looking back uaeat the cultural events happening in the emirates during theof monthmarch

ART DUBAI BIENNIAL GUGGENHEIM TALKS AL-BASTAKIYA ART FAIR 56 art dubaiLatifa Echakch. Frames. 2006. Cut out carpets. Variable Dimensions. Galerie Kamel Mennour, .

where the grass is green and the art is pretty There is no denying the fact that Art Dubai has been bitten by the credit bug. Yet its third edition proves that art prevails, as do its passionate advocates. More cohesive than its predecessors, this year’s fair reflected a coming-of-age and was a spectacular showcase of the art world’s stalwarts and future luminaries. art dubai TEXT AND PHOTOGRAPHY BY MYRNA AYAD xxxxxxxxxxx xxxxxxxxx xxxxxxxxxxx xxxxxxxxx xxxxxxxxxxx xxxxxxxxx xxxxxxxxxxx xxxxxxxxx

andhi made an appearance at last year’s Art Dubai fair, painted in red, Gandhi: Less than two weeks before Gcast in aluminium and fiddling on a white laptop. He made an amplified the third edition of Art Dubai kicked in, buffalos by Contemporary Indian artist attendance this year at Aicon Gallery, his possessions were snapped up Valay Shende set off oohs and aahs both in mini, reclining form, priced at for $1.8 million at auction by Indian among passersby, the majority of $1000 (“to encourage young collectors,” businessman Vijay Mallya, ‘the Richard whom mistook them for cows. Priced at said the gallery’s Jagroop Mehta of the Branson of India’, who has promised to $55,000, three were sold, all to Indian edition of 75) while a life-sized version, donate Gandhi’s round glasses, bowl, collectors. The gallery’s Geetha Mehra retailing at $2000, featured Gandhi plate, sandals and pocket watch to the noted “lots of inquiries but fewer sales,” sporting a white iPod. Indian artist Indian government. at the fair, adding that the decision to Debanjan Roy has also made a sculpture A couple of booths away at Bodhi Art, show only Shende’s buffalos was, “to of Gandhi with a cell phone, all part of a Subodh Gupta oil on canvas piece make an impact.” She commended the his India Shining series – Roy’s take on priced at $593,000 sat, tentatively fair’s “terrific organisation” and great the Indian government and the media’s reserved. It was the only work above mix of curators, museum directors and description of India’s globalisation. While the $10,000–$100,000 bracket that the speakers at the Global Art Forum. Yet in the series spins a contemporary twist on gallery had brought. “I’m not making any spite of a general mood of apprehension India’s father figure, one wonders what forecasts,” said the gallery’s Sharmishta and a subdued level of sales, Mehra’s Gandhi’s impressions of India’s IT sector Roy, “we came with an open mind take on the 2009 edition was much like triumph may have been. “I think Gandhi and of course there’s been talk.” The other gallerists’ – “great for networking.” would have had a few questions to ask gallery’s conscious decision to bring In time, said Mehra, “Art Dubai could about India and the rest of the world’s mid-range artworks was sound – they become an important fair.” ‘bright shiny’ future and how the world sold a considerable number of works, is a globalised playground,” said the each priced at less than $100,000, during Oh Wow gallery’s London director, Niru Ratman. the fair’s first day. Despite the rarity of There were a few works that had Indeed, March was quite the month for a Gupta painting, this particular artwork went back to Mumbai. everyone talking, not for their price, Meanwhile, Sakshi Gallery’s six brass but rather, for their ‘jump at you’ effect. “Art Dubai is the most expensive fair in terms These included Moroccan artist Latifa of square metres!” Echakhch’s cutout carpets, Frame, at - Andrée Sfeir-Semler Zoulikha Bouabdellah. (Detail) . 2009. Installation on wall, 10 calligraphic gloss paintings on steel. Each piece 150 x 60 cm. Edition of 3. Galerie LA Bank, Paris.

