19 MARCH 2014 I ISSUE 2 I ART DUBAI EDITION AT THE FAIR’S new Modern section, Albareh Gallery (M2) sold four pieces by Bahraini artist Nasser Al-Yousif, for between $20,000–30,000. Galerie El-Marsa (M6) sold five works by Baya to collectors from the USA and the UAE. Dubai’s Lawrie Shabibi (M7) sold two drawings by Nabil Nahas at undisclosed prices, one to a private collector while the other was acquired by a London-based institution. Grosvenor Gallery (M8) sold one piece by Rashed Araeen for around $60,000. Agial Art Gallery (M4) from Beirut sold an untitled bronze piece by Michel Basbous from 1952 for between $20,000–30,000 to a UAE-based collector. Over in the busier Contemporary section, Agial Art Gallery (A43) sold Ayman Baalbaki’s Hay Joubar, an acrylic on canvas work, to a UAE-based collector for an undisclosed price, and a work by Hiba Kalache, The Impermanence Of States, to a UK- based collector. Galleria Continua (A8) sold works by Serse, Mona Hatoum, Pascale Marthine Tayou and Michelangelo Pistoletto for undisclosed amounts to both local and international collectors. Galerie Chantal Crousel (A22) sold four works by two artists, Allove Callowlily and Haegue Young, for prices ranging between $35,000–125,000. Schleicher/Lange (A39) sold British artist Chris Cornish’s I Was Afraid I Was Going To Die And Then I Was Afraid I Wasn’t for $18,000. Paradise Row (A37) sold two untitled works by an “exciting young” artist, Londoner Majed Aslam. The “erased abstract photography” works sold for $4250 each. Madrid’s Sabrina Amrani Gallery (A44) had a good night on its sophomore participation at Art Dubai, selling an untitled work by Waqas Khan for $11,686 while another one of the Pakistani artist’s works was on reserve. The gallery’s Brazilian artist Marlon de Azambuja sold his Emirates Towers photography work for $5565. Brussels Galerie Greta Meert (J19) sold an untitled carpet work by Edith Dekyndt for $32,000 while Paris/Brussels based- Galerie Nathalie Obadia (J5) sold Joana Vasconcelos’s Candy Garden for over $97,000 to a European collector and Valérie Bélin’s Pieris Japonica for $41,739 to an Emirati collector. The gallery also sold Ramin Haerizadeh’s Cat On The Hoot Roof to a Turkish collector for an undisclosed amount. GAG Projects (J4) sold Hossein Valamanesh’s This Will Also Pass for $12,500, a bronze work, to a New York-based Iranian collector and a porcelain work by Juz Kitson to a Russian collector for $4000. Istanbul/London space Pi Artworks (A25), with a solo booth of photographs and wood and bronze mashrabiya works by Susan Hefuna, sold a wooden mashrabiya to a collector in New York for between $35,000-42,000. Ahead of the artist’s book launch on Thursday, the gallery also sold a special edition handmade textile print made exclusively for the Pars Pro Toto series for $700 to a collector from Kuwait. Meanwhile, at Kashya Hildebrand (A7), which is presenting a two-artist booth of works by Lalla Essaydi and Simeen Farhat, there were brisk sales with an eclectic mix of collectors from Saudi Arabia, India, UAE and France. Harem Revisited #47 (edition of 15) sold two times in the range of $33,000 and Harem Revisited #33 (edition of 10) also sold two times in the range of $24,000. Bullet #6 was on reserve at the time of CONTINUED ON PAGE 4 > MARKER This year's edition of Marker focuses on Central Asia and the Caucasus region. PAGE 8 Farhad Moshiri. (Detail) The Great Escape. 2014. Hand embroidered beads on canvas. 188 x 134 cm. Image courtesy the artist and The Third Line, Dubai. Q&A Maryam Eisler discusses her latest publication, Art Studio America. PAGE 10 ABRAAJ The 2014 Abraaj Group Art Prize exhibition, Garden and Spring. PAGE 14 SOOOOLD! CD2.indd 1 3/19/14 2:35 AM
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19 MARCH 2014 I ISSUE 2 I ART DUBAI EDITION
���������� ����������������� ���������������������������������AT THE FAIR’S new Modern section, Albareh Gallery (M2) sold
four pieces by Bahraini artist Nasser Al-Yousif, for between
$20,000–30,000. Galerie El-Marsa (M6) sold five works by Baya
to collectors from the USA and the UAE. Dubai’s Lawrie Shabibi
(M7) sold two drawings by Nabil Nahas at undisclosed prices,
one to a private collector while the other was acquired by a
London-based institution. Grosvenor Gallery (M8) sold one piece
by Rashed Araeen for around $60,000. Agial Art Gallery (M4)
from Beirut sold an untitled bronze piece by Michel Basbous from
1952 for between $20,000–30,000 to a UAE-based collector.
Over in the busier Contemporary section, Agial Art Gallery
(A43) sold Ayman Baalbaki’s Hay Joubar, an acrylic on canvas
work, to a UAE-based collector for an undisclosed price, and a
work by Hiba Kalache, The Impermanence Of States, to a UK-
based collector. Galleria Continua (A8) sold works by Serse, Mona
Hatoum, Pascale Marthine Tayou and Michelangelo Pistoletto for
undisclosed amounts to both local and international collectors.
