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19 MARCH 2014 I ISSUE 2 I ART DUBAI EDITION

�� AT THE FAIR’S new Modern section, Albareh Gallery (M2) sold

four pieces by Bahraini artist Nasser Al-Yousif, for between

$20,000–30,000. Galerie El-Marsa (M6) sold five works by Baya

to collectors from the USA and the UAE. Dubai’s Lawrie Shabibi

(M7) sold two drawings by Nabil Nahas at undisclosed prices,

one to a private collector while the other was acquired by a

London-based institution. Grosvenor Gallery (M8) sold one piece

by Rashed Araeen for around $60,000. Agial Art Gallery (M4)

from Beirut sold an untitled bronze piece by Michel Basbous from

1952 for between $20,000–30,000 to a UAE-based collector.

Over in the busier Contemporary section, Agial Art Gallery

(A43) sold Ayman Baalbaki’s Hay Joubar, an acrylic on canvas

work, to a UAE-based collector for an undisclosed price, and a

work by Hiba Kalache, The Impermanence Of States, to a UK-

based collector. Galleria Continua (A8) sold works by Serse, Mona

Hatoum, Pascale Marthine Tayou and Michelangelo Pistoletto for

undisclosed amounts to both local and international collectors.

Galerie Chantal Crousel (A22) sold four works by two

artists, Allove Callowlily and Haegue Young, for prices ranging

between $35,000–125,000. Schleicher/Lange (A39) sold British

artist Chris Cornish’s I Was Afraid I Was Going To Die And Then

I Was Afraid I Wasn’t for $18,000. Paradise Row (A37) sold

two untitled works by an “exciting young” artist, Londoner

Majed Aslam. The “erased abstract photography” works sold

for $4250 each. Madrid’s Sabrina Amrani Gallery (A44) had a

good night on its sophomore participation at Art Dubai, selling

an untitled work by Waqas Khan for $11,686 while another

one of the Pakistani artist’s works was on reserve. The gallery’s

Brazilian artist Marlon de Azambuja sold his Emirates Towers

photography work for $5565.

Brussels Galerie Greta Meert (J19) sold an untitled carpet

work by Edith Dekyndt for $32,000 while Paris/Brussels based-

Galerie Nathalie Obadia (J5) sold Joana Vasconcelos’s Candy

Garden for over $97,000 to a European collector and Valérie

Bélin’s Pieris Japonica for $41,739 to an Emirati collector. The

gallery also sold Ramin Haerizadeh’s Cat On The Hoot Roof to

a Turkish collector for an undisclosed amount. GAG Projects

(J4) sold Hossein Valamanesh’s This Will Also Pass for $12,500,

a bronze work, to a New York-based Iranian collector and a

porcelain work by Juz Kitson to a Russian collector for $4000.

Istanbul/London space Pi Artworks (A25), with a solo booth

of photographs and wood and bronze mashrabiya works by

Susan Hefuna, sold a wooden mashrabiya to a collector in

New York for between $35,000-42,000. Ahead of the artist’s

book launch on Thursday, the gallery also sold a special edition

handmade textile print made exclusively for the Pars Pro Toto

series for $700 to a collector from Kuwait.

Meanwhile, at Kashya Hildebrand (A7), which is presenting

a two-artist booth of works by Lalla Essaydi and Simeen

Farhat, there were brisk sales with an eclectic mix of collectors

from Saudi Arabia, India, UAE and France. Harem Revisited

#47 (edition of 15) sold two times in the range of $33,000

and Harem Revisited #33 (edition of 10) also sold two times in

the range of $24,000. Bullet #6 was on reserve at the time of

CONTINUED ON PAGE 4 >

MARKERThis year's edition of Marker focuses on Central Asia and the Caucasus region.

PAGE 8

Farhad Moshiri.

(Detail) The Great Escape.

2014. Hand embroidered

beads on canvas. 188 x

134 cm. Image courtesy

the artist and The Third

Line, Dubai.

