Emirati Expressions Exhibition

This is the biggest show to date of Emirati artists and Abu Dhabi has gone for it a big way. It runs until April 16th at Gallery One in the Emirates Palace Hotel, features 64 artists, a programme of events and an unusually impressive website! The show was organized by Dubai’s Art Connection and the Abu Dhabi Tourism Development & Investment Company (TDIC), and was curated by Anne Baldassari, director of the Musée National Picasso in Paris.

Baldassari has transformed Gallery One into a walk-in black box and the spotlighted work seems to glow in the context of entirely black walls, floor and ceiling. The smoked mirror across the end wall adds an extra subterranean disorientation reminiscent of ghostly fairground attractions. This is particularly appropriate for Husband 1 and Wife 2 by Maisoon Al Saleh depicting two skeletons dressed for their wedding but the dark and gothic sensibility I have noticed before in Emirati work is also evident elsewhere in this show. This is mostly in the form of atmospheric digital composites but Jalal Luqman takes it to another level by housing his tormented figures in huge industrial metal frames.

Other works that looked very comfortable in the darkness were Jamila Al Suwaidi’s ‘Astro-photographs’ of lunar and solar eclipses and other astronomical events, and Abeer Al Tahlak’s transparent multi-layered installation with superimposed text. Some of the painting benefited from the darkness but it was good to see work by veterans Dr. Najat Makki and Abdel Rahim Salem alongside newer painters such as Wasel Safwan. It was also a relief to see contemporary art pioneers Hassan and Hussein Sharif especially given doubts about the participation of any Flying House artists in this show.

Several of the artists in this show had also participated in Suhoor: an Emirati Exhibition in Dubai last December and many were showing exactly the same work. In most cases it was the best of the work from the Suhoor show but the repeat performance was a bit unimaginative. The most notable addition to this previously shown work was Reem Al Ghaith’s impressive wall installation Dubai: What’s left of her land? a piece that will also feature in the Sharjah Biennale later this year.

Much of the calligraphy also had a contemporary twist. Mohammed Mandi’s painted works on leather looked like prints, while Nassim al Majed used brass and Italian glass mosaics to create script on Indonesian volcanic rock. Faiza Al Mubarak’s ornate and chunky book-like sculptures also contained a very tactile and interesting mix of materials and the larger sculptures, like Azza Al Qubaisi’s metal works and Mohammed Yousef’s smooth wooden thumb, provided some quirky dimensional diversity.

There seemed to be a lot of photography, not all of it memorable, and a predominance of work influenced by technology and graphic design. This perhaps reflects the greater availability of education in these subjects in the UAE and graduates from the American University of Sharjah’s, School of Architecture and Design were particularly well represented. One of these was Khuloud Sharafi whose series of mixed media works depicting Umm Kalthoum were one of the show’s highlights. Umm Kalthoum’s image is ubiquitous and has often been used in art from the region which makes new depictions a risky undertaking. However, Al Sharafi’s simple association of her image with the audio technology of her time worked very well and using a transfer print and etching on an old vinyl record was inspired.

Also inspired was a video made by filmmakers collective The Circle which featured cut up sound bites from interviews with all the participating artists. In an environment where local artists have had little public exposure and where art is a relatively new career choice, the video and exhibition combined provided a very personal introduction.

Emirati Expressions: Art from the heart of the Emirates

Gallery One, Emirates Palace Hotel, Abu Dhabi

Until 16th April 2009

Thanks to Govind Dhar for photos

Let's hear it for shouting ...

Prompted out of my post-New Year apathy by a comment from Moryarti posted on my previous blog entry, I am happy to report that a three pronged deposit recovery strategy has been successful. After a couple of extremely civil visits to the office we started setting dates when were coming in and expecting to get the cheque. We then called shortly before each appointed time and date to make sure and on being told the cheque still wasn't ready we started some serious shouting. Over a few days we relentlessly bruised the eardrums of every single hapless member of staff in turn. The final call contained the word 'rent committee' several times and by the end of that day we received our first ever call back informing us the cheque was ready! On our way to a friend's house on Christmas Day we dropped by the office and the Al-Sharafi Santa and his little helpers gave us the goodies!

Thanks to all on UAE Community Blog for advice received! HAPPY NEW YEAR!

Groooooaaannnnn....

As usual the period of unusually rational exuberance evident in my last post has given way to the normality of some constantly nagging financial bullshit that has to be dealt with.