Galerie Chantal Crousel (A22) sold four works by two
artists, Allove Callowlily and Haegue Young, for prices ranging
between $35,000–125,000. Schleicher/Lange (A39) sold British
artist Chris Cornish’s I Was Afraid I Was Going To Die And Then
I Was Afraid I Wasn’t for $18,000. Paradise Row (A37) sold
two untitled works by an “exciting young” artist, Londoner
Majed Aslam. The “erased abstract photography” works sold
for $4250 each. Madrid’s Sabrina Amrani Gallery (A44) had a
good night on its sophomore participation at Art Dubai, selling
an untitled work by Waqas Khan for $11,686 while another
one of the Pakistani artist’s works was on reserve. The gallery’s
Brazilian artist Marlon de Azambuja sold his Emirates Towers
photography work for $5565.
Brussels Galerie Greta Meert (J19) sold an untitled carpet
work by Edith Dekyndt for $32,000 while Paris/Brussels based-
Galerie Nathalie Obadia (J5) sold Joana Vasconcelos’s Candy
Garden for over $97,000 to a European collector and Valérie
Bélin’s Pieris Japonica for $41,739 to an Emirati collector. The
gallery also sold Ramin Haerizadeh’s Cat On The Hoot Roof to
a Turkish collector for an undisclosed amount. GAG Projects
(J4) sold Hossein Valamanesh’s This Will Also Pass for $12,500,
a bronze work, to a New York-based Iranian collector and a
porcelain work by Juz Kitson to a Russian collector for $4000.
Istanbul/London space Pi Artworks (A25), with a solo booth
of photographs and wood and bronze mashrabiya works by
Susan Hefuna, sold a wooden mashrabiya to a collector in
New York for between $35,000-42,000. Ahead of the artist’s
book launch on Thursday, the gallery also sold a special edition
handmade textile print made exclusively for the Pars Pro Toto
series for $700 to a collector from Kuwait.
Meanwhile, at Kashya Hildebrand (A7), which is presenting
a two-artist booth of works by Lalla Essaydi and Simeen
Farhat, there were brisk sales with an eclectic mix of collectors
from Saudi Arabia, India, UAE and France. Harem Revisited
#47 (edition of 15) sold two times in the range of $33,000
and Harem Revisited #33 (edition of 10) also sold two times in
the range of $24,000. Bullet #6 was on reserve at the time of
CONTINUED ON PAGE 4 >
MARKERThis year's edition of Marker focuses on Central Asia and the Caucasus region.
PAGE 8
Farhad Moshiri.
(Detail) The Great Escape.
2014. Hand embroidered
beads on canvas. 188 x
134 cm. Image courtesy
the artist and The Third
Line, Dubai.
Q&AMaryam Eisler discusses her latest publication, Art Studio America.
PAGE 10
ABRAAJThe 2014 Abraaj Group Art Prize exhibition, Garden and Spring.
PAGE 14
SOOOOLD!
CD2.indd 1 3/19/14 2:35 AM
CD2.indd 2 3/18/14 7:26 PM
19 MARCH 2014 I CANVAS DAILY I ISSUE 2 I ART DUBAI EDITION 3
TODAYSOOOOLD! (CONT.)
Hadieh Shafie. (Detail) Transition. 2014. Ink, acrylic and paper with printed and hand-written
Farsi text eshgh. 152.4 x 101.6 x 15.24 cm. Image courtesy Leila Heller Gallery, New York.
press. Vienna’s Galerie Krinzinger (J1) sold an untitled Secundino
Hernandez work for $27,500 to a regional collector. Paris’s Galerie
Polaris (J2) sold two works by Bouchra Khalili from the Lost Boats
series, one for $7650 and another for $6250. The space reported
a lot of interest from audiences and questions about the works
and sold the works to USA-based collector. Amsterdam’s Lumen
Travo (A26) sold three works by Otobong Nkanga for a range of
$9700–14,000 to private collectors from Europe. Milan’s Laura
Bulian gallery (A33) sold two artworks by Elizabetta di Maggio
for between $11,000–15,000 to a private collector from Saudi
Arabia. Rodolphe Janssen (A14) sold a work by Gert & Uwe Tobias
to a Saudi collector for $38,000. Tyler Rollins Fine Art (J11) sold two
works by Sopheap Pich for between $18,000–20,000.
Marisa Newman Projects (J13) sold Basim Magdy’s polaroids,
ranging from $1500–3000 to two different collectors. New York’s
Gladstone Gallery (J10) sold Ahmad Alsoudani’s untitled work to
a Dubai-based collector and a work by Shirin Neshat to a regional
collector. The Big Apple’s Leila Heller Gallery (A28) sold Hadieh
Shafie’s Transition (2014) for $58,000 to a private European collector,
her Spike 6 for $55,000 and Transition 3 for $28,000. CRG Gallery
(A13), which wouldn’t disclose prices, sold a sculpture by Saloua
Raouda Choucair to a regional collector. First-time participants
Marian Goodman (A38) sold a work by Sabine Moritz for between
$14,000–28,000.