Q&AMaryam Eisler discusses her latest publication, Art Studio America.

PAGE 10

ABRAAJThe 2014 Abraaj Group Art Prize exhibition, Garden and Spring.

PAGE 14

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19 MARCH 2014 I CANVAS DAILY I ISSUE 2 I ART DUBAI EDITION 3

TODAYSOOOOLD! (CONT.)

Hadieh Shafie. (Detail) Transition. 2014. Ink, acrylic and paper with printed and hand-written

Farsi text eshgh. 152.4 x 101.6 x 15.24 cm. Image courtesy Leila Heller Gallery, New York.

press. Vienna’s Galerie Krinzinger (J1) sold an untitled Secundino

Hernandez work for $27,500 to a regional collector. Paris’s Galerie

Polaris (J2) sold two works by Bouchra Khalili from the Lost Boats

series, one for $7650 and another for $6250. The space reported

a lot of interest from audiences and questions about the works

and sold the works to USA-based collector. Amsterdam’s Lumen

Travo (A26) sold three works by Otobong Nkanga for a range of

$9700–14,000 to private collectors from Europe. Milan’s Laura

Bulian gallery (A33) sold two artworks by Elizabetta di Maggio

for between $11,000–15,000 to a private collector from Saudi

Arabia. Rodolphe Janssen (A14) sold a work by Gert & Uwe Tobias

to a Saudi collector for $38,000. Tyler Rollins Fine Art (J11) sold two

works by Sopheap Pich for between $18,000–20,000.

Marisa Newman Projects (J13) sold Basim Magdy’s polaroids,

ranging from $1500–3000 to two different collectors. New York’s

Gladstone Gallery (J10) sold Ahmad Alsoudani’s untitled work to

a Dubai-based collector and a work by Shirin Neshat to a regional

collector. The Big Apple’s Leila Heller Gallery (A28) sold Hadieh

Shafie’s Transition (2014) for $58,000 to a private European collector,

her Spike 6 for $55,000 and Transition 3 for $28,000. CRG Gallery

(A13), which wouldn’t disclose prices, sold a sculpture by Saloua

Raouda Choucair to a regional collector. First-time participants

Marian Goodman (A38) sold a work by Sabine Moritz for between

$14,000–28,000.

Jeddah’s Athr Gallery (A29) sold Jowhara Al-Saud’s works from

the Knots series for $5000 each and all of Dana Awartani’s works

from the Platonic Solids series for $6000 each to regional collectors,

also selling works by Arwa Al-Neami. Dubai’s Green Art Gallery (A21)

had a good night, selling two works by Hungarian artist Zsolt Bodoni

to European collectors, Seher Shah’s Body Weight to a regional

collector and two works by Kamrooz Aram, who currently has a

show at the gallery, to American and Iranian collectors new to the

gallery. The Third Line (A19) saw strong sales for Farhad Moshiri,

including The Great Escape, which sold for approximately $200,000

to an international collector. Gallery Isabelle van den Eynde (J16),

sold Hassan Sharif’s Rug, Cotton Rope and Glue and Abdelkader

Benchamma’s Rorschach In Marble, both to Dubai-based collectors.

The gallery also sold Lara Baladi’s El-Horeya Gayya Labod (Freedom Is

Coming), an iron, leather and Plexiglas stand. Dubai’s Gallery Etemad

(A46) sold works by Mehrdad Mohemali and Abbas Kiarostami for

$30,000–35,000. Grey Noise (A17) sold an untitled mixed media

work by Sara Salman for $8000 to a European collector. Art Factum

(A41) sold two works by Lamia Joreige to a regional collector.

In the Marker section, Asia Art (A2) sold a piece by Sergey

Maslov, Dream for $3500 to a collector from Poland. The North

Caucasus Center for Contemporary Arts (A4b) sold two works by

Stanislav Kharin, ranging from $5000–15,000 to a private collector

who represents a USA-based museum.

The third instalment of CanvasÕs annual Power 50 edition presents the most eminent players of the Middle Eastern art scene.