Although we have been out of Dubai for a month now we still haven't got our 5000DHS security deposit back nor the last advance rent cheque. We have pleasantly visited the office, phoned numerous times as is the norm here in the absence of any of those promised calls back, but still no cheque. There are no outstanding issues with the flat we vacated and the cast iron evidence is that the flat has already been rented out to someone else.... or so our sources tell us.

So what to do. We called what we thought was the head office only to discover that it the same office we are already dealing with. Everyone there we speak to says it is the responsibility of the man who told us he was waiting for 'head office' to a) inspect the vacated flat ... er ... presumably done before the new tenants moved in? and b) to prepare the cheque. Incidentally this man has now stopped answering our calls.

Have posted question about this on UAE community blog but it is one of those UAE things that I can never get used to... that constant feeling of slight nausea because you know that however good things seem to have got there is always another fucking battle just around the corner.

I love Sharjah ..

Sharjah rocks! It is so weird. It's just down the road from Dub but is like being in a totally different country. I feel like my feet actually connect to solid ground in Sharjah. In Dubai I always felt like I was walking on ice somehow and was never quite sure how thick it was. Even the taxi drivers are different. They have all the same problems but seem less stressed out than Dubai taxi drivers despite the nightmare of central Sharjah traffic.

Also Sharjah has got off to a very positive start in a way Dubai didn't for me. Completely out of the blue and starting the week I actually moved here, was a gift of a job working with the Sharjah Biennale and Bidoun Magazine. I have absolutely no doubt whatsoever that this is the coolest job in the universe and I can hardly believe its mine! As a consequence I have been allah kareeming and ulhumdulillahing all over the place which goes down very well in Sharjah. What;s more the job is based right in the middle of Sharjah's arts and heritage area which is just ... well.. ..ulhumdulillah.... see what I mean?!

Another positive is of course the weather... numerous thunderstorms last week and lots of lovely rain! I know it didn't rain much in Dubai last winter (apart from the three days that George Bush came), but the only time I heard thunder in Dubai was that weird day they seeded the clouds!

So .. I don't actually miss anything about Dubai yet although next week is the Dubai International Film Festival and I'm sure that taxi-ing in and out of Dubai most days is going to be a complete pain in the proverbial. But I sneaked a press pass again which means I get free tickets so I ain't complaining!

Art Paris Abu Dhabi

This year’s Art Paris-Abu Dhabi seemed very different to last year. However, I’m not sure if this is just my perception or if there really was an objective shift in focus. It definitely seemed less ‘European’ but perhaps this is because one of the first gallery stands in the main hall was the UK's Waterhouse and Dodds. This stand contained a who’s who of regional big hitters and earners. Farhad Moshiri – check, Shirin Neshat – check, Parviz Tanavoli – check, Charles Hossein Zenderoudi – check. Yawn – check.

Most prominently displayed was Lalla Essaydi’s triptych of a figure reclining in an interior with everything covered in Arabic script. Displayed below, was the centrefold of the National with the same image reproduced as part of a feature on the art collection of Abu Dhabi’s Crown Prince, Mohammed Bin Zayed which magically appeared two days before the opening! Worries that sales would be affected by the global downturn was evidently not something Essaydi had to worrry about nor probably any other artists in MBZ's collection!

This start set a slightly weary tone for my trip around the fair this year although a few other things did register. Enrico Navarra had an event-specific graffiti work drawn on paper around the wall of one part of its stand. This was absolutely inspired and I sincerely hope that it was snapped up for the MBZ collection.

Patrice Trigano, had several works by photographer Julien Leclerc including one mesmerising image of a bullfight. The merging of the component parts of the image was reminscent of Picassos ‘Death of a Female Toreador’ although it was a defintive victory for the toreador in this case. Another work which was essentially a study of wet sand, was also mesmerising in its textured and shadowed simplicity. Both of these images were like strong silent types providing a reassuring antidote to the political noise of some of the middle eastern work.

This perception of noise also struck me at the Tamenaga gallery showing the work of Cheng Jiang Hong and Kyosuke Tchinai. Both artists were obviously absorbed in a purely creative process which reconstructed and reinterpreted parts of their own art histories. There was a narrative thread in Hong’s work which almost read like a book and Tchinai had merged all the most recognisable features of traditional Japanese technique into images that were 2D but sculptural in their impact. One image in particular was so breathtaking I understood for the first time in my life why people spend money they don’t have.