Jeddah’s Athr Gallery (A29) sold Jowhara Al-Saud’s works from
the Knots series for $5000 each and all of Dana Awartani’s works
from the Platonic Solids series for $6000 each to regional collectors,
also selling works by Arwa Al-Neami. Dubai’s Green Art Gallery (A21)
had a good night, selling two works by Hungarian artist Zsolt Bodoni
to European collectors, Seher Shah’s Body Weight to a regional
collector and two works by Kamrooz Aram, who currently has a
show at the gallery, to American and Iranian collectors new to the
gallery. The Third Line (A19) saw strong sales for Farhad Moshiri,
including The Great Escape, which sold for approximately $200,000
to an international collector. Gallery Isabelle van den Eynde (J16),
sold Hassan Sharif’s Rug, Cotton Rope and Glue and Abdelkader
Benchamma’s Rorschach In Marble, both to Dubai-based collectors.
The gallery also sold Lara Baladi’s El-Horeya Gayya Labod (Freedom Is
Coming), an iron, leather and Plexiglas stand. Dubai’s Gallery Etemad
(A46) sold works by Mehrdad Mohemali and Abbas Kiarostami for
$30,000–35,000. Grey Noise (A17) sold an untitled mixed media
work by Sara Salman for $8000 to a European collector. Art Factum
(A41) sold two works by Lamia Joreige to a regional collector.
In the Marker section, Asia Art (A2) sold a piece by Sergey
Maslov, Dream for $3500 to a collector from Poland. The North
Caucasus Center for Contemporary Arts (A4b) sold two works by
Stanislav Kharin, ranging from $5000–15,000 to a private collector
who represents a USA-based museum.
The third instalment of CanvasÕs annual Power 50 edition presents the most eminent players of the Middle Eastern art scene.
ALSO FEATURED:
A feature on Galleria Continua’s three
spaces and
roster of artists.
Inside the studio of
Iranian artists Rokni &
Ramin Haerizadeh and
Hesam Rahmanian.
IN THE CANVAS MARCH/APRIL 2014 ISSUE
Egyptian-born Basim Magdy’s depiction
of strange and
whimsical scenarios.
Iranian artist Kamrooz Aram explores the role
of ornaments in
modern painting.
Moroccan artist Bouchra Khalili documents the
journeys of migrants
through her oeuvre.
13:00–16:00
Ladies PreviewAn exclusive preview for women
featuring tours by curators and
art experts.
15:45–16:45
Global Art Forum_8: Meanwhile... History 1971–79: The Short Seventies (UAE). Hosted by Adina Hempel, Todd Reisz,
Anastase Emmanuel and HE Salem
Al-Moosa.
16:45–17:45
Global Art Forum_8: Meanwhile... History
2005: Alternative Futures of Art History between Iran and Dubai. Hosted by Shiva Balaghi.
17:00–17:30 Tour: Projects*
17:00–17:45
Little Artists: Children’s Discovery Tour (ages 8-12).
Water Terrace.
17:00–17:45
Book Launch: Contemporary Kingdom: The Saudi Art Scene Now by Canvas Central.
Abraaj Group Lounge Terrace.
17:30–18:00Tour: Maman Isek Mabo Bendele by Bodys Isek Kingelez at Cartier.*
18:00–18:30Tour: The Abraaj Group Art Prize exhibition, Garden And Spring.*
18:00–18:30
Presentation: Discussing Saudi Arabia as the New Frontier for Art - The Saudi Art Council.Modern Terrace.
18:00–18:30
Performance: Kites Rise Highest Against The Wind By Saudi artist
Ibrahim Abumsmar.
Water Terrace.
18:30–19:00 Tour: Modern*
19:00–19:30Live installation by Hajra Waheed - CHARACTER 1: IN THE ROUGH
19:00–19:30
Presentation: ISEA 2014 - 20th International Symposium on Electronic Art*
19:00–19:30 Tour: Marker*
*Book a place on the tour at any of the information desks. All Global Art Forum_8 sessions are held at Fort Island.
For more information visit www.artdubai.ae
Joana Vasconcelos. (Detail) Candy Garden. 2013.
Azulejos Viuva Lamego, crochet wool handmade
ornaments, polyester and MDF iron. 220 x 85 x 52.5
19 MARCH 2014 I CANVAS DAILY I ISSUE 2 I ART DUBAI EDITION4
IN BLOOM: ABRAAJ GROUP ART PRIZE
Abbas Akhavan's (born 1977, Tehran) Study for a Hanging
Garden is a floor-based sculptural work. A multi-disciplinary artist,
Akhavan’s piece references his native Iranian flora as a way to
“dwell on the effects of time on power."
Bouchra Khalili’s (born 1975, Casablanca) video Garden
Conversation imagines an apocryphal conversation between
20th-century heroes with her documentary-style practice in video,
photography and print.
Basim Magdy’s (born 1977, Cairo) The Dent invents a place
that continues to build, even as it is destroyed. Magdy explores
installation and video and intentionally confuses linear narratives
to produce a “sense of poetic failure”, imagining a place that
while in states of destruction, continues to grow.
