May/June 2011 saudiaramcoworld.com COOLMIDEAST 2 Mideast saudiaramcoworld.com Cool Written by May/June 2011 Juliet Highet Published Bimonthly Vol. 62, No. 3 Using styles and media as diverse as the countries May/June 2011 saudiaramcoworld.com In a brash clash of colors, from which languages and pop fashion, they come, artists Moroccan artist Hassan Hajjaj’s upbeat portrait of musician of Middle Eastern Marques Toliver is among new origins, working in or art that is breaking from easy outside the Middle East, labels like “Arab” or “Middle are full of new energy that Eastern.” Courtesy of the artist COOLMIDEAST respects the past, is passionate about today and is helping to and Rose Issa Projects. create tomorrow. Publisher Assistant Editor SaudiPublisher Arabian Oil Company ArthurAdministration P. Clark (Saudi Aramco) Karim Khalil Aramco Services Company Administration Dhahran, Saudi Arabia Sarah Miller 9009 West Loop South Karim Khalil PresidentHouston, Texas and 77096, USA SarahCirculation Miller Chief Executive Officer Edna Catchings President and Circulation Khalid A. Al-Falih Chief Executive Officer EdnaDesign Catchings and Production ExecutiveAli A. Abuali Director Herring Design Design and Production Saudi Aramco Affairs Director HerringPrinted Design in the USA Khalid I. Abubshait Public Affairs RR Donnelley/Wetmore Printed in the USA GeneralMae S. Mozaini Manager RRAddress Donnelley/Wetmore editorial Public Affairs ISSN correspondence to: Nasser A. Al-Nafisee Address editorial 1530-5821 The Editor correspondence to: Manager Saudi Aramco World Editor The Editor Public Relations Post Office Box 2106 12 Robert Arndt Saudi Aramco World Tareq M. Al-Ghamdi Houston, Texas Managing Editor Post Office Box 2106 77252-2106 USA EditorDick Doughty Houston, Texas Robert Arndt 77252-2106 USA Assistant Editor ManagingArthur P. Clark Editor ISSN Doha’s New Modern Dick Doughty 1530-5821 Written by Richard Covington A collector and a professor quietly spent 25 years building the world’s largest collection Back Cover of modern art by Arab artists. Finally, last December, Mathaf: Arab Museum of Modern Art This rooftop view of Dhaka, Bangladesh opened its doors in Doha, Qatar. by Reza Shahriar Rahman is among 28 images, all by first-year photography students, in “The Dhaka of My Dreams,” an exhibit produced during a workshop led by photographer and educator Morten Krogvold at the Chobi Mela Festival of Asian Photography. View the gallery online 16 at saudiaramcoworld.com. Saudi Aramco, the oil company born as an international On the Surest Path enterprise more than seventy-five years ago, distributes Saudi Aramco World to increase cross-cultural under- Written by Gerald Zarr standing. The magazine’s goal is to broaden knowledge of the cultures, history and geography of the Arab and In 19th-century Tunisia, he was a builder Muslim worlds and their connections with the West. of the modern nation. In Istanbul, he Saudi Aramco World is distributed without charge, upon tried to save an empire. To the rest of us, request, to a limited number of interested readers. the story of Khayr al-Din shows how the rule of law is—in any nation—a key to prosperity and stability. 24 Blessed by Two Oceans Written and illustrated by Norman MacDonald Brightly painted houses help symbolize colorful blends of cultures from Africa, Southeast Asia and Europe in Bo-kaap (“Above the Cape”), the Cape Town neighborhood at the tip of South Africa, where the Indian and Atlantic Oceans join. Portraits of Commitment 34 Photographed and written by students of Pathshala South Asian Media Academy Faruk Hossain helps lead a youth group that brings doctors to a slum in Dhaka, Bangladesh. He’s the youngest of 11 people profiled by young photographers in Dhaka whose assignment was to tell a brief story of a dream that has made a better tomorrow a reality today. 40 The Multipolar Future Interview by Tom Verde Photographed by Robbie Bailey “I think we are just at the beginning of this phase that I call ‘the New Middle Ages,’” says Parag Khanna, author of How to Run the World: Charting a Course to the Next Renaissance. “Multipolarity, in the literal sense of diverse powers and civilizations coexisting, with none dominating over the others but starting to interact— trade and commerce, but also tension and conflict—that’s a very medieval phenomenon.” 44 Classroom Guide Written by Julie Weiss BRYANT / MATHAF; 16: MAHMOUD BEN MAHMOUD / NATIONAL MILITARY MUSEUM OF TUNISIA / WIKIMEDIA COMMONS; MILITARY 16: MAHMOUD BEN / NATIONAL / MATHAF; BRYANT MISHUK 34: ASHRAFUL AWAL 2: MONIR FARMARMAIAN, “THE TWO CIRCLES,” 2008, COURTESY OF THE ARTIST AND ROSE ISSA PROJECTS; 12: RICHARD OF THE ARTIST “THE TWO CIRCLES,” 2008, COURTESY 2: MONIR FARMARMAIAN, 46 Events & Exhibitions Written by Juliet Highet Written MIDEAST COOL Hassan Hajjaj, “Nikee Rider,” 2007. Courtesy of the artist and Rose Issa Projects. iddle Eastern artists, whether they live in that culturally kaleidoscopic (and ill-defined) region or outside it, are at the Mcenter of one of the world’s most dynamic movements in contemporary art. Their work is suffused by