ART DUBAIMARCH 16-19, 2016EDUCATION GUIDE

ARTDUBAI.AE

STRATEGIC PARTNER

HELD UNDER THE PATRONAGE OF HIS HIGHNESS SHEIKH MOHAMMED BIN RASHID AL MAKTOUM, VICE-PRESIDENT AND PRIME MINISTER OF THE UAE, RULER OF DUBAI

PROGRAMME PARTNER

CONTENTS

Welcome to Art Dubai Visiting the FairArt Dubai 2016 GalleriesArt Dubai ModernContemporaryMarker: The PhilippinesArt Dubai Education

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Art Dubai is the leading international art fair in the Middle East, Africa and South Asia. Taking place each year in March, Art Dubai presents a select, yet diverse choice of 94 galleries of both regional and international scale, covering three programmes: Art Dubai Contemporary showcasing around 74 galleries from 34 different countries, Art Dubai Modern, devoted to masters from the Middle East, Africa and South Asia and, Marker, a curated selection of art spaces that focus in 2016 on the Philippines.

Art Dubai’s extensive not-for-profit programme includes commissioned projects; film and radio programmes, artists’ and curators’ residencies; educational initiatives for children through to professionals including the year-round art school Campus Art Dubai; an annual exhibition of works by winners of The Abraaj Group Art Prize; and the Global Art Forum.

Over the past nine years, Art Dubai has become a cornerstone of the region’s booming contemporary art community. Recognised as one of the most globalised meeting points in the art world today, the fair places emphasis on maintaining its intimate human scale whilst foregrounding quality and diversity.

WELCOME TO ART DUBAI

VISITING THE FAIR

* By inivitation only

** Free and open to all

*** Art Dubai Ladies Preview is held under the patronage of the Wife of His Highness Sheikh Mansour bin Zayed Al Nahyan, Deputy Prime Minister and Minister of Presidential Affairs, Her Highness Sheikha Manal bint Mohammed bin Rashid Al Maktoum, President of UAE Gender Balance Council and President of Dubai Women Establishement.

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LOCATIONMadinat Jumeirah, Al Sufouh Road,Umm Suqeim, Exit 39 (Interchange 4)from Sheikh Zayed Road, Dubai, UAE

OPENING HOURSWednesday March 16Art Dubai Ladies’ Preview***Global Art Forum**Art Dubai VIP Opening*

Thursday March 17Global Art Forum**Art Dubai Programme and Gallery Halls

Friday March 18Art Dubai Programme and Gallery HallsGlobal Art Forum**

Saturday March 19Art Dubai Programme and Gallery Halls

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STUDENT ADMISSIONYoung visitors 18 years and below are admitted free of charge. University students can also enter free upon show of student ID. All visiting student groups must pre-book by emailing Art Dubai at sally@artdubai.ae to get free access to the fair.

GENERAL ADMISSIONTickets to Art Dubai can be purchased on-site at the welcome desk during the fair.

One-Day Pass: 50AEDThree-Day Pass: 80AED

ART FAIR ETIQUETTEPLEASE DON’T · Touch the works (for your own safety and that of

the artworks). · Bring in any food, drinks or chewing gum to the gallery halls.

These are strictly prohibited. · Use crayons, pens, markers or wet material in the gallery halls. · Lean on walls or pedestals, and do not use them as

writing surfaces. · Run in the fair premises (to ensure your own safety and that of

the artworks). · Bring oversized bags and backpacks in the gallery halls.

PLEASE DO · Take photographs of the artworks and exhibitions.

You can use #AD16 or tag @artdubai on Social Media. · Use only pencils for writing or sketching. · Silence your mobile phones and use a soft voice so that other

visitors are not distracted. · Ask questions and engage with fair staff, gallery staff

and others. · Bring your family and friends to the fair, and help spread the

world and welcome the community.

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Art Dubai is the leading international art fair in the Middle East, Africa and South Asia. The tenth edition of the fair takes place March 16-19, 2016 in Dubai, United Arab Emirates.

Art Dubai is held under the Patronage of HH Sheikh Mohammed bin Rashid Al Maktoum, Vice-President and Prime Minister of the UAE, Ruler of Dubai Art Dubai Ladies Preview is held under the patronage of the Wife of His Highness Sheikh Mansour bin Zayed Al Nahyan, Deputy Prime Minister and Minister of Presidential Affairs, Her Highness Sheikha Manal bint Mohammed bin Rashid Al Maktoum, President of UAE Gender Balance Council and President of Dubai Women Establishement.

Taking place each year in March, Art Dubai presents a select yet diverse line-up of around 90 galleries from the UAE and around the world, across three programmes: Contemporary; Modern, devoted to masters from the Middle East, Africa and South Asia; and Marker, a curated section of artspaces that focuses each year on a particular theme or geography.

WHAT IS AN ART FAIR?Generally speaking, an art fair is a trade show—i.e. a place for people in the art world to network, to buy and sell artwork, and to exchange information. These art world professionals range from dealers and art advisors to collectors and curators. However, art fairs are so much more than that! Art fairs are wonderfully visual events that are open to the public, and allow them a chance to meet galleries, artists, curators and other art professionals on a personal and democratic level.

ABOUT ART DUBAI

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Alongside this trade show are often nonprofit programmes and parallel projects that exist to support individual artists and artist collectives that operate outside of the commercial market—allowing them the opportunity to showcase their work to a much larger public.