Kamrooz Aram’s
(born 1978,
Shiraz) Ancient
Through Modern:
A Collection of
Uncertain Objects,
Part 1 is a wall
installation that
investigates the
arbitrary value of
cultural artefacts.
Anup Mathew Thomas’s (born 1977, Kochi) photographic
series Nurses seeks out healers who have travelled away
from Kerala toward new horizons. He predominately uses
photography, exploring "ostensibly” local narratives.
Project documentation for
Abbas Akhavan's Study for a
Hanging Garden (2014).
Basim Magdy. Video still from The Dent. 2014. Super 16mm film
transferred to full HD, colour, sound.19 minutes.
AS THE ABRAAJ Group Art Collection grows, biennials,
museums and artists continue to mutually benefit from the
Middle East, North Africa and South East Asia’s cultural output.
The five internationally lauded winners of the 2014 Abraaj
Group Art Prize (AGAP) in collaboration with Guest Curator
Nada Raza reveal their completed projects in the exhibition
Garden And Spring at Art Dubai.
In a structure unique to the AGAP flagship patronage
programme, the prize is awarded to project proposals,
providing resources to manifest ambitious projects. The
proposals were responded to by select literary figures: Nadeem
Aslam, Githa Hariharan, Pankaj Mishra, Ruth Padel and Wiam
El-Tamami’s, whose resulting prose is featured alongside
the artworks. “The works demonstrate a commitment to
the narrative genre,” says Raza. “The environment of the
garden presents itself visually and thematically, allowing
a momentary accord”. Though the ‘garden’ is reiterated,
sometimes abstractly, throughout, each artist maintains his/
her individualised aesthetic integrity. Canvas Daily discusses the
show and its curatorial approach with Raza.
Why the garden theme? The theme operates on multiple registers – it came through the
works initially. The works are chosen by a jury, not by theme or
any relation they might bear on each other. It was coincidental
that some works referenced this natural yet cultivated space
subtly or overtly; I went with that. Bagh O Bahar is a text that I
read a long time ago, its title is also a construction, an overlay.
So I’ve used it like a canopy for the works. It also resonates
because it brings in the nuance of the relationship of cultural
production to power as a complex one.
How was working with artist proposals in collaboration with contributing literary figures?It’s an experiment. I’ve been thinking a lot about the
Progressive Writers movement in South Asia and that the
dialogue between artists/writers/thinkers in our region is now
opaque. This was one way of replanting those seeds, to get
people thinking about each other's work. To do this in a short
time, being both curator and editor, was a lot to take on.
I had great help from Nida Ghouse and Michael Salu, who
have been brilliant to have on board. Savita Apte, Abraaj and
the Art Dubai team are very supportive. Of course, I must
thank the artists for letting me share their proposals with
respondents at a nascent stage, and the writers for taking
them on, that was very generous in a cultural environment
where originality and authorship are prized.
How significant is this collaboration for Art Dubai, as well as for regional creative production? It’s essential. It’s funny, the hardest part is keeping it secret!
What we do depends so much on dialogue/critique/debate,
you constantly refer to peers. It helps raise the bar I feel.
Working in the UK, I am always addressing a ‘universal’, ie
mostly European audience. Here, I had more freedom, without
the self-consciousness of appearing exotic. It’s time we spoke
to each other and paradoxically, we can only manage that
in English, but of course visuals can get around all that. The
relationship between images and the words that serve them,
especially in the art world, also informed this project.
All images courtesy Abraaj Group Art Prize, unless otherwise specified.
Q&A with Nada Raza
Image c
ourt
esy
Art
Dubai.
Bouchra Khalili. Video still from Garden Conversation.
2014. Digital film. 16'22 minutes.
Anup Mathew Thomas. Rita Sara Thomas, Medical Surgical Floor Instructor, Dell Children’s Medical Center,
Austin, USA. 2014. From the Nurses series. 48 C-type prints, Diasec. 60 x 80 cm each.
Left and right: Details from Kamrooz Aram's Ancient Through Modern: A Collection
of Uncertain Objects, Part 1. 2014. Mixed media installation. Variable dimensions.
CD2.indd 4 3/1 /14 :26 M
It’s time. Ahmed Qasim Seddiqi, the late founder of Ahmed Seddiqi & Sons, opened the first store in Bur Dubai in the late 1940s. What started as one man’s passion over 60 years ago is today an Empire that brings luxury to the hearts of watch collectors.
seddiqi.com
CD2.indd 3/1 /14 :26 M
19 MARCH 2014 I CANVAS DAILY I ISSUE 2 I ART DUBAI EDITION6
Jim Lambie. Electric Boogaloo. 2012. Aluminium and paint. 125 x 125 x 35 cm. Photography by Sebastiano Pellion di Persano. Image courtesy the artist and Galleria Franco Noero, Turin (A10).
BLURRED LINESCanvas Daily looks at geometric shapes and lines in some of the works at the fair.
Bouchra Khalili. Constellation, Figure 5. 2011. Silkscreen. 60 x 40 cm. Edition five of five. Image courtesy the artist and Galerie Polaris, Paris (J2).
