Selections 66: The Custodian

GUARDIANS OF EGYPT’S ARTISTIC LEGACY, DR. HUSSAM RASHWAN - UNVEILING ARAB ART’S FUTURE, VALERIE DIDIER HESS - PRESERVING THE PAST, INSPIRING THE FUTURE, DR. BASEL DALLOUL - UNDER THE HAMMER, DR. RIDHA MOUMNI - ARTISTIC VISIONARIES ART PHILANTHROPY IN ACTION, NADA GHANDOUR - CUSTODIAN CHRONICLES

THE CUSTODIAN AUTUMN 2023 - USD 20/EUR 18/AED 74

# 66

ARTS-STYLE-CULTURE FROM THE ARAB WORLD AND BEYOND

THE CUSTODIAN: BASEL DALLOUL

WE RECOGNISE THE IMPORTANCE OF PRESERVING THE INTEGRITY AND AUTHENTICITY OF EACH ARTWORK, ENSURING THAT IT REMAINS IN ITS TRUEST FORM FOR GENERATIONS TO COME.

Samia Halabi Palestine, 2011 DAF Beirut

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In this special edition of Selections, “The Custodian”, we take great pleasure in paying tribute to our dear friend, Dr. Basel Dalloul, founder and chairman of the Beirut-based visual arts institution, the Ramzi and Saeda Dalloul Art Foundation (DAF).

Basel’s unwavering commitment to preserving and promoting the rich tapestry of works by artists from across the Middle East and North Africa makes him a remarkable custodian not only of art but of culture, history, and heritage. This issue is a testament to his mission, influence and importance in championing and safeguarding Arab art for generations to come. We are privileged to celebrate him and his tireless dedication to our shared human heritage. It is our hope that you, our readers, will be as inspired as we are by his vision and passion for the arts.

EDITOR’S LETTER

Yasmina Nysten 130 x 160 cm Acrylic on canvas

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ACKNOWLEDGMENTS DR. BASEL DALLOUL

While the killing and loss of innocent lives in any conflict, on either side, is unacceptable, we are particularly concerned with the brutal loss of the lives of Palestinian women, children and the elderly in Gaza, and the West Bank. This issue is dedicated to the innocent.

I started my journey into Arab art when my late father asked me to take control of the massive collection he and my late mother amassed over more than six decades. I began this journey as steward of the family’s famed Dalloul Collection. In order to manage the collection (during my late parent’s life), I founded the Ramzi and Saeda Dalloul Art Foundation, aptly named after two of the most passionate lovers of all things Arab art and culture, my mum and dad. My mum passed away four years prior to my dad. After my father’s death in early 2021, I became not only the collection’s steward, but also its custodian, a burden and responsibility I have now shouldered for over a decade and one I’ve become quite comfortable with. Being both steward and custodian means I am constantly in learning mode. Fortunately, my extensive education and broad view of the world makes this easy. My journey into art from the Arab world has been one of the most eye-opening and fascinating journeys I have been on. I have to first thank both my parents for the trust they placed in me and for instilling in me my love for art and culture. I also appreciate the support and trust of my younger brother Amrou, but my journey could not have happened without the friendship and support of an entire cast of characters, some of who are now part of the dearly departed, but all of whom I am grateful toward for their insights and guidance.

I was planning on talking about my close relationships with so many from the Arab art ecosystem, but I thought it more appropriate to give you all a BIG THANK YOU, for always being there and to tell you how much I appreciate your help, advice and insights throughout this journey and to tell you all (those of you who are still with us), how much I always look forward to learning from you, receiving your guidance and advice as custodian. If I’ve missed anyone, know I appreciate you.

Ayman Baalbaki Al Mulatham, ‫ الملثم‬, 2013.

250 x 200 cm DAF Beirut

Yousef Abdelki, Nadine Abdel Ghaffar, Mona Abdel Nasser, Abdel Salam Eid, Ahmed Abdelwahab, Farouk Abi Lama, Sacha Abou Khalil, Imad Abu Rizk, Rita Abu Rizk, Adonis, Mohammed Afkhami, Brahim Alaoui, George Al Ama, Bahaa Amer, Nabil Anani, Fadia Antar, Ziad Antar, Zeina Arida, Nidal Ashkar, Paula Askari, Rania Attwi, Dia al-Azzawi, Walid Azzi, Ayman Baalbaki, Lubnan Baalbaki, Ossama Baalbaki, Said Baalbaki, Amine El Bacha, Samira Badran, George Bahgouri, Ghazi Baker, Salah Barakat, Serwan Baran, Anachar Basbous, Fadi Basbous, Kalim Bechara, Nadine Begdache, George Bekhazi, Nader Bekhazi, Khaled Ben Slimane, Ib Benoh, Mahi Binebine, Jean Boghossian, Anna Boghiguian, Kamal Boulata, Brigitte Caland, Aaron Cezar, Marwan Chamaa, Chaouki Chamoun, Toby Clarke, Mario Couewiry, Paula Cusi, Safwan Dahoul, Ziad Dalloul, Hicham Daoudi, Tagreed Darghouth, Catherine David, Amar Dawod, Nabil Debs, Zoe Debs, Arthur Debsi, Mahmoud Dewihi, Mai Eldib, Valerie Didier, Ibrahim El Dessouki, Mohamed Dreini, Saed Eigner, Reem Fadda, Anthony Fahed, Via Azzi Fahed, Mounir Fatimi, Anas Ghaibeh, Dr. Nada Ghandour, Laure Ghorayeb, Mireille Goguikian, Emanuel Guiragossian, Manuella Guiragossian, Marc Guiragossian, Suzanne Gyorgy, Mark Hachem, Khaled Hafez, Qaswara Hafez, Janet Hagobian, Anthony Nazemeh Halabi, Samia Halaby, Hazem Harb, Mona Hatoum, Laure D’Hauteville, Richie Haykal, Ibrahim Hazimeh, Adam Henein, Inaya Hodeib, Joumana Husseini, Rose Issa, Ali Jabbar, Athr Jaber, Leila Jabre Jureidini, Ibrahim Jawabreh, Michael Jeha, Hassan Jouni, Saddam Al Jumaily, Nadia Kaabi-Linke, Saad Al Kaabi, Abraham Karabajakian, Abdul Rahman Katanani, Nayla Kettaneh, Mohammad Omar Khalil, Sari El Khazen, Charles Khoury, Fouad Elkoury, Khaled Khreis, Leila Kubba Kawash, Nedim Kufi, David Kurani, Mia Lababidi, Salah Lababidi, Elsie Labban, Faisal Laibi Sahi, Jack Lang, William Lawrie, Claude Lemand, Hussein Madi, Nja Mahdaoui, Ginane Makki Bacho, Hanaa Malallah, Marwan, Sirin Masri, Thameur Mejri, Salwa Mikdadi, Selim Moawad, Johnny Mokbel, Jamil Molaeb, Faten Mostafa, Ridha Moumni, Mehdi Moutashar, Dia Mrad, Moncef Msakni, Salah El Mur, Laila Muraywed, Barak Naamani, Nabil Nahas, Cesar Namour, Moataz Nasr, Rima Nasser, Greta Naufal, Dyala Nusseibeh, Dr. Zaki Nusseibeh, Anastasia Nysten, Yasmina Nysten, Mahmoud Obaidi, Charles Pocock, Venetia Porter, Hoor Al Qassimi, Maisa Al Qassimi, Sultan Saoud Al Qassimi, Walid Raad, Khalil Rabah, Dr. Houssam Rashwan, Mohamed El Rawas, Hala Rayyes, Marwan Rechmaoui, Wafa Roz, Steve Sabella, Nizar Sabour, Riham El Sadany, Nadia Saffiyedine, Nima Sagharchi, Mona Said, Lilia Ben Salah, Ibrahim El Salahi, Jouhaina Samawi, Khaled Samawi, Mona Saudi, Samir Sayegh, Frida Sammuel, El Seed, Andre Sfeir-Semler, Marie-Claire Thijsen, Thorne Sirbak, Asmaa Al-Shabibi, Nada Shabout, Sueraya Shaheen, Amr Shaker, Delair Shaker, Sara Schaub, Shobha Pia Shamdsani, Laila Shawa, Ghada Sholy, Amer Shomali, Mahmood Shubbar, Adel El Siwi, Nasser Soumi, Hanibal Srouji, Hady Sy, Maliha Tabari, Mohamed Taman, Vera Tamari, Vladimir Tamari, Alfred Tarazi, Leon Terzian, Missak Terzian, Katya Traboulsi, Katia Vraïmakis, Maha Yahya, Nazar Yahya, Soha Youssef, Akram Zaatari, Yasser Zaki Hashem, Elias Zayyat, Zeina Zalzal, Mostapha Zeidan, Salwa Zeidan, Ghada Zoghbi, Hani Zorob

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#66

Founder

Contributors

Rima Nasser

Dr. Hussam Rashwan

Jouhainah Samawi

Editor-in-Chief

Valerie Didier Hess

Ghada Sholy

Anastasia Nysten

Dr. Basel Dalloul

Barrak Naamani

Designer

Wafa Roz

Saleh Barakat

Dr. Ridha Moumneh

Hicham Daoudi

Production Manager

Abdul Rahman Katanani

William Lawrie

Yasmina Hammoud

Tagreed Darghouth

Salwa Zeidan

Copy Editor

Serwan Baran

Nadine Bekdache

Helen Assaf

Yasmina Nysten

Mahmoud Talaat

Marketing Director

Katya Traboulsi

Nayla Kettane

Jean Walbaum

Alfred Tarazi

Charles Pocock

Hady Sy

Fatenn Mostafa

Rawane Khalil

Selections Publishing House FZ LLC Advertising Inquiries Jean Walbaum jean@selectionsarts.com Editorial Inquiries Anastasia Nysten anastasia@selectionsarts.com selectionsarts.com

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ARTS-STYLE-CULTURE FROM THE ARAB WORLD AND BEYOND

Abdelrahman Al Muzayen Untitled, 1964. 80 x 60 cm DAF Beirut

CONTENTS

THE CUSTODIAN 10-11 Introduction: The Custodian and the Significance of Art Preservation 12-15 Dr. Hussam Rashwan Guardians of Egypt’s Artistic Legacy with Dr. Ramzi Dalloul and the Dalloul Art Foundation 16-27 Valerie Didier Hess Unveiling Arab Art’s Future: Valerie Didier Hess and the Dalloul Collection 28-83 Dr. Basel Dalloul Preserving The Past, Inspiring The Future: The Foundation’s conservation efforts 84-109 Wafa Roz The Dalloul Art Foundation: A Legacy of Stewardship 110-135 Wafa Roz From The Vaults: Hidden Treasures Revealed 136-137 Dr. Basel Dalloul Christie’s and DAF: A Relationship of Respect 138-157 Dr. Ridha Moumni Under the Hammer with Dr. Ridha Moumni 158-177 Artistic Visionaries Abdul Rahman Katanani Tagreed Darghouth Serwan Baran Yasmina Nysten Katya Traboulsi Alfred Tarazi Hady Sy Samia Halaby Inaya Hodeib Ayman Baalbaki 178-179 Sultan Sooud Al Qassemi 180-187 George Al-Ama Preserving Palestinian Art: The Dalloul Art Foundation’s Pivotal Role 188-193 Nada Ghandour Art Philanthropy in Action: The Foundation’s Impact on Communities 194-197 Salah Lababidi The Intersection of Technology and Art: The Custodian’s Digital Initiatives 198-211 Custodian Chronicles: Art Galleries Fostering Art Preservation Through Foundation Collaborations 212-215 Faten Mustapha Our Region, our Story

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Cover photo credits: Hady SY Photo taken on the One Blood canvas artwork, the ONE BLOOD project to plead for tolerance and peace.

In this perspective, Sy embarked on the ONE BLOOD project to plead for tolerance and peace, as well as encourage DONATION. ONE BLOOD took Sy on a four-year-long journey around the world, with a white canvas and his photography equipment as his only companions. He photographed the portraits of 546 people of all ages and backgrounds, hailing from more than two hundred different locations and sharing 140 belief systems. All voluntarily donated a bag of blood, or, when they could not, just a drop, to promote blood donation as a gift of life from one human to another.

4 years – 546 portraits – 4 generations – 393 blood bags – 153 blood drops – 8 blood groups – 153 professions – 161 places of origin – 140 beliefs – 79 countries – 267 places of birth/residence – 467 names – 182000 miles Untitled-1 1

11/3/23 6:00 PM

Abdelrahman Al Muzayen Untitled, 1971. 100 x 70 cm DAF Beirut

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INTRODUCTION: THE CUSTODIAN AND THE SIGNIFICANCE OF ART PRESERVATION

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THE ROLE OF CUSTODIAN IN ART PRESERVATION

A GUARDIAN OF CULTURE

Art, in its myriad forms, has always held a unique power to transcend time and culture, conveying the depth of human experience and the complexities of our shared history. It is a repository of emotions, ideas, and narratives that connects us to our past, resonates in our present, and extends a bridge to the future. But, as with all precious things, art is fragile as it is susceptible to the ravages of time, neglect, and even deliberate destruction. This issue delves into the crucial role of the custodian in safeguarding these invaluable treasures, and it explores the significance of art preservation, with a particular focus on the Dalloul Art Foundation (DAF) and the importance of preserving Arab art.

In the world of art, the custodian plays a pivotal role in the protection, curation, and promotion of artworks and collections. Whether an individual or an institution, custodians shoulder the responsibility of ensuring that these artistic expressions remain intact for future generations. Their role extends beyond mere preservation; it encompasses a commitment to making art accessible, fostering an understanding of its historical and cultural context, and supporting the broader appreciation of artistic endeavors.

“THE SIGNIFICANCE OF ART PRESERVATION CANNOT BE OVERSTATED. ART IS A LIVING TESTAMENT TO HUMAN CREATIVITY, CULTURAL EVOLUTION, AND THE SHARED EXPERIENCES OF HUMANITY.”

ART AS MEMORY

THE DALLOUL ART FOUNDATION: A BEACON OF PRESERVATION

The significance of art preservation cannot be overstated. Art is a living testament to human creativity, cultural evolution, and the shared experiences of humanity. It provides a window into the minds of artists and the societies in which they lived. While reflecting the values, beliefs, and aspirations of the past, it also serves as a mirror to our own time. By preserving art, we safeguard our collective memory, ensuring that the stories of our forebears endure.

Art also has an intrinsic economic and cultural value. It is a commodity, an investment, and a source of livelihood for countless individuals within the art ecosystem, from artists and collectors to curators and educators. The preservation of art is not only a cultural imperative but an economic one, contributing to the vibrancy of the art market and the sustenance of art-related industries.

Within the vast tapestry of art preservation, the Dalloul Art Foundation emerges as a beacon of dedication to preserving and promoting Arab art. Founded by Dr. Basel Dalloul, the foundation is on a mission to ensure the legacy and cultural wealth of the Middle East and North Africa are not forgotten.

It holds a vast collection of artworks that reflect the diversity, complexity, and beauty of Arab art, nurturing a dialogue that transcends borders and generations.

It also nurtures the empowerment of artists and the cultivation of new talent.

By providing a platform for Arab artists to showcase their work, the foundation encourages creativity, innovation, and cultural exchange.

In this issue, we explore Dr. Basel Dalloul’s role and DAF’s efforts in preserving and promoting this invaluable cultural heritage. We also spotlight the artists, the stories, and the challenges that make the preservation of Arab art an endeavour of profound significance. As we embark on this journey, we invite you to join us in celebrating the custodians and institutions that dedicate their efforts to ensuring that the treasures of our shared human heritage remain intact for generations to come.

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GUARDIANS OF EGYPT’S ARTISTIC LEGACY WITH DR. RAMZI DALLOUL AND THE DALLOUL ART FOUNDATION

INTERVIEW

DR. HUSSAM RASHWAN

Dr. Rashwan owns an outstanding collection of Modern Egyptian Art. He is also a scholar who sees his role in preserving the History of Modern Egyptian Art by undertaking and supporting research projects, helping many scholars around the world. He has an impressive collection of priceless literary references related to Modern Egyptian Art. Being part of Egypt’s academic elite art circle, Dr. Rashwan is in contact with art collectors, leading academics, major institutions and curators. His personal library and his unparalleled knowledge have gained him a reputation in the expertise of Modern Egyptian Art. Dr. Rashwan contributed to the Mahmoud Saïd monograph compiled by E. Dawestashy in 1997. Along with Dr. M. Mitwally and Dr. M. Shaker, he masterminded the Golden Jubilee Book of the Faculty of Fine Arts, Alexandria. He was also a major contributor to “One Hundred Years of Creativity, 1908-2008”, a commemorative book by the Faculty of Fine Arts, Alexandria.

He is also the co-author of Abdel Hadi El-Gazzar catalogue raisonné and currently working with Dr. Amal Nasr on an encyclopaedic monograph of artist Said-El-Adawi.

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RIMA NASSER: WE UNDERSTAND THAT YOU POSSESS A SUBSTANTIAL COLLECTION OF MODERN EGYPTIAN ART. COULD YOU PLEASE EXPLAIN HOW YOUR PASSION FOR COLLECTING AND PRESERVING THIS ART IS INTERTWINED WITH YOUR COLLABORATION WITH DR. RAMZI DALLOUL AND THE DALLOUL ART FOUNDATION? DR. HUSSAM RASHWAN: My journey into art collecting began in 1974 when I was 26 years old, having been born in 1948.

The serendipitous start to my collection can be attributed to my love for cinema, or as the French say, “cinephile.” In the years 1973-74, I was a member of a cinema club called “Le Club de Film, Alexandria,” which met every Saturday at the Museum of Fine Arts in Alexandria.

This exposure to modern Egyptian art while spending Saturdays and other days of the week at the Museum of Fine Arts in Moharram Bek allowed me to meet influential figures like Effat Nagy, Saad Al-Khadem, and various other artists who introduced me to the world of modern Egyptian art.

Mahmoud SaÏd Bain des chevaux à Rosette 1950. 66 x 89 cm DAF Beirut

My encounter with Dr. Ramzi Dalloul took place in Dubai in March 2014 during a dinner organised by Christie’s, where we happened to sit at the same table.

Dr. Dalloul introduced himself to me and mentioned his aspiration to build a collection of Arab Art. I advised him that his endeavour should aim for a museumlevel collection, distinct from a private one.

The distinction lies in the focus on quality over quantity. I explained to him that when people visit the Louvre, they come to see the finest artworks. Therefore, it’s not about amassing numerous artworks but about acquiring the best, exemplified by pieces like Mahmoud SaÏd’s Les Bains des Chevaux à Rosette.

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GUARDIANS OF EGYPT’S ARTISTIC LEGACY WITH DR. RAMZI DALLOUL AND THE DALLOUL ART FOUNDATION

RN: COLLABORATION OFTEN PLAYS A PIVOTAL ROLE IN MEANINGFUL PRESERVATION EFFORTS. HOW HAS YOUR CONNECTION WITH DR. RAMZI DALLOUL INFLUENCED YOUR ENGAGEMENT WITH THE DALLOUL ART FOUNDATION, AND WHAT NOTEWORTHY COLLABORATIONS HAVE ARISEN FROM THIS PARTNERSHIP?

RN: DR. BASEL DALLOUL, AS THE CUSTODIAN OF THE DALLOUL ART FOUNDATION, PLAYS A PIVOTAL ROLE IN ART PRESERVATION. HOW IS YOUR CONNECTION WITH DR. BASEL DALLOUL SIGNIFICANT IN THE CONTEXT OF YOUR COLLABORATIVE EFFORTS AND THE SHARED GOAL OF PRESERVING ART AND CULTURE?

HR: Certainly, I used to meet Dr. Dalloul twice a year in Dubai, usually during auction events. Additionally, I visited the foundation in Beirut on several occasions. We maintained frequent communication, sometimes even daily over the phone. Dr. Dalloul would seek my guidance on which artworks to acquire, particularly from Sotheby’s and Bonhams. My consistent advice to him was to invest exclusively in the finest works, rather than settling for any piece.

HR: I’d like to express my gratitude to Dr. Dalloul and Basel for their contributions, particularly Dr. Dalloul’s pioneering sponsorship of the catalogue raisonné of Mahmoud SaÏd, which involved a generous $50,000 donation. This catalogue raisonné for Mahmoud SaÏd was the first of its kind in the Middle East and has become a reference work for Mahmoud SaÏd’s art.

It not only contributes to preserving his legacy but also aids in distinguishing between genuine and counterfeit artworks. Subsequently, we completed the catalogue raisonné for Abdel Hadi El-Gazzar. We are currently working on another project, the English version of Aimé Azar’s book on modern Egyptian painting, set to be released next year.

This comprehensive work spans two substantial volumes, each containing around 600 pages, covering modern Egyptian art up to 1961. We are currently in the process of revising the biographies of approximately 97 different Egyptian artists, and the Dalloul Foundation is providing support for this project.

RN: YOUR CONTRIBUTION TO PRESERVING THE HISTORY OF MODERN EGYPTIAN ART IS COMMENDABLE. COULD YOU ELABORATE ON YOUR COLLABORATION WITH DR. RAMZI DALLOUL AND THE FOUNDATION IN FURTHERING THE MISSION OF SAFEGUARDING THIS CULTURALLY RICH HERITAGE? HR: It’s worth mentioning that I initially met Dr. Dalloul in March 2014, although my recollection suggests it might have been before October 2014. During this collaboration, I assisted in curating a collection of reference books on modern Egyptian art. On one of my visits to Dubai around October 2014 or March 2015, I transported approximately 31 kilogrammes of books for Dr. Dalloul.

These books are now housed in Beirut, with some also located in London. Dr. Dalloul would occasionally contact me late at night to discuss the contents of these books, such as insights about Samir Rafeh or Mahmoud SaÏd.

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Mahmoud Said Catalogue Raisonné

RN: THE ART WORLD FREQUENTLY BENEFITS FROM THE COLLABORATIVE EFFORTS OF COLLECTORS, SCHOLARS, AND FOUNDATIONS. CAN YOU SHARE SOME MEMORABLE MOMENTS OR ACHIEVEMENTS RESULTING FROM YOUR COLLABORATIONS AND EXPLAIN THE SIGNIFICANCE OF THESE ACCOMPLISHMENTS IN PRESERVING MODERN EGYPTIAN ART? HR: I’m part of a community engaged in reevaluating the collection at the Faculty of Fine Arts, Alexandria University.

This evaluation encompasses financial assessment and artwork authentication.

The collection housed at the Faculty of Fine Arts Museum is among Egypt’s most valuable art collections. Since 2018, we have been actively working on this project in collaboration with various scholars.

I have also served as a board member of the Museum of the Faculty of Fine Arts in Zamalek, affiliated with Helwan University. Our contributions have involved authenticating artworks and determining their value.

RN: AS A SCHOLAR AND COLLECTOR, YOU STRADDLE BOTH THE ACADEMIC AND ARTISTIC WORLDS. HOW DOES THIS UNIQUE PERSPECTIVE INFLUENCE YOUR ROLE IN PRESERVING ART, AND WHAT NEW DIRECTIONS DO YOU SEE YOUR COLLABORATIONS TAKING IN THE FUTURE? HR: I believe we have received requests from some of the families of artists to initiate a significant effort, such as the development of catalogues raisonnés and monographs for deceased artists. As a result, several projects are in the works for some of the modern Egyptian artists in Egypt, with my contributions slated for completion by the end of next year.

I have also made contributions to Rawi magazine, particularly in issues related to modern Egyptian art and Egyptian cinema. I’m readily available and have provided assistance to several PhD students working on theses about Modern Egyptian Art, whether they are studying in Egypt or abroad. I’m always willing to help, and anyone seeking contributions or assistance can access materials from our archives.

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INTERVIEW

UNVEILING ARAB ART’S FUTURE: VALERIE DIDIER HESS AND THE DALLOUL COLLECTION VALERIE DIDIER HESS

A history of art graduate from both Cambridge University and The Courtauld Institute, Valerie Didier Hess has been working at Christie’s international auction house for the past 18 years, in London, Dubai and Paris. She currently heads the Impressionist and Modern Art sales at Christie’s Paris, after being Director, Business Development, for the Christie’s Dubai office for almost eight years from 2009 to 2017. There she discovered a passion for Modern and Contemporary Middle Eastern art, and more specifically Modern Egyptian art. With the esteemed Alexandrian art collector Dr. Hussam Rashwan, she coauthored the first catalogue raisonné (a comprehensive book documenting and illustrating the oeuvre of one single artist) on a Middle Eastern artist, that of Egyptian artist Mahmoud Saïd (18971964) (Skira, Milan, 2016), for which the

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Dalloul Art Foundation was one of its sponsors. Valerie Didier Hess and Dr. Rashwan have just published the second catalogue raisonné of a Middle Eastern artist, the Egyptian artist Abdel Hadi El-Gazzar (Editions Norma, Paris, 2023), once again partly sponsored

by DAF. Finally, the Franco-Egyptian duo is currently finalising the English translation and enhanced re-edition of Aimé Azar’s seminal book La Peinture Moderne En Egypte (1961), into two lavish volumes of 600 pages (Editions Norma, Paris, 2024), to be published in spring 2024.

She is therefore also an independent art historian, contributing articles on Modern Egyptian art to various publications, such as ArtBahrain, Contemporary Practices, and most recently to Alexandria: A City and A Legend (Edited by the Bibliotheca Alexandrina) due to come out in 2024.

RIMA NASSER: VALERIE, WITH YOUR EXTENSIVE EXPERIENCE IN THE ART WORLD AND YOUR BACKGROUND IN ART HISTORY, YOU’VE HAD THE PRIVILEGE OF ENCOUNTERING COUNTLESS MASTERPIECES. HOW DO YOU VIEW THE DALLOUL COLLECTION’S ROLE IN PRESERVING AND PROMOTING ARAB ART, AND WHAT SETS IT APART IN THIS CONTEXT?

RN: AS FORMER DIRECTOR, BUSINESS DEVELOPMENT IN THE MIDDLE EAST BASED AT CHRISTIE’S DUBAI (2009-2017), YOU HAVE A UNIQUE PERSPECTIVE ON THE REGION’S ART SCENE. HOW HAVE YOU SEEN THE DALLOUL COLLECTION IMPACT THE MIDDLE EASTERN ART MARKET AND CONTRIBUTE TO A BROADER UNDERSTANDING OF ARAB ART?

VALERIE DIDIER HESS: It is truly unique for several reasons but more particularly for its ‘Pan-Arabic’ dimension – I recall that’s how the late Dr. Ramzi Dalloul used to define it: an art collection showcasing and defining Pan-Arabism.

And indeed, it represents 15 countries of the Arab World: Algeria, Egypt, Iraq, Jordan, Lebanon, Morocco, Palestine, Saudi Arabia, Bahrain, Kuwait, Sudan, Syria, Tunisia, UAE and Yemen. What struck me the first time I visited the collection (and since then, I know a lot of works were purchased and added to the collection) is how extraordinary it was to have in one single building such a rich panorama of 20th and 21st century Arab art, how it all made sense being seen together yet at the same time, how each artist has his or her own identity, even how each Arab country has its own identity and how they all dialogue together in such harmony. I was amazed at how powerful each painting, sculpture, drawing or installation was, what it meant, what it represented, especially given the political, social and economic context of some of those Arab countries represented. There is no doubt that by showcasing its extensive and eclectic collection, the Dalloul Art Foundation is both a haven and a window on the best of Modern and Contemporary Arab art.

VH: Looking back again to my first visit to the Dalloul Art Foundation, I was shocked by the fact that all of these wonderful artists were under-represented in the West, sometimes completely unknown.

For my part, I realised – although I was already fully aware of it – that at Christie’s – just like Sotheby’s or Bonhams – and in galleries, only a fragment of the wide span of Modern and Contemporary Arab art was represented.

“DR. RAMZI WAS, AND BASEL DALLOUL IS, ALWAYS A STEP AHEAD IN TERMS OF BEING AT THE FOREFRONT OF THE MODERN AND CONTEMPORARY ART SCENE.”

There are many artists I had barely heard of that Dr. Ramzi Dalloul at the time had already spotted and purchased from – Dr. Ramzi was, and Basel Dalloul is, always a step ahead in terms of being at the forefront of the Modern and Contemporary Art scene, opening up its horizon in uncovering contemporary artists of the Arab diaspora, showing that there is much more than the ‘usual suspects’ that are regularly offered at auction.

I would add that the DAF website, elaborate and user friendly, with its highly documented biographies for each artist, offers an invaluable online resource for researchers on the subject and provides a deeper understanding – in English – of the broadness of the 20th and 21st century Arab art scene.

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UNVEILING ARAB ART’S FUTURE: VALERIE DIDIER HESS AND THE DALLOUL COLLECTION

RN: YOUR WORK WITH MAHMOUD SAÏD’S CATALOGUE RAISONNÉ IS COMMENDABLE. CAN YOU SHARE HOW YOUR COLLABORATION WITH DR. RASHWAN AND YOUR ENCOUNTERS WITH SAÏD’S WORK HAVE DEEPENED YOUR APPRECIATION FOR THIS ARTIST AND HIS ROLE IN THE ART HISTORY OF THE REGION?

VH: When I started at Christie’s Dubai back in December 2009, I didn’t know anything about Modern and Contemporary Middle Eastern Art – I shamefully didn’t recognise a single name of the artists that were featured in our auctions, yet very quickly, I learned them, I recognised their styles, and I educated my eye.

In 2010, when Christie’s Dubai dispersed the beautiful collection of Modern Egyptian Art belonging to Sheikh Mohammed Saïd Farsi over two sales during which world record prices were reached for Mahmoud Saïd, Hamed Nada, Abdel Hadi El-Gazzar and other Egyptian artists, I was stunned by the beauty of Mahmoud Saïd’s paintings – Les Chadoufs with its genius composition and extraordinary palette, Les Derviches Tourneurs with its breathtaking mystical light and outstanding rotational movement, or Le Lever Du Soleil À Louxor with its morning light brushing the tranquil feluccas and the fellaha gazing out towards the Nile river – I wanted to know more about Mahmoud Saïd, see more and understand his oeuvre. Esmat Dawastashy’s 1997 monograph on the artist, with its lavish illustrations, provided me with a visual overview of the Alexandrian master’s oeuvre, yet I could vaguely make out the captions but not the texts as the book is published only in Arabic.

At the same time, I was in contact with Dr. Hussam Rashwan with regards to his collection and when I contacted him about the provenance of his paintings – including the Mahmoud Saïd paintings – we spent hours on the phone as he had so many anecdotes about all these artists, so much information that I realised not only each of the works in his collection had a story, but more generally, he was a walking encyclopaedia on Modern Egyptian Art.

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All this oral history was absolutely fascinating but it had to be recorded somewhere, in English, to widen the audience who would be able to access it.

