cd4 ada2014 online - canvas magazine daily/ada2014... · el-marsa (a8) sold tunisian artist khalid...
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07-08 NOVEMBER 2014 I ISSUE 4 I ABU DHABI ART EDITION
Off-kilter
ECHAKCKH: BETWEEN EARTH AND SKY
PARIS – Winner of the Marcel Duchamp Prize 2013 Moroccan
artist Latifa Echakckh presents a solo exhibition at Paris’s
Centre Pompidou, featuring works that explore the notion
of emptiness. In collaboration with the Association for the
International Diffusion of French Art, this exhibition, curated
by Jean-Pierre Bordaz, sees Echakhch transform the space
into a dreamlike place. On until 26 January 2015.
Canvas Daily explores the curious case of the weird and the wonderful on the Abu Dhabi Art floor.
SWISS ARTIST NOT Vital’s three heads, a man, a woman and a child,
are not a family, even though they appear to be one. He moved to
Beijing five years ago and has taken to increasingly use stainless
steel to create sculptures since his relocation. The handmade works
at Thaddaeus Ropac (A3) have attracted a lot of attention; each piece
is made up of many small sections of stainless steel, which are
then welded and polished using the PVD technique (Physical Vapour
Deposition). The three-month-long process results in a smooth and
reflective exterior, which distorts perspective. The works (priced
between $187,570–250,100) are not as heavy as they look, with the
largest one weighing approximately 150 kilogrammes and are all
based on portrait drawings that Not Vital etches.
At The Breeder (B13), Vanessa Safavi’s seashells have drawn
curious visitors. Intérieures, a three-piece floor-based sculpture is
made of silicone sheets, shells and sand and is the artist’s metaphor
of the human mind as the sea. Swiss/Iranian Safavi uses silicone to
evoke the fluidity and depth of the sea. The material also refers to
the human body, as it is being used increasingly due to the surge in
popularity of plastic surgery, and to the modern world as silicone is
present in the chemical and electronic industries.
Over at Lee Hwaik Gallery (B10), Kim Duck-Yong’s The Book –
Q&A
Ebtisam Abdulaziz discusses her stay in the USA, re-mapping neighbourhoods and the importance of numbers.
READ ON PAGE 12
#ModernSaudi: Trending?
Some works were exhibited in Jeddah in February. Some have already appeared at auction. A new trend?READ ON PAGE 4
Mad Men
Men, as seen by Youssef Nabil, Hassan El-Glaoui, Son Donghyun, Nicky Nodjoumi and Wayne Thiebaud.
READ ON PAGE 13
Sold!
GALLERISTS REPORTED A greater turnout of people with busier
halls on the fair's second public day. Beirut’s Agial Art Gallery
(A24), which presents a solo booth for the late Gebran Tarazi, sold
six works – hung on the booth's left wall – by the late Lebanese
In the news
Installation view of Latifa Echakhch's exhibition at Centre Pompidou, Paris. © Latifa Echakhch. Photography by Fabrice Seixas. Image courtesy kamel mennour, Paris.
CONTINUED ON PAGE 3
Vanessa Safavi (Detail) Intérieures. 2014. Silicon, sand and shells. Variable dimensions. © Canvas Archives.
CONTINUED ON PAGE 12
artist to a member of the UAE royal family. The pieces explore
different variations of one pattern, which includes four oblong
rectangles revolving around a central square, which is a recurrent
theme in Arab-Islamic art. Dubai’s XVA Gallery (A18) sold a cast
bronze sculpture from 2011 by Iranian artist Morteza Zahedi to a
museum in China for $19,000, while Dubai's Hunar Gallery (A21)
sold an untitled mixed media work by Emirati artist Dr Najat
Day two of the fair sees a greater turnout and further sales.
Farid Belkahia. (Detail) Forêt. 1990. Dye on skin. 208 x 145 cm. Image courtesy Le Violon Bleu, Tunis.
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07-08 NOV 2014 I ISSUE 4 I ABU DHABI ART EDITION
Makki from 2011 to a collector
from Dubai for $21,800. Makki, a
pioneer of Contemporary Emirati
art, is the first woman in the UAE
to achieve a PhD in art. Tunis’s Le
Violon Bleu (A22) sold a work by the
late Moroccan artist Farid Belkahia
to the Guggenheim Abu Dhabi.
Forêt, a dye on skin piece was made
in 1989 by the artist who passed
away in September at the age of
79 after battling a long illness. He is
considered a pioneer of Moroccan
art. Fellow Tunis-based space Galerie
El-Marsa (A8) sold Tunisian artist
Khalid Ben Slimane’s Les Soleils – an
acrylic and gold on wood piece from
2013 for an undisclosed price to a
regional collector as well as Hassan
El-Glaoui’s undated Cavalcade Of The
Sultan And His Entourage, an oil on
panel work for an undisclosed price.
New York’s Leila Heller Gallery
(A13) sold Ran Hwang’s After
Love for over $40,000 and Rachel
Lee Hovnanian’s White Narcissus
Panel II (2014) for over $20,000
to a "major UAE-based collector".
The gallery also reported that a
sculpture by Steven Naifeh has
been commissioned by an Emirati
collector for a site-specific location.
Another Big Apple space, Edward
Tyler Nahem Fine Art (B7) sold
Erik Benson’s Hives painting to a
young collector, while London’s Paul
Stolper (A6) sold Ben Johnson’s
Approaching The Mirador for
between $190,000–200,000.
London's Kashya Hildebrand
(B14) sold both large-scale pieces
by Moroccan artist Lalla Essaydi,
Harem #14C and Les Femmes Du
Maroc Fumee D'ambre Gris, to
regional collectors familiar to the
gallery in the range of $45,000–
55,000, as well as Iranian artist
Azra Aghigh Bahkshayeshi's Tawaf
2, in the range of $40,000, also to
regional collectors. Istanbul’s Galeri
Zilberman (B15) sold Burcak Bingol’s
Shift II sculpture from 2014 for
$7000 and a drawing by Walid Siti
from 2010, also for around $7000.
The Iraqi/Kurdish artist shows work
through Dubai's XVA Gallery and is
slated for a show at Galeri Zilberman
from 12 November–10 January 2015.
