syria’s PREMIER art gallery opens in dubai MAY 2008 MAY

T h e s t o r i e s behind the In discussion hottest with the key Contemporary players of the artists on the Middle Eastern Syrian scene art market

N a v i g a t i n g the road to success for Modern and Contemporary Arab art From the Syrian capital to the heart of the Middle East’s art market, Ayyam Gallery boasts a vast array of Modern and Contemporary Middle Eastern art. The new Ayyam-Dubai gallery continues to promote the hottest Syrian art in a city that is breaking new ground through its cultural endeavours.

From Damascus to Dubai, Ayyam Gallery has established itself as a powerful and passionate advocate of Modern and Contemporary Arab art. From time-honoured masters to young, upcoming talents, Ayyam’s stable of artists mirrors the richness, legacy and diversity of Syrian art. Since it first opened its doors in Damascus in November 2006, Ayyam’s name has become synonymous with an ever-expanding reach across the Middle East with its participation in regional and international art fairs, as well as the innovative First Ayyam Prize for Emerging Syrian Artists under their Shabab Ayyam Programme. An avid supporter of arts education, Ayyam has also published a vast number of artists’ books in the name of providing the region with a significant source of art literature. By publishing these books on their artists, Ayyam has helped to further promote the artistic legacy of Modern and Contemporary Syrian art. From the mesh of symmetry and faces of the renowned Safwan Dahoul to the abstract strokes and Sufi influence of the young Walid El-Masri, the artists of Syria have seen a dramatic rise in interest in collectors’ circles. Witnessing a new chapter through the launch of Ayyam-Dubai, the gallery continues to celebrate the wealth of Syrian talent and grow from strength to strength at their space in Showroom B11 on the Alserkal Warehouse Avenue in Al-Quoz. 03 A Promising Future

Art is helping to open a new chapter in the life of the Middle East and Arab world THE MIDDLE EASTERN ART MARKET

Samia HALABY «Yellow Spiral» 168X168cm Oil on Canvas 1970 Halaby's «Yellow Spiral» to be exhibited during Ayyam Dubai's opening show

Youssef ABDELKE Ammar AL-BEIK Mouneer AL-SHAARANI Nihad AL-TURK Asaad ARABI His Excellency Abdul Rahman Mohammad Al-Owais, UAE Minister of Culture, visits the Ayyam Gallery stand at the inaugural Haughton Arts and Antiques Fair Dubai. Tammam AZZAM t last, Modern and Contemporary Arab and Iranian art is beginning drives towards independence and thereafter (the effects of which are still continuing Houssam BALLAN Opening 31/5/2008 to enjoy the attention it so richly deserves. Recognised as one of the today), led to a paralysis that stunted the development of the art market. Safwan DAHOUL hottest emerging markets in the world, second only to Chinese and Walid EL-MASRI Indian art, the masters of creativity from across the Gulf, Levant, It was the arrival of the auction houses in the region - the birth of the secondary Samia HALABY North Africa and Iran are becoming household names among the tier of the art market - that has really prompted worldwide awareness. Historically, Thaier HELAL world’s most esteemed collecting circles. pieces of Modern Arab and Iranian art were sold within the category of Islamic art by Mounzer KAMNAKACHE A auction houses such as Sotheby’s in London. However, it was the launch of Christie’s So what prompted this wave of global recognition and why has it taken so long? (Middle East) in Dubai in 2005 that prompted the creation of a new sales category Abdul-Karim MAJDAL AL-BEIK There are always a number of factors that contribute to the birth of an art market. Over - that of Modern and Contemporary Arab and Iranian art. This separate and distinct Abdullah MURAD the last 50 years, the Middle East and Arab world has witnessed the establishment classification encouraged other houses such as Sotheby’s and Bonhams to follow suit; Mouteea MURAD of a sprawling network of private galleries, offering buyers the option of purchasing setting up specific divisions and launching sales focusing on the region. This, in turn, Mohannad ORABI works from an ever-expanding stable of talent. This has built upon the established and led to collectors of other categories, such as Modern and Contemporary Western art Yaser SAFI more traditional model of arts patronage where artistic expression has been nurtured by and Islamic art, to expand their acquisition rationales to embrace this new category. Syria’s Premier Modern & Contemporary Art Gallery Kais SALMAN prominent individuals who served as patrons to selected artists. Over the last three years, there have been a total of five auctions of Modern and Khaled TAKRETI Damascus Mezzeh West Villas, 30 Chile Street, Samawi Building, Damascus - Syria However, one cannot deny the impact that regional instability has had on the art Contemporary Arab and Iranian art by leading international auction houses, with Fadi YAZIGI t. + 963 11 613 1088, f. + 963 11 613 1087, e. [email protected], w. www.ayyamgallery.com market. The trials and tribulations of the post-colonialist era and the subsequent social, other auctioneers such as Artcurial in Paris, France, and Compagnie Marocaine des Omran YOUNES Dubai Showroom B-11, Alserkal Warehouse Avenue, Street 8.Al Quoz, Dubai - UAE political and economic problems experienced by nations across the region during their Oeuvres et Objets d’Art (CMOOA) in Casablanca, Morocco, also opening up to the new Nassouh ZAGHLOULEH t. + 971 50 578 5782, e. [email protected], w. www.ayyamgallery.com 05

market. As a result, a growing number of artists from the Middle East and Arab world now have official sales records. The escalating sale prices of works have attracted the attention of a growing number of collectors from within the region and beyond who now appreciate not only the unbridled talent of practitioners but also the investment potential of art.

It was the arrival of the auction houses in the region - the birth of the secondary tier of the art market - that has really prompted worldwide awareness.

With the growing economic wealth of some countries (particularly those in the Gulf), art has become a symbol of social aspiration and an intellectual force to be reckoned with among those who possess excess financial liquidity. Matched by a pan-regional acknowledgement that it celebrates the multi-cultural heritage and plural identities existent within this

The first editon of artparis-AbuDhabi attracted thousands of art lovers from across the UAE and beyond who richly diverse region of the world, art enjoyed myriad artworks, including those from the Ayyam Gallery stable of artists. has become not only desirable, but an incredibly important vehicle of expression and self-determination.

On a more holistic note, Modern and Contemporary art is assuming an important role as a global ambassador for the Middle East and Arab world. While the ‘CNN-isation’ of the region has promoted a one-dimensional image, art is helping to change the international profiles of Iran and Arab countries; from nations riddled by conflict and disaster to lands steeped in a formidable cultural heritage and with an ever-evolving artistic expression that deals with a multitude of issues, subjects and concepts of a universal as well as

regional relevance. THE MIDDLE EASTERN ART MARKET

A growing number of artists from the Middle East and Arab world now have official sales Louay KAYYALI «Then What» 172x190cm Oil on Canvas 1965 records. The escalating sale Kayyali's masterpiece to be exhibited during Ayyam Dubai's opening show prices of works have attracted the attention of a growing number of collectors from within the region and beyond. A prospective bidder views a work by Ayyam Gallery artist Fadi Yazigi at a Christie’s auction of Modern and Contemporary Arab and Iranian art in Dubai. The Middle East and Arab world have now realised that art is an integral ingredient Youssef ABDELKE for healthy and successful societies. The Ammar AL-BEIK drive towards creativity has become the Mouneer AL-SHAARANI order of the day, bringing increased cultural Nihad AL-TURK tourism, and entrepreneurial thinking and Asaad ARABI intercultural communication. Who better to feed the roots of success than the artists? Tammam AZZAM Museums of Modern and Contemporary Houssam BALLAN Opening 31/5/2008 art, galleries and other cultural institutions Safwan DAHOUL that celebrate indigenous creative talent Walid EL-MASRI are taking root across the region - from Iran Samia HALABY to Algeria. Initiated by both governments Thaier HELAL and individuals, art is confronting audiences Mounzer KAMNAKACHE with what they don’t know, what they didn’t know or what they know in a way Abdul-Karim MAJDAL AL-BEIK they didn’t expect. Abdullah MURAD Mouteea MURAD Mohannad ORABI Yaser SAFI Syria’s Premier Modern & Contemporary Art Gallery Kais SALMAN Khaled TAKRETI Damascus Mezzeh West Villas, 30 Chile Street, Samawi Building, Damascus - Syria Fadi YAZIGI t. + 963 11 613 1088, f. + 963 11 613 1087, e. [email protected], w. www.ayyamgallery.com Omran YOUNES Dubai Showroom B-11, Alserkal Warehouse Avenue, Street 8.Al Quoz, Dubai - UAE Lord Poltimore conducting the October 2007 Sotheby’s auction of Modern and Contemporary Arab and Iranian art Nassouh ZAGHLOULEH t. + 971 50 578 5782, e. [email protected], w. www.ayyamgallery.com in London, where Syrian Safwan Dahoul’s untitled work from his ‘Rêve’ series sold for $69,813.

06 ART AND OPINION AND ART C to begin. fora major Middle Eastern art movement The society and the environment are ripe multi-cultural artistic expression - this is how art new is born. a to birth give will especially,Dubai in cultures of mixture The achievements. their complement and now they are looking at how they can constructioneconomicand development U particular movement in a country’s Bassam life.Kuzbari: The great works. collecting of have we and history this renew about all is art what people own our show to we need we before world, the show So eyes. my opened region has this from art East, Middle the from is who me like someone for Even art. its through is region a or country a certain a sees image. and East at Middle looks the world The Samawi: Khaled the on international scene. art Eastern Middle help embed will to This well. as but society benefit of that mutual their for just not together join should sectors private and involvement in time. After all, the public will media surely stimulate greater government fairs, specialist and art houses of auction advent The region. outside the and inside cultures dialogue between promoting and perceptions opened over the last really few years and it has is changing art to window The ever. than more flourishing is Today,it here. been always has Art Khadra: Ali Middle East? the in plays art feel you do role What AEand elsewhere have been busy with ne way to see the true face of face true the see to way One Art comes at the end of a Middle Easternartmarket. the state of the Modern and Contemporary discuss toGallery Dubai) and(Damascus aai and Samawi Khaled Jeha, Michael Director Managing (Dubai) Christie’s Khadra, Ali Canvas of Kuzbari join Publisher Editor-in-Chief and ollectors for acrosstheLevant. just as they Syrian do for sports. The same culturegoes daily to pages dedicate newspapers Most Samawi: Khaled little very coverage oftheartsinmassmedia. is There Kuzbari: Bassam Canvas andChristie’s. Samawi: Khaled scene? art region’s the about learn you do Where the to time. in sector come arts social will as entrepreneurship well as Entrepreneurship region. this in arts renaissancethea of experiencingare We ofchange. immense time a in living are We Khadra: Ali state subsidies. on rely they institutions; profit-making skyrocket. would artists the of credibility the then Contemporary Arab art and see and artworks, Modern of museuma intowalk to looking for new experiences. If they were are they and days these Dubai visiting society. Around seven million people are to museums. They are part of the fabricgoing up ofgrowing be should region this MiddleEast needs institutions. in People The galleries. commercial on pressure Samawi: Hisham the dutyofcommercialartmarket? educationIsaudience anddevelopment able tolookatitfromeveryperspective. be society, must one on impact its and playineducation. To fully understand art to role key a has Art Gargash: Lamees Opinion Art and H L wvr msus r not are museumsowever, me Grah n Bassam and Gargash amees I benefited a lot from a lot benefited I hr’ to much too There’s H sa Smw o Ayyam of Samawi isham Christie’s Middle auctions Eastern art, of themarket isserious. During thefirst few that know People to want Jeha: Michael increase, wouldn’t you say? Internationalrecognition grows as prices private jetsspecificallytovisit Ayyam. people who came to Damascus on their we have probably had 10 big sales from from of my clients are non-Arabs. They range Ayyam Gallery at becomes. clientele my international more the Khaled Samawi: The more time passes, collections. It’s arisingtrend. Arab and Iranian art and adding it to their at looking all are Asians and Europeans the in Americans, art; Eastern Middle of sales participation Eastern Middle non- growing a seeing now is Christie’s surprise; collectors. by international the people especially of lot a taken has art The Christie’s. of success the determine ultimately will what is that and most the them struck has that art the of quality the It’s nowadays. notice taking and up sitting are people more Jeha: Michael to goglobal? art Arab Contemporary helping is What widespreadinternational gain appeal. to artists enable but buy. Not only will it help us (the collectors) collectorstoknow what tobuy and not to thetime you find nothing. Books educate from this region on the Internet books. I andsponsor now most but of galleries sponsor to used I Gargash: Lamees Hong Kong to California. This year, Y n y esnl capacity, personal my In u erh o a artist an search for ou Internationally, a lot lot a Internationally, Over 60 percent that Ilikebutthereisadded thrillofknowingthatithasgoneupinprice. it. worth it’s because buy will we then time, years three in know that when you buy a piece at $200,000 you know that it will rise to $400,000 increasing but it is not yet at its absolute maximum, they will still buy. As long as you Gargash: Lamees of timebeforeitismirroredintheMiddleEast. matter a be only will It markets. it’sIndian what Western,and is the Chinese in like globally, the prices you traditionally pay at galleries are higher than at auction. That Jeha: Michael door themomentitcomesin. the prices at my gallery are higher than at auction and my stock is still going out the But increasing. are prices that a reason the is is Christie’sThere say before. people misconception: this like demand been never has There years. two last the in Samawi: Khaled acceptance that this market is here to stay.people wondered whether woulditactually survive. Afterfour sales, there’s lotmorea hs s oml I i mroig nentoa patc. f o look you If practice. international mirroring is It normal. is This There has been a 600-700 percent rise in the price of Syrian art Syrian of price the in rise percent 600-700 a been has There f olcos a se ht h pie f n rwr i steadily is artwork an of price the that see can collectors If Khaled SamawiandHishamofAyyam Gallery(DamascusandDubai),Christie’s (MiddleEast)ManagingDirectorMichaelJeha,collectorBassam f course, I buy pieces buy I course, Of Kuzbari, EditorofCanvasLisaBall-echgar, PublisherandEditor-in-Chief ofCanvasAliKhadra,andcollectorLameesGargash. leading internationalcollections, peoplestarttoaspirecollecttheseworks. leading museums and institutions. When you have quality artists and good works in Ali Khadra: We arenotinterestedinone-hitwonders. can artist Every too. aover it do they can sustainedbut paintings good two or one create period themselves of time? establish to have artists The Gargash: Lamees and education,itwillmature. time With there. really not is want people what of definition the and education the but there is art The market. inefficient an is market emerging An side. collector’s the on immaturity an is there general, In bidding. and auctions the at appearing now art in interested been never have who people some see We Kuzbari: Bassam cycles. We haven’texperienced stabilityyetandwehavenothadadownturnyet. East. Middle the in market mature a being from away well It’sJeha: Michael Certainly,factors. of culmination a Wepart. its plays time still are When doesanemergingmarketbecomeestablishedmarket? These artists need to make an impression on the Western curators of the Y ou have to go through go to have ou 07 ART AND OPINION ou just don’t Y Once a few galleries For example, how do There needs to be a Hopefully in 10 years We We do need to see more To To redress this imbalance,