Given my passion for Mahmoud Saïd and my determination to discover more of his oeuvre, yet torn by the frustration I had to discover the lack of documentation on such a pivotal artist and a pioneer of Modern Arab art, I gave the idea to Dr. Rashwan to do a catalogue raisonné for Mahmoud Saïd’s oeuvre, just like many of the main Impressionist and Modern Western artists have their oeuvre referenced in a catalogue raisonné. In that way, we would illustrate all Saïd’s works and showcase their beauty, but more importantly we would document them, locate them, list them, and by doing so, we would authenticate them.

I saw this book as a way to safeguard Saïd’s oeuvre, to promote it to a more global audience, and to ‘clean up’ the market which was already back then in 2010 ‘polluted’ by fake Saïd paintings. I soon realised that publishing books like that was a necessity for Middle Eastern artists in general but the work required is gargantuan and faces many challenges.

“DAF ACTS AS A REMINDER OF HOW VAST THE PRODUCTION OF MODERN AND CONTEMPORARY ARAB ART TRULY IS, AND HOW MUCH IT HAS BEEN COMPLETELY OMITTED FROM ART HISTORICAL BOOKS AND COURSES IN THE WEST.”

Dr. Ramzi Dalloul standing before Dia al-Azzawi’s Sabra and Shatila Massacre Tapestry at the Real Fábrica de Tapices in Madrid, 2018.

RN: IN YOUR OPINION, WHAT ARE SOME KEY PIECES OR ASPECTS WITHIN THE DALLOUL COLLECTION THAT MAKE IT A VALUABLE AND INDISPENSABLE RESOURCE FOR THE PRESERVATION OF ARAB ART?

VH: Generally speaking, the collection includes works by Egyptian, Lebanese, Iraqi, Moroccan, Palestinian, Syrian, Tunisian, Saudi, Yemeni, Sudanese, Kuwaiti, Emirati and Bahraini artists – these are unprecedented numbers of different artists all united under the same entity and consequently presenting the richness of each of these country’s cultural modern and contemporary heritage. In that way DAF acts as a reminder of how vast the production of Modern and Contemporary Arab art truly is, and how much it has been completely omitted

from art historical books and courses in the West.

In terms of key pieces at DAF, there are so many to choose from but I think one that stands out is Le Bain Des Chevaux À Rosette (1950) by Mahmoud Saïd – one of the first masterpieces to enter DAF, which was discovered mainly thanks to the detective work Dr. Rashwan and I were doing for the Mahmoud Saïd catalogue raisonné. The vibrant blue, the peacefulness and the blinding light of this painting are absolutely mesmerising, and confirm Saïd’s recognition as a ‘master of colour’.

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VH: On a completely different level, the impressive collection of paintings by the contemporary Lebanese artist Ayman Baalbaki – especially the monumental The Middle East (2014) – is mind-blowing and has such a strong presence on the DAF walls, positioning Baalbaki as one of the leading artists of his generation. Most importantly, the unparalleled number of Palestinian artists represented in the DAF collection was a true revelation for me – like all the artists featured in the collection, DAF provides them with a voice with global outreach through its exhibition space, publications and website.

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Ayman Baalbaki The Middle East, 2014 207.5 x 407.5 x 5.5 cm DAF Beirut

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UNVEILING ARAB ART’S FUTURE: VALERIE DIDIER HESS AND THE DALLOUL COLLECTION

“DAF HAS SET THE TREND OF BEING ONE OF THE MAIN SPONSORS FOR UNDERGOING ACADEMIC WORK, EXHIBITIONS AND PUBLICATIONS FOCUSING ON ART FROM THE ARAB DIASPORA.”

RN: ART PRESERVATION OFTEN INVOLVES COLLABORATIONS AND ACADEMIC INITIATIVES. COULD YOU ELABORATE ON HOW YOUR WORK ON MAHMOUD SAÏD’S CATALOGUE RAISONNÉ HAS STRENGTHENED THE ACADEMIC COMMUNITY’S CONNECTION WITH THE DALLOUL COLLECTION AND ITS MISSION?

VH: The Mahmoud Saïd catalogue raisonné would not have been possible without the sponsorship of DAF, and of our other generous sponsors – just like the Abdel Hadi El-Gazzar catalogue raisonné which has literally just been published, and the Aimé Azar English translation and enhanced re-edition presented into two elaborate volumes of 600 pages each (to be published in

spring 2024) would have never existed had it not been for the financial support of DAF – just like his father, Basel Dalloul is more than a collector and the director of an art foundation – he understands the importance of documenting, promoting through books, and extending the mission of DAF into sponsoring academic projects.

RN: YOU HAVE EXTENSIVE EXPERIENCE WITH INTERNATIONAL INSTITUTIONS AND AUCTION HOUSES. HOW DO YOU ENVISION THE DALLOUL COLLECTION EVOLVING IN THE FUTURE, AND WHAT ROLE MIGHT IT PLAY IN SHAPING THE NARRATIVE OF ARAB ART GLOBALLY?

VH: The beauty of the DAF collection is that it is not set in stone although it has a solid backbone – it will never be outdated and ‘grow old’ as it constantly renews itself – Christie’s London is selling around 50 works from the DAF collection on 9th November 2023, each of which are key examples by some of the region’s leading artists, offering a unique opportunity for other collectors

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globally to own one of these works.

This shows how DAF seeks to literally share its collection with the wider art world, but it also allows DAF to filter its collection and sell works for which there are already similar paintings in the collection, in view of providing a fresh budget to purchase new artworks by young contemporary artists, ultimately also giving them a platform to be heard.

RN: THE WORLD OF ART IS DYNAMIC AND EVER-EVOLVING. WHAT CHALLENGES AND OPPORTUNITIES DO YOU SEE IN PRESERVING AND PROMOTING ARAB ART, AND HOW DOES THE DALLOUL COLLECTION ALIGN WITH THESE TRENDS?

Mohamad Said Baalbaki Broken Dream, Reve Brisé, 2022.

49 x 166 x 24 cm DAF Beirut

VH: The challenges are clear: there is so much to do, so little time, so few archives and documents, so many artists to cover but DAF, with its extensive biographies, articles and images made available to the public through its website, provides a good starting point for researchers and academics seeking to write on Modern and Contemporary Arab art, or on a specific artist in the collection.

In addition, following the success of the exhibitions showcasing another major comprehensive collection of Modern and Contemporary Arab art, that of the Barjeel Art Foundation, Sharjah, DAF should aim to seek opportunities to

display a large selection of works from its collection in Europe and America, perhaps even make a partnership with the Institut du Monde Arabe in Paris, for example.

Through the Christie’s London sale in November 2023, the sale preview and the press around this outstanding sale of 50 works from DAF collection will also naturally raise global awareness about DAF itself. Like the Barjeel Art Foundation, DAF has set the trend of being one of the main sponsors of academic work, exhibitions and publications focusing on art from the Arab diaspora.

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UNVEILING ARAB ART’S FUTURE: VALERIE DIDIER HESS AND THE DALLOUL COLLECTION

RN: AS SOMEONE DEEPLY ENGAGED IN THE ART WORLD AND WITH A KEEN EYE FOR MASTERPIECES, CAN YOU SHARE ANY PARTICULAR PIECES OR ARTISTS WITHIN THE DALLOUL COLLECTION THAT HAVE LEFT A LASTING IMPRESSION ON YOU, AND WHY? VH: The painting Jamal Al Mahamel III (The Carrier of Hardships) by Sliman Anis Mansour is such an emblematic painting and given the current geopolitical context, it is even more so an icon of Modern Arab art, of its depth, its significance and its outreach.

Also, the tapestry reproduction made

by DAF, based on the original Sabra and Shatila Massacre masterpiece by Dia alAzzawi housed in the Tate Modern, is truly extraordinary.

DAF also holds several masterpieces

by Palestinian living artist Samia Halaby, showcasing her very diverse oeuvre, which has successfully been internationally acclaimed – her compositions, her colours, her concept are truly exceptional.

Another artist, this time Iraqi, which strikes me as being a forerunner of Arab kinetic art, is Mehdi Moutashar – definitively comparable to Venezuelan artist Carlos Cruz-Diez (1923-2019), whose prices have recently sky-rocketed at auction in the past couple of years and whose works now appear in many prominent contemporary art collections.

RN: DR. BASEL DALLOUL SERVES AS THE CUSTODIAN OF THE DALLOUL ART FOUNDATION. IN YOUR VIEW, HOW HAS HIS LEADERSHIP CONTRIBUTED TO THE PRESERVATION AND PROMOTION OF ARAB ART, AND WHAT DO YOU FORESEE AS THE FUTURE DIRECTION UNDER HIS STEWARDSHIP? VH: As mentioned earlier, Dr Basel Dalloul has admirably provided continuity for DAF since his father passed away, and has even taken a step further in seeking to trim down the current collection in order to be able to continue enriching it with more contemporary creations, to ensure the collection’s longevity. He perpetuates DAF’s support of contemporary artists – being at Ayman Baalbaki’s side for example, when the latter was selected to represent the Lebanese Pavillion of the Venice Biennial of 2022. He continues the ongoing dialogue with collectors, galleries, auction houses, academics and of course the artists themselves, to keep the collection alive. He has given so much towards the publication of the Abdel Hadi El-Gazzar catalogue raisonné and the Aimé Azar book on Modern Egyptian Painting, and I know I count on his support for my future academic publications to be heard.

RN: LOOKING AHEAD, WHAT IS YOUR VISION FOR THE FUTURE OF THE DALLOUL COLLECTION AND ITS POTENTIAL IMPACT ON THE ART WORLD, ESPECIALLY WITHIN THE CONTEXT OF PRESERVING ARAB ART? VH: It would be great to see an exhibition of around 100-150 highlights from the Dalloul Collection exhibited in Paris, Berlin, New York, Los Angeles and why not Hong Kong!

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Sliman Anis Mansour Jamal Al Mahamel III (The Carrier of Hardships), 2014.

152 x 98.5 cm DAF Beirut

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UNVEILING ARAB ART’S FUTURE: VALERIE DIDIER HESS AND THE DALLOUL COLLECTION

Dia al-Azzawi Sabra and Shatila Massacre, “Tapestry”, 2018. 300 x 750 cm DAF Beirut

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INTERVIEW

PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS DR. BASEL DALLOUL Born into a family with a background in art and culture, Dr. Basel Dalloul has worked in both the art and IT sectors. Dr. Basel’s parents, the late Dr. Ramzi and his wife Saeda Husseini, began acquiring art in the early 1970s. They amassed a collection of nearly 3,000 pieces, representing modern and contemporary art from the Arab world.

Dr. Basel’s upbringing was surrounded by art. In the 1990s, he built a personal collection of Western art which led to a deeper involvement with regional art by the 2000s. In parallel to his artistic trajectory, his academic and professional pursuits were deeply influenced by his diverse educational background.

Dr. Basel received a Bachelor of Science in Finance from the American University, in Washington, D.C, and acquired a Juris Doctor and MBA from Georgetown University also in Washington, DC. Furthermore, he studied Electrical Engineering and Computer Science at Rice University in Houston, Texas, and undertook comparative studies at Oxford University in England.

Beyond his formal education, Dr. Basel contributed to a course on entertainment law and the Internet at the Georgetown University Law Center, and spoke at IT conferences globally. In 1989, Dr. Basel entered the tech industry by founding the U.S-based Magnet Interactive Group, Inc. In 2000, he established the NOOR Group in Egypt. As its Chairman and CEO, NOOR expanded its network across 137 countries.

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Alongside his tech pursuits, Dr. Basel continued to be involved in art. He holds positions on the Middle Eastern advisory board and acquisitions committee at the Guggenheim Museum, New York, and on the School of Architecture and Design Advisory Council at the Lebanese American University (LAU).

In December 2016, Dr. Basel began laying the groundwork for the Ramzi and Saeda Dalloul Art Foundation (DAF) in Beirut, which was officially established in 2017. While DAF first aimed to oversee, document, and preserve Ramzi and Saeda’s collection, it grew to reflect various Arab artistic expressions. It now serves as a cultural mediator, reflecting the breadth of Arab art and offering a wide spectrum of visual art from the region. DAF’s collection spans various media such as paintings, drawings, prints, photographs, sculptures, videos, and installations. To increase DAF’s accessibility, a comprehensive website was launched in 2020, serving as a pivotal research hub for art enthusiasts.

Dr. Basel’s vision for DAF encompassed not only welcoming researchers, scholars, and art lovers but also providing access to its rich archives, extensive library, and meticulously curated research facilities.

After his father’s passing in 2021, Dr. Basel took on the responsibility of shaping the direction of the Dalloul art collection, which has since expanded.

He continues to spearhead new acquisitions and shape the art landscape, emphasising artists with significant potential.

Dr. Basel Dalloul, founder and chairman of the Ramzi and Saeda Dalloul Art Foundation.

2023, DAF Beirut

RIMA NASSER: DR. BASEL DALLOUL, COULD YOU PLEASE PROVIDE AN OVERVIEW OF THE DALLOUL ART FOUNDATION’S COMMITMENT TO ART PRESERVATION AND ITS SIGNIFICANCE IN TODAY’S WORLD, PARTICULARLY IN THE CONTEXT OF YOUR COLLECTION EFFORTS?

BASEL DALLOUL: The Ramzi and Saeda Dalloul Art Foundation (DAF) is deeply committed to art preservation. We believe that art is not only a reflection of our history and culture but also a valuable source of inspiration and education for future generations. Our mission on the issue of preservation is clear. It is to safeguard and promote the preservation of art from the Arab world in all its forms, including but not limited to paintings, sculptures, photographs, and installations.

In today’s world, where rapid globalisation and technological advancements often overshadow traditional art forms, the preservation of our artistic heritage becomes even more crucial. By preserving and showcasing artworks from different eras and parts of our diverse culture, we aim to foster a sense of cultural understanding and appreciation.

Our collection efforts are focused on acquiring and conserving artworks that represent the diverse artistic expression of a group of Arab art pioneers from our region.

We collaborate with artists, collectors, and institutions to ensure that these artworks are protected, studied, and made accessible to the public. Through exhibitions, educational programmes, and research initiatives, we strive to raise awareness about the importance of art preservation and its relevance in contemporary society.

By preserving and promoting art from the Arab world, the Dalloul Art Foundation aims to contribute to a world where artistic expressions are valued, celebrated, and preserved for future generations to enjoy and learn from.

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The Ramzi and Saeda Dalloul Art Foundation, 2020, DAF Beirut

RN: PRESERVING ART FOR FUTURE GENERATIONS IS A COMPLEX TASK. WHAT MOTIVATED YOU TO ESTABLISH THE FOUNDATION AND TAKE ON THIS CRUCIAL ROLE OF ART CONSERVATION AND COLLECTION?

BD: I’ve always had a deep appreciation for art and its ability to transcend time, language, and cultures. Seeing the deterioration of many valuable art works from several state collections, both in Lebanon and Egypt, made me realise the importance of preserving our collection for future generations.

Just like my late parents did for me and my younger brother, I now have the responsibility of ensuring that the masterpiece - about 90% of what’s in the collection are considered masterpieces -

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in the Dalloul Collection continue to inspire and educate people for years to come. This is why, when my late father passed this responsibility onto me in 2014, I established the Ramzi and Saeda Dalloul Art Foundation. The collection itself will remain a family asset for the time being. Its management, archives, catalogues, research, preservation, and promotion are at the core of DAF’s mission: to introduce, educate, conserve, and promote Arab art to local and global audiences.

“JUST LIKE MY LATE PARENTS DID FOR ME AND MY YOUNGER BROTHER, I NOW HAVE THE RESPONSIBILITY OF ENSURING THAT THE MASTERPIECES IN THE DALLOUL COLLECTION CONTINUE TO INSPIRE AND EDUCATE PEOPLE FOR YEARS TO COME.”

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

Ragheb Ayad The Dancing Horse and the Musicians of Upper Egypt, ND. 49.5 x 68.5 cm DAF Beirut

RN: CAN YOU SHARE SOME OF THE FOUNDATION’S NOTABLE ACHIEVEMENTS AND SUCCESS STORIES IN THE REALM OF ART PRESERVATION AND COLLECTION OVER THE YEARS?

BD: Well, for starters, DAF has been instrumental in preserving and archiving a huge collection of modern and contemporary Arab art. The foundation was founded to manage and promote this massive collection, which reflects the diversity and boldness of art from the Arab world. The foundation has and continues to collaborate with museums and institutions all over the world, stretching from the Americas to Southeast Asia and everything in between. Since the beginning of this year alone, we’ve accommodated ten

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loans, and we have two more months before the year is over. DAF is very strong in, and committed to, social media and media production in general.

The achievement that sets us apart is our website at www.dafbeirut.org. The DAF website has become the de facto reference site for everything related to Arab art. Today, the site is used by schools, scholars, curators, universities, museums, auction houses, and anyone who just wants to research and enjoy art from the Arab World, and it’s there for everyone to access for free.

RN: THE FOUNDATION’S COLLECTION EFFORTS MUST INVOLVE A DELIBERATE SELECTION PROCESS. COULD YOU DESCRIBE THE CRITERIA AND GUIDING PRINCIPLES THAT INFLUENCE YOUR CHOICES WHEN ADDING ARTWORKS TO THE COLLECTION?

BD: The foundation, under my leadership, has always followed a deliberate selection process.

We start by plugging in a few glaring holes in our collection with the pioneers of modern Arab art, like Faik Hassan of Iraq, Ragheb Ayad and Hamed Owais of Egypt, a copper piece by Farid Belkahia, a black Melehi, both of Morocco, and others from a variety of countries in the Arab world, which we currently cover. We then go through the major art movements, making sure we have a comprehensive representation of these artists’ work, and then preview the generation of artists they mentored.

While both my parents did an amazing job amassing the bulk of this unique collection, we still had some holes to fill. During the past couple of years, we’ve accomplished 90% of this task.

The next order of business, considering I run the foundation as though it were a commercial enterprise, is the big reshuffle we’re embarking on.

While the foundation will maintain its solid commitment to modern Arab art, which will always be the core and the backbone of the foundation’s collection, my focus and the foundation’s will be towards the younger, but more established, contemporary Arab artists.

Faik Hassan The Tent, 1956. 75 x 92 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

BD: We’ve acquired pieces from my dear friends, including Ayman Baalbaki’s iconic Piccadilly Theatre, 2019, and Warehouse No. 12, 2020; Abdul Rahman Katanani’s Vulva, 2022, and its companion; along with Katanani’s Girl running with a tile—Beirut Blast, 2020. We’ve also acquired Mohamad Said Baalbaki’s Revolution; Ziad Antar’s Policemen on Motorbikes series, 2009; Jumanah Abbas’s There’s A Vicious War Launched in the Area of Frequencies, 2023; Leila Jabre Jureidini’s Kilim I and Kilim V, 2023; Manal Al Dowayan’s Just Paper—Group XV, 2022; Die Famous’s The Coverts, 2023; Cellar Door, 2022; Charlie, 2022, among others. We also acquired Amani Al Thuwaini’s Staged, 2020; Zayn Qahtani’s Through the Looking Glass, 2022; Moustapha Akrim’s Attajamhur, 2022; Souad Abdelrasoul’s Eve’s Apple; Hussain Sharif’s Faces 3, 2021; Sheikha Al Mazrou’s Paper Sculpture, 2022; Serwan Baran’s 30 Seconds Out of Time, 2021; Beirut Clean Up, 2020; Rashid Diab’s Migration; Tagreed Darghouth’s From the series “Merkava”, 2017; Hady Sy’s Zero Dollar series, 2014-2015; and Bashar Al Hroub’s Salt Land #1, 2021; and his Saint series, 2023, just to name a few.

The foundation will also collaborate with and support a handful of galleries for emerging artists. It is important, both to me personally and to the foundation’s mission, that we continue to have a pipeline of artists and collectors to represent our culture and identity through art in all its forms.

Ayman Baalbaki Piccadilly Theater, 2019. 280 x 390 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

Abdul Rahman Katanani Girl running with a tile – Beirut blast, 2020. 230 x 210 cm DAF Beirut

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Mohamed Melehi Untitled, 1961. 97 x 130 cm DAF Beirut

Zayn Qahtani Through The Looking Glass, 2020.

39 x 38 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

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Shaikha Al Mazrou Paper Sculpture, 2022.

121 x 124 x 33.5 cm DAF Beirut

Hussain Sharif Faces 3, 2021. 15 x 7 x 5 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

Moustapha Akrim Attajamhur, 2022. 290 x 83 x 6 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

Serwan Baran 30 Seconds Out of Time, 2021. 200 x 253 cm DAF Beirut

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Serwan Baran Beirut Clean Up, 2020. 190 x 228 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

Bashar Al Hroub From the Saint series Saint #2, 2023.

48 x 38 cm DAF Beirut

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Tagreed Darghouth From the series “Merkava”, 2017.

115 x 200 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

Ziad Antar Untitled, 2009.

120 X 120 CM DAF Beirut

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“THIS COLLECTION IS A CRITIQUE OF LEBANESE POLICEMEN, BOASTING ABOUT THEIR NEWLY GIFTED DUTY MOTORBIKES. “ Considering there are many talented Arab photographers who capture the beauty and complexities of the region, and provide a contemporary perspective on Arab culture, DAF has recently acquired the body of work Untitled, 2009, a series of seven photographic inkjet on archival paper prints by Lebanese artist Ziad Antar.

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

Leila Jabre Jureidini Kilim I, 2023. 153 x 183 cm DAF Beirut

Leila Jabre Jureidini Kilim V, 2023. 180 x 152 cm DAF Beirut

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Bashar Al Hroub Salt Land #1, 2021. 170 x 214 cm DAF Beirut

Hady Sy From the Zero Dollar series Sifr, 2014. 74 x 180 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

RN: ART CONSERVATION AND COLLECTION CAN ENCOMPASS VARIOUS FORMS OF ART, FROM PAINTINGS TO SCULPTURES TO DIGITAL ART. HOW DOES THE DALLOUL ART FOUNDATION APPROACH THE PRESERVATION AND COLLECTION OF DIFFERENT ART MEDIUMS, AND WHAT IS THE RELEVANCE OF THIS DIVERSE COLLECTION?

BD: The Dalloul Art Foundation takes a comprehensive and meticulous approach when it comes to the preservation and collection of various art mediums. We recognise the importance of preserving the integrity and authenticity of each artwork, ensuring that it remains in its truest form for generations to come. Our collection spans a wide range of artistic mediums, including paintings, sculptures, installations, photographs, and more. We’re even researching digital art (not NFTs), which I’m looking forward to tackling. This diverse collection holds great relevance as it showcases the richness and diversity of artistic expression across different mediums, time periods, and cultures. That reach extends throughout the Arab world, from Morocco to Iraq, down to Sudan and Yemen on the Arabian Peninsula.

It allows for a deeper understanding and appreciation of various artistic techniques, themes, and cultural contexts.

The Foundation aims to create a space where art enthusiasts, scholars, and the general public can engage with and learn from this diverse collection, fostering a dialogue about the power of art in shaping our collective cultural consciousness. By preserving and curating these artworks, the Dalloul Art Foundation contributes to the broader narrative of art history and ensures that these valuable artistic expressions are not lost or forgotten.

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The Ramzi and Saeda Dalloul Art Foundation, 2023, DAF, Beirut

RN: THE FOUNDATION’S CONSERVATION AND COLLECTION INITIATIVES OFTEN REQUIRE COLLABORATION WITH EXPERTS. CAN YOU TELL US ABOUT SOME OF THE EXPERTS, INSTITUTIONS, OR ORGANISATIONS THE FOUNDATION COLLABORATES WITH IN THE PURSUIT OF PRESERVING AND COLLECTING ART?

BD: Considering the context, we are the authority when it comes to Arab art; however, we work very closely with ‘experts’. Such specialists include Gurr Johns; all three major auction houses, especially my dear friend Dr. Ridha Moumni, deputy Chairman of Christie’s Middle East and his wonderful team; and gallerists, such as Meem and my dear friend Charlie Pocock, in Dubai; as well as other foundations and museums, such as Barjeel in Sharjah, UAE, and Mathaf in Doha, Qatar, respectively.

RN: ARE THERE ANY SPECIFIC PROJECTS OR ARTWORKS THAT STAND OUT IN YOUR MIND AS PARTICULARLY CHALLENGING OR REWARDING IN TERMS OF PRESERVATION AND COLLECTION?

BD: I would say our website at dafbeirut.org was among them. The DAF website is a work in progress because of the amount of information we upload daily to it. Yet, the biggest challenge there was figuring out the information architecture and the clean user experience and finally getting it launched at the beginning of the COVID lockdown. To become the reference site for Arab art, it needed to be clean and easy to navigate, and its information content needed to be thoroughly vetted.

Besides the web project, establishing our media group and getting it into full production mode was quite a feat. We have produced several video presentations on numerous subjects with respect to the collection. DAF continues to refine and produce content for our audiences.

Additionally, I would have to consider the project of creating the giant tapestry, produced over four years at the Real Fábrica de Tapices in Madrid, Spain.

The Tapestry is a replica of Dia al-Azzawi’s Sabra and Chatila Massacre (2018, also referred to as the Guernica of the Arabs, depicting the refugee camps in 1982. My late father convinced his dear friend Dia al-Azzawi to allow him to produce this tapestry so that it might preserve and outlast the original piece, which was bought for the Tate Modern.

It was unfortunately drawn on acidic paper, which over time will yellow and deteriorate. My dear friend Rima Nasser and her daughter Anastasia Nysten, the Editor in Chief of Selections Magazine, have already covered this extensive and interesting story. (#46 Fall 2018, pages 46-48).

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RN: BEYOND PHYSICAL CONSERVATION AND COLLECTION, HOW DOES THE FOUNDATION ENSURE THAT THE CULTURAL AND HISTORICAL SIGNIFICANCE OF THE ARTWORKS IS ALSO PRESERVED AND SHARED WITH FUTURE GENERATIONS, AND WHY IS THIS RELEVANCE CRUCIAL? BD: We do this through research and by taking that research and building digital archives for each of our artists. We constantly update them as information is made available. The current weight of the DAF website is 20 gigabytes.

The weight of our general database is currently 30 terabytes. Preserving artists’ archives and making them available is just as important as conserving and preserving the physical artworks.

RN: WHAT ROLE DOES RESEARCH PLAY IN THE FOUNDATION’S CONSERVATION AND COLLECTION EFFORTS, AND HOW DOES THE FOUNDATION CONTRIBUTE TO ADVANCING THE FIELD OF ART CONSERVATION AND CURATION THROUGH RESEARCH? BD: Building on what I said earlier, I have to add that without the research, there is no reference on how the work was done to determine how it should be conserved. Similarly, in terms of curation, there are no real stories to tell. What brings art to life is the context and the stories behind the art that we uncover through our research.

Dr. Basel Dalloul, 2023, standing next to Mohamed Ahmed Ibrahim’s Untitled, 2022 painting, DAF Beirut

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RN: LOOKING AHEAD, WHAT ARE THE FOUNDATION’S FUTURE GOALS AND STRATEGIES IN THE REALM OF ART PRESERVATION, COLLECTION, AND THE CONTINUED RELEVANCE OF ITS HOLDINGS? BD: In the last couple of years, I’ve been filling in gaps in the modern collection at DAF. At the same time, we’ve been preparing for what we call the ‘reshuffle’.

In this process, we will identify pieces in the collection that are redundant, earmark them for a final pass with our research department, clear them for deaccession, and tag them for potential sale. This very process is what resulted in the initial 48 pieces scheduled for Christie’s evening sale on November 9, 2023. While our mission of introducing and educating our audiences on Arab art is essentially the same, our energy will shift from the old-guard modernists to the younger, more contemporary artists from the Arab region. Our strategy to do this is to continue augmenting our database, creating content for our website, and producing a lot of media in the form of documentaries, video presentations, and immersive experiences.

RN: HOW CAN INDIVIDUALS, ARTISTS, AND THE GENERAL PUBLIC CONTRIBUTE TO OR SUPPORT THE DALLOUL ART FOUNDATION’S EFFORTS IN PRESERVING, COLLECTING, AND PROMOTING THE RELEVANCE OF ART AND CULTURAL HERITAGE? BD: We are exploring many ways through which individuals can support the efforts of the Dalloul Art Foundation.

One significant way is through monetary sponsorships, which help provide funding for exhibitions, research, and educational programmes. Artists also have the opportunity to lend or donate their work to the foundation, and they can even collaborate on exhibitions or projects.

By attending exhibitions, lectures, and events hosted by the foundation, people help to create awareness and support for our work. Additionally, individuals play a crucial role in our mission when they help spread the word about the foundation and emphasise the importance of preserving cultural heritage.

RN: IN YOUR VIEW, WHAT IS THE ULTIMATE LEGACY THAT THE DALLOUL ART FOUNDATION HOPES TO LEAVE IN TERMS OF ART PRESERVATION, COLLECTION, AND THE ENDURING RELEVANCE OF ITS HOLDINGS IN THE ART WORLD AND BEYOND? BD: The Dalloul Art Foundation’s ultimate legacy is to be a beacon for preserving and promoting the artistic and cultural heritage of the Arab world. We hope that our collection and the work we do will continue to be relevant and significant in the art world and beyond, providing a deeper understanding of the richness and complexity of Arab culture. We want to ensure that future generations have access to this art and can appreciate its beauty, diversity, and significance. In short, our legacy is to be a ‘Custodian’ of Arab art, preserving it for generations to come and ensuring that it remains relevant and celebrated in the global art world.

RN: WHAT CHALLENGES DO YOU FACE IN ACQUIRING ARTWORK FOR YOUR COLLECTION, AND HOW DO YOU ADDRESS ISSUES RELATED TO PROVENANCE AND AUTHENTICITY? BD: Some of the biggest challenges are usually around budget, competition, and authenticity. Acquiring artwork can be expensive, especially when it comes to acquiring major works from well-known artists. There’s also a lot of competition in the art world, so it can be difficult to acquire the most sought-after works.

Then, there’s the issue of provenance and authenticity; art foundations have to do a lot of research to make sure that the works they acquire are genuine and have a clear history of ownership.

Sometimes, this can be challenging, especially when it comes to works from lesser-known artists in the Arab world.

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RN: WHAT ELEMENTS MAKE AN ARTIST’S WORK STAND OUT FOR ACQUISITION?

BD: That’s a great question. There are a lot of elements that can make an artist’s work stand out for acquisition.

Originality is one. The work should be unique and show the artist’s individual style. Another element an artist should have is strong technical skills, like drawing, painting, or sculpting.

Conceptual depth is also crucial to making a unique piece.

The work they produce should have an interesting concept or idea behind it, something that makes it thought-provoking and engaging. Moreover, an artist’s work should resonate with the current cultural or social context and feel fresh and relevant.

Finally, I believe the marketability of an artwork dictates whether it stands out. This may be a bit of a controversial one, but an artist’s work should have the potential to sell and generate income for the foundation.