ALSO FEATURED:

A feature on Galleria Continua’s three

spaces and

roster of artists.

Inside the studio of

Iranian artists Rokni &

Ramin Haerizadeh and

Hesam Rahmanian.

IN THE CANVAS MARCH/APRIL 2014 ISSUE

Egyptian-born Basim Magdy’s depiction

of strange and

whimsical scenarios.

Iranian artist Kamrooz Aram explores the role

of ornaments in

modern painting.

Moroccan artist Bouchra Khalili documents the

journeys of migrants

through her oeuvre.

13:00–16:00

Ladies PreviewAn exclusive preview for women

featuring tours by curators and

art experts.

15:45–16:45

Global Art Forum_8: Meanwhile... History 1971–79: The Short Seventies (UAE). Hosted by Adina Hempel, Todd Reisz,

Anastase Emmanuel and HE Salem

Al-Moosa.

16:45–17:45

Global Art Forum_8: Meanwhile... History

2005: Alternative Futures of Art History between Iran and Dubai. Hosted by Shiva Balaghi.

17:00–17:30 Tour: Projects*

17:00–17:45

Little Artists: Children’s Discovery Tour (ages 8-12).

Water Terrace.

17:00–17:45

Book Launch: Contemporary Kingdom: The Saudi Art Scene Now by Canvas Central.

Abraaj Group Lounge Terrace.

17:30–18:00Tour: Maman Isek Mabo Bendele by Bodys Isek Kingelez at Cartier.*

18:00–18:30Tour: The Abraaj Group Art Prize exhibition, Garden And Spring.*

18:00–18:30

Presentation: Discussing Saudi Arabia as the New Frontier for Art - The Saudi Art Council.Modern Terrace.

18:00–18:30

Performance: Kites Rise Highest Against The Wind By Saudi artist

Ibrahim Abumsmar.

Water Terrace.

18:30–19:00 Tour: Modern*

19:00–19:30Live installation by Hajra Waheed - CHARACTER 1: IN THE ROUGH

19:00–19:30

Presentation: ISEA 2014 - 20th International Symposium on Electronic Art*

19:00–19:30 Tour: Marker*

*Book a place on the tour at any of the information desks. All Global Art Forum_8 sessions are held at Fort Island.

For more information visit www.artdubai.ae

Joana Vasconcelos. (Detail) Candy Garden. 2013.

Azulejos Viuva Lamego, crochet wool handmade

ornaments, polyester and MDF iron. 220 x 85 x 52.5

cm. © Canvas Archives.

CD2.indd 3 3/19/14 2:36 AM

19 MARCH 2014 I CANVAS DAILY I ISSUE 2 I ART DUBAI EDITION4

IN BLOOM: ABRAAJ GROUP ART PRIZE

Abbas Akhavan's (born 1977, Tehran) Study for a Hanging

Garden is a floor-based sculptural work. A multi-disciplinary artist,

Akhavan’s piece references his native Iranian flora as a way to

“dwell on the effects of time on power."

Bouchra Khalili’s (born 1975, Casablanca) video Garden

Conversation imagines an apocryphal conversation between

20th-century heroes with her documentary-style practice in video,

photography and print.

Basim Magdy’s (born 1977, Cairo) The Dent invents a place

that continues to build, even as it is destroyed. Magdy explores

installation and video and intentionally confuses linear narratives

to produce a “sense of poetic failure”, imagining a place that

while in states of destruction, continues to grow.

Kamrooz Aram’s

(born 1978,

Shiraz) Ancient

Through Modern:

A Collection of

Uncertain Objects,

Part 1 is a wall

installation that

investigates the

arbitrary value of

cultural artefacts.

Anup Mathew Thomas’s (born 1977, Kochi) photographic

series Nurses seeks out healers who have travelled away

from Kerala toward new horizons. He predominately uses

photography, exploring "ostensibly” local narratives.

Project documentation for

Abbas Akhavan's Study for a

Hanging Garden (2014).