Beirut’s Galerie Janine Rubeiz (A7)
sold Lebanese artist Hanibal Srouji’s
Bird for $14000 to a Syrian collector
and Laure Ghorayeb's La carte du
printemps Arabe 1 to an Emirati
collector for $12,000.
Dubai's The Third Line (B7) sold
Youssef Nabil’s Natacha Atlas,
Saggara, for between $40,000–
55,000, while Ayyam Gallery (B12)
sold two works: Mountain from 2014
by Syrian artist Thaier Helal, who
has just opened a solo exhibition at
Ayyam's DIFC space and released a
monograph; and an untitled work by
fellow Syrian Moustafa Fathi from
1987. Ayyam has recently acquired
Fathi's estate. Abu Dhabi’s Salwa
Zeidan Gallery had another good day,
selling an untitled work by Zhuang
Hong Yi from 2013 to a member of
the UAE royal family for $16,000.
Sold!
Today's Schedule
UAE PATRONS AND COLLECTORSBy HE Abdul Rahman Al-Owais, HE Saif Mohamed Al-Hajeri and Dana Farouki.14:30–15:30
DURUB AL-TAWAYA: THAT NIGHT FOLLOWS DAYTim Etchells and Forced Entertainment’s performance at the Manarat Al-Saadiyat auditorium.16:00–17:00
DURUB AL-TAWAYA: SSS SHORE SCENE SOUNDTRACKCevdet Erek’s performance at the Manarat Al-Saadiyat auditorium.18:00–18:15
Registration required for all talks and performances taking place in the auditorium.
Register at the Abu Dhabi Art Desk or call +971 26575800.
GALLERIES FROM THE USA
PARTICIPATING ARTISTS AT THE GUGGENHEIM’S SEEING
THROUGH LIGHT EXHIBITION
STUDENTS IN THE SECOND SALAMA BINT HAMDAN EMERGING ARTISTS FELLOWSHIP FOR 2014–15
NUMBER OF ARTISTS IN THE BEYOND SECTION
CONTINUED FROM PAGE 1
Four specially commissioned artworks by Emirati artist Ebtisam Abdulaziz celebrate our 10th
anniversary issue, which surveys art and patronage in the Emirates through dedicated features.
IN CANVAS NOVEMBER/DECEMBER ISSUE
Special feature dedicated to 10
of the most influential Emirati patrons of the arts
A special feature that looks
at different genres and
generations of Emirati artists
Inside the studio space of Emirati
artist Mohammed Kazem, in a
warehouse in Dubai’s Al-Quoz area
F
I
an
ge
a
NINETEEN
ERRATUM
In Issue 1, Canvas Daily
mistakenly reported the sale price
of Marcos Grigorian's Wedding
Bouquet as $20,000 at Leila
Heller Gallery. The correct sale
price is over $200,000.
From top to bottom: Zhuang Zhong Yi, (Detail)
Untitled. 2013. Rice paper and acrylic on
canvas. 100 x 100 cm. Image courtesy Salwa
Zeidan Gallery, Abu Dhabi; Gebran Tarazi, from
Series 6. 1999. Metallic paint and acrylic on
wood panel. 68.2 x 68.2 cm. Image courtesy
Agial Art Gallery, Beirut; Ben Johnson. (Detail)
Approaching The Mirador. 2013. Acrylic on
canvas. 225 x 150 cm. © Canvas Archives.
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07-08 NOV 2014 I ISSUE 4 I ABU DHABI ART EDITION
LAST FEBRUARY WAS perhaps the first
time that members of the international art
community had the opportunity to view works
by Modern Saudi artists. It was through Past
Is Prologue, one of two exhibitions staged
during the freshman 21,39 cultural initiative,
put together by the Saudi Art Council. Some
of the showcased pieces came from private
Saudi collections, others from the artists
themselves, and though a few critics decreed
that only a handful of Modern Saudi works can
sit alongside their regional counterparts, many
were impressed that an art scene existed in the
Kingdom, pre its formation in 1932.
Incredibly, just seven months later,
Sotheby’s presented six Modern Saudi lots in
its October 53-lot sale in Doha (only two sold);
there is talk surrounding the inclusion of pieces
from the genre in the next Christie’s Dubai sale
and Jeddah’s Ayyam Gallery (now Hafez Gallery)
recently presented Taliaa: The Beginnings Of
Fine Art In Saudi Arabia, an exhibition which
featured works by the Kingdom’s late greats.
This, coupled with a growing demand and
appreciation of Modern Middle Eastern art.
So, why the sudden interest? “Alongside the
increasing prominence of the Modern period in
regional art, Modern Saudi art has also come
into prominence and we have found that this
period sells very well,” says Roxane Zand,
Deputy Chairman, Middle East Department at
Sotheby’s, which sold a painting by Abdulhalim
Radwi from 1985 for $118,750 against an
estimate of $60,000–80,000; and Taha Al-
Sabban’s The House Of Artists from 1993
for $75,000 against an estimate of $60,000–
80,000. “The Saudis are increasingly supporting
their market with the advent of Jeddah Art
Week and 21,39. I personally understand and
believe in these Saudi Modern masters.”
Next year marks 50 years since Radwi
had first staged a show in Jeddah and to
commemorate this anniversary, Qaswra
Hafez, who owns Hafez Gallery in Jeddah,
intends on publishing a tome on five decades
of Saudi art for expected release in 2016.
“I am more interested in the Modern than I
am in the Contemporary,” says the gallerist,
who consigned the six Modern Saudi lots to
Sotheby’s. And yet, he stresses the difficulty in
sourcing such works. “You would be shocked at
how little there is out there,” he says. “Offering
these works at auction is a good introduction
to Modern Saudi art. Anybody who owns such
paintings should hang on to them because the
prices will multiply.” Hamza Serafi, co-founder
of Jeddah’s Athr Gallery agrees: “It’s too early
to start selling. There should be a museum to
house these works first.” Scarcity is an issue
with Modern Saudi works. Most of the artists
had day jobs and thus did not produce many
paintings, many of which are in private hands.
Saudi collectors, many say, are not willing to
part with such work. “Saudis,” said one dealer,
“never sell. They only buy.” It will be interesting
to see how this market unfolds.
The Moment Of Meditation
($52,000) catches the eye.