Mohammed Kacimi L’Oracle des Temps, 1996. 217 x 1000 cm DAF Beirut

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RN: HOW DO YOU ENSURE THAT YOUR COLLECTION REMAINS REPRESENTATIVE OF THE RICH CULTURAL DIVERSITY WITHIN THE MIDDLE EAST, ENCOMPASSING DIFFERENT REGIONS, TRADITIONS, AND INFLUENCES? BD: To ensure our collection remains representative of the Arab world’s rich diversity, we follow several strategies.

We commission works from artists who represent a variety of cultures and traditions within the Middle East. This could include everything from traditional crafts, like weaving and embroidery, to contemporary art forms, like installation and performance art. We also develop partnerships with museums and galleries in different regions to showcase the work of local artists and create opportunities for cultural exchange. On top of that, we also establish scholarship programmes or residencies for artists from diverse backgrounds, giving them the chance to explore new ideas and expand their practice.

RN: ARE THERE SPECIFIC THEMES OR RECURRING NARRATIVES IN ARAB ART THAT YOU FIND PARTICULARLY COMPELLING, AND IF SO, COULD YOU ELABORATE ON THEM? BD: I wouldn’t really say that there were recurring themes per se, but what really is evident is the empathy that artists from different parts of the Arab world have for one another’s people. Take the late Mohammed Kacimi’s L’Oracle des Temps, 1996, for example, depicting the Western monster coming out of the sky to scoop up and destroy Baghdad.

Kacimi is from Morocco, a country on the western edge of the Arab world. He painted about the hardships endured by his Iraqi brethren. Iraq is on the easternmost edge of the Arab world.

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

“MOHAMED AREJDAL, ALSO FROM MOROCCO, DEPICTED THE PLIGHT OF THE PALESTINIANS IN HIS 2012 WORK VALISE.”

Mohamed Arejdal Valise, 2012. 141 x 44 x 19 cm DAF Beirut

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RN: CAN YOU DISCUSS THE IMPACT OF YOUR FOUNDATION ON THE LOCAL AND GLOBAL ART SCENES, ESPECIALLY IN TERMS OF PROMOTING MIDDLE EASTERN ART AND CONTRIBUTING TO ART DISCOURSE? BD: Absolutely! The Dalloul Art Foundation has made a big impact on the art world, both locally and globally. DAF has showcased the work of Middle Eastern artists, both at its galleries in Beirut and by making dozens of loans to museums and institutions around the world. The foundation has helped to raise awareness and appreciation for the region’s rich cultural heritage and contemporary art scene.

DAF has also contributed to the global discourse around art by hosting exhibitions, lectures, and events that bring together artists, critics, and scholars from around the world.

Moreover, the foundation has played a key role in supporting emerging artists from the region, providing them with the resources and opportunities they need to thrive in the art world.

Part of this support includes helping them develop their catalogue raisonné.

Notably, DAF has supported artists such as Mohammed Kacimi, Abdel Hadi ElGazzar, Mahmoud Saïd, Ayman Baalbaki, and Steve Sabella, to name a few.

Cesar Gemayel Nude in Repose, N.D. 46 x 64 cm DAF Beirut

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RN: WITH YOUR FOUNDATION’S PROMINENT STATUS IN THE ART WORLD, HOW DO YOU NAVIGATE THE RESPONSIBILITY OF BEING A CULTURAL AMBASSADOR FOR THE MIDDLE EAST? BD: Being chairman of such a prestigious foundation does carry some weight. I navigate this responsibility by advocating for the inclusion of Middle Eastern art in major art institutions and events, such as biennales and art fairs, around the world. An example of this is our ongoing collaboration with the Venice Biennale, loaning several pieces by our Arab modernists for their shows. I also work with other cultural institutions and organisations to foster cultural exchange between the Middle East and the rest of the world. For example, we are currently loaning Columbia University’s Wallach Art Gallery as part of the gallery show Partisans of the Nude: An Arab Art Genre in an Era of Contest, 1920–1960.

I also use the foundation’s platform to highlight the important role that art plays in promoting understanding and dialogue between different cultures. And most importantly, I provide a space for Arab artists to showcase their work and engage in critical dialogue.

Sophie Halaby Untitled, N.D. 63 x 49 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

RN: IN WHAT WAYS HAS THE PERCEPTION OF ARAB ART EVOLVED ON THE INTERNATIONAL STAGE, AND WHAT ROLE HAS YOUR COLLECTION PLAYED IN THIS EVOLUTION? BD: I would say that the perception of Arab art has evolved significantly on the international stage in recent years.

Some key factors that have contributed to this evolution include an increased representation of Arab artists in major international exhibitions and events.

There has also been a growing interest from collectors and institutions in acquiring Arab art. The establishment of major art fairs and galleries focused on Arab art, such as Art Dubai and Abu Dhabi Art, has also been a factor. Of course, the work of organisations like the Dalloul Art Foundation and the Barjeel Foundation, as well as the major auction houses like Christie’s, Sotheby’s, and Bonhams, has all helped to elevate the profile of Arab art and artists on the global stage.

RN: ART CAN BE A POWERFUL AGENT FOR CHANGE. HAVE YOU ENCOUNTERED INSTANCES WHERE ARAB ART FROM YOUR COLLECTION HAS PLAYED A ROLE IN RAISING AWARENESS OR ADVOCATING FOR SOCIAL OR POLITICAL CAUSES? BD: The Dalloul Art Foundation, as a matter of policy, does not advocate for social or political causes. We only advocate for art from the Arab world.

The reason we don’t is because Arab art is intrinsically charged, both politically and socially. We let the art speak for itself and we speak on behalf of the art on the global stage.

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RN: YOUR COLLECTION SPANS DIFFERENT TIME PERIODS. HOW DO YOU SEE CONTEMPORARY ARAB ART IN DIALOGUE WITH ITS HISTORICAL COUNTERPARTS, AND WHAT CONNECTIONS CAN BE DRAWN BETWEEN THEM? BD: The Dalloul Art Foundation’s collection spans from the early 20th century to the present day, giving a broad view of the evolution of Arab art over time.

One of the profound ways to connect contemporary Arab art with its historical counterparts is through themes and subject matter. Contemporary Arab artists often draw on historical subjects, such as political revolutions or cultural traditions, in their work. Another way of connecting to history is through the use of mediums and techniques.

Contemporary artists often employ traditional techniques, like calligraphy and miniature painting, while also experimenting with new mediums and technologies. Moreover, the context and cultural references embedded in their creations reflect a rich history as well.

Contemporary Arab artists often draw on the cultural and historical context of the region, referencing traditional imagery and symbolism in their work.

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Hamed Abdalla Rise Up, 1970. 25.5 x 34.5 cm DAF Beirut

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Dia al-Azzawi Homage to Baghdad N.3, 1982 39.5 x 41.5 cm DAF Beirut

:THE COLLECTION SHOWCASES THE DIVERSITY OF CALLIGRAPHIC STYLES FROM DIFFERENT REGIONS AND ERAS, REFLECTING THE CULTURAL EXCHANGES AND INFLUENCES THAT HAVE SHAPED ARAB ART.”

RN: CAN YOU SHARE YOUR INSIGHTS INTO THE SIGNIFICANCE OF CALLIGRAPHY WITHIN YOUR COLLECTION AND THE BROADER CONTEXT OF ARAB ART?

BD: Calligraphy is a central element of Arab art. and a common thread in the Dalloul Art Foundation’s collection.

Calligraphy is significant within this collection, serving as a symbolic representation of language and culture.

It is deeply rooted in the Arab world, and has been used for centuries to transmit religious, philosophical, and cultural texts. It also appears as a form of artistic expression. Calligraphers have developed their own distinctive styles and techniques, resulting in a wide range of visual expressions, from highly abstract designs to elaborate, ornate compositions. Additionally, calligraphy can be seen as a reflection of historical and cultural influences. The collection showcases the diversity of calligraphic

styles from different regions and eras, reflecting the cultural exchanges and influences that have shaped Arab art.

Some examples of such artworks that display calligraphy as a representation of symbolism, artistic expression and a reflection of history are the following artists: Rachid Koraichi, El Seed, Nja Mahdaoui, Mohammed Khadda, Maha Malluh, Dia al-Azzawi, Moustapha Akrim, Mahmoud Hammad, Mahjoub Ben Bella, Samir Sayegh, Jumana El Husseini, Etel Adnan, Hamed Abdalla, Jamal Badran, Khaled Ben Slimane, Adel Megdiche, Mohammed Chebaa, Ahmed Cherkaoui, Ahmad Moualla, Abou Sobhi Al Tinawi, Shaker Hassan Al Said, Jamil Hammoudi, and Nejib Belkhodja to name a few.

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El Seed The House of Uncle Bakheet, 2017.

90 x 361.5 x 3.5 cm DAF Beirut

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Nja Mahdaoui Compositions, 2013. 200 x 200 cm DAF Beirut

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Mohammed Khadda Réminiscence, 1988. 113.5 x 145.5 cm DAF Beirut

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Jumana El Husseini The Spring of Palestine, 1970. 100 x 85 cm DAF Beirut

Abou Sobhi Al Tinawi Ali Ibn Abu Talib and Al Jinn Master, N.D. 39 x 53 cm DAF Beirut

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Ahmed Cherkaoui Sans Titre N.D. 27 x 23 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

Khaled Ben Slimane Ascension XIII, 2008. 200 x 150 cm DAF Beirut

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Adel Megdiche Structure, 2005. 197.5 x 149.5 cm DAF Beirut

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Mohammed Chebaa Composition, 1974. 94 x 220 cm DAF Beirut

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Maha Malluh Food for Thought, 2012.

60 x 100 x 8 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

Mahjoub Ben Bella Totem Québec, 2001. 116 x 89 cm DAF Beirut

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Etel Adnan Zikr, 1998. 24 x 18 cm 30 pages, Dimension (Open): 24.3 x 541.5 cm DAF Beirut

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Rachid Koraichi Le voyage à Fès de Rahima Koraîchi, 2012.

205.5 x 150 cm DAF Beirut

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Samir Sayegh Hiya, 2014. 143.5 x 103.5 cm DAF Beirut

Nejib Belkhodja Ken, 1992. 89 x 146 cm DAF Beirut

Jamal Badran Vases, 1987.

Small Vase: 20 x 9 x 9.5 cm, Large Vase: 24.5 x 11 x 11.5 DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

Ahmad Moualla Jalal Eddine Al Rumi, 2010.

200 x 200 x 4.5 cm DAF Beirut

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Shaker Hassan Al Said The Number 30, 1985.

91 x 122 cm DAF Beirut

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Mahmoud Hammad Wa In Shakartum Laazedannakm, 1986.

58 x 58 cm 5DAF Beirut

Jamil Hammoudi 1997, ‫في النور‬ 89.5 x 79.5 cm DAF Beirut

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PRESERVING THE PAST, INSPIRING THE FUTURE: THE FOUNDATION’S CONSERVATION EFFORTS

RN: ARE THERE ANY EMERGING ARTISTS FROM THE MIDDLE EAST THAT YOU FIND PARTICULARLY INTRIGUING OR PROMISING, AND WHY? BD: I could write an entire issue about emerging artists from the Arab world I find particularly intriguing and probably not include all those who are deserving, but there is one young Syrian artist I am particularly fond of, who has yet to make it into the DAF collection, Anas Albraehe.

RN: ART OFTEN TRANSCENDS LANGUAGE BARRIERS. HOW HAVE YOU SEEN ARAB ART COMMUNICATE ACROSS CULTURES AND CONNECT WITH PEOPLE FROM DIVERSE BACKGROUNDS? BD: Art is truly a universal language. Arab art, in particular, is a great example of how art can transcend cultural barriers and connect people from different backgrounds. Arab art communicates across cultures through universal themes and symbols. It often deals with universal human experiences, such as love, loss, and hope, which resonate with people from all backgrounds. Arab art also connects through visual beauty. The intricate designs, vibrant colours, and attention to detail in Arab art are often universally appreciated for their aesthetic value. In addition, communication can be extended through personal and emotional expression. Arab art often conveys the artist’s personal experiences and emotions, which can be relatable and impactful to people from all cultures.

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RN: COULD YOU SHARE YOUR INSIGHTS INTO THE ROLE OF STORYTELLING WITHIN ARAB ART AND HOW NARRATIVES ARE CONVEYED THROUGH THE ARTWORKS IN YOUR COLLECTION? BD: Absolutely! Storytelling is a major theme in Arab art, and the Dalloul collection includes many works that showcase the power of storytelling. One example is done through miniatures and illuminated manuscripts. These traditional art forms often tell stories from religious texts, folklore, or historical events, and often include intricate illustrations that bring the stories to life.

Ceramics and textiles also have a story to tell. These mediums often incorporate intricate designs that narrate cultural traditions and historical events.

Additionally, many Arab artists use their contemporary work to tell personal stories, often drawing on political, social, and cultural issues.

RN: IN YOUR OPINION, HOW HAS THE PERCEPTION OF ARAB ART CHANGED WITHIN THE MIDDLE EAST ITSELF, AND HOW HAS YOUR FOUNDATION CONTRIBUTED TO THIS SHIFT? BD: There has been a marked interest in art from the Arab world in the past few years. It’s evident in the increased number of exhibitions, galleries, and art initiatives sprouting in the region. The Dalloul Art Foundation, with its extensive collection and dedicated efforts in art preservation, has taken a central role in this shift. The foundation has been fielding loan requests on a weekly basis as a result. By making these artworks accessible to the public and actively engaging in dialogues, partnerships, and educational programmes, we’ve not only preserved but also amplified the voice of Arab artists. This has, in turn, reshaped perceptions and fostered a renewed sense of pride and understanding of our shared artistic heritage.

RN: HOW DO YOU FOSTER INNOVATION AND EXPERIMENTATION WITHIN ARAB ART, AND WHAT ROLE DO CONTEMPORARY ARTISTS PLAY IN PUSHING THE BOUNDARIES OF TRADITION?

BY PRESERVING AND PROMOTING ART FROM THE ARAB WORLD, THE DALLOUL ART FOUNDATION AIMS TO CONTRIBUTE TO A WORLD WHERE ARTISTIC EXPRESSIONS ARE VALUED, CELEBRATED, AND PRESERVED FOR FUTURE GENERATIONS TO ENJOY AND LEARN FROM.

BD: At the Dalloul Art Foundation, we believe in the power of innovation and the importance of pushing artistic boundaries. We encourage innovation and the use of new materials by providing platforms for artists to showcase their work. By promoting a culture of continuous learning and exploration, we help artists to get out of their comfort zones and challenge the traditional norms. Contemporary artists, with their fresh perspectives and diverse influences, play a crucial role in this. They are the torchbearers of evolution in the art world, blending tradition with modernity, and old with new. Through their imaginative creations, they question societal norms, challenge conventions, and offer fresh interpretations, thereby ensuring that Arab art remains dynamic, relevant, and reflective of the changing times.

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INTERVIEW

THE DALLOUL ART FOUNDATION: A LEGACY O F STEWARDSHIP WAFA ROZ

Born in Lagos, Nigeria, in 1965, Wafa Roz relocated back to her native country, Lebanon, with her family in 1974. Her academic trajectory commenced with architecture at the American University of Beirut, continued with Interior Design at the Lebanese American University, and culminated in the study of the History of Art and The Art Market at Sotheby’s in London.

Wafa possesses an intrinsic understanding of art, that she has passionately nurtured over the years of her diverse experience in the art sector. Her deep engagement with the subject is evident in her insightful discussions and analyses. This natural talent is complemented by her meticulous research skills. Over the years, she has authored numerous artist biographies and scholarly articles, predominantly centred on the Arab world.

Currently, Wafa has been the Head of Research at the Ramzi and Saeda Dalloul Art Foundation (DAF), since 2017. Her department provides extensive data that supports the foundation’s growth and deepens the community’s engagement with art. Beyond research, her role at DAF is multifaceted. She has curated several in-house exhibitions, organised educational events and talks, and designed the scenography of these exhibitions. Recently, Wafa took on the responsibility of overseeing video documentary productions at DAF, further amplifying the foundation’s commitment to preserving and sharing the narrative of Arab art.

In her interactions within the art community, Wafa has fostered significant relationships with artists and critics, enhancing the dialogue and collaboration within the sector. Working in tandem with the founder, Dr. Basel Dalloul, she aids in strategising and actualising the foundation’s mission: to archive, preserve, and present Arab art to a global audience.

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RIMA NASSER: CAN YOU DESCRIBE THE CRITERIA YOU USE WHEN SELECTING RESEARCH PROJECTS AT THE DALLOUL ART FOUNDATION? WHAT FACTORS ARE CONSIDERED WHEN DECIDING WHICH PROJECTS TO SUPPORT?

WAFA ROZ: At DAF, our research selection criteria are meticulously crafted to resonate with the foundation’s overarching mission and strategic goals.

Our primary focus is on the MENA region and the Arabian Peninsula, excluding Turkey and Iran.

We take the history of the artworks and their respective artists as a lens through which we can read the region’s complex history and the countries that comprise it. Preserving the artworks we house at DAF also means preserving their respective history and safeguarding the cultural heritage of the Arab region.

First, it is paramount to research the biographical details and exhibition histories of the artists whose works form part of the DAF collection. We carefully explore the themes, topics, and realities represented or narratives relayed by the artist in each piece while broadening our scope to the artist’s wider oeuvre. In doing so, we contribute to archiving the region’s history through its artistic productions.

Salem Al-Dabbagh Untitled, 2015.

200 x 220 x 7 cm DAF Beirut

Second, we carry out our process with the aim of educating and innovating. We target research projects that enhance the foundation’s educational goals.

We envision multifaceted research projects that can be expanded into other forms of exposure.

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THE DALLOUL ART FOUNDATION: A LEGACY OF STEWARDSHIP

“PRESERVING THE ARTWORKS WE HOUSE AT DAF ALSO MEANS PRESERVING THEIR RESPECTIVE HISTORY AND SAFEGUARDING THE CULTURAL HERITAGE OF THE ARAB REGION.”

Mohamed Melehi Untitled, 2014. 180 x 170.5 cm DAF Beirut

For example, we recently launched a project investigating a wide selection of Untitled artworks available at DAF. In addition to researching the history of ‘picture titling’, we decided to mount an exhibition named UNTITLED Abstractions, featuring a selection of 154 abstract artworks from DAF, all of which are untitled. We showcased different styles of abstract art from the Arab region, with the intention of understanding the importance of a title or the lack thereof. As an extension to the project, we organised a series of talks and discussions inviting scholars, researchers, young artists, and art lovers to explore abstract art from the Arab region.

Mohanna Durra Untitled, 1982. 99 x 177.5 cm DAF Beirut

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Wafa Roz interviewing artist Laila Muraywid as she is working in her Paris studio, 2021, DAF Beirut

This project provided a platform to debate, or to even challenge the visual language used to converse about art. In doing so, we focused on a critical issue that concerned educators of art history: “How do we analyse artworks?” and “How do we write a visual analysis (formal and contextual) of an artwork?” The answers are found in the pedagogical methods through which we ‘read’ artworks. DAF wanted to provide a space for innovative ways of reading art. After completing our research, we have written ‘visual analysis’ texts for more than 60 artworks featured at the UNTITLED Abstractions exhibition.

We plan on expanding our visual analysis writing to cover all the untitled abstract works, and most titled artworks, that we house at DAF. In essence, this initiative captures the multifaceted mission we aim for at DAF.

order to collect archival material. Due to its large-scale logistical and financial requirements, the project was deemed unfeasible, at least for the time being.

However, in other cases, we were able to work our way around some challenges related to location. In one of our projects, we studied artist practices by visiting their workshops and conducting filmed interviews. We then collected archival data that covered and contextualised their oeuvre. DAF reached out to Arab expat artists, mainly those residing in Europe, through videographers present in their respective countries, and we were able to film several artists working in their own studios. We conducted virtual interviews with them, from our DAF offices in Beirut through Zoom.

This project, among many, remains in progress.

Third, we take the feasibility of a research project into consideration, specifically when retrieving primary sources. For instance, we once discussed mounting an exhibition investigating the history of art salons across the region. We had to inquire about prized artworks presented during those salons. We suggested visiting institutions that hosted such salons in countries such as Tunisia, Algeria, Morocco, and Egypt, in

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View from Leads and Artistic Cues from the Arab World exhibition at the Ramzi and Saeda Dalloul Art Foundation, 2020, DAF, Beirut

RN: RESEARCH IN THE ART WORLD CAN VARY WIDELY. WHAT SPECIFIC AREAS OR TOPICS DO YOU FOCUS ON AT THE FOUNDATION, AND WHY ARE THESE AREAS IMPORTANT? WR: As the foundation has expanded, our primary objective has been to establish a system to archive and produce wellresearched academic publications on our vast collection of artworks.

It all starts with the artworks; they inspire our curiosity and compel us to understand them. We focus on topics that allow us to better articulate the direction of the collection. The DAF collection comprises of a historically comprehensive selection of Modern art covering 15 countries in the Arab world and a selection of bold, iconic Contemporary artworks that reflect current realities in the region.

These carefully selected artworks are created by artists who are currently venturing into new mediums and techniques. This helps us better understand how our collection could grow, opening inroads that expand our field of vision when we decide to further acquire art from the Middle East, North Africa, and the Arabian Peninsula.

We aim to grasp the zeitgeist of our time.

As such, it is necessary to conduct research on topics addressed by Arab artists. We have a vast collection of politically charged artworks.

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Our collection reflects recurrent themes that include identity, cultural heritage, colonialism and modernism, political movements, collective memory, loss, exile, migration, and displacement among others. The artworks present themes that discuss the elements of different art traditions such as Islamic art, calligraphy, and abstraction. At DAF we research art history in the Arab world, from Ancient to Classical, Modern, and Contemporary.

To do so, we have to be informed about the art of ancient civilisations like the Pharaonic, Mesopotamian (Sumerian, Babylonian, Assyrian), Canaanite, Roman, Greek, Byzantine, and Islamic art. We also extensively research art movements and groups established by artists from Iraq, Egypt, Morocco, Tunisia, Sudan, to name a few, during modern times spanning between the 1930s and 1970s. Such art movements uncovered the past, and artists sought out and contested national identities.

Here at DAF, we take all this into consideration when conducting our invasive and thorough research, with the intention of archiving art history.

Close-up view from Leads and Artistic Cues from the Arab World exhibition at the Ramzi and Saeda Dalloul Art Foundation, 2020, DAF, Beirut

Wafa Roz during Leads and Artistic Cues from the Arab World exhibition at the Ramzi and Saeda Dalloul Art Foundation, 2020, DAF, Beirut

RN: EXHIBITIONS PLAY A CRUCIAL ROLE IN SHOWCASING ART. CAN YOU SHARE INSIGHTS INTO HOW THE DALLOUL ART FOUNDATION PLANS AND CURATES ITS EXHIBITIONS? WR: Our exhibitions are planned around our collection. We select and display artworks solely from the DAF collection.

When discussing research project themes, we try to unpack the narratives and the historical events that the artworks themselves showcase. Our approach is guided by a thematic framework that helps us curate pieces that could, for instance, present coinciding historical narratives or challenge stereotypes about art from the region.

For example, the first ‘video exhibition’ we produced was titled Leads and Artistic Cues from the Arab World. This was my first exercise conducting indepth research about the semiotics, signs, symbols, and iconic figures familiar to the visual lexicon of most Arab artists. I chose to curate a video

exhibition with the artworks physically mounted in our gallery spaces, and conduct presentations around seminal and informative paintings. We hoped it would be a tour around the symbolic shapes and visual patterns common to our region. The ‘cues’ led the viewer through the exhibition, slowly unfolding the story behind each visual narrative.

Artistic cues included the reduced shapes of a palm tree, the Hamsa hand, the evil eye, the crescent, the sun, an olive tree, a cactus, a dove, a rooster, and a headdress. They simultaneously reflect commonality and diversity in our region’s cultural heritages.

In essence, the DAF collection is at the heart of its exhibitions, providing viewers with an immersive journey through the rich tapestry of Arab artistic expression.

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THE DALLOUL ART FOUNDATION: A LEGACY OF STEWARDSHIP

Shaker Hassan Al-Said Cockerel, 1954. 47 x 34 cm DAF Beirut

Hatem El Mekki Maternité au Jeune Loup, 1951.

150.5 x 100 cm DAF Beirut

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“DAF ENCOURAGES NEW AND UPCOMING CURATORS WHO PROPOSE INNOVATIVE THEMES.”

RN: WHAT QUALITIES DO YOU LOOK FOR IN CURATORS WHO COLLABORATE WITH THE FOUNDATION ON EXHIBITIONS? HOW DO YOU ENSURE THAT THE CURATORS ALIGN WITH THE FOUNDATION’S MISSION AND VISION? WR: We ensure that the works we are loaning align with the curators’ thematic vision. We prefer to deal with reputable, well-informed curators who understand the region and the dynamics of its art scene. Prior to approving any loan request, we conduct several meetings with the curators to discuss their proposed themes and assess if their curatorial proposals are of interest to us. We must ensure that the exhibitions they mount are relevant to our region, and do not conflict with our ethical stances. DAF also encourages new and upcoming curators who propose innovative themes.

Faik Hassan Abstract Man and Woman, 1962. 63 x 91 cm DAF Beirut

For instance, we worked with art historian and curator Mario Choueiri, who co-curated the exhibition Picasso et Les avant-gardes Arabes at IMA Tourcoing in 2022. The show drew parallels between Picasso’s artistic practice and that of many modern Arab artists. Besides showing the similarities in style between Picasso’s work and some of his Arab artist contemporaries, Choueiri explained that the show was an opportunity to highlight Arab artists who had been unjustly overshadowed.

Moreover, the exhibition explored themes of emancipation and anticolonialism while hoping for a better and just world. Indeed, the exhibition theme and the exploration of modern art styles resonated with DAF’s vision and objective.

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THE DALLOUL ART FOUNDATION: A LEGACY OF STEWARDSHIP

Jumana Bayazid El-Husseini Untitled, 1970. 115 x 89.5 cm DAF Beirut

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Hashim Samarchi Untitled, 1972. 90 x 90 cm DAF Beirut

There are numerous other examples, where we were happy to collaborate with curators organising exhibitions in the region. To list a few, I would include Sam Bardaouil and Till Fellrath, curators of the Beirut and its Golden Sixties exhibition, which toured from the Gropius Bau Museum in Berlin, Germany, to the Musée d’art Contemporain (MAC), in Lyon, France, and lastly to Mathaf: Arab Museum of Modern Art in Doha, Qatar in 2022.

The show included 19 works on loan from DAF’s collection and a four-part docuseries Beirut: A Cultural Hub (19551975), produced by DAF.

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THE DALLOUL ART FOUNDATION: A LEGACY OF STEWARDSHIP

“THE DAF COLLECTION COMPRISES OF A HISTORICALLY COMPREHENSIVE SELECTION OF MODERN ART COVERING 15 COUNTRIES IN THE ARAB WORLD AND A SELECTION OF BOLD, ICONIC CONTEMPORARY ARTWORKS THAT REFLECT CURRENT REALITIES IN THE REGION.”

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Mahmoud Saïd Le Port de Beyrouth, 1954. 58.5 x 69 cm DAF Beirut

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Another recent example is working with anthropologist and professor Kirsten Scheid, who curated the exhibition Partisans of the Nude, currently showing at the Wallach Gallery, Columbia University, in New York. The exhibition featured 12 seminal artworks on loan from DAF depicting Nudes. Moreover, we are collaborating with the curator of the Venice Biennale, Adriano Pedrosa, who visited us to select works from DAF.

Alfred Basbous Untitled, 2000 58 x 29.5 x 13 cm DAF Beirut

Fadi Barrage Adonis/Homme Couché, 1985 25 x 16.5 cm DAF Beirut

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THE DALLOUL ART FOUNDATION: A LEGACY OF STEWARDSHIP

RN: COULD YOU PROVIDE AN EXAMPLE OF AN EXHIBITION OR A PRODUCTION YOU WERE PARTICULARLY PROUD OF REGARDING ITS CURATION AND SUBJECT MATTER? WHAT MADE IT STAND OUT? WR: There are two projects that come to mind. One was titled The Nude: Between Divinity, Sexuality, and Conflict, (Part 1, Part 2, Part 3), (Videos are available on the DAF Website www.dafbeirut.org) and the other is a docuseries film titled Beirut: A Cultural Hub. Both were byproducts of the initial video-exhibition we had worked on.

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Lisa Fattah Untitled, 1988. 87.5 x 68 cm DAF Beirut

Ali Jabbar From Where Are We And Where Are We?, 2015. 250 x 247 cm DAF Beirut

In the first collaboration, we aimed to challenge underlying assumptions about art across the region. I proposed to tackle the subject of nudity and nude art, which we saw our collection speak to. I wanted to tackle an issue that challenged preconceived assumptions. We looked into Modern and Contemporary artistic practices, from the Arab world, that included nudity. Surprisingly, we found more than 90 artworks at DAF addressing nudity and the Nude as a genre of art. As such, I decided to curate an exhibition focused on the notion of nudity and the Nude, titled The Nude: Between Divinity, Sexuality, and Conflict. The history of

Nude art reflected the discourse of modernism in the 1930s and 1940s, in the Arab world. We learned and compared the symbolic nature of the nude figure in Classical, Modern, and Contemporary art practices. Working with the medium of video and film for this exhibition was very interesting and challenging.

It transformed the viewing experience away from a physically special one, to becoming a mental and imaginative one that played with the factor of time. The format allowed you to integrate many elements simultaneously, including visuals, performance, text, sound, light, graphics, voice, and so on.

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Ziad Dalloul Suzanna and Elders, 2013. 150 x 150 cm DAF Beirut

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THE DALLOUL ART FOUNDATION: A LEGACY OF STEWARDSHIP

Wafa Roz explaining during Untitled Abstractions Exhibition talk at the Ramzi and Saeda Dalloul Art Foundation, 2023, DAF Beirut

This experience encouraged us to venture into another project that I am very proud of. It was a four-part docuseries titled Beirut: A Cultural Hub (19551975) featuring four characters: Cesar Nammour, Odile Mazloum, David Kurani & Mona Saudi. (Videos are available on the DAF Website- www.dafbeirut.org ) It shed light on the evolution of the art scene in Beirut during the 1950s and 1970s – that is, Beirut during what is often called Lebanon’s “golden era”. The series was based on DAF’s life-history interviews with actors that constituted the cultural hub. We planned to mount an exhibition on this subject in collaboration with the Sursock Museum. However, the collaboration never materialised due to the tragic August 4 blast in 2020. The Sursock Museum closed, and many left the country.

Visit of AUB students with Professor Kirsten Scheid during Modern Art from the Arab World “1910s-1970s” exhibition, 2022, DAF Beirut

Later, in late 2021, we were approached

by Sam Bardaouil and Till Fellrath, who were selecting artworks for their exhibition, Beirut and the Golden Sixties, for the Lyon Biennale of Contemporary Art: Manifesto of Fragility. They requested to borrow several works from the DAF collection to be showcased while asking us to propose a collaborative work for approval. I suggested we transform some of our filmed life-history interviews into a documentary series with narrative and archival footage.