ART DUBAI AIMS TO · Be seen as an important meeting point for the various Middle

Eastern, South Asian and African arts scenes · Play an essential role in connecting the international art

community—from galleries and artists, to sponsors, patrons, collectors and public institutions —and offer the opportunity to engage with the most comprehensive line-up of artists from across the region and the world

· Be a “fair of discovery”—Art Dubai hosts 94 galleries from 40+ countries and over 500 artists and contributors representing 70 nationalities

THE ETHOS OF ART DUBAIArt Dubai is an international art fair with its roots in the Middle East, Africa and South Asia, and is deeply committed to the development of the local UAE and regional art scenes by:

· Having one of the largest non-commercial programmes of any global fair, including commissioned projects and performances, artists’ and curators’ residencies, radio and film, talks programmes and awards

· Hosting the largest education programming of any such event worldwide, providing opportunities for children through to students, graduates, collectors and enthusiasts

Despite the fact that it is recognised as one of the most globalised meeting points in the art world today, Art Dubai places an emphasis on maintaining its intimate, human scale while foregrounding quality and diversity.

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The Guide offers a starting point for visitors who wish to know more about Modern and Contemporary Art in the context of Art Dubai. The guide will draw upon a selection of artworks from each section at Art Dubai (Modern, Contemporary and Marker) to illustrate key features within Modern and Contemporary Art relevant to the international art scene within a regional context.

ABOUT MODERN ARTModern Art (and Modernism) are loose terms given to a succession of styles and movements in art and architecture which dominated Western culture from the 19th century up to the 1960s and into late 70s and 80s in some regions. These terms are usually associated with the rejection of past traditions in a spirit of experimentation.

The term ‘Modernism’ claims universality, yet derives from the particular context of Western Art history. As a specific period in the development of Western Art, it nurtured an avant-garde that went against the academic establishment supported by the state. Modern Art is often associated with a break with the art forms of the past, and stands for progressive innovation. Modern artists experimented with new ways of seeing, and the use of new and unusual materials.

Movements associated with Western notions of Modern Art include Impressionism, Expressionism, Cubism, Surrealism, Futurism, Bauhaus, Pop Art, and Op Art. However this classification is not strictly applicable as such in other parts of the world as Modern Art movements in the Middle East, Africa and South Asia lead a slightly different path. Artists in those regions have started breaking traditions in the early 20th century, and their practices reflect their respective cultures as well as the history of their regions

In the case of Arab artists, Modern Art helped to unite them in their desire to rediscover their heritage, which, although never absent as part of their inherited daily culture, was not immediately recognised or appreciated. However, their individual efforts to decipher its inherent symbolism led them to forge a historical language common to the whole region1.

1Source: http://www.encyclopedia.mathaf.org/en/essays/Pages/Record-or-Arab-Art-Again.aspx

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South Asian artists, notably those in Pakistan, tended to draw upon wider Persian and Islamic cultural and religious contexts, whilst situating themselves as “modern cosmopolitans addressing the quandaries of the self in modernity”. Notice in Art Dubai Modern’s Grosvenor booth: elements of this can be seen in Chugtai’s paintings which referenced late colonialism and Mughal aesthetics; while Sadequain, on the other hand, developed his body of work from drawing upon Islamic calligraphy in the 1960s and 1970s2.

North African artists created work that was distinguished by drawing on the region’s signs and symbols, making use of these as metaphors for colonial policies which imposed foreign languages and cultures upon the region’s local inhabitants. Influenced by “a rich Islamic heritage as introduced to the region by Arabs in the 7th Century”, these artists had access to a multitude of symbols and visual language aids that helped to express themselves in an otherwise oppressive colonial and post-colonial era3.

On the other hand, Modern Art in the wider African continent became a reality not so much due to Western-style education but rather because of individuals to whom art as an autonomous practice became a medium for expressing their subjectivity and coming to terms with their sociopolitical circumstances4.

Contributing to this amalgamation of styles, focuses and traditions were the internationally educated artists that brought back Western models of Modern Art to their home countries—often causing a hybridity of movements and styles to occur. Keep this in mind when looking at the artworks on display in Art Dubai Modern, and use your eyes to investigate the works of art; what are they depicting? Who inspired them? Are they reminiscent of somewhere else? What role did music, poetry and literature play?

2 Source:https://books.google.ae/books?id=QbrqCQAAQBAJ&pg=PA3&l pg=PA3&dq=modern+art+south+asia&source=bl&ots=WNxRuyZhd6&sig=3tXd7FqftlCucjK27pNscYv-Uf0&hl=en&sa=X&ved=0ahUKEwiE_qzN_cnKAhUF9x4KHYovACg4FBDoAQg3MAU#v=onepage&q=modern%20art%20south%20asia&f=false 3Source: http://www.metmuseum.org/toah/hd/nasp/hd_nasp.htm4 Source: Chika Okeke, Modern African Art, 2001

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ABOUT CONTEMPORARY ARTStrictly speaking, the term “Contemporary Art” refers to art made and produced by artists living today, working and responding to a global environment that is culturally diverse, technologically advanced, and multifaceted.

Questions such as “What is art?” and “What is the function of art?” are not new. When experiencing Contemporary Art, viewers are encouraged to use different criteria when looking at artworks. Instead of asking, “Do I like how this looks?” viewers might ask, “Do I like the idea this artist presents?” or “What was the initial aim or concept of the work, and has the artist fulfilled this?” Having an open mind goes a long way towards understanding, and appreciating, the art of our generation.

An extensive range of media enables contemporary artists to reflect and comment on our ever-changing society. When engaging with Contemporary Art, viewers are encouraged to set aside questions such as, “Is a work of art good?” and focus on queries such as “Is the work aesthetically pleasing?”, placing a consideration on whether art is “challenging” or “interesting”.