buffalos by Contemporary Indian artist Valay Shende set off oohs and aahs among passersby, the majority of Galerie Kamel Mennour; Algerian artist whom mistook them for cows. Priced at and Abraaj Capital Prize winner Zoulikha $55,000, three were sold, all to Indian Bouabdellah’s Love, a wall installation collectors. The gallery’s Geetha Mehra of 10 gloss-painted differently coloured steel artworks noted “lots of inquiries but fewer sales,” that each at the fair, adding that the decision to hubb (love) in Arabic spell the word at Galerie LA show only Shende’s buffalos was, “to Bank and German/Iranian artist Timo make an impact.” She commended the Nasseri’s* Epistrophy, a sculpture fair’s “terrific organisation” and great embedded in a wall and polished in mix of curators, museum directors and stainless steel at Galerie Sfeir-Semler*. speakers at the Global Art Forum. Yet in “The most touched object,” as the spite of a general mood of apprehension gallery’s Andrée Sfeir-Semler said and a subdued level of sales, Mehra’s despairingly, caught the public’s eye for take on the 2009 edition was much like its utter uniqueness and beauty, but little other gallerists’ – “great for networking.” did everyone know just how pricey and In time, said Mehra, “Art Dubai could painstaking a task it was to produce, become an important fair.” ship and assemble. “The quality of the walls has improved and we’ve never had Oh Wow better service in putting up the booth,” There were a few works that had she says. Furthermore, the gallery sold everyone talking, not for their price, all of Nasseri’s works while pieces by but rather, for their ‘jump at you’ effect. Lebanese artists Walid Raad* and These included Moroccan artist Latifa Akram Zaatari were sold to European Echakhch’s cutout carpets, Frame, at collections. One could dub the young regional artists whose works have been recently acquired by Charles Saatchi as the YMEAs – Young Middle Eastern Artists. Fittingly, a work by one such YMEA at Galerie Sfeir-Semler, Lebanese to view a work by Saudi resident, Ayman Marwan Rechmaoui, was reserved by a Yossri, who pastes old Arabic movie European museum. “Everyone expects to posters onto wooden tissue boxes. see Middle Eastern art [at Art Dubai] and Originally Palestinian with Jordanian our artists are the best,” said the gallerist, nationality, his series Maharem (tissues) whose transported artworks ranged from is inspired by the that these old $1000–$100,000. Yet, she objected that, films trigger, although Yossri also infuses “Art Dubai is the most expensive fair in posters from contemporary Western terms of square metres!” Why did the films, albeit their Arabic incarnations. One gallery with branches in and of the last to sign up at Art Dubai, (only Lebanon participate then? “You can’t be three weeks prior) the sole Saudi Arabian a Beirut gallery and not come,” she said, gallery was overwhelmed with the interest “I’ve been supporting Art Dubai from in its artists. Indeed, nine editions of the the start.” Maharem series were sold, among works Meanwhile, around the corner, people by other Saudi artists that all ranged huddled into Jeddah-based Athr Gallery between $2000–$45,000. “We want to show the texture of our society,” said the gallery’s founder, Mohammed Hafiz.

Subodh Gupta. (Detail) Untitled. 2008. Oil on canvas. 198.12 x 363.22 cm. Bodhi Art, Mumbai. Farhad Moshiri. Golden Allah 1. 2009. Strass and glitter on canvas. 110 x 110 cm each. Galerie Perrotin, Paris/Miami.