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International College students visiting the foundation for a talk on the Art Market with Wafa Roz, 2023, DAF, Beirut

Untitled Exhibition talk given by Rico Franses and organised by Wafa Roz 2023, DAF, Beirut

Dr. Basel Dalloul with International College students visiting the foundation, 2023, DAF, Beirut

On an academic level, I was delighted to curate a comprehensive exhibition on Modern art from the Arab world. The show was arranged chronologically within a time period that spanned from the 1910s to the 1970s. It featured 180 objects, including paintings, works on paper, and sculptures, created by Modernists from across the MENA region. The inspiration of this exhibition came in 2021, when Professor Kirsten Scheid requested to show her Anthropology and Art History students a selection of Modern art from the MENA region as part of her MENA: Modern art course that she was offering at AUB.

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THE DALLOUL ART FOUNDATION: A LEGACY OF STEWARDSHIP

RN: RESEARCH OFTEN UNDERPINS THE CREATION OF EXHIBITIONS. COULD YOU DESCRIBE THE PARTICULARITIES OF THE RESEARCH CONDUCTED AT THE DALLOUL FOUNDATION THAT MAKE THE FOUNDATION UNIQUE? WR: Our research is quite inspiring and our collection has a lot to say. Starting with a close look at the DAF collection, our pieces invite us to delve into the history and context they reflect. During our research, we unfold exciting topics that make us want to share with our audience. Given the collection’s diversity, we can amass a substantial selection of artworks that reflect nearly most of the topics addressed in the region.

RN: ARE THERE ANY EMERGING TRENDS OR THEMES IN THE ART WORLD THAT THE DALLOUL ART FOUNDATION HAS BEEN PARTICULARLY INTERESTED IN EXPLORING THROUGH RESEARCH AND EXHIBITIONS? WR: Yes. we are interested in further investigating digital art. Although the attention around digital art and NFT has subsided, nonetheless, the art market continues to explore the incorporation of digital art and blockchain into its activities. AI has created ripples in the art world, as well. There are different ways of using AI in art, such as in prompt art that generates images through text. In short, we are keen on experimenting with innovative trends and showcasing more of our contemporary art collection. With regards to different art forms, we would like to investigate street art, installation art, and public art.

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Steve Sabella Sinopia, 2014. 55 x 71 x 4.5 cm DAF Beirut

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THE DALLOUL ART FOUNDATION: A LEGACY OF STEWARDSHIP

RN: CAN YOU DISCUSS THE ROLE OF CROSS-CULTURAL AND INTERDISCIPLINARY RESEARCH IN THE FOUNDATION’S WORK? HOW DO YOU APPROACH RESEARCH THAT SPANS DIFFERENT ART FORMS AND CULTURES? WR: Conducting cross-cultural research is necessary for us, given that most artists we house acquired their art education or trained in esteemed universities in the West. Some reside there due to exile or by choice. Notably, many Lebanese artists have migrated to the Gulf in the past three years. This diasporic movement of artists emphasises the importance of understanding influences, exchanges, and intersections within artistic creations. We conduct research on artistic productions that span across cultures and capture the growth of a global art ecosystem. One of the objectives of such research is to understand how artists borrow from other cultures and reshape or integrate various art traditions to comprise new contemporary productions we see today. Another objective is finding commonalities, across historical times, among styles and techniques, while contrasting how different cultural traditions have spoken to one another through varying art forms.

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The Ramzi and Saeda Dalloul Art Foundation gallery, 2018, DAF Beirut

RN: AS THE HEAD OF RESEARCH, WHAT ADVICE WOULD YOU GIVE ASPIRING RESEARCHERS OR CURATORS LOOKING TO MAKE A MEANINGFUL CONTRIBUTION TO THE ART WORLD?

RN: WHAT KIND OF IMPACT DOES THE DALLOUL ART FOUNDATION AIM TO ACHIEVE THROUGH ITS RESEARCH AND EXHIBITION INITIATIVES WITHIN THE ART COMMUNITY AND SOCIETY?

WR: This may sound too poetic, but one should never forget to deal with artworks as canvases of history. We must use them to challenge dominant narratives, or introduce nuance to existing ones. I always advocate digging deep into the world of the artist. It can be overwhelming sometimes. Yet, it will make you a better researcher, once you have learned more about their lives, struggles, their artistic production and, in turn, the times during which they lived and created art. I also recommend to integrate primary sources such as newspaper clippings, memoirs, speeches, events, marches, images, and histories that these artworks encapsulate.

This could also be complemented with excessive literature review and amassing secondary sources that would create a holistic understanding of the artist and their body of work.

WR: One of the primary and direct impacts of DAF’s work is education.

We achieve this through knowledge production, innovative readings of artworks from the Arab world, and raising awareness about Arab art in the region. In addition, we find themes that challenge underlying assumptions on art from our region.

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THE DALLOUL ART FOUNDATION: A LEGACY OF STEWARDSHIP

Amer Shomali Broken Weddings in Deir Nakhas, 2018 166 x 332 cm DAF Beirut

RN: ARE THERE ANY UPCOMING EXHIBITIONS OR RESEARCH PROJECTS AT THE DALLOUL ART FOUNDATION THAT YOU’RE EXCITED TO SHARE OR THAT THE AUDIENCE SHOULD LOOK FORWARD TO?

WR: We plan on showcasing a few of our latest Contemporary art acquisitions, featuring artworks by young, promising artists as well as works by artists from the Gulf and KSA. Regarding research projects, we intend to explore the art history of the Gulf and the Arabian Peninsula. Exploration of these areas is pivotal, given that they are important emerging art markets.

In addition, we are interested in learning about Palestinian embroidery and how it relates to mapping identities. It might sound like an already-covered topic;

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however, we see potential in it. DAF has many artworks related to this theme.

Collaborating with private initiatives focusing on the history of Palestinian embroidery is on our agenda.

I am also looking into carrying out a research project aimed at understanding the diverse ethnic groups within the Arab world. This will be conducted with the intent of detecting how traditions, customs, and material culture is embedded in the art practices of artists from similar ethnic groups.

A video display of Beirut: A Cultural Hub (1955-1975): Odile Mazloum, at her Gallery L’Amateur (1964) with a group of Lebanese Artists, 2022, DAF Beirut

RN: I UNDERSTAND THAT THERE IS A DOCUSERIES CURRENTLY IN PRODUCTION FEATURING DR. BASEL DALLOUL. CAN YOU TELL US MORE ABOUT THIS SERIES AND HOW IT AIMS TO ENGAGE WITH ARTISTS TO ADDRESS THE ISSUE OF SOFT POWER? WHAT CAN VIEWERS EXPECT FROM THIS SERIES IN TERMS OF ITS APPROACH AND IMPACT ON THE ART COMMUNITY AND BEYOND?

WR: We are working on an ongoing docuseries that aims to investigate the impact of art, namely visual art from the Arab world. Our goal is to highlight “art as a form of soft power” – a tool that can shape human consciousness.

Art, as such, allows both powerful and underprivileged nations or peoples to reserve a place for themselves on the world’s cultural map. Via artistic

expression, knowledge is disseminated, and contemporary realities are explored.

Through this project, we are looking at the art ecosystem and its key players as an instrument of socio-political criticism and commentary.

I do not want to disclose too much about the project to leave something to the imagination. But it is a promising one.

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INTERVIEW

FROM THE VAULTS: HIDDEN TREASURES REVEALED

RIMA NASSER: “HIDDEN TREASURES” SUGGESTS THERE ARE ICONIC WORKS WITHIN THE DALLOUL ART FOUNDATION’S COLLECTION WAITING TO BE DISCOVERED. COULD YOU SHARE SOME INSIGHTS INTO THESE ICONIC PIECES AND THEIR SIGNIFICANCE WITHIN THE COLLECTION?

WAFA ROZ: The DAF collection comprises a rich and diverse selectin of Modern and Contemporary art from the Arab world.

There are many treasured artworks within the existing collection in addition to newly acquired ones. Dr. Basel Dalloul has added several artworks to the collection that may be considered ‘hidden treasures’. Many include iconic artworks that have not yet been promoted to the local public.

There are several factors that contribute to the worth of an artwork, making it part of a ‘treasure’. Such treasures would be artworks that have historical or cultural significance – pieces that

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reflect or creatively expose elements of the region’s cultural heritage. In many cases, the artist’s reputation, and the scope of recognition of their work can greatly impact the value of their art. The ownership history of an artwork, and its documentation, technically known as ‘provenance’, can significantly impact its value. Moreover, proof of the authenticity of an artwork can elevate its worth.

In other cases, artists that break new ground in terms of style, technique, or theme produce iconic artworks. Such pieces introduce innovative ideas that challenge the status quo both within the art world and outside of it. They become an artistic statement.

ONE OF THE MOST RECENT PIECES ACQUIRED BY DAF IS TRULY A HIDDEN TREASURE.

Jewad Selim Good and Evil, an Abstraction, 1951 50 x 75 cm DAF Beirut

DAF houses many iconic artworks. For example, one of the most recent pieces acquired by DAF is truly a hidden treasure.

It is Jewad Selim’s oil on canvas painting Good and Evil, an Abstraction, 1951. Renowned modernist Iraqi architects Nizar Jawdat and his wife Ellen Jawdat owned this piece for 70 years before it was auctioned during Bonhams live auction, in 2021. The fact that the painting had been in the hands of the Jawdat family for a long period of time, before it appeared at the auction, marked a significant re-emergence of a major oil painting by Jewad Selim. Dr. Basel Dalloul acquired Good and Evil, an Abstraction, 1951 painting for a hefty 838,750 GBP, equivalent to 1,016,899 USD, today.

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FROM THE VAULTS: HIDDEN TREASURES REVEALED

“ANOTHER FASCINATING EXAMPLE IS AN ART PIECE THAT REPRESENTS TECHNICAL PROWESS, BOLDNESS OF EXPRESSION, AND A NOD TO TRADITION – FARID BELKAHIA’S EROTIC WORK SENSUELLE, 1968.”

Dalloul acquired the work in January 2023, during the Maroc, Terre d’Exception auction held by the Compagnie Marocaine des Oeuvres et Objets D’Art (CMOOA) auction house in Casablanca. Sensuelle, 1968 depicts a reduced graphical representation of the female’s vulva, symbolic of fecundity and fertility. It is executed with hammered copper, set in bas-relief on stretched lambskin, mounted on wood.

The malleable copper, a sacred metal to Belkahia, allowed him to break away from rigid geometric shapes creating curvilinear forms imbued with unlimited vigour. Placing the vulva’s oval shape at the centre of the artwork’s square composition adds to its iconic feature.

Belkahia is among the pioneers who developed a new visual vocabulary of iconography, symbolism, and technique, experimenting with traditional Moroccan materials like copper, lambskin, henna, saffron and other natural dyes. Belkahia’s research also drew attention to the claim that, “It is only through our past that we can accede to modernity. I know of no ahistorical modernity.”

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It is important to note that in some cases, through research and investigation, we discover added value to pre-existing artworks in our collection. An intriguing example is Marwan Kassab Bachi’s body of work, entitled 99 Heads (Ibn Arabi), 1997-1998, comprising 99 etchings on cardboard paper, each measuring 47.5x35cm. This body of work was inspired by the Islamic Qur’an (Surat al Hashr) that mentions God’s 99 names or attributes, and Ibn Arabi’s Sufi doctrine.

Ibn Arabi took monotheism to a higher level. He explained that God is not only the one and most important of beings, God is equivalent to ‘being’ (alWujud). Hence God is represented in everything we encounter in our daily life.

In Marwan’s etchings, we realise that each of the 99 ‘heads’ is symbolic of a place, a landscape, an inhabited space, a facial expression, or a human countenance. Marwan depicts the 99 attributes of God in 99 topographical facial representations resonating with the philosophy of absolute oneness, an ‘all in one’ body of work.

Farid Belkahia Sensuelle, 1968. 110 x 97 cm DAF Beirut

Marwan Kassab-Bachi From the series of 99 Heads (Ibn Arabi), 1997-1998. 45 x 35 cm DAF Beirut

RN: THE TERM “HIDDEN TREASURES” OFTEN IMPLIES A SENSE OF DISCOVERY. CAN YOU TELL US ABOUT A SPECIFIC ICONIC WORK THAT HAS A PARTICULARLY INTERESTING HISTORY OR STORY ASSOCIATED WITH IT?

WR: Good and Evil, an Abstraction, 1951, by modernist Jewad Selim was a jewelled discovery for DAF, and the art world as a whole. Aside from its provenance, and long-awaited appearance on the art market, its symbolic nature, and modern attributes make it the hidden treasure that it is.

First, the painting was originally a representation of a design for a tile mural to be executed on the entrance of the Iraqi Red Crescent Society’s headquarters in Baghdad. Architects Nizar and Ellen Jawdat designed the headquarters and commissioned Selim to design and execute a mural.

Unfortunately, Jewad Selim died before he was able to execute the mural, and the iconic painting is all that remains.

Selim created modern abstract designs that integrated various mythological Mesopotamian figures, and seven distinct crescent-like shapes in a minimalist style, scattered across the canvas.

The painting reflects Selim’s theoretical and philosophical outlook. Father of Iraqi modernism and co-founder of the Baghdad Group of Modern Art, Selim’s modernist theory was based on Istilham al-turath, namely drawing inspiration from ancient or age-old local art traditions and integrating them with modern artistic practices.

After arriving safe to DAF’s premises in Beirut, in December 2021, the painting was set to go on its first cultural exchange mission. It was loaned to IMA Tourcoing, alongside 12 other artworks from the DAF collection to feature at the Picasso et les avant-gardes Arabes exhibition that showed from April to July 2022, at Institut Du Monde Arabe (IMA), in Tourcoing, France. Jewad Selim’s Good and Evil, an Abstraction, 1951 is a tale of Iraq’s modernity and modernism encapsulated in Iraq’s architecture, fineart, and complex, sophisticated society during the 1950s.

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FROM THE VAULTS: HIDDEN TREASURES REVEALED

Bachir Demnati Rupture, Tanger, 1972. 90 x 90 cm DAF Beirut

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Mohammad Kacimi Nomadic Signs, Abstract Composition, 1979. 116 x 75.5 cm DAF Beirut

RN: IN ADDITION TO ICONIC WORKS, I UNDERSTAND THAT THE FOUNDATION HAS BEEN ACTIVELY ACQUIRING NEW PIECES. COULD YOU SHARE SOME DETAILS ABOUT RECENT ACQUISITIONS THAT HAVE ADDED TO THE RICHNESS OF THE COLLECTION?

WR: The MENA region encompasses different countries, cultures, religions, and ethnic groups, all of which contribute to the richness and dynamism of Arab art. DAF continues to showcase such diversity. More particularly, we aim to collect art created by artists from different generations, both to complement DAF’s vast collection of modern art, and to expand its collection of contemporary art. We know that capturing the zeitgeist of our contemporary period is as important as digging into the historical complexities of our past. Recently, DAF has added more than 100 new acquisitions, from Modern and Contemporary artworks, to its collection.

Essentially, DAF comprises a vast collection of modern art that belongs to a generation of artists who were born between 1900-1940. These artists witnessed multiple revolutionary and political movements, shifted borders and

contested boundaries, as well as political upheavals and transitions in their respective countries. DAF has matched its Modern art collection with several exceptional and iconic works. Besides Sensuelle, 1968, by Farid Belkahia, whom I mentioned earlier, we acquired the geometrical abstract painting Rupture, Tanger, 1972, by Moroccan artist, Bachir Demnati, another member of the Casablanca School In addition, we also added the seminal work, Nomadic Signs, Abstract Composition, 1979,

by Moroccan nomadic expressionist and modernist painter, Mohammad Kacimi, to the collection. Nomadic Signs, Abstract Composition, 1979, is a minimised replica of a mural painted by Kacimi on the walls of a house in Asilah, a village in northern Morocco, during its annual Cultural Moussem.

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“ANOTHER LONG-AWAITED ICONIC PAINTING THAT DAF ACQUIRED IS PEOPLE AND FISH, 1961

BY EGYPTIAN SOCIAL REALIST PAINTER HAMED OWAIS. PEOPLE AND FISH PORTRAYS THE LIFE OF THE AVERAGE EGYPTIAN WORKER IN THE 1960S. OWAIS’S PEASANTS OR FISHERMEN ARE MASSIVE AND MUSCULAR, DEMONSTRATING ACUTE SOCIAL CONVICTIONS. THEIR LARGE BODIES OFTEN SEEM TO BE ENCLOSED IN THE REDUCED SPACE OF THE CANVAS THAT APPEARS AS A METAPHOR OF THE SOCIAL BOUNDARIES OF EGYPTIAN SOCIETY.”

Hamed Owais People and Fish, 1961. 145 x 115 cm DAF Beirut

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Die Famous The Coverts, 2023. 186 x 152 cm DAF Beirut

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Die Famous Charlie, 2022. 91 x 119.5 cm DAF Beirut

Die Famous Cellar Door, 2022.

190 x 152 cm DAF Beirut

Die Famous The Birthday Manuel (Imbililah), 2022.

190 x 152 cm DAF Beirut

Moreover, some of the most eye-catching paintings added to DAF’s Contemporary art collection are four paintings by the group Die Famous, including: The Birthday Manuel (Imbililah), 2022, Cellar Door, 2022, Charlie, 2022, and The Coverts, 2023. Die Famous is an ongoing collaboration between American painter Morrison Pierce, and Lebanese/Finnish painter Yasmina Nysten. Their collaboration addresses contemporary socio-economic realities, as well as topics such as protests and subcultural trends in Lebanon and America. For instance, in Charlie, 2022, the painting depicts a group of protestors, during the 2019-2020 Lebanese uprising, trying to break into a shop window.

Nysten and Pierce draw inspiration from various art movements, including Pop Art and the progressive painters of the 1980s and 1990s on the East Coast of the United States.

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Joana Hadjithomas and Khalil Joreige Scenario For a Space Museum Scenario 4, 2018-2022.

32 x 72 x 4 cm DAF Beirut

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Joana Hadjithomas and Khalil Joreige Scenario For a Space Museum Scenario 1, 2018-2022. 32 x 73 x 5 cm DAF Beirut

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FROM THE VAULTS: HIDDEN TREASURES REVEALED

Other additions to DAF’s collection are Ripples in a Pond, 2022, a photographic print in ink jet on acetate, by Yasmina Hilal, and Sherihan 1987, by renowned Lebanese photographer Fouad El Khoury, known for his historical photographs of Lebanon’s civil war.

Yasmina Hilal Ripples in a Pond, 2022. 130 x 87 cm DAF Beirut

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Fouad El Khoury Sherihan, 1987. 60 x 90 cm DAF Beirut

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FROM THE VAULTS: HIDDEN TREASURES REVEALED

Our new acquisitions of Contemporary art aim to encourage artists who are pushing the boundaries of traditional art forms, especially in embroidery and tapestry. Such artists incorporate innovative techniques, themes, and styles while still drawing on their cultural heritage. In that manner, Dr. Basel Dalloul has been exploring traditional and contemporary embroidery and tapestry art from different regions within the Arab world. These works often feature intricate patterns and designs, such as Staged, 2020, by Kuwaiti artist Amani Al-Thuwaini.

This artwork is an exquisite piece made up of four wooden panels with embroidered linen fabric. Inspired by the Islamic miniature, Staged, 2020, is a figurative depiction of a Kuwaiti wedding, featuring silhouettes of places and people. On the panels, the narrative is broken down into four sequences to depict the rituals behind a wedding in Kuwait – from the bride’s attire to the female, runway style, dance floor. Addressing racial and class discrimination, Al-Thuwaini cynically chooses to embroider the underprivileged helpers and valet drivers in gold silk, contoured with shiny translucent bugle beads, while embroidering the affluent invitees’ dresses with dark grey cotton threads.

When, in reality, it is the other way around. Al-Thuwaini sheds light on ’the other’, while stating, “I emphasise how local traditions are often challenged by the craving for opulence.”

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Amani Al-Thuwaini Staged, 2021. 100 x 130 cm DAF Beirut

Another ‘iconic’ and recently acquired work at DAF, is Untitled, N.D. This wool tapestry was created in the 1950s, by the children of the Ramses Wissa Wassef Art Centre (RWWAC), located near the pyramids of Giza, in Egypt. It was founded in the early 1950s by the late Egyptian architect Ramses Wissa Wassef as a school for weaving, and has evolved into an art centre, and farmhouse.

Untitled, N.D, is a vivid representation of Wassef’s profound respect for the art of weaving, masterfully utilising Egyptian cotton and local sheep wool.

Harnessing the ancient dyeing techniques of the region, Wassef reintroduced natural dyes, such as indigo from the Nile banks, crimson red from madder plant roots, yellow from reseda luteola flowers, and beige from pecan leaves. This artwork not only embodies the beauty of form and individualistic expression, but also celebrates the rich tapestry of Egypt’s heritage and traditions. Such work is symbolic of DAF’s objectives, namely educating and supporting the young generation in the Arab world.

Ramses Wissa Wasef Untitled, N.D. 95 x 147 cm DAF Beirut

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FROM THE VAULTS: HIDDEN TREASURES REVEALED

Abdul Rahman Katanani Vulva, 2022. 200 x 200 x 50 cm DAF Beirut

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RN: WHAT CRITERIA GUIDE THE FOUNDATION’S DECISIONS WHEN IT COMES TO ACQUIRING NEW ARTWORKS? ARE THERE SPECIFIC ARTISTS OR MOVEMENTS THAT YOU PRIORITISE IN YOUR ACQUISITIONS? WR: When it comes to new acquisitions, we purchase artworks that fulfil one or multiple leitmotifs that the foundation is interested in. These concepts could be directed towards the work of a particular artist, movement, or topic.

Fundamentally, the artworks should be authentic with documented evidence of provenance. Once that has been established, one of our main objectives in acquiring new pieces is to complement our vast Modern art collection. In an interview with Selections, in July of last year, Dr. Basel Dalloul explained that, at DAF “we cover Modern art in its entirety, from Morocco to Iraq, onto Yemen and Sudan, and everything in between.” Modern art comprises almost 60% of DAF’s collection. In specifying his direction in future targeted acquisitions, Dr. Basel explained: “I have a few more acquisitions to make for Modern art, to fill gaps in the collection that my late parents were not able to fill. The only time you’ll find me buying a piece of Modern Arab art is if it is an exceptional, iconic piece.” Many of the iconic art pieces that I mentioned earlier speak to that strategy of matching our vast collection of Modern art with iconic and exceptional works.

Another objective for DAF to acquire a new artwork is to venture into new mediums such as metal works, and photography.

Considering artworks executed with innovative mediums is certainly one of the criterion in DAF’s new direction in expanding its collection. Creative metalworks are a medium that is especially pushing boundaries of traditional norms.

Dr. Basel Dalloul has always been a fan of bold, large-scale metalworks, specifically ones that act as a forceful social and political commentary of the times.

Abdul Rahman Katanani’s striking red Vulva, 2022, is a clear example of that. It was executed with crude oil barrel metal sheets. DAF has recently added this work, and many other metalworks, into its Contemporary art collection. Another remarkable example is Attajamhur, 2022, by Moroccan artist Moustapha Akrim. It is a bas-relief calligraphic work, masterfully crafted using massive chunks of steel rivets connecting the letters, that come to resemble a steam engine in motion. The artwork conveys social concerns such as unemployment, poor education, and the absence of basic freedoms while emphasising the necessity for development and any direction that moves forward.

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An expression of materiality and articulation of tension, Paper Sculpture, 2022, by Emirati artist Shaikha Al Mazrou, embodies her distinct approach to sculpting, highlighting the interplay between colours, form, and content. She masterfully manipulates materials in her sculptures, delving into their essence and challenging their boundaries, making even metals appear paperlike. Through her keen understanding

Shaikha Al Mazrou Paper Sculpture, 2022.

121 x 124 x 33.5 cm DAF Beirut

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of materials, and physical space, Al Mazrou creates pieces that reflect tension, and geometric abstraction.

Suggesting a harmonious balance of folds and rigidity, Paper Sculpture, 2022, resonates with underlying narratives that reflect on societal norms and constructs. The piece portrays a balance between strength and vulnerability, while prompting viewers to question their beliefs and perceptions.

Katya Traboulsi Helo Ya Rawak, 2023 140 x 120 cm DAF Beirut

Lastly, I cannot skip the new kitschy and creative metalworks by Lebanese artist Katya Traboulsi, recently added to DAF’s collection. Helo Ya Rawak, 2023 and Bonjour, 2023, both replicate and celebrate brightly coloured calligraphy and intricate designs – the evil eye, the cedar tree, or art on trucks in Lebanon.

Certainly, as I demonstrated earlier, some newly acquired Contemporary artworks also encourage potential mid-career artists such as Moustapha Akrimi and Al-Thuwaini. In fact, one of the leitmotifs that usually drive art acquisition is artworks that may hold personal or emotional significance for the collector, that then become both personally and intellectually prized possessions.

Katya Traboulsi Bonjour, 2023. 150 x 120 cm DAF Beirut

We also intend to investigate new topics, and target works that address them. Focal issues include those related to minority groups and underscored ethnic groups. Environmental issues are becoming more prominent in the work of Arab artists, reflecting global concerns about ecological sustainability.

Arab female artists, specifically in the Gulf and KSA, are addressing themes related to gender equality, feminism, and the roles of women in society.

They are challenging traditional gender norms and pushing for greater inclusion and representation, although this is a topic historically addressed by Egyptian female artists, whose works are cherished in our Modern art collection.

Finally, we wish to investigate art from the Arabian Peninsula, and add to our modest collection of art from Sudan and Yemen.

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RN: ICONIC WORKS OFTEN PLAY A PIVOTAL ROLE IN DEFINING AN ART COLLECTION. HOW DO THESE PIECES REFLECT THE FOUNDATION’S MISSION AND VALUES, AND WHAT DO THEY CONTRIBUTE TO THE BROADER ART LANDSCAPE?

WR: Our mission at DAF is to educate and raise awareness around the diversity and richness of art from the MENA region. Through art, we aim to archive and preserve the Arab region’s history and cultural heritage. Iconic artworks in particular can serve as captivating pieces that brilliantly encapsulate a movement, a heritage, a social problem, or a controversial issue. They act as powerful symbols, and educational tools. They can be attractive catalysts for engagement, which in turn can help the foundation achieve its objectives within the art world and the broader community.

Our region includes diverse cultures, ethnic groups, religions, languages, and traditions. While there are common threads that tie these elements together, it is important to note that there is no single monolithic ‘Arab culture’. Instead, the Arab world is characterised by a rich tapestry of distinct cultures, influenced by factors such as geography, history, religion, and local traditions. Iconic works are an ideal medium to highlight this – using hidden treasures to bring forth hidden narratives. There are several iconic works at DAF that are representative of this diversity, including North African Amazigh or Berber communities, Egyptian, Coptic, Levantine, Iraqi, Gulf

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Arabian, and Bedouin cultures too.

Some works address pressing social or political issues which align with DAF’s mission to encourage dialogue.

Moreover, iconic artworks can exemplify the highest standards of creativity, skill, and innovation, underscoring the foundation’s commitment to supporting artistic excellence.

BESIDES THE RICH ARRAY OF MODERN ART, THE DAF COLLECTION, TODAY, AMASSES A COLOURFUL SELECTION OF BOLD AND STRIKING CONTEMPORARY OBJECTS.

RN: CAN YOU DISCUSS HOW THE FOUNDATION’S COLLECTION HAS EVOLVED OVER TIME, AND HOW THESE ICONIC WORKS AND NEW ACQUISITIONS FIT INTO THE OVERALL NARRATIVE OF THE COLLECTION?

WR: The collection was first accumulated by the late Dr. Ramzi Dalloul and his wife Saeda Husseini. They started acquiring art as early as the 1970s. It was a period imbued with a quest for national identity, statehood building, and sentiments for pan-Arabism.

As such, a vast selection of the collection included politically charged works. A huge part of the collection was reserved for Palestinian art, which was poorly promoted back then. Palestinian art was merely coined as propaganda art produced during the peak of the PLO in the 1970s, specifically Palestinian art and posters produced in Lebanon during that period.

The rich collection of Palestinian art at DAF demonstrates the diverse and creative styles experimented with, and wide range of topics addressed by Palestinian artists across different generations.

Most of the artworks collected early on belonged to artists from the Levant (Palestine, Lebanon, Syria, and Jordan), and surely Iraq, Egypt, and North Africa (Morocco, Tunisia, and Algeria). Dr. Ramzi Dalloul, with the help of his son, Dr. Basel Dalloul, amassed an art collection that spanned from 1908 to the 2020s. The collection was a comprehensive narrative of the region’s political, social, and artistic history. Myriad topics related to the region, and themes linked to universal concerns, are addressed within these works.

However, few pieces were collected from Sudan, Yemen, and the Arabian Peninsula for the latter was still an emerging art market. In 2016, Dr. Basel Dalloul decided to institutionalise the collection, and began

laying the groundwork for DAF, with its official establishment in 2017. Coming from a data management background, he immediately implemented a comprehensive digital data management system. This transitioned DAF from merely storing valuable artworks to documenting and securing an inventory of the collection, detailing the acquisition details of every object. The information accumulated provided a bird’s-eye view of the collection, allowing a more refined direction for future sales and acquisitions. By 2020, the DAF website had been launched, showcasing our research and statistical documentation to the world. With an underlying objective to grow the DAF collection in a holistic manner, our mission became processing the pieces we have in a quantitative and qualitative manner. As such we collected data about the geographical, generational, and thematic aspects of the artworks, and used it to enrich and help direct DAF’s mission.

novel mediums and art forms, as well as a wider variety of artists. Today, the collection contains installation art, light art, embroidery, and metal works among other forms.

Besides the rich array of Modern art, the DAF collection, today, amasses a colourful selection of bold and striking contemporary objects. We expanded into artworks that express new movements and art styles within the MENA region itself, as well as themes that address ongoing social, and cultural issues. In addition, our collection carefully tries to mirror new political debates, and follows burgeoning art markets such as those we see developing in Gulf states. We intend to investigate, and study the history of art of a newly emerging art market such as that of KSA. This approach naturally guides the collection.

Today we have diversified the collection and added to its richness by acquiring art from Sudan, the UAE, KSA, Qatar, and Bahrain. Furthermore, the art originally collected focused on conventional mediums such as painting, prints, works on paper, ceramics, as well as sculptures made of marble and wood. I believe that we have to align with contemporary trends and collect new art forms that will help us keep up with the international market, and excel in it. As DAF’s collection grew, it began encompassing

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FROM THE VAULTS: HIDDEN TREASURES REVEALED

RN: WITH “HIDDEN TREASURES,” ARE THERE PLANS TO SHOWCASE THESE ICONIC PIECES AND NEW ACQUISITIONS THROUGH EXHIBITIONS OR SPECIAL EVENTS TO ALLOW THE PUBLIC TO APPRECIATE THEM? WR: Certainly, we have already started refurbishing our gallery spaces. We intend to showcase a wide selection, including iconic Modern artworks, and certainly newly acquired Contemporary pieces. We feel that the time has come to emphasise novel trends and new pressing topics in the region. There are also different curatorial approaches that we want to experiment with. In the first and second quarters of 2024, we plan to organise a series of talks presented by promising creative minds, and seasoned scholars from the region. These topics will be announced in the near future.