Contemporary artists may question traditional ideas of how art is defined, what art consists of, and how it is made - creating a link that allows an exchange of information, whilst sometimes rejecting styles and movements5.

5 Source: http://getty.edu/education/teachers/classroom_resources/curricula/contemporary_art/background1.html

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CONTEMPORARY · 1x1 Gallery, Dubai · Ag Gallery, Tehran · Agial Art Gallery, Beirut · Aicon Gallery, New York · Albareh Art Gallery, Manama · Sabrina Amrani Gallery, Madrid · Artwin Gallery, Moscow / Baku · Athr, Jeddah · Ayyam Gallery, Dubai / Beirut · Blain|Southern, London / Berlin · Marianne Boesky Gallery, New York · Jeanne Bucher Jaeger, Paris · Carbon 12, Dubai · Carlier Gebauer, Berlin · Carroll / Fletcher, London · Galeria Marta Cervera, Madrid · Chatterjee & Lal, Mumbai · Chemould Prescott Road, Mumbai · Galleria Continua, San Gimignano / Beijing / Les Moulins / Havana

· Dastan’s Basement, Tehran · East Wing, Dubai · Elmarsa, Tunis / Dubai · Espacio Valverde, Madrid · Experimenter, Kolkata · Gallery Isabelle van den Eynde, Dubai · Galerie Imane Fares, Paris · Selma Feriani Gallery, Tunis / London · Saskia Fernando Gallery, Colombo

ART DUBAI 2016 GALLERIES

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· Galleria Marie-Laure Fleisch, Rome · GAGProjects, Adelaide · Gala Gallery, Tbilisi · Taymour Grahne Gallery, New York · Green Art Gallery, Dubai · Grey Noise, Dubai · GVCC, Casablanca · Gypsum Gallery, Cairo · Leila Heller Gallery, New York / Dubai · Galerie Iragui, Moscow · Jhaveri Contemporary, Mumbai · Kalfayan Galleries, Athens / Thessaloniki · Khak Gallery, Tehran · Krampf Gallery, Istanbul · Galerie Krinzinger, Vienna · Lakeeren, Mumbai · Galerie Lelong, Paris / New York · Galerie Christian Lethert, Cologne · Meem Gallery, Dubai · Victoria Miro, London · NK Gallery, Antwerp · Galleria Franco Noero, Turin · Nubuke Foundation, Accra · Gallery One, Ramallah · Mind Set Art Center, Taipei · Ota Fine Arts, Tokyo / Singapore · Pechersky Gallery, Moscow · Project 88, Mumbai · Rampa, Istanbul · The Rooster Gallery, Vilnius · Sakshi Gallery, Mumbai · Sanatorium, Istanbul · Gallery Sarah, Muscat · Galerie Brigitte Schenk, Cologne · Sfeir-Semler, Hamburg / Beirut · Gallery SKE, Bangalore / New Delhi · Silverlens, Makati City · Galerie Daniel Templon, Paris / Brussels · The Third Line, Dubai

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· Travesia Cuatro, Madrid / Guadaljara · Upstream, Amsterdam · Vigo Gallery, London · X-ist, Istanbul · Yay Gallery, Baku · Zawyeh Gallery, Ramallah · Zidoun-Bossuyt Gallery, Luxembourg · Galeri Zilberman, Istanbul · Project Space: Atassi Foundation for Art & Culture, Dubai MODERN

· Chaouki Chamoun / Alfred Basbous Artspace, Dubai / London

· Samia Halaby / Moustafa Fathi Ayyam Gallery, Dubai / Beirut

· Geoffrey Mukasa Circle Art Gallery, Nairobi

· Yahia Turki Elmarsa, Tunis / Dubai

· Adam Henein Karim Francis Gallery, Cairo

· Abdur Rahman Chughtai / Syed Sadequain Grosvenor Gallery, London

· Mounirah Mosly / Ahmed Nawar Hafez Gallery, Jeddah

· Maliheh Afnan Lawrie Shabibi, Dubai

· Hédi Turki / Rafik El Kamel Le Violon Bleu, Tunis

· Shakir Hassan al Said / Faiq Hassan Meem Gallery, Dubai

· Huguette Caland / Laure Ghorayeb Galerie Janine Rubeiz, Beirut

· Ali Akbar Sadeghi Shirin Gallery, Tehran / New York

· Muhanna Durra / Samia Taktak Zaru Wadi Finan Art Gallery, Amman

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MARKERLed by curator-artist Ringo Bunoan, Marker 2016 highlights independent and artist-run spaces in Metro Manila, the capital of the Philippines. Artist-run spaces have long been vital spaces for the development of Manila's contemporary art scene, allowing artists to create and present works outside the conventional frameworks of museums and commercial galleries.

The exhibition features 98B, Post Gallery, Project 20, Thousandfold, among others, and includes photographs, videos, paintings, soft sculptures, works on paper, and textiles by artists including Mark Barretto, Tammy David, Jed Escueta, Miguel Lope Inumerable, Gino Javier, Czar Kristoff, Wawi Navarroza, Katherine Nuñez, Jayson Oliveria, J Pacena, Julius Redillas, Issay Rodriguez, IC Jaucian, Gail Vicente, and Tanya Villanueva.