The bookshelf is seemingly
deep and filled with plastic-
wrapped tomes. Upon closer
inspection, the artwork is
made up of mother-of-pearl
mounted on wood. The green
material is in its natural form,
whereas Duck-Yong dyed the
rest of the mother-of-pearl to
create different colours, later
steaming the pieces to make
them flat. The artist was trained
in traditional Korean painting,
which is evident throughout his
practice. This particular work
differs from his usual creations,
however it refers to Duck-Yong’s
concern with the dying art of
reading and the wavering status
of the book in contemporary
society. Bita Fayyazi's
Cockroaches have elicited many
differerent reactions, from
digust to laughter. The Iranian
artist, showing through the
Beyond section with Gallery
Isabelle van den Eynde (A26)
fashioned the insects from
ceramic and examines them in a
different way: "They persistently
make our homes their homes,
and admirably force us into
coexistence," she has said of
the 1998–99 work. Made up of
1500 pieces, Cockroaches is the
installation that first exposed
Fayyazi to the world, earning her
widespread recognition.
Exhibition view of Past Is Prologue (2014) with (foreground) a sculpture by Ali Al-Tukhais and (on the wall, left to right) works by Baker Sheikhoon, Dia Aziz Dia, Ali Al-Ruzaiza and Mohammed Al-Resayes. Photography by Myrna Ayad.
Abdulhalim Radwi. (Detail) Hart Al-Sham (Al-Sham District, Jeddah). 1985. Oil on canvas. 92 x 122 cm. Image courtesy Sotheby’s.
#ModernSaudi: Trending?Modern art, specifically from the Levant, Turkey and Iran, is gaining momentum, no doubt. Meanwhile, its Saudi counterpart seems to be picking up some speed.
Not Vital's (from left to right) Head (Li Gao); Head (Aima); Head (Qing Lan). 2014. Stainless steel with PVD coating. 175 x 145 x 140 cm; 166 x 132 x 108 cm; 122 x 107 x 92 cm. Editions one of three. © Canvas Archives.
Kim Duck-Yong. The Book - The Moment Of Meditation. 2014. Mixed media on wood. 124 x 186 cm. Image courtesy Leehwaik Gallery, Seoul.
Bita Fayyazi. (Detail) Cockroaches. 1998–99. Glazed ceramic and metal wire. 1500 pieces, 17 x 7 x 3 cm each. © Canvas Archives.
Off-kilterCONTINUED FROM PAGE 1
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07-08 NOV 2014 I ISSUE 4 I ABU DHABI ART EDITION
VENETIA PORTER,
ASSISTANT
KEEPER,
DEPARTMENT
OF THE MIDDLE
EAST, THE BRITISH
MUSEUM
It shouldn’t matter
where an artist shows
their work as long as
the exhibition is well
put together, visually
strong and informative. And that where that exhibition is taking
place provides the artist with support which includes good
publicity, an informative catalogue, and if it’s a gallery, making
sure that they are also placing that artist’s work in major
collections – public or private. However, showing their work in
‘not for profit’ foundations and museums is very important for
the artist in the longer term. Most importantly, a well-curated
show in a respected institution will introduce that artist’s work
to new audiences and can cement a reputation.
TILL FELLRATH,
CO-FOUNDER,
ART REORIENTED
It is important for
artists to show their
work in various types
of institutions located
within different geo-
cultural settings that go
beyond the simplistic
polemics of West
versus East. Engaging
with diverse audiences enables artists to explore different
facets of their work and develop their practice. Being
able to present a major show in one’s place of origin or
residence, wherever that may be, is always a particularly
powerful experience and as such it is important to support
the cultural infrastructure within the Middle East.
Do major shows for Middle Eastern artists need to take place in museums in the West or East?
MARYAM EISLER,
ART PATRON, LONDON
Major shows for Middle
Eastern artists should take
place everywhere! It is
important that the region
supports its own artists
by highlighting their work
contextually. Equally, major
Middle Eastern artists’
works should also be
shown in the West on par with their Western counterparts,
in powerful ‘intra-dialogue’ around thematic concerns. We
should stay clear of ‘regionalisation’ with regards to art and
think more along the lines of global philosophies that live
side by side. By pigeonholing artistic voice, we run the risk
of creating barriers in both perception and in thinking. It is
my firm belief that where politics often fails, art, in turn, has
the opportunity to win as the only forum allowing for an open
exchange of ideas and critical thinking. And it is this very
open critical thinking process which will consequently unlock
freedom of voice and therefore choice.
Top drawsCanvas Daily surveys Abu Dhabi Art's best booths.
AGIAL ART GALLERY (A24)
At first, one is struck by Gebran Tarazi's works: a series of
square geometric canvases on which puzzles are featured
in a medley of earthy and aquatic colours. Then, like a mural
which begins to make sense the farther one walks away
from it, the whole booth resembles an artwork. In short, it
is hung in the geoemtric spirit of the artworks themselves.
The late Tarazi might have marvelled at this booth.
KAMEL MENNOUR (B4)
Lee Ufan's La peinture ensevelie continues to draw in
curious visitors and Huang Yong Ping's statuesque ceramic
sculptures stand guard. “I wanted to bring the local
audience to another level of spirituality by showcasing the
work by Ufan," says Kamel Mennour. Well, the Paris gallerist
succeeded. This meditative space is engaging, tranquil and
peaceful all at once.
DAVID ZWIRNER (A4)
Hello American Minimalist art of the 1960s with works by Dan
Flavin, Donald Judd, John McCracken and Fred Sandback. Each
artist broke with traditional means and materials associated
with sculpture, giving audiences new ways of looking at the
medium and at architecture. Relevant for Abu Dhabi given its
engagement with architecture and design. An effortlessly cool
vibe and a time travel to a golden era.
ATHR GALLERY (B16)
Minimalistic and spiritual with Dana Awartani’s Jesus,
Mohammed and Moses, Ayman Yossri Daydban’s The White
Thread and Al-Salem’s [It Is] The Work Of Allah, Who Perfected
All Things, among other monochromatic works, which give the
space an exceedingly peaceful quality. The booth is a version
of The Language Of Human Consciousness, a show Athr held
in July, which focused on geometry.