View from the Untitled Abstractions Exhibition at the Ramzi and Saeda Dalloul Art Foundation, 2023, DAF Beirut

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RN: AS THE HEAD OF RESEARCH, COULD YOU ELABORATE ON YOUR ROLE IN IDENTIFYING AND RESEARCHING THESE ICONIC PIECES AND NEW ADDITIONS TO THE COLLECTION?

RN: HOW DOES THE FOUNDATION BALANCE THE PRESERVATION AND PROMOTION OF THESE HIDDEN TREASURES WITH ITS MISSION TO ENGAGE WITH THE ART COMMUNITY AND THE PUBLIC?

WR: First, with a team of researchers, I carefully observe the work, studying its formal and technical characteristics.

Then, we analyse the artwork within its social and geopolitical context. I conduct research on the artist, their country of origin, and the historical and political background of the period when the artwork was created. Moreover, I investigate the artist’s position in the art market as well, and attempt to understand their practice in general. The Research Department ensures that as much information as possible is covered on each work we acquire. Besides our rich library, lately we have contributed to the publication of three catalogue raisonnés (Mohamed Kacimi, Mahmoud Said, and Abdel Hadi El-Gazzar) that help us detect the authenticity of a work.

The artist behind the piece, the work’s significance within the artist’s oeuvre, and its place within the broader art historical narrative are all crucial to our research. Documentation of provenance, quality, condition, authenticity, context, and aesthetic form are all key.

WR: We have a dedicated team and a skilled collection manager who oversees the conservation and preservation of the artworks we house. Under the direction of that team, we confidently showcase and promote our iconic artworks inhouse. Our premises are well equipped with proper environmental conditions and safety measures. This standard is consistently maintained in our in-house exhibitions. However, when considering a loan request, we only grant loans to art institutions that abide by our proper handling and insurance requirements.

Categorising any artwork as ‘iconic’ involves a meticulous investigation on many fronts. Within that framework, I place potential pieces according to the collection’s purpose, and intended audience. I also monitor primary and secondary art markets, including exhibitions, art fairs, biennales and auction houses. Simultaneously, I conduct research on valuation and art price indices. All this research goes to assisting us in identifying and labelling an artwork as iconic.

RN: WHAT MESSAGE OR IMPRESSION WOULD YOU LIKE VIEWERS AND ART ENTHUSIASTS TO TAKE AWAY WHEN THEY EXPLORE THESE HIDDEN TREASURES AND RECENT ACQUISITIONS IN THE DALLOUL ART FOUNDATION’S COLLECTION? WR: I would like the viewers to be thrilled with the recent prolific and rich production of Contemporary art in the region. I would also want them to appreciate the history of art and art movements in the region. I believe that artists from the MENA and the Arabian Peninsula are a repository of knowledge and creativity. We still have a lot of work to do; little has been written on the Arab region’s art history compared to the literature available on Western art history. For that reason, we have worked on expanding our library of books, monographs, catalogues, catalogues raisonnées, and magazines on art from the region. DAF showcases as many artworks as possible from our rich collection, with the intention of educating and exposing our local and regional audience to Arab art, through direct, in-person engagement.

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FROM THE VAULTS: HIDDEN TREASURES REVEALED

RN: DO YOU HAVE A PARTICULAR PIECE IN THESE HIDDEN GEMS THAT YOU FIND IMPACTFUL WITHIN THE CONTEXT OF THEIR GEOGRAPHICAL REGION? WR: Yes, I would choose two works to characterise as hidden gems that speak of the region. The first work would be: There’s A Vicious War Launched in the Area of Frequencies, 2023, by Qatari artist Jumanah Abbas and the second, Just Paper - Group XV, 2022, by Saudi Arabian artist Manal Al Dowayan.

Jumanah Abbas’s artwork delves into the intricate interplay of sonic spaces, especially within the West Bank, highlighting the unseen cell phone tower frequencies and transmission signals, set up by the Israeli occupation, that control information and communication infrastructures in the Palestinian territories. Drawing from her architectural and curatorial background, Abbas employs a radical cartographic approach to unveil the ‘invisible’ apparatus – whose dire consequences are very tangible – that shapes urban environments living under occupation or in any police state.

Abbas’s work struck me as an exacting depiction of the intensified use of surveillance by the Israeli occupation in the West Bank, that not only invades and annexes land but also invades and annexes thoughts. Such sociopsychological tactics generate a state of constant anxiety. Many of us already feel observed by our phones, as opposed to only observing content on our phones.

These information wars, I believe, will define the trajectory of wars to come.

Jumanah Abbas There’s A Vicious War Launched in the Area of Frequencies, 2023.

250 x 150 x 10 cm DAF Beirut

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In Just Paper - Group XV, 2022, Manal Al Dowayan delves into the portrayal of women in religious texts authored by men, symbolising the delicate yet enduring nature of their prescribed roles through porcelain reproductions.

The artwork underscores the fragility of these narratives while simultaneously questioning the space women occupy between their private realms and a public sphere often deemed to belong to men.

Manal Al Dowayan Just Paper - Group XV, 2022.

3 x 15 x 3 cm DAF Beirut

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CHRISTIE’S AND DAF: A RELATIONSHIP OF RESPECT DR. BASEL DALLOUL The Dalloul family has had a relationship with Christie’s for several decades. I often heard my parents talking about going to Christie’s, Sotheby’s or Bonhams, to bid on a work or two, while we lived in London, and I was in high school. My direct contact with Christie’s came much later, when this venerable institution decided to open its Middle East offices in Dubai over a decade and a half ago. It was Christie’s presence in Dubai, which put Middle Eastern art in general, and Arab art in particular, on the global stage.

Fast forward to 2022, my late father had just passed away in 2021, and it was time for me to be completely responsible not only for the Dalloul Art Foundation, but also for its acquisition strategy moving forward. My priorities were threefold: First I had to have a clear strategy for the collection. Second, I had to plug several glaring holes in the modern part of the collection. Finally, I had to dispel all the rumours going around about what the family would do with this massive collection.

My strategy was not dissimilar from that of my late parents, except that my focus is on quality and not quantity.

My late father was a fan of both. After I had spent a couple of years acquiring works by important artists who were missing from the collection, it was time to reshuffle the massive collection of art from the Arab world and pare it down.

At this point, I had strong relationships of my own with the major auction houses, but I was intrigued by the new strategy of

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one, Christie’s. At this point, Christie’s had appointed a new and very charismatic global CEO, Guillaume Cerutti, and he in turn appointed Dr. Ridha Moumni as Deputy Chairman of their Middle East department. What was intriguing to me was that unlike his predecessor, who came from a financial background, Dr. Moumni was a first-class academic with a deep understanding of art from the Arab world. He and I became fast friends over the period of about a year, before I decided to go with Christie’s for the collection’s first major sale.

My friend Ridha insisted that this sale showcase the strength and breadth of the collection. While he has a small army working for him, my interaction with his venerable institution was mainly with him and his head of sales and specialist, Marie-Claire Thijsen. Over the period of almost a year, together with the foundation’s amazing Head of Research, Wafa Roz, we identified a few hundred pieces, which we earmarked to de-access from the collection. From this group we collectively selected the initial 48 for this first major sale. To say the process was easy, would be a lie, but working with both Ridha and MarieClaire made this difficult process very pleasant. What gave me even more confidence in Christie’s, was Guillaume Cerutti’s attention to the importance of this sale. Christie’s is putting its full weight behind our sale, aptly titled: Marhala, which in Arabic means a period, usually associated with a journey, in this case mine and the collection’s pivot point to a modified strategy.

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INTERVIEW

UNDER THE HAMMER WITH DR. RIDHA MOUMNI DR. RIDHA MOUMNI

Dr. Ridha Moumni is a historian of art and archaeology who completed his PhD. in Roman art from La Sorbonne University. He serves as the Deputy Chairman of the Middle East and North Africa division at Christie’s auction house. A recognised scholar, Dr. Moumni has delivered lectures across universities and museums in the US, Europe, and the Arab world. His accolades include prizes and fellowships at the Villa Medici (French Academy in Rome) and Harvard University as an Aga Khan fellow.

With an interest in the cultural history of the Maghreb, Dr. Moumni delves into the early collecting practices of the region and the history of early paintings, alongside his contributions to Modern art. He has curated significant exhibitions, ranging from photography and 19th-century art to Modern Arab art.

At Christie’s, Dr. Moumni plays a role in enhancing the institution’s footprint and strategy in the Middle East and North Africa.

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Marwan Kassab-Bachi Kopf links gerdreht (Head turned left), 1972.

61.5 x 82 cm DAF Beirut

RIMA NASSER: DR. RIDHA MOUMNI, MARHALA: HIGHLIGHTS FROM THE DALLOUL COLLECTION AT CHRISTIE’S REPRESENTS AN EXTRAORDINARY JOURNEY THROUGH MODERN AND CONTEMPORARY ARAB ART. COULD YOU PROVIDE SOME INSIGHTS INTO THE SELECTION OF ARTWORKS AND THE NARRATIVE THEY CONVEY ABOUT ARAB ARTISTIC DIVERSITY AND CULTURE?

RM: This auction is far from an ordinary sale; it represents a carefully curated selection of 48 masterpieces from the Modern and Contemporary Arab art world, spanning the years 1938 to 2014. (It’s worth noting that this selection is a small part of the vast Dalloul Collection, which encompasses over 3,000 artworks.) Highlights include Mahmoud Saïd’s iconic masterpiece, Fille à l’imprimé (Girl in a printed dress), previously held in the esteemed collection of Hussein Pasha Sirry and exhibited during Saïd’s lifetime. Additionally, we showcase outstanding works by other modern masters, including Kadhim Hayder’s abstract composition, Dia al-Azzawi’s Summeria Face from the recent Beirut and the Golden Sixties exhibition, a distinctive 1980s piece by Mohamed Melehi, and a monumental marionette by Marwan. Our sale also includes works by influential figures who have left a lasting impact on the Lebanese Modern and Contemporary art scene, featuring remarkable pieces by Etel Adnan, Helen Khal, Ayman Baalbaki, Paul Guiragossian, Shafic Abboud, and Chaouki Choukini.

Many of these works originate from regions such as Egypt, Iraq, Syria, Morocco, and the Gulf, as we feature exceptional photographs by Ahmed Mater.

We have considered diversity and gender representation in both the Modern and Contemporary eras. Leading female artists, including Etel Adnan, Helen Khal, and the unique Samia Halaby, are featured. Notably the sale includes two works by Samia Halaby, one of which is a mesmerising geometric composition from 1978. This commitment to representation and inclusiveness mirrors the depth and vastness of the Dalloul Collection. The collection serves as a testament to the Arab world, and this sale celebrates its rich and diverse arts and culture. It spans a wide geographical and cultural expanse, reflecting the breadth of creativity across the region.

The Dalloul Art Collection is a living testament to the ever-evolving and vibrant Arab art scene. Marhala serves as a window into this beautiful and dynamic world.

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UNDER THE HAMMER WITH DR. RIDHA MOUMNI

RN: THE DALLOUL ART COLLECTION IS RENOWNED FOR ITS BREADTH AND DEPTH. HOW DO YOU SEE THIS COLLECTION CONTRIBUTING TO THE BROADER DISCOURSE ON MODERN AND CONTEMPORARY ARAB ART, AND WHAT MAKES IT STAND OUT AMONG OTHER COLLECTIONS IN THE REGION? RM: Dr Ramzi Dalloul was a LebanesePalestinian art patron who amassed the largest collection of Modern and Contemporary Arab art in private hands.

The Dalloul Art Collection (located in Beirut, Lebanon), is known for its breadth and depth, reflecting the collectors’ high level of connoisseurship. What truly sets this collection apart is its representation of established and emerging artistic talent from across the Arab world, gathered over several decades by Dr. Ramzi Dalloul and his late wife Saeda Husseini and now continued by his son, Dr. Basel Dalloul. The collection stands as a living archive of contemporary Arab art spanning six decades, distinguishing it from other collections in the region whilst providing a comprehensive panorama of Arab art.

The Dalloul Art Collection carries a legacy and vision focused on fostering connection and education through art. Dr. Ramzi Dalloul’s enduring commitment to art as a means of serving humanity undoubtedly plays a crucial role in advancing the wider conversation about Modern and Contemporary Arab art. Ultimately, the collection serves as a guiding beacon, not only highlighting the remarkable arts and culture of the region but also making a significant contribution to the global narrative of Arab art.

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RN: DR. BASEL DALLOUL MENTIONS THE INTENTION TO REFINE THE COLLECTION WHILE ENRICHING IT WITH ICONIC MODERN MASTERPIECES AND EMERGING ARAB ART. FROM YOUR PERSPECTIVE, WHAT DO YOU BELIEVE THIS APPROACH BRINGS TO THE FUTURE OF THE DALLOUL COLLECTION AND ITS REPRESENTATION OF ARAB ARTISTS? RM: Dr. Basel Dalloul’s intention is to refine the Dalloul Collection while also infusing it with iconic Modern masterpieces and emerging Arab art,which represents his commitment to continuing his father’s legacy. It’s a journey that represents the spirit of Marhala, signifying a stage in the collection’s ongoing evolution.

This approach is instrumental in shaping the future of the Dalloul Collection and its representation of Arab artists, ensuring the collection remains dynamic and reflective of the region’s artistic vitality. Dr. Basel’s dedication to refining the collection and embracing emerging talent provides a crucial platform for these artists to gain international recognition, supporting new voices and fostering a sense of inclusivity and diversity. He is also bringing his own collecting practice of gathering Western art to shape the collection.

It is also worth noting that this approach also amplifies the voices of female artists, contributing to the collection’s inclusiveness and representation. His forward-looking strategy not only preserves the legacy of the Dalloul Collection but also ensures its continued relevance and significance in the everchanging landscape of Arab art.

Samia Halaby Return, 1978. 92 x 122 cm DAF Beirut

RN: THE DALLOUL COLLECTION HAS A DEEP CONNECTION WITH ARTISTS ACROSS THE ARAB REGION. COULD YOU SHARE SOME INSIGHTS INTO THE ROLE OF THESE RELATIONSHIPS IN SHAPING THE COLLECTION AND THE IMPACT IT HAS ON THE APPRECIATION OF ARAB ART?

RM: It’s been a delight to witness the increased prominence of Arab artists from the region on a global stage recently with recognition given to iconic figures from the modern period. While there are still unexplored geographies, I’m genuinely satisfied with the current trajectory. The Dalloul family’s mission to establish this collection and create a lasting memory of the Arab world, as reflected through

the preserved art, is commendable.

I eagerly anticipate the continuation of this mission under the leadership of Dr. Basel Dalloul, with a more contemporary perspective.

It fills me with great excitement to see how the Dalloul collection will continue to align with this upward trend and further amplify the voices of these exceptional artists.

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RN: IN YOUR ROLE AS DEPUTY CHAIRMAN AT CHRISTIE’S MIDDLE EAST AND NORTH AFRICA, HOW DO YOU PERCEIVE THE CURRENT LANDSCAPE FOR MODERN AND CONTEMPORARY ARAB ART? WHAT TRENDS AND DEVELOPMENTS DO YOU OBSERVE, AND WHAT ROLE DOES THE DALLOUL COLLECTION PLAY IN THIS CONTEXT?

Kamal Boullata Nocturne III, 2001.

130 x 130.5 cm DAF Beirut

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RM: There’s an undeniable recognition of iconic figures from the modern era, whose contributions to the region’s art history are garnering well-deserved international acclaim.

What’s particularly heartening is the recognition of artists hailing from countries like Saudi Arabia, the UAE, and Qatar, with a special focus on the remarkable contributions of female

artists. These regions, along with pivotal art production centres such as the Levant and North Africa, are treasure troves of artistic creativity.

The Dalloul collection stands as a testament to the richness of the Arab world, reflecting the social and cultural transformations while showcasing the refined creativity that has flourished within our communities.

RN: MARHALA IS AN EXCITING EXHIBITION IN THE MIDST OF THE FLOURISHING ARAB ART MARKET. WHAT ARE YOUR EXPECTATIONS FOR THE RECEPTION OF THESE MASTERPIECES BY BOTH INTERNATIONAL AND REGIONAL AUDIENCES, AND HOW DO YOU ENVISION THE FUTURE FOR THIS SEGMENT OF THE ART MARKET?

RN: AS YOU CONTINUE YOUR RESEARCH ON COLLECTING PRACTICES IN 19TH CENTURY NORTH AFRICA AND EXPLORE THE ROLE OF THE ARTS IN NATION-BUILDING IN POSTCOLONIAL TUNISIA, HOW DO THESE ACADEMIC PURSUITS INTERSECT WITH YOUR WORK IN THE ART INDUSTRY AND YOUR ROLE AT CHRISTIE’S?

RM: I am consistently filled with optimism when it comes to the realm of Arab art and the art market. The local audience is increasingly exposed to art thanks to the growth of museums, galleries, and exhibitions, which acknowledge artists’ significant contributions. Recently, we’ve witnessed remarkable masterpieces entering various auction houses, all of which have enriched our understanding of Arab art and the history of these talented artists.

RM: In my previous career, I honed my skills in observing, analysing, and studying artworks, delving into the rich tapestry of cultures and civilisations through their artifacts. My journey led me to a deep understanding of art history, from antiquity to the present day, with a particular focus on Roman Art in North Africa during my PhD studies.

It’s a source of great pride for Christie’s to host Marhala and collaborate with Dr. Basel Dalloul and his team on this extraordinary sale. Rarely have we seen such a collection of high-quality works presented at once to the market.

I have great confidence in the appeal of these masterpieces, both to institutions and discerning collectors from the region, Europe, and the United States.

The reputation of the Dalloul Collection will undoubtedly enhance the perceived quality of these works, and I am confident that many of them will find their place in prestigious collections.

Recent market trends have shown a substantial appreciation for exceptional works, and I believe that by curating the most suitable Modern and Contemporary artworks from the Arab world for our audience, we can only anticipate a brighter future for the Arab art market and a significant increase of interest in this segment.

Since joining Christie’s, I have endeavoured to infuse an academic and educational approach into our work. This effort has taken the form of organising panel discussions, curating exhibitions, and developing educational programmes. I firmly believe that comprehending the art of our region and delving into the cultures of the Arab and Islamic world are pivotal aspects of our category’s future. It is worth noting that the role of an auction house holds particular significance in our region.

This significance arises from the relative scarcity of art institutions and galleries compared to those found in Europe or North America. Consequently, we not only aim to offer exceptional pieces to our clients but also seek to provide guidance and promote cultural initiatives. In doing so, we often find ourselves assuming the role of cultural catalysts within our local community.

My career path, which bridges the worlds of academia and the auction industry, can contribute significantly, fostering a deeper appreciation for art and culture in our region and promoting it.

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UNDER THE HAMMER WITH DR. RIDHA MOUMNI

Dia al-Azzawi Bird’s Watcher, 2011.

68.5 x 13.5 x 13 cm DAF Beirut

Chaouki Choukini Small Prince Child of Gaza, 2010.

118.5 x 51.5 x 33.5 cm DAF Beirut

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Ibrahim El Salahi Palm Tree, 2001. 60 x 60 cm DAF Beirut

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UNDER THE HAMMER WITH DR. RIDHA MOUMNI

Shafic Abboud Surgie dans la nuit (Burst into the night), ND. 100 x 100 cm DAF Beirut

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Hamed Nada Untitled (Dance near the Pyramids), 1987.

61 x 51 cm DAF Beirut

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UNDER THE HAMMER WITH DR. REDHA MOUMNI

Asim Abou Shakra Garters, 1986.

100 x 69.5 cm DAF Beirut

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Mohamed Melehi Untitled, 1982.

149.5 x 119.5 cm DAF Beirut

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UNDER THE HAMMER WITH DR. RIDHA MOUMNI Mahmoud Saïd Fille à l’imprimé (Girl in a Printed Dress), 1938. 81 x 55.5 cm DAF Beirut

Dia al-Azzawi Summer Face, 1974.

95.5 x 95.5 cm DAF Beirut

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Paul Guiragossian La Lecture (The Reading), 1973.

100 x 82 cm DAF Beirut

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Kadhim Haydar Untitled, 1974. 76 x 102 cm DAF Beirut

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UNDER THE HAMMER WITH DR. RIDHA MOUMNI

Sliman Anis Mansour Uncertain Landscape 1, 2009. 84 x 104.5 cm DAF Beirut

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Ahmed Mater Human Highway (Mina) (Desert of Pharan series), 2012. 120 x 179.5 cm DAF Beirut

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UNDER THE HAMMER WITH DR. RIDHA MOUMNI

Ayman Baalbaki Untitled , 2009. 150 x 200 cm DAF Beirut

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Serwan Baran Dog of the General, ‫ كلب الجنرال‬, 2014.

222 x 202.5 x 3.5 cm DAF Beirut

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ARTISTIC VISIONARIES ABDUL RAHMAN KATANANI

©Paul Hannebelle

RIMA NASSER: CAN YOU DESCRIBE YOUR PERSONAL CONNECTION TO THE DALLOUL ART FOUNDATION AND BASEL DALLOUL? HOW DID THIS CONNECTION COME ABOUT, AND WHAT DOES IT MEAN TO YOU AS AN ARTIST? ABDUL RAHMAN KATANANI: My relationship with the Dalloul Art Foundation is profound; it’s akin to a friendship. We engage in constant interactions and discussions about the collection, as well as my work and the evolution of the artistic vision in the region.

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RN: THE FOUNDATION’S SUPPORT OFTEN EXTENDS BEYOND FINANCIAL ASSISTANCE. CAN YOU SHARE SPECIFIC EXAMPLES OF HOW THEIR MENTORSHIP OR RESOURCES HAVE INFLUENCED YOUR ARTISTRY AND CAREER TRAJECTORY? AK: Both visual and intellectual support hold great significance.

Currently, I am engaged in a project involving Palestinian embroidery. With the resources provided by Basel Dalloul, I discovered that The Dalloul Art Foundation possesses a collection of embroideries. I was able to consult these pieces to inspire some of my works in an upcoming exhibition.

RN: BASEL DALLOUL, AS A PROMINENT FIGURE IN THE ART WORLD, HAS BEEN INSTRUMENTAL IN SUPPORTING EMERGING AND ESTABLISHED ARTISTS. HOW HAS HIS VISION AND COMMITMENT IMPACTED YOUR WORK AND ARTISTIC ASPIRATIONS? AK: Basel Dalloul’s vision and commitment have played a crucial role in my work. He provides a broad perspective on Arab qrt and the works of artists, organised in a way that allows us to trace the historic lineage of art, artists, and artistic movements in the Arab world. This perspective has enabled me to view my own works within the broader context of the region’s art history.

RN: LOOKING AHEAD, WHAT DO YOU ENVISION AS THE CONTINUING ROLE OF THE DALLOUL ART FOUNDATION IN YOUR ARTISTIC JOURNEY AND IN THE BROADER ART COMMUNITY? AK: Institutions like the Dalloul Art Foundation are essential in our countries; they act as messengers to the world. The Dalloul Art Foundation, and similar institutions, play a significant role in organising and exhibiting our works abroad, producing articles, and documenting artworks. This is of paramount importance, in my opinion.

The professional approach of the Dalloul Art Foundation has made it an invaluable resource for artists and art enthusiasts seeking information about the Arab art world.

RN: ARE THERE ANY SPECIFIC PROJECTS OR UPCOMING EXHIBITIONS THAT VIEWERS SHOULD BE AWARE OF, WHERE THEY CAN EXPERIENCE THE FRUITS OF YOUR COLLABORATION WITH THE DALLOUL ART FOUNDATION? AK: I’m unable to divulge details about my projects at this stage. As mentioned earlier, I am currently working on a project involving Palestinian embroideries and contemplating an idea related to the gates of Galilee. I have been dedicating a considerable amount of time to this project, and I am eagerly looking forward to showcasing it in a future exhibition, to be enjoyed by you and everyone else.

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ARTISTIC VISIONARIES

TAGREED DARGHOUTH “ART IS NOT AN INVESTMENT BUT A MIRROR OF OUR OWN CULTURAL REFLECTION AS ARABS. BASEL IS ONE OF THE FEW IN OUR REGION THAT IS MAKING SURE THAT OUR REFLECTIONS ARE WELL ARCHIVED.”

I met Dr. Ramzi Dalloul back in 2014. During that encounter, he spoke of his memories of when he was still a university student back in Egypt and about the rise of pan-Arabism during the Abd-El Nasser period. My father was studying in Egypt back then, too. Both of them shared the same political views, but that wasn’t the extent of it; I sensed a certain chivalry in Dr. Ramzi with the way he spoke that I know my father also had. This “Rushdi Abaza” type of character from the famous classic black-andwhite Egyptian movies era. I guess I wasn’t wrong.

Dr. Ramzi later purchased a few of my artworks as he enthusiastically explained his ongoing project of collecting Arab art, and I was invited, among others in the art field, to check out some artworks from that collection in Beirut.

A few months later, I had an injury that kept me from working for a period of time. Dr. Ramzi kept checking up on me every now and then, sending me lovely supporting messages and sometimes even phone calls from London, encouraging me to hold on. I know for sure now that the Brighter Than a Thousand Suns painting he later commissioned was to make sure I didn’t face any financial difficulties due to the injury back then.

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I later met Basel at one of Dr. Ramzi’s art dinners. I was expecting a younger version of Dr. Ramzi, but I was completely wrong! During that dinner, Basel spoke his mind with zero constraints and no filters. I realised later that what you see in Basel is what you get. A dirty-mouthed man with a heart of gold.

I don’t see Basel as an art collector; I see him solely as a friend. We are constantly in contact, even after I left Beirut. I know for sure after all these years that he knows and follows closely what I do out of care and love.

As for the Ramzi and Saeda Dalloul Foundation, I highly admire Basel’s exceptional ability to transform, in such a short period of time, the collection into a well-organised, rich, and wonderfully archived collection. It became itself a work of art.

Basel was able to transform the “rawness” of Dr. Ramzi’s project into a spectacular cultural kitchen.

We need more people like Basel, those who put in their utmost effort without any expectations in return. Art is not an investment but a mirror of our own cultural reflection as Arabs. Basel is one of the few in our region that is making sure that our reflections are well archived.

© Giles Duley

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ARTISTIC VISIONARIES

SERWAN BARAN

The relationship began with Dr. Ramzi Dalloul, a person who had a deep love for art and a serious mission. I could tell from his visits to my studio that he was genuinely passionate about art in the Middle East. Our connection initially formed through our conversations at my studio or his home. Over time, his visits became focused on acquiring my art.

Most of my work carries a political message, often poking fun at war and expressing opposition to conflicts and human suffering. Dr. Ramzi was particularly interested in the events in our region.

My art isn’t just decorative; it serves as a record of the wars and events in our area.

He would often call me with great excitement, letting me know he’d be coming over the following week, eager to see my latest creations. When someone shows such enthusiasm and is working to establish an art foundation, it motivates the artist to give their best, hoping their work will become a part of the foundation’s collection.

Ramzi’s support was personal, driven by a genuine interest in art with depth and meaning. He loved paintings with a story and a message. What’s more, he was always eager to learn about my new works.

He’d call from London, and we’d have long threehour conversations where he asked me about my new art and the thoughts behind it, almost like he was a journalist trying to understand the artist. It was very comforting.

After Dr. Ramzi passed away, Basel continued the journey. He worked seriously and took a more educational approach. He established a foundation dedicated to research. Basel is a close friend to me and my fellow artists. He makes sure to bring us together at his home or in our studios.

He has a youthful spirit, much like his father,

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“THE FOUNDATION PLAYS A SIGNIFICANT ROLE IN PRESERVING ARTWORKS IN A MUSEUM-LIKE MANNER.”

and he’s focused on education and research. My connection with Basel is based on friendship and camaraderie. But in all our meetings, we talk about art and its future. He often seeks our opinions on acquiring artworks, especially those by Iraqi artists that he wants to add to the collection. It’s a friendly relationship, not just a business one. When your relationship with an art institution is rooted in friendship, it feels more authentic. Whenever I post a new piece of art on social media, Basel calls immediately to secure it for the foundation. His dedication and his constant support of artists are among his best qualities.

The foundation plays a significant role in preserving artworks in a museum-like manner. Basel takes this mission very seriously and has created a research portal that envisions the significance of the works a hundred years from now. Research portals are essential because they provide a place where collections are based on solid research and facts.

Within the foundation, different sections represent various countries. These sections allow us to trace the evolution of artworks and study the different artistic eras in each nation. The foundation is the most important place for researching the history of art in our region.

Our relationship with the Dalloul Foundation is ongoing, focusing on the future, upcoming exhibitions, and the foundation’s commitment to collecting significant works from our region. In the current stage, private foundations are crucial, more so than international ones. The team is dedicated to offering insight into the future of our region, and Basel’s efforts are truly commendable. We are in discussions about future projects as we move forward together.

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YASMINA ALEXANDRA NYSTEN My personal connection with Basel Dalloul is based on a long-term family friendship. This connection was made through the artistic community within the Lebanese social scene and has deepened over the years. As an artist, this connection holds great personal significance, as it not only provides support for my work but also a sense of trust and understanding.

Basel has been one of the main figures in my life who was able to see my work for its worth from the very beginning even though he didn’t engage with it immediately. There were years in which we were close and he only seemed to be monitoring and participating silently to my evolution. Up until two years ago, when perhaps he had seen that enough work had been put in and the actual aspiration to be a life long artist was manifesting within me. But who knows what truly lurks within the boundless recesses of a mind like Basel’s. Like a mystical force of nature, he has managed to maintain a perfect veneer or mystery to me in spite of the many years of our close acquaintance. That’s when he purchased my first piece. Honestly, that was a milestone for me. It was one of those moments in which I felt that I must be on the right path.

His understanding of the art world and dedication to promoting art from the Arab world has undeniably made me look at, just the breadth of culture that exists in the region. When I was first taken through the foundation, I was mostly in awe of the dedication Arab artists have had to their own culture, to celebrating, demonstrating or criticising their land, people, or socio-political climate. So many voices, with statements or expressing such distinct emotions. As a Lebanese artist living in the US, I felt even more torn between two worlds when I saw all this work. I don’t know why that is exactly but after some involved inner searching, I think perhaps it is born out of needing to belong or rather, knowing where you belong.

This is what pushed me in the end to finally reconciling myself and owning up to the fact that I am a cross cultural artist. In the end it is the foundation that facilitated this deduction.

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Having a relationship with Basel is as general as it is specific. That is not a derogatory statement. I’ll elaborate for the sake of clarity. Basel has a certain “superhero” quality, like Superman just flew in from Krypton and before you know it, he is off again, vanishing into thin air. This seems like an exaggeration, but I think anyone who knows him would agree.