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GALLERY HALL 3MODERN

MASHREQ PRIVATE BANKING IS THE EXCLUSIVE PARTNER OF ART DUBAI MODERN

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ART DUBAI MODERN

ART DUBAI MODERNArt Dubai Modern is devoted to modern art from the Middle East, Africa and South Asia, presented by regionally and internationally based galleries. Each exhibitor presents either a solo or a two-person show, featuring work by modern masters from the twentieth century (up to the year 2000).  Galleries showcase exhibitions by artists whose work has proven highly influential during the twentieth century and on later generations of artists, and focus on a particular period or thematic within an artist’s practice.

ART DUBAI MODERN ADVISORY COMMITTEEArt Dubai Modern is advised by a specialist Advisory Committee, made up of renowned curators and historians including: Savita Apte art historian specialising in modern and contemporary South Asian art and chair of The Abraaj Group Art Prize

Catherine David renowned curator with an extensive experience in the Middle East, whose exhibitions include Documenta X, currently Deputy Director of the Musée National d’Art Moderne

Kristine Khouri researcher and a writer based in Beirut and co-founder of the History of Arab Modernities in the Visual Arts Study Group 

Nada Shabout an art historian specialising in modern Arab and Iraqi art and Consulting Director of Research at Mathaf: Arab Museum of Modern Art 

Bisi Silva renowned curator specialising in modern and contemporray African art and founder/director of Centre for Contemporary Art, Lagos (CCA,Lagos)

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Yahia TurkiThe Blue Door Sidi Bou Said1929Oil on panel41x33cmCourtesy of the Artist and Elmarsa Gallery

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YAHIA TURKI

ELMARSA GALLERY / BOOTH M4After receiving academic training at the Tunisian College of Fine Arts, Yahia Turki obtained a scholarship and went to Paris in 1927 where he stayed until 1935. It was there that Yahia worked alongside renowned French artists such as Albert Marquet and Lucien Mainssieux, whilst regularly visiting the artist studios of Montmartre and Montparnasse.

Turki painted landscapes and typical scenes in an intimate spirit that was often seen as somewhat naïve, sympathetically populist and occasionally humorous. He rejected Orientalist and ‘academic’ styles of painting, rendering a faithful account of Tunisian sites and customs. A member of the “Group of Ten”, in 1956 he succeeded Pierre Boucherle as the president of the “Ecole de Tunis” (Tunisian School). He also became the vice-president of the Tunisian salon.

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Ali Akbar SadeghiAbbas from Love & War Series1977Ink and Acrylic on Cardboard98x98cmCourtesy of the Artist and Shirin Gallery

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ALI AKBAR SADEGHI

SHIRIN GALLERY / BOOTH M9In his evocative paintings, Ali Akbar Sadeghi draws on the rich traditions of Persian art, adding to them a surreal edge that involves dizzying spatial manipulations and startling combinations of real and fantastical objects, producing kaleidoscopes of colour and form. A master storyteller, Sadeghi’s tales range from historical Persian iconography (swords, horses, gardens and warriors) to compositions of archetypal Iranian miniatures and portraits. Sadeghi rearranges subjects of his interest in a variety of media, including painting, graphic design, illustration and animation. Sadeghi has been recognized as an outstanding cultural figure and contributor to Iranian art and culture by the Ministry of Culture in Iran.

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Chaouki Chamoun217 Day in USA1974Oil on acrylic on canvas272x145cmCourtesy of the Artist and ARTSPACE

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CHAOUKI CHAMOUN

ARTSPACE / BOOTH M12Chaouki Chamoun (Lebanon, 1942) was awarded a six-year fellowship to pursue his Graduate studies in the United States., where he was a PhD candidate at New York University concentrating on Aesthetics and art education. Chamoun has developed his technique and imagery through exploring the schools of the modern era. The absence of linear perspective in his works frees the painting from a sense of natural containment.

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Geoffrey MukasaSix Faces2000Mixed media45x64cmCourtesy of the Artist and Circle Art Agency

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GEOFFREY MUKASA

CIRCLE ART CENTER / BOOTH M11The son of one of Uganda’s most prominent doctors, Geoffrey Mukasa was expected to follow in his footsteps but after the murder of his father during Idi Amin’s coup, he left Uganda to study art. He travelled to India to study at Lucknow University where he was exposed to European and Indian aesthetic values and graduated in 1984. Throwing himself into his work with vigour, he focused mainly on human relationships with each other and with the environment. On returning to Uganda in the early 90s, Mukasa became a key figure in reviving cultural life in Kampala, being seen as both a unifying force and an inspiration for the nation’s recovery from years of military dictatorship.

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Samia Taktak ZaruUntitled1962Oil on canvas46x106cmCourtesy of the Artist and Wadi Finan Art Gallery

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SAMIA TAKTAK ZARU

WADI FINAN ART GALLERY / BOOTH M2A Jordanian artist born 1938 in Nablus, Samia Taktak Zaru studied art and education at the American University of Beirut following with her post-graduate studies completed at the Corcoran School of Art and Design. Celebrated for her broad brushed collage paintings, she creates power packed forms filled with color, symbolism and energy. Zaru also lead art education specialist seminars in Yemen and Lebanon through UNESCO and UNRWA in 1964 and later went on to receive the prestigious Takreem award in Bahrain, 2013.

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GALLERY HALL 1CONTEMPORARY

GALLERY HALL 2CONTEMPORARY

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CONTEMPORARY

Art Dubai Contemporary is extraordinarily diverse. The 2016 fair features 74 galleries from 34 countries, spanning from the world’s most influential galleries to the dynamic young art-spaces. Likewise, the artists range from emerging and upcoming practitioners from lesser-known art capitals, to household names. The works they present cover all artistic media—including painting, drawing, sculpture, installation, video, photography and performance. Always aiming to foreground quality and a curatorial approach, Art Dubai has a close relationship with its galleries: the artists they represent and the works they select reconfirming year-on-year the fair’s role as a site of discovery and diversity. Art Dubai Contemporary features commercial galleries working in the primary market and established for at least two years. 