LISSON GALLERY (B6)
On the right, you've got Anish Kapoor's alabaster work and
Richard Long's dyptich made with River Avon mud. This
gives it an organic feel, while the other side of the booth
ventures towards the geometric through Ai Weiwei’s F
Size, Daniel Buren’s light installation and a work by Spencer
Finch. Shirazeh Houshiary’s glass vase in the centre feels
like a welcome note. In short, soothing.
GALLERY ISABELLE VAN DEN EYNDE (A26)
There is the showstopping work of Hassan Sharif,
Mohammed Kazem’s My Neighbors; Rokni and Ramin
Haerizadeh and Hesam Rahmanian’s paintings; Nargess
Hashemi's carpet and Aisha Khalid's paper work. Always
unconventional and daring, this gallery translates its
programming within the walls of its booth. Before you
leave, look up to see a Bita Fayyazi cockroach on the wall.
All
imag
es ©
Can
vas
Arc
hive
s.
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07-08 NOV 2014 I ISSUE 4 I ABU DHABI ART EDITION
Yesterday's panels
Caption box
Performances atAbu Dhabi Art
In an auditorium packed with people eager to hear more about the next edition of the UAE National Pavilion at the Venice Biennale, the Guggenheim's Reem Fadda and the Sharjah Art Foundation's Sheikha Hoor Al-Qasimi discussed 'Curating A National Pavilion' in a panel moderated by David Bailey. "The Emirati art scene is not well-known internationally and Venice is a good platform," said Al-Qasimi, who will curate the UAE's next Pavilion at the world's oldest biennale. "I look at the artists' works as an artist and not as a curator." Meanwhile, Fadda, who curated the last Pavilion, noted that she considers herself an art historian, adding that: "I wanted to focus on the Avant-garde [with the last Pavilion]; it is important to draw out the fact that the UAE is very inclusive."
"The higher your status, the more alluring your nickname," said Job Smeets of Studio Job, the design studio based in Belgium and The Netherlands. This firm, whose items have been shown in museums and galleries the world over, is known for its rebellious duo, who push boundaries within the realm of design. "In my opinion, a business plan is just a fancy word for an effective plan. Ambition always proclaims an identity that has been formed already," said Smeets. "The point is, you are a good curator of your world ideas. The clock starts clicking during the realisation of a plan. Ideas are limitless, human life is infinite." Studio Job, established in 1998 won 2012 Best Dutch Designer by Eigen Huis & Interieur, Amsterdam.
Moroccan artist Hassan Hajjaj gave a talk yesterday entitled 'Consuming Cultures' in which he discussed his life growing up in London, his interest in photography and consumerism. "I discovered that brands play with people a lot more and then bring them into your world and take them for a journey," said the artist, who won the Pulse Prize in May this year. "With the use of brands, it pushes the idea of the veil. I am trying to take the veil away from religion and politics. For me I am trying to keep it light-hearted."Works by Hajjaj, who is also represented by New York-based Taymour Grahne Gallery (A15), can be found at Dubai's The Third Line booth (B5).
All images © Canvas Archives.
All
imag
es c
ourt
esy
TCA
Abu
Dha
bi.
Paper Music featured video animations in the background by South African artist William Kentridge accompanied by live music composed by Phillip Miller. The duration of the performance was 60 minutes and was held at the Manarat Al-Saadiyat auditorium at 20:30 on 5 and 6 November.
American singer, poet and visual artist Patti Smith performed the poetry of the 1960s iconic Velvet Underground vocalist Nico at the VIP opening of the fair on 4 November. The performance was held at the Manarat Al-Saadiyat auditorium and lasted around an hour. It is re-broadcasted everyday at 19:00 as part of The Orange Hour at the plaza.
SOUQ AL QATTARAEVERY WEEKEND BETWEEN OCTOBER 2014 AND MAY 2015 THURSDAY AND SATURDAY | 8AM–1PM 4–10PMFRIDAY | 4–10PMVisit the ‘Productive Families’ traditional handicrafts market at the heritage rich, historic Souq Al Qattara.
• Support over 30 local artisans and help preserve and promote the production of traditional handicrafts.
• Find clothes, palm frond items, perfumes and incense, popular foods, spices and coffee in a traditional, authentic palm stall setting.
• Enjoy family-friendly culture and heritage displays, competitions and activities including Al-Ayyala dance shows.
• Discover handmade crafts and enjoy a traditional shopping experience in the adjacent historical souq.
FRIDAY MARKET
SOUQ AL QATTARAOCTOBER 2014 – MAY 2015SATURDAY – TUESDAY | 10AM – 9PM WEDNESDAY – FRIDAY | 4PM – 9PMFREE ENTRANCEDating back to the mid-20th century and founded by the late Sheikh Shakhbut bin Sultan Al Nahyan on the palm-lined road linking Al Qattara and Al Jimi oases, explore the heritage rich, historic Souk Al Qattara.
• Walk around the traditional, historical souq.
• Enjoy cultural and heritage activities for all the family.
• Browse the weekend Traditional Handicrafts Market.
• Help preserve and promote the production of traditional handicrafts.
HERITAGEIN
AB
U D
HA
BI
Cultu
re
#InAbuDhabi
800 555
cultureinabudhabi.ae
ABU DHABI CLASSICSINTERNATIONAL CONCERT SEASON
OCTOBER 2014 - MAY 2015
The One-Night-Only World Premiere of the Ground-Breaking ‘Ibn Battuta: The Voyager of Islam’ by Spain’s
award-winning composer Jordi Savall and Hesperion XXI on November 20th at Emirates Palace Auditorium
A Night of Bruch, Britten and Elgar as The City of Birmingham Symphony Orchestra, with Canadian violin
soloist James Ehnes, Performs on a Floating Stage at Corniche Breakwater on December 15th
The City of Birmingham Symphony Orchestra at Al Jahili Fort in Al Ain for a Film Music Night: A Space Symphony,
Featuring Music by one of Hollywood’s Greatest Composers, John Williams, as well as Indian Film Composer
A.R. Rahma on December 16th
Tickets are available now from ticketmaster.ae
For more information visit abudhabievents.ae
Join This Traveller’s Journey Through Classical Music
Starring The Finest Musicians of East & West, and featuring
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07-08 NOV 2014 I ISSUE 4 I ABU DHABI ART EDITION
Paul Kasmin Gallery (B11) exhibits
Constantin Brâncusi’s Nude –
Study For A Fresco from 1912 – a
pencil and gouache on paper work,
priced at $1.5 million. There are
very few two-dimensional works
by the celebrated Romanian
sculptor and this is one of them.