And just like being around anyone of your everyday superheroes, those moments seem special, dilated, a minute feels like a solid one well spent. Like out of all the places and timezones he could be, he’s here, so it must be personal. Yet the conversation never seems to topple over into the type of specifics that turn any conversation into white noise. It’s kind of brilliant. Moreover, having the foundation’s support has provided me with a backbone of bonafides and a core of credibility. Specially in the case of my latest exhibition Artful Crimes at Mark Hachem gallery in June of 2023.

“WHEN I WAS FIRST TAKEN THROUGH THE FOUNDATION, I WAS MOSTLY IN AWE OF THE DEDICATION ARAB ARTISTS HAVE HAD TO THEIR OWN CULTURE, TO CELEBRATING, DEMONSTRATING OR CRITICISING THEIR LAND, PEOPLE, OR SOCIO-POLITICAL CLIMATE.”

Even though I am not in Beirut all year round, when I am, being in the artistic community that I’ve had for years now, which rotates around many of the foundation’s artists, is a type of organic exchange/ collaborative happening / real life art piece unto itself. In a way, the foundation holds us all together, the rope that links us all. It’s a beautiful thing that the unspoken connector which, at days end, gives meaning to our work on a spatial and temporal scale, is this foundation, whose head is also our very good friend. To see oneself in a meaningful context is rarer than one thinks. In early 2023, Basel commissioned three paintings from me including a portrait of himself and my mother based on a photograph he had given me and two portraits of his dogs. Within a few days of receiving this commission, I found myself face to face with Basel and my mother in my studio.

After a long stretch of painting strangers, it was good to be in the company of my most familiar faces. I had left that portrait on the wall up until my trip back to Beirut. It amuses me to contemplate how the seemingly all knowing figure that is Basel might have wisely anticipated the secondary sentimental effect that having the faces of my matron as well as my patron would have on my sensitive artistic psyche.

The foundation has allowed me to see the value in my voice as an artist within the diaspora, how any set of circumstances can be of real value. I have collaborated with artists in the past and done paintings with an artistic collaborator.

This was a setback when it came to exhibiting. Nine out of 10 questions asked about those works were concerned with this collaboration. It felt like the work was no longer being seen, which was a disappointment. Having been exposed to Western art and culture, Basel didn’t question it, and saw the work for its inherent value and carried on progressively. This provided me with a much needed relief from what often amounts to a sea of doubt and doubters.

Now that my work is part of the foundation, I feel like it is part of a wider cultural lineage. This means that I feel like I have the responsibility to keep this train running forward. That my work is to be seen within the context of a cultural progression. This is in itself the basis of wanting to break new barriers.

Don’t pretend. Be straightforward. Challenge yourself to be as true to yourself as you are to what you are putting out. Make your work integral to your life. It takes all of you to be an artist. I feel like that’s what I would say to anyone who would want to be part of the larger picture, to be seen by the people whose eyes are open.

I can only hope for a prolific and involved relationship with the Foundation. Knowing Basel, I have to say that he is a person that builds relationships on a solid basis and is very selective about his surroundings.

Basel and therefore the Foundation are very much built on loyalty. From where I stand, I can see a bright future and a lot of potential. The specifics will come.

For now, it’s a matter of thriving for higher levels and letting the muse know where to find you.

Presently, my works are available on view at the Foundation. There is a project in the works with the Dalloul Art Foundation although I’m not at liberty to publicise the specifics just yet. Stay tuned!

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KATIA TRABOULSI “THE CONNECTION WITH THE FOUNDATION IS A VALUABLE SOURCE OF INSPIRATION AND HISTORICAL CONTEXT WITHIN THE ARAB WORLD.”

RIMA NASSER: CAN YOU BRIEFLY DESCRIBE YOUR RELATIONSHIP WITH THE DALLOUL FOUNDATION AND HOW THEIR SUPPORT HAS INFLUENCED YOUR ARTISTIC CAREER? KATIA TRABOULSI: I first came across the Dalloul Art Foundation a few years ago while working on the Perpetual Identities’project and was astounded by its remarkable collection. The connection with the foundation is a valuable source of inspiration and historical context within the Arab world. I believe it’s essential for an artist to have such an artistic platform as a means of support for their work, intellectual growth, and knowledge.

RN: WHAT SPECIFIC FORMS OF SUPPORT OR RESOURCES FROM THE DALLOUL FOUNDATION HAVE HAD THE MOST SIGNIFICANT IMPACT ON YOUR ARTISTIC DEVELOPMENT? KT: The knowledge of the exceptional Dalloul Art Foundation collection brings a sense of security and recognition to the Arab art world, particularly for artists. It instills the feeling of being taken seriously and being part of the art history, creating a legacy, a narrative, and a secure space that will endure over time, preserving the stories and journeys of artists in the Arab world.

RN: BASEL DALLOUL IS RENOWNED FOR HIS COMMITMENT TO ART AND CULTURE. HOW HAS HIS VISION INFLUENCED THE THEMES AND CONCEPTS IN YOUR WORK? KT: Dr. Basel Dalloul is, above all, a patron, a friend, a dedicated art enthusiast, a visionary, and more than just a collector.

He embodies what I perceive as an ‘artist’ collector with the sensitivity of an artist. He establishes an environment for his artists, offering them close support and connecting them not only in their work but also in real life. He closely follows and consistently encourages their work. He propels them beyond the present, guiding them into the future with unwavering determination and passion. His deep appreciation and understanding of art provide crucial support to enhance an artist’s creations. His commitment is unwavering, and his passion remains evergreen, offering reassuring company to artists in what can often be a solitary profession. Remarkably, he is always accessible, supportive, and available for discussions and curatorial collaborations.

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RN: AS AN ESTABLISHED ARTIST, WHAT ROLE DO YOU SEE THE DALLOUL FOUNDATION PLAYING IN THE BROADER ART COMMUNITY, PARTICULARLY IN PROMOTING CULTURAL EXCHANGE AND ARTISTIC EXPRESSION? KT: The Dalloul Foundation, represented

by Dr. Basel, consistently forges connections among artists and various members of society, fostering substantial cultural exchange. The foundation’s platform encompasses everything related to art, including books and research. It serves as a cultural support and a secure haven for art and the exchange of ideas, knowledge from the past, present, and future. The foundation introduces artists to other collectors, gallery owners, journalists, critics, and numerous other stakeholders in the art market.

RN: COULD YOU SHARE ANY UPCOMING PROJECTS OR EXHIBITIONS THAT SHOWCASE YOUR COLLABORATION WITH THE DALLOUL FOUNDATION AND YOUR ARTISTIC JOURNEY? KT: As I mentioned earlier, Dr. Basel is an invaluable intellectual support for past and upcoming artistic projects. I have the immense privilege of seeking his counsel and brainstorming my ideas with him. It is a great honour for an artist. I am proud and grateful to have my artwork as part of the Dalloul Art Foundation, which provides encouragement and inspiration for future projects on my artistic journey.

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ALFRED TARAZI RN: THE DALLOUL ART FOUNDATION HAS BEEN A SIGNIFICANT SUPPORTER OF VARIOUS ARTISTS. CAN YOU ELABORATE ON THE SPECIFIC WAYS IN WHICH THEIR SUPPORT HAS IMPACTED YOUR WORK AND ARTISTIC DEVELOPMENT? AT: For an artist to have direct access to a seasoned art professional, to someone who carries the load of such a collection is an absolute privilege.

Watching Basel deal with that load with his natural lightness and yet his profound intake has helped me embark on a project as I have also inherited from my family a cumbersome set of objects.

The Tarazi family has been involved in the making and trading of woodwork and copper work for many generations.

Today I would like to relegate this collection to either a foundation or a museum.

RIMA NASSER: COULD YOU SHARE THE STORY OF YOUR ARTISTIC JOURNEY AND YOUR CONNECTION WITH BASEL DALLOUL AND THE DALLOUL ART FOUNDATION? HOW HAVE THEY INFLUENCED YOUR CREATIVE PATH AS AN ARTIST? ALFRED TARAZI: At the heart of my practice lies this fundamental existential question: who am I? In the unsettled geography of the region, that question is a matter of life, and often tragically of death. In the construction of the self, identity is a transgenerational layering of information one often takes for granted. To find the answer, or even to build that answer, encounters with others are key. Early on, I watched mesmerised and with some disbelief Ramzi Dalloul speak about his collection in a roundtable in the United Arab Emirates. A little while later, the foundation acquired one of my works and to my absolute amazement, while delivering it, I discovered this treasure trove of Arab art about five minutes away from my home in Beirut, in the neighbourhood where I grew up and still reside. A few years later Ramzi passed away and it befell on Basel to carry that tremendous load, the responsibility of this collection, this transgenerational layering of information to which I now belong and through which I can now answer the question. I am…

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Before this can happen, I need to however work though this collection and since the beginning of this project Basel has been a formidable ally. This collection is important for it reflects on a way of life that is now defunct, it shows us how past generations used to live and infuse their lives with culture. They are also important from a maker’s perspective.

Today I am also a maker, somebody who produces, an artist. The foundation offers that crazy opportunity to be in dialogue with other makers, some who have passed away and many still alive.

Through the foundation we become a community of makers, of thinkers, of mad men and women who can expose all our dreams and illuminations to instill some light to the bleak darkness that shrouds the Arab world.

RN: YOU MENTIONED THAT YOUR WORK REVOLVES AROUND HISTORICAL INVESTIGATIONS RELATED TO THE LEBANESE CIVIL WAR. HOW DO YOU VIEW THE SIGNIFICANCE OF THE DALLOUL ART FOUNDATION’S ROLE IN DOCUMENTING AND PRESERVING THE ARTISTIC HERITAGE OF THE ARAB WORLD, PARTICULARLY IN THE CONTEXT OF ARTISTS ADDRESSING COMPLEX HISTORICAL SUBJECTS LIKE YOURSELF? AT: At the very moment as Gaza is being obliterated and the Zionist entity is openly threatening Lebanon with annihilation ,one cannot misunderstand the role and agency of art as a tool of resistance against a history of ongoing oppression.

The Arab world in its entirety has been through the past century decimated by conflicts in the bleak darkness of the ongoing Israeli Palestinian struggle. The difficulty, whether we are talking about the Lebanese Civil War or to even take the more actual example of the war in Syria, is how to write these histories of bloodshed. How to make sense of such outpours of violence? In the exercise of writing history, art and art history become an invaluable ally. The West has taught us this, it has taught us how you cannot write history without the arts. Today when we speak of the Arab world, we speak of failed modernity. But where politics failed, culture prevails. As we are in the process of writing these histories, the works of artists present in the Dalloul Art Foundation constitute thus an invaluable asset, a repository of thoughts, a palimpsest of the past and a blue print for the future.

RN: BASEL DALLOUL AND THE DALLOUL ART FOUNDATION ARE KNOWN FOR THEIR DEDICATION TO PROMOTING ARAB ARTISTS ON A GLOBAL STAGE. IN YOUR OPINION, WHAT IS THE ROLE AND IMPORTANCE OF THE COLLECTION CURATED

BY THE FOUNDATION IN ADVANCING THE RECOGNITION OF ARAB ART INTERNATIONALLY? AT: The work done by the foundation to preserve art locally is enormous. The work done to represent the work internationally is equally challenging.

It is not only about presenting Arab art internationally as much as presenting Arab art as an international counterpart to Western art. As we are starting to see the pioneers of Arab modernity and contemporaneity celebrated internationally one can definitely say that we are on the right track. And as much as the global stage is important one cannot undermine the challenge to present the art locally.

One cannot undermine the long way we have to go to create a viable local cultural infrastructure and ecosystem. A cultural economy, an economy of creativity and love that can overcome this idea that we are a defeated people in a land of ruins.

RN: LOOKING AHEAD, WHAT ARE YOUR EXPECTATIONS AND ASPIRATIONS REGARDING YOUR ONGOING COLLABORATION WITH THE DALLOUL ART FOUNDATION, AND HOW DO YOU ENVISION YOUR ARTISTIC JOURNEY EVOLVING WITH THEIR SUPPORT IN THE COMING YEARS? AT: I completely abide to the agenda of the foundation of challenging Western stereotypes about the Arab world.

Western stereotypes are sickening. The West is sick by its imposition of double standards in regards to human rights and what they think we as Arabs are capable or incapable of.

Of course, we, the Arabs, are equally guilty. Had it not been for our neglect and contempt shown to our own history, to our own diversities, we would not find ourselves in such a pitiful state. Through the work of the foundation and all other cultural institutions across the Arab world, I hope that what Arabs failed to do politically they will succeed in doing culturally. This is our last chance as a people to utter our names shamelessly and to pass on to the upcoming generations the aspirations and dreams of their forefathers. These aspirations and dreams matter, for they constitute a blueprint for a better future.

RN: AS AN ARTIST WHOSE WORK SPANS VARIOUS MEDIUMS AND DELVES INTO HISTORICAL NARRATIVES, COULD YOU PROVIDE INSIGHTS INTO YOUR VIEW OF THE COLLECTION AND THE FOUNDATION’S WORK WITH ARTISTS LIKE YOURSELF? HOW DOES THIS SUPPORT IMPACT THE BROADER ART COMMUNITY? AT: For the past ten years I have been immersed in the world of Lebanese print culture: newspapers, magazines, books, posters, pamphlets…This is the world in which we manifested primarily our concerns, hopes and aspirations. It is the world in which the political and cultural are completely intertwined.

And it is a world, because of the technical skills it required, that was entirely shaped by artists: illustrators, photographers, caricaturists, typographers, calligraphers...some artists at the time could not make a living through the sale of their work but could work in the print industry. What became interesting for me is to map out who produced what and in what publications and to see how low art and high art intersect. An art collection of Modern Arab art is amazing, but to also find how these modern Arab artists impacted popular culture is equally important. The foundation’s work becomes a reference point, an invaluable chronology of dates, names and practices for me to work from. I also believe that for the boarder art community, it is important for aspiring and young artists to establish a dialogue with the practices of their elders. From a maker’s perspective I would say that this informs a practice. To have such a collection accessible to all in the middle of Beirut is a treasure trove for practitioners first and all art lovers.

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HADY SY RIMA NASSER: CAN YOU BRIEFLY DESCRIBE YOUR RELATIONSHIP WITH THE DALLOUL FOUNDATION AND HOW THEIR SUPPORT HAS INFLUENCED YOUR ARTISTIC CAREER? HADY SY: My relationship with DAF starts primarily with the personal friendship that I have with Basel Dalloul that we built up through the years.

Concerning DAF directly, they acquired at first one of my major pieces Big Business from my Sifr solo show at Saleh Barakat Gallery and they provided once a whole room at the foundation for three months to showcase my works.

This brought attentiveness, visibility and a certain new “regard” to my name in the region. I was just arriving to Beirut from NYC.

RN: WHAT SPECIFIC FORMS OF SUPPORT OR RESOURCES FROM THE DALLOUL FOUNDATION HAVE BEEN MOST INSTRUMENTAL IN YOUR ARTISTIC DEVELOPMENT? HS: The Dalloul Art Foundation’s acquisition of significant artworks for their permanent collection, as well as facilitating introductions to influential figures within the cultural, artistic, and commercial sectors in the Arab world, has helped my artistic development significantly.

“HE’S A MAN OF WIDE CULTURE , OF GLOBAL VISION WITH A FULL SENSE OF WHAT IS HUMANITY.”

RN: BASEL DALLOUL IS KNOWN FOR HIS COMMITMENT TO ART AND CULTURE. HOW HAS HIS VISION SHAPED THE THEMES OR CONCEPTS IN YOUR WORK? HS: What is beautiful with Basel is that he never tells you what to do. He respects artists. He always pushes for freedom of speech, expression; we talk, converse, debate, laugh, around a drink, a lunch or a dinner. He possesses a broad cultural perspective and a global vision, coupled with a deep understanding of humanity, which aligns seamlessly with my body of work. As the saying goes, “Let people do what they wanna do, so you see what they’d rather do. That’ll answer all the questions you have”.

RN: AS AN ESTABLISHED ARTIST, WHAT ROLE DO YOU SEE THE DALLOUL FOUNDATION PLAYING IN THE BROADER ART COMMUNITY, PARTICULARLY IN PROMOTING CULTURAL EXCHANGE AND ARTISTIC EXPRESSION? HS: First of all to continue to do what they’re already doing.

I’d love the foundation to be more active worldwide showing the works and sharing the minds and spirit of the artists of the region because as we say in French: “L’Art est le plus proche chemin de l’Homme à l’Homme.”

RN: COULD YOU SHARE ANY UPCOMING PROJECTS OR EXHIBITIONS THAT SHOWCASE YOUR COLLABORATION WITH THE DALLOUL FOUNDATION AND YOUR ARTISTIC JOURNEY? HS: DAF recently acquired five pieces, which comprises of the entire body of work of the SIFR | ZERO Dollar. My upcoming solo exhibition is scheduled for March 2024 at the Saleh Barakat Gallery. While I can’t disclose the title at this time, Basel has already reserved some significant works for DAF. He consistently strives to be at the forefront of such acquisitions.

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SAMIA HALABY “COLLECTORS HAVE THE RESPONSIBILITY OF GUARDING CULTURAL HERITAGE AND PASSING IT ON TO FUTURE HOLDERS. BEYOND THAT, IT IS ESPECIALLY COMMENDABLE WHEN THEY ALLOW ACCESS AND KEEP IT IN THE THE PUBLIC EYE.”

Dr. Ramzi Dalloul enjoyed a serious attitude towards collecting. At a time when he began focussing more heavily on Arab artists, I had the pleasure of enjoying his special personality. Our relationship as collector and artist was smoothed by traits he possessed that were reminiscent of ones that I recognised as typical Palestinian and ones that especially reminded me of the stubbornness my father possessed. No matter how much we haggled over pricing or particular paintings; our involvement in the process was always significantly fuelled by enjoyment. I think that he held the same attitude as I did and was willing to move beyond the professional relationship into one of friendship.

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Collectors have the responsibility of guarding cultural heritage and passing it on to future holders. Beyond that, it is especially commendable when they allow access and keep it in the public eye.

They shine best in this respect when they organise the collection in ways that allow researchers and interested parties to view and study their collection.

Providing services for researchers and public viewing is not a simple transaction. It demands resources as much as it demands commitment.

The Dalloul Foundation under the current guidance of Dr. Basel Dalloul is doing just that.

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INAYA HODEIB

RIMA NASSER: CAN YOU TELL US HOW YOUR RELATIONSHIP WITH THE DALLOUL ART FOUNDATION BEGAN AND YOUR PERSPECTIVE ON IT AS AN ARTIST? INAYA HODEIB: I connected with Basel online in 2014, he reached out with a “hello i love your work”. My first thought was “hmmmm, I have heard of that name before !”. I answered and ever since we have been in close contact.

At first Basel expressed interest in my canine series, and as we got to know each other more, he supported both my themes in painting and sculptures. He was the first patron to commission a canine portrait, and the first to acquire one of my sculptures.

I find it difficult to put our connection into words as we share personal and professional interests. Our absolute love for dogs, especially Temi, Ellie and Simsim, and future work plans are two of the topics we often discuss. There is a lot of trust between us and I am able to freely express and discuss my thoughts and ideas about work with no reservation. I believe Basel’s direct and clear approach to communication means that, for me an artist with a lot of social anxiety, I never have to read between the lines, attempt to guess what is meant, worry about something missed or stress over potential misunderstanding.

Communication is one of Basel’s great characteristics, augmented by his worldly experience, open minded approach and ability to absorb and understand the people he interacts with.

This trust is often reflected in my work for Basel and DAF in the form of total freedom. We are on the same page, and I feel comfortable enough to ask for advice, suggestions, and guidance as needed. This empowers me to explore different subjects and approaches freely and with confidence.

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RN: THE DALLOUL FOUNDATION HAS BEEN A KEY SUPPORTER OF YOUR ARTISTIC CAREER. COULD YOU ELABORATE ON THE SIGNIFICANCE OF THEIR SUPPORT IN TERMS OF YOUR CREATIVE JOURNEY AND DEVELOPMENT AS AN ARTIST? IH: DAF currently has more than a hundred of my works in several mediums.

This includes sketches documenting products and curiosities from the 80s and 90s in Beirut. This series is part of a much larger project called Stories from B Town in which I try to archive the history of the familiar, from Tatra and Nido cans to sweets, portraits of people, and even shops. The project is my work to document, immortalise, and safekeep certain memories of my city, as it changes rapidly year after year.

RN: BASEL DALLOUL, AS A PROMINENT FIGURE IN THE ART WORLD, HAS BEEN INSTRUMENTAL IN SUPPORTING EMERGING AND ESTABLISHED ARTISTS. HOW HAS HIS VISION AND COMMITMENT IMPACTED YOUR WORK AND ARTISTIC ASPIRATIONS?

RN: THE FOUNDATION’S SUPPORT OFTEN EXTENDS BEYOND FINANCIAL ASSISTANCE. CAN YOU SHARE SPECIFIC EXAMPLES OF HOW THEIR MENTORSHIP OR RESOURCES HAVE INFLUENCED YOUR ARTISTRY AND CAREER TRAJECTORY?

IH: The works from the series currently at DAF started as a 20-piece collection. I showed Basel the initial portion and asked for his personal experience and memories of the period, this discussion brought back more memories that I had forgotten about including Yes 3 bwahad a very popular commercial that evolved during the 80s and 90s. We kept bouncing ideas and memories. I felt incredibly motivated to collect as many products as possible, which led to reaching out to all my contacts including family to build a portfolio of images and ideas of what we call “hratee2” or memorabilia going all the way back to the 50s. This transformed the series into a massive collaboration.

IH: The support offered by DAF and Basel personally goes beyond financial support and art collecting. Basel’s and DAF’s patronage plays the role of sponsor and advocate for the expansion and preservation of the arts and culture sector in Lebanon and the wider Middle East.

This is no easy feat, as recognising the importance of an artwork, its timelessness and relevance, and supporting the artist behind it is a monumental task.

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AYMAN BAALBAKI

RIMA NASSER: CAN YOU SHARE THE NATURE OF YOUR CONNECTION WITH BASEL DALLOUL AND THE DALLOUL ART FOUNDATION AND HOW IT HAS INFLUENCED YOUR ARTISTIC JOURNEY? AYMAN BAALBAKI: My connection with Basel Dalloul and the Ramzi and Saeda Dalloul Art Foundation (DAF) began when I met his father, Dr. Ramzi Dalloul, during a period when he envisaged creating a museum to bring together Arab art.

He commissioned me to create a painting of Al Mulatham, in 2013, which I initially hesitated to undertake for personal reasons. Following the completion of this work, Dr. Ramzi, and on one occasion Basel, visited my studio. This was the start of my relationship with Basel, who became not just a close friend but also a keen observer and documenter of my artistic development as well as that of my colleagues. Our frequent meetings at various places, including DAF which Basel founded in 2016, allowed us to witness the growth of the institution into a repository and research centre for Arab art, detecting fakes and forgeries, and much more. We shared a cultural, artistic, and ideological kinship, and I am proud to be part of the community and the foundation Basel has built, which extends beyond being just a home for Arab art to becoming a pivotal research centre.

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RN: THE DALLOUL ART FOUNDATION IS KNOWN FOR ITS COMMITMENT TO PROMOTING ARAB ARTISTS. COULD YOU DESCRIBE ANY SPECIFIC COLLABORATIONS YOU’VE HAD WITH THE FOUNDATION THAT HAVE LEFT A LASTING IMPACT ON YOUR ARTISTIC CAREER? AB: Basel’s impact on my career has been multifaceted, including specific collaborations that have left a lasting impression. For instance, while working on a large-scale resin sculpture depicting the bust of a mulatham – a freedom fighter wrapped in a scarf headdress – and using aerosol paint, Basel brought to my attention the toxicity of the materials I was using and provided me with respirator masks. His observant and caring nature ensured that I had all I needed to safely execute my work. Another significant instance was when he provided me with night-vision goggles to aid in an installation I was creating, part of the larger Janus Gate showcased at the Lebanese pavilion of the Venice Biennale 2022, with Basel being one of the main sponsors. Moreover, I recall his offering of free DNA tests to my artist friends and me after he had heard us discussing our interest in the recent scientific research behind it, and how one can discover the origin of their ancestry. Basel possesses an innate consideration, often anticipating our needs without ever being solicited.

Ayman Baalbaki Janus Gate, 2022

RN: THE DALLOUL ART FOUNDATION IS DEDICATED TO PRESERVING AND PROMOTING THE WORK OF ARAB ARTISTS. WHAT IS YOUR OPINION ON THE SIGNIFICANCE OF SUCH AN INSTITUTION IN DOCUMENTING THE ARTISTIC HERITAGE OF THE ARAB WORLD? AB: The significance of DAF in the Arab world is profound.

I admire how Basel has laid the foundation for what could one day be a museum, focusing on documentation, creating an inventory, and digitising the artworks collected by his father as a starting point.

His approach - beginning with a simple space and building up to what DAF is today - exemplifies a snowball effect where each addition enhances the institution’s capability and reach. With a team dedicated to archiving, researching, documenting, and assessing the authenticity of the artworks, DAF has become an indispensable reference for research and archival material, including my own.

Basel’s proactive measures in filtering out fake or forged works have positioned the foundation as a stronghold against art fraud in the region, making it one of the most significant research and documentation entities for visual art in the Arab world.

RN: BASEL DALLOUL AND THE DALLOUL ART FOUNDATION HAVE PLAYED A VITAL ROLE IN ADVANCING THE RECOGNITION OF ARAB ARTISTS ON A GLOBAL SCALE. IN THIS CONTEXT, COULD YOU SHARE YOUR INSIGHTS INTO THE SUPPORT PROVIDED BY BASEL DALLOUL FOR THE VENICE BIENNALE 2022 AND HOW IT REFLECTS HIS COMMITMENT TO PROMOTING ARAB ART ON AN INTERNATIONAL STAGE? AB: Basel’s support during the 59th Venice Biennale, 2022 was pivotal, reflecting his unwavering commitment to promoting Arab artists internationally. His support during this crucial time in my career was instrumental. Basel guided me through the entire process, as Danielle Arbid and I were invited to represent Lebanon. His financial sponsorship in the absence of government support was vital. He also went further, by helping me find a spacious workspace with high ceilings, suitable for executing a large project amid the challenges of the pandemic and civil unrest. His cousin Ziad generously offered this space rent-free. Basel also ensured the process of creating and dismantling the installation was documented through video. Simultaneously, Basel urged the completion of my book Ayman Baalbaki: Face au KO/Facing KO, 2022, which was intended to have been completed in 2018. He liaised with a renowned French publisher, Editions Norma, and ensured DAF’s full sponsorship of my book’s publication. These are a few seminal examples that encapsulate how Basel has been foundational to my artistic career and to many in the Arab art community.

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INTERVIEW

SULTAN SOOUD AL QASSIMI

©Amir Hazim

Sultan Sooud Al-Qassemi is the founder of the Sharjah-based Barjeel Art Foundation whose mission is to promote art by artists from the Arab world through exhibitions locally and internationally.

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RIMA NASSER: BASEL DALLOUL SERVES AS THE CUSTODIAN OF THE DALLOUL ART FOUNDATION. WHAT IS YOUR IMPRESSION OF HIS WORK IN PRESERVING AND PROMOTING ART, AND HOW DOES HIS LEADERSHIP IMPACT THE ART COMMUNITY?

“BASEL DALLOUL HAS TAKEN THE BOLD STEP OF EFFECTIVELY FINETUNING AN ALREADY EXCEPTIONAL COLLECTION OF ART FROM WEST ASIA AND NORTH AFRICA, BY DE-ACCESSING A LIMITED NUMBER OF WORKS AND RE-INVESTING THE PROCEEDS INTO THE COLLECTION IN ORDER TO ELEVATE ITS SCHOLARSHIP AND ITS ARTISTIC ASSETS. THE DALLOUL COLLECTION IS AMONGST THE WORLD’S LEADING COLLECTIONS IN TERMS OF GEOGRAPHIC AND ETHNIC DIVERSITY AND DR. BASEL IS INFUSING IT WITH HIS OWN VISION THAT WILL ONLY FURTHER ENHANCE THE COLLECTION’S STANDING.”

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PRESERVING PALESTINIAN ART: THE DALLOUL ART FOUNDATION’S PIVOTAL ROLE GEORGE AL-AMA

Mr. George Al-Ama is a researcher, academic, and collector of Palestinian material culture and art. Founder of Dar Al Sabagh Diaspora Studies and Research Centre, Head of the Culture Unit at the Center for Cultural Heritage Preservation, Member of the Scientific Committee of Terra Sancta Museums, Advisor for Bank of Palestine Group, and a lecturer at Dar Al-Kalima University and Birzeit University, the honorary consul of Chile to the State of Palestine

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Today, the Dalloul Art Foundation possesses the most significant collection of Palestinian art in terms of both quantity and importance. This collection represents a substantial portion of the finest artworks ever produced in this field. The work of the notable artist Toufic Johariya is limited to six known pieces worldwide, with one of them part of the Dalloul Art Foundation’s collection.

Similarly, artist Asim Abou Shakra has created a total of 88 artworks, and the Dalloul Art Foundation possesses 10 of them. Therefore, the mere fact that these artworks are in DAF’s custody holds great importance. Additionally, DAF possesses five artworks by Jabra Ibrahim Jabra, along with over 50, without exaggeration,

by Abdelrahman Al Muzayen. Who wouldn’t dream of owning an oil painting

by Abdelrahman Al Muzayen? There are also 43 by Abed Abdi, not to mention Sliman Anis Mansour’s iconic 1973 piece Jamal Al Mahamel III (The Camel/Carrier of Hardships), the most significant work in the history of Palestinian artists.

Furthermore, DAF’s Samia Halaby acquisitions are unique and unmatched.

In essence, DAF owns a substantial part of our visual art history.

Toufic Johariya Untitled, 1930.

55 x 80.5 x 2.3 cm DAF Beirut

Jabra Ibrahim Jabra Untitled, 1947.

34.5 x 30 cm DAF Beirut

Jabra Ibrahim Jabra Untitled, ND. 32 x 27.5 cm DAF Beirut

Jabra Ibrahim Jabra Untitled, 1947. 68 x 46.5 cm DAF Beirut

Jabra Ibrahim Jabra Untitled, ND. 60 x 80 cm DAF Beirut

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PRESERVING PALESTINIAN ART: THE DALLOUL ART FOUNDATION’S PIVOTAL ROLE

The Late Dr. Ramzi Dalloul was both a father figure and a friend to me. He introduced me to his love for collecting Modern and Contemporary Arab art and shared his dream of creating a museum.

This marked the beginning of my journey with the Dalloul Art Foundation.

I was also fortunate to meet Dr. Ramzi’s late wife, Saeda Husseini Dalloul, in their London home. Subsequently, I started working as an advisor to Dr. Ramzi, with a focus on Modern and Contemporary Palestinian art.

