initiatives converged simultaneously. Expoarte Guadalajara hosted FITAC (International Forum on Contemporary Art Theory), similar to the Global Art Forum we host at Art Dubai, but in the 90s. I’ll never forget the passionate discussions among participants, including the ‘fight’ between Achile Bonito Oliva and Catherine David, with microphones flying! We also pioneered the first proper collectors’ programme, inviting enthusiasts from all over the world. The generosity of local collectors remains unforgettable, with sophisticated dinners and parties in the most amazing locations. In the short life of Expoarte Guadalajara, we set the stage for many fairs to come.

Art Dubai . Hala Khayat COLLECTOR ENGAGEMENT. WITH A NOTABLE CAREER AT CHRISTIE’S DUBAI SINCE 2007, SPECIALISING IN ARAB, IRANIAN AND TURKISH ART, KHAYAT HAS EXPANDED THE MIDDLE EAST’S ART MARKET GLOBALLY. BEYOND

Hala Khayat, Regional Director, Art Dubai, Image Courtesy Aasiya Jagadeesh.

APPOINTED AS ART DUBAI’S REGIONAL DIRECTOR IN 2020, HALA KHAYAT IS A RENOWNED EXPERT IN ARAB AND MIDDLE EASTERN MODERN AND CONTEMPORARY ART, WHO BRINGS PROFOUND EXPERTISE TO ENHANCE LOCAL AND REGIONAL

84

HER ROLE AS A REGIONAL DIRECTOR, SHE FOUNDED SAFIR IN 2014, AN NGO SUPPORTING YOUNG SYRIAN ARTISTS, SHOWCASING HER COMMITMENT TO FOSTERING ARTISTIC GROWTH AND ADVOCATING FOR SYRIA’S ART COMMUNITY. Hala, your extensive expertise in Middle Eastern Modern and Contemporary art was integral to your role at your previous job at Christie’s Dubai. Can you share your experiences and insights into how the art scene in the UAE has evolved and developed?

I think the best way for me to answer this question is by focusing on the excitement surrounding the UAE art scene in the present moment. There are three key words that come to my mind: ‘stability’, ‘continuity’ and ‘growth’, which are in line with the government’s commitment and support for the creative industries here.

The truth is the UAE art scene has evolved considerably since the early 2000s. With the UAE being located geographically at the crossroads between the East and West, combined with the

General view, Art Dubai 2023, Madinat Jumeirah.

Photo by Spark Media for Art Dubai. Courtesy of Art Dubai.

region’s openness to doing business, it has solidified its position on the global cultural map. A brilliant example of this is the success of ArtDubai, which will hold its 17th edition in 2024. The fair’s modus operandi is to showcase art and artists which have been historically underrepresented on the global art stage, through its rich programme consisting of four main sections: Bawwaba, Art Dubai Digital, Art Dubai Modern and the main contemporary section. Art Dubai has been contributing to the internationalisation of many artists from the global south, who were first discovered and presented to international audiences in the UAE.

focus on UAE artists, and it was great to introduce them to the wider arts community in the UAE. I must also mention being at the opening of the first UAE pavilion at the Venice Biennale back in 2011 - it was a defining moment, as it was the first time any country from the Gulf had ever participated.

Another example is the ever-growing local gallery scene and the maturing of the collector and institutional scenes, and the number of diverse art businesses that sustain active, year-long programmes. Right now, there is a Calligraphy Biennale in Dubai and the city has big plans for a series of public art commissions that will be unveiled in the coming months.

Last but by no means least, witnessing the introduction of Art Dubai’s pioneering digital section in 2022 was a real highlight. It was like stepping into the future.

As someone who has played a key role in the expansion and globalisation of the Middle East’s art market, could you highlight some milestones or key moments that stand out in your journey of contributing to the growth of the art scene in the UAE? In my time working in the Middle Eastern art market I have experienced many personal milestones, but there are a few which stand out - for example, I was the head of sales for the first ever international auction to offer works by UAE artists. It was also important to shed light on the region’s younger generation of artists, many of whom had no gallery representation at that stage. I recall speaking to prominent collectors and asking them to lend works just for the sake of creating awareness of the scene. Back in 2011, I introduced, for the first time, a small section at the auction which included works by Lamya Gargash, Saeed Khalifa, Lateefa Bint Maktoom, Noor Al Suwaidi and Meera Huraiz. Happily, by that stage, there was a collective desire to promote them by both the collectors and the international auction houses.

Another important milestone was launching Noor Dubai, an initiative of His Highness Sheikh Mohammed bin Rashid Al Maktoum, which comprised a series of charitable auctions entitled Art 4 Sight, where the proceeds went to support the prevention of blindness globally. I curated the auctions for Noor Dubai, with a

In recent times, being part of the amazing team at Art Dubai, the only fair to take place in 2021 midway through the Covid-19 pandemic, proved how the UAE helped sustain the cultural economy at the time and develop public trust in the region as a safe destination to experience and enjoy cultural events.

Your work at Christie’s involved working closely with collectors on an international scale and overseeing the production of catalogues. Can you share any memorable experiences or collaborations with collectors that have made a significant impact on the local art community in Dubai and the UAE? What a timely question! I’m currently an advisor to the Dubai Collection, Dubai’s first institutional art collection, and this requires me to liaise with regional collectors to

Art Dubai . Hala Khayat select works that we feel are worthy of belonging to this institutional collection and digital museum. I love rediscovering pieces I first came across many years ago, some of which have changed hands since.

You’ve been an advocate for Syria’s art community and founded SAFIR in 2014. Could you tell us more about your work with this NGO and how it has supported young Syrian artists in the UAE and the broader region?

SAFIR is a project close to my heart, and I’m proud to have co-founded it. It is important to support artists from Syria but in recent times we have expanded this to the Levant. The initiative is focused on two main goals: capacity building and connectivity. Last summer, we were able to connect two artists living and working in the UAE with a summer residency programme in Germany. Another artist is spending time at a residency in Brazil and, just a few days ago, we supported an artist’s participation in an upcoming show in Korea. Furthermore, we hosted a workshop to empower artists in public speaking, which took place in Dubai. Dubai Culture has helped to provide talent visas to many Syrian artists over the last two years, which has enabled many to settle in this great country and establish their studios. Syrian artists feel welcome and appreciated in the UAE, which is something that all artists need.

You’ve also been involved in documenting the collections of key Syrian collectors. What has this documentation process revealed about the diversity and richness of art collections in the UAE and their contribution to the art scene?

Yes, this includes the notable Khair Collection of the late Fateh Moudarres. I am constantly on a quest to advise collectors of all nationalities and support with documenting collections wherever I can. As an example, there are many patrons of the arts who are Syrian collectors as part of the Dubai Collection.

Your contributions to art education in the region are notable and include the development of curriculum on Modern and Contemporary Arab art. How has this educational initiative impacted the understanding and appreciation of Arab art in the UAE? Scholarship around Modern and Contemporary Arab art is very important to me and, fortunately, there are a number of institutions that are finally responding. In my current role at Art Dubai, I have been able to put together a talks series presenting Modern Arab art histories to the public. We also put together a day of

86

Art Dubai 2023. Courtesy of Art Dubai.

educational activities on the same subject as part of our Art Salon programming, which supports the next generation of collectors through a series of events. We invited key artists to talk about their own experiences - it was well received and, hopefully, we will introduce more of these lectures soon.

Since your arrival in Dubai in 2002, there have been other individuals who arrived around the same time and contributed to the UAE’s art scene.

Are there any stories or collaborations you can share about your experiences with fellow art enthusiasts or professionals who arrived in the UAE during that period?

There are many of us! We sometimes get tagged as the ‘O.G.s’! We all know each other and it’s great to see that so many of us have remained loyal and committed to the scene. Many of us meet on different panels, at exhibitions or on trips, and we ask each other to make connections and introductions - it’s all a form of collaboration.

For a long time, I think the international community has looked at the UAE as a place of transit, but this is definitely changing. People are settling, investing in properties and sending their children to schools and universities here. I think what unites most of us is that we have now been involved in the cultural scene for almost two decades. Despite the fact that we all come from different backgrounds, the very fabric of the UAE, which welcomes everyone, is what leads you to develop such a personal connection with the region. I

believe that the UAE is a land of opportunities that may not be available to people in their home countries. That creates a very positive energy. I particularly remember the first day of the very first edition of Art Dubai in 2007, where I met people who are still involved in the UAE art scene today. These people include Rami Farook, Asmaa Al Shabibi, Paula Al Askari, Hanane Al Sayyed, Ahmed Eldabaa, Nada Boulos and Judith Greer, to name just a few.

As the regional director for Art Dubai, how do you envision leveraging your extensive experience and networks in the UAE and the Middle East to further enhance the engagement of local and regional collectors with the art world?

I think this would be my work with the amazing team behind Art Salon, which is a growing community of curious people with a keen interest in the arts. The Art Salon programme introduces bespoke experiences, amazing speakers and artists to new audiences through events and international cultural trips. We are tapping into a magic formula which keeps our community engaged all year long, and it’s been nothing but an enriching experience so far.

Art Dubai aims to foster regional relationships and sustainable long-term engagement. What strategies or initiatives do you plan to implement to achieve these goals and further enrich the art ecosystem in the region?

Innovation has always been key to Art Dubai’s success - as an independent art fair that is well into its second decade, we have licence to try things that the bigger international fairs may not. A good example of this is Art Dubai Digital, which we launched two years ago as the first dedicated digital section of any international art fair, providing an annual snapshot of the digital art landscape. The response has been fantastic, opening up many new audiences and conversations.

We also have a strong connection to the regions and art scenes we seek to spotlight, in particular the Global South. For many of these geographies, where the institutional infrastructure is often underdeveloped, we are also the primary marketplace and meeting point. The 2023 Art Dubai Commissions presented 11 new works by a range of artists from South Asia - these were developed in partnership with several participating galleries and leading South Asian institutions, including the Kochi Biennale and the Dubai-based Ishara Foundation.

THERE ARE THREE KEY WORDS THAT COME TO MY MIND: ‘STABILITY’, ‘CONTINUITY’ AND ‘GROWTH’, WHICH ARE IN LINE WITH THE GOVERNMENT’S COMMITMENT AND SUPPORT FOR THE CREATIVE INDUSTRIES HERE. We also have the most extensive talks and thought leadership programme of any international art fair last year we hosted more than 50 sessions, all fully booked, clearly demonstrating the appetite for cultural experience and knowledge that there is here.

We are also lucky to count on the support of a range of long-term partners, including A.R.M. Holding, with whom we have developed an extensive children’s programme, bringing art and cultural programming to more than 9,000 children each year across all seven Emirates.

Can you provide examples of artists or art projects that you believe symbolise the growth and vibrancy of the UAE’s art scene, and how they reflect the collaborative efforts of individuals like yourself who have contributed to its development?

The Dubai Collection is a perfect example, and I believe tapping into this large inventory of amazing art from Dubai and the UAE has come as a surprise to many in the wider art community. Many collectors buy because they love art and they believe in its value as a good investment. Historically, these works have seldom been shared with the public. The Dubai Collection is offering regional collectors the chance to meet one another and learn about collecting while promoting the idea that art is to be seen and shared.

Warehouses around the world are full of forgotten artefacts, which is a huge pity. By exposing these works digitally, and making them available for loan, the Dubai Collection highlights the importance of art patronage and of the UAE as a hub for art and culture. Today, the UAE is home to some incredible artistic gems from the region and abroad.

Meem Gallery . Charles Pocock Can you share your personal journey in terms of bringing art to the UAE? My journey really started many years ago in 1994 at the University of East Anglia studying History of Art under Professor John Onians. I was the second year of undergraduates to undertake the World Art Studies programme. This was the first time ever a university had initiated such a course that looked at non-Western art in the same light as Western. With the Sainsbury Centre collection and with the right guidance by the world’s leading academics at the UK’s leading university for History of Art, one’s perspective on art and culture was given a serious upgrade. Years later, working in art in 2000, one was drawn into the contemporary culture of the region where I am now based. It was a close friend of my late father, from Saudi Arabia, who focused my mind on the contemporary art of the region.

Charles Pocock.

CO-FOUNDER OF MEEM GALLERY, ESTABLISHED IN 2007, CHARLES POCOCK HAS BEEN INSTRUMENTAL IN SHAPING THE ARTISTIC NARRATIVE OF THE REGION IN COLLABORATION WITH MISHAL KANOO AND SULTAN SOOUD AL QASSEMI.

I had been to the UAE a number of times between 2002 and 2005, working on projects such as the Al Qasr and Mina Salam Hotels and extensive discussions re the DIFC Art Collection. In May 2005, Mishal Hamed Kanoo suggested the idea of setting up an art gallery in Dubai and he organised a meeting with Sultan Sooud Al Qassemi at the Wafi Mall cinema. We were all going to see the new Star Wars film. It feels like yesterday. We met, we talked and we discussed the idea of setting up a gallery together. At this point the gallery was just a conversation.

It was an atrocity in London on 7th July 2005 that triggered my move to Dubai. I had spent 18 months working on a retrospective of the work of Ali Omar Ermes to be held at Christie’s Auction House in St James’s London, opening on 16th July 2005. I had arranged sponsorship to cover the costs from the Royal Bank of Canada (RBC). It was all gone. Then the horrific atrocity happened attacking London’s transport network seven days before our launch. One of those closest to me at the time missed the explosion by 300 metres and another friend lost his leg in the explosion. RBC withdrew its sponsorship and clients who were meant to come cancelled. It was a disaster on every level, above all for humanity and the victims of the atrocity.

It was at that time that Mishal Kanoo stepped in, The Kanoo Group agreed to sponsor a part of the project and covered the costs as they saw the importance of

88

close friends, made Meem happen. We built Meem together. Our remit has not changed and we are all proud of what we have delivered through Meem Gallery, now in its 18th year. The cultural journeys of Mishal and Sultan’s are different from mine. Both are passionate art collectors, Mishal is a passionate collector of Islamic art and Sultan’s journey started at school when he learned how Picasso’s Guernica taught how art could capture a historic, political moment in history. In 2000, when visiting an exhibition of Ismail Shammout and Tama Al-Akhal in Dubai with his mother and late father, Sultan’s passion for collecting started. He went on to found the Barjeel Art Foundation in 2010, which has a focus on Modern Arab art. This is another story separate from Meem’s, however both are woven together as part of the history of art and culture in the UAE and the history of Arab art.

promoting peace during a time of chaos and gave us all a window of hope, which I will always be thankful for. Looking back at it, it is amazing how we ever managed to deliver the project. Most would have cancelled, but we pushed on as it made sense on many different levels. It was at the end of July 2005 that Mishal suggested to me that now was the time to leave London and set up Meem in Dubai, I agreed, and I flew to Dubai to meet with Sultan and Mishal.

We registered Meem Gallery at the Dubai Courts on 22nd August 2005. Meem Gallery was legally initiated, but the journey to opening it took a bit longer. Meem Gallery was all built and ready to go in April 2006 when another mountain was put in front of me in the form of aggressive cancer and I had to return to the UK for heavy surgery and then recovery.

Finally, we opened Meem Gallery to the public in January 2007 with the work of Ali Omar Ermes.

In 2005, the Sharjah Art Museum was the key museum. Abu Dhabi announced the plans for the Louvre Abu Dhabi and the Guggenheim Abu Dhabi in July 2006. The Sharjah Art Foundation was established in 2009.

Mathaf: Arab Museum of Modern Art was established in 2010.

However, Sheikh Hassan bin Mohammed bin Ali Al Thani, the founder of Mathaf, had been privately collecting since the early 1990s. The Barjeel Art Foundation was established in 2010 and stabled originally at the Maraya Art Centre in Sharjah.

It must be said that Meem Gallery would not have happened without Mishal Kanoo. It was his idea, his vision and he brought us all together and he encouraged me to come to Dubai. There were lots of challenges, the biggest of which are already mentioned. Strangely, the mild challenges one encountered in setting up in Dubai seemed inconsequential in comparison to what it took to actually get to Dubai. Sometimes you have to push on to get the job done. Yes, one needs to understand when to stop. However, being determined combined with some pragmatism seems to have won through.

Above all, working with Mishal and Sultan, all of us having a shared vision, having their support in all ways and at all times, and above all having them as

In 2005 there were very few actual public institutions exhibiting Modern and Contemporary Arab art. The art scene revolved around private collectors and the taste at that time was for hurifiyya, this being art that predominately uses the Arabic letter and has its roots in Islamic art and Arabic calligraphy. This was formalised with the exhibition at the British Museum curated by Dr. Venetia Porter, Word into Art, which was sponsored by Dubai Holding. The exhibition then came to Dubai in 2008. The key Arab artists of this movement are Ali Omar Ermes, Nja Mahdaoui, Ahmed Moustafa and Rachid Koraichi, and these were the artists we brought to Dubai for our first exhibitions, specifically Ali Omar Ermes of Libya and Nja Mahdaoui of Tunisia held at Meem in 2007.

WE HAVE ALWAYS BELIEVED THAT ART SCENES MUST DEVELOP ORGANICALLY AND YOU CANNOT FORCE SOMETHING ON SOMEBODY.

Meem Gallery . Charles Pocock

2015

Art in Iraq Today installation view at Meem Gallery, 2010.

Courtesy of Meem Gallery.

THE ART SCENE AND THE ART MARKET ARE TWO VERY DIFFERENT THINGS: CONNECTED YET DIFFERENT.

90

Art Morocco: Mohamed Melehi, Ahmed Cherkaoui, Julali Gharbaoui installation view at Meem Gallery, 2012.

Courtesy of Meem Gallery.

2015

Art in Iraq Today installation view at Meem Gallery, 2010.

Courtesy of Meem Gallery.

2016

Art Morocco: Mohamed Melehi, Ahmed Cherkaoui, Julali Gharbaoui installation view at Meem Gallery, 2012.

Courtesy of Meem Gallery.

Left – Nja Mahdaoui exhibition at Meem Gallery, 2007. Courtesy of Meem Gallery.

Below – Ali Omar Ermes exhibition at Meem Gallery, 2007. Courtesy of Meem Gallery.

Below – Ali Omar Ermes exhibition at Meem Gallery, 2007. Courtesy of Meem Gallery.

Below – Arab Print: Volume II exhibition at Meem Gallery, 2016. Courtesy of Meem Gallery.

2019

2017

Below – Modern Masters installation view at Meem Gallery, 2020. Courtesy of Meem Gallery.

2020

2018

Below – Shakir Hassan Al Said exhibition at Meem Gallery, 2020 -2021. Courtesy of Meem Gallery.

2021

Meem Gallery . Charles Pocock The art scene in Dubai was very different back in the early 2000s. The reality is you had to give your clients what they want, however you can guide and introduce works by different artists. Meem’s approach has always been balanced relating to Modern and Contemporary Arab and Iranian art. We moved away from hurifiyya and focused on the leading contemporary Arab artists and the Modern masters of the region, working very closely with Dia al-Azzawi, Ibrahim El-Salahi, Marwan Kassab-Bachi, Mohamed Melehi, Kamal Boullata, Parviz Tanavoli, Abbas Kiarostami, Mahmoud Mokhtar, Adam Henein, Jewad Selim, Ahmed Cherkaoui, Saliba Douaihy, Assadour, Rafa Nasiri and Mahmoud Said. We accepted the limitations of hurifiyya work and our clients also moved more into Modern masters and Contemporary Arab art. We have always made a point of having a balanced programme of Modern and Contemporary.

We exhibit the contemporary work of Dia al-Azzawi, Adel Abidin, Moataz Nasr, Walid Siti, Assadour, Jeffar Khaldi, Mahmoud Obaidi and Zhivago Duncan.

Another side to Meem is the research and archive side to the gallery, as well as the publications programme of Meem under Meem Editions. The research and archive side comes under the Noor Library, which holds over 20,000 physical publications devoted to the arts of the region and the digital archive holds around 150,000 files. We work with institutions, both regionally and internationally, with a focus on Modern and Contemporary Arab and Iranian art, advising, supporting and placing key works with the leading institutions and supporting exhibitions at institutions re loans of works and archival material.

A LIBERAL AND PROGRESSIVE STAGE HAS BEEN SET UP BY AN OPEN-MINDED GOVERNMENT THAT HAS ALLOWED A CULTURAL SCENE TO DEVELOP AND EVOLVE. IT WILL ONLY GROW LARGER AND BECOME MORE ESTABLISHED.

92

Did your choice change over time?