This study was first shown at the
Wildenstein Galleries in New York
in 1926 and later that year at the
Brummer Gallery, in a retrospective
curated by Marcel Duchamp. The
paper piece was also exhibited at the artist’s major retrospectives at the
Solomon R Guggenheim in 1955 and later at the Philadelphia Museum
and the Art Institute of Chicago in 1970 and was on extended loan at
the Tate Gallery from 1981–2006.
Syed Sadequain’s Three Standing
Figures (1969) at New York's Aicon
Gallery (A25) is an example of the
late Pakistani artist’s ‘Calligraphic
Cubism’, a term he coined to refer
to his painting style, based on
Kufic script. The work ($185,000)
is part of The Lost Exhibition, a
collection of works by Sadequain
left behind when he left Paris in
1967 and never returned. The works
had been inherited by Madam
Etra Martin, who contacted The
Sadequain Foundation in 2010 to
seek assistance with the appraisal of her collection. The 1960s were
an artistically fertile period for the artist, during which he developed
mystical and surrealist forms, all the while maintaining their scriptural
base. He manipulated the texture of his works by scratching the
surface with a sharp-edged tool. This piece was shown as part of the
artist’s retrospective at Aicon’s New York space earlier this year.
Liu Guosong’s solo booth at Hanart TZ Gallery (B19) features The
Real Realm (2014), a 200 x 370 cm ink and colour on paper work worth
$2 million. Part of the Space series that the Chinese artist first began
painting in 1969, this piece depicts mountains dotted with red circles
above. Guosong often illustrates places that are difficult to reach and
has long been inspired by photographs of the earth and moon, sent
back from the Apollo Eight mission in 1968. The images initiated his
Space series, which features spheres in his landscapes. The 82-year-old
artist is widely regarded as a pioneer of Modernist Chinese painting
and has been experimenting with ways to use Chinese ink in his
artworks for over six decades.
Young Saudi artist
Basmah Felemban’s
Qif Bil Tawaf from the
Last Seen... series
(2014) sees the Jeddah
artist re-imagine a
poem of the same
name by Omar Bin
Abi Rabea. Presented
at Athr Gallery (B16)
and priced at $2400,
the paper work
visualises the poem’s
two main characters
communicating through a series of encoded messages to add an
element of secrecy to their already-illicit relationship. Felemban
created the coded language by dissecting a geometric Islamic
star and through this minimalistic work, comments on censorship
and the prohibition of love by those whom she considers to
misinterpret and abuse religion.
Sama Mara and Lee Westwood’s works feature at
the Signature booth through
Kashya Hildebrand (B14).
Their works range in price
from $6000–12,000 and fuse
art, music and geometry.
Artist and geometer Mara
and composer Westwood
are long-time collaborators,
who bring together their
respective practices to
fuse Western composition with traditional Islamic art. In these
works, the duo put into practice a theory developed by Mara, which
is based on the scientific connection between sound, colour and
pattern. A computer programme converts Westwood’s instrumental
compositions into Islamic-inspired patterns; the resulting artworks are
music come to life. The exhibition includes an interactive platform, live
performances, short films, prints and a music album.
Laleh Khorramian’s
drawings at The Third
Line (B5) are part of an
ongoing body of work,
M-Golis, a sci-fi/fantasy
tale seen through the
character of Lieutenant
Aurelio Swimm. Priced
between $3000–4500,
the mixed media works
are based on the making
of the animation M-Golis.
They trace the story of
the planet of the same
name, which has been
ravaged by waste and is thinly populated by prisoners who
have been condemned to reverse the damage of the pollution
by distributing mycoremediating mycelium spores that serve
to decompose waste. The Lieutenant is one of the prisoners,
whose consciousness has been altered due to the toxic
chemical pollutants.
For every pocketCanvas Daily hunts for artworks in different price brackets.
$15,000–$50,000 OVER $50,000UNDER $15,000
At Galerie Janine Rubeiz (A7), Alfred Tarazi’s Centre1 from
2014, priced at $28,000, is a 10-metre long China ink pastels
and cyanotype on paper work, encased in a stainless steel
box. The young Lebanese artist depicts Beirut’s iconic St
Georges Hotel, which was destroyed during the 2005 bombing
that killed former Lebanese Prime Minister Rafik Hariri. The
work also includes a figure that the artist refers to as ‘the lost
man’. The box features a lever on top, which one can use to
scroll through the story, as the work is wrapped around and
can only be partially seen when static.
Joana Vasconcelos’s Torrent
de Pareis at Horrach Moya
(B17) features stainless steel
shower heads, handmade
wool crochet, ornaments
and polyester and is priced at
$34,000. The work is from the
artist’s Shower Heads series
and is typical of her practice,
whereby she appropriates and
subverts everyday objects and
poses questions regarding
the status of contemporary
society. Her sense of scale
and mastery of colour is
recurrent throughout her
extravagant works. The Portuguese artist characteristically addresses
feminism as well as social and political issues throughout her oeuvre.
Lee Lee Nam’s Ruined Mona Lisa ($30,000–35,000) is quite true to its
title. The mixed media installation at Park Ryu Sook Gallery (A23) sees
the South Korean video artist juxtapose Leonardo da Vinci’s masterpiece
with a video of planes crashing onto the Mona Lisa and flowers blooming
from the explosion that the crashes create. By the end of the five and
a half minute video, she is covered in flowers and an old painting is
rejuvenated. Nam believes that the medium of video can express the
human imagination better than other media and can convey surprising
effects more articulately than with traditional art forms such as painting.
D-Marimba. 2013–14. Giclee print on paper. 140 x 140 cm. Image courtesy Kashya Hildebrand, London.
Qif Bil Tawaf from the Last Seen... series. 2014. Work on paper. 65 x 65 cm. Image courtesy Athr Gallery, Jeddah.