SELECTION COMMITTEEAll applications are reviewed by Art Dubai’s Selection Committee comprised of gallerists and guest curators. The committee discusses each application, basing their final selection on the curatorial strength of the gallery exhibition programme and the gallery’s submitted proposal. 

The members of Art Dubai’s 2016 Selection Committee are:Lorenzo Fiaschi, Galleria Continua, San Gimignano / Beijing / Le Moulin / Havana

Ursula Krinzinger, Galerie Krinzinger, Vienna Sunny Rahbar, The Third Line, Dubai

Andrée Sfeir-Semler, Sfeir-Semler, Hamburg / Beirut

Guest Curator: Kate Fowle, Garage Museum of Contemporary Art, Moscow

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Ahmet Doğu IpekSecond Harvest VII2015Pencil drawing on paper105x130cmCourtesy of the Artist and Sanatorium

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AHMET DOĞU IPEK

SANATORIUM / BOOTH E9Known for his charcoal drawings and watercolour paintings depicting not-so-classical landscapes (expanding horizontally or vertically), the artist has recently produced round forms framed at the stage of formation. A piece of the very first series he made, Second Harvest, depicts an intricate, entangled and enfolded abstract form. The mysterious globular form includes an endless reproduction and repetition of patterns. Another watercolour painting İpek created was made not with a brush but by layering black watercolour, pictures an abstract sphere. Similar to an explosion, this big bang-like image enfolds, again, the emergence and the growth of a new form.

Ipek’s works have very strong ties with the city he lives in: Istanbul. Extending from microcosmos to macrocosmos, the patterns and repetitions in his former and new series are mostly inspired by this ancient but still growing city, describing different levels of entanglement within masses and constructions of all sizes. All of his works remind us of the impossibility of anything remaining static, pointing to the loss of memory, personal and public, cultural and otherwise.

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Amin MontazeriPlanet of the Apes2015Ink on cardboard100x70cmCourtesy of the Artist and Dastan’s Basement

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AMIN MONTAZERI

DASTAN’S BASEMENT / BOOTH C4Amin Montazeri was born in Tehran. He studied painting from Tehran University. Amin Montazeri’s 100 x 70 cm elaborate work on paper, also shown last year at Art Dubai 2015, titled “Planet of the Apes” depicts a land over taken by primitive apes that are destroying famous world heritage artworks, but scared by their offspring looking into books or signs of the beliefs different than theirs.

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Daniel LergonUntitled (Copper)2014Water on copper on canvas130x100cmCourtesy of the Artist and Galerie Christian Lethert, Cologne

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DANIAL LERGON

GALERIE CHRISTIAN LETHERT / BOOTH D6Daniel Lergon’s paintings with copper exclude any kind of pigments. The German painter arouses the painting by using water on the surface of the metal grounded canvas. The potential of the painting’s surface awakens and chemically reacts to Lergon’s well-known floating-abstract forms. In his latest paintings Lergon has again worked with particle-bound metals such as zinc and copper instead of the usual pigments. Through interaction with light canvas and paint he develops a body of work which changes it’s aesthetic depending on the light and the position of the viewer.

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Frank AmmerlaanUntitled2014Chemicals on canvas80x70cmCourtesy of the Artist and Upstream Gallery

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FRANK AMMERLAAN

UPSTREAM GALLERY / BOOTH A15Frank Ammerlaan’s practice includes painting, sculpture and video. In his recent paintings Ammerlaan decolonizes light and colour to bring the natural world back to the picture frame. This is a search for a truth in visual representation and the way we perceive light and colour. Colour is never an autonomous phenomenon or an aesthetic end in itself. Transformation, movement and atmosphere are explored in a decentralised way.

In the atmospheric “Untitled” paintings, Ammerlaan uses passivated zinc and steel to create immersive colour palettes formulated by the natural world. The temporal effect of chemical, biological and physical forces applied to his work affect the original materials and change their form to produce a feeling of atmosphere and endlessness, while beauty and sensual value take on significantly different properties.

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George Afedzi HughesParallel2011Acrylic, oil and enamel on canvas184x304Courtesy of the Artist and Nubuke Foundation

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GEORGE AFEDZI HUGHESNUBUKE FOUNDATION / BOOTH E2Originally from Ghana, George Afedzi Hughes studied painting at the College of Art in Kwame Nkrumah University of Science and Technology, Kumasi, Ghana, where he earned a BA in Art (1989) and an MA in Art Education (1991). He moved to England in 1991 and finally settled in the United States in 1994.

In 2001 he received an MFA in Painting and Drawing (2001) from Bowling Green State University, Ohio, USA. George’s works are mainly paintings however he regularly includes poetry and performance in his work.

George Afedzi Hughes’ work uses the history of colonialism as a basis to highlight parallels between that violent history and contemporary global conflicts.

In today’s informational age global occurrences of violence reach us through the media: transmitting fear that increasingly replaces sensations of calm.

Hughes’ work interprets in visual form the spectacle of information, knowledge and subjectivity.

Furthermore, he investigates postcolonial reconciliation through competitive sports imagery, popular culture and narratives of multicultural societies. His series ‘Fragments’ explores the contingence between violence and reconciliation, possibilities of shifting tensions from tragic to recreational imagery. In this project he investigates the contradictions of reality through psychological and physical violence contrasted with recreational activities such as sports. Close-ups of football imagery are metaphors for postcolonial reconciliation.