THE PARIS-BASED Moroccan artist creates eight silkscreen prints
that resonate with the drawings produced by the migrants in
Khalili’s The Mapping Journey Project (2008–11). The Constellation
series are the essence of Khalili’s artistic practice, in which she
documents migrants’ clandestine journeys. Each drawing (priced
at $8400) is minimalistic and appears as a constellation of stars,
inspired by the sky maps that were used in astronomy for centuries.
The artist blurs the limits between the sea and the sky by erasing
Annabel Daou. Pieces Of The Love Letter: The Common Tongue. 2014. Ink on mending tape and repair tape on paper. (Diptych) 98 x 130 cm. Image courtesy Galerie Tanja Wagner, Berlin (A16).
IN THIS WORK, the Lebanese artist explores the repetitive nature of the
language of love. The work, priced at $12,000 each, comprises two scrolls
of documents, tapes and repetitive text, which includes an endless love
letter of 10,000 words from history and literature books. The scattered
composition explores the connection between writing, speech and non-
verbal modes of communication and attempts to lay the grounds for
a solid meaning, but at the same time appears to be on the verge of
disintegration. The writings on the sides are connected with contiguous
lines that, upon closer look, resemble pages from a school textbook.
THIS WORK, PRICED at $75,000, is
created from everyday objects,
which is also where the artist
draws his inspiration.
Although the objects
are immediately
recognisable, they
lead the viewer
into a different
sensory experience.
Electric Boogaloo,
which is part of the
Metal Boxes series,
references music
and pop culture
and makes a keen
observation on
aesthetic forms.
The ends of the
aluminium are
brightly coloured and
bent over on each
other to mirror the
sleeves of LP records.
Mohamed El-Baz. The Rivers Are Burning (Mississippi, Danube, Tigris, Euphrates, Amazon, Congo, Indus). 2014. Tapestry. 100 x 100 cm each. Image courtesy the artist and Galerie Imane Farès, Paris (J23).
EL-BAZ RELIES on a number of tools to
appropriate the forms of his portraits. In this
work, priced at $34,000, he explores the
nature of rivers as an indisputable boundary
between two territories. Rivers are natural
borders, as opposed to those demarcated by
men following wars and battles. Therefore
the title, The Rivers Are Burning, acts as
a metaphor for a world that is on fire, as
we watch it rebuild itself like the river that
doesn’t account to history, civilisation or
territories, for that matter.
CD2.indd 6 3/1 /14 :26 M
alserkalavenue.ae
A4 SPACE
AYYAM GALLERY
CARBON 12
FN DESIGNS
GALLERY ISABELLE VAN DEN EYNDE
GREEN ART GALLERY
GREY NOISE
* GALLERIES PARTICIPATING AT ART DUBAI
GULF PHOTO PLUS
LA GALERIE NATIONALE
LAWRIE SHABIBI
MOJO
SALSALI PRIVATE MUSEUM
SATELLITE
SHOWCASE
*
*
*
*
*
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CD2.indd 3/1 /14 :26 M
19 MARCH 2014 I CANVAS DAILY I ISSUE 2 I ART DUBAI EDITION8
SLAVS & TATARS focus on areas “east of the former Berlin Wall and
west of the Great Wall of China," and bring a region unduly stereotype-
laden to a market with a latently innate understanding. Collaborating
with five spaces selected for their “distinctly varied, specific context of
arts infrastructure in the post-Soviet sphere”, they present works from
the 1960s–present through a “regime of portraiture” thematic.
Appropriating chaikhaneh (Eurasian version of a traditional salon)
as an exhibition format for Contemporary works, Marker explores
the notion of self-definition, a ubiquitous subject of Central Asian
creation, nationally, ethnically, intellectually or spiritually, and how
these notions are “ritualised, interiorised, and hybridised beyond
the brittle politics of identity”. Though five nations are brought
together under regional categorisation, it is important to note, says
Irena Popiashvili, Founder/Director of Popiashvili Gvaberidze Window
Project, that artists and viewers alike walk a fine line of the problematic
post-Soviet generalisation. Each country has its own cultural identity
and individualised artistic output, ie “Azerbaijan [is] more controlled
politically than Georgia. Since the USSR fell apart, [we haven’t] redefined
what it means to be an artist.” While indicative of varying speeds of
artistic development, an intriguing discourse is created by uprooting
artworks from during/post the Soviet Realism artistic ideology and
planting them collectively in Art Dubai, providing a new, yet familiar,
context for the artworks to be exhibited and visually appreciated. The
curators elaborate, “The context of the Gulf was compelling, having
increasingly strong ties with the Caucasus and Central Asia in general.
They share a relatively recent history of ‘nation building’, but perhaps
most importantly, the Gulf has a compelling imperative to consider the
role of these regions in the development of a pluralist, even modernist
Islam. It can be argued that the Golden Age of Islam happened not only
in the Gulf or Baghdad or Cairo but equally in [Central Asia].”
Though the visuals between the neighbouring regions may not
necessarily be shared, Popiashvili suggests the region is “a perfect
‘blank’ space where one can experiment”. However, as Liliya
Galazova of the North Caucasus Branch of the National Centre for
Contemporary Art remarks, “Contemporary artists of the Caucasus
seek to be incorporated into the international artistic process, quickly
reacting to changes in the world, not resorting to traditions, [but]
borrowing to build bridges between the art of the East and West.”