There are a number of artists we have worked with for a long time. Our journey has been shared together. We all change over time, however in most instances we have changed together. As human beings we must push ourselves to adapt and improve at all times. We must always be going forward, never backwards. We must be aware and awake, and as I said, push ourselves, as a gallery, as an archive, advising clients both private and institutional. All our tastes change in all ways all the time. Our programme has changed, not completely, however it has changed. I know we need to support young and local talent more and it is on our mind regularly. We have so many requests f rom the leading private collectors and global institutions, there are nearly not enough hours in a day to get everything done. However, we found a way. Yes, we need to nurture more younger talent as the art scene in the UAE is exploding with some very impressive young raw talent that needs to be guided.

In what ways has this endeavour played a role in nurturing the art scene in the UAE? I am asked this question regularly. The reality is this: the key collectors’ focus is on Modern – be it Arab or Iranian. This is clearly seen in the public sales held in London, by the market leaders, Bonhams, Christie’s and Sotheby’s. There will always be a focus on the key Contemporary Arab artists in diaspora in London, Paris, Berlin, Helsinki and New York, such as Walid Raad, Adel Abdessemed, Mona Hatoum, Adel Abidin and Kader Attia by collectors of art from the region.

They broke out of the regional model and are seen as international with works in key international museums.

The art scene and the art market are two very different things: connected yet different. Looking at the art fairs, biennales and gallery programmes in the UAE, there is no question that things are more mature, structured and established and things will only get stronger. I remember how things were here in Dubai in 2003 and how things changed so quickly. It is not for us to say what Meem has achieved. This must come from others.

All I can say is that we have done all we can to make change and make a difference for the better.

We have always believed that art scenes must develop organically and you cannot force

something on somebody. Yes, nurtured, cared for, protected and done in a responsible manner. It is not about me; it is about us and us all. We are a collective, we are one society and we all live together and hopefully all wish for the same thing, for a better world for our children.

What are your expectations regarding the evolution of the art scene in the UAE over the next two decades?

In the next five years Guggenheim Abu Dhabi will be open. Dubai could have a Modern art museum.

This is needed, but this is another conversation. The UAE art scene will grow and develop. Look at how the Abu Dhabi Festival under the leadership of H.E. Huda Alkhamis-Kanoo, DCT under H.E. Mohamed Khalifa Al Mubarak, the Sharjah Art Foundation and its world-class biennial by Sheikha Hoor Al Qasimi or Dubai Culture under H. H. Sheikha Latifa bint Mohammed bin Rashid Al Maktoum, how they have all matured, become more established and the projects worked on for years are now being developed and fulfilled. One must take into account the main driving force in the UAE and that is H.E. Zaki Anwar Nusseibeh, the Cultural Adviser to the President of the UAE, who was directly instrumental in the development of the Cultural District of Abu Dhabi. All these parties have been carrying the original vision of the founder of the UAE, H.H. the late Sheikh Zayed bin Sultan Al Nahyan. The concept for a cultural centre and a national library was discussed by the National Consultative Council as far back as 1971, the very year the nation was born. So important was the plan for the Cultural Foundation that it was actually entrenched in the country’s original legal framework in the second law ever passed in the country, Law No. 2 of 1971.

The UAE now has a permanent pavilion at the Venice Biennale. Dubai has the strongest gallery scene in the whole region. The UAE holds the leading art fairs of the wider region and has delivered world-class museums such as the Louvre Abu Dhabi with more to come. I expect the UAE cultural scene will mirror New York and Washington DC and its growth will be mirrored organically in the UAE. A liberal and progressive stage has been set up by an open-minded government that has allowed a cultural scene to develop and evolve. It will only grow larger and become more established.

Dia al-Azzawi: The Lebanon Works installation view at Meem Gallery, 2021.

Courtesy of Meem Gallery.

2019

A Utopian Stage: Excavated Archives: Festival of Arts, Shiraz-Persepolis installation view at Meem Gallery, 2023. Courtesy of Meem Gallery.

2020

Walid Siti: Fragile Construct installation view at Meem Gallery, 2023. Courtesy of Meem Gallery.

2021

Alserkal Avenue . Vilma Jurkute

ORIGINALLY FROM LITHUANIA, VILMA JURKUTE HAS DEDICATED HER CAREER TO DEVELOPING CREATIVE INDUSTRIES ACROSS NEW YORK, CHICAGO, LONDON, AND DUBAI. AS DIRECTOR OF ALSERKAL AVENUE, SHE HAS CONTRIBUTED SIGNIFICANTLY SINCE 2012 TO ITS DEVELOPMENT, FOSTERING A DYNAMIC COMMUNITY OF OVER 70 CREATIVE ORGANISATIONS AND ESTABLISHING IT AS A VITAL PLATFORM FOR CONTEMPORARY ART IN THE UAE AND THE REGION.

94

Vilma Jurkute, Executive Director Alserkal. Credit Sueraya Shaheen

You’ve been a key figure in the development of creative industries in several global cities. How has your work specifically contributed to the growth of the art scene in the UAE since you joined Alserkal in 2012?

I’ve been fortunate to work and study in many geographies, contexts and disciplines throughout my adult life, taking me to New York, Chicago, London, France and finally Dubai. During the early stages of my career my work mostly utilised my background in international business, allowing me to develop a clear understanding of entrepreneurship modelling within creative fields, later shifting my practice closer to the arts during my days at the Institute of Arts and Ideas in London. Throughout my professional career and academic research at Oxford my intent was always to create connections between arts and culture, urbanism, the making of cities and communities.

Today, I am the Executive Director of Alserkal and its initiatives, overseeing Alserkal Avenue, Alserkal Advisory and Alserkal Arts Foundation, alongside our growth. A journey that began more than a decade ago allowed us to grow and mature into a plural organisation that lives in a form of neighbourhood and cultural production, a civic network of pioneering thinkers and disruptors, as well as a repository of interdisciplinary practices and research. This allows for a very dynamic, forward-thinking environment and modular work.

Under Alserkal Initiatives, Alserkal Avenue, under your leadership, has become a cultural destination for the MENASA region. Could you share some examples of how it has nurtured local and regional artistic talent and helped establish a thriving arts community in the UAE? Alserkal was never synonymous with the built environment; on the contrary, as a polyphonic multidisciplinary community we have always been a platform where diverse voices and stories are presented and represented. This now continues to evolve and grow through our global collaborations and projects.

Supporting the new generation of thinkers to challenge the conventional – leading to new forms of knowledge – is what lies at the heart of our mandate.

In 2017, you oversaw the construction of Concrete, a groundbreaking architectural project by Rem Koolhaas’ OMA. How has Concrete enriched Dubai’s artistic and architectural landscape, and what role has it played in showcasing innovative design in the UAE? It was with the growing grassroots culture that Alserkal Avenue developed Concrete, a multidisciplinary space dedicated to hosting

Atassi Foundation at Concrete, 2017. Courtesy of Alserkal Avenue.

RESPONSIBILITY IS NOT ARBITRARY, AND IT IS PARTICULARLY IMPORTANT WHEN SHAPING A CULTURAL DISCOURSE.

Alserkal Avenue . Vilma Jurkute

exhibitions and conceptual events of international standing. As a platform, it enables us to support more cultural producers and develop the city’s art programme at large. Concrete is the first building designed by Rem Koolhaas’ Office for Metropolitan Architecture (OMA) in the UAE. What used to be four warehouses were reimagined to become a space for museum-grade exhibitions and alternative programming. On its own, Concrete challenges existing norms and shapes new conversations around the notion of preservation in the context of modern architecture.

From the start, the idea was always to create a space for international and regional exchange, enabling more collaboration on a global scale while providing opportunities for local and regional artists to show their work in a museum-grade exhibition space.

Concrete might be difficult to define, but it resonates with our audiences here. Perhaps it’s something between a kunsthalle and a multidisciplinary alternative events space.

96

Your role in the Alserkal Arts Foundation is integral to supporting artistic production, scholarship and research. How have these initiatives impacted the local art community, and what milestones have they achieved in terms of artistic development?

Cooperative, dialogue-based, participatory art can help re-appraise current issues and invite critical engagement, which creates an empowering space that can lead to social transformation. Responsibility is not arbitrary, and it is particularly important when shaping a cultural discourse. We introduced our programming arm, Alserkal Programming, in 2015, with the aim of supporting artists living and practising in the region. The purpose was to engage with new audiences while supporting homegrown artists to produce work within our public space that was collaborative, participatory, and ephemeral.

We also conceptualised and executed a year-round homegrown programme, featuring talks, film screenings, and artist commissions, engaging with numerous emerging and mid-career artists. As our

Alserkal Art Advisory, Histories of Emirati Cuisine.

Courtesy of Alserkal Avenue.

programme matured, we felt the need to support emerging artists in a more meaningful way, and in 2017 the Alserkal Residency felt like the next step; a not-for-profit initiative that encouraged artistic experimentation and discursive exchange. In 2019, our not-for-profit, with the support of our founder Abdelmonem Alserkal and the Alserkal family, continued to evolve into what today has become Alserkal Arts Foundation.

As a research-driven platform, today Alserkal Arts Foundation commissions artistic projects, awards research grants and supports multidisciplinary scholarship and alternative learning. We host residencies and facilitate research at our studios and study spaces at Alserkal Avenue, nurturing critical and intellectually curious projects that impact the cultural sphere in our proximity. We think expansively about our networks, privileging relevance and connectivity over geographic limits or disciplinary boundaries.

Dubai and the UAE have witnessed significant growth in the arts and cultural sectors. In your view, how has Alserkal’s vision and your contributions shaped the development of a dynamic and diverse art scene in the country?

The UAE’s culture scene has grown to become holistic and mature. The Emirates has formed a strong marketplace for the arts, has built foundations for a creative economy and has developed social infrastructure for multicultural talent to contribute and steer the artistic trajectory globally.

Alserkal Avenue has a unique character and is recognised for its contemporary art galleries and creative spaces. How does this blend of commercial and cultural elements contribute to the identity and vibrancy of the UAE’s art scene?

Alserkal has always been situated between the built environment, culture, and community; through our polyphonic voice as an institution that exists by way of a foundation, civic network, digital platform

Alserkal Avenue . Vilma Jurkute (alserkal.online) and ultimately a cultural district. This allows us to continuously challenge the conventional through the diversity of the forums and programmes and narratives we co-present. Alserkal transcends boundaries of knowledge and discipline through a rigorous programme, and the non-transactional nature of our public spaces creates opportunities for all members of the public to engage in non-ticketed exhibitions, film screenings, concerts, dance performances, and talks programmes, to mention a few. Our approach to cultural programming offers alternative learning that is open to everyone, bringing people together in a participatory manner to discuss, critique and debate the subjects that resonate today. As a result, it stimulates togetherness and a sense of belonging within the city of Dubai. I must emphasise the importance of collectivity, as we focus on and work closely with our community of artists, practitioners, gallerists, filmmakers, designers and youth-driven grassroots collectives.

Your involvement in cultural consulting, content production and investments in creative businesses has diversified Alserkal’s offerings. Can you elaborate on how these initiatives have facilitated the growth of creative entrepreneurs and artists in the UAE? A few years ago, we restructured due to our continuous growth by introducing Alserkal Advisory, as part of Alserkal Initiatives. As an independent and privately owned practice, proudly born in Dubai, at Alserkal Advisory we work differently than traditional consultancies and agencies. Our approach is conscious and grounded in an ethos of care and long-term cooperation with the artists, writers, practitioners, partners and clients we work with. While we seek to innovate and re-imagine artistic interventions, we are also mindful of the importance of developing strategies that ensure their longevity and sustenance. We select projects diligently, ensuring our expertise and clients’ expectations align to produce meaningful, history-making outcomes that reflect our thinking, values and ethos. Alserkal Advisory is a multidisciplinary practice comprised of Alserkal’s founding team, in addition to thinkers, researchers, and specialists in diverse fields from multiple geographies. To date, we have been engaged in building historic programmes and strategies in the region and working in monumental sites like Expo2020 and Etihad Museum, alongside shaping the iconic contemporary culture destinations and projects, such as Noor Riyadh and Al Quoz Creative Zone, to mention a few.

98

Serving on the advisory boards of global cultural organisations, you have a broad perspective.

How have these aff iliations benef ited the UAE’s art community and its connections to the broader art world?

As a self-editing organisation, it was always important for us to reinvent ourselves. Our work is grounded in an ethics of care, shared authority and collective learning, where open dialogue and longterm cooperation are foregrounded in our partnerships. Both the epistemic process as much as the final product are part of our practice when delivering our public promise. Our civic network is a community of artistic diaspora connected to our purpose and ethos through collaborations and work we have done and continue to do together with artists, practitioners, researchers, fellow institutions and our very own community here. A global view while we resonate with our audiences locally has always been key to us. We are involved in various global institutions through acquisition committees and are on the Advisory Board of the Global Cultural Districts Network, which is an important platform for cultural districts and communities globally and has been instrumental in forging our growth and connecting us to fellow communities.

AS AN ARTS SCENE IN THE UAE, WE’VE ALWAYS BEEN RESPONSIVE AND CONTEXTSPECIFIC IN NATURE, AND I STRONGLY BELIEVE THAT IT IS WITH THE SAME MINDSET AND AGILITY THAT WE WILL CONTINUE TO EVOLVE.

Looking ahead, what are your aspirations and goals for the continued development of the art scene in the UAE, and how do you envision Alserkal’s role in fostering further growth and innovation?

Today, more than ever, we need places for growth, meaning and community that are inclusive and

accessible. The Global Co-commission project by Alserkal Advisory in partnership with the Global Cultural Districts Network, which re-localises our efforts for commissioning public art, will present multi-city public art interventions curated by Tairone Bastien across three continents, working with artists like Muhannad Shono for Alserkal Avenue in the UAE, Camille Chedda for Kingston Creative in Jamaica and Io Makandal for Victoria Yards in Johannesburg, South Africa.

Each project will stand alone as a site-specific exhibition and will be accompanied by a programme that engages with local communities to further explore the theme and questions. The inaugural initiative from Alserkal Advisory is developed in collaboration with GCDN, an international membership-based network that fosters cooperation and knowledge-sharing between 52 cultural districts and clusters with a significant cultural element.

Supported by Urban Arts Project, A Feral Commons will self-audit the environmental impact of the project, attempting to create the public artworks across all continents in the most responsible and conscious method possible. Utilising UAP’s proprietary tools, specifically Artwork Ingredients List and Public Art 360, will guide the project team on sustainable practices as well as measure the quantitative and qualitative impact on the environment, and the value of public art.

The intent of the co-commission project is to harness the power of cultural districts to respond collectively to urgent global subjects, inviting participants to renew their current perspectives and learnings. This first cycle explores how cultural districts can engage in knowledge sharing and collective action. It acts as an attempt to harmonise and repair our relations with our ecology, as well as recalibrate social and economic dimensions through collective thinking with peer art organisations globally in times of climate change. We hope this will not only lead to more sustainable practices and formulation of whole-thinking structures within the current global art ecosystem, but that it will also shine a light on the imperative role cultural districts play in their communities globally.

Could you share some success stories or projects that stand out as significant achievements in your journey of contributing to the growth of the art scene in the UAE? New ways of thinking seek different forms of

Alserkal Art Advisory, Histories of Emirati Cuisine.

Courtesy of Alserkal Avenue.

knowledge production and dissemination, enabling the arts to utilise different modes of being. Arts and culture is not a straightforward up-and-down curve, it is a discourse and a trajectory of its own that continues to respond to our times through artistic thought and practice by thinkers, artists and multidisciplinary practitioners, and key art contributors working in various locales. Therefore, this will only evoke more collaborative attempts to negotiate current knowledge through critical interventions and research, as well as an invention of new ways of working and engaging with our audiences. As an arts scene in the UAE, we’ve always been responsive and context-specific in nature, and I strongly believe that it is with the same mindset and agility that we will continue to evolve.

Ayyam Gallery . Maya Samawi AYYAM GALLERY EXPANDED TO DUBAI IN 2008, LEVERAGING ITS SUCCESS IN SYRIA TO CONTRIBUTE SIGNIFICANTLY TO THE BURGEONING ART SCENE IN THE UAE. Can you share your journey into bringing art to the UAE? How did it start, what inspired you to do so and what were the challenges?

As many know, the gallery was founded in Damascus Syria, which was booming at the time, but remained local and regional. The UAE, and Dubai specifically, seemed like a more international market, with an influx of people and the cultural scene building itself from the ground up. There was something very appealing about it, and we therefore expanded into Dubai in 2008.

Which artists were the primary focus of your efforts?

Did your choice change over time?

Situated in Damascus at the beginning, the environment and surroundings played a detrimental role in our mission. Being one of the first galleries in Syria to offer programming, exhibitions and competitions, the aim was and still is to promote underrepresented art, and that started with Syrian artists. In retrospect, we believe the MENA region houses four main fine arts institutes: Syria, Iraq, Iran and Egypt. As we extended our presence and established locations in Beirut, Dubai and London, while actively engaging in global fairs, we connected with diverse artists from the wider MENA region and its diaspora.

Could you outline the key elements of your gallery programme and how it evolved?

We carry visceral art. Our artists are all storytellers; their work has depth while always focusing on the visual. Etel Adnan once said, “I am very sensitive to beauty. We don’t speak of beauty any more in art criticism. We don’t mention beauty, it’s démodé, out of fashion. But it isn’t really beauty, it’s an inner sense and it makes us happy.

It’s not complicated, we need it”. These are thoughts we truly believe in. Art is an expansion of oneself; the expression and beauty in it should never be forgotten.

100

In what ways has this endeavour played a role in nurturing the art scene in the UAE? We are truly proud to have been the first to settle in the Industrial Area of Dubai. We were inspired by the art districts of the United States, places like Chelsea, in New York, or the district in Miami. The warehouses offered everything we were looking for - high ceilings and white walls - blank pages to express our artists’ dreams and stories. Today Alserkal has become a global art hub. Being the first ones there, we are glad our vision has flourished.

Can you provide an overview of the current state of the art scene in the UAE? The UAE art scene had a boom a couple of years ago and then met a bit of a pause with a slowed-down economy in 2017, and it only recuperated after Covid.

Today it feels stable and growing. All parts of the art scene keep growing and evolving, with an increasing amount of institutions and institutional exhibitions, and a variety of younger and global galleries opening their doors. The art scene is beating and surviving.

What are your expectations regarding the evolution of the art scene in the UAE over the next two decades?

We hope the art scene will only evolve and grow.

With everything going on, the increasing amount of international interest in the region, and the amount of work and resources the GCC is pouring into the cultural and notably art scene, we hope it’s only going up from here.

Jouhayna and Maya Samawi, Owners of Ayyam Gallery.

Nadim Karam, 99 Objects, Ayyam Gallery, Alserkal Avenue, installation view, 2013. Courtesy of Ayyam Gallery.

Ayyam Gallery . Maya Samawi Samia Halaby, Five Decades of Painting and Innovation, Ayyam Gallery, Alserkal Avenue, installation view, 2014. Courtesy of Ayyam Gallery.

Sama Alshaibi, Collapse, Ayyam Gallery, Alserkal Avenue, installation view, 2015. Courtesy of Ayyam Gallery.

102

Above – Sadik Kwaish, Alfraji’s Drive by Storms, Ayyam Gallery, Alserkal Avenue, installation view, 2015. Courtesy of Ayyam Gallery.

Left – Sadik Kwaish, Alfraji’s Drive by Storms, Ayyam Gallery, Alserkal Avenue, installation view, 2015.

Courtesy of Ayyam Gallery.

Ayyam Gallery . Maya Samawi

Tammam Azzam, The Road, Ayyam Gallery, Alserkal Avenue, installation view, 2016. Courtesy of Ayyam Gallery.

104

Tashkeel

Made in Tashkeel, 2023 Group exhibition installation view. Courtesy of Tashkeel.

Established in Dubai in 2008 under the vision of Sheikha Lateefa bint Maktoum bin Rashid Al Maktoum, Tashkeel has emerged as a dynamic centre for visual art and design, making substantial contributions to the growth of the creative and cultural sectors in the UAE. By providing studio incubators, Tashkeel fosters an environment for production, experimentation and discourse, empowering artists and designers throughout the country. Through a diverse annual programme encompassing training, residencies, workshops, talks and exhibitions, Tashkeel emphasises both practitioner development and public engagement, cultivating a culture of continual learning.

The organisation’s commercial services, meanwhile, aim to seamlessly integrate locally crafted art and design into the fabric of society and the economy.

Tashkeel’s incubator initiatives, such as Tanween, the Critical Practice Programme, and residencies, play a vital role in providing essential support and resources for emerging talents. With an unwavering dedication to innovation and excellence, Tashkeel actively shapes the future of the UAE’s art scene, offering a platform for artists and designers to flourish and contribute uniquely to the nation’s cultural fabric.