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Gonzalo LebrijaUnfolded Gold (Octagon)2015Wood, gold leaf150x116cmCourtesy of the Artist and Travesía Cuatro

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GONZALO LEBRIJATRAVESÍA CUATRO / BOOTH B5Lebrija´s work reveals the structures of power and authority concealed in the everyday—through very different strategies and using diverse media. Notary aspects of Mexican society and, by extension, of Western society, with which he has been critically concerned, are the labyrinthine bureaucratic regime, the strong hierarchy dominating the labor system and the productive obsession of capitalist liberalism.

He has therefore revived an unsubstantial and frivolous children’s game in a video and a photographic series. In the former, which is titled Concurso de Aviones (2001), he organized a competition of paper airplanes in Guadalajara’s tallest office building, and in the latter, Playing High (2005), some lawyers, posing as if for a Baroque Group portrait, pretend to be judging the virtues.

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Jawad Al MalhiMeasures of Uncertainty X2015Oil on canvas179x158cmCourtesy of the Artist and Zawyeh Gallery

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JAWAD AL MALHI

ZAWYEH GALLERY / BOOTH B12‘Measures of Uncertainty’ mirrors what is occurring in numerous other locations across the Middle East, where communities are slowly losing their sense of collectivity. This experience of loss has been inscribed on bodies and choreographed in liminal spaces such as contact zones: the marginal spaces like the checkpoints in Palestine that have divided and segregated Palestinians from each other. In other locations around the Middle East, such encounters take place around symbolic sites—congregational spaces located within the national landscape (for example, Tahrir Square in Egypt).

As Al Malhi reflects:“No longer engulfed by idealism, it is the detail of the crowd, the paradoxes and idiosyncrasy of human activity that captures my attention. I am drawn to the serendipity of the scene. Public spaces are filled with the relationships of temporary clusters of people watching and waiting.”

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Michel FrançoisePringles Tree2006Brass and gold170x60x60cmCourtesy of the Artist and carlier | grebauer

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MICHEL FRANÇOIS

CARLIER GEBAUER / BOOTH A7Michel François is a conceptual artist who makes sculptures, videos, photographs, printed matter, paintings and installations. He claims no signature style but creates a web of shifting connections between his works and in each different exhibition. François uses great economy of means to transform seemingly uncomplicated objects and materials, or traces of past events, into deeply resonant carriers of meaning. His work can be seen as exploration of cause and effect, and the ways in which simple gestures can change the status of an object or have important consequences. A number of recent sculptural works, without immediately revealing their origins or the way they were made, invite the viewer to consider the degree to which the hand of the artist, or chance, played a role in their formation.

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Miguel BrancoUntitled (white doe)2010Painted bronze51x74x25cmCourtesy of the Artist and Galerie Jeanne Bucher Jaeger, Paris

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MIGUEL BRANCO

JEANNE BUCHER JAEGER / BOOTH D4Several distinguishing features characterise Miguel Branco’s work, whether in painting or sculpture. The notion of scale is essential to him, since it is correlative to an amplification of space, an attention to surfaces and an intensification of perception that distinguish all his works. Furthermore, the artist systematically builds on the traditions that his work discretely alludes to, whether in its technique or in the choice of themes from the History of art, such as portraiture, animal paintings and still life.

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Murat PaltaMoby Dick2015Monoprint on fine art paper85x60cmCourtesy of the Artist and x-ist

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MURAT PALTA

X-IST / BOOTH C5Young Turkish artist Murat Palta reinterprets cult classics imagining they were realised in the Ottoman Era in a series of illustrations titled “Classic Movies in Miniature Style”. Scenes from Star Wars, A Clockwork Orange, Goodfellas, The Shining, The Godfather, Alien, Inception, Kill Bill, Pulp Fiction, Scarface and Terminator are reimagined as Ottoman miniatures—which in the past illustrated Turkish literature from the 16th century. An experiment to blend traditional ‘oriental’ (Ottoman) motifs and contemporary ‘western’ cinema, Palta reinterprets film posters of cult films that are rooted in a distinct Western culture, yet malleable enough to translate into Turkish motifs.

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Orkhan HuseynovKufic Pacman2016Plexiglass94x108cmCourtesy of the Artist and Yay Gallery

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ORKHAN HUSEYNOV

YAY GALLERY / BOOTH F8Orkhan Huseynov graduated from Faculty of Ceramic Design at the Azimzadeh State Art College in Baku in 1995, and from the Faculty of Ceramic Design at Azerbaijan State University of Culture and Art in 1999. He received his Master’s degree in 2000 from the Faculty of Art History and Theory at the Azerbaijan State Academy of Fine Art in Baku. He works in the fields of installation, painting and video.

Orkhan Huseynov’s series of Plexiglas wall-works entitled ‘Muslims in Space’ present us with an instance in which a universally recognised image is re-contextualised. In a ‘space’ without boundaries, the homogenizing impulse that frequently places origin as a defining factor is questioned. The artist’s playful depiction raises the question of what happens when geopolitical borders and worldly conflicts are left behind.

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Wael ShawkyThe Cabaret Crusades2015Murano glass, fabric, enamel, thread,Various dimensionsCourtesy of the Artist and Sfeir-Semler Gallery

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WAEL SHAWKY

SFEIR-SEMLER / BOOTH E3Living and working in Alexandria, Wael Shawky has received international acclaim for his work as an artist and filmmaker. Wael Shawky uses a range of media to produce work that explores issues of history, religion, culture and the effects of globalisation on society today. In photographs, installations, videos and performances, he mines traditions of entertainment and performance through multilayered historical reconstructions that force viewers to navigate the territory of truth, myth and stereotype.