Another crowd-puller at the fair was Iranian artist Farideh Lashai’s I Don’t Want to be A Tree, I Want to be its lot of interest.” The general talk among Meaning – a series of animated buyers rang a plausible note – better photographs on paintings, on show wait until the end and haggle over prices. at Bahrain’s Albareh Gallery. Lashai’s One rather bubbly gallerist – and also fascination with the tree as an historic a newbie to the Art Dubai scene – was symbol and as an element of nature that Emmanuel Perrotin of the Paris/Miami witnesses the passage of time and its Galerie Perrotin who made headlines at events, is at the centre of this fascinating Art Basel Miami Beach (ABMB) 2008’s art piece. Like a journey within journeys, first day with the sale of a work by Lashai’s work (solely shown at Albareh’s Farhad Moshiri* to a Belgian collector booth) was a multi sensory experience, for $250,000. “It’s very easy to decide to inspired by Turkish novelist, Orhan bring works by Moshiri, but it’s very hard Pamuk’s My Name is Red and leaves one to get the work from him,” said Perrotin, feeling that the whole is indeed greater “[Moshiri] was very generous, perhaps than the sum of its individual parts. because he saw what we did at ABMB.” Five works by the Iranian Contemporary New Galleries on the Art Dubai Bl artist were up at Perrotin’s booth for $70,000 each, or $250,000 for the lot. It is certainly not rocket science to ock distinguish between a miserable gallerist Two were sold, and while Perrotin tries his and a happy one. The latter will gladly best to avoid reserves, another two were disclose sales, while the former will put on hold. Another one of his policies report that the majority of artworks have is never to change prices, regardless of been reserved, or, faux-cheerily declare location or economic fluctuations. Bravo. the artsy cliché, “People have shown a Was it a good time to participate at Art Dubai, given the gallery’s sister branch in Miami is closed for an undisclosed Valay Shende. Untitled. 2009. Brass metal discs. Variable dimensions. Sakshi Gallery, Mumbai. period of time, not to mention the recession et al? “We know many people who are still rich,” grinned Perrotin. and artist, Rotraut Klein-Moquay. Klein’s Among other newcomers to the Art trademark blue, otherwise known as Dubai scene were New York’s L&M International Klein Blue, was among the Arts and Milan’s Francesca Minini, coloured pigment within the tables, as who had brought two artists – Turkish were versions in hot pink and gold leaf, Kutlug Ataman (another Abraaj Capital priced at $35,000 each. “To me, they’re Prize winner) and Ghada Amer. Widely very inexpensive,” noted Rajaratnam. known for work that tackles issues of and sexuality, Amer’s $133,000 Who? Where? installation consisting of two armchairs, ‘Expensive’ would have had to be the a carpet and wallpaper drew crowds in champagne at Art Dubai, steeply priced to admire the Egyptian artist’s trademark at $37 a pop in comparison to ABMB embroidery. Minini was impressed with (2008) where a flute cost $14. Indeed a the “curiosity and attention,” at the media representative commented, “Last fair, comparing it to European shows – year there was foie gras, this year, there’s “people actually give you their fish and chips.” One Syrian gallerist cards here.” noted the pricey F&B and also observed Fantastic works by Sam Francis, Pablo the masses that seemed to prefer to Picasso, Robert Indiana and Iranian artist stay outside during the fair’s vernissage, Shirazeh Houshiary were on display at guzzling free champagne and nibbling L&M Arts, and were part of what the on sumptuous canapés. And outside was gallery’s Sukanya Rajaratnam termed indeed where the masses were. During as a “branding strategy,” adding that, the fair’s subsequent days, people “this is our way of telling everyone we trickled in and out, perhaps due to the sell blue chip work.” Fronting the booth series of phenomenal lectures at the were three Yves Klein tables based on Global Art Forum featuring names like models by Klein, supervised by his wife Vanity Fair writer and ex Interview editor Bob Colacello, German/Egyptian artist Susan Hefuna*, curator and art critic “We know many people who are still rich.” - Emmanuel Perrotin “People actually give you their cards here.” - Francesca Minini

Ghada Amer. Le Salon Courbé. 2007. Embroidery, fabric, wallpaper, wood. Variable dimensions. Francesca Minini, Milan. One Syrian gallerist noted the pricey F&B and also observed the masses that seemed to prefer to stay outside during the fair’s vernissage, guzzling free champagne and nibbling on sumptuous canapés.

Hans Ulrich Obrist, Dr Zaki Nusseibeh, adviser at the UAE Presidential Ministry and Vice Chairman of the Abu Dhabi presale estimate of $13.8 million–$19.7 Authority for and Heritage million), no one could miss the beam on (ADACH) and Thomas Krens, Senior Agial Gallery* founder Saleh Barakat’s Advisor for International Affairs, Solomon face. Works by two of Agial’s Lebanese R Guggenheim Foundation, New York, artists, Nabil Nahas* and Ayman to name a few. A much anticipated Baalbaki* went under the hammer for talk with famed Iranian filmmaker and $158,500 and $60,000 respectively; both photographer Abbas Kiarostami failed to far exceeding their estimates. “I’m very live up to its billing when he didn’t show happy,” laughed Barakat, “both pieces and the session was replaced with a pre- are really outstanding.” Since Baalbaki’s recorded inaudible phone conversation October 2008 show at Agial, some have with him. gone as far so to say that the young, Or, perhaps the masses were at the Van turban-clad artist is the next big thing. Cleef & Arpels (VCA) The Of his two works shown at the fair, one Jewels exhibition – a spectacularArt of Magical seven- was bought, while negotiations for the room hall that took viewers into the world other by a prominent institution are of the famed jewellery house, beginning ongoing. But Barakat had more to beam with its through to the central for – he sold 80 percent of his stock. themes that have continued to inspire Art Dubai’s press release issued an VCA. And then again, masses could approximate 15,000-visitor attendance have been in Doha for the first Sotheby’s at the fair along with 350 media reps. auction in the region that included sales Towards the fair’s closing, the Syrian of Orientalist, Contemporary and Islamic gallerist who rightly remarked on the artworks as well as a watches sale and steep F&B prices, sat laidback at his the auction highlight – The Pearl Carpet booth with a cooler planted beside him. of Baroda – that set the world record “The press [attendance] is slower than for a carpet at auction. An anonymous last year,” he said, an interesting remark, telephone bidder paid $5,458,500 for the considering the gallery did not participate 173 x 264 cm carpet studded with Basra last year. It was, nonetheless, a comment pearls supported by deer hide and silk. shared by a few other gallerists as well.