Basim Magdy. Video still from The Dent. 2014. Super 16mm film

transferred to full HD, colour, sound.19 minutes.

AS THE ABRAAJ Group Art Collection grows, biennials,

museums and artists continue to mutually benefit from the

Middle East, North Africa and South East Asia’s cultural output.

The five internationally lauded winners of the 2014 Abraaj

Group Art Prize (AGAP) in collaboration with Guest Curator

Nada Raza reveal their completed projects in the exhibition

Garden And Spring at Art Dubai.

In a structure unique to the AGAP flagship patronage

programme, the prize is awarded to project proposals,

providing resources to manifest ambitious projects. The

proposals were responded to by select literary figures: Nadeem

Aslam, Githa Hariharan, Pankaj Mishra, Ruth Padel and Wiam

El-Tamami’s, whose resulting prose is featured alongside

the artworks. “The works demonstrate a commitment to

the narrative genre,” says Raza. “The environment of the

garden presents itself visually and thematically, allowing

a momentary accord”. Though the ‘garden’ is reiterated,

sometimes abstractly, throughout, each artist maintains his/

her individualised aesthetic integrity. Canvas Daily discusses the

show and its curatorial approach with Raza.

Why the garden theme? The theme operates on multiple registers – it came through the

works initially. The works are chosen by a jury, not by theme or

any relation they might bear on each other. It was coincidental

that some works referenced this natural yet cultivated space

subtly or overtly; I went with that. Bagh O Bahar is a text that I

read a long time ago, its title is also a construction, an overlay.

So I’ve used it like a canopy for the works. It also resonates

because it brings in the nuance of the relationship of cultural

production to power as a complex one.

How was working with artist proposals in collaboration with contributing literary figures?It’s an experiment. I’ve been thinking a lot about the

Progressive Writers movement in South Asia and that the

dialogue between artists/writers/thinkers in our region is now

opaque. This was one way of replanting those seeds, to get

people thinking about each other's work. To do this in a short

time, being both curator and editor, was a lot to take on.

I had great help from Nida Ghouse and Michael Salu, who

have been brilliant to have on board. Savita Apte, Abraaj and

the Art Dubai team are very supportive. Of course, I must

thank the artists for letting me share their proposals with

respondents at a nascent stage, and the writers for taking

them on, that was very generous in a cultural environment

where originality and authorship are prized.

How significant is this collaboration for Art Dubai, as well as for regional creative production? It’s essential. It’s funny, the hardest part is keeping it secret!

What we do depends so much on dialogue/critique/debate,

you constantly refer to peers. It helps raise the bar I feel.

Working in the UK, I am always addressing a ‘universal’, ie

mostly European audience. Here, I had more freedom, without

the self-consciousness of appearing exotic. It’s time we spoke

to each other and paradoxically, we can only manage that

in English, but of course visuals can get around all that. The

relationship between images and the words that serve them,

especially in the art world, also informed this project.

All images courtesy Abraaj Group Art Prize, unless otherwise specified.

Q&A with Nada Raza

Image c

ourt

esy

Art

Dubai.

Bouchra Khalili. Video still from Garden Conversation.

2014. Digital film. 16'22 minutes.

Anup Mathew Thomas. Rita Sara Thomas, Medical Surgical Floor Instructor, Dell Children’s Medical Center,

Austin, USA. 2014. From the Nurses series. 48 C-type prints, Diasec. 60 x 80 cm each.

Left and right: Details from Kamrooz Aram's Ancient Through Modern: A Collection

of Uncertain Objects, Part 1. 2014. Mixed media installation. Variable dimensions.

CD2.indd 4 3/1 /14 :26 M

It’s time. Ahmed Qasim Seddiqi, the late founder of Ahmed Seddiqi & Sons, opened the first store in Bur Dubai in the late 1940s. What started as one man’s passion over 60 years ago is today an Empire that brings luxury to the hearts of watch collectors.

seddiqi.com

CD2.indd 3/1 /14 :26 M


Jim Lambie. Electric Boogaloo. 2012. Aluminium and paint. 125 x 125 x 35 cm. Photography by Sebastiano Pellion di Persano. Image courtesy the artist and Galleria Franco Noero, Turin (A10).