Torrent de Pareis. 2013. Stainless steel shower heads, handmade woollen crochet, fabrics, ornaments and polyester. 180 x 87 x 50 cm. Image courtesy Galeria Horrach Moya, Palma.
The Real Realm. 2014. Ink and colour on paper. 200 x 370 cm. © Canvas Archives.
Nude – Study For A Fresco. 1912. Pencil and gouache on paper, laid down by the artist on board. 75 x 91 x 5.4 cm. © Canvas Archives.
Untitled 1. 2013. Mixed media on watercolour paper. 43 x 38 cm. Image courtesy the artist and The Third Line, Dubai.
Ruined Mona Lisa. 2013. Five minutes and 30 seconds. LED TV. Edition of six. 81.5 x 137 x 17 cm. Image courtesy Park Ryu Sook Gallery, Seoul.
(Detail) Centre 1. 2014. China ink pastels and cyanotype on paper in stainless steel box. 100 x 50 x 10 cm. Image courtesy Galerie Janine Rubeiz.
Three Standing Figures. 1969. Oil on canvas. 181 x 120 cm. Image courtesy Aicon Gallery, New York.
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07-08 NOV 2014 I ISSUE 4 I ABU DHABI ART EDITION
In the news
ALSOUDANI IN NYC
NEW YORK – Ahmed Alsoudani’s first solo
exhibition at Gladstone Gallery features new
large-scale paintings that are reminiscent of
war-torn Middle Eastern countries, including
Alsoudani’s native Iraq. Instead of depicting the
aftermath of war, the paintings explore what
precedes these events, including psychological
abuse and subjugation of personal freedom. On
until 20 December.
THE REGION AT LA BIENNALE
VENICE – The National Pavilion of Turkey, which
secured a permanent position at the Venice
Biennale for the next 20 years, will present
works by celebrated artist Sarkis under the
curatorship of Defne Ayas. As for the Iraq
Pavilion, it will be organised by the RUYA
Foundation once more and will be curated by
Philippe Van Cauteren with works by several
Iraqi artists including Ayman Al-Amery.
AYYAM WIDENS SCOPE
DUBAI – Alongside its existing gallery in Beirut,
Ayyam Gallery launched a new experimental
space to promote regional emerging talent
and also bought the estate of late Syrian artist
Moustafa Fathi. Its Dubai branch has launched a
residency programme for young, aspiring artists.
Its Jeddah space has now been relaunched as
Hafez Gallery and will be managed by Saudi artist
and collector Qaswra Hafez.
L I B R A RY
Intersections
Edited by Poonam Ganglani
Published by Motivate
Publishing
$40
Intersections, the first monograph
by Sheikha Alyazia Bint Nahyan Al-
Nahyan, celebrates the artist’s body
of work and showcases a number
of her series. Having spent her
childhood surrounded by art with
an art-loving mother and her father,
HH Sheikh Nahyan Bin Mubarak
Al-Nahyan, the UAE’s Minister of
Culture, Youth and Community
Development, Sheikha Alyazia
developed an interest in painting
early on in life, later majoring in
media at Zayed University. Featuring
a bold use of colour, her artworks
creatively illustrate her surroundings,
particularly her fondness for the
landscapes of her native Abu Dhabi.
“Whether I paint it or collect it, I
want to share it. For me, the idea of
art is to spread the message,” says
Sheikha Alyazia, who, along with her
sister Sheikha Shamsa, is an avid art
collector. The book highlights nine
collections of her paintings, each
with a brief introduction by the artist
herself, discussing the themes and
inspiration behind the production
of these works. Sheikha Alyazia
includes a portrait of her husband,
Sheikh Diab Bin Saif Al-Nahyan, who
has been an anchor to her work and
dedicates the book to HH Sheikha
Fatima Bint Mubarak, wife of the late
Sheikh Zayed Bin Sultan Al-Nahyan.
Sheikh Nahyan and Maliha Tabari,
owner of Dubai’s Artspace Gallery
where Sheikha Alyazia has exhibited
her works, both pen forewords,
while Rita Aoun Abdo, Executive
Director of the Culture Sector at Abu
Dhabi Tourism & Culture Authority
writes an introduction. This book is
available at Artyfact
To order, visit www.booksarabia.com
SHE’S BEEN IN Virginia, USA since
September, enrolled in English language
courses and is considering pursuing a
Master’s degree in Art Critique or Studio Art.
Emirati artist Ebtisam Abdulaziz is revelling
in the green Virginia landscape, which, she
says, “is not really having an impact on my
work, but makes me feel like I want to draw
– not landscape and trees, but something
else.” She shows through The Third Line (B5)
and also through the inaugural NYU Abu
Dhabi exhibition, On Site, which presents
works from her Re-Mapping Al-Fahidi series
– an abstract three-colour body of work,
which sees Abdulaziz document one of
Dubai’s historical and cultural areas. She has
just been commissioned by Canvas to create
artworks to celebrate the magazine’s 10-year
anniversary issue; these will be auctioned by
Christie’s Dubai in March in aid of the New
England Centre for Children, Abu Dhabi.
WHAT LED YOU TO CREATE THE RE-MAPPING AL-FAHIDI SERIES? As artists, it is our role to document
everything and write this country’s history.
I felt sorry for the buildings in Al-Fahidi
– no one appreciates the history behind
them and the buildings themselves have
disappeared. I wanted to draw attention to
the void that existed.
IT’S SOMETIMES VERY DIFFICULT TO DECIPHER AREAS IN YOUR RE-MAPPING AL-FAHIDI AND ANOTHER UNTITLED SERIES. IS THIS INTENTIONAL? I want people to get lost and I want there to
be mystery. There are angles from my own
studio, rooms I’ve stayed in or places I’ve
been to. I’ve kept whatever remained in my
memory that expresses the architecture and
the furniture and also kept it all very minimal
by deleting any identifying factors.
HOW DO YOU BEGIN REMAPPINGA PLACE?At the moment, I really miss my studio in
Bait Al-Shamsi in Sharjah and that’s what
I took as a starting point with the covers
commissioned by Canvas magazine, which
is similar to my Re-Mapping Al-Fahidi series.