The Contemporary art sale featured 51 Through repeated tours of the Art Dubai lots that included Middle Eastern auction halls and discussions with gallerists and regulars – Mohammed Ehsai, Charles collectors, one thing rings true: Abraham Hossein Zenderoudi, Shirin Neshat* Lincoln once said, ‘You can please some and Louay Kayyali – and fresh infusions of the people some of the time, all of the like Arman, Banksy, Olafur Eliasson and people some of the time, some of the Anish Kapoor. Despite only realising $4.3 people all of the time, but you can never million in that category (less than half the please all of the people all of the time.’ *Featured in Canvas smile, you’re in sharjah Sharjah Biennial 9 is quite an experience. Changing its format for 2009 and abandoning a pre-set theme, it has proved itself as a vital, living, breathing entity and not just a static exhibition. But with the rush and madness of its opening week behind it and the masses of critics, curators and visitors who flooded to the UAE to attend the dual opening of Sharjah Biennial (running until May) and Art Dubai now long gone, what next?

TEXT BY anna wallace-thompson IMAGES COURTESY OF the sharjah biennimuchal about the local culture and context he sheer size of Sharjah Biennial 9 – as possible, definitely helped,” grins installed in the Sharjah Art Museum, Persekian. “That in itself inspired the sprawling over three storeys in the artists to create something relevant to the T place in which they exhibit.” This is very Sharjah Contemporary Arab Art Museum, much evident throughout all the pieces and spilling over into the arts and heritage and is the common denominator amongst area environs, including both the Serkal works in a wide gamut of different media, and Shamsi houses – is impressive. allowing artists from all four corners of the Directed by HH Sheikha Hoor Al-Qassimi globe to form a tight, cohesive whole. and Artistic Director Jack Persekian, along with its two curators Isabel Carlos Please Touch (exhibition) and Tarek Abou El-Fetouh One of the first exhibits is Halil Altindere’s (film series), it is a journey through Alice’s Portrait of the Sheikh, a painting of HH Wonderland as room upon room reveals Dr Sheikh Sultan Al-Qassimi, Member of an endless array of installations and the UAE Supreme Council and Ruler of artworks, each more fantastic than the Sharjah, swung off the wall with hinges to last. Their quality and cohesiveness are reveal a safe behind it; cheeky, fun, with testament to Carlos’s foresight – herself a a dash of cliché. At first, the exhibition first-time visitor to the region. Participating seems static, installations and works in artists were brought to Sharjah for display cases lit by bright lights, museum- a taste of local culture before being like in their set-up. It very quickly becomes commissioned to create their works for apparent, however, that this is a rich and the Biennial. “By providing and facilitating carefully curated exhibition of incredible the visits of artists to this country well variety and depth. The museum’s layout ahead of time, and asking them to come – a long hall with display rooms on either up with definite proposals after they had seen the place and gotten to know as