know because there is no archive on the older artists of One of the the reasons why auction houses Middle East. are relying on foreign and not regional sources for consigning older works is that they can be more confident that you determine a fake? show that they are not afraid to spend money to invest, the benchmark rise, will and other suit. We galleries are still young, emerging will and follow on the fringes of the global art scene. We cannot copy the West; we need to surpass them in order to catch up. Lamees Gargash: practiced;conductprofessionalof code which sets a representation, benchmark gallery for commissions, artistand other legislative issues. Khaled Samawi: Is global recognition the only way that Middle Eastern art can gain validation by the West? Lamees Gargash: At the moment, we don’t have a figure like Charles Saatchi in this region. time, we will have big collectors like the Rockefellers and the Guggenheims. Khaled Samawi: The art market needs in especially institutionalised more get to Dubai which is the centre of the Middle Eastern art market. When you good number get of a galleries representing artists in a professional manner, things will begin to change. Ali Khadra: we need to see more involvement from governments and businesses corporate are There well. as East Middle in the and state collections in the West and private individual collections go on tour. This needs to start happening across the Middle East. Michael Jeha: companies buying artworks, building collections, and commissioning artists for public display. But let us not forget how far we have come in the last two or three years! So the players of the Middle East market need to be more professional? art Khaled Samawi:

ART AND OPINION 08 out ofthewaytogostraight artist? gallery the pushing client a stopsWhat and thebestfromeachartist. afford can you that best the chooses Khaled best. the us give will trust who and can we who someone want we busy, too are Collectors me. on sale a ‘push’ doesn’t he anything; me ‘selling’ not is he that fact the like I shows. he Khaled’swhat and taste his judgement, with Ayyam phone Gallery the on for a long beentime. I trust have I develop. to ages takes it and relationship personal a It’s artists’ entirety. their in the work of know bodies that galleries few Gargash: Lamees that reallypushtheirstableofartists. a others are there against then but artists commission to space their rent they projects; estate real basically are is. gallery a what Samawi: Khaled not is it going towork. sides, both by trusted is he unless supply; and demand of middle the in stands gallerist A artist. the and between a client, a relationship gallerist Kuzbari: Bassam What doesittaketotrustagallery? reputation atrisk. my way,put that don’t because I works their validate can who artists living 20 represent I genuine. are pieces the the Guggenheims.” the big like have collectors will we time, years 10 region. in this in Saatchi Charles like a figure have “We don’t Y Y It’s a long-term long-term a It’s ol da wt a with deal only I u ae o define to have ou u ae ns that ones have ou ewe a alr ad n rit s a is artist partnership; it’s assimple asthat. an and gallery a between relationship The it. enforce could that and there is no court in the Middle East court to artist an take to wish no have I one. have don’t I contract. my of copy a wanting me calling been have They artists. with contracts exclusivity make to wanting started have galleries some success. their on burden a be won’t let I - go them will I then better, them represent can who gallery another find can they Samawi: Khaled leave afterayear. artists are fickle; they get impatient Some and parties. both for beneficial are that prices at work their sell to gallery a for years four or three take could it artists, emerging about talking are you If of. dreamed have never could he/she that exposure gets artist an catalogue, Lamees Gargash: the recognitiontheydeserve? gain they that ensure artists can How more galleristslikeKhaledinthemarket. the artists to flourish and create. We need is providing the right Ayyam environmentKhaled artists: their nurturing is ethics. Gallery to enable It’s Kuzbari: Bassam for themselves ortheirfamily. back works holding are know they to that like don’t I gallery. my with Lamees Gargash: I don’t like competing R ockefellers and and ockefellers e te at w months, two last the Over I tell my artists that if that artists my tell I H By being in a Christie’s opefully opefully Lamees Gargash 09 ART AND OPINION

10 AYYAM GALLERY AYYAM Ayyam Gallery(Damascus)exhibitstwoworks byMouteeaMurad(left)‘Wasp’s Tricker’ and(right)‘Wasp’s Maze’.Both2007.Mixedmediaoncanvas.Each145xcm. the Market Making Making Gallery Ayyam I W to Ayyam Gallery sound probably easierprobably soundGallery Ayyam to a gallery?” Samawi says, making the road instead of making an office, put thought, whyI notand walls to make the on artwork starting my was “I Damascus. to moved and art) of works 300 included packed up his family’s belongings (which Syria. of bankerretired and returned to his homeland get to know the artist.” emerging.or Iget establishedmore attached were to art if I they whether artists, living artists. I always wanted to meet the [non-Arab], foreign mostly bought and recalls. “I dealt with two or three galleries and everyFebruary work Iwould at be buying bonus art,” ourhe get would we December “Every Europe. he in living whenwas 1997 in back art collecting a safe.” in them of putting instead on walls your securities. good-looking simplyartworksareThese privatebank. bankermy whole life and this gallery is a private a was I further: step a go even I’d showroom. a as “But Samawi, says client base. “I look at this not as a gallery,” publishinga impressiveanandsidearm profileartists,high young artists’a prize, record of exhibitions, a formidable stable whohas established of animpressive track butwe have matured fast,” says Samawi, young be may “We November 2006. in Damascus of district Mezzeh upmarket Contemporary art. Syrian of face the changing to talents his apply to looking is he now and win, and markets money world’s the play to used Samawi Khaled Founder, Gallery y h tm h ws 8 te private the 38, was he time the By O Ayyam Gallery opened its doors in the n a personal basis, Samawi startedSamawi basis,personal a n top establishedandemergingartists. art to the world by representing some of the country’s promote the best in Syrian Modern and Contemporary approacharttotakingis root. Ayyam Gallery seeks to n one of the oldest inhabited cities in the world, a new e sold his house in Switzerland, Switzerland, in house his sold He as ‘investments’. andAyyam to refer to works market’ ‘the about fashionable than to today,talk nothing is art more to comes it hen Y ou put them them put ou

art market is to command as much much as andrecognitionrespect command thoseasIndiaof to is market art Eastern Middle the If world. wide big, nasty, the in ‘commodities’ termed are whether - bronzesculpturescanvasacrylicoron - art of works that is matter the of truth the but discourse aesthetic pleasinglymore inengage toprefer and luxury good,”saysSamawi. a appearas tobegin willclick.Art will it Syrian art. “ buy to luxury” for hunger “a and liquidity” few years encouraging those with “excess sales force will be very busy over the next Middle East, Samawi is confident that his to raisethevalueoftheirportfolio.” amutually-beneficial circle. I am helping buying.aretheythatpromote art the It’s to moneymore have I then mesupport clientsmy partners.aremy theclientsIf are my partners; Canvas is my partner;artists and are my partners, the auction houses as you can; the way I look at it is that the as you can and sell to the clients as high where galleriesfrombuyyouartiststhe cheap as Eastern Middle traditional to talent one doesn’t always see. “As opposedhecertainly had the business know-how; a first enteredwhenhe market art the but background art the had have not may artists’ateliers around Damascus. Samawi visitingbegan he so East,Middle the of the Modern and Contemporary art scene the putting theminasafe.” of instead walls your on them securities. looking These artworks are simply good- “Thisgalleryprivate ais bank. my dream…thenImetalltheseartists.” mountains.anothertheandin was That coast the on one hotels; boutique two when the kids go off to college, thatI will wife build my tell to used “I was. it than oe a re fo te money-talk the from reel may Some the in oilincreasingthe ofpriceWith and Europe of art the with Familiar U SA,Samawi had little knowledge of L ate 2008/Early 2009 is when Y u put ou

to Frieze and see a similar piece by the by piecesimilar a see andFrieze to Koreanartist and like it; then they will go They will impulse.go to Basel onand see a piece buy by a don’t “Collectors art. world’scollectorsthebuy of lot a where from year), a five to four at fairs(appearing art international the in presence firm a establishto is strategymarketing Isn’t thatbetter?” it? yourself people like for and the forpeople. But not what and should himselfif you for artist paintpaint an that belief a is art…There of business the aboutdebate huge “There’s a Europeans willcome.” priceprintaasreprint or samethein the are 50-60 works whose are artists there top here while value; of thetopgalleries inEurope, seeInothing to go I “When bite. will they when time the is now thatbelievesSamawi failure, in retract to only buyers art American reachto outtried Europeanto past, and the in have, who region the in galleries buyers. Western attract will Dubai) now and(Damascus Gallery influence on the country’s art market. positive having a isbanking sector, it so ever-growing private its in role major a playing is nation’s diaspora the as Just Syria specifically to buy art for their home.”they may live in Dubai or Doha - come to Gulf. “Every andweek to 10 days, Europe I have a couple East, - Middle the in salesare to clients who live outside Syria is hell-bentonbringingthemtogether. two worlds - art and businessExcel - spreadsheet. and its ownerAyyam Gallery traverses fiscal value of art - into the parametersabilitytranslateto altruistic the wellasof as an sensitivityandunderstanding peoplehavethebutwhoalso the - Samawi like Khaled people needs it then China, and cresoe f ya Gallery’s Ayyam of cornerstone A Samawi is also confident that Ayyam that confident also is Samawi AyyamGallery’sproportionlargeof A lk other Unlike U S. TheS.

to introduce the concept. “If I knew knew I a such cause to going was “If ‘exclusivity’ concept. the introduce to first the of one isAyyamGallery fact, welcome. In galleries and one artists not all and that region Arab the to new fairlyis West,it the practicecommonin proportion ofthesaleswemake,”hesays. a stable income plus security; a of kind of them. For five years they will have some reallymoved ateliers me. So Isigned their acontract with in 10 living are artists tohis gallery. “The fact that some of these shortlistAyyam Shabab the of some up signed Samawiprize, the to addition In awarded.moneyprize$10,000 the and which the three winners were announced Ayyamalso exhibits its art), at the end of (whereDamascus Seasons Four The at ballot during an unforgettable gala dinner shortlist of 22; 42 people a voted selected in a Gallery secret Ayyam year, first its 40. of age the under emergingfor youngSyrian artists competitionAyyam,a Shabab is project artists.of call role its of price sale the on influence indirect an have will end the in that initiatives artistic of importance the understands owner its is mypartner.” houses auctionare my the partners,partners; my Canvas are way I look at it is that the artists clientshighasyouascan; the as artists cheap the as you fromcan and buysell to youthe traditional to MiddleEasterngalleries where opposed “As for anartist.Now, that’s exposure!” what you have. That is similar to 10 see peopleshows 7000-8000 fair, a at “While people will see an artist’s work,” he says. sense. “A solo show means that perfect 200-300 makes rationale Samawi’s and calculations the Make buy.” to decide differentfair,theythat’s whena at work his see they time third the artist; same While contracting artists may be be may artists contracting While Ayyam Gallery may well be private but O ut of 150 applicants in in applicants 150 of ut O ne such ne