My own involvement in the art world is dedicated to funding the ongoing collection and preservation efforts I initiated 22 years ago, all in pursuit of safeguarding Palestinian material culture in its entirety. The Centre for Cultural Heritage Preservation specialises in restoring Palestine’s architectural heritage, while Dar El Sabbagh, a diaspora research centre, showcases contemporary Palestinian art in a 19th-century building. A permanent display of Abdul Rahman Katanani’s work is a unique feature. Our centres attract diaspora visitors and locals, offering the only permanent collection of 115 artworks in Bethlehem.

“IN ESSENCE, DAF OWNS A SUBSTANTIAL PART OF OUR VISUAL ART HISTORY.”

Abdul Rahman Katanani Untitled, 2015. 400 x 200 cm DAF Beirut

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Abed Abdi Beads & Certificates of Land Ownership, 2010. 84 x 33 cm DAF Beirut

Abed Abdi ‫ حطام زورق‬, 1985. 96 x 130 cm DAF Beirut

Abed Abdi

‫ جدار و كوفية‬, 2005. 89.5 x 79.5 cm DAF Beirut

Abed Abdi

‫فتى على أسطح وادي الصليب المهدم‬ 2016. 110 x 70 cm DAF Beirut

Embroidery, among the most distinctive elements of Palestinian material culture, has left an indelible mark on the Palestinian art scene and movement since its inception.

Palestinian artists draw significant inspiration from it, and its contemporary resonance is evident in the works of prominent figures like Mona Hatoum and Samia Taktak Zaru. The influence of embroidery on Palestinian contemporary art extends beyond individual artists to collections such as those of the Dalloul Art Foundation, and my own

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PRESERVING PALESTINIAN ART: THE DALLOUL ART FOUNDATION’S PIVOTAL ROLE

Asim Abou Shakra Untitled, 1980. 95 x 70 cm DAF Beirut

Asim Abou Shakra Untitled, ND. 74 x 100 cm DAF Beirut

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Asim Abou Shakra This is by the Grace of my Lord, 1985.

99.5 x 74 cm DAF Beirut

Asim Abou Shakra Children and Planes, 1985. 104.5 x 64.5 cm DAF Beirut

“ARTIST ASIM ABOU SHAKRA HAS CREATED A TOTAL OF 88 ARTWORKS, AND THE DALLOUL ART FOUNDATION POSSESSES 10 OF THEM.”

Asim Abou Shakra Still Life, ND. 100 x 69.5 cm DAF Beirut

Asim Abou Shakra Cactus, 1988. 121 x 81 cm DAF Beirut

Asim Abou Shakra Last Cactus (Black Cactus), 1990.

129 x 97 cm, DAF Beirut

Asim Abou Shakra Self Portrait, 1988.

100 x 70 cm, DAF Beirut

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PRESERVING PALESTINIAN ART: THE DALLOUL ART FOUNDATION’S PIVOTAL ROLE

“WHO WOULDN’T DREAM OF OWNING AN OIL PAINTING BY DR. ABDELRAHMAN AL MUZAYEN?”

With Dr. Basel taking the reins, the foundation not only continues the work initiated by Dr. Ramzi but also introduces a fresh perspective. Basel’s unique style is contemporary and aligns with the sensibilities of younger Arabs in their 30s and 40s. This greatly enhances the foundation’s relevance and significance. Basel meticulously upholds the legacy and, in actuality, has become even more dedicated. When I heard the news about the decision to sell certain pieces from DAF’s collection, it brought me great joy. I think he should refine his collection. It is essential to concentrate on selling or disposing of repetitive artworks and focusing on fresh endeavours and the missing components of the extensive digital collection puzzle. I genuinely believe in his mission and would be more than willing to stand by his side and support him in any way I can.

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Abdelrahman Al Muzayen Untitled, 2013. 100 x 71 cm DAF Beirut

Abdelrahman Al Muzayen Untitled, 2014. 100 x 75 cm DAF Beirut

Abdelrahman Al Muzayen Untitled, 2014. 100 x 75 cm DAF Beirut

Abdelrahman Al Muzayen Dal’ouna (Anat), )‫دلعونة (عناة‬ 1980. 100 x 70 cm DAF Beirut

Abdelrahman Al Muzayen Untitled, 2013. 100 x 75 cm DAF Beirut

Abdelrahman Al Muzayen Untitled, 2013. 100 x 75 cm DAF Beirut

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INTERVIEW

ART PHILANTHROPY IN ACTION: THE FOUNDATION’S IMPACT ON COMMUNITIES NADA GHANDOUR

Nada Ghandour, a heritage curator, holds a PhD in history and is an expert in Modern and Contemporary art. She earned her academic qualifications at prestigious institutions, including a master’s in museology from École du Louvre, a master’s in history of art from Sorbonne Paris IV, a master’s in preventive conservation of heritage from Sorbonne Paris 1, and a master’s in digital humanities from Sciences Po, Paris.

As an independent curator with a focus on cultural management and digital technology, Nada Ghandour has worked in some of the most prominent museums in Europe and North America, including the Museum of Fine Art in Montréal, the Musée National Picasso-Paris in France, and the Fondation Louis Vuitton in Paris. She has been actively involved in major exhibitions, such as Cuba: Art and History from 1868 to the present day (2008) , Picasso! The Anniversary Exhibition (2015-2016) , Icons of Modern Art. The Shtouchkine Collection (2016-2017). She also served as the commissioner and curator of the Lebanese Pavilion, The World in the Image of Man, at the Venice Biennale in 2022, and is set to assume the roles of commissioner and curator for the Lebanese Pavilion at the Venice Biennale in 2024.

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“ART REFLECTS THE ENVIRONMENT IN WHICH IT ORIGINATED. THE STUDY OF ART ALLOWS THE STUDY OF AN ENTIRE SOCIETY.”

RIMA NASSER: COULD YOU TELL US ABOUT YOUR COLLABORATION WITH BASEL DALLOUL AND YOUR PERSONAL CONNECTION WITH HIM IN THE CONTEXT OF ART AND CULTURE? NADA GHANDOUR: The first time I visited the Dalloul Art Foundation was in the summer of 2019 following the advice of a colleague, a heritage curator in France who, at the time, worked at the Louvre Museum in Abu Dhabi.

I was very impressed by the collection at DAF, by the modern and contemporary pieces of Arab art that it preserves and by the geography it covers. Before this visit, I thought that I knew everything about Picasso, given that I graduated from the École du Louvre and the Sorbonne in History of Art, and through my work at the Musée National Picasso - Paris. Following this visit, I learnt that Picasso was inspired by an Algerian artist named Baya Mahieddine, for his ceramic pieces. Viewing his art with this new knowledge, the source of Picasso’s inspiration now seems obvious. I was then able to measure the importance of this collection and the studies carried out on its artists.

I could not but congratulate Dr. Dalloul for his vision, the richness of his database and the professionalism of the archiving and biography work undertaken on Arab artists in his collection.

This also made me think of Amin Maalouf and his book entitled The Crusades Through Arab Eyes and the parallel thought that we should likewise see the history of art from the Arab point of view. This also resonates with what was expressed by HRH Prince Mohamad Bin Salman who, once said during an interview, that it is time for Arab countries to contribute to the development of the world, particularly at the intellectual level.

This was my first meeting with Basel Dalloul. Then, three years later, in 2021, we met again when I was assigned by the Ministry of Culture to be the Commissioner and Curator of the Lebanese Pavilion project.

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ART PHILANTHROPY IN ACTION: THE FOUNDATION’S IMPACT ON COMMUNITIES

RN: REGARDING YOUR COLLABORATIVE WORK ON THE 2022 VENICE BIENNALE, HOW DO YOU PERCEIVE THE FOUNDATION’S SUPPORT IMPACTING ARTISTS AND THE PRESERVATION OF LEBANON’S ARTISTIC HERITAGE? NG: Let me start with the impact of DAF on the local artistic scene. It is important to keep in mind, that to be able to compete with all the participating countries at the Arte Biennale in Venice, one of the most prestigious exhibitions of contemporary art in the world, Lebanon should present work of this high level. Hence, we should ensure that the Lebanese artistic scene is rich, fertile and mature. In this context, the impact of DAF has two aspects: a financial one as a Patron of the Arts and an educational aspect, given that this collection is open to the public.

DAF supports artists and encourages them by purchasing their pieces, thus allowing them the continuity of their creative work.

Likewise, by opening its collection to the public, Basel Dalloul contributes to the artistic education of professionals. A visit to the DAF allows young students in the field of visual arts to see masterpieces in real-life which help to sharpen the eye and to discover the artworks of artists from other countries such as Iraq, Palestine, Egypt, Morocco, Tunisia and many more countries that these students do not have the financial means to visit.

DAF hence complements the existing cultural network in Lebanon, namely galleries, arts residencies, conservation schools and art schools which train future artists, both Lebanese and those from other Arab countries.

It is impossible to preserve this cultural network or keep it active without external exposure and visibility. The Venice Biennale, one of the most important art exhibitions in the world, and one that houses excellence in art, is an outstanding way to promote the Lebanese art scene internationally.

DAF, through its support of the Lebanese Pavilion at the Venice Biennale in 2022, contributes to this promotion, consequently accompanying Lebanese artists both at the national and international level.

The presence of the Lebanese Pavilion in Venice has significant repercussions on artistic activities and practices in Lebanon.

It benefits the entire contemporary art community in Lebanon by creating new work opportunities in different areas and professions related to the field of art and culture. Participating in this global artistic discourse of contemporary art is essential for the safeguarding of cultural sectors in Lebanon, which unfortunately lack funding from the state. Moreover, we should not forget that in several countries, culture is the sector that suffers first each time there are budget cuts.

Although, according to a publication dated April 2023 by the World Tourism Organisation (WTO), cultural tourism is one of the fastest growing segments of the tourism industry and represents 40% of the global tourism in the world according to estimates.

Ayman Baalbaki Janus Gate

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RN: WHAT ARE YOUR THOUGHTS ON THE IMPORTANCE OF PRESERVING ARAB ART, AND HOW DO YOU VIEW BASEL DALLOUL’S EFFORTS IN PROMOTING AND ARCHIVING ART COLLECTIONS IN THIS CONTEXT? NG: We have amazing artists in the Arab World who have a lot to say, show, and express on local social, economic, and political issues. Art reflects the environment in which it originated. The study of art allows the study of an entire society.

From my point of view, as a heritage curator, it is essential to preserve our culture and our roots for future generations, to educate our children today on their sumptuous heritage, and to contribute to the diversity and the uniqueness that create the richness of the world.

Western museums are still timid in acquiring Arab art. it is our duty not only to preserve it, but to explain, and exhibit it. And most important, we must not reduce Arab art to the beauty of the colours and patterns.

In 2022, for the Lebanese Pavilion, Basel Dalloul produced a video showing Ayman Baalbaki, the artist who represented Lebanon at the Venice Biennale, explaining his work. This kind of documentary constitutes a gold mine for art historians, researchers, and art students. It is a valuable archive for future generations who will work on visual art, and a reflection of the social and political context of Lebanon at that time.

Hence, I salute Basel Dalloul’s efforts of preserving Arab art, documenting it and exhibiting it, and for his vision and his desire to record, during an artist’s lifetime, their thoughts and creation process. All of this without a thought to any cost or return on investment since DAF keeps these records for its own archives.

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“I THINK THAT DAF PLAYS THE ROLE OF A MUSEUM OF ARAB ART, AS OPPOSED TO A PRIVATE COLLECTION THAT REFLECTS THE TASTE OF ITS OWNER.”

RN: SUPPORTING EMERGING ARTISTS IS CRUCIAL FOR THE ART WORLD’S EVOLUTION. HOW DO YOU SEE THE FOUNDATION CONTRIBUTING TO THE GROWTH OF YOUNG ARTISTS? NG: DAF acquires works of emerging artists which is crucial for the development of the artistic scene; but more importantly, it supports freedom of creation and empowers artistic expressions, giving the artist the financial means to make a living from his work, rendering him the sole Master of his art. If we go back through history, Lebanese women artists like Huguette Caland, Saloua Raouda Choucair had a more modern style of painting, as they dared abstraction while their male counterparts, due to a fear of lack of income or inability to support their families, were forced, either to opt for the figurative painting appreciated by the buyers at the time, or to completely abandon their profession as artists.

Ayman Baalbaki Janus Gate

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RN: IN YOUR VIEW, WHAT POTENTIAL USES OR ROLES DO YOU ENVISION FOR THE FOUNDATION IN THE BROADER LANDSCAPE OF ART AND CULTURE PRESERVATION? NG: I think that DAF plays the role of a museum of Arab art, as opposed to a private collection that reflects the taste of its owner. It is a young institution which has a significant collection of major works and a solid policy of acquisition, conservation, exhibition, digitalisation, documentation, archiving and education and is open to all audiences.

RN: LOOKING AHEAD TO THE 2024 VENICE BIENNALE, CAN YOU SHARE ANY INSIGHTS INTO BASEL DALLOUL’S CONTRIBUTIONS OR INVOLVEMENT IN SHAPING THIS UPCOMING EVENT, AND WHAT IMPACT DO YOU ANTICIPATE IT WILL HAVE ON THE ART WORLD? NG: I invited Basel Dalloul to join the Selection Committee of the Lebanese Pavilion which selected Mounira Al Solh to represent Lebanon at the 60th International Art Exhibition in Venice next year.

His contribution is valuable as he has a sharp eye and an in-depth knowledge of the Lebanese art scene and artists. In addition, he is the head of a respectful non-profit art foundation.

Ayman Baalbaki Janus Gate

It is a first that Lebanon is exhibiting for the second consecutive period at the Venice Biennale. Previously in 2022, it was a very challenging mission due to the human, social and economic difficulties Lebanon was facing. Today the region is experiencing another tragedy, but this Pavilion will be a testament of the perseverance, hope and vitality of the Lebanese artistic scene. It will confirm that Lebanon is an important center for artistic creation and has its place on the international art map.

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INTERVIEW

THE INTERSECTION OF TECHNOLOGY AND ART: THE CUSTODIAN’S DIGITAL INITIATIVES SALAH LABABIDI

Salah Lababidi, born in Beirut in 1971, began his tech journey with a Commodore 64 at age ten, marking the beginning of a lifelong passion for all things related to tech. From tinkering with hardware and software, this hobby eventually transformed into a career even though during his French, British and US educations he never studied computer science. It was just around him and he used it extensively especially the Unix systems at the George Washington University where he graduated in 1993.

Starting his career in the Airline business when finally returning to his motherland, Salah observed the tech transformation of the 90s, particularly as airlines transitioned from Unix terminal reservations systems to graphical user interfaces (GUI). This piqued his interest in web development, especially in UI/ UX, and all the tech that goes into building Content Management Systems (CMS) but it was his Linux certification in 2003, which formed the integral desire to build optimized CMSs. Salah’s early experience with WordPress spurred him to create more stable, customized data solutions for companies like American Airlines and Time Out. In 2015, after 15 years of Travel Media web development, he launched Secrets of Beirut (AKA SOBEIRUT) and MyDecor, both deploying his proprietary Dynaweb Core framework.

Now as Managing Director at DAF, Salah applies his UI/UX, data architecture, and Linux expertise leveraging services like AWS and Google Cloud to manage DAF’s online platform, arguably the leading Arab art research and publication resource.

Additionally, Salah is involved in outreach and recruitment for the foundation, helping to bridge the gap between art and technology.

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On The Foundation’s Digital Initiatives

RIMA NASSER: MR. LABABIDI, CAN YOU ELABORATE ON HOW THE DALLOUL ART FOUNDATION EMBRACES TECHNOLOGY TO EXPAND ITS REACH AND ENHANCE THE APPRECIATION OF ART? SALAH LABABIDI: DAF, through the vision of Dr. Basel Dalloul, is primarily a research institute for Modern and Contemporary Arab art. The research itself involves all mediums that are either written, photographed or videoed. It’s my job to make sure that we are able to organise as efficiently as possible this research so that it can be retrieved in any desired way and most importantly, that the research data, when relevant, is linked together through a logical user experience that evolves over time and is supported by a solid technology infrastructure.

With this in mind, I would say that what we have done here at DAF over the last five years is to merge technology and art research to allow interested parties to access this research and broaden the awareness of Arab culture.

RN: IN WHAT WAYS HAVE DIGITAL INITIATIVES ALLOWED THE FOUNDATION TO CONNECT WITH A BROADER AND MORE DIVERSE AUDIENCE? SL: In every way. Our website today is in most cases within the top three search results for over 350 master Arab artists. Our research is entirely online for anyone to access. Ninety percent of our traffic comes from search.

RN: HOW DO YOU ENSURE THAT TECHNOLOGY REMAINS A TOOL TO ENHANCE RATHER THAN REPLACE THE TRADITIONAL ART EXPERIENCE, ESPECIALLY IN A DIGITAL AGE?

Could you provide examples of specific digital projects or technologies that have been particularly effective in engaging art enthusiasts and fostering a deeper understanding of art?

DAFBEIRUT.ORG GOOGLE.COM ARTSANDCULTURE.GOOGLE.COM SMARTIFY.COM ARTSY.COM ARTNET.COM MUTUALART.COM MASTERWORKS.COM SAATCHIART.COM SELECTIONSARTS.COM

SL: Video did not kill the radio, there will always be a place for traditional art and I see the merger of technology and traditional art as a beautiful thing. The digital experience is evolving and nothing we can do can stop it from taking its rightful place amongst traditional art. Many people in the future will need to be, and in fact crave being, offline from time to time to ingest culture without a pixelated screen, to view the full colour spectrum that our eyes can see. The number of art events in all major capitals in the world, and especially since Covid ended, is a phenomenon that one would not expect in the present situation, including in Beirut where as I see it is booming or at least very dynamic and eventful.

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THE INTERSECTION OF TECHNOLOGY AND ART: THE CUSTODIAN’S DIGITAL INITIATIVES

On The Foundation’s Outreach Programmes RN: THE FOUNDATION’S COMMITMENT TO MAKING ART ACCESSIBLE TO DIVERSE COMMUNITIES IS COMMENDABLE. CAN YOU SHARE SOME OF THE KEY COMPONENTS OF YOUR OUTREACH PROGRAMMES AND INITIATIVES?

RN: HOW DOES THE FOUNDATION ADDRESS ACCESSIBILITY CHALLENGES IN BRINGING ART TO UNDERSERVED OR MARGINALISED COMMUNITIES, AND WHAT OUTCOMES HAVE BEEN ACHIEVED IN THIS REGARD?

SL: Our Instagram page is growing quickly and we keep it active.

Other than that we’re communicating more directly person to person with universities, institutions and art enthusiasts around the world. The truth is, through the extensive research we’ve made public online, we can barely handle the inreach from people finding the Dalloul Art Foundation and its wealth of information about Arab art on search engines.

SL: Our research is accessible for free to anyone marginalised.

Everyone is welcome to our research and we invite those interested to contribute and quite often fund such projects.

RN: WHAT STRATEGIES AND PARTNERSHIPS HAS THE FOUNDATION EMPLOYED TO ENSURE THAT ART TRULY BECOMES “ART FOR ALL”?

SL: Enormous in every way. Art can emit an emotional narrative quite often that words cannot, but with words also art can be appreciated even more … audiovisual if you will!

SL: Too many to list but a few that come to mind: Google Arts & Culture and Smartify host most of the DAF collection details on their website as well as for a number of art institutions. Our content is not hidden, you can find it everywhere. We like to share what we find. In the future we will be looking out for new partnerships for original ideas to disseminate our research and we have a few undisclosed projects in the pipeline for release next year, so a good idea is to become a member on our website to stay in the loop.

RN: COULD YOU GIVE EXAMPLES OF SUCCESSFUL COMMUNITY ENGAGEMENT PROJECTS THAT HAVE HAD A SIGNIFICANT IMPACT ON INDIVIDUALS OR COMMUNITIES, DEMONSTRATING THE POWER OF ART OUTREACH? SL: We collaborate very closely with all institutions in Lebanon and many around the world for loans and grants for books and other cultural events.

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RN: WHAT ROLE DO YOU SEE ART PLAYING IN PROMOTING INCLUSIVITY, DIVERSITY, AND CULTURAL UNDERSTANDING THROUGH YOUR OUTREACH EFFORTS?

RN: LOOKING FORWARD, ARE THERE ANY INNOVATIVE PLANS OR INITIATIVES ON THE HORIZON THAT WILL FURTHER EXPAND THE FOUNDATION’S REACH AND IMPACT IN MAKING ART ACCESSIBLE TO ALL? SL: Emerging technologies, audiobooks, podcasts. There are some things also that I cannot disclose right now, but if you become a member on our website, you’ll be the first to know.

ART CAN EMIT AN EMOTIONAL NARRATIVE QUITE OFTEN THAT WORDS CANNOT. 197

Q&A

CUSTODIAN CHRONICLES: ART GALLERIES FOSTERING ART PRESERVATION THROUGH FOUNDATION COLLABORATIONS

NAYLA KETTANE TANIT

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JOUHAINAH SAMAWI AYYAM GALLERY

SALWA ZEIDAN SALWA ZEIDAN GALLERY

BARAK NAAMANI BARAK NAAMANI GALLERY

GHADA SHOLLY ANIMA GALLERY

CHARLES POCOCK MEEM GALLERY

NADINE BEKDACH JANINE RBEIZ GALLERY

WILLIAM LAWRIE LAWRIE SHABIBI GALLERY

©Waddah Faris

SALEH BARAKAT SALEH BARAKAT GALLERY

HICHAM DAOUDI COMPTOIR DES MINES GALLERY

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CUSTODIAN CHRONICLES: ART GALLERIES FOSTERING ART PRESERVATION THROUGH FOUNDATION COLLABORATIONS

01.

ART GALLERIES OFTEN PLAY A PIVOTAL ROLE IN COLLABORATING WITH FOUNDATIONS TO SHOWCASE AND PROMOTE ART. CAN YOU SHARE INSIGHTS INTO YOUR COLLABORATION WITH THE DALLOUL ART FOUNDATION AND THE GOALS YOU AIM TO ACHIEVE TOGETHER IN THE REALM OF ART PRESERVATION AND PROMOTION?

NAYLA KETTANE: One of Galerie Tanit’s main goals is to promote and encourage young emerging artists from the MENA region. Today, Basel Dalloul is rejuvenating the art collection started by his parents and bringing in contemporary artists from the 21st century. Together, we aim to include as many young talents as possible in his reputable collection for generations to come.

NADINE BEKDACH: My relationship with the Dalloul Art Foundation, as the owner and director of Galerie Janine Rubeiz, started with Dr. Ramzi Dalloul in 2012. He was a passionate art lover and a visionary collector, and he had extensive knowledge and a very keen eye for art.

His regular visits to our gallery were always accompanied by a great curiosity for our exhibitions, especially for artists of the newer generation. As an avid art collector, always in search of key artworks for his collection, Dr. Ramzi made sure to study and inquire about each artist’s profile and history before choosing to invest in their work. We also frequently met at regional art fairs, like Art Dubai, Abu Dhabi Art Fair, and Beirut Art Fair.

After Dr. Basel became the custodian of the Foundation, the continuation of this amicable relationship of collaboration followed naturally, as he consistently demonstrates his unwavering support for our exhibitions and events and our represented artists, old and new.

JOUHAINAH SAMAWI: Having known the Dalloul family for over a decade now, we have been able to help place works in the foundation from various artists.

This has provided great joy for our artists to know that those works will be kept in custody from an institution that will preserve and make sure to promote their work for the many years to come.

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WILLIAM LAWRIE: There are four areas I can think of: firstly in identifying and acquiring significant works by prominent or over-looked artists, and preserving them within the collection (these can be either contemporary works or historical works bought in auction or otherwise through the secondary market); secondly by supporting artists by acquiring works either through their galleries or, if unrepresented, directly; thirdly, through research and archiving, and making this research available online, lastly through loans to institutional exhibitions worldwide. For DAF, all of these apply with artists our gallery works with.

HICHAM DAOUDI: Morocco (CMOOA), I met Dr. Ramzi Dalloul and welcomed him three times in Morocco in 2014, 2016, and 2018. I can never forget Dr. Ramzi Dalloul’s first visit when we met the late Farid Belkahia, who was very ill and shortly before he passed away, after he and his wife invited us to lunch in the artist’s studio. It will always remain an unforgettable memory now that the two main protagonists are gone. Since 2014, Dr. Ramzi initiated his acquisitions of Moroccan artworks, fast gathering incredible documentation. I used to research and gather for him very rare works by artists from the Casablanca movement and this in turn had an impact on the recognition of artists such as Farid Belkahia, Mohamed Melehi, Mohamed Chabaa, Mohamed Hamidi , and Chaïbia Tallal. Later, when the acquisitions of the Dalloul collection were visible in Beirut and the foundation was structured with remarkable diffusion work, the artistic impact was the reconciliation of artistic expressions between the Maghreb and the Mashreq.

SALEH BARAKAT: My collaboration with the Dalloul Art Foundation began with one of its founders, Dr. Ramzi Dalloul, in the late 2000s, around the time he returned to Beirut and began to develop his collection of Arab art more seriously.

Ramzi Dalloul was a studious character and an avid reader, with a clear passion for collecting. From our early discussions, we naturally found common ground in shared interests in Arab nationalism and the development of Arab art and culture.

From the outset, the Dalloul Foundation has maintained a focus on this subject, with specific attention to the various ways in which Arab artists perceive and reflect on the Palestinian cause.

As a gallerist with a strong emphasis on Arab modernity and culture, our intellectual and practical interests clearly overlapped. It was equally clear that by working together, we could further the cause of developing the art and artists of the region.

CHARLES POCOCK: My collaboration with the Dalloul Art Foundation is based on sharing data we have at Meem and the Al Noor Library that might be of benefit to DAF. This is by way of pdfs of catalogues re works they hold in the DAF collection.

We also offer Basel Dalloul advice re acquisitions and provenance reports re works held at DAF. We also discuss directly with Basel common concerns that not just affect DAF but the wider market, these being forgeries and looted items, specifically works that are coming out of Lebanon. I remember well the discussions we had about the fake works of Saliba Douaihy his late father acquired from a well-known Beirut gallery, compounded with the same gallery handling looted works by pioneer Iraqi artists.

BARRAK NAAMANI: Art galleries and foundations complement each other.

As for me, it’s an honour to collaborate with DAF. I believe that every artist has a story behind his work, and I like to get into the depth of these touching stories and what lies behind them.

Art always leaves a beautiful trail behind and is a witness of what is taking place in our present times. The Collaboration was showcasing those stories, The Intifada Cow sculpture for example, has a beautiful story about resistance. It is a witness of the oppression of the Israeli occupation. I am quite sure that the land will be free and will be back to its rightful people, maybe not now, but it will one day. The Intifada Cow will be a witness for the future generations. We have been sharing and reviving stories about artworks that had unfortunately been hidden throughout the years, to make us aware of what has been going on.

SALWA ZEIDAN: Certainly! Our collaboration with the Dalloul Art Foundation is essential in our efforts to preserve and promote art. The foundation shares our passion for art and is dedicated to collecting, preserving, and exhibiting contemporary art from the Arab world and beyond. By partnering with them, we aim to create a platform that fosters cultural exchange and education and off course their support to our represented artists is crucial. Additionally, the collaboration enables us to access the Dalloul Art Foundation’s extensive collection, which includes significant artworks from different periods and styles, that are not only visually compelling but also intellectually stimulating. The foundation brings together important artworks and support emerging artists, they contribute to the wider conversation around contemporary art and its role in society.

Ultimately, our future collaboration with the Dalloul Art Foundation aims to create a vibrant and inclusive space for artistic expression, cultural preservation, and community engagement. Through our joint efforts, we aspire to inspire and educate audiences while nurturing the next generation of artists.

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02.

BASEL DALLOUL, AS THE CUSTODIAN OF THE DALLOUL ART FOUNDATION, IS KNOWN FOR HIS DEDICATION TO PRESERVING AND SHARING ART. HOW HAS YOUR COLLABORATION WITH HIM IMPACTED YOUR GALLERY’S EXHIBITIONS AND OUTREACH EFFORTS, AND WHAT HAVE BEEN THE KEY OUTCOMES?

NAYLA KETTANE: Basel Dalloul is an avid art collector. Therefore, in the process of acquiring artworks showcased at Galerie Tanit, DAF is inevitably pushing our artists forward, which in turn greatly impacts the gallery and provides us with an important growth factor.

HICHAM DAOUDI: The impact of Basel Dalloul comes initially from his energy, and from his support and faith in artists. He is fully engaged with promoting their work and sharing his opinions with his network.

He is not a collector who solely plays a role for the benefit of his collection; he is also involved in the artists’ promotion.

WILLIAM LAWRIE: Basel has been a valued supporter of our gallery programme and our artists, almost since its inception. As well as encouraging people to pay attention to our artists’ work and their exhibitions, the loans facilitated from the DAF collection have enhanced the visibility of several of our artists, particularly in shining a light on their historical practice.

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NADINE BEKDACH: Basel has helped immensely in introducing art from the Middle East to the international scene.

He is very involved, dynamic, and eager to extend regional and Arab art on a global level. He carries his father’s legacy as a custodian of Arab art and is equally committed to supporting emerging talents by acquiring and documenting their work.

I have always endorsed his efforts to disseminate art culture and visual knowledge through publications, especially his efforts towards education, starting with schools and expanding towards the general public.

Dr. Basel Dalloul is very supportive of our efforts at the gallery through his regular presence at our exhibitions and events and his friendly relationship with most of our artists. He also does not hesitate to employ his vast connections in the art world to the benefit of artists, introducing them to key figures in the field and opening doors of opportunity.

Basel, like his father, also supports our efforts by way of acquisitions for the foundation’s collection.

SALEH BARAKAT: As the foundation has expanded, and custodianship has shifted from Ramzi and Saeda Dalloul to their son, Dr. Basel Dalloul, there has been a subtle yet important change in direction and emphasis. The elder Dallouls’ work mostly revolved around the collection of individual artworks, and the early Dalloul Foundation’s collection resulted from this focus. The more recent and impressive efforts of Basel have primarily concentrated on extending this rich legacy of individual artworks through a new emphasis on research and dissemination. Basel’s promotion of the role of research has turned the foundation into a hub of knowledge production, commissioning and producing publications and films, for example, to create new knowledge and opportunities for researchers, scholars, and the wider public to access and learn from the collections. In this aspect too, we share a common vision, and I am proud of how closely we continue to work to produce and share knowledge through our combined efforts for a shared vision of Arab art.

GHADA SHOLY: As a result of our collaboration with the Dalloul Foundation, several young promising artists were given the chance to be exhibited at our gallery and to be acquired by the foundation, giving them significant recognition and inspiration to achieve more. As a result, several artists have also been contacted by international museums and institutions for exhibitions and commissions.