57 side – allows for each step forwards to throw the viewer into a completely different room, rather like a trip through a Worlds within Worlds theme park, a boat ride through a ‘tunnel Over the bridge and into the Sharjah of art’; from Firoz Mahmud’s Halcyon Contemporary Arab Art Museum, a further three storeys of installations, film Tarp, a green hut emblazoned with equally green Bengal Tigers, to the Halloween- screenings and artworks enthral. From like atmosphere of Hiroyuki Masuyama’s Nadia Kaabi Linke’s exquisite Under The Lost Works of Caspar David Friedrich Standing Over Views, pieces of fallen – a series of five light boxes containing paint fragments from the walls of different digitally edited composite photographs to cities around the world all suspended recreate landscape paintings, rendering from the ceiling in a delicate composition them ‘real’ – Carlos’s Provisions for the shaped like a map of the UAE, to the Future is stimulating and refreshing. Many film installation, Smile, You’re in Sharjah pieces invite audience interaction, such by Mariam Ghani and Erin Ellen Kelly, as Simryn Gill’s ‘Please Touch’ signs the senses are simply overwhelmed. It in accompanying Remains of Vol 38 of The particular plays with the senses – there, Collected Works of Mahatma Gandhi or onscreen in a darkened mini theatre, is Sheela Gowda’s Some Place, a series of the iconic roundabout after which the film metal water pipes that invite viewers to a is named and which one has just passed closer listen. on the way to the museum. As Persekian One of the most harrowing installations puts it, “There is more dialogue between is Agnes Janich’s Man to Man. A small the artists, the people and local context. plaque laying out the differences in the This is less of an exhibition and less of Nazis’ treatment of humans versus a place where things are only presented heralds the layered, chaotic sound of and more of a place that engages the cacophanic barking, the words “dogs artistic production process.” were treated when ill, people not at To sit, ensconced in the cool, calm all”, causing a bitter feeling in the pit space of the room makes you suddenly of your stomach. The black, winding extremely self-aware of the absurdity passages, ending in bright video footage of the situation: sitting in a building of decaying meat and dogs gnashing in Sharjah, watching images of an at the camera through link wire fence artificial desert within a building in the causes paranoia and panic. Rare is the very same location. Smile, You’re in installation piece that truly grabs and Sharjah is notable for the way in which it confronts the audience as powerfully as instantly connects with the audience; the this: It is a sobering moment. roundabout depicted is a local icon. The Biennial succeeds par excellence in creating mini-spaces a world away; On It is a journey through Alice’s Wonderland as room upon room reveals an endless array of installations and artworks, each more fantastic than the last.

58 Clockwise from top left: Jane and Louise Wilson. Spiteful of Dream. 2008. Media video installation; Sheela Gowda.

Sasayama, Bobby and Laura, Harold and Maude, Kelly and Griff, Maria and Felix, Shirley and Cyril, Stephanie and

Some Place. 2005. Sound installation; Lara Favaretto. Amamiya and

Sabrina. 2009. Mechanical installation.

59 The black, winding passages, ending in bright video footage of decaying meat and dogs gnashing at the camera through link wire fence causes paranoia and panic. Rare is the installation piece that truly grabs and confronts the audience as powerfully as this: It is a sobering moment.

Samira Badran. Have a Pleasant Stay! 2009. Mixed media turnstile installation.

Hala Elkoussy. On Red Nails, Palm Trees and Other Icons – Al-Archief (T

Red Nails, Palm Trees and Other Icons ake 2). 2009. Mixed media installation. – Al-Archief (Take 2) by Hala Elkoussy, a room within a room, lined floor to ceiling House, Laurent Grasso’s The Wider with Egyptian photographs, videos and the Vision, the Narrower the Statement pictures of movie stars, is akin to stepping (Kullama Ittasa’at Al Ru’ya Dhaqat Al-Ibara) into a fortune teller’s boudoir, to Maider Lopez’s life-size Football Field, an instant teleportation into another complete with drinking fountain, are just universe. Jane and Louise Wilson’s some of the many interactive works that Spiteful of Dream has a Lara Baladi- feel a part of the environment, rather than esque series of kaleidoscopic mirrors temporary installations. These are joined reflecting each other, and sound and by works by Gita Meh, Hayv Kahraman, images of airplane motors causing a Simryn Gill, Lawrence Weiner and Joanna rush of the senses. The other end of Hadjithomas and Khalil Joreige, among the spectrum is Samira Badran’s mixed many others. media turnstile installation, Have a Pleasant Stay!, an homage to the sense It’s all in the Timing of stifling claustrophobia and intimidation Provisions for the Future has to be experienced when going through the commended for the way in which it so Ramallah-Jerusalem checkpoint. wholly interacts with its audience. “I Similarly, the way the works spill out of would like to maintain a certain freedom the museum and into the surrounding of movement outside the box,” agrees area, from the blue neon Arabic script Persekian. “I would like to keep the running down the walls of a hall in Serkal Biennial as a flexible structure that does not, at a certain point, end up restricting itself to a certain definition or criteria that 60 ceases to give it the possibility of flexibility to change. I want it to stay organic and listen and interact spontaneously with trying to pack an entire film and talks arising issues.” programme into one week.” Of the quality of the works on display The film series, Past of the Coming Days, there is no question. But what about curated by El-Fetouh, the jam-packed the infrastructure? Visitors? Talks schedule of talks and The March Meeting, programmes? Having to halt their proved too much for many, with an production programme (running parallel equally packed series of lectures at Art to, but independent of, the Biennial) for Dubai’s Global Art Forum at the same the time being, Persekian is the first to time. All scheduled for the opening week, admit the Biennial had too much to do conflicts of interest and choice perhaps in its opening week, timed as it was, to hindered audience numbers; a pity, as the coincide with Art Dubai next door. “There talks were notable for their punchiness, was way too much to see and do,” he honesty and casual approach, making admits. “This one-week rush of everything them audience-friendly and allowing was definitely not to our advantage. Yet, for a greater level of audience-speaker it was useful to some, especially those interaction and debate. Speakers such travelling who could only afford to spend as William Wells of Egypt’s Townhouse a few days in the UAE. I don’t think we’ll Gallery and Christine Tohme of Lebanon’s be doing this in the future, however, Ashkal Alwan for Contemporary Arts discussed curatorial challenges in Laurent Grasso. The Wider the Vision the Narrower the Statement. 2009. Neon installation. the Middle East, while other speakers