Safwan Dahoul RESIDING IN DUBAI FOR MORE THAN A DECADE, SYRIAN ARTIST SAFWAN DAHOUL DRAWS INSPIRATION FROM THE LOCAL ARCHITECTURE WHILE ACTIVELY CONTRIBUTING TO THE UAE’S EVOLVING ART LANDSCAPE.

Safwan Dahoul. Courtesy of the artist and Ayyam Gallery.

What personal experiences or artistic influences drew you into the vibrant UAE artist community, and how have these connections contributed to your growth as an artist in the region?

To be honest, I have been living in Dubai for 12 years but haven’t had any direct relationships with Emirati artists, only encounters at exhibitions or art fairs happening in the Emirates. But the major influence isn’t necessarily from Emirati artists as painters; it could be from architects. What I am always drawn to in the Emirates is the architecture, whether old, modern, or contemporary. My work belongs to architectural photography or drawings because the composition must be very strict, architecturally speaking. Therefore, the biggest influence on my work during this period of 12 years is the architecture that exists and that I observe daily. Subconsciously, it has influenced my architectural approach to constructing a painting.

106

Reflecting on the evolution of the UAE’s art history since the 1990s, can you describe the ways in which your artistic journey has intersected with this transformation, and in what manner have you actively participated in shaping the evolving art landscape?

Undoubtedly, the movement of fine arts in the Emirates and the Arab world in general has changed significantly from the 1990s until now. For the Emirates, the most important thing is the establishment of fine art institutes and colleges, especially the College of Arts in the city of Sharjah. I visited it a while ago and saw the professors and curriculum producing new generations. This will play a significant role in the future of the fine arts movement in the Emirates. As for me, my participation was undoubtedly as a resident artist. I have continuously participated in exhibitions in Abu Dhabi and Dubai. I have engaged in these artistic events throughout my residency here. The city’s fast pace alters your rhythm, and you must keep up. Art fairs in the UAE bring artists from all over the world, and we are always challenged. Consequently, it influences the development of our work positively.

Safwan Dahoul, Still Dreaming, Ayyam Gallery, Alserkal Avenue, installation view, 2016. Courtesy of Ayyam Gallery.

Art often serves as a reflection of the cultural and societal shifts within a region. How does your artwork capture and convey the historical and cultural nuances of the UAE, and what specific themes or narratives are central to your artistic expression?

Each region has its own specificity in art, which impacts the artist’s work. But more important to this topic is artistic language. Whether my being Syrian in Syria or in the Emirates, or even if I were French, British or from anywhere in the world, this language is common.

Therefore, the approximation to what is happening in the world today, the connected world, is completely different from the past. Consequently, this language has become more unified. The most important thing in a painting is the artistic language. Thus, each artist presents their own narrative through their research, knowledge, studies and the evolution of their artistic career. My art merely mirrors my thoughts, emotions and truths, which are often affected by international narratives and themes. Therefore, this always reaches my work, whether consciously or not.

Collaboration and engagement with fellow artists often foster creativity and community growth.

Could you share instances where you’ve collaborated with other artists in the UAE, and how have these collaborative efforts contributed to the diversity and advancement of the local art scene?

The most notable collaboration was with the Road and Transport Authority, where a group of Emirati and Arab artists, including myself, painted on the metro. The scale of the project was challenging, spanning approximately 70 metres in every direction.

Taking on such a responsibility is significant for any artist. The painted metro ran in Dubai for about two years. Its association with the artist’s name adds to the weight of the responsibility. The experience was truly invaluable for me.

Looking ahead to the future of the UAE’s art scene, what prospects or challenges do you find most exciting, and how do you envision your role in driving continued development and innovation within the UAE’s art landscape?

Of course, the future of the art scene in the Emirates needs further development. As I mentioned, the most important thing is the establishment of fine art colleges and institutes. That said, the immense development that took place in the last 10 to 15 years is impressive - the

MY ART MERELY MIRRORS MY THOUGHTS, EMOTIONS AND TRUTHS, WHICH ARE OFTEN AFFECTED

BY INTERNATIONAL NARRATIVES AND THEMES. opening of the Louvre and Guggenheim, along with many foundations and institutions across the Emirates.

Sharjah does a fantastic job with great programming through its museums and Foundation, biennials, and Architecture Triennial. The commercial art scene is growing rapidly; local and international galleries have now opened beautiful spaces in Dubai especially. Art always takes time and it takes years for an art scene to reveal itself. Support for the young generation will shape the future of arts and culture in the Emirates. We must wait for local talents to emerge, and they will certainly appear in this positive climate.

Carbon 12 . Nadine Knotzer THE DRIVING FORCE BEHIND CARBON 12 SINCE ITS INCEPTION IN 2008, NADINE KNOTZER IS PROUD OF THE GALLERY’S DISTINCT INTERNATIONAL APPROACH IN TERMS OF ITS CONTEMPORARY ART PROGRAMME.

Can you share your journey into bringing art to the UAE? How did it start, what inspired you to do so and what were the challenges?

It started out of sheer passion for contemporary art, and the deep desire to formulate and visualise a universal trans-continental programme of relevant contemporary practitioners. The idea took form in 2007, and we started to work on building the gallery in 2008 while we did months and months of research on the ground. And suddenly there we were: we opened Carbon 12 to the public on November 28, 2008!

Which artists were the primary focus of your efforts? Did your choice change over time?

We trusted our knowledge and research, and since then we have really stuck to our guns. Anahita Razmi, Philip Mueller, Bernhard Buhmann and Michael Sailstorfer were all with us from the very beginning, and artists like André Butzer or Olaf Breuning joined our programme in the first founding year. Then, once the programme is running and we are able to fine-tune it, it becomes a fabulous exercise to add the artists we have the privilege to represent. Keep in mind that in 2008 Sarah Almehairi was 10 years old, Monika Grabuschnigg was barely starting university and Amba Sayal-Bennett was in high school.

Expanding the programme carefully is important to us. In the past two years we have had the pleasure to add Anthony Akinbola to the programme with two new artists joining by 2024. Now as we mark our 90th exhibition in November 2023, we have our hands on

108

Kourosh Nouri & Nadine founders of Carbon 12.

Courtesy of Carbon 12.

THE PROGRAMME IS ABOUT THE GLOBAL REACH OF THE ART, AND THE BRIDGES YOU CREATE.

When the Ground Was, 2022, installation shot at Carbon 12. Courtesy of Carbon 12.

the third publication of this year alone, and we have a collaborative space, DIANA, in New York on Henry Street. We have lost count of art fairs, but we are probably past the threshold of 50 participations. Our ‘grade report’ is factually and undeniably rich.

Could you outline the key elements of your gallery programme and how it evolved?

The programme is about the global reach of the art, and the bridges you create. It is very universal, and all our artists have liberated themselves from any cultural weight. Their respective practices are understood by everyone. Simplicity in art is a very complicated notion, but I believe they all have mastered it. We have trusted what they do, and tried to be the best partners they can have. Loving our jobs makes things easier, and now after 15 years of hard work, our expertise is there to speak for us.

In what ways has this endeavour played a role in nurturing the art scene in the UAE? To date, we are still the only contemporary art gallery in the region with such an international programme.

Going back to 2009, showing artists like Katherine Bernhardt and André Butzer was very daring and

easily 10 to 12 years ahead of the contemporary art market, internationally. The programme we have built and its consistency are what would be our legacy in the UAE. Our exhibition, publications, talks and events nurture the local art scene. We helped put the UAE on the international art map and created a home for many.

Can you provide an overview of the current state of the art scene in the UAE? It is a very respectful and slowly accepting environment. Luckily, we are approaching a level of maturity among the galleries, and it seems the number of serious young collectors is growing. The engagement of the UAE’s younger generation is what encourages us.

What are your expectations regarding the evolution of the art scene in the UAE over the next two decades?

The potential is enormous. I believe the next two to three years will finally mark the year zero of the national/regional market with the ‘takeover’ of the young Emirati and UAE-born generation who will be in command of the family businesses.

Grey Noise . Umer Butt

UMER BUTT, AN ARTIST AT HEART AND FOUNDER OF GREY NOISE, HAS NAVIGATED THE UAE’S ART LANDSCAPE WITH A COMMITMENT TO NURTURE ARTISTIC VISION AND FOSTER COLLABORATION. Can you share your journey into bringing art to the UAE? How did it start, what inspired you to do so and what were the challenges?

I was trained as an artist. Grey Noise was born with this desire to nurture artistic vision, to approach art practice with sensitivity and collaboration. I have lived in the UAE for most of my life, hence it was only fitting to put forth the dialogue with this country.

Grey Noise Dubai is an artist-led initiative and it had its turbulent moments, but later I embarked on this journey with my business partner, Hetal Pawani, who has been the backbone of this project. We are both committed to make well researched presentations which echo our sensibilities in parallel with the artists we represent. We are exhibition makers and are committed to continue this mission with developing new visual knowledge and create a sort of artistic archive which only in time will reflect on this slow yet beautiful journey.

Which artists were the primary focus of your efforts? Did your choice change over time?

We are keen to keep our programme open for chance and error. Not defining a particular geographic focus in our represented artists was key for us. Changes are always welcome, and we keep evolving with every failure and success on the way.

This is how we believe life works.

Could you outline the key elements of your gallery programme and how it evolved?

We represent a non-linear and predominantly an Abstract programme. The context of why a work should be exhibited in Dubai is central to our working method. Conceptual artistic practice, both in its

110

Umer Butt. photo by Rafi Karahkash.

Hetal Pawani. photo by Kristina Sergeeva.

Ingrid Hora, Dear Leader, 2013, installation view at Grey Noise Dubai. Courtesy of the artists and Grey Noise Dubai.

Above – Ehsan ul Haq and Iqra Tanveer, The Truth of the Matter, 2012, installation view at Grey Noise Dubai, Launch show. Courtesy of the artists and Grey Noise Dubai.

Below Left – Caline Aoun, Concrete Layers, 2015 installation view at Grey Noise Dubai. Courtesy of the artists and Grey Noise Dubai.

Below Right – Charbel-joseph H. Boutros, Marco Godinho, Lala Rukh, Sail into Night, Michael John Whelan, but even if I cannot see the su, 2016, installation view at Grey Noise Dubai. Courtesy of the artists and Grey Noise Dubai.

Grey Noise . Umer Butt Iqra Tanveer, Letters from the Seventh Cave, 2019, installation view at Grey Noise Dubai. Courtesy of the artists and Grey Noise Dubai.

Ehsan ul Haq and Iqra Tanveer, The Truth of the Matter, 2012, installation view at Grey Noise Dubai, Launch show. Courtesy of the artists and Grey Noise Dubai.

2019

Michael John Whelan, Nocturnes, 2020, installation view at Grey Noise Dubai.

Courtesy of the artists and Grey Noise Dubai.

Hossein Valamanesh, Selected works, 2013, installation view at Grey Noise Dubai. Courtesy of the artists and Grey Noise Dubai.

2020

Charbel Joseph H. Boutros, The Work and Its Periphery, 2021, installation view at Grey Noise Dubai. Courtesy of Grey Noise Dubai.

112

Lantian Xie, Volcano, 2021, installation view at Grey Noise Dubai. Courtesy of the artists and Grey Noise Dubai.

WE ARE EXHIBITION MAKERS AND ARE COMMITTED TO CONTINUE THIS MISSION WITH DEVELOPING NEW VISUAL KNOWLEDGE AND CREATE A SORT OF ARTISTIC ARCHIVE WHICH ONLY IN TIME WILL REFLECT ON THIS SLOW YET BEAUTIFUL JOURNEY.

Shreyas Karle, Shifting the Centre Table, 2022, installation view at Grey Noise Dubai. Courtesy of the artists and Grey Noise Dubai.

medium and thinking, is fuel for our artists. They somewhere meet in their aesthetic sensibilities, if you make an overview of what we show in the five annual exhibitions that we install. The evolution is constant and encouraged.

In what ways has this endeavour played a role in nurturing the art scene in the UAE? It’s a tough question to answer. I guess we will be able to tell in the next 20-odd years or so. We have shifted grounds a bit, if we may say so. Maybe one

can ask our viewers, they might be able to answer this without any bias.

Can you provide an overview of the current state of the art scene in the UAE? Exciting and upcoming.

What are your expectations regarding the evolution of the art scene in the UAE over the next two decades?

Only time will tell. We are optimistic though.

Abu Dhabi Art . Dyala Nusseibeh

DYALA NUSSEIBEH HAS BEEN THE DIRECTOR OF ABU DHABI ART SINCE 2016. SHE BEGAN HER CAREER WITH A YEAR AT THE CULTURAL FOUNDATION IN ABU DHABI, FOLLOWED BY FOUR YEARS AT THE SAATCHI GALLERY IN LONDON AS HEAD OF EDUCATION. IN 2013, NUSSEIBEH BECAME THE FOUNDING DIRECTOR OF ART INTERNATIONAL ISTANBUL, A POSITION SHE HELD UNTIL 2016, WHEN SHE JOINED THE DEPARTMENT OF CULTURE AND TOURISM – ABU DHABI.

Dyala Nusseibeh, Director of Abu Dhabi Art.

114

The art scene in the UAE has experienced remarkable growth in recent years. Can you share your perspective on how it has evolved, and what do you see as the driving forces behind this transformation?

As a whole, I would say the art scene has never been more dynamic or fuller of promise for future generations, not least because leadership in the UAE has placed culture at the heart of their vision for future prosperity, social cohesion and well-being. It is important to consider the UAE as an ecosystem, in which each emirate plays a part in this shared ambition. The opening of important museums, such as Louvre Abu Dhabi in 2017, and the now longstanding work of institutions and cultural bodies across the Emirates such as Sharjah Art Foundation, Barjeel Foundation, the Cultural Foundation, Warehouse 421, the Salama Bint Hamdan Emerging Artists Fellowship, NYU AD and Alserkal Avenue to name a few, have all in turn played a role in achieving this vision, in which the sum is more than each individual part. The influence of work by early artist pioneers such as Nujoom Alghanem, Mohammed Kazem or Hassan Sharif also can’t be understated. A plethora of opportunities exist for aspiring artists including artist residencies, commissions, a considerably sized community to gather with, numerous art galleries and available degrees at universities which perhaps didn’t exist in the past, all of which have helped steer us to where we are today.

Overall, these have been seismic changes and a testament to the commitment to and investment in culture in the UAE. As someone deeply involved in the UAE’s art community, what, in your opinion, are the defining characteristics that set the country’s art scene apart from other global art hubs?

I think the young generation have a distinctive voice and engage with fascinating concepts relating to inhabiting a country that has undergone rapid urban transformations over the last 50 years, coming into age at a time when technology has altered the means through which we absorb information, mining a wonderful cultural heritage that includes poetry, artisan skill, folk tales and maritime song, whilst also being outward-looking in their approach.

Your father, Zaki Nusseibeh, had a significant role as an adviser to the late H.H. Sheikh Zayed bin Sultan Al Nahyan, the founding President of the UAE. How has his influence and passion for art and culture shaped your own journey in the art world, and how has it impacted your role in building the art scene in the UAE? There is a nice citation I came across the other day that I will refer to here: “I had an inheritance from my father, It was the moon and the sun. And though I roam all over the world, spending of it’s never done”. I think an enjoyment of art is a gift that stays with you for life. Our time as children, my siblings and I, visiting the great museums of Europe with our parents, was formative and we were lucky to be able to do so. Now that the UAE has its own world-class museums, young people here can experience art first-hand without having to travel. I was lucky though, to have parents who took the time to visit museums with me. In turn, I am happy to be able to contribute to others enjoying art through Abu Dhabi Art. I think it’s a way of carrying forward this lovely continually replenishing gift that I was given.

IT IS IMPORTANT TO CONSIDER THE UAE AS AN ECOSYSTEM, IN WHICH EACH EMIRATE PLAYS A PART IN THIS SHARED AMBITION. Above – Abu Dhabi Art, 2013.

Courtesy of Abu Dhabi Art. Left – Abu Dhabi Art, 2012.

Courtesy of Abu Dhabi Art. Below – Abu Dhabi Art, 2014.

School tours at Gallery Hall.

Courtesy of Abu Dhabi Art.

Abu Dhabi Art . Dyala Nusseibeh

Could you elaborate on your experience at the Saatchi Gallery in London and your role in their Education Programme? How has this experience contributed to your approach to art curation and education in the UAE? I joined the Saatchi Gallery before it opened in its final location, Duke of York Square in Chelsea and stayed on for several years once it opened. My main role as Head of Education included producing book publications about the collection, organising artist workshops, putting together exhibitions of student art at the gallery, training dozens to do tours for schools (in our busiest period we had ten school groups a day!) and then coming up with new ways to engage students with art, through music and drama, for example. I also organised a satellite exhibition of artworks from the Saatchi Gallery in Ipswich to bring art to areas that had less contemporary art on offer and to broaden our reach as a collection. I have continued to place arts education at the core of the mission of Abu Dhabi Art, whether through our university programmes (Art + Tech, Pavilion Prize) or

116

Manarat Al Saadiyat.

Abu Dhabi Art, 2011.

Courtesy of Abu Dhabi Art. UAE Pavillion. Abu Dhabi Art, 2011. Courtesy of Abu Dhabi Art.

through commissioning emerging artists to create new works through the programme I launched in 2017 called Beyond Emerging Artists. We are fortunate to have the wonderful Education Department at the Department of Culture and Tourism - Abu Dhabi on side to manage school tours at the fair and artist workshops - they do a marvellous job.

One of your key objectives when you joined Abu Dhabi Art was to connect the art community in the UAE with global art networks. Can you share some of the strategies you’ve employed to achieve this, and what have been the outcomes of these efforts?

Each year I invite guest curators to create exhibitions at the fair and I also invite gallery reps to bring galleries from around the world to Abu Dhabi. This year with 92 galleries participating from 31 countries, we are heading into our biggest edition to date. The fair is a meeting place for professionals from the UAE to network with international peers and this takes on a momentum of its own. For example, we commissioned Christopher Benton to create a work one year as an Emerging Artist and were thrilled when Aicon Gallery decided to show him commercially the following year after having seen his work at the fair.

We had commissioned Sam Bardaouil and Till Fellrath to choose three emerging artists to work with for Abu Dhabi Art and were thrilled when they chose to take one of these artists, Hashel Al Lamki, to show in the Lyon Biennale the year after. These are examples of how the fair can be an enabler for local artists which is one of our aims.

You’ve been instrumental in fostering emerging talent in the UAE. Could you discuss the initiatives and programmes you’ve implemented to support young artists and bridge the gap between university education and professional art careers in the region?

I think Beyond Emerging Artists is really our flagship programme in this field. Each year we invite a guest curator to work with three emerging artists from the UAE whom we commission to create new works for the fair. The curator works closely with the artists, supporting them in the production of ambitious new work. We show the works in Abu Dhabi during the fair and for two months afterwards. We also take the works to an international location for exhibition each year, enabling new audiences to discover their works. This year we have invited Morad Montazami to curate Beyond Emerging Artists, with artists Samo Shalaby, Latifa Saeed and Almhaha Jaralla participating as artists.

Left – Abu Dhabi Art, 2015.

Hunar Gallery. Courtesy of Abu Dhabi Art. Right – Abu Dhabi Art, 2014.

Lawrie Shabibi Gallery, Gallery Hall. Courtesy of Abu Dhabi Art.

Abu Dhabi Art . Dyala Nusseibeh Abu Dhabi Art, 2019.

Opening reception.

Courtesy of Abu Dhabi Art.

Abu Dhabi Art, 2019.

Courtesy of Abu Dhabi Art.

118

In your opinion, what role does art play in building unity and cultural identity in the UAE? How does art contribute to the shared narrative of the country, and how has Abu Dhabi Art been a part of this narrative?

Interesting question! Art plays a key role in building unity because of two things - firstly, it allows for the continual recreation of cultural identity, it plays a role in collective memory and narrative building.

Secondly, it creates a space for dialogue and change.

Artists are producers of culture and work with living culture - in doing so, they reaffirm it. They continue the shared narrative of the country through their material or performative production, which is understood by all of us because of our commonalities. That said, cultural identity is plural, and artists create understanding between different people that somehow share a future together. Artists can be disrupters that expose, in a positive way, the healthy diversity in any society and help people understand or relate to differences better.

Looking ahead, what can we expect from the future of the art scene in the UAE? What unique opportunities and challenges lie on the horizon, and how do you envision your continued role in shaping this vibrant artistic landscape?