themes of identity, memory, grief, rage and a sense of belonging to ( or alienation from) the place or culture in which they live. The traumatic ruptures of wars, exile and migration that have affected them all are partly responsible—but a different consciousness has emerged in the last few years. What’s new is a cultural confidence and optimism, stemming from the fact of survival and the rising expectations that go with global recognition of the quality of their art. “Everybody thinks we’re crying all the time!” says Rose Issa, a curator of Iranian–Lebanese background whose London exhibitions have given visibility to Middle Eastern artists for 25 years. “But our art is not only about despair. It’s about beauty too—the beauty of ordinary people’s lives, enabling destruction to become hope. The artists who interest me now communicate, fun, color, joy, love.” She points to the photographs of Hassan Hajjaj, a young Moroccan–British artist who captures upbeat rhythms of North African street life in an iconographic style that radiates both warmth and kitschy 2 Saudi Aramco World self-mockery, and who says, “I wanted to express so-called Arab work f you walk into a gallery of contemporary in a cool way.” Middle Eastern art and wonder, “What’s That sensibility, says Issa, is what the new “Mideast cool” is about: this about?” you would not be the first playfully questioning stereotypes and exploring the relationships between traditions and modernity, between “Easts” and “Wests.” I to pose such a question. To better understand it, it’s important to remem- ber that, like all contemporary art, this art ncreasing numbers of galleries in top art centers like London, Paris and New York are exhibiting contemporary Middle Eastern art. At is not only—or even primarily—about Sotheby’s and Christie’s, the world’s top auction houses, sales of beauty, craft or history. It might draw on Icontemporary Middle Eastern art are now regular, hugely success- Looking at those, or evoke them, but it does more ful events that—even during the current recession—generate an upward spiral of record-breaking prices. What’s behind it? than that: It’s there to be thought- To generalize broadly, although contemporary Middle Eastern provoking, to connect with or refer to art is often challenging and iconoclastic, it is nonetheless often current events, trends and personal esthetically beautiful, and rarely either nihilistic or self-indulgent. There’s fire, there’s passion, there’s confidence in its messages and experience, often in ways that stretch its own self-worth. “It reflects the reality of what’s going on in the definitions of artistic media. As often as Middle East,” says Dalya Islam, deputy director of Sotheby’s Middle not, it’s there to ask questions, to East department. “It’s thematically relevant, addressing the issues Contemporary Middle Eastern Art provoke and to challenge. of today.” Venetia Porter, curator of the British Museum’s Middle East department, adds, “Many artists of the region have kept alive an Above: Shadi Ghadirian, from “The Qajar Series,” 1998-1999. Courtesy of the artist. Left: Leila Essaydi, “Les Femmes du Moroc #7,” 2005. Courtesy of the artist and Waterhouse & Dodd. January/FebruaryMay/June 20092011 3 Sara Rahbar, Middle Eastern art. From painting and sculpture to photography, “Flag #19” video, digital images, installations and performance art, technical from the series “Memories excellence prevails. Without Meaning comes from connections to concerns, hopes, experi- Recollection,” ences, questions and dreams shared by artist and viewer. Because 2008. Courtesy contemporary Middle Eastern artists are asking questions and mak- of Saatchi ing statements about society, their works are rarely entirely abstract, Gallery. and often tend toward the figurative and the narrative. “The notion of ‘art for art’s sake’ is inconceivable in the Arab world,” writes Nada M. Shabout, director of contemporary Arab and Muslim studies at avant-garde the University of North Texas. “Works of art are texts both for art culture in the and society.” arts. In many Finally, artists are often aware that greatness in any of the arts is cases, this has about transforma- sadly required tion. In this personal sacri- regard, the con- fices, including temporary devel- emigration and opment of persecution, but calligraphic art is it is these art- particularly ists’ persever- inspiring: It can ance that has cause the spirit to allowed a soar, even if the greater level of viewer does not understanding read Arabic. Elisa- of the cultural achievements of the contemporary Middle East, at a beth Lalouschek, time when such understanding is needed more than ever.” artistic director of Nat Muller, first curator of Cairo’s Townhouse Gallery and author London’s October of Contemporary Art in the Middle East (2009), writes that, through- Gallery, which out the Middle Eastern region, “artists take on many roles: witness, exhibits top archivist, architect, activist, critic, cartographer, storyteller, facilita- tor, trickster, dreamer.” And they often do so as citizens of two—or often more—cultural worlds.