BLURRED LINESCanvas Daily looks at geometric shapes and lines in some of the works at the fair.

Bouchra Khalili. Constellation, Figure 5. 2011. Silkscreen. 60 x 40 cm. Edition five of five. Image courtesy the artist and Galerie Polaris, Paris (J2).

THE PARIS-BASED Moroccan artist creates eight silkscreen prints

that resonate with the drawings produced by the migrants in

Khalili’s The Mapping Journey Project (2008–11). The Constellation

series are the essence of Khalili’s artistic practice, in which she

documents migrants’ clandestine journeys. Each drawing (priced

at $8400) is minimalistic and appears as a constellation of stars,

inspired by the sky maps that were used in astronomy for centuries.

The artist blurs the limits between the sea and the sky by erasing

terrestrial boundaries to facilitate the trip.

Zarina Hashmi. Dreams From My Veranda In Aligarh. 2013. Collage with pewter leaf and gold pencil mounted on Somerset cream paper. 82.6 x 59.7 cm. Photography by Georges Poncet. © Zarina Hashmi. Image courtesy Galerie Jaeger Bucher, Paris (J15).

HASHMI REMINISCES ABOUT her

house in Aligarh, India, where

she spent most of her time before

she married an Indian officer of

international diplomacy and had

to relocate to different cities. “This

work is the image of the veranda

of the house where I grew up,

where I would sit for hours in

the late afternoons watching the

play of shadows created by the

structures of the house,” says the

artist. Dreams From My Veranda

In Aligarh is priced at $65,000,

and is part of Hashmi's new series,

entitled Home.

Annabel Daou. Pieces Of The Love Letter: The Common Tongue. 2014. Ink on mending tape and repair tape on paper. (Diptych) 98 x 130 cm. Image courtesy Galerie Tanja Wagner, Berlin (A16).

IN THIS WORK, the Lebanese artist explores the repetitive nature of the

language of love. The work, priced at $12,000 each, comprises two scrolls

of documents, tapes and repetitive text, which includes an endless love

letter of 10,000 words from history and literature books. The scattered

composition explores the connection between writing, speech and non-

verbal modes of communication and attempts to lay the grounds for

a solid meaning, but at the same time appears to be on the verge of

disintegration. The writings on the sides are connected with contiguous

lines that, upon closer look, resemble pages from a school textbook.

THIS WORK, PRICED at $75,000, is

created from everyday objects,

which is also where the artist

draws his inspiration.

Although the objects

are immediately

recognisable, they

lead the viewer

into a different

sensory experience.

Electric Boogaloo,

which is part of the

Metal Boxes series,

references music

and pop culture

and makes a keen

observation on

aesthetic forms.

The ends of the

aluminium are

brightly coloured and

bent over on each

other to mirror the

sleeves of LP records.

Mohamed El-Baz. The Rivers Are Burning (Mississippi, Danube, Tigris, Euphrates, Amazon, Congo, Indus). 2014. Tapestry. 100 x 100 cm each. Image courtesy the artist and Galerie Imane Farès, Paris (J23).

EL-BAZ RELIES on a number of tools to

appropriate the forms of his portraits. In this

work, priced at $34,000, he explores the

nature of rivers as an indisputable boundary

between two territories. Rivers are natural

borders, as opposed to those demarcated by

men following wars and battles. Therefore

the title, The Rivers Are Burning, acts as

a metaphor for a world that is on fire, as

we watch it rebuild itself like the river that

doesn’t account to history, civilisation or

territories, for that matter.