Shawky’s estrangement of narratives through the use of puppets, child actors and television-show formats emphasise the power that historical and mythical narratives hold over the way we think about ourselves and the world. Shawky’s Cabaret Crusades is a virtual collection of medieval extremism, terrorism, assassination and warfare endemic to both the Christian and Muslim societies. 

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GALLERY HALL 1MODERN

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MARKER: THE PHILIPPINES

COUNTRY INFORMATION6

Did you know, that: · The Philippines was named after King Philip II of Spain.

· The Philippines is the second largest archipelago in the world and is made up of 7,107 islands located in the South China Sea, Philippine Sea, Sulu Sea, Celebes Sea, and the Luzon Strait.

· The Philippines has a population of more than 100 million people, which makes it the 12th most populous country in the world.

· The antibiotic erythromycin was invented by Filipino Dr. Abelardo Aguilar in 1949. Erythromycin is used for people who are allergic to penicillin and has saved millions of live.

· The Philippines was the first country in Southeast Asia to gain independence after World War II, in 1946.

· Angono Petroglyphs—cultural heritage site dates back to circa 3000 B.C. and is the most ancient Filipino, or more aptly, prehistoric Filipino work of art. Besides being the country’s oldest “work of art” it also offers us an evocative glimpse into the life of our ancestors. The site has been included in the World Inventory of Rock Art under the auspices of UNESCO, ICCROM and ICOMOS and nominated as one of the “100 Most Endangered Sites of the World.”

6 Source: http://facts.randomhistory.com/philippines-facts.html Source: http://www.tourism.gov.ph/SitePages/Trivia.aspx

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Marker is Art Dubai’s curated programme of galleries and art-spaces, which focuses each year on a particular theme or geography. This section aims to exemplify the fair’s role as a site of discovery and cross-cultural exchange, and is a feature of Art Dubai’s extensive not-for-profit programming.

In 2016, Marker turns its focus to the Philippines. Marker 2016 is the first such showcase of Filipino artists at any major international art fair and is the first such exhibition in the Middle East to date, aiming – as in previous editions of Marker – to nurture cultural exchange between its focus country and the Gulf. Led by curator-artist Ringo Bunoan, Marker 2016 highlights independent and artist-run spaces in Metro Manila, the capital of the Philippines. Artist-run spaces have long been vital spaces for the development of Manila’s contemporary art scene, allowing artists to create and present works outside the conventional frameworks of museums and commercial galleries. Ringo is working closely with independent spaces to develop a group exhibition that showcases a new generation of artists from the Philippines, in all its diversity; Marker 2016 encompasses divergent media, and addresses ideas of community, place, intervention, collaboration, labour and alternative economies.

“It is timely that Art Dubai is giving focus to the Philippines. Dubai has one of the biggest Filipino migrant communities in the Middle East, and Filipinos have long contributed to the economic development in the region, serving various sectors and industries,” said Marker 2016 curator Ringo Bunoan. “By selecting the Philippines for Marker 2016, Art Dubai highlights Filipinos for their artistry and creative talent and provides an opportunity for global cultural connections and exchange.”

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Mark BarrettoUntitled2013Spray paint and acrylic on wood-panel500x300cmImage Courtesy of the Artist and 98B

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MARK BARRETTO

REPRESENTED BY 98B COLLABORATORY / BOOTH A14Mark Barretto (b. 1979) Also known as street artist Defs, Barretto takes inspiration from around the city, mixing sampled and created imagery to capture contemporary social conditions and its relation within public space. He studied Painting at the Philippine Women’s University and Commercial Arts at the University of Santo Tomas. His works has been part of exhibitions in America, Europe, Middle East, Mexico and Asia, including venues such as The Cultural Center of the Philippines, The Metropolitan Museum Manila, Massachusetts Museum of Contemporary Art, INSA Art Center in Seoul Korea, Tashkeel, Alserkal Avenue, Dubai Community Theatre & Arts Centre, and Abu Dhabi Art Hub in the UAE. He currently lives and works in Dubai.

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Jayson OliveriaFrom a Distance It’s The Mona Lisa2015Acrylic on paper200x140cmCourtesy of the Artist and Post Gallery

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JAYSON OLIVERIAREPRESENTED BY POST GALLERY / BOOTH A14

Jayson Oliveria (b.1973) applies end game strategies for making paintings and incorporates objects or sculptural elements to betray its uniformity. Like most works that straddle along the discourse of the end of art, the works have an internal logic to them that only the artist could explain – if it can be teased at all. Rather, there is a sense of gamesmanship and perhaps, dandyism where the artist knows all the contradictions within the work while displaying a keen taste for the obsolescence of style. Oliveria was one of the founding members of the artist collective Surrounded By Water in the late 1990s and part of the first batch of resident artists of Big Sky Mind. He is a recipient of the CCP Thirteen Artist Award in 2006 and the Ateneo Art Awards in 2004. He has exhibited extensively in the Philippines and participated in international exhibitions in Indonesia, London, Australia, Hong Kong, USA, Austria, France, Germany, and China. He was also part of the touring exhibition Bastards of Misrepresentation curated by artist Manuel Ocampo.