I think the future of the art scene in the UAE is incredibly exciting. My role, as I see it, is to try and enable the artists of today, in whatever ways I can, to reach their full potential through Abu Dhabi Art. It’s also to help build their careers and to support our cultural and creative economy in general, through the commercial aspect of the fair.

Afra Al Dhaheri, Tasreeha, 2020, cotton rope. Abu Dhabi Art, 2020. Courtesy of Abu Dhabi Art.

ARTISTS CAN BE DISRUPTERS THAT EXPOSE, IN A POSITIVE WAY, THE HEALTHY DIVERSITY IN ANY SOCIETY AND HELP PEOPLE UNDERSTAND OR RELATE TO DIFFERENCES BETTER.

Sharjah Art Foundation

Established in 2009, the Sharjah Art Foundation (SAF) has transformed into a vibrant cultural institution, tracing its roots back to the inaugural Sharjah Biennial in 1993. Under the leadership of President and Director Hoor Al Qasimi since 2003, the foundation has emerged as a focal point for contemporary art, hosting a diverse array of exhibitions, performances, film screenings and educational programmes throughout the year. SAF, renowned for initiatives such as the Sharjah Biennial and March Meeting, plays a pivotal role in nurturing collaboration, research and artistic excellence in the Middle East.

Hassan Sharif, various works, mixed media installation, dimensions variable.. Hassan Sharif, I Am The Single Work Artist, 2017 installation view.

Image Courtesy of Sharjah Art Foundation.

Acting as a catalyst for cultural exchange, SAF supports artists through initiatives like residencies, grants and commissions. The foundation’s unwavering commitment to education and public engagement reflects its belief in the transformative power of art within communities. With support from government funding, non-profits, sponsors and patrons, SAF continues to expand, adapt, and inspire, evident in its growing collection and diverse programmes.

The adaptive reuse of historical and modern buildings underscores SAF’s dedication to preserving Sharjah’s heritage while embracing contemporary expressions in art.

Looking ahead, the foundation remains steadfast in its mission to promote a participatory approach to art, enriching lives and contributing to the global cultural dialogue.

120

Above – Mohamed Ahmed Ibrahim, various works mixed media installation, dimensions variable. Sharjah Art Foundation, 2018 installation view.

Image courtesy of Sharjah Art Foundation.

Left – Hassan Sharif, Copper 2, 2014, copper tube, 33 x 33 x 29 cm. Hassan Sharif, I Am The Single Work Artist, 2017 installation view. Courtesy of Hassan Sharif Estate.

Image Courtesy of Sharjah Art Foundation.

Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian AS AN IRANIAN ART COLLECTIVE, RAMIN HAERIZADEH, ROKNI HAERIZADEH, AND HESAM RAHMANIAN, WHO MOVED TO THE UAE IN 2009, HAVE ENRICHED THE LOCAL ART SCENE WITH IMMERSIVE EXPERIENCES SINCE THE EARLY 2000S.

Ramin Haerizadeh • Rokni Haerizadeh • Hesam Rahmanian. Photo credits

by Andrea Rossetti, Courtesy of OGR Torino, Galerie In Situ-fabienne leclerc Grand Paris, and the artists. Portraits by Andrea Rossetti for OGR Torino.

What personal experiences or artistic influences drew you into the vibrant UAE artist community, and how have these connections contributed to your growth as an artist in the region?

We were active in Tehran’s art scene from the early 1990s until 2009, presenting our work and sustaining ourselves through art. We began exhibiting in the UAE in the early 2000s. The UAE served as a significant platform for us, especially as contemporary art galleries were also emerging here.

It provided a fresh perspective and was a welcome change from our past experiences with war, sanctions and political challenges. Engaging with fellow artists, thinkers, writers and art enthusiasts in the UAE instilled in us hope and confidence, showcasing art’s ability to transcend cultural boundaries. By 2009, the UAE had already become like a second home to us, offering a safe and conducive environment for both life and artistic practice, playing a key role in our growth as artists.

122

Reflecting on the evolution of the UAE’s art history since the 1990s, can you describe the ways in which your artistic journey has intersected with this transformation, and in what manner have you actively participated in shaping the evolving art landscape?

Since moving to the UAE in 2009, we’ve created an independent space that blends elements of a library, cinema, theatre, house, research centre and a studio. This hybrid environment blurs the line between public and private, allowing visitors to transition from observers to active participants and sometimes creators. Our space is a dynamic entity, resembling a cell within a body, drawing external elements and serving multifaceted purposes. It houses a diverse collection of objects and art, forming a sensory archive that captures life in Al-Barsha and the contemporary world. These objects sometimes act as actors, enhancing the space’s immersive nature. The spatial dynamics of our environment facilitate the creation of shared memories and collective dreams, transcending physical boundaries to craft a tapestry of togetherness and offering an immersive experience that invites exploration and engagement.

Left – CCC OD, Le Diwan du Démon, 2023 installation view of Unfaithful Poetry as wall mural. Photo by Aurélien Mole.

Unfaithful Poetry is a collective effort between our trio, Minnie McIntyre, Christopher Lord, Sohrab Mahdavi and Mandana Mohit.

Below – Photo by Waleed Shah.

Below left – The Birthday Party, installation view ICA Boston, 2015–16 - Our narrative aimed to reengage works from ICA’s collection, as well as our own, through the lens of “sisterhood” - Photo by Charles Mayer.

Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian

The Birthday Party, installation view ICA Boston, 2015–16 - Our narrative aimed to reengage works from ICA’s collection, as well as our own, through the lens of “sisterhood” - Photo

by Charles Mayer.

124

Art often serves as a reflection of the cultural and societal shifts within a region. How does your artwork capture and convey the historical and cultural nuances of the UAE, and what specific themes or narratives are central to your artistic expression?

Our art practice is about taking in as much as we can in order to comprehend our time as best as we can, collecting and using items and objects from daily life in the UAE. We transform these everyday items into art objects or preserve them as memories, which are sometimes influenced by the UAE’s climate that has become our fourth collaborator. Our life and work reflects an awareness of minute details, from a nail on the wall to paint dripping from a brush, including our daily errands and traditional recipes from West Asia to East Asia. Our space serves as an archive filled with both our indigenous knowledge as well as local and international learning, capturing and conveying the historical and cultural nuances of the UAE. Collaboration and engagement with fellow artists often foster creativity and community growth. Could you share instances where you’ve collaborated with other artists in the UAE, and how have these collaborative efforts contributed to the diversity and advancement of the local art scene?

We have been working independently in the UAE art scene for 15 years, focusing on community engagement and self-education, inspired by the ethos of the Black Mountain College. Our collaborative efforts have included diverse individuals, breaking traditional hierarchies. A recent noteworthy example is when we collaborated with Abu Dhabi-based choreographer Kiori Kawai. Kiori created two dance films in response to a series of sculptures made by our trio. We then replicated a new series of sculptures based on her dance videos. Later, Kiori choreographed a dance piece for the sculptures as part of the Parthenogenesis exhibition at NYUAD Art Gallery, resulting in two dance film pieces and live performance of Mirroring Medusa, which featured dancers Concetta Cariello and Marwan Ghunaim, along with musician Aaron Sherwood.

In Abu Dhabi, we curated an exhibition with a yearlong collaboration, aiming to establish a post-human environment. The exhibit showcased works by Emirati artists Ayesha Hadhir, Rawdha Al Ketbi and Shaikha Al Ketbi, seeking to unveil a new facet of humanity rooted in the local context.

OUR SPACE IS A DYNAMIC ENTITY, RESEMBLING A CELL WITHIN A BODY, DRAWING EXTERNAL ELEMENTS AND SERVING MULTIFACETED PURPOSES. In 2015, we invited Hassan Sharif to contribute a piece for an exhibition at the ICA Boston. The exhibition challenged conventions by embracing diverse artworks, abandoning traditional categorisations and defying chronological history within an installation.

Our narrative aimed to re-engage works from ICA’s collection, as well as our own, through the lens of ‘sisterhood’ (a term coined by Helen Molesworth).

These are just a few examples to show our ongoing engagements with fellow artists in the UAE that have fostered community growth that contributed significantly to the diversity and advancement of the local art scene.

Looking ahead to the future of the UAE’s art scene, what prospects or challenges do you find most exciting, and how do you envision your role in driving continued development and innovation within the UAE’s art landscape?

As we’ve grown with the dynamic UAE art scene, experiencing its ups and downs, we’ve strived to contribute to its evolution. Embracing optimism and seeking positive change, especially in challenging global times, is key for us. Dostoevsky said, “What is sown in the earth is subject to decay but what rises out is incorruptible. While beauty alone may not save the world, it can open doors to hope and optimism, helping to overcome cynicism and despair.” This resonates with our belief in the transformative power of beauty. We see our role as continuing to foster this sense of beauty and positivity in the UAE’s art landscape.

2010-2020

The transformative decade from 2010 to 2020 witnessed a dynamic evolution of the UAE’s art scene, marked by the emergence of many more galleries and the establishment of a growing number of cultural institutions.

126

These developments, ranging from individual initiatives to international collaborations, collectively propelled the nation onto the global art stage.

Museums became integral to the arts landscape, adding layers of diversity and significance. The inauguration of the Louvre Abu Dhabi in 2017 was a cultural triumph for the UAE, symbolising not only a seal of approval from one of the world’s most renowned art institutions but also positioning the nation as a global destination for art and culture.

Pioneering personal initiatives also enriched the public’s access to and appreciation of art. Among these were the Ramin Salsali Private Museum, established with a unique emphasis on simplicity and accessibility, and the Barjeel Art Foundation, spearheaded by the insightful Sultan Sooud Al Qassemi, which was established to manage, preserve and exhibit an extensive collection of Modern and Contemporary Arab art while fostering critical dialogue around Contemporary art practices with a focus on artists with Arab heritage internationally.

The auction house scene also flourished during this transformative decade, with Sotheby’s establishing its first UAE office. This move demonstrated the growing international interest in the UAE and showcased the region’s capacity to attract and engage with global art markets. The presence of

auction houses, alongside the vibrant gallery and museum scene, underscored the multifaceted growth and recognition of the UAE in the international art community.

Alserkal Avenue strengthened its position in this decade as a focal point for artistic expression, attracting an increasing number of institutions.

Among these were the Jean-Paul Najar Foundation, established in 2016, showcasing the vision of economist, photographer, and sculptor Jean-Paul Najar, and the Ishara Art Foundation. The latter, founded in 2019 by visionary Smita Prabhakar, added to the diversity of offerings, contributing to the global conversation on contemporary art.

Art Jameel, founded in 2018, further exemplified the enrichment of community, emphasising the commitment to fostering creative connections.

Galleries established in this decade played a crucial role in shaping the burgeoning art scene.

Andakulova Gallery, Leila Heller Gallery, Elmarsa Gallery, and Lawrie Shabibi, each with their distinctive contributions, added increasingly diverse programmes to the artistic landscape, contributing to the flourishing cultural environment.

Barjeel Art Foundation .

Sultan Sooud Al Qassemi

Sultan Sooud Al Qassemi, founder of Barjeel Art Foundation.

128

SULTAN SOOUD AL QASSEMI, AN EMIRATI COLUMNIST AND RESEARCHER, IS RENOWNED FOR HIS INSIGHTS INTO THE SOCIAL, POLITICAL, AND CULTURAL AFFAIRS OF THE ARAB GULF STATES. RANKED 19TH ON THE “ARABIC THOUGHT LEADER INDEX” IN 2018, SULTAN HAS SHARED HIS EXPERTISE AS A FELLOW AND LECTURER AT ESTEEMED INSTITUTIONS LIKE YALE UNIVERSITY AND GEORGETOWN UNIVERSITY. FOUNDER OF THE BARJEEL ART FOUNDATION IN 2010, HE CONTINUES TO CONTRIBUTE SIGNIFICANTLY TO THE ARAB ART SCENE WHILE IMPARTING KNOWLEDGE THROUGH TEACHING AND EDITORIALS.

As the founder of the Barjeel Art Foundation, could you share with us the founding story and the vision that led to the establishment of this remarkable institution dedicated to Contemporary Arab art?

I began being interested in art during my undergraduate studies at the American University of Paris in the 1990s. This is when I began exploring museums, galleries and cultural spaces across the city. Upon completing my degree in 1998, and returning to the United Arab Emirates, my interest in Arab art began to develop and grow, eventually leading me to build a collection of Modern and Contemporary Arab art that would later become open to the public with the establishment of the Barjeel Art Foundation in 2010. My vision for the collection is to showcase the breadth of art from the Arab world with all its minorities, its women artists, and its different influences. I would like for this art to be available for view and for scholarly investigation by art historians, placing it on a par with art from other parts of the world in the writing of global art historical narratives.

The Barjeel Art Foundation focuses on Contemporary Arab art. How has this emphasis on Arab art played a role in fostering cultural unity and a shared cultural identity in the UAE? While the region is very diverse in its communities and populations, it does have many shared histories and experiences. The collection of the Barjeel Art Foundation is currently one of the most rounded collections of Modern and Contemporary Arab art in

terms of showcasing various communities and minorities residing in the Arab world, including Amazigh, Kurdish, Armenian, Persian, Turkish, Jewish and Circassian, among others. It is also one of the most gender-balanced collections of Arab art. I believe that offering a platform for the region’s various voices and presenting them in a shared space fosters cultural unity, and an understanding that it is a history that we are all part of, and we all have a stake in.

Could you highlight some of the most impactful exhibitions or artists that have been featured at the Barjeel Art Foundation and the influence they’ve had on the local and international art communities?

Since its inception, the foundation has held 40 art exhibitions both locally in the United Arab Emirates, and internationally in cities like Singapore, Paris, London, Berlin, Toronto, New York, Boston, Tampa, New Haven, Amman, Kuwait, Alexandria, Baku and Tehran - allowing global audiences to gain first-hand access to Arab art. Notable collaborations include projects like The Sea Suspended at the Tehran Museum of Contemporary Art (TMoCA) in 2016, and

Courtesy of the Barjeel Art Foundation.

Barjeel Art Foundation .

Sultan Sooud Al Qassemi

Courtesy of the Barjeel Art Foundation.

Taking Shape: Abstraction From the Arab World, 1950s-1980 at the Grey Art Gallery, New York University in 2020, which went on to tour four additional venues in the US. Our latest international exhibition was held this year, in 2023, at Christie’s, London, and was titled Kawkaba. It showcased 100 works from across the Arab region, and was visited by a large number of people. The foundation has also loaned artworks to over 130 institutions globally, including museums like Tate Liverpool and Tate St. Ives, MoMA PS1, The Art Institute of Chicago, Mori Museum and others.

The foundation places a strong emphasis on education and research. How do these aspects contribute to the cultural enrichment of the UAE and the broader Arab region?

The Barjeel Art Foundation aims at developing a public platform to foster critical dialogue around Modern and Contemporary art practices, with a focus on artists with Arab heritage internationally. We strive to create an open-ended inquiry that responds to the nuances inherent to Arab histories beyond the borders of culture and geography. As part of these efforts, we continuously work on generating knowledge around the collection, whether through publications, many of which can be downloaded on our website for free, or through collaborations with universities and academic institutions on initiatives like conferences, symposia or exhibitions. We also often have graduate students and researchers spend time in our storage facilities in Sharjah, seeking to view artworks that are part of their academic work and writing. In addition to that, we have a large part of the collection on long-term view at the Sharjah Art Museum, which is an institution that receives a lot of students, from pre-school to graduate level.

The UAE’s art scene is dynamic and ever-evolving.

What are your thoughts on the future of the Barjeel Art Foundation and its role in shaping the art landscape of the UAE? The art landscape in the UAE is indeed very dynamic, and includes institutions like state museums, nonprofit organisations, commercial galleries, auction houses and various artist-run spaces, as well as educational establishments that provide training in art. I see the Barjeel Art Foundation’s continuing role in the UAE’s cultural ecosystem as educating audiences on Modern and Contemporary art from

130

the Arab world, and also keeping the collection accessible to wide viewership, both locally and internationally, including providing access and support to researchers, scholars and students.

The Barjeel Art Foundation is known for its dedication to preserving and showcasing Arab art.

Can you tell us more about your approach to building and maintaining your art collection?

Our approach to building the collection is to represent as many voices and significant schools of thought that emerged from the region as possible.

We continuously look to fill in the historical and geographical gaps in the collection, which happens through ongoing research, consulting with scholars, and a constant search for artworks that would make valuable additions to the collection. The foundation also continuously invests in conserving and repairing artworks, some of which arrive to us with visible damage, while others require cleaning and professional dusting. Maintaining the collection is as labour intensive and important as assembling it.

Art often has the power to provoke thought and inspire change. Can you share any instances where art displayed at Barjeel has led to meaningful dialogues or social change in the UAE or the Arab world?

Art is what encapsulates the ideas, dialogues and concerns of the societies within which it is produced.

As such, it can be a very effective vehicle in conveying the socio-political conditions of its time or, for that

Courtesy of the Barjeel Art Foundation.

matter, serving as an agent of social change. In our experience of curating exhibitions, enriching dialogues have been generated when the Barjeel collection travelled to the Tehran Museum of Contemporary Art (TMoCA) in 2016, for example, as despite many shared histories between Iran and the Arab world, these artworks had not been seen by audiences in Tehran before due to geopolitical conditions. We also had wonderful conversations about figuration and non-objective art that emerged from our travelling exhibition Taking Shape: Abstraction From the Arab World, 1950s-1980s, which took place between 2020-2022, that helped to challenge opinions about Modern Arab art, and turn attention to the diversity and originality of modernity in the region.

The foundation has been involved in numerous collaborations and partnerships. How have these interactions with the international art community influenced the foundation’s mission and reach?

Collaborating with other institutions and interacting with the international art community allows the Barjeel Art Foundation not only to showcase the collection more widely, and start conversations about Arab art with diverse audiences, but also to expand our own areas of inquiry, become aware of possible gaps in our research, and to view the collection from multiple perspectives. For example, in 2020 journalist Raphael Cormack of Apollo Magazine, who reviewed our exhibition Taking Shape: Abstraction From the Arab World, 1950s-1980s at the Grey Art Gallery at NYU, aptly noted that a discussion of the Cold War and how it may have influenced the proliferation of Abstract art movements in the region was missing from the exhibition and the publication. This got us thinking about expanding our field of research, and offered an additional lens through which to investigate regional art histories. Building and circulating the collection is to a large degree an organic process, which is dotted with discoveries, pivots and occasional changes in direction.

Art and culture often transcend national boundaries.

How does the Barjeel Art Foundation engage with artists and art from around the Arab world, and how does this contribute to a sense of unity and shared identity within the region?

The Barjeel Art Foundation collects art from across

the Arab region, as well as art by Arab artists internationally, thus transcending national boundaries and providing a shared platform for diverse voices. This fosters a sense of unity not only among the presented artists, or among our shared histories, but also among visitors from across the region who are able to recognise themselves and their experiences in the artworks on display.

Lawrie Shabibi . William Lawrie WILLIAM LAWRIE, COFOUNDER OF LAWRIE SHABIBI, HAS BEEN AN INFLUENTIAL FIGURE IN THE UAE ART SCENE, TRANSITIONING FROM A ROLE AT CHRISTIE’S TO ESTABLISHING THE GALLERY IN 2010 WITH ASMAA SHABIBI. Can you share your journey into bringing art to the UAE? How did it start, what inspired you to do so and what were the challenges?

Before we opened the gallery, both Asmaa [Shabibi] and I had different roles in the UAE art scene. Asmaa was the managing director of Art Dubai, and had the idea for the Abraaj Art Prize, which brought both sponsorship and curatorial clout to the fair. I was director of Contemporary Middle Eastern Art at Christie’s, and I was the first auction house specialist in the region and for this category. At that time the UAE art scene had a relatively small group of key players, so it’s natural that we all knew each other.

Before this, I first came to Dubai in 2005 as a specialist in Christie’s Islamic Art department in London. My background is an art historian, specialised in Islamic Art, i.e. historical artworks from Islamic lands, from the 7th - 19th centuries CE. I was responsible for consigning the works for Christie’s first exhibition in the Middle East, which was held in the ballroom of Madinat Jumeirah in March 2005. I quickly became friends with the first Christie’s Dubai representative, Lydia Limerick, and through her was introduced to a core of collectors of Modern Arab art in the UAE. With encouragement and support from colleagues in London, we planned the first Christie’s Dubai auction, which was held in May 2006. I spent the nine months between travelling around the region, researching and persuading, and putting

132

William Lawrie and Asmaa Shabibi, founders of Lawrie Shabibi Gallery.