After this I wandered aimlessly around the rest of the fair feeling slightly guilty for being irritated with ‘modern middle eastern art’ although perhaps it’s just the Iranians I’m bored with. Ahmad Mualla’s huge painting at Green Art Gallery was stunning and Lara Baladi’s beach collages at B21 are pure entertainment.

Guy Ferrer and Bernard Pras, the only artists being shown by Nathalie Gaillard, were also memorable. In a context where many small spaces are often overstuffed with multiple artists and styles, a minimal display technique can be very effective!

Squatting and Exhibiting in Dubai

Countdown to Sharjah has entered final week and I am re-visiting a bizarre combination of two periods in my life - squatting and being a student.

Spouse has secured furnished apartment in the People's Great Neighbouring Jumhurriyah so with assistance from Dubizzle and the Spinneys noticeboard I have been furniture souk central all this week. As of two days ago I have had no fridge, cooker, washing machine, bed or sofa. This means I am sleeping on a mattress on the floor and living primarily off of Korean pot noodle. Given the absence of any other form of entertainment since the TV left, I am also playing a disturbing amount of PC games.

When I was a student PCs didn't exist so entertainment consisted mostly of music which I still have here except it is now all on one small device. So all I need is a case of warm beer and a carton of Marlboro and I could pretend to be 21 again......probably not a good idea.

Given these circumstances it is amazing that I managed to scrub up well enough to attend the opening of 'Women in Art IV' at the Courtyard Gallery this week. I have three paintings in this show (above) which ends on November 20th and then its off to Sharj 2 days later. I'm really glad that I could end my time living in Dubai with an exhibition.

PS. If anyone wants a cheap as chips dining table, desk, office chair and bookcase let me know!

Day trip to Islamic Civilisation

In line with my imminent move to the centre of the known local cultural universe, I just paid a visit to the Sharjah Museums Department. Sharjah has more museums than the rest of the Emirates combined and in the past year it really seems to have been getting its act together.

Arty types are more likely to know about Sharjah because of the biennale which predates any substantial ‘arty’ offerings from Abu Dhabi or Dubai. Even so I have never understood why Sharjah and its assets don’t get more press or other coverage.

I suppose it’s partly because Sharjah doesn’t have the manic self promotional tendencies of its neighbours and has nothing to prove in the cultural arena anyway. By contrast both Dubai and Abu Dhabi seem desperate to promote their respective ‘visions’ of the UAE’s cultural future and their roles in it. Unfortunately, the words ‘vision’ and ‘future’ are not much use to somebody who needs a regular injection of ‘reality’ and ‘present’ and this Sharjah visit gave me a good dose of both.

The museums department now has an educational section for promoting Sharjah’s museums of archaeology, natural and social history, calligraphy, art, aviation and several more. Although these institutions are always good for attracting stray tourists, the focus of the educational department’s outreach is decidedly local. This means nationals, residents, schools and universities. There are family activities, school activities, cultural awareness programmes and some very cool stuff to see especially in the jewel in the Sharjah crown, the new Museum of Islamic Civilisation.

The museum only opened last June and contains a fascinating and extensive collection of historical, scientific and cultural artefacts. Some of these have been donated or purchased especially for the museum but the majority apparently constitute the personal collection of Sharjah’s ruler.

The first floor is dedicated to science and technology. This includes astronomy, navigation, medicine and chemistry and I was delighted to see a whole cabinet of astrolabes. I like astrolabes and this is the first time I have actually seen one for real! They are amazing inventions but are also works of art and craftsmanship in their own right.

Another delightful surprise was the ballistics and weapons section which I don’t want to ruin by describing too much. Let’s just say there are certain aspects that animal rights activists may object to, although the animals used in early biological weapons programmes probably survived.

The second floor is dedicated to the art and craftsmanship of the Islamic world. There are pieces of ancient text and Quranic script carved into wood and stone. Ceramics, metalwork, glass, models of gardens, ancient buildings and architecture.

It was very refreshing to be in a building full of old stuff displayed well and relevant to the location. In fact this trip confirmed for me that Sharjah truly is the centre to which all futures must refer if they wish to maintain a connection to their past. Go Sharjah!!

Land, Art and the Environment

Last week I was lucky enough to be involved in a panel discussion and exhibition at the Cultural Foundation in Abu Dhabi. Organised by the Abu Dhabi Authority of Culture and Heritage and the Goethe-Institut Gulf Region, the exhibition runs until November 1st.

