CONTINUED ON PAGE 4

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.

3

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.

4

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

6

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.

8

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

10

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.

FRIENDS OF QUOZ ARTS FESTIVAL

#MyDubai

AN INITIATIVE BY

A DAY OFARTDESIGNMUSICFILM

12

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

13

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

2

4 5

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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

15

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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Photo: Marina Abramović: 512 Hours, Serpentine Gallery, London, (11 June - 25 August 2014), © 2014 Marco Anelli

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