I was expressing this emotion, but I did it
through a remap. I took pictures from four
angles – north, south, east and west – and
then with the help of Photoshop, deleted
buildings and kept just the space or the void
between the sky and the earth. People might
appreciate the architecture of the buildings,
but I want to draw attention to the space in
between, the neglected void. Then I draw it
out and colour.
HOW HAS YOUR WORK CHANGED SINCE BEING IN VIRGINIA?I got inspired by a few things here, like
the architecture, which is so strange, and
the greenery, which makes me feel great.
Of course, I find geometry here and I’m
working on something where you can’t
even see the lines, it’s so wide. I love
experimenting with things and I don’t like to
limit myself.
THE LINES ARE DISAPPEARING?Yes, it’s vague, even the colours, they’re white
and off white, a bit of brown too, but you
can barely see it. I’m tracing buildings, their
corners and even arches – I haven’t seen such
angles in the UAE. I’m fascinated by the lines
on the roads as well as those which indicate
water and electricity – each one has a symbol
with a meaning and function.
HOW DID YOU COME TO OBSERVE SUCH LINES AND SYMBOLS?Perhaps it’s the artist’s eye. I find these while
I’m walking and I’m so happy I’m not driving!
I’m walking and seeing things. I’m planning
on remapping America too. Everything is
so organised here, so I might do something
related to numbers. Everything requires a
number here – zip codes, specific addresses,
streets etc. And at the end of the day, we
are all numbers – we have ID cards, plate
numbers and so on. I feel that life is based
on numbers and time matters. This works
for me of course – functioning according
to numbers.
Q&A with Ebtisam AbdulazizImage courtesy The Third Line, Dubai.
Ahmed Alsoudani. (Detail) Untitled. 2014. Image courtesy Gladstone Gallery, New York.
The Iraq Pavilion at the Venice Biennale 2013. © Canvas Archives.
A detail of Moustafa Fathi's Untitled work. Image courtesy Ayyam Gallery.
CONTINUED FROM PAGE 1
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07-08 NOV 2014 I ISSUE 4 I ABU DHABI ART EDITION
1. YOUSSEF NABIL. SELF-PORTRAIT, ISTANBUL.The Egyptian artist photographs
himself in Istanbul for this work; his
bare back is turned to the audience as
he faces the Bosphorus and a skyline
featuring the minarets of the Hagia
Sophia. Nabil uses his self-portraits
to explore his thoughts on life, death
and his relation to existence and
their cinematic compositions echo
his deep-seated influences; early on
his career, he wanted to become a
movie director, later choosing to focus
on photography instead. A medium
traditionally used by artists to reflect
on their identity, self-portraiture is
given a spin in Nabil’s work through
his signature hand-coloured technique.
Part of a series of works shot in
various cities, Nabil has visited (Rio de
Janeiro, Paris, Los Angeles, Marseille
and Essaouira, among other places),
Self-Portrait, Istanbul is priced at
between $40,000–50,000.
2. HASSAN EL-GLAOUI.
CAVALCADE OF THE SULTAN AND HIS ENTOURAGE. The Marrakech-born painter captures
the culture of his homeland and
is known for thoroughly depicting
the bond between horses and their
riders, particularly the tradition of
Tbouriba, which sees horse riders
charging while aiming their rifles
upwards. El-Glaoui was discovered
by Sir Winston Churchill in 1943,
as the British PM was a friend of
El-Glaoui’s father, the Pasha of
Marrakech, and encouraged the
budding artist’s reluctant parents
to send him to art school in France.
This work depicts the Sultan among
a crowd of people as he arrives
accompanied by a cavalcade. The
artist’s love for Morocco is clearly
reflected in his works, which he says
are a living mirror of the traditions of
the past that continue to be a part of
the Moroccan spirit.
3. SON DONGHYUN.
FRANCISCO SCARAMANGA. The Korean artist brings James Bond
villains to life in a series of portraits that
combine Eastern painting styles with
pop culture. Rather than depict the
hero, Donghyn chose to depict the ‘bad
guy’, as the casting of this character
is typically more ethnically diverse.
Francisco Scaramanga, played by British
actor Christopher Lee, is an assassin in
the 1974 film The Man With The Golden
Gun. In the portrait by Donghyun (priced
at $10,000–15,000), Scaramanga holds
a golden gun, which is his primary
possession. In the eponymous novel
by Ian Fleming, published in 1965, the
character is nicknamed Pistols. The
artist paints villains that appear in 20
James Bond films made from 1962–
2002 and brings them to life using
the JeonShinSaJo technique, a highly
contemplative method that involves
the study of a subject’s internal and
external identities.
4. NICKY NODJOUMI.
HIGH JUMP. The dislocation of figures is typically
a reference to the experience of exile
in the artist’s oeuvre. Three of the
men are masked, potentially signalling
betrayal, while one is painted in a
translucent manner. One of the men’s
suit jacket is painted in a diamond
motif, a reference to Picasso’s
harlequins, one of Nodjoumi’s
favourite artists. Throughout his
works, the artist juxtaposes human
figures with strangely placed animals.
“I find deep comfort in observing
how he [Nodjoumi] has increasingly
trusted himself as an absurd creator
of endless unreasonable theatrical
experiences,” writes Phong Bui in
the catalogue published alongside
Nodjoumi’s Chasing The Butterfly
And Other Recent Paintings show at
Taymour Grahne Gallery in 2013.
5. WAYNE THIEBAUD.
THE SPEAKER. A man in a bowtie stands behind a
podium as he reads off a piece of
paper in this painting by the 93-year
old American artist. The subject is
British philosopher and art historian
Richard Wollheim, who taught at
Berkeley and at the University of
California, Davis, where the artist
also taught. Thiebaud and Wollheim
remained close friends until
Wollheim’s passing in 2003. This
artwork was initially meant to be a
self-portrait, with Thiebaud depicting
himself as the art professor he once
was. However as time went on, the
artist turned the self-portrait into an
oil on canvas depiction of his recently
deceased friend, who encouraged
Thiebaud’s artistic career from an
early stage.
Mad menCanvas Daily turns its gaze to the fair’s leading men.
(1) Youssef Nabil. Self-Portrait, Istanbul. 2009. Hand-coloured gelatin silver print. 50 x 75 cm. Image courtesy the artist and The Third Line, Dubai. (2) Hassan El-Glaoui. (Detail) Cavalcade Of The Sultan And His Entourage.