The region, “situated along the Silk Road, has always been a point
of cultural integration," highlights Suad Garayeva, specialist on
Central Asian Art at Sotheby’s, which is holding a second exhibition
on art from this genre. “It is very diverse, but was hidden behind
the Iron Curtain. Focused international interest from Biennials to
Documenta13 to Sotheby’s indicates a growing interest and these
initiatives are important for a broader contextual approach to the
Contemporary art from the region without compartmentalising
it into a narrow niche." Identity in an ever-changing landscape
is a universal question, revealing that artists needn’t leave their
environments for big-city lights to produce important and collectively
accessible artworks. They can stay right where they are, because
those big-city lights will come to them.
A REGION WITHOUT BOUNDARIESArt DubaiÕs annual Marker programme focuses on Central Asia and the Caucasus under the curatorial eye of artist collective Slavs & Tatars.
Evgeniy Boikov. (Detail) West Is Open. 1998. 30 x 40 cm. Image courtesy
ArtEast, Bishkek.
Ruslan Tsrimov. (Detail) Self-Portrait 2. 2004. 70
x 50 cm. Image courtesy the artist and North
Caucasus Branch of the National Centre for
Contemporary Art, Vladikavkaz.
MARKER PARTICIPATING GALLERIES
ArtEast (Bishkek, Kyrgyzstan) (A4b)
Asia Art+ (Almaty, Kazakhstan) (A2)
North Caucasus Branch of the National Centre for
Contemporary Art (NCCA) (Vladikavkaz, Republic of North
inspired by some of the art world’s greats – including the
region’s Nasser Al-Salem, Ahmed Mater, Farhad Moshiri
and Abdulnasser Gharem as well as masters such as Picasso,
Magritte, Munch and Indiana, among many others.
Order 24 hours in advance. Call 800-HEYSUGAR.
CD2.indd 3/1 /14 :2 M
www.salsalipm.comAMIR HOSSEIN ZANJANISOLO March 2014
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SIKKA
SIKKA
SSIKKA
DISCOVER THE UAE’S EMERGING ARTISTIC TALENT IN THE HEART OF OLD DUBAI
Sikka Art Fair brings you a vibrant 10-day programme of art, live music, film screenings, cultural walks, workshops, adult and children’s educational activities and more! Set in Al Fahidi Historical Neighbourhood, the popular annual fair for artists and art lovers alike runs from the 15th - 25th March.
For the full programme, transportation details and to register to the workshops, visit sikka.ae
SIKKA Art Fair is an initiative by the Dubai Culture and Arts Authority.
19 MARCH 2014 I CANVAS DAILY I ISSUE 2 I ART DUBAI EDITION10
ART NEWSETEL ADNAN IN ALL HER DIMENSIONSDOHA – The
Lebanese-American
artist presents In
All Her Dimensions
at Mathaf: Arab
Museum of Modern
Art until 6 July. The show, curated by Hans
Ulrich Obrist, offers a deeper understanding of
Adnan’s multimedia oeuvre from the 1960s to
present day. A monograph, edited by Obrist,
accompanies the exhibition.
ZIAD ANTAR AT MUSEE NICEPHORE NIEPCECHALON-SUR-SAÔNE
– Lebanese artist Ziad
Antar presents his solo
exhibition, Au hasard
de la pélicule at the
Nicéphore Niépce
museum until 18
May. The artist shows
eerie photographs of
landmarks and landscapes captured using expired
film roles that he found in Lebanese photographer
Hashem El-Madani’s studio and questions what
gives a picture its value.
SADIK AL-FRAJI IN BEIRUTBEIRUT – The Beirut Exhibition Center hosts the Iraqi
artist's Biography Of A Head, in which Al-Fraji presents
recent works that focus on the dark and lonesome
world of his dark central figure. The exhibition, which
runs until 13 April, sees Al-Fraji explore the theory of
Existentialism and raise important questions about
one’s connection to their motherland.
ALI BANISADR IN NEW YORKNEW YORK – For his first solo show at blue chip gallery
Sperone Westwater, Iranian artist Ali Banisadr presents
Motherboard until 19 April. This exhibition showcases
Banisadr’s large-scale work Contact and smaller works
such as Reflektor. The show's title work is comprised
of four levels that represent the earth, civilisation,
technology and air.
Etel Adnan. (Detail) Jazz. 1999.
Image courtesy Mathaf, Doha.
Ziad Antar. (Detail) La
Mecque. 2012. Image
courtesy Almine Rech,
Paris/Brussels.
Sadik Al-Fraji. (Detail) In
Baghdad, Under The
Freedom Monument 1.
2013. Image courtesy Beirut
Exhibition Center.
LIBRARY
Samia Halaby: Five Decades of Painting and InnovationEdited by Maymanah FarhatPublished by Booth-Clibborn EditionsReleased to coincide with the artist’s
show at London’s Ayyam Gallery last
October, this book contains 450 colour
reproductions of artworks and provides a
chronological overview of the Palestinian
artist’s illustrious career from 1963–2013.
It includes texts by art historian Maymanah
Farhat as well as essays by the artist
herself. AED 250.