WE DO LISTEN TO WHAT OUR ARTISTS AND SUPPORTERS SAY, AND THIS CAN SOMETIMES CHANGE OUR PROGRAMME.

together a group of Arab and Iranian Modern and Contemporary artworks, which was the first time Christie’s had ever presented this category in auction.

Meanwhile, my colleagues built a legal and logistical framework, which included training the first dedicated fine art shippers and handlers in the region. Most of the clients were entirely new to Christie’s, most completely new to auction and also many of them had never been to Dubai or the UAE. It was a huge gamble, and we were not sure it would work. On the day, the works made three times the top estimate, and almost immediately I was asked to move to Dubai and head the sales. I led the next eight series of auctions, with sales totalling $100m.

Which artists were the primary focus of your efforts? Did your choice change over time?

With the first auctions there was only a relatively small established international market for Arab Modern and Contemporary art, more national markets (Morocco, Egypt, Lebanon etc) with some overlap and also collectors in the GCC, who would buy regionally. In the first auction in 2006, I was trying to cover as much ground, geographicallyspeaking, as possible, but really the way I would refer to it now is we threw many balls in the air to see which would be caught. Back then tastes were different. Calligraphy-based art did best. That changed over the time I was in Christie’s Dubai, and we gradually moved to the kind of selections you see now in the auctions. I could see very clearly how the evolving market quickly began to shape the content of the sales, changes that were not necessarily to my taste or interests.

At this point I had the idea to start my own gallery. My friend Asmaa had a similar idea, and we both expressed it over a coffee 13 years ago, and here we are!

Our primary focus was artists from the Arab world, Iran and the broader region, who we felt were underrepresented in Dubai. Mostly young artists with a few established names. We opened with a show for Nabil Nahas, who was a friend from my Christie’s days. We followed this up with an exhibition for Shahpour Pouyan, and then with a group show to try working with several artists, including Asad Faulwell. I am happy to say we still work with all three.

We do listen to what our artists and supporters say,

and this can sometimes change our programme.

Seven or eight years ago a few people noted that our programme was at the time heavy on diasporic artists. We thought this was interesting and began to explore this. As we are both British and partly UKbased, we started focusing on diasporic artists working in the UK, where a wealth of art schools and artist studios has, in London especially, enabled a particularly vibrant artist scene. Around the same time, we were very lucky to begin working with Shaikha Al Mazrou, and slightly later, Mohamed Ahmed Ibrahim, two of the leading artists in the UAE. Until then all our artists were abroad, but it’s such an enriching experience to be able to visit artists at home and in the studio. As the scene here changes and opportunities open up, it’s been particularly rewarding to work with Shaikha and Mohamed on projects around the region, especially public art.

Could you outline the key elements of your gallery programme and how it evolved?

There are a few overlapping features, I like to think of it as a Venn diagram of overlapping sets. We are drawn to artists with an appreciation of history/art history/culture and investigate or critique these within their work; we are drawn to abstraction, especially geometric abstraction; to artists who work with either motifs or techniques that have a dialogue with historical Islamic art; to artists whose craft is wholly apparent - we don’t like things to look too machine made; we work with older artists whose work we think is underrepresented or has been missed out in the first wave of global art history.

These are interests that Asmaa and I have been developing for a long time and are conscious of.

There are several other themes, and we never mind if they are pointed out to us, in fact it’s very helpful.

Essentially, it’s the personalities of the artists that shapes the programme. As their work develops and changes, so too do we have to keep up.

Lawrie Shabibi . William Lawrie

In what ways has this endeavour played a role in nurturing the art scene in the UAE? There is only a very small number of galleries in Dubai which have a comparable outlook and way of operating. We try to maintain a level of consistency in our approach, with five or six exhibitions each year in the space, the two local fairs - Art Dubai and Abu Dhabi Art, and international fairs in the UK, US and East Asia. To maintain this over more than a decade requires a lot of energy, dedication and also funding.

Not many galleries here are prepared for this kind of constant commitment, and those who do provide the bedrock of the commercial art scene here in the UAE. In more than 12 years, we have worked with many of the most interesting artists of the region, often bringing them to the UAE for the first time, as well as working with collectors (occasionally helping mint new ones), and with institutions, some old, some yet to open, to build their collections through acquisitions and commissions, while at the same time having a programme of exhibitions - now more than 70 - that are free and open to any visitors.

Can you provide an overview of the current state of the art scene in the UAE? It’s funny to think our gallery is now one of the older galleries in Dubai! Of the group I mentioned above, we are the youngest. There are many commercial galleries and spaces in different areas of the city, more than I can reasonably follow, including for digital new media. It’s looking more and more like a holistic art scene, spread through the three main cities - Sharjah, Dubai, Abu Dhabi. Whilst Dubai is very much the centre of the commercial art scene, Abu Dhabi with the Louvre Abu Dhabi and Guggenheim Abu Dhabi (under construction both in terms of building and collection), Sharjah with the Sharjah Art Foundation and Sharjah Museums, several universities now teaching to bachelor’s or master’s standard and non-profits such as Art Jameel, Marayah and 421.

What are your expectations regarding the evolution of the art scene in the UAE over the next two decades?

What excites me most is the opening of the Guggenheim Abu Dhabi. It will be the most significant museum opening in the world when it opens, perhaps the most important museum

134

opening this decade. We have been working with the Guggenheim team for about a decade now, getting to understand their ethos about what it means to have a contemporary art museum - more than that, a Guggenheim a) in the region b) in the UAE c) in Abu Dhabi. It’s been a journey and it’s been delayed.

We know all of that, but what it’s given is time and space to reflect on those questions, and I am sure what we will see will have a huge impact not just on the UAE art scene but on the whole region’s cultural scene. Just look at the effect the Guggenheim had on Bilbao, or the Tate Modern had on London, especially the whole of South London, which I think it was key in regenerating.

Nabil Nahas, Palms and Stars, 2011, installation view.

Courtesy of the artist and Lawrie Shabibi.

IT’S LOOKING MORE AND MORE LIKE A HOLISTIC ART SCENE, SPREAD THROUGH THE THREE MAIN CITIES - SHARJAH, DUBAI, ABU DHABI.

William Lawrie’s notes on shows: Nabil Nahas Palms and Stars (2011) Our opening exhibition took place just before the opening of Art Dubai and was one of the best attended events in Alserkal Avenue that year although it is fair to say that there were only four or five galleries there back then! As a brand-new gallery, we were very lucky indeed to have this kind of artist as the first show!

Lawrie Shabibi . William Lawrie

Nabil Nahas, Tethys, 2023, installation view. Courtesy of the artist and Lawrie Shabibi.

Nabil Nahas Tethys (2023) This is Nabil’s third exhibition in the gallery, and is our current exhibition. The space has undergone six months of renovations, and having Nabil’s show mark this reopening is a kind of symmetry that we like! These recent tree paintings are so much darker and stronger than anything we saw before. More gestural, highly textured and abstracted, these are some of his strongest works.

Hamra Abbas, Colour | Garden, 2022, installation view. Courtesy of the artist and Lawrie Shabibi. Photo

by Ismail Noor.

136

Hamra Abbas Kaaba Picture as a Misprint (2014) This is the first of four exhibitions Hamra has held at the gallery. The title piece KPAM is a series of six prints which mimic offset trim-colour printing, with CMY colours overlapping to form a black simplified Kaaba. Visually very simple, conceptually profound, this was one of the most striking works we’ve shown.

Hamra Abbas Colour | Garden (2022) The most recent exhibition of Hamra Abbas, almost entirely consisting of works in inlaid and mosaic stone, a technique she perfected whilst making a 1000 square foot mosaic pavement for Dubai Expo 2020, this included a 3-metre mountain scape made entirely of lapis lazuli. The only other work that was not in stone referenced KPAM, although simplified, it was the same size and proportions and shown in the same location.

Mehdi Moutashar, Cardinal Points, 2021, nstallation view.

Courtesy of the artist and Lawrie Shabibi. Photo by Ismail Noor.

Mehdi Moutashar Cardinal Points (2021) This was the first exhibition in the UAE for Moutashar, who was a recipient of the 2018 Jameel Prize although had received little exposure in the GCC. The exhibition itself was one of the best uses of our space.

I just love how Mehdi installs his works - he animates the floor and the walls, the works themselves occupying a space between two and threedimensions. Right now, he has a truly exceptional solo exhibition at Mathaf: Arab Museum of Modern Art in Doha. Several of the works from Cardinal Points are shown there. His brand of minimalism, inspired

by Islamic art, is showing at the same time as an extraordinary exhibition of Donald Judd and Dan Flavin at Riwaq. Even in such company his work certainly holds its own.

Mona Saudi Poetry in Stone (2015) Mona was one of the first artists from the region I got to know in 2005, when I was researching the first auction for Christie’s Dubai. Things don’t always happen immediately, and it was almost a decade later we showed her in the gallery. Our aim was to increase institutional interest in her practice. Mona had a retrospective at Sharjah Art Museum in 2018, followed by further institutional acquisitions after her death in 2022. Very tragically, her daughter Dia Batal, also an artist, recently passed away. The gallery is continuing to work on Mona’s legacy. The relationships we develop with artists and their families has begun to span generations and we are seeing that as the gallery matures, so does our sense of responsibility and duty.

Shaikha Al Mazrou, Dwelling in the Gap, 2022, installation view. Courtesy of the Artist and Lawrie Shabibi. Photo by Ismail Noor.

Shaikha Al Mazrou Dwelling in the Gap (2022) This was the second show for Shaikha Al Mazrou in the gallery, with her folder steel works referencing minimalism and inspired by origami. Shaikha is the first artist from the UAE that we have worked with, and her work has improved and matured so that every piece in this show was a gem - colour and form perfectly balanced, and the series conceived as a complete set. Seeing the exhibition for the first time was like walking into a candy store - that same sense of giddy excitement.

Mona Saudi, Poetry in Stone, 2015, installation view. Courtesy of the Artist and Lawrie Shabibi.

Salsali Private Museum Founded in 2011 in Dubai, the Salsali Private Museum (SPM) stands as a manifestation of Ramin Salsali’s deep passion for art and his dedication to cultivating a vibrant cultural community. As the pioneer private museum for Contemporary art in the region, SPM has evolved into a cultural hub and collector centre, offering a platform for both emerging and established art enthusiasts. SPM’s distinctive concept, which prioritises simplicity and accessibility, aims to eliminate barriers and inspire individuals to initiate and showcase their art collections.

Ramin Salsali, an avid art collector, entrepreneur and arts patron, established the museum with the vision of sharing his extensive collection comprising over 900 pieces, spanning painting, photography, video art, sculpture and installations. SPM also serves as a venue for collections from guest collectors and traveling exhibitions. Rooted in a mission to contribute to the development of art, culture, and creative communities, the museum functions as a supportive platform for artists and collectors, fostering a culture of collecting and sharing art with the public.

Ramin Salsali.

138

Recognised as the Patron of the Arts by His Highness Sheikh Mohammed Bin Rashid Al Maktoum for multiple consecutive years, Salsali continues to play a pivotal role in shaping Dubai as a hub for Middle Eastern art and culture. With a focus on social responsibility and unwavering commitment, SPM serves as a beacon for fostering peaceful communication among cultures through the universal language of art.

Salsali Private Museum.

Courtesy of Salsali Private Museum.

Andakulova Gallery . Natalya Andakulova NATALYA ANDAKULOVA, FOUNDER OF ANDAKULOVA GALLERY, HAS BEEN A DRIVING FORCE IN PROMOTING CENTRAL ASIA’S CONTEMPORARY VISUAL ARTS IN THE UAE.

Natalya Andakulova, Art historian, founder of Andakulova Gallery.

Can you share your journey into bringing art to the UAE? How did it start, what inspired you to do so and what were the challenges?

Art is my passion. I established Andakulova Gallery in Dubai in 2012. Its objective is to promote Central Asia’s Contemporary visual arts. It serves as a platform to exhibit and support emerging to mid-market contemporary artists from Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan and Uzbekistan across a variety of media, with a special focus on Uzbekistan.

My goal is to cultivate a dialogue between Central Asia and the Middle East by positioning the art of Central Asia into the artistic hub of the Middle East. My collection includes an eclectic mix of Modern and Contemporary artworks. For the past 11 years, I have joined more than 50 exhibitions and participated in numerous arts events both in and outside the UAE. The UAE, particularly Dubai and Abu Dhabi, has made significant efforts in recent years to establish itself as a global hub for art and culture. These efforts are driven by a combination of factors, including a desire to diversify the economy, attract tourism and foster cultural exchange.

The UAE has invested heavily in creating cultural districts and landmark institutions. Saadiyat Island in Abu Dhabi is home to the Louvre Abu Dhabi, designed as a universal museum that brings together art and artefacts from around the world.

Every month I conduct an art lecture and art course about Modern and Contemporary art. My aim is to promote and cultivate art dialogue between Central Asia and the Middle East and to educate the audience about the most influential museums, art spaces and cultural centres.

140

Dubai has become a major centre for the art market in the Middle East. It hosts prestigious art fairs like Art Dubai and Dubai Design Week, and the UAE government has been supportive of local talent, offering grants and residency programmes for artists.

Which artists were the primary focus of your efforts?

Did your choice change over time?

Andakulova Gallery is focusing on promoting Central Asian artists in the UAE market as it is the primary objective of the gallery for the next few years.

Andakulova Gallery is strategically located in Dubai International Financial Centre and has been successfully operating in the market for over 12 years.

This is very important since there are other galleries in the world which showcase Central Asian art, but there is no gallery like this in the region. It is the flagship which breaks the ice for others to follow.

In the first few years, it focused mainly on Uzbekistan, since its owner hails from there. This year, it has turned to other ‘Stans’, to show a whole range of Contemporary art practices from Central Asia.

Educational programmes at the gallery discuss various aspects of Islamic art.

Film screenings, art residencies where Central Asian artists are invited by the gallery to stay in the UAE for a month (their works are exhibited later in prestigious art spaces), participation in art fairs like Art 14, London (2014), World Art, Dubai (2014, 2015) and Tashkent Biennial 2016, where the works of 15 Emirati artists were exhibited, are counted as among its highlights.

The gallery also sponsored the production of art works at Tashkent.

Andakulova Gallery works with local businesses, develops their art base, invites people to display Central Asian art in their offices and also educates the local public about the importance and role of Central Asian art in the region. We work closely with local collectors, advising, cataloguing and organising their collections. We want to help set up enduring ties between the Middle East and Central Asia. It will be the coming together of the Silk Road and the Pearl Coast. Also supporting art education programmes, schools and institutions that aim to develop artistic talent and provide opportunities for art education.

I would like to highlight Saule Suleimenova, who is working mostly with used plastic bags, Almagul Menlibayeva, whose artworks are now at MOMA Museum Los Angeles, Bakhodir Jalal, Dilyara Kaipova, Said Atabekov, Timur D’Vatz and Timur Akhmedov.

Timur D’Vatz is an artist bestowed with unique talent and knowledge. He is inspired by ancient history, medieval tapestries and Celtic mythology. The element of the hunt is a deeply symbolic one. There are no strings attached. The red horse personifies a desire to know.

Timur Akhmedov has achieved national and international recognition. His artworks are highly sought after and grace private collections of serious art collectors and investors globally. His compositions are symbolic, yet almost fairy-tale-like, with content that stirs the emotions and intrigue. Timur’s work most often displays a fascinating mix of his own dreams – he depicts the world and people in a surreal, dream-like way, often representing himself and others as majestic characters within a story.

Timur D’vatz, Reawakening, installation view at Andakullova Gallery.

Courtesy of Andakulova Gallery.

Andakulova Gallery . Natalya Andakulova Canada; Rhode Island School of Art Museum Design, Johnson Museum of Art at Cornell University, Mack Museum and City Museum, Amsterdam.

Almagul Menlibaeva became a worldwide known artist by participating in four biennales in Venice, and exhibitions in Milan, Gwangju, Berlin, Paris, London, Mumbai, Amsterdam, Sydney, Turin and Sharjah. Her style is recognisable, with originality of thought, compositional solutions, energy and colour. In her new artworks, Almagul’s use of digital photography techniques and print techniques creates bold metaphors for environmental, social problems, and the influence of technologies.

Javlon Umarbekov is known as the People’s Artist of Uzbekistan, an active member of the Academy of Arts of the Republic, a full member of the Academy of Arts of Kyrgyzstan and Ukraine, and a professor of the National Institute of Arts and Design named after K. Behzad, the legendary founder of the Herat miniature school.

Bakhodir Jalal received the highest awards for the reinvigoration of the mural genre, winning the USSR State Prize in 1984 and the Uzbekistan State Prize in 1991. In terms of style, his monumental murals draw from disparate sources such as Renaissance art, European Modern masters, Mexican muralists and frescoes of the ancient site of Afrasiab in Samarkand.

Said Atabekov has been acknowledged internationally for his mix of ethnographic signs, recollections of the Russian avant–garde and post– Soviet global interferences. His photographic works are powerful: black and white, taken from an inclined angle, oblique vanishing points, zenithal shots, close-ups from below, and continuous references to Max Penson’s Uzbek photo reportage and Rodčenko’s time-space discontinuity.

Dilyara Kaipova turns to a special traditional ikat technique, creating unique robes, with the inclusion of symbols of her culture. Since 2019, the artist’s works have been purchased by 10 museums around the world, including Tbilisi State Silk Museum, Textile Museum in Georgetown, DC; Royal Ontario Museum,

142

Could you outline the key elements of your gallery programme and how it evolved?

Andakulova Gallery regularly hosts exhibitions featuring the work of various artists. These exhibitions can include solo shows, group exhibitions and thematic displays.

Over time, the focus of these exhibitions reflects changing art movements, trends or the gallery’s curatorial vision. Nowadays, we exhibit artists who work with different mediums: textiles, used plastic, etc.

Andakulova Gallery provides authentic and original art works by famous Central Asian artists including paintings, drawings, photo and video installations, and sculptures. Art acquisition services include sourcing and acquisition of specific art pieces for collectors and institutions at preferential dealer prices from authorised sources. We host art lectures and symposiums, conducting art lectures and art classes on specific art topics and genres for institutions and organisations.

Art advisory and consultancy services are for individuals and institutions who are either looking to start an art collection or for streamlining and expanding their existing collections.

The gallery often includes educational components such as artist talks, workshops and guided tours to engage with the public and provide deeper insights into the art on display. This programming can evolve by featuring new artists and topics.

Andakulova Gallery engages by collaborating with local schools, hosting community events, or partnering with non-profit organisations to support various causes through art-related activities.

Collaborations with other galleries, institutions, or international partners can become a key part of a gallery’s programming as it seeks to broaden its reach and offer unique experiences. Recently we had two very interesting exhibitions at Me Dubai by Zaha Hadid and Foundry Downtown.

In what ways has this endeavour played a role in nurturing the art scene in the UAE? In my point of view, there are lots of benefits to having an art gallery in the UAE. We have international art lovers here. Andakulova Gallery supports emerging artists to establish themselves in the art world. Soon we will host an exhibition of young artists from Karakalpakstan.

Hosting exhibitions of art from various regions and cultures encourages dialogue, understanding and appreciation of art from around the world. Gallery programmes often include educational components, such as workshops, artist talks, and guided tours.

Many gallery programmes actively engage with the local community through events, outreach, and educational programmes. These initiatives help bring art to a wider audience, including international brands, schools, families and underserved communities. By providing a space for artistic expression and experimentation, gallery programmes contribute to the fostering of creativity. We encourage artists to push boundaries and explore new ideas and techniques.

Art has become a key driver for cultural tourism in the UAE. People from around the world visit the country to experience its vibrant art and cultural scene, boosting the tourism industry.

Can you provide an overview of the current state of the art scene in the UAE? The art scene in the UAE reflects its ambition to be a global centre for creativity, culture and artistic expression. Dubai, in particular, has established itself as a major centre for contemporary art in the Middle East. The city is home to numerous art galleries, both commercial and non-profit, showcasing a diverse range of Contemporary and Modern art.

Dubai hosts Art Dubai, one of the leading art fairs in the Middle East. The fair attracts galleries, artists, and collectors from around the world, making it a hub for art commerce and exchange.

The UAE has invested in art education and institutions like the Dubai Institute of Design and Innovation (DIDI), which provides world-class education in design and innovation. The UAE has been actively supporting and promoting local artistic talent through grants, residency programmes and exhibitions. This support for local artists has helped the emergence of a vibrant art scene. There’s a growing emphasis on public art initiatives, with various sculptures, murals, and installations enriching the public spaces in the UAE. Cultural districts, like Saadiyat Island in Abu Dhabi, continue to evolve and

expand with the development of new cultural institutions and projects. The art and culture scene in the UAE has contributed significantly to cultural tourism, attracting visitors from around the world.