CD2.indd 6 3/1 /14 :26 M

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SLAVS & TATARS focus on areas “east of the former Berlin Wall and

west of the Great Wall of China," and bring a region unduly stereotype-

laden to a market with a latently innate understanding. Collaborating

with five spaces selected for their “distinctly varied, specific context of

arts infrastructure in the post-Soviet sphere”, they present works from

the 1960s–present through a “regime of portraiture” thematic.

Appropriating chaikhaneh (Eurasian version of a traditional salon)

as an exhibition format for Contemporary works, Marker explores

the notion of self-definition, a ubiquitous subject of Central Asian

creation, nationally, ethnically, intellectually or spiritually, and how

these notions are “ritualised, interiorised, and hybridised beyond

the brittle politics of identity”. Though five nations are brought

together under regional categorisation, it is important to note, says

Irena Popiashvili, Founder/Director of Popiashvili Gvaberidze Window

Project, that artists and viewers alike walk a fine line of the problematic

post-Soviet generalisation. Each country has its own cultural identity

and individualised artistic output, ie “Azerbaijan [is] more controlled

politically than Georgia. Since the USSR fell apart, [we haven’t] redefined

what it means to be an artist.” While indicative of varying speeds of

artistic development, an intriguing discourse is created by uprooting

artworks from during/post the Soviet Realism artistic ideology and

planting them collectively in Art Dubai, providing a new, yet familiar,

context for the artworks to be exhibited and visually appreciated. The

curators elaborate, “The context of the Gulf was compelling, having

increasingly strong ties with the Caucasus and Central Asia in general.

They share a relatively recent history of ‘nation building’, but perhaps

most importantly, the Gulf has a compelling imperative to consider the

role of these regions in the development of a pluralist, even modernist

Islam. It can be argued that the Golden Age of Islam happened not only

in the Gulf or Baghdad or Cairo but equally in [Central Asia].”

Though the visuals between the neighbouring regions may not

necessarily be shared, Popiashvili suggests the region is “a perfect

‘blank’ space where one can experiment”. However, as Liliya

Galazova of the North Caucasus Branch of the National Centre for

Contemporary Art remarks, “Contemporary artists of the Caucasus

seek to be incorporated into the international artistic process, quickly

reacting to changes in the world, not resorting to traditions, [but]

borrowing to build bridges between the art of the East and West.”

The region, “situated along the Silk Road, has always been a point

of cultural integration," highlights Suad Garayeva, specialist on

Central Asian Art at Sotheby’s, which is holding a second exhibition

on art from this genre. “It is very diverse, but was hidden behind

the Iron Curtain. Focused international interest from Biennials to

Documenta13 to Sotheby’s indicates a growing interest and these

initiatives are important for a broader contextual approach to the

Contemporary art from the region without compartmentalising

it into a narrow niche." Identity in an ever-changing landscape

is a universal question, revealing that artists needn’t leave their

environments for big-city lights to produce important and collectively

accessible artworks. They can stay right where they are, because

those big-city lights will come to them.

A REGION WITHOUT BOUNDARIESArt DubaiÕs annual Marker programme focuses on Central Asia and the Caucasus under the curatorial eye of artist collective Slavs & Tatars.

Evgeniy Boikov. (Detail) West Is Open. 1998. 30 x 40 cm. Image courtesy

ArtEast, Bishkek.

Ruslan Tsrimov. (Detail) Self-Portrait 2. 2004. 70

x 50 cm. Image courtesy the artist and North

Caucasus Branch of the National Centre for

Contemporary Art, Vladikavkaz.

MARKER PARTICIPATING GALLERIES

ArtEast (Bishkek, Kyrgyzstan) (A4b)

Asia Art+ (Almaty, Kazakhstan) (A2)

North Caucasus Branch of the National Centre for

Contemporary Art (NCCA) (Vladikavkaz, Republic of North

Ossetia-Alania, Russia) (A4a)

Popiashvili Gvaberidze Window Project (PGWP) (Tbilisi,

Georgia) (A3)

YARAT Contemporary Art Organisation (Baku, Azerbaijian) (A5)

Reza Hezare. (Detail) In Exile.