Wolfgang TillmansEdited by Burkhard Riemschneider and Wolfgang TillmansPublished by TaschenFragmented into three books, this
publication explores the German
photographer’s diverse career. The first
part is edited by Burkhard Riemschneider
and includes an essay by Simon Watney.
The other two parts, Burg and truth study
center are edited by Tillmans himself and
include texts by David Deitcher and Minrou
Shimizu in English and German respectively.
Available at Jashanmal. AED 200.
Candida Höfer: A MonographText by Michael KrügerPublished by Thames & HudsonThis monograph is illustrated with 209
colour reproductions of the artist’s
work and includes text by cultural critic
Michael Krüger. Höfer’s work is subtle
and pays particular attention to detail.
This publication is the most complete
volume that surveys her outstanding
representation of new German
photography. Available at Jashanmal.
AED 330.
Ali Banisadr. (Detail) Motherboard. 2013. Image courtesy
the artist and Sperone Westwater, New York
AT A STAGGERING 600 pages, TransGlobe
Publishing and Thames & Hudson’s latest
book, Art Studio America: Contemporary
Artist Spaces, features 115 artists, with a star-
studded cast that includes Marina Abramoviç, John Baldessari, Francesco Clemente, Chuck
Close, George Condo, Emilia and Ilya Kabakov,
Alex Katz and Bill Viola. After Sanctuary:
Britain’s Artists And Their Studios, Unleashed:
Contemporary Art From Turkey and Art &
Patronage: The Middle East, Art Studio America
is the fourth book that Executive Editor, Maryam
Eisler, has contributed to. Canvas Daily speaks
with Eisler on America, books and the future.
WHY DO YOU BELIEVE IN BOOKS? I believe in their physicality. Nothing replaces
the experience of paper, not even the Internet.
Books are also beautiful objects; I enjoy
their presence in my visual field and most
importantly, they have longevity and stamp
collective memory.
WHAT ABOUT WORKING ON ART BOOKS?It’s a true privilege to work with artists, enter
their world and penetrate their inner thoughts
sanctum. If it weren’t for a book, we wouldn’t
have had this opportunity. One should also
consider the appreciation and respect that artists
have for books.
HOW DOES YOUR ROLE CHANGE FROM BOOK TO BOOK?TransGlobe’s country-focus books are more
formulaic in their approach. With Art Studio
America, the core team – Hossein Amirsadeghi
(Publisher and Editor), Robin Friend (photographer)
and myself – was based in London whilst the
project itself was carried out throughout America,
which is a vast market and country. A lot of
planning and logistics was involved and barriers
to go through, but once you figure that out and
reach the artist, then it’s pure bliss!
AS AN ENTITY BASED IN THE UK, WHAT DID THE EXPERIENCE OF WORKING ON ART STUDIO AMERICA ENTAIL?The book is really about our team’s personal
journey throughout America. It is not, nor does
it pretend to be an A to Z of American art. The
book grew organically and there was a lot of word
of mouth; for example, Jason Martin whom we
met whilst working on Sanctuary introduced us
to Larry Bell in Venice Beach, California, who is
a major figure in the light movement. He in turn
introduced us to his ‘teacher’, Bob Irwin who then
recommended Ed Moses. Robert Storr, the Dean
of the School of Art at Yale, took a great passion
to the book and wrote the main essay.
WHAT WAS YOUR FAVOURITE PART OF THE PROCESS?I attended 80 of the 115 interviews, which were
conducted by Hossein Amirsadeghi. I visited
about 200 studios over the last two years; always
my favourite part. It’s almost like being a voyeur
with an intimate view into the artist’s mind, soul
and production process. With the exception of
giants like Jeff Koons and Richard Prince, being
an artist can be a very lonely business – these
guys tend to be on their own for long stretches
of time, drowning in their work and ideas. We
often heard many refer to their studio as either
their sanctuary or battleground.
WHAT BOOK IS NEXT?I am excited to be contributing to TransGlobe’s
Planet London (working title, due in 2015). The
book is a space probe investigating London’s
creative solar system. It will enliven the city's
energy through the eyes of its resident creative
thinkers. You will discover the wildest cats,
whether young or old, high or low brow, novice
or master, from all fields of creativity including
JAMMUntil 19 AprilAs The Jungle WeepsZhivago Duncan reflects on his
travels to the deserts of Wadi Rum
in Jordan.
Tel: +971 43285179
www.jamm-art.org
Kenza Art GalleryUntil 31 MarchWhere Spirits LandIn collaboration with Karachi-based
gallery ArtChowk, Sumairah Isaacs,
Shakira Masood and Ziyyad Gulzar
present their work.
Tel: +971 43686603
www.artkenza.com
Lawrie ShabibiUntil 22 AprilPTSDShahpour Pouyan presents new
sculptures and drawings for his
second solo at the gallery.
Tel: +971 43469906
www.lawrieshabibi.com
Leila Heller GalleryUntil 17 AprilThe Whistle Of The Souls, A Play That Never StartsIranian artist Reza Aramesh
presents his site-specific
installation at Warehouse 18
in Al-Quoz.