SALWA ZEIDAN: Our collaboration with Basel Dalloul, the custodian of the Dalloul Art Foundation, has had a significant impact on our gallery’s exhibitions and outreach efforts. His dedication to preserving and sharing art has been instrumental in expanding our reach and fostering meaningful connections within the art community.

Through our future collaboration, we aim to curate exhibitions that feature renowned artists from the Dalloul Art Foundation’s collection. These exhibitions will not only attract art enthusiasts, but also garner attention from collectors, curators, and critics from around the world. Basel’s expertise and support have helped many galleries create a platform for artists to showcase their work and gain international recognition.

Furthermore, His direct involvement has enhanced many new collectors and art lovers. The Foundation has a wide network of contacts and resources, which has allowed us to engage with a larger audience. This collaboration has resulted in increased attendance at many exhibitions, expanded educational programmes, and strengthened partnerships with other art organisations. Overall, the key outcomes of our collaboration have been elevated exhibitions, enhanced outreach, and increased visibility within the art world.

BARRAK NAAMANI : Basel is not only a custodian of DAF, but is one of the very few in the Arab world to preserve and promote art from his foundationlike museum. I have been sharing stories while also having the honour of learning from him as well. He has a vast knowledge about art and artists, which has been helping me reach out to more and more people. I think one of the most important outcomes of this collaboration is spreading more knowledge about art and culture. With that being said, I can proudly say Arab art and culture is one of the finest in the world.

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THE CUSTODIAN ISSUE EMPHASIZES THE SIGNIFICANCE OF FOUNDATIONS AND INDIVIDUALS IN ART PRESERVATION. FROM THE GALLERY’S PERSPECTIVE, WHAT ROLE DO FOUNDATIONS LIKE THE DALLOUL ART FOUNDATION PLAY IN FOSTERING A DEEPER UNDERSTANDING AND APPRECIATION OF ART AND CULTURE? NAYLA KETTANE: The Dalloul Art Foundation is an essential homestead for housing a great collection of art from the MENA region. I believe our roles as galleries and foundations are complementary. Where we (galleries) aim to showcase and promote art, foundations focus on preserving and making the works accessible to a much wider audience.

HICHAM DAOUDI: From Morocco and the activities that I carry out with the CMOOA auction house or the Comptoir des Mines gallery, I perceive the “translation” and “mediation” work that the DAF foundation provides.

The undertaken scientific work, archive and dissemination, make it possible to read an artistic history of the Arab world from the beginning of the 20th century to the present day. The historical but “geographical” extent of such a collection is a valuable tool for analysing the modes of artistic expression of several societies/ populations which have had distinct evolutions. The DAF collection is a very strong response to the question that the West regularly asks us about the existence of a history and an artistic value in our regions. Ramzi Dalloul, and now Basel, prove the existence of several artistic modern parentheses that complete the narrative of Western artistic modernity.

GHADA SHOLY: The Dalloul Art Foundation is one of the major foundations in the region. Most foundations focus on their local artists, whereas the Dalloul Foundation embraces all artists from the entire region and documents their work, exhibits their work and travels with their works to major world museums and institutions. This is very crucial to expose our culture and export our great artists and talents to the outside world.

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WILLIAM LAWRIE: DAF has such a breadth and depth of collecting that there are really very few others like it in terms of holdings of Arab modern and contemporary art. The only other one with comparable scope is the Barjeel Collection. When institutions are looking for loans, particularly of 20th century Arab painting or sculpture, these are the prime sources of the best material.

Works held by these foundations are exhibited worldwide, and the choices of acquisitions thereby shapes the narrative to quite a great extent of what is being discussed.

NADINE BEKDACH: Galerie Janine Rubeiz has dedicated great efforts to discover and promote young and emerging artists in Lebanon and the region, in addition to the roster of established artists it represents. We believe this support of newer talents is essential to the vitality of any culture, and we see it as part of our mission and our responsibility towards artists and audiences alike.

An art foundation, on the other hand, is mainly dedicated to the conservation and preservation of art and has a curated collection of works that share links, or a certain narrative, depending on each foundation. Preservation, of course, is not limited to the physical aspect but rather encompasses the dissemination of knowledge around the collection and its constituents through films, podcasts, publications, and the inclusion of the collection in international exhibitions.

Foundations are able to provide longevity and context to artworks and artists ushered and promoted by galleries.

They offer educational possibilities for young students as well as scholars and opportunities to generate more research and documentation about art.

SALEH BARAKAT: The Dalloul Foundation is a significant example of how individual passions and philanthropic interests, combined with the knowledge of others, can create a cultural legacy that would not otherwise exist. Now and in the future, the work and mission of the Dalloul Foundation are naturally entwined with those of my galleries and artists. Our goal is to contribute to the development and growth of the art and artists of the Arab world, and to continue to support the production of new research and understanding through the interconnected spheres of collector and gallerist.

SALWA ZEIDAN: The Dalloul Art Foundation plays a crucial role in fostering a deeper understanding and appreciation of art and culture. They provide valuable resources, financial support, and expertise that enable galleries like ours to curate exhibitions, preserve artwork, and educate the public.

Firstly, foundations often have extensive art collections, which serve as valuable resources for research, education, and inspiration. The Dalloul Art Foundation, for example, has an extensive collection that spans various periods and artistic styles. By collaborating with such foundations, galleries gain access to these collections and can create exhibitions that offer a comprehensive view of art history.

Secondly, this foundation plays an important role in funding and supporting cultural initiatives. They provide financial resources for exhibitions, educational programmes, and art conservation efforts. This support enhances the overall art ecosystem by enabling galleries to showcase artworks, organise workshops, and engage with diverse audiences.

Lastly, the foundation also contributes to the preservation and conservation of art. They invest in research, restoration, and digitisation projects, ensuring that artworks are safeguarded for future generations. By encouraging best practices in art preservation, foundations like the Dalloul’s help galleries to maintain the integrity and longevity of their collections.

BARRAK NAAMANI : We cannot preserve our identity without foundations like DAF. Basel is willingly and passionately preserving our Arab art identity. We should honour and respect a true collector and preserver of the arts in our Arab world today.

JOUHAINAH SAMAWI: A foundation in its very structural essence plays a greater role than any one individual in safekeeping and preserving art. And with the right people operating and running a foundation, an art collection in its custody and its message can be safeguarded for generations to come. A foundation being an institution can also have a greater facility with dealing with other institutions for exchanges and collaboration which would help widen the reach of the art collection it holds, thus helping promote artists to a greater audience.

CHARLES POCOCK: Foundations like the Dalloul Art Foundation, the Barjeel Art Foundation in Sharjah and Mathaf in Doha, by way of their commissioning publications and making works available for loan to international exhibitions as well as funding the transport of these works, have generated an incredible amount of exposure for artists of the region to a wider international audience. This is also combined with a strong acquisition programme, which has positioned Modern Arab Art as central within the auctions of Bonhams, Christie’s and Sotheby’s in London. It is these foundations like DAF, Barjeel and Mathaf that have established the market as we know it today. Without them there were would not be a Middle Eastern Art Market, so I would say they are central to this market, not just one, but all together collectively.

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ART PRESERVATION OFTEN INVOLVES A COMBINATION OF EXHIBITION CURATION, EDUCATION, AND OUTREACH. HOW DOES YOUR GALLERY APPROACH THESE ASPECTS IN COLLABORATION WITH THE FOUNDATION, AND WHAT INITIATIVES HAVE BEEN MOST SUCCESSFUL IN REACHING DIVERSE AUDIENCES?

NAYLA KETTANE: As a gallery, our job is to provide our collectors, like the custodian of Dalloul Art Foundation, Basel Dalloul, with crucial and precise documentation regarding any artwork that is acquired from our space. Such documentation would include certificates of authenticity, provenance, artwork details and images, history of exhibitions, texts, etc. All of which play a primordial role in art preservation.

NADINE BEKDACH: We always welcome collaborative activities, especially with the Dalloul Foundation, in any cultural initiative or event that helps disseminate regional and Arab art and culture. Galerie Janine Rubeiz had always supported educational ventures and received children, students, and public groups interested in art. We share the belief that art is an indispensable part of a healthy education for our younger generations, especially, unfortunately, in the actual void that we suffer in the public cultural educational system. In this respect, and as I have mentioned, our gallery believes in the necessity to present and promote promising young and emerging talents and in the necessity to uphold the cultural and artistic facet of our country and our region.

Our gallery has not yet had concrete collaborations with DAF in this respect; however, our contribution has mostly been in providing access to information about artists and artworks for DAF and sharing our archives when requested. We also direct researchers who come to the gallery towards DAF when we know they will be able to help with their research, and vice versa. I look forward to more particular and fruitful collaborations in the near future.

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WILLIAM LAWRIE: An important part of our gallery programme is the promotion of work by older artists, with long careers spanning the 20th and 21st centuries, whose earlier works we feel were somehow missed out from the Eurocentric/Anglo-centric global discourse of 20th century art on first telling.

Through a combination of focused solo presentations at art fairs, outreach to curators, institutions, and collectors, and assistance in publications, this has been one of our main activities since 2014.

The first was a show of 1970s and early 1980s geometric paintings and drawings

by Nabil Nahas in the first iteration of Art Dubai Modern, the most recent (this season) are presentations at Frieze Masters in London for Mehdi Moutashar, and in Artissima in Turin for Mona Saudi.

We see these activities in parallel to those of DAF, which has important holdings of all three artists.

HICHAM DAOUDI: The conservation of the physical state of artworks is a major issue in the Arab world, especially for works produced at the dawn of the 1930s-1970s when artists were not yet aware of conservation techniques. The preservation of this historical heritage today is a major challenge and I know the means deployed

by DAF to restore or conserve the works in the best conditions possible.

At my level, I always share archival documents and historical content related to the works that I had the honour of selling to the foundation. Basel never hesitates to enter into fruitful dialogues with me regarding the artworks, and he already has a very considerable documentation which allows the foundation to go directly to the heart of the subject.

SALEH BARAKAT: We have collaborated with the Dalloul Foundation and Dr. Basel Dalloul on many projects, with the nature of the collaboration often taking the form of artwork loans or close dialogues concerning different exhibitions and ideas. Having the opportunity to draw from the knowledge and acquisitions of the Dalloul Foundation is extremely useful and enhances many projects.

Simultaneously, their ability to draw on our expertise in Arab art and our close connections with many significant Arab artists provides a positive reciprocity.

SALWA ZEIDAN: At our gallery, we approach art preservation through a combination of exhibition curation, education, and outreach, in collaboration with the Dalloul Art Foundation. Our aim is to make art accessible to diverse audiences and create a space for meaningful engagement. In terms of exhibition curation, we are planning to work closely with the foundation to select artworks that represent a diverse range of artistic styles, themes, and cultural perspectives. This ensures that our future exhibitions will appeal to a wide audience and provide opportunities for cross-cultural dialogue.

Education is another crucial aspect. We are planning to organise guided tours, workshops, and artist talks to provide visitors with a deeper understanding of the art on display. Collaborating with the foundation allows us to tap into their extensive knowledge and network, facilitating enriching educational experiences for our visitors.

GHADA SHOLY: We at Anima often discuss upcoming exhibitions with the foundation and collaborate to find ways to promote the artists by setting up talks with speakers such as collectors, curators and art critics.

BARRAK NAAMANI: Nowadays social media plays a critical role in our lives.

Sharing stories about arts and artists, I have been able to reach a wide range of diverse audiences from different nationalities and spectrums which maintains our culture and identity.

JOUHAINAH SAMAWI: As a gallery, some of our most impactful and successful collaborations with foundations have been those where we help organise a large-scale show for one of the artists we represent in the premises of the foundations. Being primary dealers and having been present for a substantial chapter of our artists’ careers, we have the knowledge and access to help the foundations in sourcing works from private individuals and provide them with the necessary literature to be able to put a show together.

CHARLES POCOCK: At Meem, we have tried so hard for so many years, I think for over ten years now, to establish an art market association for the region, which in turn gives institutions like DAF, Barjeel and Mathaf more protection in their acquisitions.

This is done by the galleries joining an association and the gallery members signing up to a code of market ethics such as not dealing with forgeries or looted items as listed by CINOA, and this is in place and followed by the leading art dealer associations of London, Paris and New York. The institutions, especially DAF, are incredibly supportive of such an association as it gives them more protection. The problem is a number of galleries refuse to sign up to such a code as some of them have ‘previous form’.

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THE DALLOUL ART FOUNDATION IS KNOWN FOR ITS DEDICATION TO PRESERVING ARAB ART. HOW DO YOU, AS A GALLERY, PERCEIVE THE SIGNIFICANCE OF PRESERVING AND PROMOTING THIS SPECIFIC ARTISTIC HERITAGE, AND HOW HAVE YOU CONTRIBUTED TO THIS MISSION THROUGH YOUR COLLABORATION WITH THE FOUNDATION?

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SALEH BARAKAT: In the late 1990s, I curated what was to be a seminal exhibition for me as a gallerist at Agial Gallery. The show was titled 1948-1998: 50 Years of Arab Art for Palestine and included one artwork from each of the fifty years since the Nakba, shedding light on the displacement and tragedy that this event caused the Palestinian people.

In creating this exhibition, I wanted to highlight the richness and diversity of Arab artists’ engagement with Palestine across time and the Arab world. While the show was certainly a success, the experience also taught me something very useful that has remained central to my thinking ever since. It was clear to me that much more specialisation was needed in this, as in many other areas, in order to bring together and, therefore, see more clearly the links and relationships between apparently disparate artists and artworks. This interest in uniting around a specific theme to produce new ways of seeing emerged in my early conversations with Dr. Ramzi Dalloul, and I sought to impress upon him the importance of the focused work that can be undertaken by collectors, the need to specialise in specific areas, and therefore to become

more expert in that one concentration.

As a commercial gallerist, I am well aware of the importance of the market, but in my view, it is equally necessary to foster a wider network of focused professionals, including conservators, academics, and institutions, among many others, who together form a powerful web of knowledge, both broad and specific, that nurtures and promotes our talents. I believe in the importance of institutional alongside individual collectors to provide a kind of platform which artists can attain at a certain point in their careers. But more than this, I believe it is important to foster collectors with a specific focus, a collection with a concentration on one subject, whatever this might be. This is where the expertise of the collector can truly flourish, and also where new meanings can be derived through, for example, seeing a significant body of paintings together for the first time.

This is the point at which we can start to discern new narratives and produce new knowledge that might otherwise be overlooked. The Dalloul Foundation has nurtured and developed just such a specialty and is now a significant voice in the growth and knowledge of Arab art globally.

CHARLES POCOCK: We at Meem are there to support all recognised foundations, be it giving advice based on our extensive experiences in the market with artists or advice such as reacquisitions as well as supporting such

institutions through the vast resources held at the Al Noor Library, held at Meem, which holds over 20,000 publications devoted to the arts of the region, as well as over 150,000 images/ files in digital format.

NAYLA KETTANE: As a gallery based in both Lebanon and Germany, we recognise the importance of having foundations like the Dalloul Art Foundation present in our country and region. Preserving Arab art serves to nourish and expand its art history and to place it on the international art scene.

NADINE BEKDACH: Galerie Janine Rubeiz has contributed to the promotion of certain Arab artists by presenting their work, such as Adam Henein, Fateh Moudariss, Ahmad Kleige, etc. We have also persevered for three decades in the promotion of Lebanese artists, who are also naturally Arab. We believe in supporting our own culture and our own artists, regardless of whether they achieve international recognition or not, which is always welcome but not necessarily the main goal. And I believe the Dalloul Art Foundation and my gallery share the same principles for supporting and celebrating Arab culture and art.

Again, here, the preservation of heritage is extremely important, yet taking the bull by the horns and betting on the promotion of emerging artists would be a wonderful occasion in shaping the future, an effort that I personally endorse.

JOUHAINAH SAMAWI: Since its founding, the gallery has dedicated its focus to promoting artists from the Arab world and the diaspora. Our goal since the start has been to offer internationallevel artists that are underrepresented and that stem from this region. While the gallery and foundation play different roles, our end goal is the same: making sure the art from the region is showcased and documented.

SALWA ZEIDAN: As a gallery, we perceive the preservation and promotion of Arab art as a significant mission. Arab art has a rich and diverse heritage that deserves recognition and appreciation on a global scale. By collaborating with the Dalloul Art Foundation, we actively contribute to this mission in several ways.

Firstly, our collaboration allows us to introduce new Arab artists to the foundation and curate exhibitions that specifically highlight Arab artists and their contributions to the art world.

By showcasing their work, we aim to shed light on their unique cultural perspectives and artistic expressions.

Secondly, our gallery actively engages in research and documentation of Arab art, working closely with the foundation to gather historical information and contextualise artworks. This not only helps in preserving the artistic heritage but also contributes to a deeper understanding of Arab art for scholars, researchers, and art enthusiasts.

Furthermore, our gallery actively participates in cultural exchange programmes and collaborations with other galleries and institutions. This helps promote Arab art globally and foster dialogue between different artistic communities.

Overall, our collaboration with the Dalloul Art Foundation allows us to actively contribute to the preservation and promotion of Arab art, ensuring its rightful place in the broader art landscape.

GHADA SHOLY: Our common goal to promote art is achieved by combining efforts to share research and passion for the promotion of our artists in the region as well as the outside world through seminars, travelling exhibitions and international art fairs.

BARRAK NAAMANI: Every artist is contributing in their own way towards our artistic heritage and towards arts in general, as are all the art galleries.

By spreading arts and by reaching out, more people maintain one’s culture and the feeling of belonging.

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IN YOUR EXPERIENCE, WHAT ARE THE KEY CHALLENGES AND TRIUMPHS OF WORKING CLOSELY WITH FOUNDATIONS IN THE ART WORLD, AND HOW DO YOU ENVISION THE FUTURE OF THESE COLLABORATIONS IN ENHANCING ART PRESERVATION AND APPRECIATION?

NAYLA KETTANE: In these troubled times and in the midst of our current situation, one cannot expect from foundations more than what they are currently doing.

NADINE BEKDACH: I believe galleries and foundations face the same challenges together, rather than difficulties in working together. Since we both share the same goal of promoting and providing access to the region’s artists and artworks, our efforts go hand in hand, especially considering the lack of support for the arts and culture field from our governments.

In light of these circumstances, I believe we have been moving towards a more collaborative place where we create a network of support and share resources, allowing for more exposure for all parties involved as well as a wider documentation of the heritage of our region I hope the relationship established between my gallery and the Dalloul Art Foundation will lead to even more activities and collaborations, whether in research, publications, or perhaps in a shared emergency-preparedness context.

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WILLIAM LAWRIE: Foundations such as DAF have concentrated collections of artworks that can be appreciated, studied, and loaned, and are goto organisations for any institution, curator, academic etc to access such works. In terms of authenticity and provenance, such foundations, due to their public nature (ie works loaned, published, exhibited) have to be even more stringent than private collectors in general. This acts as an important quality control measure in the market - such foundations can really not afford to have works where either provenance or authenticity is in doubt. As a gallery that handles 20th century works as a key component of our programme, it is essential to us that such works are completely clear in both areas, and to have foundations with their collections to point to as a mark of quality supports this approach.

SALEH BARAKAT: I am personally very aware that art galleries and gallerists cannot work alone but rather exist and grow as complex and multilayered ecosystems. The infrastructure of regional art worlds, as well as the global, is, I believe, extremely important.

Throughout my career, I have worked to support and grow not only artists in the Arab world but also the many connected worlds of which they are a part, expanding the more obvious narratives that have often characterised the region to include a multiplicity of voices and perspectives.

BARRAK NAAMANI: This has been my first time collaborating with a foundation & fortunately it was with DAF. Working with Basel was easy since we share the same passion for arts and culture.

Hopefully the collaboration will always be working on preserving Arab arts, and the gallery will always share the stories behind it. Art is a powerful tool for fighting aggression, rooting identities and culture. However oppression often targets art as a way to erase people’s identity.

GHADA SHOLY: I personally don’t see any challenges. It is a very productive collaboration that benefits the foundation, the galleries, the artists, and art as a whole. We compliment and strengthen each other’s efforts and goals.

SALWA ZEIDAN: In my experience, working closely with foundations in the art world presents both challenges and triumphs. One key challenge can be aligning the goals and visions of the gallery and the foundation. Each institution may have different priorities and approaches, so finding common ground and establishing effective communication is essential. Balancing artistic integrity and commercial considerations can also be a challenge, as galleries often have to navigate the fine line between preserving art and making it accessible to audiences.

However, the triumphs of these collaborations are numerous. Working with foundations brings a wealth of resources, knowledge, and access to art collections that can greatly enhance the gallery’s exhibitions and programmes.

Foundations often have established networks, connections, and expertise, which can lead to increased exposure and opportunities for artists and institutions.

Looking ahead, I envision that collaborations between galleries and foundations will continue to play a pivotal role in enhancing art preservation and appreciation. With advancements in technology and increased global connectivity, these collaborations can reach wider audiences and create more inclusive experiences.

Additionally, collaborations can focus on engaging diverse communities, supporting emerging artists, and promoting crosscultural understanding. By leveraging the strengths and resources of both galleries and foundations, we can collectively contribute to the enduring legacy of art preservation and appreciation.

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INTERVIEW

OUR REGION, OUR STORY FATENN MOSTAFA-KANAFANI

Fatenn Mostafa-Kanafani is a lecturer and researcher who specializes in twentieth-century Egyptian modernism.

She is the author of Modern Art in Egypt: Identity and Independence, 1850-1936.

Published by I.B. Tauris / Bloomsbury (July 2020), the book was short-listed for the prestigious Peter Mackenzie Smith Book Prize (in March 2022).

Mostafa-Kanafani has contributed to Mahmoud Saïd (Skira, 2017), the first catalog raisonné for a Middle Eastern artist and to Daughters of the Nile: Egyptian Women Changing Their World (Cambridge Scholars, 2016).

In 2010, she founded ArtTalks | Egypt, a leading multi-disciplinary art gallery that provides management to artists’ estates, academic research, valuation, and exhibitions.

Born in Cairo and raised in Europe, Mostafa-Kanafani studied Economics at Webster University in Vienna, Austria.

She was the CEO of Gianaclis Vineyards for Beverages and a prominent board member of the Executive Committee of Al-Ahram Beverages Company.

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RN: YOU ARE AN EXPERT IN TWENTIETH-CENTURY EGYPTIAN MODERNISM. COULD YOU SHARE YOUR THOUGHTS ON THE LEGACY OF CUSTODIANSHIP AND THE IMPORTANCE OF PRESERVING MODERN EGYPTIAN ART FOR FUTURE GENERATIONS? FM: Every owner of an artwork is a custodian. The degree might vary in terms of the collection size or the type of entity (private versus institutional, small versus large), but the work, once in the hands of a “collector,” falls into the custodianship of the new owner – to appreciate it, protect it, display it, and pass it on to the next generation.

If we zoom in on modern Egyptian art, there is an unprecedented growing awareness of the importance of preserving works of art for future generations. For decades, in the post-1952 revolution years, the Egyptian collector base had shrunk, and consequently, works began to be scattered across the world.

We are slowly seeing the number of collectors – and serious ones at that – growing rapidly. We are also slowly able to identify the location of many important works that had left the country post1952. That’s on the private level.

On the institutional level, we witnessed decades of negligence on the part of museums in terms of protection, restoration, display, storage, to name a few. Thankfully, the efforts spearheaded by private commercial and non-profit entities over the past

15 years have led to a “reawakening” of the importance of art as both a soft power, but also as a national wealth.

Although still limited financially, museum directors under the authority of the Ministry of Culture are curating exhibitions celebrating 20th century Egyptian art, and that includes “undusting” works that had been stored for decades. Finally, the public can see gems that were buried in warehouses.

Finally, heirs of artists’ estates are gradually – though at a slower pace – realizing the value of proper estate management to protect what they inherited and “re-build” the legacy of their father, mother, grandfather, or grandmother, or relative.

We are working very closely with several families to manage their estate, including archiving, properly accounting for, storing, and restoring, and valuation of the works etc. This is an immense job, especially that I am particularly interested in managing estates of the “forgotten” Egyptian modernists. Egypt has far more than the usual suspects and I am always in awe of what gems I discover. Our next steps are exhibiting and producing monographs for these artists.

RN: THE MAHMOUD SAÏD CATALOGUE RAISONNÉ AND DAUGHTERS OF THE NILE ARE PROJECTS YOU’VE CONTRIBUTED TO, HIGHLIGHTING THE IMPORTANCE OF MIDDLE EASTERN ART AND EGYPTIAN WOMEN IN CHANGING THEIR WORLD. HOW DOES CUSTODIANSHIP PLAY A ROLE IN PRESERVING THESE NARRATIVES AND ARTISTS’ LEGACIES? FM: The book Daughters of the Nile is very close to my heart and an important testimony of the role of Egyptian women in making a difference across various business fields. Egypt has always been and remains a place where women have demonstrated gender parity. While in the West they are still negotiating a place for women artists for example, in Egypt, women artists participated since the first Salon du Caire in 1923.

Ordinary women were also the subjects of the majority of Mahmoud

Saïd’s paintings and the fellaha (Egyptian peasant) was the symbol of independence and modernity during the first half of the 20th century, as exemplified by the Nahdit Misr sculpture

by Mahmoud Mokhtar.

In my contribution to the catalogue raisonné, I dubbed Mahmoud Saïd ‘The Oriental Lord’, stressing on his wish to look at Egypt and Egyptians through a utopian lens, where women are queens and men are ancient Egyptian Pharaohs.

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RN: YOU ARE ALSO THE FOUNDER OF ARTTALKS | EGYPT, WHICH HOUSES EXTENSIVE ARCHIVES ON MODERN EGYPTIAN ART. HOW DOES YOUR EXPERIENCE IN MANAGING ARTISTS’ ESTATES AND CONDUCTING ACADEMIC RESEARCH INTERSECT WITH THE CUSTODIANSHIP MISSION, AND WHAT IMPACT DOES IT HAVE ON ART PRESERVATION? FM: Excellent question. In my view, preserving archives is as important as preserving artworks. It is the heart and soul of our story or rather our stories.

I am addicted to researching and understanding our history to present it in the most objective and impartial way in my books. To do so, archives including primary documents, handwritten notes, and press materials from various sources provide me with a clearer picture of what the mindset was at a certain specific point in time and how it evolved, changed, or was buried in the years after.

Learning history in school will always be a partial presentation of facts, as history is written and rewritten to fit certain agendas – whatever school system you were raised in (Western, local, private, public). Take for example the 1973 war. At school in the French system, I grew up being taught that we lost the war. Then, I would go home, and my parents would tell me that we did actually win the war.

Since 2009, I have been building an archive on Modern Egyptian art and modern Egypt at large starting from the 19th century. I ‘travel’ the world and invest in building that archive to better understand the conditions under which artists, cultural practitioners, and intellectuals worked. I must say that there is a period during the 20th century when Egyptian intellectuals take my breath away with their thinking and writings. I am infatuated, for example, by the writings of Georges Henein, Louis Awad, and Salama Moussa Salama to name a few.

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RN: IN YOUR VIEW, HOW CAN CUSTODIANS LIKE THE DALLOUL ART FOUNDATION FURTHER SUPPORT AND COLLABORATE WITH EXPERTS, ARTISTS, AND INSTITUTIONS TO ENHANCE THE UNDERSTANDING AND APPRECIATION OF MODERN EGYPTIAN ART? FM: Custodians like the Dalloul Art Foundation create an extraordinary Arab dialogue that will keep expanding as they invite more artists to the conversation. Naturally, the choice of works is personal and is shaped by the owners of these foundations. Each has a theme or a message close to their heart and you can see that transpire from the works they acquire.

If you ask me what I wish to see more of, I will say that I would like to see more collaboration with the foundations on both the scholarly level and the selection of artworks. As they establish themselves as influential ‘spokespersons’ of Arab art - displaying and loaning works for example - it is important that they reach out more to local experts in the respective countries. This would enable them to have more research done and proper due diligence prior to acquisition, become more selective, and avoid counterfeits.

Similarly, when they decide to streamline the collection, it is important they get outside advice on what should go and what should stay. Some of the works that are now being sold by both large private collectors and foundations should not be sold randomly.

When the Museum of Modern Art in New York decided to buy an important work by a seminal Egyptian woman artist, they contacted us for advice. We worked together on digging deep into the artist’s trajectory, which enabled the MOMA team to decide on which period of the artist’s life they were particularly interested in. Our work entailed much more than just sourcing the work. It was a whole navigation process and a team effort.

“CUSTODIANS LIKE THE DALLOUL ART FOUNDATION CREATE AN EXTRAORDINARY ARAB DIALOGUE THAT WILL KEEP EXPANDING AS THEY INVITE MORE ARTISTS TO THE CONVERSATION.”

RN: ARTTALKS | EGYPT IS KNOWN FOR ITS CONTRIBUTIONS TO THE ART WORLD. COULD YOU SHARE THE NATURE OF YOUR RELATIONSHIP WITH DR. BASEL DALLOUL AND HOW THIS COLLABORATION IMPACTS THE FIELD OF ART PRESERVATION AND PROMOTION? FM: I met Basel in a meeting with the chairman of Al Ahram Beverages Company, Mr. Ahmed Zayat, in the late 1990s. Basel was a business entrepreneur pioneering internet satellite in Egypt and I was the CEO of Gianaclis Vineyards for Beverages (a daughter company of Al Ahram Beverages Company). So, both Basel and I at the time were wearing different hats. Fast forward to the art world. Since then, we have worked together on several acquisitions of Modern and Contemporary Egyptian art.

Basel has a very sharp eye and business mind. Combine the two and you can see the steps taken to turn a mega private collection into a full-fledged professional institution with a team. I am confident that the legacy of Dr. Ramzi and the future of the Ramzi and Saeda Dalloul Art Foundation (DAF) are in very good hands.

RN: AS SOMEONE DEEPLY INVOLVED IN ART AND RESEARCH, COULD YOU SHARE ANY SPECIFIC PROJECTS OR INITIATIVES WHERE YOU BELIEVE CUSTODIANSHIP HAS HAD A TRANSFORMATIVE IMPACT ON PRESERVING AND PROMOTING ART?

FM: The Barjeel Art Foundation under the leadership of Mr. Sultan Al Qassemi immediately comes to mind. As the ‘father’ of this foundation, Sultan wears many hats that complement one another and offers a comprehensive model.

For example, teaching Middle Eastern art in prestigious schools around the world is a significant step to putting Arab art on the global map. Beside loaning works and running exhibitions on an international and institutional scale, Sultan breeds a new generation of international students who, thanks to the knowledge they acquire, will be advocates of our region, our artists, our story. Even if they don’t end up being curators or collectors, this academic knowledge will make a difference in the long term.

Another fundamental ‘business’ model comes to mind: foundations and private collectors who generously agree to loan works from their collections to local, regional, and international institutions and museums. A decade ago, this was very rare. Now, there is a better understanding of the value of doing so – for both the history of the work, the value of the collection, and for Arab art as part and parcel of the global canon of art.

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