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IC JaucianTwelve Hours2015Kinetic Installation; book, wood, microcontrollers, mechanical and electronic66.5x36x43cmImage Courtesy of the Artist and Thousandfold

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I.C. JAUCIAN

REPRESENTED BY THOUSANDFOLD / BOOTH A14Ian Carlo Jaucian (b. 1986) explores the relationship between art and science through painting, sculpture and interactive installations. A visual artist, amateur roboticist and aspiring inventor, he pursues his advocacy for open-source technology development through art exhibitions, talks and workshops. He graduated from the University of the Philippines Diliman with a BFA in Painting in 2008 and has actively participated in art exhibitions in both museum spaces and galleries. He is the recipient of several international residency grants, including the AIAV Trans Artist 2015 residency grant in Yamaguchi, Japan. He taught Illustration at the Ateneo de Manila University (2012-2014) where he also worked as a museum exhibition coordinator (2008-2014). He was a chief coordinator for Project Bakawan, a collaborative environmental art initiative (2014-2015) and a founding member of Builder’s Depot, an open group of Filipino tinkerers (2014).

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Gail Vicente & Tanya VillanuevaNew Feelings2015Found textiles, T-5 lights178x229cmImage courtesy of the Artists and Project 20

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GAIL VICENTE & TANYA VILANUEVA

REPRESENTED BY PROJECT20 / BOOTH A14Gail Vicente (b. 1984) Vicente creates installations, drawings, objects, and dioramas that explore existence, conflict, transitions, and other everyday experiences. She studied Library and Information Science at the University of the Philippines before shifting to Art Education at the UP College of Fine Arts. Since 2008, she has been exhibiting her works at various alternative spaces and galleries in Manila. She has also worked as an art teacher and has been assisting with the research for The Chabet Archive. She currently works as an archivist for King Kong Art Projects Unlimited and as an exhibitions coordinator for Project 20.

Tanya Villanueva (b. 1983) Villanueva’s works employ painting, craft and common objects to represent time, experience and multiple environments. She studied Painting at the University of the Philippines - College of Fine Arts (UP CFA) and was a recipient of the UP CFA Centennial Grant for Outstanding Thesis in 2008. Since 2011, she has been actively exhibiting in various galleries in Manila, including West Gallery, Blanc Gallery and Finale Art File. Her most recent solo exhibition Razzle Dazzle was held at Artery Art Space in 2015.

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EDUCATION AT ART DUBAI

Education has been at the heart of Art Dubai since its launch in 2007; the fair now has the largest education programming of any such event worldwide, providing opportunities for children through to students, graduates, collectors and enthusiasts. Art Dubai Education includes our flagship community school Campus Art Dubai; Forum Fellows; artist-led children’s programmes; artists’ talks; the critically acclaimed Global Art Forum; internships; and in 2015-2016, 89plus, the long-term, international, multi-platform research project. Our education programming is run in partnership with Dubai Culture and Arts Authority and with the support of the Dubai Design District (d3). The fair attracts a high level of attendance from universities and colleges.

CHILDRENThe Sheikha Manal Little Artists Program was launched at Art Dubai 2013. A partnership with The Cultural Office, the programme features artist-led workshops, tours and other projects, the programme provides access to skills and ideas for UAE-based children and teenagers aged 5-17 with the long-term aim to encourage young people to get involved and excel in the arts. The children’s programme caters to 1,000 young artists and is held under the patronage of the Wife of His Highness Sheikh Mansour bin Zayed Al Nahyan, Deputy Prime Minister and Minister of Presidential Affairs, Her Highness Sheikha Manal bint Mohammed bin Rashid Al Maktoum, President of UAE Gender Balance Council and President of Dubai Women Establishement, and forms part of the activity of The Cultural Office.

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CAMPUS ART DUBAICampus Art Dubai is a school for artists, curators, writers and cultural producers based in the UAE. The programme consists of a Core class of 16 participants, which meets every fortnight, as well as a much larger Community programme, in addition to seminars and talks open to the public. Campus Art Dubai has been developed in part to foster informal education and critical practise in the UAE. The programme provides a setting within which participants pursuing art practise, curatorial work and critical writing engage with peers as well as experts in their fields, through group critiques, workshops, visiting lectures and one-on-one mentorship. Campus Art Dubai is part of Art Dubai’s educational programming and is held in partnership with Dubai Culture and Arts Authority, and is supported by Dubai Design District (d3). In 2015-2016, Campus Art Dubai was hosted by a variety of UAE-based art institutions including A4 Space in Alserkal Avenue, Tashkeel and Dubai International Film Festival.

INTERNSHIP PROGRAMMESince Art Dubai’s Internship Programme was initiated in 2007, over 500 students and recent graduates from 40 nationalities and 20 educational institutions have participated in the scheme and gone on to find further work experience opportunities and permanent placements within Art Dubai and its partner organisations. One third of interns have been UAE Nationals and the remaining came from across the Arab World and elsewhere. Internships are typically intensive three-month placements during which participants engage in a particular area of the organisation. In addition, Art Dubai works with around 60 interns and volunteers at the fair itself each year.

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FORUM FELLOWSEach year, Forum Fellows brings together a select group of exceptional young curators and writers working in the Middle East. In the long-term, this intense programme aims to develop an alumni group of dynamic practitioners who exchange ideas and experience, and promote best practice. Fellows are funded and supported throughout the week of the fair and take part in daily three hour workshops, attending Global Art Forum, as well as other events on the VIP Programme, and take the opportunity to network during the fair and via its various programmes.

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For more information about Art Dubai education initiatives please visit: artdubai.ae/education

@artdubai.ae - #AD16

Educational GuideEditors: Sally Alhamad, Lea Chikhani, Uns Kattan and Megan McCannDesign: Layan Attari

© Art Dubai. All rights reserved.No part of this educational guide may be reproduced without prior permission from Art Dubai.

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