The panel was chaired by Konstantin Schreiber of Deutsche Welle TV and featured artists who work in some way with environmental issues. The main artist, German photographer Petra Petrick exhibited a series of photographs called ‘German Desert’. The images are desolate, barren and beautiful just like real deserts but actually taken at the abandoned sites of former open cast coalmines in Germany.

Khorfakkan artist Abdullah al Saadi exhibited a wall length panoramic scroll of the Khorfakkan coastline created while in a boat looking back at the coast. His work monitors the change in the landscape as new buildings, especially hotels, arise and aspects of the natural landscape are removed. In some cases this includes parts of mountains.

Muna al Ali arranges potted plants in various stages of growth to comment on the inevitable cycles of life and decay to which we are all subject. The first time I saw this installation called ‘Dialogue with Nature’ was in the Creek Art fair last March. At that time all the plants were very healthy looking but now the dialogue is communicating something much less optimistic.

My work consisted of three ‘Towers of Trash’ which also featured in the Creek Art fair last year, and two ‘Artificial Landscapes’. These are painted on recycled board and depict landscapes but in a totally artificial way using unnatural colours, perspectives and materials.

Mohammed Kazem had several photographs in the exhibition illustrating the rapid urbanisation of the landscape around Dubai and more abstracted work using details of the urban emnvironment.

In the panel discussion itself the artists talked about how their work relates to changes in the environment around them and reflects and interprets these changes. Petra Petrick’s haunting photographs are testament to industrially devastated landscapes and Abdullah al Saadi is chronicling contemporary landscape loss. My work tries to address the fact that there are long-term consequences of having one of the highest amounts of waste per capita and Muna al Ali reminds us of the inevitable!

While the undeniable benefits of development are visible, the negatives, particularly in relation to the environment, tend to be invisible in the short term so are easy to ignore. However, none of this work is meant as an unambiguous criticism of development or Dubai but is more a mechanism to raise questions about issues of land use, environmental sustainability and even public health. Ultimately the environment is the great leveller. We are all equally dependent on it for our survival not only as individuals but also as a species. From a creative point of view it has been the inspiration for some of the world’s greatest art, greatest music and greatest poetry. If it changes we change with it and as Muna’s work suggests, a dialogue with nature is probably easier while it still seems relatively healthy!

Critiquing Art at the DIFC

The first of four panel discussions arranged to coincide with the photographic exhibition ‘To the Holy Lands’ was held last week at DIFC. Entitled 'Critiquing Art: factors in critiquing art within the Modern Middle East' the panel explored some of the cultural dynamics associated with art criticism in this region.

One comment made about the purpose of the forum was to bring like-minded people together to begin a dialogue that underpins the UAEs current art boom and ultimately contributes to its sustainability. This is a noble aim but I don’t get out as much as I probably should so unfortunately didn’t recognise most of the people in the room! It would have been very useful if there had been a participant list available especially one with affiliations so that we all know who the interested parties are.

Another aim was to explore the difficulties of critique in a media environment that tends to cut and paste the press release and where public criticism of any kind is considered negative. There is a rather large gap between this context and the occidental view of criticism as a separate discipline necessary for creative and intellectual development.

One question raised by panellist Stephanie Sykes, Communications Manager of Art Dubai, was ‘Who makes the best art critic?’ Another panellist, artist, critic and curator Talal Mualla seemed to think that artists themselves were in the best position to be critics. In his view, the way in which artists relate to wider cultural, political and historical contexts enables them to situate and interpret the work more accurately.

This may be true but it does not necessarily mean that artists are the best critics. They have a vested interest in promoting their own craft and their understanding and respect for the creative process itself can reduce their critical judgment of the final product. However, this approach probably makes them ideal critics in the environment under discussion!

It’s a shame that this issue wasn’t explored further but it got me thinking about the definition of art critic. To paraphrase from my new favourite book ‘Art Criticism – a User’s Guide’ there are several types of critic:

The Advocate – promotes artists he or she admires and compares others unfavourably
The Theoretician – interprets the context of each work rather than its form or content
The Progressive – welcomes and promotes innovation and new forms
The Ideologue – interprets through a structure of political or social commitment
The Traditionalist – reviews what is new in terms of its relationship to the past

Related to this my book also says there are several types of criticism - thematic, geographical, technical, chronological and theoretical – none of which sound particularly nasty to me. In fact all of the above just seem to be flexible structures or at least starting points for forming an opinion. Despite its name art criticism is not automatically 'critical'.