2008. 86 x 62 cm. Image

courtesy YAY Gallery, Baku.

WHO SAID YOU CAN’T EAT ART?

In celebration of Dubai Art Week, popular UAE-based

bakeshop Hey Sugar presents limited edition cupcakes

inspired by some of the art world’s greats – including the

region’s Nasser Al-Salem, Ahmed Mater, Farhad Moshiri

and Abdulnasser Gharem as well as masters such as Picasso,

Magritte, Munch and Indiana, among many others.

Order 24 hours in advance. Call 800-HEYSUGAR.

CD2.indd 3/1 /14 :2 M

www.salsalipm.comAMIR HOSSEIN ZANJANISOLO March 2014

35

34

14

12

15

16

SIKKA

SIKKA

SSIKKA

DISCOVER THE UAE’S EMERGING ARTISTIC TALENT IN THE HEART OF OLD DUBAI

Sikka Art Fair brings you a vibrant 10-day programme of art, live music, film screenings, cultural walks, workshops, adult and children’s educational activities and more! Set in Al Fahidi Historical Neighbourhood, the popular annual fair for artists and art lovers alike runs from the 15th - 25th March.

For the full programme, transportation details and to register to the workshops, visit sikka.ae

SIKKA Art Fair is an initiative by the Dubai Culture and Arts Authority.

[email protected]

#sikka14 #dxbartseason14

Dubaiculture@Dubai_Culture

CD2.indd 9 3/1 /14 :2 M


ART NEWSETEL ADNAN IN ALL HER DIMENSIONSDOHA – The

Lebanese-American

artist presents In

All Her Dimensions

at Mathaf: Arab

Museum of Modern

Art until 6 July. The show, curated by Hans

Ulrich Obrist, offers a deeper understanding of

Adnan’s multimedia oeuvre from the 1960s to

present day. A monograph, edited by Obrist,

accompanies the exhibition.

ZIAD ANTAR AT MUSEE NICEPHORE NIEPCECHALON-SUR-SAÔNE

– Lebanese artist Ziad

Antar presents his solo

exhibition, Au hasard

de la pélicule at the

Nicéphore Niépce

museum until 18

May. The artist shows

eerie photographs of

landmarks and landscapes captured using expired

film roles that he found in Lebanese photographer

Hashem El-Madani’s studio and questions what

gives a picture its value.

SADIK AL-FRAJI IN BEIRUTBEIRUT – The Beirut Exhibition Center hosts the Iraqi

artist's Biography Of A Head, in which Al-Fraji presents

recent works that focus on the dark and lonesome

world of his dark central figure. The exhibition, which

runs until 13 April, sees Al-Fraji explore the theory of

Existentialism and raise important questions about

one’s connection to their motherland.

ALI BANISADR IN NEW YORKNEW YORK – For his first solo show at blue chip gallery

Sperone Westwater, Iranian artist Ali Banisadr presents

Motherboard until 19 April. This exhibition showcases

Banisadr’s large-scale work Contact and smaller works

such as Reflektor. The show's title work is comprised

of four levels that represent the earth, civilisation,

technology and air.

Etel Adnan. (Detail) Jazz. 1999.

Image courtesy Mathaf, Doha.

Ziad Antar. (Detail) La

Mecque. 2012. Image

courtesy Almine Rech,

Paris/Brussels.

Sadik Al-Fraji. (Detail) In

Baghdad, Under The

Freedom Monument 1.

2013. Image courtesy Beirut

Exhibition Center.

LIBRARY

Samia Halaby: Five Decades of Painting and InnovationEdited by Maymanah FarhatPublished by Booth-Clibborn EditionsReleased to coincide with the artist’s

show at London’s Ayyam Gallery last

October, this book contains 450 colour

reproductions of artworks and provides a

chronological overview of the Palestinian

artist’s illustrious career from 1963–2013.

It includes texts by art historian Maymanah

Farhat as well as essays by the artist

herself. AED 250.