11 AYYAM GALLERY

12 AYYAM GALLERY AYYAM Behind thesceneswithfounderofAyyam Gallery, KhaledSamawi. banker, I used to be a growth investor; not a value investor,” he explains. “When you a was that.“WhenIIf just Samawi’sdo abouttoright,Middlejackpot. Easternishunchisart the hits art their as soon as disappear labour its of fruits the see to only better?” he asks rhetorically. that Isn’t it? like people and yourself for paint you if what But people. the for not and himself for paint should artist an that belief a is There background: Communist or art. of business the about debate huge a “There’s renown. international to road the on already are whom of many signed exclusive global contracts with 20 artists in the gallery’s first year of operating, bigfuss, Iwould have named my gallery ‘Exclusivity’!” laughs Samawi, who has now Abdul-Karim MajdalAl-Beik ARTISTS REPRESENTED After all, Ayyam Gallery is not about to invest time and money on grooming artists artists grooming on money and time invest to Ayyamabout all, not After is Gallery Mounzer Kamnakache BY AYYAM GALLERY Mouneer Al-Shaárani Nassouh Zaghlouleh Mohannad Orabi Tammam Azzam Y Houssam Ballan Abdullah Murad Mouteea Murad Ammar Al-Beik Safwan Dahoul Omran Y Walid El-Masri Khaled Takreti oussef Abdelké Nihad Al-Turk Samia Halaby Kais Salman Asaad Arabi Thaier Helal Fadi Y Y aser Safi azigi ounes ere in Syria, most artists come from a Socialist Socialist a from come artists most Syria, in Here Works byemergingartistWalid El-MasriatAyyam Gallery (Damascus). want tobuy’.” I and something to up is Samawi ‘That say, “They says. he jealous,” are “They interest?business new his about think days banking his from friends his do what revels in his new career as the owner of one of Syria’s premier art galleries. But before itcorrectsitself.” that when something has been deep value for a long time, it is going to shoot up a lot Christie’s, of Canvascombination anda galleries.been So has now catalyst we arethe enteringand a value growth deep phase. has I knowart from Eastern experience need something to happen so that it doesn’t stay cheap for the next 20 years. Middle deepbuyvalue,catalystneed you a moveexample,Forit. to cheap,buy you ifyou There is no doubt that Samawi is glad to be free of the currency markets and and markets currency the of free be to glad is Samawi that doubt no is There 13 AYYAM GALLERY

14 SHABAB PRIZE SHABAB choosing three finalists. The popularity of the contest testifies to the wealth of tothe eventually testifies the contest and of artists 22 popularity The short-listing finalists. of three task choosing unenviable the had competition art Contemporary Syrian that ensure to continues tohaveapowerfulandimaginativevoiceontheinternationalstage. and future the in invest to social responsibility its fulfilling also is gallery the market, primary the of environscommercial done more than help Ayyam Gallery establish itself as an advocate of art. Beyond the A ih vr 5 apiain, h slcin omte fr h iagrl Shabab inaugural the for committee selection the applications, 150 over With has 2007, in initiated was which Artists, Syrian Emerging for Prize Ayyam The Shabab Ayy The FirstAyyam PrizeforEmerging SyrianArtists Second: Abdul-Karim Majdal Al-Beik future of artistic expression. the nurture to institutions and individuals of responsibility the is it change, experiencing region a In hunger. that feeding continue to appetites the for art increase, theAs regionaldeserve. they art scenerecognition must find waysinternational the getting finally are s one of the world’s hottest emerging art markets, Middle Eastern artists Third: Walid El-Masri First: H asko H asko am 2007

now know thattheyhaveawindowtotherestofworld.” now artists Syrian enough, good they’re “If Moussa. says itself,” in prize enough worthy a was Gallery Ayyam at exhibit competitors.incentive to other “The the bypieces Expressionist mostly the from out stood which 1974), Zabadani, in (born Moussa Othman careers. professional their 1979) have Jaramanah, since in joined (born the Ayyam El-Masri Walid Gallery and stable 1973) of artists, Al-Hasakeh, in marking (born an importantAl-Beik first step in Ayyam Gallery. “I look of founder forward Samawi, Khaled radar,” says the on todefinitely is seeing“Hasko 1973). in Sharran his new work.” to prize first awardedpanel judging the Damascus, subservience of apprenticeship.” Arabmaster-paintersthe oflegacy the rebelliousto theyaremuchasneglectful 1950s theas or againstof ungrateful not the are talents young “These wrote, Arabi Asaad criticreview, arthisoffer. Into has Syriainnovationcreativethat and talentartistic Culminating in an exhibition and a glittering gala ceremony at The Four Seasons Seasons Four The at ceremony gala glittering a and exhibition an in Culminating ewe JI n Aym il e n unforgettable an be will Ayyam and JCI between good art education programme, so the collaboration usuallydon’t havethe time spaceor devoteto a to schools Public idea.” the loved really we “And lery, Gal - Ayyam of founder Samawi, Khaled says 18,” and 14 between aged children for competition art an sponsor to [JCI] Commerce of Chamber Junior International the of chapter Damascus the by approached recently were “We children. Syrian art with the launch of a competition for school Ayyam Gallery widens the scope of its involvement in The IbdaaA Shabab Awarding EmergingSyrianArtists Ayyam experience for these kids. ther works received commendations such as a still-life by by still-life a as such commendations received works Other The The R H unners-up Abdul-Karim Majdal asko ward H asko, (born in Afreenin (bornasko,

Ayyam Galleryhasbecomeapopularmeeting placeforyoungcollectorsandemergingpractitionersastheSyrianContemporary artmarketgainsmomentum. Nominees oftheinauguralAyyam PrizeforEmergingSyrianArtistsdressedtoimpressatthegaladinnerandawardceremonyTheFourSeasonsDamascus. Opening nightat‘TheFirstAyyam PrizeforEmergingSyrianArtists’exhibitionatAyyam Gallery(Damascus)inMay2007. 15 SHABAB PRIZE 16 Frame by Frame

The Scenic Compositions of Ammar Al-Beik

who continues to be blown away by the memory of the event. Unpretentious AMMAR AL-BEIK yet totally driven, Al-Beik is modest yet confidently unstoppable. The fact that he has achieved international recognition despite having neither an educational here is the newness?”W asks Ammar foundation nor connections within the Al-Beik. “Fairuz, old Damascene houses, industry is testament to his talent. Nizar Qabbani...they are all clichés!” As a cinematographer,“ Al-Beik should be at Al-Beik’s spirited enthusiasm is the forefront of innovation but he works coupled with a serious devotion to hard in a field that still finds it hard to refrain work. “No matter what they say, making from praising past artistic glories, sadly a good film is not about group effort,” to the expense of the present. “Did you he says. “It is about the single-minded know there’s a new musical trend called clarity of the director’s vision... and his Trip-Hop? Not Hip-Hop, but Trip-Hop?” skilfulness in staying true no matter what he asks with an enthusiasm he can obstacles arise.” barely conceal. And so he asks again where the newness is. ‘Video Games’ is the title of his latest series of three-minute portraits of fellow Don’t misread Al-Beik’s intentions; he artists in Syria. Within the context of an has no wish to divorce himself from who exhibition, Al-Beik also presents images he is or where he has come from. “It’s not of digitally manipulated sketches by artists necessary for an artist to be someone from the previous generation; creating who leaves behind his family and the a visual dialogue between two separate people who need him for the sake of worlds; and juxtaposing renowned Syrian art.” After all, turning a blind eye to artists, Louay Kayyali with Fateh Moudarres reality would only lead him towards, “A for example. selfishness that I will not indulge,” he says. Al-Beik lives a precarious balancing act; Moving to Al-Beik’s photographic he is pursuing the cutting-edge of artistic practice, his works are carefully designed expression while also giving his care to the compositions, often possessing a narrative traditional environment of his home. dimension as well as abstractions of colour and pattern. In his static examination of Al-Beik’s mastery of light, captured relationships, large images frame small beautifully in ‘Light Harvest’, possesses ones, fringe images allude to central an innate and continuous sense of ones, colours contrast with black-and- rhythm and passing time. “It’s about white and repetition with singularity. the mill next to my home, I hear the Works such as ‘The Museum Warden’, sounds from my room; the workers ‘Sokourov’s Mother and Son’, ‘The Lost coming and going in the early morning, City’ and ‘Abu Ghraib’ are executed in carrying their sacks of wheat. This is his medium of choice - ultra chrome my world,” he says. Having received no ink print on canvas - which, despite the official training, he was quite surprised chemical stench, is the only one that gives that his three-minute film received the the colour intensity he desires. Ishtar (or 2000 Liege Mayor’s Award in Belgium. Aphrodite) sculptures appear frequently “I felt like filming but I had no idea what I in his work. “They are nudes...antique was doing, and that it has a name called stone sculptures from the National ‘cinematography’,” he says. “I was just Museum in Damascus; probably the only having fun.” legitimate example of the naked body in Syria,” he says. “There’s a reality to nudity ‘I Am the One Who Brings Flowers that has nothing to do with shame or to her Grave’ premiered at the 63rd disgrace. It’s about being real.” Defining Venice International Film Festival in what makes a person real is open to 2006. “I could not believe it! Sitting in a interpretation. In Al-Beik’s artistic practice cinema with the likes of Brad Pitt, and - from film to photography – he unveils to everyone else there to watch my film! the viewer a person and a location in every It was the first Syrian film ever to enter story through a thoughtfully manipulated the competition!” remarks Al-Beik, collection of memories. 17

AMMAR AL-BEIK

Born in Syria in 1972, Ammar Al-Beik developed an early passion for photography. He soon left his studies at the University of Damascus, Department of Business Administration, and became a full-time photographer, participating in collective exhibitions inside and outside Syria. In 1995, he became a member of the International Federation of Photographic Art (FIAP) in Switzerland, and one of his photographs (‘The Milkman’) was chosen to be published in the ‘The Earth 2000’ book.

In 1997, Al-Beik shifted to cinematography. He produced and directed his first short three-minute filmL ‘ ight Harvest’, which awarded him the Liege Mayor’s Award in Belgium in 2000.

Over the last eight years, Al-Beik has produced and directed 10 films, has participated in more than 50 international film festivals and has been awarded a number of prizes. Among them was The Venice 63rd International Film Festival’s Prize - Official Selection, Orizzonti Competition - which was presented by The Documentary Film Association of Italy, for his film ‘I Am the One Who Brings Flowers to her Grave’, which had its premiere at the Venice International Film Festival in 2006.

Al-Beik’s favoured subjects are people and their interaction with places. He is particularly taken by the impact of silence on a deserted place and is considered one of the most cutting-edge and innovative artists in the region. AMMAR AL-BEIK AMMAR

(Detail) Ammar Al-Beik. ‘The Lost City 1’. 2008. Ultra chrome ink print on canvas. 108 x 180 cm. 18 19 Reduced Crude to Essentials Expression

Youssef Abdelké Fadi Yazigi

oussef Abdelké is a draughtsman and an engraver, but above all, a

YOUSSEF ABDELKÉ perfectionist. He leaves nothing to chance. The subject is always simple yet the detail is always extremely well-studied. The work is almost bare but the contrasts are outstandingly rendered. The object may seem banal but the canvas is never silent. To understand Abdelké, one has to travel with him in time in order to understand how one has achieved such superiorY craftsmanship.

Abdelké spent the first 15 years of his life in Qameshli, a town where nothing of any interest ever happened. The eldest son of a politically engaged father, his family did not YAZIGI FADI prepare him for art. Nevertheless, Abdelké had an instinctive love for drawing; filling one exercise book after another with sketches and spending hours copying images, reproducing landscapes and inventing portraits and even cartoons.

A childhood of spontaneous creativity made him realise that he wanted to become FADI YAZiGI a draughtsman. “I knew that I didn’t want to do anything else,” he says. “I don’t know where that feeling came from.” Except for a Lebanese cartoon magazine and a Syrian Born in Lattakia, Syria, in 1966, Fadi Yazigi satirical paper, the young Abdelké had little contact with contemporary cultural expression. studied sculpture at the Faculty of Fine “During the years I spent in Qameshli, I only saw two exhibitions; one was by Hanna El- Arts in Damascus. Since graduating in Hayek. I was 10 or 11 years old at the time but I still remember my reaction. I looked at the 1988, he has been working with amazing paintings and thought there was no unity in his work - no real harmony.” Despite a distinct discipline, 10 hours a day, seven days lack of art books and magazines, the adolescent quickly began to acquire a critical eye. a week. Yazigi has had exhibitions in the Abdelké’s life changed amid difficult yet undisclosed circumstances, when his father Middle East, Europe and the USA, and sent him, his mother and two siblings to the Syrian capital, Damascus, for their safety. “I has executed commissions for individual remember the letter my father wrote to my mother after we had arrived in Damascus. It was as well as corporate collectors. He recently like a will, as if he was telling her what to do and how to take care of us,” recalls Abdelké. “I participated in the Delfina Foundation’s read the letter with a lot of emotion and when I finished, I was another person. From an artist-in-residence programme in the adolescent, I had become a man.” UK. Yazigi’s works have appeared at auctions of Modern and Contemporary Abdelké was convinced that he had to take care of his family and find work quickly. Arab art by Christie’s (October 2007), When he saw an advertisement for calligraphy studies at the Centre for Applied Arts, he Sotheby’s (October 2007), and CMOOA immediately thought that doors would open if he immersed himself in the age-old (March 2008), surpassing their pre-sale tradition so he enrolled and began his classes in calligraphy, drawing and graphic design. estimates with panache.