Given the creative mergers and acquisitions of globalism and technology over recent years it is tempting to think that approaches to criticism must also shift but maintaining some structural consistency amid often chaotic change is probably more useful. That said there is too much happening to be covered by traditional means anyway and changes in the nature of communication enable artists, or anybody else, to say essentially what they like. However, this is most often small groups of people talking amongst themselves so issues of quality control are probably moot. Ultimately, established and traditional authorities of art criticism are likely to prevail until new ones emerge strongly enough from new global settings to challenge them. This relates to the other big unexplored question for me which was ‘Who is it for?

The panel was essentially about Middle Eastern art and while it is always worthwhile to get good information out there in any language, most of it is in English. If the dialogue is about developing and sustaining creativity in the Middle East where are the Arabic commentators? There are loads of Arabic blogs and forums out there so surely some of them must be about art and culture in the region. If anyone knows please tell me. I won’t be able to read them but I know people who can and it would be good just to know they are there!

The other discussion are as follows:

October 15th - 'Digitally Restoring Photographs: practical techniques
October 22nd - 'The History of Photography and Contemporary Photography in the Gulf Region'
October 28th - 'How to run an exhibition: Art Management'

'Let's Talk' Grey Noise at the Jam Jar

For me the most interesting thing at Art Dubai last year was the Pakistan Pavilion. The work seemed very fresh and was generally brain engaging in a way that much other contemporary work there was not. Because of this experience I was looking forward to seeing the collaboration between five young Pakistani artists from the Grey Noise Gallery in Lahore and the Jam Jar in Dubai.

'Let’s Talk’ came about after a meeting between Hetal Pawani of the Jam Jar and Umer Butt of Grey Noise. The exhibition represents a dialogue between the five artists and the work is linked as if it were a conversation. The central pillar of the whole concept is a small catalogue containing actual email dialogue and images the five artists exchanged when the show was in the planning stage. It is essential to read this catalogue, not only to help you understand what you see, but also because it creates a strong sense of personal involvement in the show.

The catalogue provides a basic structure of the conversation being had in the work. After that it is up to you to work out exactly where and how the different layers of the conversation intersect. This is challenging in itself because it is not always obvious. Just like a real conversation there are things that are unsaid, slight tangents and unresolved points. However, when juxtaposing the conversation being had by the work with the emailed exchanges between the artists, the show becomes a complete and cohesive entity. Silences in one and omissions in the other also become comprehensible.

The strongest conversational thread in the work is music or sound. The show starts with Lala Rukh’s sound collage containing elements of nature, politics and traditional music. Following on from this is Ayesha Jatoi’s line of sound words running the length of the opposite wall ending in the word ‘boom’. A full stop is provided by a very simple abstract red and white print entitled ‘Where is my God’? Turning the corner you see six small white graves each containing a different book. The interesting mix of titles spans a time frame of more than 10 years but the most recent is the biography of Benazir Bhutto. The creator of these works, Ayaz Jokhio, is strangely absent from the catalogue discussion.

Next is one of Mehreen Murtaza’s large prints evoking sci-fi, technology, creation and myth, an image that does not seem to relate directly to the conversation but is understood when placed in the context of the email exchanges. Her other print relates more directly to the sound motif but also explores faith and technology as instruments of control.

Around the next corner ‘Echo’ and ‘Sleeper’ by Fahd Burki are not what you expect to see having read the email exchanges and this intensifies the feeling that you have established an intimate relationship with the artists. The connection to the conversation in terms of sound is obvious but there are other more subtle undercurrents that can also be divined from the information you have been given.

It’s difficult to elaborate further because the presence of the catalogue is so central to the experience. It becomes like a puzzle, which you have to solve and the more effort you put into it the more rewarding it is. It is a nice redefinition of interactive - one in which exclusively mental rather than physical processes become the ones interacting with the work. What is perhaps most amazing is that you get all this from only eight pieces of work and a rather diminutive catalogue! So the show may be small but it is perfectly formed.

That said you do leave wanting more. Although you can keep reflecting on the concept and the different ways in which the conversation works, you want it to develop. Perhaps into another room, with another catalogue, different artists and a counter argument! However, this would be a different show and it probably needs to remain small because another thing I found was that it was hard to see the individual pieces in their own right. They became secondary to the larger concept and it was that, and the mental challenges associated with this show, which remained rather than the work itself. Nevertheless, Pakistan is still up there on my ‘to do further’ list!