Tel: +1 2122497695
www.leilahellergallery.com
Mojo GalleryUntil 30 AprilArcheology Of The SpiritMedhat Shafik's solo exhibition,
curated by Mohammed
Abou Elnaga.
Tel: +971 43477388
www.themojogallery.com
Meem GalleryUntil 1 MayThe ReplacementPolitical propaganda through
communication and imagery is the
core premise of Mahmoud Obaidi’s
solo show.
Tel: +971 43477883
www.meemartgallery.com
Rira GalleryUntil 14 AprilBalanceIranian artist Safa Hosseini's
solo show.
Tel: +971 43699339
www.riragallery.com
Salsali Private Museum
Until 31 AugustAmir Hossein ZanjaniThe exhibition revolves around the
philosophical and social idea of
submission to power.
Tel: +971 43809600
www.salsalipm.com
Showcase GalleryUntil 15 AprilThe Gamcha ProjectElise Vazelakis highlights the
importance of construction workers
in Dubai.
Tel: +971 43790940
www.showcaseuae.com
TashkeelUntil 30 AprilTurning PointA group show featuring works
by Alia Lootah, Afra Bin Dhaher,
Vikram Divecha and Hind Mezaina,
among others.
Tel: +971 43363313
www.tashkeel.org
thejamjarUntil 7 AprilLandingsIn collaboration with Campus
Art Dubai, Pakistani artist Ferwa
Ibrahim presents a solo show.
Tel: +971 43417303
www.thejamjardubai.com
The Third LineUntil 17 AprilLanguage ArtsSlavs and Tatars explore the politics
of language through sculptures,
installations, textile works
and prints.
Tel: +971 43411367
www.thethirdline.com
XVA GalleryUntil 17 AprilRite Of PassageKurdish artist Walid Siti surveys the
notion of transformation through
the story of Gilgamesh.
Tel: +971 43535383
www.xvagallery.com
SHARJAHBarjeel Art FoundationUntil 24 OctoberTariqahArabic for 'pathway' or 'route', this
exhibition looks at works by Kamal
Boullata, Samir Sayegh and Rafa
Al-Nasiri, among others.
Tel: +971 65566555
www.barjeelartfoundation.org
Maraya Art CentreUntil 12 MayEncounter: Listening To The CityThis group show presents sound
installations in shipping containers
at Maraya Art Park.
Tel: +971 65566555
www.maraya.ae
Sharjah Art FoundationUntil 13 JuneAnother PlaceEgyptian artist Susan Hefuna’s
solo exhibition.
Tel: +971 65685050
www.sharjahart.org
Sharjah Art FoundationUntil 13 JuneBefore And After MinimalismPakistani-born British artist
Rasheed Araeen’s first major
exhibition in the region.
Tel: +971 65685050
www.sharjahart.org
Sharjah Art FoundationUntil 13 JuneHorsemen Adore Perfumes And Other StoriesWael Shawky explores history,
religion, culture and the effects
of globalisation through videos,
photographs, installations
and performances.
Tel: +971 65685050
www.sharjahart.org
Sharjah Art FoundationUntil 22 MayBetween My East And My WestThis exhibition is curated by HE
Sheikha Hoor Al-Qasimi and
traces the journey of Eduard
Puterbrot’s two decades of
artistic practice.
Tel: +971 65685050
www.sharjahart.org
Sharjah Art FoundationUntil 22 MayAl-ToubayThis exhibition traces Emirati
Abdullah Al-Saadi’s life and history
as an artist.
Tel: +971 65685050
www.sharjahart.org
Sharjah Art FoundationUntil 22 May100 Found ObjectsSaudi artist Ahmed Mater
comments on the urbanisation of
Mecca through archival images,
videos and research material.
Tel: +971 65685050
www.sharjahart.org
Sharjah Museum ofIslamic CivilisationUntil 14 JuneSo That You Might KnowEach OtherThis exhibition features a selection
from the collection of the Vatican
Ethnological Museum.
Tel: +971 65566002
www.sharjahmuseums.ae
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Leila Heller Gallery.
Reza ArameshAction 121: Palestinians wait at the Rafah border point to cross into Egypt from the Gaza Strip. Tuesday, 8:00 a.m. 15 September 2009, 2013Hand printed silver gelatin, mounted on aluminumand archival board, and framed in black aluminum and museum glass195 × 270 in / 495.3 × 685.8 cmEdition of 3 + 1AP
ART DUBAIMarch 19 - 22Booth A28
CD2.indd 21 3/1 /14 :2 M
19 MARCH 2014 I CANVAS DAILY I ISSUE 2 I ART DUBAI EDITION22
Publisher & Editor-in-Chief Ali Khadra
Editor Myrna Ayad
Consultant Editor James Parry
Assistant Editor Rania Habib
Editorial Coordinator Maria Mumtaz
Contributors Katrina Kufer and Priyanka Pradhan
Senior Designer Rebecca Teece
Freelance Senior Designer Rana Chehade
Production Manager Parul Arya
Commercial Director Lama Seif
International Sales Manager Firas Khouja
Distribution & Marketing Manager Fiza Akram
Distribution Coordinator Rasha Hoteit
Finance Director Eid Sabban
IT Assistant Manager Hussain Rangwala
Printers United Printing and Publishing, Abu Dhabi