Eventually, his father was able to leave Qameshli and join the family. Abdelké went on with (Detail) Youssef Abdelké. ‘Pots 2’. 2006. Charcoal on paper. 110 x 147 cm. Fadi Yazigi. Untitled. 2008. Ink on canvas. 150 x 170 cm. his studies. Learning the rules of drawing made him realise that a work of art or a poster or a book was the result of a deeply intellectual process. Slowly, he began to understand get up. I cook. I sleep. I of media. Yazigi has created paintings on “Like candy wrappers,” he says. The figures with coffee-bean eyes reaching out with a that art was a “serious matter” and not just “something you were good at doing.” paint,” says Fadi Yazigi. surfaces ranging from two-metre canvases curl around in a nautilus shell-like pattern. bent neck from a snail’s shell in a moment YOUSSEF ABDELKÉ “Art has no purpose.” to pocket-sized papers; using oil, acrylic Creating rhythm and movement, they of curious self-assertion. “My sculptures In 1971, Abdelké enrolled at the Faculty of Fine Arts at the University of Damascus Born in Qameshli, Syria, in 1951, Once somebody tries and ink. With pottery and ceramic plates, he dance like musical notes. “There are no have complex personalities,” Yazigi explains. and majored in engraving. After graduation, his nascent artistic career was cut short when Youssef Abdelké has lived and to give it a purpose, it has explored the relationship between the heroes,” Yazigi affirms. “The people behind “Slightly sickly, deformed, diminutive people his involvement in political activities led to a two-year prison term. In 1981, he moved to worked in Paris for the last 17 years. becomes a tool, and no movement and expression of his characters. the scenes are the most important.” and yet they keep their smiles. They keep Paris where he continued his studies at the École Nationale Supérieure des Beaux The graduate of the Faculty of Fine longer art in Iits purest form. “It is not easy His reliefs are extremely tactile whereas his hoping for something better - optimistically, Arts, later undertaking a PhD in Plastic Arts. His thesis was entitled ‘The History of Arts in Damascus also has a diploma being a painter like me,” he admits. bronze sculptures have an ominous, weighty Bronze sculptures are Yazigi’s most even stupidly.” Caricature in the Arab World’; a subject close to his heart. “My interest in caricature in etching from the École Nationale presence that belies their petite size. favoured form of expression (his bronze boy came from my father, who was far more interested in politics than in art,” he recalls. Supérieure des Beaux Arts in Paris “Yazigi paints with quick, black ‘Che’ surpassed pre-sale estimates at the Yazigi is now composing a series of Over the past 25 years, Abdelké has drawn for many newspapers across the region. and a PhD in Plastic Arts from the brushstrokes on colourful backgrounds. His His approach seeks to capture that October 2007 Sotheby’s auction in London; paintings in his inimitable style of portrait University Paris VIII. rawness of hand captures the vulnerability transient moment of first impressions. Each while two of his paintings were sold in panels. Unlike before, his canvases The artist works on the contrast between the object and the vast space that envelops of mankind and the indecency of existence. piece is pinched, poked, pushed or patted Dubai at the February and October 2007 are checkered and the boxes alternate it with mastery, but the atmosphere that emanates from his charcoal works on paper is Since 1968, Abdelké has created His works are typically untitled, yet their just once for it to take part in an entire Christie’s auctions). Since they are three- between portrait and prose. But who are never the same twice. The shadows are different and the tones are varied. Abdelké projects numerous posters, slogans and style is distinctive; naive yet severe. A sequence of events. Yazigi’s devotion to “the dimensional, his sculptures are the only his subjects? Random people, people he himself in each piece and uses ordinary objects as mirrors of his own sensibilities. “The book covers and has written no less cacophony of wide open eyes, broad smiles, first touch” is crucial to his concept of art. “If works he actually names; as if they were met at the grocery store, friends of friends work of art exists only when it is loaded with human emotion, and when it is rendered with than 30 children’s books. He has gesturing hands and limbs greet the viewer. I make changes or additions, it is no longer born the embodiments of the concepts he was introduced to at dinner parties, all its sincerity,” he says. Abdelké’s objects are never devoid of meaning: the dead fish exhibited across the Middle East and How deep these smiles actually go is up to the original expression,” he explains. he explores. The smooth, bronze surface strangers he has walked by on the street. seems alive; the woman’s shoe is worn with walking; and the empty box in the empty space Europe and his works can be found you to decide. is a crucial part of his attempt to capture Next to each portrait, Yazigi writes how each poses a multitude of philosophical questions. For Abdelké, moving from political to spatial in the Institut du Monde Arabe, the Yazigi’s paintings played an important immediacy and an unhindered impression person describes his or her view on life. expression has been a cleansing process. The dramatic can still be found in many of his British Museum, the Kuwaiti National Yazigi makes no claim to grandeur. He part in the inaugural exhibition series of serenity. Half-man, half-animal and This is a snapshot of the spontaneous and drawings - from an animal’s skull bound with ropes to a dismembered fish’s head, or a dead Museum and the National Gallery of seeks clarity. And clarity, by definition, must at Ayyam Gallery in Damascus. The dwarfish in dimensions,Y azigi’s figures reveal unpremeditated; whatever encapsulates bird with a knife behind it - as Abdelké pursues the credo that less is very much more. Fine Art in Jordan. be simple. He experiments with vigour, background of his canvases can be left plain, an unhinged psychological dimension. ‘It’s the human psyche at that given moment; constantly searching for new combinations or drenched with colour; often psychedelic, me!’ is the title of one smiling human head as immediate as ink on canvas. ABDUL-KARIM MAJDAL AL-BEIK MAJDAL ABDUL-KARIM 21 owever, However, ebanon, Lebanon, ands’ competition organised by by organised competition Hands’ our Y attakia Biennal in 2003; first prize at the ‘Mirror of the Syrian-British L ast he picked year, up the second prize in Ayyam Gallery’s competition e went on to participate in many collective exhibitions in Syria, France, Jordan, France, Syria, in exhibitions collective many in participate to on went He After After Al-Beik’s graduation from the Faculty of Fine Arts in Damascus in 1999, he received a Master’s degree (with Al-Beik’s works Al-Beik’s can be found in a number of private collections throughout the Middle East and Europe. The recipient of outh Art Exhibition in Damascus in 2001; and a diploma of merit in the ‘Think With ‘Think the in merit of diploma a and 2001; in Damascus in Exhibition Art outh RIM MAJDAL AL-BEIK ABDUL-KA birthplace. his of memory the by inspired were paintings first Al-Beik’s Majdal Abdul-Karim 1973, in Syria, Al-Hasakeh, in Born He painted from the memory of the villages in Northern Syria, and the colours of the townswomen’s clothes. displacement drove him to explore the memory of the walls in these forgotten villages and elsewhere. According to Al-Beik, walls walls Al-Beik, to According elsewhere. and villages forgotten displacement droveexploretohim memorythe wallsthethese of in of street life and town history. are archives and indicators 2001. in painting oil in Honours) Iraq and Iran. Al-Beik’s first solo exhibition was held at the Arabic Cultural Centre inand another in 2005 at Al-Sayed Gallery in Damascus in 2001, followed by a show at Al-Hasakeh Shell’s Culturalin Club1998, in Damascus.which was later several prizes, he received the silver prize of the fifth Cooperation’ exhibition held at the British Cultural Centre in DamascusY in 2000; first prize for oil painting at the second the Spanish Cultural Centre in Damascus in 2000. L for emerging Syrian artists and was subsequently invited to join this stable of artists. for emerging Syrian artists and was subsequently Abdul-Karim Majdal Al-Beik. ‘Wall’. 2008. Mixed media on canvas. 170 x 150 cm. Abdul-Karim Majdal Al-Beik. ‘Wall’. His USA, and When When Al-Beik returns to the studio his in authenticity an maintain to Careful “I try to paint spontaneously, The immediate sense of the passage Al-Beik is now exploring tents; grandfather’s grandfather’s ‘shadir’ (a thick, fabric beige with a rope-like texture) more is than far mere cloth. “It fingerwork of holds the the people who wove it, the breath of the people who slept in it, and the wind of the desert that blew through it. after his stroll, he infuses each canvas with with canvas each infuses he stroll, his after revelling surroundings, his of essence the in the individuality each piece offers. basic materials expression, wall-building but used, are Colours tools. Al-Beik’s are a few grey, white, black, reconstruct rather, To minimally; blue. sky a and colours earthy the passage of time, he applies several appear As to ash upon each canvas. falls layers cracks plaster, and starch charcoal, trying thoughts “Forbidden are, they if as to break out,” says applies Al-Beik, who wash dripping the from markings; myriad and scratches to childlike paint of diluted a or arrow spray-painted black a scribbles, random number. without deliberation…like graffiti…like needlessly to bid a in says, Al-Beik kids,” and doodles rationalise the sprays stick-figures, or etches he that numbers scrawled write can’t “Children walls. on canvas his smoothly. They usually write in numbers naivety that I to reflect like backwards. says. he work,” my of daily life on theAl-Beik’s work walls strangely has appealing. made A paper taped to his studio ‘The wall reads walls alone know which was our written secrets’, by Imad Syria’s Mustafa, Ambassador to the also absorbers of human history. are walls bearing the graffiti of frustrated of graffiti the bearing walls are adolescence. one of Al-Beik’s closest collectors. This nota bene is friends just one of and many, some composed by Al-Beik. “If then madmen, of canvases the be walls these madmen are my teachers,” he once wrote.

e e was H drink in the alls history of a place,” Majdal Abdul-Karim Al-Beik bound explains.is alley “Every to have a ‘Saeed thers thers are laden with instructive O ent’ ent’ sign, ‘Allahu Akbar’, or the

R ld Damascus, observing and feeling ld and observing feeling Damascus, Al-Beik has walked around the streets streets the around walked Al-Beik has Al-Beik notices how each wall Al-Beik’s Al-Beik’s creativity reflectsa wisdom

O asakeh, asakeh, in a tiny village of consisting W Wall Wall Reversal Majdal Al-Beik Abdul-Karim Inverts a Symbol of Oppression of of the walls; how they differ from those of his childhood just not is but wall “A how reminiscence. of vessels they are also a for memories,” store it a becomes wall, he says. Al-Beik collects find the are that pasted to (Na’wat) funereal announcements possible it “Is city. the of walls the on or ‘na’weh’, old an of traces without wall a doubtno which one, pasted freshly a perhaps is stuck on top of an older one?” he asks. a different character that over possesses born and raised on the straw. outskirts H and of brick Al- mud, of built houses seven my from straight come walls cracked “The village, Murik, which is a Kurdish word that means ‘bead’, like the Arabic word ‘kharazeh’. It is such andin my village up in the North, Syria, an ancient land, thousands of beads some are It’s pebbles. in like stones, the the among earth, jewellery, traditional archaeological of sort village the that widespread so are they but them.” after named is colour and texture shape, changes time, thanks to the sun and the rain. Some are saturated off warding or with blessing a commemorating religious content, nobody that ill-will. numbers or notices municipality administrative the for except understands officials who placed them. Then, there loves Samira’ on kind of its walls, graffiti Samira’ loves a arrow spray-painted to some place, a ‘For daubs of letters and are walls The numbers children.” by neighbourhood’s the their palimpsest and the daubed drops of paint, their ink. Amid the plaster cracking lie the hints of hidden layers. “I time,” of passage the portray to trying am he says. his years. beyond and sensibility