Undated. Oil on panel. 114 x 162 cm. Image courtesy Galerie El-Marsa, Tunis. (3) Son Donghyun. Francisco Scaramanga. 2011. Ink and colour on paper. 178.5 x 118 cm. Image courtesy Park Ryu Sook Gallery, Seoul. (4)
Nicky Nodjoumi. High Jump. 2013. Oil on canvas. 243.8 x 152.4 cm. Image courtesy the artist and Taymour Grahne Gallery, New York. (5) Wayne Thiebaud. The Speaker. 2003–08. Oil on canvas. 121.9 x 76.2 cm. Image
courtesy Acquavella Galleries, New York.
1
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07-08 NOV 2014 I ISSUE 4 I ABU DHABI ART EDITION
Looking back at my career in the art world, I wish
I had: Been braver. The art world’s biggest crime is:
Mixing politics and art. If there was one era I would
go back to, it would be: The golden era of Andalusia. You would be shocked to know that I: Am addicted to watching tennis. I am happiest when: Syria becomes free. Life would be meaningless without: A partner. The exhibition that left a big impact on me was:
The Expressionists at the Dresden Museum of Art. Bad
art is: An art. The actor who would play me in a
movie about my life: Edward Norton.
KHALID AL-SAAI
ARTIST SHOWING THROUGH KASHYA
HILDEBRAND (B14)
Five prerequisites for survival in the art world: Just one: work hard. You would be shocked to know that
I: Sleep with a duvet in the summer. It would make
my parents proud to know that: I’ve kept the orchids alive. At art fairs, I wish they would serve: Muffins. If I had to summarise, I would say that art is: The Big Bang. Bad art is: Not art. I wish people wouldn’t:
Forget their mission. The artwork I can stare at for
hours: Those by Antonis Donef. I will always say
yes to: A muffin. Creativity can be crushed by: The problem is that it can be crushed.
WordsearchArt Movements
CrosswordNotable Patrons
ACROSS3. Namesake Islamic gallery at the V&A
4. Largest privately owned collection of Islamic art
7. Arab commentator and founder of Barjeel Art Foundation
9. Namesake Abu Dhabi Foundation, Commissioner of
UAE Pavilion
10. Lebanese banker whose facilities in Beirut house
his collection
11. Descendant of the father of Modern Lebanese art and
donated collection to a Beirut university
12. Founder of the Al-Mansouria Foundation and head of
Saudi Art Council
DOWN1. Heiress of Schlumberger; collection housed in Houston
2. Her husband was a horse breeder called Paul
5. First name of the world's influential collector as per
Art Review
6. Ex-Mayor of Jeddah behind the city's
sculpture-dotted corniche
8. Iranian, collection spans various genres, located at DIFC
5 Minutes with...
MARIANNA GIOKA
ARTIST SHOWING THROUGH THE
BREEDER (B13)
ARABESQUEBAROQUEBAUHAUSCUBISMDADAISM
FAUVISMGRAFFITIHYPERREALISMIMPRESSIONISMMINIMALISM
MODERNISMPHOTOREALISMPOPQAJARROMANESQUEAcross: 3) Jameel 4) Khalili 7) Sultan 9) Salama 10) Audi 11) Saleeby 12) Jawaher
Down: 1) Menil 2) Mellon 5) Almayassa 6) Farsi 8) Farjam
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07-08 NOV 2014 I ISSUE 4 I ABU DHABI ART EDITION
ABU DHABI ART MAP
B8
B16
B12
B18
B7
B15
B21
B19
B3
B17
B4
B14
B2
B10
B6
B20
B11
B9
B1
B13
B5
A2
A24
A25
A5
A4
A8
A9
A12
A7
A19
A3
A1
A26
A21
A10
A22
A13
A11
A23
A6
A14
A15
A16
A17
A18
AB GalleryAthr GalleryAyyam Gallery
Carpenters Workshop Gallery Edward Tyler Nahem Fine Art, L.L.CGaleri ZilbermanGalerie GP & N Vallois Hanart TZ GalleryHauser & Wirth
Horrach Moya kamel mennour Kashya Hildebrand GalleryKukje Gallery/Tina Kim GalleryLeehwaik GalleryLisson GalleryOctober GalleryPaul Kasmin GallerySalwa Zeidan Gallery Sfeir-Semler Gallery The Breeder The Third LineAcquavella Galleries, Inc.Agial Art GalleryAicon Gallery ARNDTDavid Zwirner Elmarsa Galerie Brigitte SchenkGalerie Enrico NavarraGalerie Janine RubeizGalerie Tanit BeirutGalerie Thaddaeus RopacGALLERIA CONTINUA
Gallery Isabelle van den EyndeHunar Gallery DubaiLawrie ShabibiLe Violon Bleu Leila Heller GalleryMeem GalleryPark Ryu Sook GalleryPaul Stolper GallerySimon Lee Gallery Taymour Grahne GalleryThe Park GalleryWhitestone GalleryXVA Gallery
Lucerne, SwitzerlandJeddah, KSABeirut, Lebanon / Damascus, Syria/ Dubai, UAE / Jeddah, KSALondon, UK/ Paris, FranceNew York, USA
Istanbul, TurkeyParis, FranceHong Kong, ChinaLondon, UK / New York, USA/ Zurich, SwitzerlandPalma de Mallorca, SpainParis, FranceLondon, UKSeoul, Korea / New York, USASeoul, KoreaLondon, UK / Milan, ItalyLondon, UKNew York, USAAbu Dhabi, UAEHamburg, Germany / Beirut, LebanonMonte Carlo, Monaco /Athens, GreeceDubai, UAENew York, USABeirut, LebanonNew York, USA / London, UKBerlin, Germany / SingaporeNew York, USA / London, UKTunis, Tunisia / Dubai, UAECologne, GermanyParis, FranceBeirut, LebanonLebanon / Munich, GermanyParis, France / Salzburg, AustriaSan Gimignano, Italy / Beijing, China/ Le Moulin, FranceDubai, UAEUAEDubai, UAE Sidi Bou Said, TunisiaNew York, USADubai, UAE London, UKSeoul, KoreaLondon, UKNew York, USALondon, UKTokyo, JapanDubai, UAE
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