61 included Rem Koolhaas, Khalil Rabah, Tim Stanley of the Victoria and Albert Museum and a liberal dose of figures ensuring that local school students are from the UAE arts and culture scene. brought to the Biennial; something which the museum’s education department Provisions for the Future continues to work hard for, to educate “We learn from our failures and mistakes, audiences and the younger generation that’s the most important thing,” says about art, culture and heritage. The Persekian. He remains undaunted yet works’ vitality and organic placement realistic, weighing up the successes and means they have now become a part failures of the new ‘no theme’ Biennial of their environment, part of a living, format. “By allowing ourselves to think breathing city. Sums up Persekian, “We out of the box – and thereby be given have Art Dubai, Tourism Development the possibility to test it – and receive so and Investment Company projects in Abu positive feedback, an understanding Dhabi and the Sharjah Biennial; I feel that of where we come from and what we the sum total of all these events is far are trying to do, is perhaps the greatest greater than what they each alone stand success I can think of.” for. It is, I think, of strategic importance for Now that the madness of its opening us to maintain this sort of co-ordination weeks have passed, the question hangs and try to create a really fertile ground for in the air: What next for the remainder art and artists.” of the Biennial? A well-organised and extensive education programme (comprising some 9000 students) is Sharjah Biennial 9 runs until 16 May. For more information visit

David Spriggs. Axis of Power. 2009. Multi-dimensional installations. www.sharjahbiennial.org

62 guggenheim talks The Guggenheim Abu Dhabi series included a spectacular line-up of talks that featured some of the art world’s greats. Here are some sound bites from the plethora of intellectually stimulating sessions that took place on 7, 8, 9 and 18 March at Gallery One, Emirates Palace Hotel, Abu Dhabi. IMAGES COURTESY OF TBWA RAAD

“Works that are the most relevant are those than can sustain themselves.” American artist, Jeff Koons. “You got me there! We can plant a few and I’ll tell Frank Gehry about the palm trees.” A reply from Thomas Krens, Senior Advisor for International Affairs, Solomon R Guggenheim Foundation, New York when asked if palm trees can be included within the Guggenheim Abu Dhabi since they symbolise the Middle East. “You’ll know it when you see it.” British curator Sir Norman Rosenthal’s reply to an audience member who asked, “What is art?” “We all like to play with fire.” Palestinian artist, Mona Hatoum

“I am deeply obsessed with red.” “Painting Indian/British artist, is a way of Anish Kapoor thinking.” Iranian artist, Rokni Haerizadeh