ABDUL-KARIM MAJDAL AL-BEIK 20 22 23 RenewingTradition Cynical Synthesis Mouneer Al-Shaárani Kais Salman

ais Salman possesses a exhaustion and self-satisfaction are all clothes. They are the tragic heroes of today’s paintings seems to ignite great pleasure unique eye for figurative evident. His cast of characters stare out consumerism,” he says. True, the coiffed among them. “Maybe it makes them laugh, painting. “I paint because from worn faces and podgy bodies; all far hair and high heels reflect a desperate maybe it makes them feel something, I don’t I need to, because it helps too self-obsessed to notice that they have desire to conform. Their posture echoes know,” he says, “I am just a regular guy, me express what I see,” he become the victims of fashion. Somehow, a classical image of beauty, yet their reacting to what is going on around me.” says. Round, full-bodied Salman captures the facial expressions of proportions are far from ideal. obnoxiousK women occupy the full length these desperate egos steeped in demise, Not all Salman’s paintings deal with of a canvas; their voluptuous bodies exhaustion and false hope. “They are “The ratio of 1:5 appeals to me,” says the impact of materialist culture. A series of and round faces sing out. Bodies are beautiful because their ugliness is making Salman, referring to the length of the whole paintings he painted as a reaction to the MOUNEER AL-SHAÁRANI rendered in squashed proportions and apparent a truth that is hidden,” he says. body being equal to five times the length car-bombs that shook the city of Beirut outlined in a dynamic buzz of black, linear Compassion and contempt do not usually of the head. “In ancient drawings, the size over the past three years is overwhelmingly expressionism. The layers of black, go hand in hand, but the idiosyncratic of a figure is proportionally related to its powerful. “I was watching the news,” he white and grey lines that fill in their faces, subtleties that Salman gives his subjects social status. Kings are always the largest says by way of explanation. The disturbing bodies, and even aura, point directly to maintain a tense connection between both size; slaves are the smallest. The figures I images he witnessed on the screen provoked MOUNEER AL-SHAÁRANI an intertwined complexity of emotion and sentiments, resulting in an immersed, am drawing are part of today’s self-centred Salman to create a body of large, Abstract desire. A solitary item of clothing - the intense portrayal of twisted humanity. society. They think they’re so big but they Expressionist paintings that release the Born in 1952, Mouneer Al-Shaárani underpants of a fluorescent bikini perhaps - are actually so small.” shock of senseless violence onto the appears in solid colour while the background There is definitely something striking canvas through a rapid flurry of red, black

studied calligraphy under the great master KAIS SALMAN Badawi Al-Dirany and later attended the stands in severe contrast with the physical, about Salman’s paintings. His works are Salman is a quiet, polite and thoughtful and great brushstrokes. Faculty of Fine Arts in Damascus. His mental state of the subject, heightening the not pretty yet they are heavily satirical amid man. He has compassion for these figures, prolific work has been exhibited across the energetic chaos that exudes from these the messiness of execution. The viewer and depicts his characters, amid a spirit No doubt, the world around Salman is world and can be found in the collections figures. “I like to make their ugliness a sort immediately recognises this and shares of joviality, as if they are the butt of jokes. changing and the feelings he expresses in of the Malaysian Museum for Islamic Arts of beauty,” says Salman. a moment of collusion with the artist’s Whether it is harmless fun or an accusatory his work explore the full realm of responses and the British Museum. Al-Shaárani mockery and even self-mockery. Implicated interjection is up to the viewer to decide. to the chaos of the world today; anxiety, worked as a calligrapher as well as a book Salman ingenuously captures individual by existence, the viewer sees himself part Most of the people who collect Salman’s indulgence, acceptance and rejection. and print letter designer. In addition, he states of mind through an unusual painting and parcel of the society Salman portrays. work are themselves members of the social “Syria didn’t used to be so crowded, so is also a published author, art critic and style and intuitive sense of perception. “The human being is my focus; their elite. The obsessive consumerism and polluted,” he says, perhaps referring to calligraphy historian. Boredom, delight, arrogance, curiosity, bodies, their facial expressions, their stereotypical haughtiness of his farcical morality as well as the environment.

Mouneer Al-Shaárani. ‘My Resolution Rejected but what Discretion and Reason Required; My Delicacy, but What Passion Demands’. 2006. Gouache on paper. 120 x 200 cm.

fter nearly three decades, Dirany tested me for my passion and honed seen in their titles - ‘The Wound Does not that touch the spirit and liberate calligraphy the famed Mouneer Al- my craft through discipline.” The young Hurt he Who is Dead’. from the golden prison of preservation.” Shaárani returned to Syria; student remained in Syria and studied with back to the roots that Al-Dirany until his death. With his teacher One of the pillars of each piece is the After all, why should history be kept inspired him to embark gone, he continued his studies under his strong bond between the philosophy of in a glass box? The heritage stifled today on his journey to become own steam and taught himself through Arabic calligraphy and the aesthetics of art. only blossomed because it was given the Aone of the region’s greatest innovators books and illustrations, just as he had done “I focus on how the eye absorbs the image. freedom to grow. People like Al-Shaárani of Arabic calligraphy. as a child. A period of intense observation Viewers think about the abstract structure appreciate the role he and others have and study followed. “I soaked up every little of the piece first and can find the meaning to play in allowing the path of evolution Born in 1952 in Damascus, Al-Shaárani detail wherever I was; museum artefacts, afterwards. But like any artwork, it must to continue. Otherwise, our history, its did not have the fortune of picking up a architecture, engravings, all sorts of things.” catch your attention. Each time you revisit meaning and relevance will become lost familial fervour for calligraphy. A hefty it, you should see something different, on future generations. combination of childhood curiosity and Works are embossed with a lyrical something new.” instinct was enough to lure him into philosophy as seen in their titles - “My works are coming from KAIS SALMAN the welcoming arms of title designs and ‘The wound does not hurt he who At first glance, Al-Shaárani seems a poetry, philosophy, Sufism, the book illustrations. is dead’, ‘Serenity is a fruit from contented man, comfortable in the mastery New Testament as well as the Born in 1976 in Tartous, Kais Salman the tree of wisdom.’ of his field. But scratch below the surface Qur’an; sources that touch the spirit graduated from the Faculty of Fine Arts in Nevertheless, to truly understand any and one sees a hungry spirit that has not and liberate calligraphy from the Damascus. Salman quickly moved from great art form, every apprentice needs In Al-Shaárani’s work today, colours changed since childhood. “There are so golden prison of preservation.” Abstraction to personification, surrounding a master. Determined to acquire a solid reverberate through the meaning of a many things I still want to achieve. The colour and embracing a monotone world. foundation in the techniques and tradition sentence, the movement of the script and history of Arabic and Islamic calligraphy Few can deny that Al-Shaárani has had a Turning his experimental mind to the of calligraphy, Al-Shaárani went to Badawi the emotion of the piece. For the artist, permeated every aspect of our Arabic major influence on the movement of Arabic material, he went on to work with iron, Al-Dirany, the greatest Syrian calligrapher of each must complement the other in perfect heritage… it is everywhere we look. I want calligraphy. His publications exploring canvas and other media, before arriving at all time. “Once he’d seen a sample of my balance in order to reinforce both meaning to bring that back.” Al-Shaárani’s dream six types of Arabic script are mandatory his current style of artistic expression. work, he told me to bring two copybooks, and message. is to renew the practice of the Arabic reading for students of calligraphy. In the Salman has participated in a number one large and one small. He wrote one line calligraphist as an artistic chameleon. words of the artist, Hussein Bikaar, “He is of collective exhibitions with galleries in and then told me to copy it on 50 pages.” He glides effortlessly between a range regenerating an expressive style and Syria (including the French Cultural Centre After a week of what many would think of calligraphic scripts - Kufi Nisabouri, No one can deny that Al-Shaárani fashioning a language which is capable in Damascus), Tunisia and elsewhere. was exhaustive and irrelevant rote learning, Kufi Kayrawani, Kufic Eastern, Square practices what he preaches; to build upon of survival and self-determination.” In 2006 Al-Khandji Gallery featured he submitted his reams of script. Once Kufic, Maghribi, Thuluth, Diwani and the foundations of tradition and place it His unshackling of context and his re- his work in a major show as part of the corrected, Al-Dirany decreed that he repeat Taaliq. Working on silkscreen with China within the context of the modern world. examination of bygone scripts has injected celebrations for ‘Aleppo - Islamic Cultural the process again and again. ink and gouache, composition begins with Although he respects the role Islam has new vigour into this practice. “I hope I can Capital’. Salman also won the first prize finding the right phrase or sentence that played in the history of calligraphy, he is more establish a new movement which builds in the fourth Youth Art Exhibition in Many today would be abhorred by this reflects his perspective on the world at the than aware of the value that the practice has the relationship between Arabic calligraphy Damascus in 2003. His works can be bygone learning method but Al-Shaárani time. The poetic impact of the literature for secular society. “My works are coming and other forms of art,” he says. Few can found in collections in Syria, Jordan, fervently believes that this was the best way he chooses speaks for itself. Works are from poetry, philosophy, Sufism, the New deny that, for Al-Shaárani, the writing is Kuwait, Bahrain, Tunisia and France. for him to master the art of calligraphy. “Al- embossed with a lyrical philosophy as Testament as well as the Qur’an; sources already on the wall. Kais Salman. ‘Fashion Series’. 2008. Mixed media on canvas. 180 x 180 cm. Safwan Dahoul. ‘Rêve’. 2007. Acrylic on canvas. 180 x 180 cm. Silent Silent

Elegance The Distinctive World of Safwan Dahoul of Safwan The Distinctive World

SAFWAN DAHOUL 24 25

car, ever. Even now, among the younger palette and my subject matter the same. as natural as he is. His inspiration comes generation, who are supposed to wear They are really not the same at all.” from the process of creation. His work is not whatever they want to wear because they the culmination of pre-meditated ideas. The are still young, I challenge you to find No wonder then that ‘Dream’ has question arises of how his paintings can colour.” Stylistically and conceptually, been the title of his work for a long time be a personal diary when the iconography this colour minimalism is an important now; “20 years ago I started painting a is usually a female figure? “I believe in ho is this womanW you’re always painting?” is aspect of Dahoul’s artistic practice. “Less series I called ‘Dream’, and I had no idea the spirituality of things,” he explains, a question that people always ask Safwan colour means clearer ideas, less colour that I would keep on doing it. I can’t help “The surrounding blackness could be a Dahoul. “I am not painting the woman; it asks for a more sensitive perception from it. They’re all ‘Dream’,” he says in a quiet man embracing the woman. Maybe the “is the blackness that’s around her - the the viewer,” he explains. “Other painters self-reflective voice. “Sometimes it’s just couch that carries and embraces her is space,” he says. Space, or rather, the can do bright colours, and I have full a gentle way to cover up the harshness of a man or maybe the bed of nails...” The relationship between the human being and respect for them, but it’s just not me.” life. Sometimes it is a call for silence, emotional force of Dahoul’s paintings is space, is the notion that occupies Dahoul’s Sometimes, it is a game...The space stronger and deeper than they might artistic mind. “Am I drawing the space “I am not painting the woman; changes, the characters change, but the appear at first glance, similar to the DAHOUL SAFWAN and which makes a figure appear it is the blackness that’s around title is always ‘Dream’.” The central figure, depth of sadness that lurks behind the within? Or am I drawing a figure, and her - the space.” often a woman, is simultaneously majestic, artist’s jovial façade. the space is a by-product? Which is the distant, tender and fragile. A luminosity glows negative and which is the positive?” He The images that appear in Dahoul’s behind his constructed world of shadows. Overlapping geometric shapes are a answers his own question, “Most of the paintings are soulful, dreamy, seekers of distinctive element in Dahoul’s work, often time, I feel I am drawing space - how the silence. Masks are a prominent feature In his most recent exhibition, the resulting in a flattened perspective that space is everywhere, surrounding us, in his work. They hint at an exploration woman he draws appears several times emphasises the expanse of the canvas, even inside us.” of the psyche, a questioning of the self, curled up in a foetal position, closing in on which in turn creates the illusion of depth. or the different layers of self, even the herself (or maybe the blackness is closing Dahoul enjoys the interplay between Dahoul’s canvases are dominated by separation of body and soul. “Painting in around her). Her arms or fingers are circles and squares, sharp angles and black, with shades of grey and beige. He is not poetry, it’s not music. I want to often crossed and sometimes her eyes are smooth curves, which is particularly explains this disinclination towards colour express the inner essence of the human vacant, while in other works they glance apparent around his figures’ jaw-line, as a natural response to his surroundings; being; not with word or sound, but out invitingly, hinting at a possibility of neck and shoulders. The corporeality a reflection of his personal life. H“ aven’t with shape, line and colour.” There are liberation from the closed space. What of a wicker chair, table or couch also you noticed how the colours in Syria are certain elements that appear in Dahoul’s is constant is the viewer’s response – to incites interplay between the abstract so subdued? Even the green of the trees works such as a table, a chair, a woman, protect this mysterious woman. and the realistic. Every once in a while, is pale,” he says, “I don’t ever remember a couch or a frame. “Repetition is not a Dahoul allows a tiny pair of angel wings seeing people wearing bright colours bad thing,” he says. “I am fascinated by Dahoul considers his paintings to be “a to appear. Like a blessing, a promise or here. Growing up, nobody wore yellow this combination...I can capture so many daily diary” of his life; continuous, personal, reprieve, they materialise on the woman’s or blue or pink. I don’t remember a red hidden feelings by keeping my colour spontaneous. The repetition of elements is shoulders, or appear near to her heart.