What are your expectations regarding the evolution of the art scene in the UAE over the next two decades?

The future of the art scene in the UAE will be shaped by the collective efforts of artists, institutions, government bodies and the broader art community, as well as by the evolving cultural and economic landscape.

The UAE has shown a commitment to the arts, and it is likely that the art scene will continue to grow and evolve, with the development of new cultural institutions, galleries and cultural districts. The position as a global crossroads and its ability to attract international artists, collectors and tourists suggest that the art scene will remain internationally connected.

Supporting and promoting local artists is likely to continue, fostering the emergence of a strong and distinctive local art scene.

Advancements in technology and digital art will likely play a significant role in the art scene’s evolution, with more artists exploring digital media and interactive art forms. The UAE’s focus on cultural exchange is likely to grow, with more collaborations and partnerships with international cultural institutions and artists. The art scene is likely to become even more diverse, encompassing a wide range of art forms and expressions, including performing arts, new media art and interdisciplinary works.

The UAE’s art scene has shown a willingness to innovate and experiment. This is likely to continue as artists push boundaries and explore new ideas. The growth of art education and institutions is expected to continue, nurturing the next generation of artists and creative professionals. The art scene’s contribution to cultural tourism is likely to increase as the UAE becomes an even more attractive destination for art and culture enthusiasts. And I hope that Andakulova Gallery also brings cultural impact to the UAE.

Timur D’vatz, Reawakening, installation view at Andakullova Gallery.

Courtesy of Andakulova Gallery.

Sotheby’s . Katia Nounou Boueiz

Katia Nounou Boueiz, Senior Director, Head of Sotheby’s UAE.

KATIA NOUNOU BOUEIZ JOINED SOTHEBY’S PRIVATE CLIENT GROUP IN 2008 WITH A FOCUS ON CULTIVATING MIDDLE EASTERN CLIENTS AND NURTURING A NEW GENERATION OF COLLECTORS GLOBALLY. AFTER SETTING UP AND DEVELOPING SOTHEBY’S FIRST UAE OFFICE IN 2015, KATIA HAS BEEN INSTRUMENTAL IN PIONEERING A CONTINUOUS CALENDAR OF BESPOKE EXHIBITIONS, EDUCATIONAL LECTURES AND EVENTS TAILORED TO THE MIDDLE EAST, CONTRIBUTING SIGNIFICANTLY TO THE ART SCENE IN THE EMIRATES.

Sotheby’s has established a notable presence in the UAE. What factors influenced the decision to set up operations in the region, and how has the experience aligned with Sotheby’s expectations?

When we first started out in the Dubai office, we were a team of three, and over the course of the last few years, I’m proud to say that we have grown to become a team of 11 permanently on the ground here in the UAE, not to mention the constant flurry of visits from our global colleagues. I think that is indicative of how we view the importance of the UAE and our commitment to it in very real terms.

Our aim at the very start was to grow our presence in a way that was distinctive to what was historically being done at the time in the region, and to set ourselves apart from our competitors too. We have been showcasing the best of the best of Sotheby’s, as a global art business, bringing a variety of our services to the doorstep of collectors in the region.

Through this we have seen our audience grow above and beyond what we imagined, and at the same time we have seen a strong increase in our Middle Eastern clients as players in our global sales.

144

Since entering the UAE art market, how does Sotheby’s perceive its role in shaping and contributing to the development of the local artistic scene? Have there been any notable shifts or trends that Sotheby’s has observed in the regional art landscape?

We see ourselves as at the forefront of a thriving ecosystem in the region, of artists, gallerists, galleries, art fairs and institutions all with the same purpose with so much opportunity to thrive together.

One example that encapsulates this is if you look back to the summer of 2020, we held the inaugural online sale by an international auction house in the Middle East, bringing together works from seven of Dubai’s leading art galleries from the vibrant Alserkal Avenue district in a project that was the first of its kind. This felt like a natural partnership, as we used our extensive digital reach and presence to amplify their initiatives and create new collecting opportunities worldwide.

Whilst we continue to innovate, we are also dedicated to exhibiting Middle Eastern Modern and Contemporary art at least twice a year, with our biannual travelling exhibition from the flagship London auctions, which has become a fixture in the calendar for many.

We are also committed to highlighting and elevating Emirati artists. For example, recently we included a work by Mohamed Ahmed Ibrahim as the star of a private selling exhibition in the gallery. Looking a little further back, we partnered with Aisha Alabbar Gallery to put on a wonderful show of works by Najat Makki. I myself have a work that I treasure by an Emirati artist, and honestly would urge everyone to acquire at least one that they resonate with in their collection.

We have found that the response has been particularly enthusiastic towards the educational talks that we put on, particularly those that give insights into how local collectors have gone about their art journey. Most recently, we held art collector talks at Abu Dhabi Art fair, with Elie Khouri, Basel Dalloul and Fatima Maleki.

In terms of trends that we are seeing, I would say it is the interplay between emerging and established markets.

Our collectors are broadening their scope, bringing together artists from different regions, whether this is international Contemporary art, young artists from our Now sales as well as traditional Western categories like Old Masters. That fits in with what we have seen with cross-category collecting, which really is how we see people putting together their collections now. We’ve also found that collectors are keen to explore different regions, for example at the moment there is a lot of focus on Saudi art, particularly by the Modernist pioneers.

The UAE’s cultural and artistic landscape has witnessed significant growth and diversification. In this evolving environment, how does Sotheby’s foresee its role evolving, and are there specific initiatives or collaborations planned to further engage with the local and regional art community?

We will continue in our unique role of presenting artworks like the show-stopping 1932 Picasso of Marie-Thérèse Walter this September, being able to position the UAE as a major stop in the world tour of our very top masterpieces. Another blue-chip artist we have successfully promoted here is Andy Warhol, as we unveiled a single-owner private collection of his prints earlier this year, and currently have an exceptional 1980 painting (14 Small Electric Chairs from the Reversals Series) on our walls, which is being offered for private sale.

WE SEE OURSELVES AS AT THE FOREFRONT OF A THRIVING ECOSYSTEM IN THE REGION, OF ARTISTS, GALLERISTS, GALLERIES, ART FAIRS AND INSTITUTIONS ALL WITH THE SAME PURPOSE - WITH SO MUCH OPPORTUNITY TO THRIVE TOGETHER.

2015

Sotheby’s Dubai.

Courtesy of Sotheby’s.

Sotheby’s . Katia Nounou Boueiz

Left– Afternoon Tea at Sotheby’s Dubai. Courtesy of Sotheby’s.

Left below – Sotheby’s Dubai, March 2021. Courtesy of Sotheby’s.

Below – His Excellency Sheikh Salem bin Khalid Al Qassimi (UAE Minister of Culture and Youth).

Courtesy of Sotheby’s.

Julian Dawes, Saleh Al Akrabi, Ghamzeh Alabbar, HE Sheikh Salem Bin Khalid Al Qassimi, Katia Nounou Boueiz. Dr Saeed Kharbash.

Courtesy of Sotheby’s.

146

The Picasso was a perfect example of how we engage with the local arts community, as we unveiled it with a number of guests of honour, including the UAE Minister of Culture & Youth, the CEO of Dubai Culture’s Arts and Literature Sector, as well as the CEO of the DIFC, which is our home.

We want to carry on this trajectory in the future, but on my wish-list are more women artists, such as the incredible Amy Sherald and Lynette Yiadom Boakye - their sheer wall power would work perfectly here.

As an international auction house, Sotheby’s has a unique perspective on global art markets. From this vantage point, what are Sotheby’s views on the current state of the artistic scene in the UAE, and are there any forecasts or expectations for its future development?

I think there will be even more visibility on art in the region, with the UAE continuing to shift to become a cultural hub internationally. There is an extensive museum project opening in Abu Dhabi over the next few years, with the Guggenheim and other great foundations and arts centres that will be opening in the Saadiyat space. As a result of having these institutions filled with art, there will no doubt be more of a focus on culture that filters through. If you look at what happened when the Louvre opened, and the huge shift that caused, we can only imagine what will come.

The UAE continues to be one of the best places to live in the world, so the influx of people moving here from all over the world has not stopped, in fact it is growing. This pool of potential art lovers includes people who are already seasoned art collectors and are looking to continue or furnish their new homes with an art collection that speaks to the region they are now in.

There is also the younger generation, and this youth demographic means that Dubai and the UAE more widely is bursting with this energy and thirst for learning, as people who are thriving here are starting to build their own collections. To that end, we are doing more private selling exhibitions, more talks and tailored events like tours and Young Collector dinners.

Given the dynamic nature of the UAE’s cultural sector, are there specific strategies or initiatives that Sotheby’s is considering to stay at the forefront of the region’s art market? How does Sotheby’s aim to continue fostering a meaningful

connection with collectors, artists and art enthusiasts in the UAE? Our overriding mission statement is to bring the best quality art here, and to put the UAE on the map as one of the cultural hotspots of the world standing shoulder to shoulder with London, Hong Kong, Paris and New York - that is what is at the heart of our commitment. A large part of that is exposing our audience to a thoroughly diverse offering. I’d love to bring, for example, African and Latin American art, and differing categories like a focus on prints and photographs.

Throughout your years at Sotheby’s, you’ve played a pivotal role in the region’s art scene. Can you share some reflections on your experience and how you’ve witnessed the evolution of the art market in the UAE over the years? What notable changes or trends have you observed, and how has Sotheby’s adapted its strategies to navigate the dynamic landscape of the local art market?

Dubai is a thriving city, and we came here at the right time - everything worked in our favour. Now, more and more people know us, we have that name recognition that Sotheby’s already is lucky to have elsewhere in the world, and we get a lot of traffic through our doors.

From my time at the helm of Sotheby’s UAE, I see the Rembrandt in 2018 as a major turning point. We brought a rare Rembrandt depicting Christ for a special exhibition in Dubai, its first venture to the Middle East since it was painted in the 17th century.

We took a risk, as we weren’t sure whether the subject matter and the artist would resonate. Not only did we see an unexpected influx of people to the gallery, but the work was actually acquired by the Louvre Abu Dhabi. Since then, we have definitely been bolder with what we choose to bring, which has been very exciting - from the two extremely high value Botticellis to most recently the $120 million Picasso – and a testament to the potential of the audience here and its rapid evolution. Another moment I was particularly proud of recently, was our talk with Fernando Botero’s family, allowing a privileged insight into such a great artist’s life and work.

There are also a lot of seasoned art collectors, the local families that we have been transacting with for many decades. We’ve found that ever since we opened our doors in Dubai, they’ve broadened out to be transacting in so many more fields. And we’re also able to continue to build on these relationships and more.

Leila Heller Gallery . Leila Heller LEILA HELLER, FOUNDER OF LEILA HELLER GALLERY, BROUGHT HER PASSION FOR ART TO THE UAE, OPENING A GALLERY IN DUBAI IN 2015 AFTER PARTICIPATING IN MAJOR ART FAIRS IN THE REGION. Can you share your journey into bringing art to the UAE? How did it start, what inspired you to do so and what were the challenges?

I am from the Middle East and I always wanted to come back to the region as I loved the warmth, hospitality and family values. I came to Dubai by chance in 2006 with my two young boys, who too fell in love with the UAE. They did not want to leave, so we extended our trip. The following year was the first edition of Art Dubai and I participated and developed a great client base from day one. The next year was the launch of ArtParis Abu Dhabi, which I participated in for two years before it became Abu Dhabi Art. I have loved being a part of those fairs since day one and it has given me the opportunity to visit the region since. The directors of the fairs told me I should open in Dubai, and I did just that. I founded a gallery there, which opened in 2015. I have loved every second of having an outpost in the United Arab Emirates. I opened my gallery in New York 41 years ago and it was a natural progression to open in the Middle East. Of course, it was a great decision, but came with its own challenges as well. At the beginning I wanted to show a mainly Western programme, but I felt the collectors, foundations, and museums were mainly interested in my artists of the region, encompassing South-East Asia, Central Asia, and the Middle East. I still continue my Western programme, but the majority of my exhibitions are sourced from the greater region. Also, four years ago I was hacked very badly for a large amount of money, which was extremely difficult to overcome. I had either the option of closing the gallery or to take care of all the funds that were stolen. Of course, I took the second option, which was a huge burden.

148

Leila Heller founder of Leila Heller Gallery.

AT THE BEGINNING I WANTED TO SHOW A MAINLY WESTERN PROGRAMME, BUT I FELT THE COLLECTORS, FOUNDATIONS, AND MUSEUMS WERE MAINLY INTERESTED IN MY ARTISTS OF THE REGION, ENCOMPASSING SOUTHEAST ASIA, CENTRAL ASIA, AND THE MIDDLE EAST.

Thankfully we are recovering. Covid has also hit us quite badly, but we are now coming out of that dilemma slowly as well. Overall, it has been an amazing experience. The Dubai art scene is very holistic. Thanks to the government, the Ministry of Culture and the support of our loyal collectors, museums and foundations in the region, we have had an amazing experience.

Could you outline the key elements of your gallery programme and how it evolved?

My gallery in New York was always an international programme, with an emphasis on artists of the Middle East, South-East Asia, and Central Asia. We continued this in the Dubai gallery with a special focus on the region as well. We still have many great Western artists in our programme such as Wim Delvoye, Lorenzo Quinn, Dale Chihuly, and Richard Hudson, to name a few.

In what ways has this endeavour played a role in nurturing the art scene in the UAE? I feel it has definitely nurtured the art scene in the UAE. We had a big emphasis on our educational programming, including curated exhibitions and artists’ talks. We also publish very thorough catalogues with scholarly essays that support our exhibitions.

Can you provide an overview of the current state of the art scene in the UAE? The UAE has really become a global art hub and is taken quite seriously with a very vibrant gallery scene, everexpanding museums and foundations. Many artists during Covid moved to the region, so it has become quite active in the arts. The government has been very generous in encouraging talent and providing golden visas to the art community, so we are getting the best of the best talent from across the world here. We are fortunate to have exhibition programmes both in

museums as well as various foundations and galleries that are very global in their content.

What are your expectations regarding the evolution of the art scene in the UAE over the next two decades?

I have great hope for this vibrant art scene to develop even more in depth. Two of the best art fairs are in the UAE, Art Dubai and Abu Dhabi Art. They draw many visitors from around the world, especially museum directors and curators. With the amount of development that has happened in just the last 10 years I can only imagine what will be in the next 20 years. The sky’s the limit for the UAE.

Above – Frank Stella, 2016, installation view at Leila Heller Gallery. Courtesy of Leila Heller Gallery.

Below – Jacob Hashimoto 2017, installation view at Leila Heller Gallery. Courtesy of Leila Heller Gallery.

Elmarsa Gallery . Lilia Ben Salah LILIA BEN SALAH, CO-FOUNDER OF ELMARSA GALLERY, HAS SIGNIFICANTLY INFLUENCED THE UAE’S ART SCENE FOR OVER 15 YEARS, INTRODUCING NORTH AFRICAN ARTISTS, RESHAPING ART HISTORY NARRATIVES, AND CONTRIBUTING TO THE COSMOPOLITAN GROWTH OF THE NATION’S VIBRANT ARTS COMMUNITY. To continue our expansion across the continents, we then opened a branch in 2015 at Alserkal Avenue in Dubai to bring our artists to the UAE. It is a vibrant country and its fast urban development has contributed to an increasing demand in the arts too.

Concurrently, we have continued to participate in international art fairs in Dubai, Abu Dhabi, Paris, Marrakesh, Miami, London and New York to reach out to an international audience.

Lilia Ben Salah and Moncef Msakni, Founders of Elmarsa Gallery. Courtesy of Elmarsa Gallery.

Can you share your journey into bringing art to the UAE? How did it start, what inspired you to do so and what were the challenges?

With Moncef Msakni, who founded Elmarsa gallery 30 years ago in 1994 in Tunis, we began presenting art and artists mainly from Tunisia and North Africa at the first editions of Art Dubai and Abu Dhabi Art, which were both launched in 2007. These art fairs became a regular yearly rendezvous to show and promote abroad the work of artists represented by the gallery. Throughout the years, our presence in the UAE, mainly Dubai and Abu Dhabi, has greatly contributed to bring greater visibility to these artists on the international market. Achieving this visibility is the result of the combined efforts of artists, patrons, collectors, art magazines, etc., who engaged in the development of art distribution in the UAE and across the MENA region.

150

Capable of reinventing itself, the UAE is also marked by its fast-growing economy and urban development, where the crossroads of cultures and artistic endeavours naturally attract the public’s curiosity and involvement. However, its art scene is dependent on a still emerging market, locally and regionally. While artists both established and emerging from North Africa and the Middle East have a growing market in the region, they have yet to gain international recognition, mainly through the hubs such as Europe and the United Sates.

Which artists were the primary focus of your efforts? Did your choice change over time?

We carry a long-held tradition of exhibiting Modern and Contemporary art from North Africa, as we have introduced the work of important Tunisian figures of Modern art, from pioneers including Yahia Turki (1902-1969), Aly Ben Salem (1910-2001), Ammar Farhat (1911-1987) and Hatim Elmekki (1918-2003), along with artists like Nejib Belkhodja (1933-2007), Nja Mahdaoui (b. 1937), Abderrazak Sahli (1941-2009), Rafik El Kamel (1944-2021), Gouider Triki (b.1949) and Khaled Ben Slimane (b. 1951), as well as Contemporary artists including Halim Karabibene (b. 1961), Asma M’Naouar (b. 1965), Emna Masmoudi (b. 1965), Feryel Lakhdar (b.

1965) and Rym Karoui (b. 1965), with the younger generation of artists at the time including Nabil Saouabi, Mouna Karray, Omar Bey, Thameur Mejri, Atef Maatallah…

Bellamine (b.1950), Mohamed Rachdi and Lamia Naji...; and Egyptian Modern artists including Adam Henein and Inji Aflatoun.

Along with the other artists from Egypt, Lebanon, Syria, Iran, Iraq and Saudi Arabia that we have been presenting over the years, these artists have been identified with their own visual language in a wide range of mediums, from painting, drawing and sculpture to photography. They engaged with their individual social landscapes and cultural context rooted in their Amazigh, Berber and Islamic arts heritage that had an important influence on them while consciously maintaining a relation to Modernism and the aesthetic codes and practices of Western contemporary art.

Also major Algerian artists including Mahjoub Ben Bella (1946-2020), Rachid Koraichi (b. 1947) and Modernists Abdelkader Guermaz (1919-1996), Baya Mahieddine (1931-1998), Abdallah Benanteur (19312017), Mohammed Khadda (1930-1991) and M’Hammed Issiakhem (1928-1985), along with younger artists such as Nadia Benbouta and Thilleli Rahmoun; Moroccan artists including Hassan El Glaoui (1923-2018), Farid Belkahia (1934-2014), Fouad

Left – Abderrazak Sahli, Tolerance and Peace, installation view at Elmarsa Gallery. Courtesy of Elmarsa Gallery.

Above – Rachid Koraichi exhibition private preview at Elmarsa Gallery, 2015.

Courtesy of Elmarsa Gallery.

Elmarsa Gallery . Lilia Ben Salah

Above and below – Group show, installation view at Elmarsa Gallery, 2016.

Courtesy of Elmarsa Gallery.

Below left – Nja Mahdaoui, Trance, installation view at Elmarsa Gallery, 2016.

Courtesy of Elmarsa Gallery.

Below right – Rachid Koraichi exhibition private viewing at Elmarsa Gallery, 2015. Courtesy of Elmarsa Gallery.

152

In what ways has this endeavour played a role in nurturing the art scene in the UAE? In a way, we can say that our presence in the UAE over a decade and a half has contributed to introduce the North African artists and their protagonists to the art scene in the UAE and the region, in addition to providing another reading of art history over the past few decades by reconsidering the scope of work of certain historical artists originating from North Africa and the Middle East, particularly with regard to their influence on Western art.

Can you provide an overview of the current state of the art scene in the UAE? The current state of the art scene in the UAE reflects the transnational spirit of self-determination that animates the MENASA region as it undergoes development. Yet, the UAE art scene is growing into an exceptionally wide array of intersecting cultures through both contemporary practices and transnational perspectives.

Could you outline the key elements of your gallery programme and how it evolved?