63 by the creek at al-bastakiya This year’s fringe festival, the Al-Bastakiya Art Fair, that ran from 15-22 March, proved that it too has begun to mature, with a cohesive selection of artworks, installations, talks and education programmes. TEXT BY MYRNA AYAD AND ANNA WALLACE-THOMPSON IMAGES COURTESY OF GREEN ART GALLERY,wasNADI Tashkeel,NE KANSO an ANindependentD LAUDI AresourceBILAMA olta is to Art Basel as Al-Bastakiya for artists and designers, who staged a Art Fair (BAF) is to Art Dubai. group show that tackled the concept of VFormerly known as the Creek Art identity vis à vis immediate surroundings. Fair, BAF is where works by emerging For those who have been to Beirut, talent from the UAE, and indeed, the Nadine Kanso’s Wal3aneh… Beirut/Dual Middle East and beyond, come together. Reality installation at B21 completed Nestled in the old houses of Al-Bastakiya, its mission (and a half) through its this historical plot of land comes alive, astounding ability to transport viewers a contemporary version of the winding to Beirut. The 10 images plastered streets of Arabian folklore. It wouldn’t against the walls screamed the city’s have been surprising to see Sinbad come dual realities – the vibrant, unrivalled around a corner, or a hookah-smoker nightlife versus societal frustration and from an Orientalist painting sit, cross political turbulence manifested on Beirut’s legged in one of the doorways. Yet, words urban walls. “I am also pointing out that like ‘with it’, ‘together’ and ‘cohesive’ there is a problem [in Beirut] that has define BAF’s third edition. With weather not been solved,” explains Kanso of still bearable before the UAE’s summer the juxtaposed realities. A second time heat sets in, along with the provision of participant at BAF, the photographer had XVA Gallery’s trademark black fans, this conceived the installation idea and chose was an inspiring adventure for visitors BAF for its exhibition largely due to the – and the valet parking was a welcome “contained space that would give justice relief in the crowded streets of Al- to the images.” Feedback was positive Bastakiya and its environs. and trickled to Art Dubai, making Kanso’s Three of Dubai’s galleries – B21, Green installation one of the ‘must sees’ when Art and The Third Line – promoted visiting BAF. Another ‘must see’ was their up-and-coming artists, whilst also Laudi Abilama’s “Arabian Pop” at Barasti manning their stands at Art Dubai. House. Warhol’s influence on the young Cuadro, The Jam Jar and Majlis Gallery artist is evident, especially in her Desert were also among BAF participants, as

“Politics, religion and economy; –either Participating one artist,or all Buthayna of them; Ali don’t 64 they ask exist to protect people?” and fezzes. 120 x 120 cm. Right: Nadine

Left: Buthayna Ali. (Detail) I’m Ashamed. Installation view, 2009. Middle: Laudi Abilama. On My Heart. 2009. Wood Kanso. (Detail) Revolution. 2009. Photography on Lambda print. 30 x 50 cm. Edition of 5. questionable choices, with one venue series, but perhaps the one that ‘stole the showing works that can only be dubbed a show’ was her installation, On My Heart, fluorescent Technicolor confusion, leaving comprised of blood-red fezzes arranged one to wonder: Where exactly does one in a heart shape. Born and raised in the draw the line between up-and-coming UK to Lebanese parents, Abilama’s art and amateur? practice involves a to change This year’s talks programme involved existing stereotypes of the Arab world. interesting topics, namely 'You Can Take Goose bumps accompanied Syrian artist, the Artist Out of the Bazaar, but Can You Buthayna Ali’s installation, I’m Ashamed, Take the Bazaari Out of the Artist?', held at the Green Art Gallery space. Hundreds at XVA Gallery and featuring Lorenzo of clear photographs were hung from Rudolf of artparis-AbuDhabi and artist the ceiling, diagonally cutting the room Fereydoun Ave, among others. A far cry in half – beginning at floor level at the from the upscale events being held at Art back until they were close to the ceiling Dubai, the BAF talks seemed more ‘loose’ at the other end of the room. “Politics, – with breaks, pauses, and speakers even religion and economy; either one or all of getting up and answering phone calls– them; don’t they exist to protect people?” but was more than made up for by a questions the artist. The darkened space tangible sense of freedom of speech, as occupied by harrowing images made one well as comfortable and direct audience pause and take in the full gravitas of the interaction. BAF, the fringe fair, felt like installation’s message; the horrors of war, it was maturing in parallel to Art Dubai, the recent (and sadly, ongoing) atrocities proving that Al-Bastakiya’s treasure trove in Gaza, and the world’s inaction in is not the little country cousin, but is in putting an end to such madness. Kudos fact the cool, hip city kid. for such a bold statement. Generally, the quality of works on show this year were For more information visit www.baf.ae impressive, however there were some 65