Safwan Dahoul

After his graduation from the Faculty of Fine Arts in Damascus, Hama-born Dahoul moved to Belgium where he undertook a doctorate in Plastic Arts at the Higher Institute of Plastic Arts in Mons. This experience nurtured a deep attachment to the great Belgian and Dutch masters of Bruegel, Bosch and Knouf.

Dahoul’s works have appeared at the Christie’s (February 2007), Sotheby’s (October 2007), and Bonhams (March 2008) sales of Modern and Contemporary Arab Art in Dubai and London, exceeding pre-sale estimates each time. In March, one work by Dahoul sold for $135,000 at the Compagnie Marocaine des Oeuvres et Objets d’Art (CMOOA) auction of Modern and Contemporary Arab art in Casablanca, Morocco. Today, he enjoys great popularity among international art collectors and his works can be found in both public and private collections worldwide.

Dahoul has had solo exhibitions in Europe and the Middle East. His solo show at Ayyam Gallery, Damascus, in March 2008, sold out on the opening day. Considered as one of the most distinctive characters on the Contemporary Arab art scene, Dahoul’s elegant portraits - with their clear lines and smooth characters - convey a tendency towards Cubism, while reflecting an authenticity that springs from life itself. WALID EL-MASRI WALID 27

e H He e also H Lebanon, Jordan, I R ne ne of his won paintings the O -MAS L ID E ID L No stranger to acclaim, El-Masri collective many in participated El-Masri A solo exhibition at the French Cultural Cultural French the at exhibition solo A e won the second prize for photography photography for prize second the won e WA Born in 1979, Walid El-Masri insists on having the chair as a subject for all his works, giving it different connotations as a central or an abandoned item. a raises repetition of use his that asserts different question each time, related to human existence. studies his during prizes several received of at in Arts Fine the Faculty Damascus. H at the ‘Colours of Damascus’ workshop in 2006. third prize in Ayyam Gallery’s inaugural competition for emerging Syrian artists, 2007. The Shabab Ayyam exhibitions in Syria, Italy, Spain, Iran and Turkey. in participated a number of workshops, Modern such Art’ as which ‘Discovering was held in Paris, France, in 2005. also also participated in the 2006 summer academy of a Darat received he Al-Funun, which of Amman, end the at Jordan, certificate in oil painting. followed was 2006 in Damascus in in Centre Centre Cultural Syrian the at second a by Gallery, Ayyam to signed Now 2007. in Paris is work set its to wings spread El-Masri‘s even further as his career progresses. (Detail) Walid El-Masri. ‘Chairs’. 2008. Mixed media on canvas. 180 x 180 cm. (Detail) Walid

is chairs are depicted fromdepicted are chairs His His defiant will-power is still rooted in a quiet is works have a vanishing point that lies beyond beyond lies that point vanishing a have works is H e slowly builds up his paintings e from up a builds to his canvas slowly blank paintings a meaningful e invites the viewer into his world through the use of a prop, or rather, rather, or prop, a of use the through world his into viewer the invites He H

ver ver the past fiveyears, it has lost its trees, increased its traffic and expanded O

alid El-Masri, a tall, soft-spoken, young man, comes from the town of Jaramanah, which lies on the Ghouta Ghouta on the lies which of Jaramanah, town the from comes man, young soft-spoken, a tall, El-Masri, alid outskirts of Damascus. its buildings at a school escape rapid often would rate. El-Masri “I boy, a As knew stone.” of made Jaramanah houses and before he rivers says, and city,” it a orchards concrete became had it crowded, “When punishments and take refuge in the forests of his birthplace. self-confidence; a deep-seated conviction that tells him learning exists beyond the walls of classroom con- ntensity & ntensity nnovation El-Masri defines the process of painting as a condensing of a greater reality. reality. greater a of condensing a as painting of process the defines El-Masri Fast-forward 15 years (after a formal art education and having indulged in a frenetic spell of stylistic experimentation), today experimentation), stylistic of spell frenetic a in indulged having and education art formal a (after years 15 Fast-forward nderstanding this ever-evolving expression is the combination that unlocks El-Masri’s art. “Either we [artists] sink into a dailya into sink [artists] we “Either art. El-Masri’s unlocks that combination the is expression ever-evolving this Understanding El-Masri is creating a conceptual unit. “Visually, an image is either simple or complicated,” he says. “A circle looks like a simple simple a like looks circle “A says. he complicated,” or simple either is image an “Visually, unit. conceptual a creating is El-Masri It might be a challenging notion to follow, but El-Masri needs chairs - or rather, the simplicity of chairs - to be able to explore the more more the explore to able be to - chairs of simplicity the rather, or - chairs needs El-Masri but follow, to notion challenging a be might It es, you will recognise the subject of a ‘chair’ but it is not really about that anymore. That’s the beauty of painting; I no longer need need longer I no painting; of beauty the That’s anymore. that about really not is it but a ‘chair’ of subject the recognise will you es,

Walid El-Masri Walid the surface of the painting. “It is a Japanese style,” he explains. “It instinctively made sense to me.” to sense made instinctively “It explains. he style,” Japanese a is “It painting. the of surface the entity that captures the moment. “Sure, you go to school and get a broad exposure to different styles, but the things that stick to to stick that things the but styles, different to exposure broad a get and school to go you “Sure, moment. the captures that entity you are the things that are similar to the way you already are,” he current says. fixationEl-Masri’s with painting chairs may seem each one is entirely unique. He revels in placing emphasis on their intangible differences. outwardly repetitive, however, multi-layered and rough with rendered are They edge. canvas’s the by truncated or space in floating are they if as angles; obscure the work to resonate. contours with a signature emptiness that fills the lower part of the canvas and allows El-Masri spends his time exploring the of El-Masri notion chairs. his spends time exploring vention. “I used to carve patterns into the river bank and then wait for the water to slowly fill up theI channelswatched of myeverything. drawings. I was fascinated by the way the water rose,” he says. By witnessing “everything changes with each passing moment,” and that, “Repetition is never the same.” nature, El-Masri quickly learnt that “Imagine having a place where you can forget everything.” W routine where we lose our perception, or we sink into a solitary life of creation where we lose touch with our friends,” he says, recalling recalling says, he friends,” our with touch lose we where creation of life solitary a into sink we or perception, our lose we where routine balanced be can’t “I voice. own his of sound the heard had he since weeks been had it realised and phone-call a made once had he how art isolates him, it also connects him to the rest of the world. Just as El-Masri’s if I don’t paint. Painting is a solitary activity.” a key, so as “not to a be key, lost in the world darkness.” is El-Masri’s a purely visual, graphic and guttural place. “Imagine having a place where you can forget everything,” he says. “That is what it feels like to paint.” image, but it is a complicated one. It could mean an orange, a ball or a planet. A chair looks complicated but it is actually very Any horizontal line on a set of vertical lines can be recognised as a chair.” simple. No matter how you draw it, it is just a chair. imagery. of semiotics the dissecting are chairs El-Masri’s elusive meaning of existence. “We like to recognise an artwork, and to know what we see,” he says. “The chairs are a continuous project. continuous a are chairs “The says. he see,” we what know to and artwork, an recognise to like “We existence. of meaning elusive Y explain.” to

I

WALID EL-MASRI 26 THAIER HELAL THAIER 29 Helal had destroyed many is latest work for Ayyam Gallery Ayyam for work latest His In the quest to perfect the projection of his inner self, importance on it. It’s almost as though this is our form of therapy in confronting the is this in as our of confronting form though almost therapy on it. It’s importance hand.” at issues major and colour of paintingssoul. his mirror onlyassortment - an felt leaving truly he those integrates and practice artistic his in chapter a new opens myincorporated have and rhythm the maintained I colourful. more is world “The tonality. relationship with trees that stems from my childhood. They are a symbol of the circle of life,” he says. By tuning into his instincts, Helal is creating harmony on canvas. elal is content with with content is elal H elal possesses a cautious optimism. cautious a possesses Helal While the powers-that-be continue to pull the region’s strings, strings, region’s the pull to continue powers-that-be the While Thaier Helal. ‘Four Seasons’. 2008. Acrylic on canvas. 280 x 280 cm. the Intifada. The film was broadcast on television and received an award at the Cairo Cairo the at award an received and television on broadcast was film The Intifada. the International Film Festival. the direction that the Middle Eastern art scene is currently taking. “Support for Arab Arab for “Support taking. currently is scene art given Eastern Middle the been that has direction the it years, recent in but neglected been had it Previously up changing. is opening art galleries more and Canvas like magazines have now We importance. more same, the All says. he artists,” encouraging and place and this preserve We expression. artistic emotional in rich is East Middle “The

His elal elal elal elal H H Helal. Helal and his younger elal continues to pay tribute tribute pay to continues elal H elal. elal. “At first, I who wondered H elal’s Helal’s work is his collection of One morning in 1973, elal’s work. The contemplative repetition found found repetition contemplative The work. elal’s H elal spent his childhood on his family’s vast farm. The The farm. vast family’s his on childhood his spent elal elal’s Helal’s paintings are provocative. They challenge the H Are they in harmony or conflict? Is it a mathematical Having grown up in a small village North of Damascus, near elal’s elal’s artistic practice, as he attempts to infuse each work with elal’s art; and was particularly prevalent in a series that he exhibited in in exhibited he that series a in prevalent particularly was and art; elal’s Artistic Artistic H elal’s elal’s grandfather would purchase new clothes for the entire H Helal The Harmony of Thaier H to the old adage, ‘The whole is greater than the sum of its parts,’ and he wants viewers to find out why. At first glance, re they birds? Thaier trance? everlasting an or equation elal’s artwork juxtaposed with footage of the Palestinian atrocities during during atrocities of the Palestinian footage with juxtaposed artwork elal’s H Intuition Perhaps another aspect which finds itself in Sufi philosophy is at the core of of core the atis philosophy Sufi The The ongoing political turbulence within the Middle East has spawned a Each Each year, in in Sufism drives toward oriented are more which symbols vague “I indirect, take meanings. multiple spiritual Sufism. They’re far from reality and yet realistic at the same time. Singular says sentence,” one in explained or contained be cannot work my in elements massive world of meaning.” a “They’re far too big for that and there’s surrounded that nature the and canvases large for love his nurtured fields open wide in a were and trees no “There for birds. him painting passion mountains cultivated intentional; not It’s so. do to continues and me on impact major a made sight This sight. be felt in my work,” he says. spontaneous but it can definitely perhaps it’s viewer to decipher an ambiguous, encrypted elements identical arouses message. questions. The The outward repetition appearance of of these seemingly subjects within and that what is intrigues, a precisely structure grid-like mathematical allowed I’ve result, a as and is “I let after. the discussion viewer get and trapped within my artwork. I debate want him/her to to deduce and open It’s repetition. the out figure them to enjoy this and develop an to connection emotional each piece,” says the artist. Syrian-born childhood memories. Maaloula, of town ancient the “I prefer not to talk about war in my work. Politics is in direct contradiction contradiction direct in is Politics work. my in war about talk to not prefer “I to our lives. The people in power can lead and govern others in expresswe so it, about anything do can’t and this see a We choose. they way ourselves in the only way we know how.” tribute to the 200 slain children was a staggering 50 metres wide long. The piece and was the result of 13 a youth made metresworkshop; for the by children, the Fellow children. Syrian artist and art Moualla created a critic Talal short film using of details sister sister woke early to play with a pile of watermelons that had been left in Suddenly,the yard. a fleet of Israeli warplanes appeared inThe the frenzy that sky, ensued left and an mark on indelible began to drop bombs. people these were and why were objects coming down these destructive from the sky. I was confused; my childlike innocence was colliding with hard-hitting reality. is an archetypal example of this ‘movement’, he prefers not to make it his primary focus. “I prefer not to talk about war in my work. Politics is in direct contradiction to our lives. The people in power can lead and govern others in a way they choose. We see this and can’t do anything about it, so we express ourselves in the only way we know he by how,” says. the Triggered horrors of the second Palestinian Intifada, Helal decided to create a massive artwork for the Sharjah Biennial in 1999. Even after the war was over and normality resumed, I the the Even after gaping large forgot war never resumed, was over and normality hole that our he destroyed serenity,” says. The incident of into that morning way in its 1973 found what created I incident. specific one on work to like don’t I theme. general a was “It 2000. looked like bombs exploding, things collecting and then combusting,” says Helal. While artists. Contemporary of generation current the from expression of gamete family in preparation for the annual trip to the city. Beyond these yearly Helal excursions, had no knowledge of urban life. A elal elal AE, AE, H U e e has been H International International O elal’s collector base collector elal’s NESC H U omania. omania. R

is is highly distinctive style combines elal has also received numerous ver ver the years, H A keen advocate of arts education, H O

elal has lectured in fine art since 1997, 1997, since art fine in lectured has elal elal has also at and exhibited galleries H when he joined the teaching faculty of the Sharjah Arts Institute in the to A live. he where participant continues of three consecutive Sharjah biennials, H cultural events across the Gulf, as well as in Belgium, Italy, Egypt and Iran. In he 2006, in part took DFEWA the eighth in Art Modern of Symposium International Carei, THAIER HELAL Born in in Arts Fine Syria of Faculty the in from graduated 1967, Thaier in Syria, 1991. Damascus, a member of the years. 11 last the for Art of Association and presents and both talent technique, a repetition of new universe a concept finds one of paintings, Modernism. In his fused with contraction then distension, rejection. then attraction work his for awards and commendations from the international arts community including the prestigious ‘The Golden Award’ during the Grand 2005 Tehran Biennial. International Now reputation. his with line in grown has hopes one Gallery, Ayyam by represented institutions, cultural museums, more that his welcome and work collectors private into their collections.