The gallery’s long-held tradition of exhibiting Modern and Contemporary art from North Africa within a wide array of distinct and multi-disciplinary practices continues through its rich and diverse exhibition programme. The selection of artists spans from the mid-20th century to today and offers a perspective on the development of the arts from the Maghreb and beyond, by shedding light on how this particular chapter fits into the wider art history. While working in their respective visual languages and unique mixed media practices, as well as belonging to distinct generations, these artists share a passionate and intellectual engagement in defining their individual and artistic identity through the rich and varied influences from their Mediterranean, African and Arab heritage. The gallery continues to support, present and promote art production through a vast selection of Modern and Contemporary artists by presenting them outside of their geographical context. Furthermore, Elmarsa gallery continues to promote the great diversity of practices and points of view of those artists that we have been carrying out for two decades: supporting the artists we believe in and working with them in close collaboration, designing projects with UAE institutional players and contributing to bring visibility to these artistic scenes on the art market and in international reviews.

What are your expectations regarding the evolution of the art scene in the UAE over the next two decades?

The construction of a diverse cultural environment and transnational representation of art in the UAE is clearly developing through an ecosystem surrounding its cosmopolitan society and cultural histories. The development of the very specific educational environment surrounding not only art schools but also art institutions is also fundamental. The UAE aims to become a major landmark as it selectively allows for cultural creation, production, distribution, archiving and education, which will in this respect attract an international public of artists, collectors and art institutions, away from the jet-setting stereotype that criss-crosses the world to art fairs, biennials and international exhibitions.

THE UAE ART SCENE IS GROWING INTO AN EXCEPTIONALLY WIDE ARRAY OF INTERSECTING CULTURES THROUGH BOTH CONTEMPORARY PRACTICES AND TRANSNATIONAL PERSPECTIVES.

Chafa Ghaddar CHAFA GHADDAR, AN ARTIST ORIGINALLY FROM LEBANON NOW RESIDING IN DUBAI, IS AN ACTIVE CONTRIBUTOR TO THE LOCAL ART SCENE THROUGH ENGAGING IN PROGRAMMES, COLLABORATIONS AND DIALOGUES THAT BRIDGE PERSONAL EXPERIENCES WITH BROADER CULTURAL NUANCES. What personal experiences or artistic influences drew you into the vibrant UAE artist community?

And how have these connections contributed to your growth as an artist in the region?

I arrived in the UAE six years ago from Lebanon with a practice that is very focused on personal and historical themes. Working with frescoes, I explore notions of skin, body, landscape, and time. It was interesting to be able to continue working on those themes after a complete shift to a new city, geography and community. The first thing I realised is that the community here and the conversations, especially in the first years, resonated with me a lot and allowed me to sustain my interest and interrogations in my practice.

Throughout this time, engaging in programmes such as Campus Art Dubai, Tashkeel’s CPP and the SEAF Fellowship in Abu Dhabi exposed me to various communities and conversations across the UAE. Over time, you start paying more attention to the experience of being here every day - of driving, taking the highway, the landscape, and even the humidity. A lot of things increasingly became a source of inspiration, even though at the beginning, unconsciously, I started finding similar views in the paintings of landscapes I was creating. I began to be

154

Chafa Ghaddar.

inspired by the dynamic of being between different places, whether between Lebanon and the UAE or between my home and studio in the UAE. In the last year, I’ve moved to so many different studios, which has been a bit unsettling. Usually, a wall or a fresco is a promise of stability and of grounding in a present space. This therefore made me reflect on how we can think of a mural in a portable way. My inspiration is not only related to the specificities of this place, but at the same time to my own experience as an artist here and as a woman and mother. The place marks your experience, but you also can leave your mark on the spaces around you.

Can you describe how your artistic journey has intersected with the evolution of UAE art? And in what way have you actively participated in shaping the evolving art landscape?

I think it’s important to mention that when I arrived in Dubai, I came with the intention of being aware rather than simply being parachuted into this place.

Whenever I was trying to learn about the art community here, the history of art here, or to be part of conversations, I was sensitive about the fact that I had just arrived and not to act like I knew everything or could understand it fully. In a way, because I was focused on my practice, it gave me the distance to assimilate and understand what’s going on. It took

some time, but I was just being extra cautious. That gave me a lot of room to learn and to build an idea about the type of growth that exists here, which has been happening on such an ambitiously large scale across the UAE. In terms of how my practice intersected, I can talk about a project that will be unveiled soon. This is a work of public art that was commissioned as part of Art Dubai in 2017, but which experienced major bureaucratic delays. This raises a lot of interesting questions about what it means to create public and permanent artwork in a city like Dubai and to address questions related to heritage or building things that don’t exist. This was a really interesting moment because I was fresh to the UAE and given a project that addresses the history of the building and the architecture of the Safa Library. That experience and the delays that happened due to different types of bureaucracy make you question how we can build projects like this and to what extent the artists are involved. For example, what are the boundaries between the artist’s involvement, the commissioner, the institution, and the government? There is still a lot of room for evolution in this field. In the city there are a lot of public artworks, but there are always some loopholes or things that need to be enhanced, and they are a work in progress. When we unveil the project, I will talk more about this and the challenges.

I’m hoping that together we can pick up on this conversation and talk about how we can enhance this experience for an artist to create something public and permanent in a city like Dubai.

Another experience worth mentioning is through having my studio based at Tashkeel for the last four or five years, I was continuously part of the community and experiencing critiques, conversations, meeting people, sharing works, and taking advice. Being part of the SEAF fellowship made me closer to a community of fellows with

whom I was engaged in a programme for nine months. I’ve also collaborated with the Alserkal Foundation on a couple of reading sessions, and we have an ongoing conversation with the team about potentially similar public programming or reading sessions that gather people to discuss things that are crucial to us as human beings or as practitioners in the city. Even if these are informal discussions, they are happening in safe spaces. Their impact and the density of what is being shared is quite remarkable and makes you feel that you are part of a community that is evolving in so many ways. It is through such activities that amazing things can happen that go beyond tangible artwork and make a difference.

I’m also currently part of the Teaching Artists

MY INSPIRATION IS NOT ONLY RELATED TO THE SPECIFICITIES OF THIS PLACE, BUT AT THE SAME TIME TO MY OWN EXPERIENCE AS AN ARTIST HERE AND AS A WOMAN AND MOTHER.

Chafa Ghaddar

Fellowship in Abu Dhabi. This is a new programme that takes you in-depth into methodologies as a teaching artist, how to think about providing all the tools, strength, confidence in skills and ways for an artist to navigate this ecosystem as a teaching artist and be able to propose and submit to institutions, because there is a real demand for this here. Being in the first year of this fellowship is an incredible chance for me to be part of this new experience in the city that hopefully the next generations of fellows will also pick up on so that it will become a shared experience across communities.

Art often serves as a reflection of the cultural and societal shifts within a region. How does your artwork capture and convey the historical and cultural nuances of the UAE? And what specific themes or narratives are central to your artistic expression?

My art practice is more about language that I’m suggesting, a language very much invested in deep notions of time, historical precedent practices, and their effect on how contemporary artists have been produced and the potential for this to be a contemporary language. You could relate it to art history. When you bring it down to the places we live in, you realise that even if it’s not necessarily narrating a literal personal experience, it takes a lot of hints from this. In my work, you will see violence, time, nostalgia, motherhood, love, intimacy, architecture, nature. There are themes, but they’re never linear, and they’re never feeding a particular topic. Every time this work is presented to communities, whether through a reading group or an exhibition, everyone can relate to it in a way because it invites you to experience something that is very visceral, that relates in one way or another to a personal emotion or experience beyond geography. I want to believe that this will impact people whether they are in the UAE or elsewhere.

When you produce and you are part of a community, and you’re conversing about what you’re producing, particularly with others, you are making culture and you become the culture. That’s why even if my themes are not necessarily narrating historical things about Lebanon, if we look at them from the context that I am an artist from Lebanon, they are narrating indirectly. If you are from a place

156

WHEN YOU PRODUCE AND YOU ARE PART OF A COMMUNITY, AND YOU’RE CONVERSING ABOUT WHAT YOU’RE PRODUCING, PARTICULARLY WITH OTHERS, YOU ARE MAKING CULTURE AND YOU BECOME THE CULTURE. and you are invested in that place, your work will echo that. I want to believe that eventually that similar experience will translate into being a person who produces culture and knowledge while being invested in this place here.

Collaboration and engagement with fellow artists often foster creativity and community growth.

Could you share instances where you’ve collaborated with other artists in the UAE? And how have these collaborative efforts contributed to the diversity and advancement of the local art scene?

A beautiful and sweet collaboration was with a fellow artist f rom the SEAF programme, Zahra Mansoor, who is also an architect. The nine-month SEAF programme creates a community of people who collaborate or support one another whenever required. For my f irst solo show at Tabari Artspace, I collaborated with Zahra, bringing her in as an exhibition designer. The way I present my work is very architectural, or sculpture-like. When I was preparing for my solo show with Tabari, I had an idea of how to present, but I needed the knowhow of an architect who at the same time could relate to my practice as an artist. Working with Zahra was beautiful because we were not producing one artwork together but rather a collaboration of ideas in terms of the placement and how it would make sense.

Another meaningful collaboration was with Jill Maggie, the educator, artist, and poet who was one

of my mentors when I was part of the CPP programme. During the months of mentorship, we had many conversations about work. As this was at the time of Covid, she left for the States, and we continued our conversations. When you are physically not next to the work itself, the conversation moves to different horizons. We decided that instead of doing a talk after the show we would do a poetic duet, utilising images, and sentences around the colour blue. We brought them together by doing a nonlinear structure of how a poem visually and in written format could be between two people. We did a performance on Zoom and that was a beautiful collaboration that I’m super proud of. We are looking to turn it into publication or maybe a two-way performance now that we are freed from the constraints of Zoom.

Looking ahead to the future of the UAE art scene, what prospects or challenges do you f ind most exciting? And how do you envision your role in driving continued development and innovation within the UAE art landscape?

I think there are a lot of really good opportunities for artists in the UAE, a lot of programmes and a vibrant scene that’s evolving, but there are always some challenges. For example, I feel there need to be more serious talks about creating studio spaces for artists. There’s a lot of demand, but not enough supply. Plenty of artists f ind themselves struggling to f ind a place to work because the city is very expensive, and not everyone can afford to rent. As a result, they have to go through institutions. The level of care towards artists and having the right inf rastructure so that artists are able to produce is something that needs to be talked about more seriously. There is a shift that I can sense already, and things are becoming a bit better. For example, artists would often be invited to do things with the expectation of it being for f ree, whereas right now there’s more of an understanding that this is work. At the same time, as I said before, on the level of public art and the contractual side for artists, because of my own personal experience, I realised that there is a limitation on what the contract covers. I still believe that up to this point no one has addressed this in-depth.

Chafa Ghaddar, Beneath Latent Skies installation view at Tabari Artspace, 2023.

Louvre Abu Dhabi . Dr. Guilhem André

WELL AS MANAGING LOUVRE ABU DHABI’S COMPLETION FROM THE CURATORIAL SIDE, HE HAS ALSO PLAYED A PIVOTAL ROLE IN

Guilhem André. Photo by Department of Culture and Tourism, Abu Dhabi.

DR. GUILHEM ANDRÉ, ACTING DIRECTOR FOR SCIENTIFIC, CURATORIAL AND COLLECTIONS MANAGEMENT AT LOUVRE ABU DHABI, OVERSEES THE MUSEUM’S CURATORIAL STRATEGY AND THE DEVELOPMENT OF ITS NARRATIVE AND COLLECTION. HE HAS WORKED WITH LOUVRE SINCE 2012 AND RELOCATED TO ABU DHABI IN 2016. AS

158

SHAPING THE ACCLAIMED PERMANENT COLLECTION AND ACQUISITION PROCESS, WHILE ALSO CONTRIBUTING SIGNIFICANTLY TO TRAINING AND TEACHING. DR. ANDRÉ’S CAREER SPANS MORE THAN TWO DECADES IN ROLES THAT RANGE FROM CURATOR AND GOVERNMENT ADVISOR TO SENIOR LECTURER, SHOWCASING HIS EXPERTISE IN ARCHAEOLOGY AND ART HISTORY ACROSS INTERNATIONAL EXHIBITIONS, COLLABORATIONS AND KNOWLEDGE-SHARING.

How do you identify artists whose works resonate with the cultural context of the museum and the broader community it serves? What factors do you take into account to ensure the representation of diverse perspectives and voices?

With human creativity capable of transcending time, geographies and civilisations, our selection when it comes to artists and artistic movements knows no bounds. As a curatorial department, we uphold a rigorous research and vetting programme. We carefully assess artists and their works, the impact of their creations on society, historical and socio-cultural relevance, as well as their alignment with our museum values and collection. Furthermore, as a universal museum, representing diverse perspectives and backgrounds is at the core of our ethos. We actively engage with a spectrum of artists, both contemporary and established, hailing from local and international origins.

This can be witnessed in our museum galleries, which tell a chronological history of human creativity that explores the shared ideas and issues that have defined our common humanity from prehistory to the present. When visitors come to Louvre Abu Dhabi, they can journey through 12,000 years of history in our 12 chapters, from the first villages to universal religions, to the new world and Contemporary art, sharing several viewpoints spanning the length and breadth of human history.

We also organise several temporary exhibitions on a variety of subjects and have presented a total of 19

exhibitions to date, each focusing on a specific topic and theme. From displaying antiquities to contemporary works, we ensure that our curatorial calendar and collection is rich and diverse.

As a museum rooted in the region, we passionately champion creative expression and talent through initiatives like our annual Art Here exhibition and the Richard Mille Art Prize, bringing regional artists and voices to the forefront.

How does the museum continue to expand its permanent collection, and what criteria are used when acquiring new artefacts or artworks to ensure they align with the museum’s mission and focus?

Our acquisition strategy is directed by a strict international protocol for artworks entering the collection, as outlined in the intergovernmental agreement between Abu Dhabi and France, that was signed in 2007. This protocol is strictly aligned with the 1970 UNESCO convention and follows the most demanding standards of major museums in the world.

Hara Zaimei (1778– 1844), Cherry Tree in Blossom Against a Gold Background, first half of the 19th century Six-panel screen, Paris, Musée National des Arts Asiatiques – Guimet. © RMN-Grand Palais (MNAAG, Paris) / Thierry Ollivier.

Louvre Abu Dhabi . Dr. Guilhem André As a museum, Louvre Abu Dhabi has always sought to be a meeting point where people from all walks of life can come together to discover, explore and learn more about the depths and breadths of human creativity. We are proud to have had a rich diversity of exhibitions that have taken place at our museum, which have centred on important topics such as Impressionism, calligraphy, Silk Trade routes, history of paperworks, Rembrandt paintings and more.

This approach encompasses various parameters to ensure the highest standards of curation, including the art’s historical significance, condition, provenance and its role in the curatorial narrative. Our selection of contemporary artists aligns with our curatorial narrative and explores questions posed by our art collection. We aim for artists who complement our gallery’s vision and offer fresh perspectives on the art landscape. The ambition is to weave stories of cultural connections that encompass diverse histories and geographies, spanning from the Palaeolithic era to the present day. Our teams also work in partnership with a wide range of experts to ensure all our new artefacts or artworks are aligned with our mission to tell stories of cultural connections that transcend time, civilisations and geographies.

How do you assess the impact and success of your temporary exhibitions in terms of visitor engagement, cultural enrichment or community outreach?

Firstly, our goal is to attract a substantial audience to our exhibitions and the programming. However, the true measure of success is found in the impact on our audience. If attendees express that they’ve gained fresh insights into the exhibition or are inspired to revisit it, that signifies authentic success. To ensure we continually meet and exceed these expectations, we regularly collect audience feedback and conduct surveys to assess their experiences and gather valuable insights into their preferences and needs.

Fostering learning and cross-cultural dialogues are key measures of success for us at Louvre Abu Dhabi.

160

At Louvre Abu Dhabi, we follow a chronological approach, offering a distinct experience compared to many thematic museums. Artworks are displayed in a sequence throughout the galleries. One can truly grasp the richness of human creativity, along with the underlying depth and complexity of art that goes beyond its medium. From the dawn of humanity in Gallery 1, to the present day in Gallery 12, we guide visitors through several themes - universal religions, trade routes, modernity - that connect us all.

Our temporary exhibitions complement our overall narrative, such as the recent focus on Bollywood or Impressionism, and our upcoming exhibition on animal fables, enhancing the museum experience.

Above – Japanese Connections - The Birth Of Modern Décor at the Louvre Abu Dhabi, 2018. © Department of Culture and Tourism - Abu Dhabi.

Below – Nautical Atlas of the World, portolan chart, Portugal, c. 1640, Ink, pigments and gold on vellum, Paris, Bibliothèque Nationale de France, Maps and Plans, Department, GE FF-14409 (RES). Photo credit: © Bibliothèque Nationale de France, Paris.

When approaching artists for potential collaborations and commissions, what criteria do you consider to ensure their work aligns with the museum’s curatorial focus and mission?

As mentioned above, our criteria for collaborating with artists aligns with our commitment to representing diverse perspectives, the artist’s historical and socio-cultural relevance, the impact of their work and the resonance with our museum’s mission and narrative. For instance, Louvre Abu Dhabi has collaborated with Richard Mille with an aim to support art practitioners in the region by giving them a central platform for expression in Art Here 2023. This year, we invite artists to propose new sculptures and installations that explore the dynamics of transparency - its material and perceptual significance, coinciding with COP28. The choice of ‘transparencies’ as the theme for this year’s exhibition is deeply connected to our museum’s overarching narrative, as it seamlessly integrates with our collection’s broader themes and resonates with the pressing environmental concerns highlighted at COP28. Curated by independent art curator and advisor Maya El Khalil, Art Here 2023 spotlights the works of seven shortlists from across the region including: Saudi art curator and independent artist Alaa Tarabzouni, Kuwaiti multidisciplinary artist Farah Behbhani, Emirati painter Hashel Al Lamki, Indian artist Nabla Yahya, Saudi visual and performance

Above – Roads of Arabia at the Louvre Abu Dhabi, 2018. © Department of Culture and Tourism - Abu Dhabi.

Below – Photography Exhibition at the Louvre Abu Dhabi, 2019. © Department of Culture and Tourism – Abu Dhabi. Photo by Ismail Noor, Seeing Things.

Louvre Abu Dhabi . Dr. Guilhem André artist Sarah Brahim, Syrian artist siblings Sawsan and Bahar Al Bahar, and Saudi visual and land artist Zahrah Al Ghamdi.

Can you provide an overview of the current state of the art scene in the UAE? The UAE’s art scene is incredibly vibrant, and its potential will only continue to expand with time.

Fuelled by the emergence of prominent cultural institutions like the Guggenheim Abu Dhabi, Zayed National Museum and the Natural History Museum, as well as the presence of influential art foundations such as the Barjeel Art Foundation and art galleries like the Green Art Gallery and The Third Line, the UAE has solidified its status as a cultural powerhouse. This vibrant scene is further enriched by the presence of young and emerging artists whose extraordinary talents have garnered recognition not only in the region but also on the global stage.

Furusiyya The Art of Chivalry between East and West at the Louvre Abu Dhabi, 2020. © Department of Culture and Tourism Abu Dhabi. Photo by Seeing Things - Ismail Noor.

162

Kitāb al-makhzūn jāmiʿ al-funūn (The Treasure where the Different Arts are assembled) Egypt, 8 July 1470, Ink, pigment and gold on paper Paris, Bibliothèque Nationale de France, Arab ms.

2824, fo 27b-28a. © Photo (C) Bibliothèque nationale de France.

Photography Exhibition at the Louvre Abu Dhabi, 2019. © Department of Culture and Tourism – Abu Dhabi. Photo by Ismail Noor, Seeing Things.

Above – Abstraction and Calligraphy at the Louvre Abu Dhabi, 2021. Department of Culture and Tourism - Abu Dhabi Photo by Seeing Things Ismail Noor.

Abstraction and Calligraphy at the Louvre Abu Dhabi, 2021.

Department of Culture and Tourism - Abu Dhabi Photo by Seeing Things - Ismail Noor.

Jameel Arts Centre . Antonia Carver

Age of You, Jameel Arts Centre Dubai.

Courtesy of Art Jameel. Photo by Daniela Baptista.