THAIER HELAL 28 ABDULLAH MURAD ABDULLAH 31 ike dancing.” There is no end end no is There dancing.” ike L es, es, he has done portraits, Y ne ne who indulges in such energetic O ut of destruction comes rebirth. “Art is “Art rebirth. comes ut of destruction landscapes landscapes and sculptures, but Murad findshimself entranced by Abstraction. back the in sit might question recurring A there that fact mere the and mind, his of is no is answer the wheel that turns the creative process; it is, “like spiralling,” “ says, he to Murad’s “I experimentation. need to break whatever becomes structured.” O struggle, dynamism, is It life! is Art health! Murad, For he says. joy,” especially and darkly a be must artist an that notion the simply is character introverted brooding, disgraceful. “Why should artists he is “Art asks, to world?” this darkness add like lighting a candle.” he is constantly invoking an expansion of of expansion an invoking constantly is he space. This sense of openness can be put for down to the fascination Murad’s empty “An painting. Chinese of aesthetics space example, with for just one tree, a line off-centre of that branch the indicates be an electrifying force,” he says. can to“I is define. get difficult improvisation he says. bored “I quickly,” findthat my style.” single a to limited not are paintings Murad is always adding new elements; he explores different styles or revisits existing lines of enquiry with renewed vigour. is colours is colours H is is paintings H is is lines can compress like a H His work has been exhibited in several galleries and cultural centres is is ability to visually communicate H Murad’s dreams, desires, fears and thers thers are frantically compulsive, or “An empty space with just one off-centre line that indicates the branch of a tree, for example,can be an electrifying force.” subconscious desires is desires a that, language subconscious which that express to seeks definition, by the logic of words and phrases fails to capture. Critics and collectors admire Murad’s work because he is constantly breaking the boundaries. possess a tactile force that stimulates more than just the seeing. single sense of springboard in the corner of a painting; ready to catapult into the open space. O fragile interventions dancing amid commotion. with filled world a collide and crescendo unpredictably and and unpredictably crescendo and collide much deliberation for there is no philosophy without philosophy canvas the no frustrations onto is pour there for deliberation much expression the simply is it work; his behind of life. “I am it he playing,” says. where “It and is from a comes it where mystery to temptation the resists Murad just “I going.” is painting. of process he the over-analyse spontaneously,” happen things let to like playfulness the burden to like don’t “I says. art.” of

e H ctober 2007), dramatically surpassing pre-sale estimates. When asked about the meaning of his paintings, his of meaning the about asked When estimates. pre-sale surpassing dramatically 2007), October e e plays with textures and H is is son, Fadi, has chosen to H His brushstrokes oscillate from Homs-born graduate of the Faculty of Fine Arts, Damascus, Syria, has been refining his unique style of Abstract “We all have a daily obsession Considered one of the most celebrated Abstract painters in the region, Murad’s paintings can be found in collections as the understanding of his practice. practice. his of understanding the as layer applies upon layer of often colour; in thick impasto, other times thin and translucent. surfaces, creating collages of newspaper newspaper of collages creating surfaces, cut-outs bound together by waxy paper glue. and considered to condensed and frantic sparse. Forget symmetrical alignment, Murad never pays claim to a or hidden evident configuration; that relation seeks the to tensile express rather he exists between balance and imbalance; that pregnant potential of unexpected nature,” is “Art not imitating movement. explains Murad emphatically. “I inventing something that does not exist.” am “It he says. to to dance,” to paint, draw, Murad is energy.” of the positive release does not see himself as a siphon human expression; his role for as an artist of is thought not or exclusive elitist; and be he resists to like don’t “I categorisation. aspainter,”saysa Murad, whose three children have inherited impulse. his creative study study graphic design. “I am happy that Fadi is building independent, himself a new direction, and trying to get out of my influence,” he says with a satisfied smile. “I like that about my son.” ABDULLAH MURAD The Arabesque for more than three Ayyam at decades exhibition latest Murad’s acclaim. critical substantial now. generated has and beyond, and East Middle the throughout Gallery, Damascus, in March 2007 was an undeniable hit, and coincided showcasing the masterpieces he has painted in the last 20 years. with the release of a 150-page monograph art Arab Contemporary and Modern of sales their in Christie’s by auctioned been have works two date, To world. the across and (February Murad says, “I am not the one who decides; each painting is a living creature. She’s the one to decide and explain her own meaning.”

e has has e H ou ou keep rt is like a dance. Y m o v i n g and mov- ing to e is a serenely serenely a is e H io de Janeiro Carnival. io de Carnival. Janeiro R A Murad Murad is an instinctive Fauvist and complex as is process creative Murad’s “ whatever is whatever going on,” he says. “When I dance, I go crazy with joy!” It surprise is to no hear that Abdullah Murad is a fan of the culture,” our in that miss we - “Sometimes sadness on much too focus “We says. he on expressing negative emotions.” enjoys a painting. with carefree relationship and experimental quiet man, a grandfather although far retained have to seems and elderly, from child. a of that to akin joy inner an and simple primitive, is that innocence an sounding the is ‘Improvisation’ untainted. bell of his in soul, manifesting an array of Abstract Expressionist works exude energy that and freedom. Grasping the beauty of embrace Murad’s to paintings is needed not is time instantaneous; the torrent of colour and motion in his works. “A painting takes time to reveal itself,” he says. “It does says. he not glance,” reveal first its at secrets Abdullah Murad. ‘Abstract’. 2006. Mixed media on canvas. 180 x 180 cm. The Indefinable Abdullah Murad The Indefinable Abdullah Dancing to to Dancing

ife’s Melody Life’s

ABDULLAH MURAD 30

proar’ proar’ U He plays with the elements of is playful canvases delight in As As prolific in his dark period, so is H Murad is a keen observer of natural Murad is now married with two ot ot Night’, ‘Abu Ali’s Mood’, ‘Wasp’s “After five years of monotone,Ifelt like Ihad forgotten how to do colour.” Murad in his colourful era, working with a with working era, colourful his in Murad by inspired “I am totally devotion. tireless inexhaustible an with declares he colour,” energy. The titles he gives to some of behind creativity the reveal his paintings his lateral thinking; ‘Firecrackers’, ‘The H ‘Musical Airplane’, ‘Paper Maze’, “All the senses Equation’. and ‘Binomial feed into each other,” he says, as “Just to the a arts do.” Pointing he canvas is currently working on, still emblazoned untitled, with triangular shapes in asks, he greens, and yellows pinks, bright “Wouldn’t this be a great textile for a fashion designer? It shows hope. Abstract expression. Viewing a Murad to is the sound to akin listening painting of improvisational jazz or are intense Colours children. of laughing the sound and plentiful dancing and swirls in a amid random patterning that spirals all and above movement line, celebrates says. he now,” optimist an am “I freedom. “For me, depression is no longer the way.” harmony. harmony. colourthe wheel, mixing primary and secondary colours contrast “They andopposites; red purple. next to green, juxtaposingblue with beside yellow orange, each other to the extreme, so you see them all at full strength,” he explains. fluorescent tubes and jars of paint. “After “After paint. of jars and tubes fluorescent fiveyears of monotone, I felt like I had Murad, says colour,” do to how forgotten to spectrum the exploring on bent is who vibrant his began so And maximum. the colour. of world rich the into venture “Maybe if “Maybe I I had not would succeeded, confidently can I Now there. stuck be still say that those days are gone, and gone good.” for children and teaches art in at standing a colour “I into went in Damascus. school private recalls, he children,” had I once bright by surrounded room a of middle the

ne ne of his O y paintings come to meinflashes,” says Mouteea Syrian-born though “Even Murad. they are Abstractcompositions, they

e began his career as an artist filled filled artist an as career his began e H Murad displays one image after Those days are over as Murad’s

with with rebellious existentialist The contrast anxiety. between pieces created then and now is earliest works clear. consists of a collection of charcoal on paper depicting devils, jokers, and skulls - the disturbing sort of images that are frankly ugly and can only provoke disgust, cynicism. “See how dismay ugly they and actually are? sold I them!” he says with ironic smile on his face, to an referring his entitled Gallery Ashtar at exhibition 2005 show the opinion, Murad’s In ‘Tasa’ulat’. revealed a philosophical aesthetic that issues existential into delve to form used and dig deep into our ethical values. It posed the question, “Why do we look down and see devil’s feet even though we’ve been blessed forgive with you do Why prophets? hearing the of tales the us when our lives are your blood and tears?” your smiling absurdly and anotherdistorted of faces beset with hollow eyes. Even he rapturous the understand quite still can’t “Maybe on. brought works such reception people in tone familiar a rings depression remarks. he nowadays,” are be can They easily alive. much very immersion total Such circus!” a into made and line of colour, vividness in joyful the shape has not always force. been driving Murad’s “Even “Even though they are much Abstract very are they compositions, alive. They can be easily made into a circus!” M Towards Towards ight the L brilliantly colourful Is it testament. that the possible painter style today of those dreary is diabolos is in canvases his the drenches now who man same a jubilant cacophony of colour? “I went that and phase black came through out the other end. I felt I could finallylet it go and do something new,” he says. Mouteea Murad Emerges from Darkness Mouteea Murad Emerges

MOUTEEA MURAD 32 Mouteea Murad.‘Hope’.2008.Acryliconcanvas.180x cm. f ie rs n Damascus. in Arts Fine of Murad moved from his birthplace of MOUTEEA URAD promising future ahead. and has already caught the eye of critics, many of colour whom arebold confidentof thatcacophonies he creating has a in revels now Murad styles, artistic of variety a 2006. in Jordan,Amman, in GalleryZara and 2005 in Damascus in Gallery Ishtar at held were work his of exhibitions Solo elsewhere. and a year later, is testament to his nascent potential. Exhibition in Damascus in 2002, and a diploma of merit at the fifth The31-year-old artist hasparticipated innumerous collective exhibitions inSyria vn rcie scn pie t h third the at prize second received Having Homs to the Syrian capital to study at the Faculty H aving experimentedwith aving L attakia Biennial Y outh Arts Arts outh 33 MOUTEEA MURAD