164

DIRECTOR OF ART JAMEEL, ANTONIA CARVER HAS A RICH BACKGROUND IN ARTS JOURNALISM AND PUBLISHING. FORMERLY THE DIRECTOR OF ART DUBAI, SHE PLAYED A PIVOTAL ROLE IN ESTABLISHING IT AS THE LEADING INTERNATIONAL FAIR FOR THE MIDDLE EAST AND SOUTH ASIA, EMPHASISING A DIVERSE EDUCATIONAL AND NOT-FOR-PROFIT PROGRAMME. CARVER’S CAREER INCLUDES EDITORIAL POSITIONS IN THE UNITED KINGDOM, AND SHE HAS BEEN ACTIVELY INVOLVED IN CULTURAL INITIATIVES, CONTRIBUTING SIGNIFICANTLY TO THE DUBAI INTERNATIONAL FILM FESTIVAL AND OTHER PROJECTS IN THE MIDDLE EASTERN ARTS SCENE.

Can you share Jameel Art Centre’s journey of introducing art to the UAE? Supporting artists and creative communities is at the heart of what Art Jameel stands for as an independent organisation headquartered in the UAE and KSA with two major centres in the region: the Jameel Arts Centre, Dubai’s hub for contemporary art and ideas, and Hayy Jameel, Jeddah’s home for the arts.

Inaugurated in November 2018, the Jameel Arts Centre is a destination that not only hosts contemporary art exhibitions open to all visitors, it also serves as a hub for life-long learning and community engagement, offering programmes, workshops, festivals and career fairs for all age groups. From Family Saturdays at the Jameel, anchored around thematic children’s workshops or reading groups to day-long festivals like Down to Earth which focuses on sustainability in the arts, the Jameel becomes a meeting point for like-minded people across the UAE and globally.

Joined by our partners in Dubai and across the country, we aim to introduce the arts via timely and locally-relevant themes that anchor our exhibitions and shape our programmes. For example, sustainability is a critical pillar informing our curatorial and operational decisions. We understand that environmental challenges cannot be separated from social, cultural and structural ones. We believe in the role culture plays in helping us understand the climate emergency, interrogate our role within it and envision a more sustainable and equitable way forward. Here are some of the ways we have engaged audiences in our centres in Dubai and Jeddah through the years around these key issues: An Ocean in Every Drop: A group exhibition looking at our relationship to water through its production of culture and ritual.

Staple: What’s on your plate?: A group exhibition looking at the politics of food and agriculture from a regional perspective.

Artist’s Garden Commissions: A biennial garden commission.

Crude: Our inaugural exhibition looking at the history of Petromodernity from a local and regional perspective.

Antonia Carver, Director of Art Jameel. Courtesy of Art Jameel.

WE BELIEVE IN THE ROLE CULTURE PLAYS IN HELPING US UNDERSTAND THE CLIMATE EMERGENCY, INTERROGATE OUR ROLE WITHIN IT AND ENVISION A MORE SUSTAINABLE AND EQUITABLE WAY FORWARD. Age of You, Jameel Arts Centre Dubai. Courtesy of Art Jameel. Photo by Daniel Baptista.

Jameel Arts Centre . Antonia Carver What specific initiatives or programmes has the Jameel Art Centre undertaken to support and promote the arts in the UAE? Can you highlight some notable contributions or achievements in this regard?

Jameel Arts Centre aims to be a leading contemporary art institution for the UAE, the Middle East, South Asia and beyond. We strive to take a collaborative, open and dynamic approach in realising original programming across exhibitions, education and research. Our priorities include nurturing artists and practitioners to produce work and research f rom and about the region, and encouraging broad audiences to engage actively with the artworks and ideas generated. Some of our notable recent programmes include: Collaborative Art Jameel Grants We recently announced groundbreaking programmes that offer opportunities and funds to artists, multidisciplinary creative practitioners and institutions addressing climate change, in

166

Above – Sunoj D & Namrata Neog, Desert is a Forest, Jameel Arts Centre Dubai, 2019. Courtesy of Art Jameel.

Below – Zheng Bo, Artist’s Garden, Jameel Arts Centre Dubai. Courtesy of Art Jameel.

Photo by Daniella Baptista.

collaboration with global and local partners via open calls which include Anhar: Culture and Climate Platform with the British Council, offering grants totalling £250,000, and the second edition of Research and Practice Platform (RPP) supported

by Dubai Culture and Arts Authority, awarding up to 20 grants that range f rom AED 3,600 ($1000) to AED 22,000 ($6000) each to UAE-based individuals or collective creative practitioners.

The Art Jameel Collection The evolving Art Jameel Collection sits at the heart of Art Jameel’s programme, documenting and presenting important work by local, regional and international artists.

The Collection is a site of research, exploring the nature and responsibility of museum collections; together with the artists in our collection, we aim to question the very act and purpose of collecting.

Guided by radical thematic f rameworks, the Art Jameel Collection informs Art Jameel’s wider exhibition programming across its two sites – Jameel Arts Centre, Dubai and Hayy Jameel, Jeddah.

The Art Jameel Collection is comprised of artworks by more than 170 artists and collectives. While there is a particular focus on supporting artists from West and South Asia and Af rica, the scope is beyond geography, and is f ramed primarily by threads of inquiry and networks of artistic and historical movement. Around half the artists included in the collection are women.

Jameel Library Jameel Library is an open contemporary arts research centre dedicated to cultural histories of the Gulf and its neighbouring regions. The growing multimedia library collection features books, journals, catalogues, theses, artists’ f iles and ephemera in English, Arabic and other languages.

Jameel Library is also an active and dynamic learning platform, home to public programmes, reading groups, curated bibliographies, symposia and interventions. Free and open to all, the Library is home to students, artists, researchers, writers, professionals and the curious. In addition, Library Circles and the annual Library Commissions feature research, talks and experimental interventions by UAE practitioners in the Jameel Library and the Jameel Arts Centre. The programme explores alternative research methodologies and representations with a focus on ‘thinking in public’.

Could you provide insights into your current projects and partnerships within the UAE’s art community? How are these initiatives fostering the growth and development of local artists and the art scene as a whole?

In addition to commissions and working directly with local artists, we recently wrapped up the second edition of Creative Careers Days, the UAE’s annual festival devoted to helping students explore their future in the arts. Supported by the Ministry of Culture and Youth UAE, this year’s edition was themed ‘You can’t Have Art Without…’, and looked at the multiple roles one can assume beyond ‘artist’, aiming to shed light on the wider arts ecosystem, provide youth with role models and contribute meaningfully to the fast-growing creative industries. The festival, spread across three programme-packed days (October 8, 9, 10, 2023) featured lively informational booths presented by

WE ENVISION A FUTURE WHERE ART IS EVERYWHERE AND COMES IN MANY SHAPES more than 30 leading arts organisations, universities and government entities, alongside inspirational talks and practical workshops by 90+ industry leaders, 25 tours and performances and 40+ hours of portfolio reviews and one-to-one sessions. Free and open to all, the three-day festival welcomed more than 2000 visitors including school and university students and lifelong learners, families and teachers.

Jameel Arts Centre . Antonia Carver From your perspective, how has the art scene in the UAE evolved over the years? What major trends or changes have you observed, and how has your foundation adapted to support these developments?

The art scene in the UAE has undergone significant evolution and growth over the years and we believe, as an independent institution, it is our responsibility to keep up via creating synergies with partner institutions and the local community.

The UAE has witnessed the establishment of art hubs and cultural districts, such as Alserkal Avenue in Dubai and the Cultural District in Saadiyat Island, Abu Dhabi. These areas have become thriving centres for museums, galleries, studios and cultural dialogue and exchange.

Looking at the development of our home in the Jaddaf neighbourhood, one can really sense this evolution. When we opened in November 2018, there weren’t as many options for creatives and members of the community. Today, we are joined

by Mohammed bin Rashid Library, a prosperous and thriving Jaddaf Waterfront Sculpture Park and Teible, our museum restaurant with a rotating seasonal menu that integrates art and architecture within its very ethos.

In your opinion, what challenges and opportunities currently exist within the UAE’s art scene? How is the Jameel Art Centre addressing any challenges and harnessing opportunities to further enhance the local art landscape?

One of the biggest challenges we’ve addressed and tackled is that of sustainability. We’ve conducted two Green House Gas audits for the Jameel Art Centre to understand our emissions and how to reduce them. We’ve also actively spoken about sustainability through our exhibitions, public programmes and community engagement to raise awareness. It’s critical for us to work towards making art inclusive by opening up the centre to a diverse audience f rom all socioeconomic backgrounds.

168

As for opportunities, the UAE is brimming with potential to establish itself as a global art hub, attracting more international attention and investment.

Its strategic location and investment in culture provide opportunities for increased cultural exchange and collaboration with artists and institutions from around the world. The UAE also has its own pool of emerging artists who can shape the future, and nurturing and growing the local talent is a critical task.

By creating a sustainable space that promotes art in all its diverse forms, filled with educational initiatives and community engagement opportunities, the Jameel Art Centre is determined to help the UAE and artists from the region find a voice in the global art scene.

Looking ahead, what is your vision for the future of the art scene in the UAE? How do you see Jameel Art Centre’s role in shaping and advancing the art community in the coming years?

We envision a future where art is everywhere and comes in many shapes. We’ve recently collaborated with Dubai Culture to commission UAE-based design collective Theories of Imagination (TOFI) – artistarchitect Noor Alwan and artist-designer Abdulla Buhijji – to design the inaugural Jaddaf Playscape as part of the Dubai Public Art initiative, which enables the creation and installation of public art. TOFI’s proposal has been selected by an esteemed international jury through an open call announced in February 2023, which received nearly 100 applications from artists and designers across the UAE. Set to open to the public this November in the Jaddaf Waterfront Sculpture Park, the Theories of Imagination (TOFI) large-scale interactive sculptural structure titled I Dreamt of a City Everyone Calls Home is an adventure playground that encourages play and imagination for all ages. Taking design cues from the wider Jaddaf area, it seamlessly combines vernacular architectural patterns, fauna and flora with new imaginative shapes and formats. Through paying homage to the history of Jaddaf as a crossroad of cultures, the playground becomes a celebration of the diverse communities that have shaped Dubai, drawing inspiration from the area’s historical significance as a boatyard and its role in enabling trade and cross-cultural exchange. I Dreamt of a City Everyone Calls Home is designed as a whimsical space for collective dreaming. Art Jameel is a curatorial partner, working alongside Art Dubai, Tashkeel, Alserkal and Akaas Visual Arts.

Michael Rakowitz, The Flesh is Yours, The Bones are Ours, Jameel Arts Centre Dubai, 2015. Courtesy of Art Jameel.

Photo by Daniela Baptista.

Michael Rakowitz, White Man Got No Dreaming, Jameel Arts Centre Dubai, 2008. Courtesy of Art Jameel. Photo by Daniela Baptista.

Ishara Art Foundation . Smita Prabhakar SMITA PRABHAKAR IS THE VISIONARY BEHIND ISHARA ART FOUNDATION, A NONPROFIT SPACE GIVING AN INTERNATIONAL PLATFORM TO ARTISTS FROM SOUTH ASIA WHILE FOSTERING INTERNATIONAL DIALOGUE.

South Asia. Given the large number of people from this region, it was in my view long overdue. We have showcased important artistic practices, such as that of Zarina, Shilpa Gupta, Jitish Kallat, Lala Rukh, Munem Wasif and Ayesha Sultana. As far as the impact that Ishara has made, I would let the audiences that come to the Foundation decide that, but I can say with the greatest pride (coupled with humility) that the presentations that have been shown at Ishara are of unseen practices in the region, and of the highest standards. Additionally, the support that we have received from the artists speaks volumes of the quality of our work.

Can you provide an overview of the mission and vision of Ishara Art Foundation and its significance in the context of the UAE’s art community?

This is a key question to the very existence of all art initiatives in the UAE. The mission of Ishara Art Foundation is to provide an international platform where artists from South Asia (India, Pakistan, Bangladesh, Nepal and Sri Lanka) have the opportunity to communicate and interface with each other without prejudice of territorial borders. In setting up Ishara, it was my intent to create a nonprofit space which would highlight the enormous talent of this region and also to showcase the close affinity between the UAE and South Asia.

How has Ishara Art Foundation contributed to the artistic renaissance in the UAE and fostered a sense of unity through art?

The UAE has always been the leader in all aspects, be it growth, business or culture. So, I don’t feel there has been a renaissance. What has happened is with steadfastness the country has marched towards creating art spaces that compete with the best in the world, thereby giving artistic practices opportunities that were not available earlier. Art has no boundaries, so we too at Ishara, in a very small way, contribute to the rich tapestry of the community.

Could you share the key milestones and achievements of Ishara Art Foundation since its inception, highlighting its impact on the local and international art scenes?

Ishara Art Foundation is the first institutional space in the Middle East to focus on contemporary art from

170

Smita Prabhakar Founder and Chairperson of Ishara Art Foundation.

Can you discuss any upcoming projects, exhibitions, or initiatives that Ishara Art Foundation is currently involved in, or planning for the near future?

Without giving away too much as we must have an element of surprise, our next show is a curation by Gauri Gill, one of the leading artists from India who has just been awarded the Prix Pictet. This will be a first in many ways: her first showing in the region and her curatorial debut. For us to have this opportunity and her support is a windfall for the people of the UAE and for the numerous visitors, who will be able to see first-hand an artist that is currently making headlines across the globe.

How do you see the role of Ishara Art Foundation evolving in the coming years, and what future goals or aspirations do you have for the foundation in the context of the UAE’s ever-evolving art scene?

We are completely self-funded so I would like to see more community support, not only for us but for all the art projects in the country. Art serves the soul of mankind and is a necessity, from where I sit. I would also like to see the residents of the UAE visit not only once, but many times, so that the number of visitors that come can make Dubai an art destination.

I WOULD SAY THAT THE UAE IS A WONDERFUL AND EXCITING PLACE TO BE, WHETHER YOU ARE AN ART AFICIONADO OR AN EMERGING ARTIST.

Above – Haroon Mirza, Installation view of Light Work xlix (2022). Shown in Notations on Time at Ishara Art Foundation, 2023.

Image courtesy of Ishara Art Foundation and the artist. Photo by Ismail Noor/ Seeing Things.

Right – Jitish Kallat, Postulates from a Restless Radius (2021). Image courtesy of the artist and Ishara Art Foundation.

Photo by Ismail Noor/ Seeing Things.

Are there any memorable moments or exhibitions in the history of Ishara Art Foundation that you believe have made a significant impact on the local and global art communities?

I wish I could highlight one single exhibition or moment. Every show and every artistic practice that we have shown at the Foundation fills me with excitement and wonder. I still can’t believe what we have achieved as a team.

What advice or insights would you offer to individuals and artists looking to engage with or contribute to the work of Ishara Art Foundation or the broader art landscape in the UAE? I would say that the UAE is a wonderful and exciting place to be, whether you are an art aficionado or an emerging artist. Today, the ability to see works from around the world at the Louvre, Sharjah Art Foundation, Jameel Arts Centre and other venues across the UAE means that there is nothing holding us back in creating historic moments individually and collectively.

2020-TODAY The canvas of the UAE art scene is now enriched with an increasingly vibrant spectrum of galleries and artists, showcasing a diversity that resonates globally.

As the kaleidoscope of artistic expressions continues to unfold, the UAE’s cultural landscape becomes a dynamic tapestry, showcasing not only its artistic heritage but also the boundless potential for growth and innovation. The allure of diverse galleries and artists contributing to this tapestry marks the UAE as a global hub for artistic dialogue. It beckons observers to witness a nation that embraces its roots while propelling itself forward and encapsulates the UAE’s commitment to fostering a cultural environment that transcends boundaries, inviting artists and enthusiasts alike to participate in the ongoing narrative of a nation defining its identity through the language of art.

172

Zawyeh Gallery

Firetti Contemporary

In 2013, Zawyeh Gallery was established by Ziad Anani as an independent visual art gallery in Ramallah, Palestine. Expanding its horizons, the gallery inaugurated a second location in 2020 at Alserkal Avenue in Dubai.

Firetti Contemporary, situated at Alserkal Avenue, is a gallery that transcends geographical boundaries to create meaningful and sustainable art collections.

Representing both established and emerging artists worldwide, the gallery aims to forge a multidisciplinary art space with a distinct identity on the international stage. Through dynamic curation, Firetti Contemporary fosters a community of like-minded individuals and artistic pioneers, emphasising the significance of individuality and collective alignment. Utilising its expansive gallery space, the institution actively supports collaborations, becoming an integral part of the local art scene. Embracing art’s central role in sustainability and societal issues, the gallery, under the guidance of founder Mara Firetti, serves as a catalyst for social change. Mara, an entrepreneur and devoted art collector, has spent the past 15 years advocating for artists and cultivating a network of esteemed collectors, positioning Firetti Contemporary as a vital hub for artistic collaboration and community integration in Dubai.

Rooted in Dubai’s dynamic art scene, Zawyeh Gallery dedicates itself to promoting Palestinian and Middle Eastern artists, both emerging and established.

The gallery’s commitment unfolds through a series of thematic exhibitions that span various mediums, including painting, sculpture, installation, video and photography. Originating from a rich history in Ramallah, Zawyeh Gallery brings a unique perspective to Dubai’s cultural landscape.

Beyond its local presence, Zawyeh Gallery actively supports young artists and endeavours to bring Contemporary and Modern Palestinian art to a global audience. The gallery engages in art fairs, exhibitions and specific art projects, participating notably in events such as Paris Contemporary Art Show, MENA Art Brussels, Contemporary Istanbul, Art Dubai, Abu Dhabi Art and Beirut Art Fair.

Embracing the power of creativity and artistic talent, Zawyeh Gallery views them as resilient instruments in the face of challenges. By investing in these qualities, the gallery seeks to cultivate a vibrant and enduring artistic community, contributing to Dubai’s evolving cultural narrative.

Firetti Contemporay Gallery, Dubai, UAE.

Galleria Continua

Galerie Perrotin

In November 2021, Galleria Continua celebrated the inauguration of a new space within the iconic Burj Al Arab Jumeirah in Dubai, marking another milestone in its global journey. Founded in 1990 by Mario Cristiani, Lorenzo Fiaschi and Maurizio Rigillo, since its inception, Galleria Continua has embarked on a dynamic journey, expanding its footprint from Italy to China, France, Cuba, Brazil and the UAE.

In 2022, Galerie Perrotin marked a significant milestone by opening its inaugural Middle East space in Dubai.

Founded by French dealer Emmanuel Perrotin in 1990, the gallery has established itself globally, with locations in Paris, New York, Hong Kong, Shanghai, Seoul and Tokyo. Situated in the Dubai International Financial Centre (DIFC), Galerie Perrotin’s expansion into Dubai was a strategic move, with the decision rooted in its commitment to engaging with the region’s growing art scene. The Dubai space, curated in collaboration with partners Dylan Lessel and Tom-David Bastok, aimed to meet the local demand for blue-chip artworks and broaden Perrotin’s reach in this dynamic cultural landscape. The gallery’s presence in Dubai not only added a new chapter to its global journey but also contributed to the vibrant art dialogue flourishing in the Middle East.

The gallery’s interest in the Arab world and its culture traces back to 2008, marked by its participation in Art Dubai. This engagement continued in subsequent years, accompanied by participation in the Abu Dhabi fair from 2012 onwards. The bonds formed through these experiences laid the foundation for the new project at the Burj Al Arab Jumeirah. Viewing the location in Dubai not just as an opportunity to strengthen ties with the United Arab Emirates but also as a means to contribute to cultural exchanges, the founders of Galleria Continua emphasise the power of art as a universal language fostering dialogue and enriching multicultural awareness.

Efie Gallery Efie Gallery stands as a trailblazing Contemporary art space in Dubai, uniquely dedicated to spotlighting both prominent and emerging African artists. Nestled in Al Khayat Art Avenue within the Al Quoz Creative Zone, the gallery, founded by the Ghanaian family Valentina, Kwame and Kobi Mintah, emerged in 2021 and established its permanent space in 2022. Efie has swiftly evolved into a global platform, collaborating with influential African artists. Beyond its diverse roster of artists, Efie Gallery actively fosters cross-cultural exchange, operating a dynamic residency programme that

174

encourages collaborations with local artists, institutions and communities. As part of Dubai’s Al Quoz Creative Zone, poised to be a global hub for creativity and entrepreneurship, Efie Gallery aspires to cultivate a vibrant ecosystem for contemporary African art in the UAE. The gallery’s commitment to the concept of ‘home’, reflected in its Twi name Efie, underlines its dedication to exploring notions of belonging shaped by culture, history and identity for communities worldwide. Additionally, the gallery proudly showcases the founders’ rare vinyl and shellac records collection, celebrating the intersection of art and music.

A SOLO EXHIBITION BY FEBRUARY 3 - MARCH 3, 2024

THE ST. REGIS HOTEL, MARSA ARABIA ISLAND , THE PEARL QATAR WWW.ANIMAGALLERY.COM