34 MOHANNAD ORABI MOHANNAD otat i ta te cpue certain a capture they that inportraits sometimes self- all are they Nevertheless, childlike.” masculine, “sometimes character, this of says feminine,” hebe to out turns she “Sometimes Portrait’. ‘Self- titles he which of all canvases, his stylised characterpainting. dominates A it should be random, innocent and free. art should not be too orchestrated; rather, that explain to bid a in says, he garden,” landscaped designed, meticulously a than mesmerising more and beautiful forgottena streetinmorecorner be can cement the in crack a through way its significance. “A small, wild flower making intuitively their senses he yet are,these O system.” belief their with do to hasthat meaning deep a has them on carving are so spiritual... every dab of colour, every says.“Ilove African masks because hethey soul,” with things like “I student. a onan antique gramophone he bought as traditional brass cauldron, and plays them H ananarchic mess of paint and canvases. a pleasure, plain and simple. - it paint,” dosays Mohannad just and wheels colour forget ai a nt understand what exactly not may rabi as kes i vnl eod i a in records vinyl his keeps also e “ O ai a a itntv sye of style distinctive a has rabi to myWorld T O rabi.Painting is ogt theory, forget learnt; you’ve everything that forget to is do he best thing to H is studio is Welcome Syria, H 2006 the at prize first including prizes; several enjoyed a solo exhibition at Zara Gallery in Amman, Jordan. Ayyam Gallery at Emirates Palace in the eight years. In 2007, his work was exhibited at the inaugural artparis-AbuDhabi by last the over Syria outside and inside workshops and exhibitions collective several furiously sketchingashepursuedthisexperimentallineofenquiry further. begancry,hospital.imagination heWatchingandsquirmhis eruptedandthem thehuman form started when hesaw rowa ofbabies inthe incubators oflocala Mohannad 1977, in Syria, Damascus, in Born MOHANNAD ORABI s caies f oor I ut ly with play just colour. I craziness of a is thereline, a orshape a begin “BeforeI mind.expressesthatlegsstateofand a hisworks; therelationship between arms oiin o sleep.position to legged on the floor, or curled up in a foetal says. Sometimes the character sits cross- physically, sure, but their me like look don’t being. “They mood of state is mine,” he hyperbole, rhythms.Itiseverything.” also words, grammar, metaphors, sounds, Poetry is not just about sentimentality, it is you have an eye,” he says. suddenly “It’s and places two like inpoetry. othereach cross “Two arcs shadows. fallen at hint upwards, and small shooting horizontal lines dashes vertical that curves, towards with the possibility of movement.” the canvas, not stable, but tense, vibrating lines; as if the image is not quite frozen on that comes out of the repeating sense of shakybroken that like “I magnet. a like boldinblack lines thatpull theviewer in always the largest feature; almond are shapes eyes Their float. to or fly seeking to with a yoyo, meditating, waiting for a lover, world is my studio and my my and creative release.” My studio my is concern. world gallery’s is the that - exhibitions, sales and for auctions time “The s ics a b fud n h praet olcin o piae niiul in individuals private of collections permanent the in found be can pieces is O h gaut o te aut o Fn At i Dmsu hs atcptd in participated has Damascus in Arts Fine of Faculty the of graduate The Body-language also plays a key role in O rabialreadyhas beencommended artistichisfor practice receivedhasand rabi’spaintings do reveal a tendency Lebanon, Jordan, the The FreedomofMohannadOrabi O hr ie, hy play they times,ther UAE, Saudi Arabia, France, Canada and Switzerland. U AE capital. Also in the same year, person if I didn’t! It is just my release.” person ifIdidn’t!Itisjustmyrelease.” annoying really a be probably would I says concern,”my really not is it and ‘art’ word sincere but that is a different aspect of the recognition.The viewer can sense if Iam forgottenmemory, subconsciousa tugof a viewer, the from personalsomething he says. “ makesanimpact onhimoritdoes not,” painting.afront ofstandinEitherhim it “Justget a random guy off the street and kinds of calculations and formal analyses. these with do to nothing has wayother check!’” The balanced painting - a is it paintingalook atthis say,andway ‘ colours.the“ shapesand the and lines the between relationship the by examining it structurally, and analysing painting.reactingofa tofirst is Theway is mystudioandcreativerelease.” sales - that is the gallery’ssays. concern. “The timeMy worldfor exhibitions,paintings forget,I auctionsonce they’re done,” he and moment.the atdoing am I what in almost secondary. “I am always immersed is work final creative the process where is justsomethingthathappens.” instance, but I wouldn’t have an answer. It “ intentionsimplyrelease,”-a as says.he or plan any without - paints ofbuckets Y ou could ask me why I chose yellow, for Orabi’s and colour with fascination According to O Y outh Art exhibition in Damascus. Damascus. in exhibition Art outh ai es anig s lrcl and lyrical a as painting sees rabi O rabi. “I think I need to paint because U sually, the impact comes from O rabi, there are two ways Y ou mightou O rabi Y O es, ld Mohannad Orabi.‘SelfPortrait’.2008.Mixedmediaon canvas.162xcm. 35 MOHANNAD ORABI 36 37 Ayyam Life Out and About with Syria’s Leading Gallery of Modern and Contemporary Art

Asaad Arabi signs his book for a fan at the opening of his latest exhibition at Ayyam Gallery. ayyam LIFE LIFE

Artist Safwan Dahoul with Carla Masri at the launch of his monograph at Ayyam Gallery. ayyam

Lana Sarhan, Carla Masri and Jouhayna Samawi, some of the members of the Ayyam Gallery team.

Artist Khaled Takreti stands beside two of his works as he talks to art lovers in the Ayyam Gallery stand at Art Paris 2008. Youssef Abdelké signing a copy of his monograph book.

Art lovers, young and old, enjoyed the Ayyam Gallery stand at the Haughton Khaled Samawi gives the keynote speech at the 2007 Ayyam Art and Antiques Fair Dubai. Prize for Emerging Syrian Artists.

Ayyam Gallery Founder Khaled Samawi meets the patron of artparis- AbuDhabi, His Highness Sheikh Mohamed Bin Zayed Al-Nahyan, Crown Prince of Abu Dhabi and Deputy Supreme Commander of the UAE Armed Forces. 38 39

To purchase or receive further information on any Ayyam Gallery Ayyam Books publications, please email [email protected]

Mouneer Al-Shaárani Youssef Abdelké Ammar Al-Beik Safwan Dahoul

Published on the occasion of Mouneer Al-Shaárani’s exhibition at Ayyam Gallery Released on the same day that Youssef Abdelke’s December 2007 exhibition opened To celebrate his April 2008 solo exhibition at Ayyam Gallery (Damascus), Al-Beik’s Published on the occasion of Safwan Dahoul’s solo exhibition at Ayyam Gallery in

AYYAM BOOKS (Damascus) in January 2008, this 133-page hardback book features no less than 136 at Ayyam Gallery (Damascus), this substantial hardback book explores the intricacy of publication begins with photographs of the four people who have served as major Damascus, this hardback monograph records the Syrian artist’s famed ‘Rêve’ series of colour reproductions of selected works by the master calligrapher-artist dating from the artist’s prolific body of work from 1995 to 2007 - a highly creative period spanning sources of inspiration; his mother, father, film director Robert Bresson and footballer works from 2006 until 2008. Beginning with a multilingual definition of the word, ‘rêve’ 1986 to 2007. Youssef Abdelké, fellow Ayyam Gallery artist and celebrated art critic 12 years. With no less than 209 high quality reproductions of Abdelke’s charcoal works Maradona. Images spanning his cinematic career precede a foreword by the Syrian (dream) Khaled Samawi’s foreword goes on to thank Dahoul for being the [Ayyam] provides a clear and concise insight into the work of Al-Shaárani over the 21-year period on paper, accompanied by text in both Arabic and English penned by Ayyam Gallery art critic Bashar Ibrahim, who praises Al-Beik’s 10 films and 16 international awards. ‘dream’. A statement by Dahoul himself (in his own Arabic handwriting) expresses his and delves into his 35-year-long artistic practice. From Al-Shaárani’s humble beginnings Founder Khaled Samawi as well as critic and long-time friend Emil Menhem, Abdelké’s Another text by fellow Ayyam Gallery artist, Youssef Abdelké, celebrates Al-Beik’s dream of always wanting to be an artist and also includes his height and weight! The as the apprentice of Badawi Al-Dirany to his exilic existence and finally, his triumphant inaugural monograph offers readers the opportunity to look back on each step of his approach; likening him to a modern-day Don Quixote. The publication sections the book documents Dahoul’s distinct female subjects, through their perfect symmetry in return to Syria, with English and Arabic text, his first monograph should certainly help to fascinating career; from pieces dating from the mid-1990s tainted with a sense of works of the multi-disciplinary artist through stills of his movies and photography, in its tones of mustard yellow, black and grey. Viewers will be delighted to find sketches of establish his formidable reputation on an international scale. naivety to more recently executed works that proclaim the mature mastery of his hand. myriad styles - from digitally altered images to semi-animated visuals. Rêve’s figures in blue Biro pens too! AYYAM BOOKS AYYAM

Abdullah Murad Nassouh Zaghlouleh Leila Nseir Samia Halaby

This monograph begins with a panoramic photograph of Abdullah Murad’s atelier in the After spending 30 years as a professional photographer working for some of the world’s Dubbed ‘The Mother of Modern Syrian Art’, Leila Nseir’s book opens with a tribute by One of Ayyam Gallery’s newest artist books, this is an exploration of the works of the heart of old Damascus, drawing the reader in with a powerful image that demonstrates most prestigious magazines and news agencies, Nassouh Zaghlouleh expanded his Khaled Samawi, and three hefty forewords by art critics Yara Nseir, Rashed Isa and formidable Palestinian artist Samia Halaby. Texts by Khaled Samawi, Nathalie Handal the overwhelming wealth of his artistic expression in full abundance. In his foreword, horizons beyond journalistic and figurative subject matter to explore the light and space renowned Syrian artist Asaad Arabi. Celebrating Nseir’s ability to combine past and and Halaby herself explore the different periods of her life, from her early student Khaled Samawi pays homage to the “simple, honest and joyful approach to life [that] of his home city of Damascus. The warmth and intensity of his contemplative black present, this hard back book delves into Nseir’s experimentation with Romanticism, works of the 1960s to her ‘Geometric Abstractions’, ‘Kinetic Paintings’, ‘Earth Works’ brings purity and honesty to his [Murad’s] paintings.” The 152 pages of artworks are and white portraits of the city capture its spirit magnificently. With accompanying texts Realism, Abstractionism and Expressionism. Published on the occasion of her solo and ‘Hanging Sculptures’, among many others. Over 100 beautifully illustrated interspersed by short texts by leading critics, Ghyiath Akhras, Omran Al-Qaisi, Issam in French, Arabic and English, including a moving tribute entitled ‘A Celebration of exhibition at Ayyam Gallery (Damascus) in February 2008, readers can ponder the pages showcase her striking works in all their glory, and Handal has gone to great Darwish, Nicole Malhami Harfoush and Bassam Jubeili as well as Abdullah Murad Silence’ by Zaghlouleh’s close friend and artist Youssef Abdelké (who also lived in Paris multi-faceted artistry of Nseir, from the influences of political mayhem and love for lengths to immerse herself in Halaby’s world, producing an in-depth Question-Answer himself, who describes his practice as an invitation to celebrate the freedom and for an extended period of time), this 96-page publication is an excellent insight into the ancient Egyptian motifs to the expression of her own infertility. Pick up this book and interview. From her influences, styles and inspirations, the book also provides personal happiness in a world engulfed by anxiety and injustice. more artistic approach of Zaghlouleh’s photographic practice. take a journey into the world of this complex yet candid artist. explanations by Halaby of the stories behind many of her artworks.

This supplement has been created by Mixed Media Publishing, the publishers of Canvas magazine. Ayyam Gallery Catalogue Publisher & Editor-in-Chief Ali Y Khadra Finance & Administration Elie Barghout In addition to an ever-growing portfolio of publications examining the careers of its artists, Ayyam Gallery Editor Lisa Ball-Lechgar produces a bumper catalogue each season that offers readers a taste of the latest works on offer. The impressive quarterly publication offers a perfect window into the careers of some of the leading players in the world of Assistant Editor Anna Wallace-Thompson Contemporary Syrian art. Full and double-page colour reproductions of artworks - spanning everything from oil Art Director Nataly Abdelnour and ink on canvas to mixed media and sculpture - are previewed within the pages, providing a taste of Ayyam Production Manager Parul Arya Mixed Media Publishing FZ LLC Gallery’s upcoming calendar of exhibitions. The images are accompanied, as always, by insightful articles Distribution & Marketing Manager Fiza Akram PO Box 500487, Dubai, UAE written by some of Syria’s leading art critics, cultural journalists and artistic practitioners. Written in Arabic and Tel: +971 43671693 - Fax: +971 43672645 English, this publication is certainly a cut above the normal art gallery catalogue and merits a longer shelf-life Contributors Zena Takieddine [email protected] than just 12 weeks. Each issue is sure to sit on the coffee tables of art lovers for months on end, allowing Myrna Ayad www.mixed-media.com - wwww.canvasonline.com collectors to amass a formidable body of knowledge as they accumulate each weighty issue.

This supplement has been printed on environmentally friendly paper, which has a natural grain in ivory shade. It is made with 100% Elementary Chlorine Free cellulose and is acid free with alkaline reserve that guarantees long life. The International Art + Design Fair October 3-8, 2008 The Park Avenue Armory, Park Avenue at 67th Street, New York, NY 10065

AYYAM GALLERY Stand C3-C4

Youssef ABDELKE Ammar AL-BEIK Mouneer AL-SHAARANI Nihad AL-TURK Asaad ARABI Tammam AZZAM Houssam BALLAN Safwan DAHOUL Walid EL-MASRI Samia HALABY Thaier HELAL Mounzer KAMNAKACHE Abdul-Karim MAJDAL AL-BEIK Abdullah MURAD Mouteea MURAD Mohannad ORABI Yaser SAFI Syria’s Premier Modern & Contemporary Art Gallery Kais SALMAN Khaled TAKRETI Damascus Mezzeh West Villas, 30 Chile Street, Samawi Building, Damascus - Syria Fadi YAZIGI t. + 963 11 613 1088, f. + 963 11 613 1087, e. [email protected], w. www.ayyamgallery.com Omran YOUNES Dubai Showroom B-11, Alserkal Warehouse Avenue, Street 8.Al Quoz, Dubai - UAE Nassouh ZAGHLOULEH t. + 971 50 578 5782, e. [email protected], w. www.ayyamgallery.com