Wolfgang TillmansEdited by Burkhard Riemschneider and Wolfgang TillmansPublished by TaschenFragmented into three books, this

publication explores the German

photographer’s diverse career. The first

part is edited by Burkhard Riemschneider

and includes an essay by Simon Watney.

The other two parts, Burg and truth study

center are edited by Tillmans himself and

include texts by David Deitcher and Minrou

Shimizu in English and German respectively.

Available at Jashanmal. AED 200.

Candida Höfer: A MonographText by Michael KrügerPublished by Thames & HudsonThis monograph is illustrated with 209

colour reproductions of the artist’s

work and includes text by cultural critic

Michael Krüger. Höfer’s work is subtle

and pays particular attention to detail.

This publication is the most complete

volume that surveys her outstanding

representation of new German

photography. Available at Jashanmal.

AED 330.

Ali Banisadr. (Detail) Motherboard. 2013. Image courtesy

the artist and Sperone Westwater, New York

AT A STAGGERING 600 pages, TransGlobe

Publishing and Thames & Hudson’s latest

book, Art Studio America: Contemporary

Artist Spaces, features 115 artists, with a star-

studded cast that includes Marina Abramoviç, John Baldessari, Francesco Clemente, Chuck

Close, George Condo, Emilia and Ilya Kabakov,

Alex Katz and Bill Viola. After Sanctuary:

Britain’s Artists And Their Studios, Unleashed:

Contemporary Art From Turkey and Art &

Patronage: The Middle East, Art Studio America

is the fourth book that Executive Editor, Maryam

Eisler, has contributed to. Canvas Daily speaks

with Eisler on America, books and the future.

WHY DO YOU BELIEVE IN BOOKS? I believe in their physicality. Nothing replaces

the experience of paper, not even the Internet.

Books are also beautiful objects; I enjoy

their presence in my visual field and most

importantly, they have longevity and stamp

collective memory.

WHAT ABOUT WORKING ON ART BOOKS?It’s a true privilege to work with artists, enter

their world and penetrate their inner thoughts

sanctum. If it weren’t for a book, we wouldn’t

have had this opportunity. One should also

consider the appreciation and respect that artists

have for books.

HOW DOES YOUR ROLE CHANGE FROM BOOK TO BOOK?TransGlobe’s country-focus books are more

formulaic in their approach. With Art Studio

America, the core team – Hossein Amirsadeghi

(Publisher and Editor), Robin Friend (photographer)

and myself – was based in London whilst the

project itself was carried out throughout America,

which is a vast market and country. A lot of

planning and logistics was involved and barriers

to go through, but once you figure that out and

reach the artist, then it’s pure bliss!

AS AN ENTITY BASED IN THE UK, WHAT DID THE EXPERIENCE OF WORKING ON ART STUDIO AMERICA ENTAIL?The book is really about our team’s personal

journey throughout America. It is not, nor does

it pretend to be an A to Z of American art. The

book grew organically and there was a lot of word

of mouth; for example, Jason Martin whom we

met whilst working on Sanctuary introduced us

to Larry Bell in Venice Beach, California, who is

a major figure in the light movement. He in turn

introduced us to his ‘teacher’, Bob Irwin who then

recommended Ed Moses. Robert Storr, the Dean

of the School of Art at Yale, took a great passion

to the book and wrote the main essay.

WHAT WAS YOUR FAVOURITE PART OF THE PROCESS?I attended 80 of the 115 interviews, which were

conducted by Hossein Amirsadeghi. I visited

about 200 studios over the last two years; always

my favourite part. It’s almost like being a voyeur

with an intimate view into the artist’s mind, soul

and production process. With the exception of

giants like Jeff Koons and Richard Prince, being

an artist can be a very lonely business – these

guys tend to be on their own for long stretches

of time, drowning in their work and ideas. We

often heard many refer to their studio as either

their sanctuary or battleground.

WHAT BOOK IS NEXT?I am excited to be contributing to TransGlobe’s

Planet London (working title, due in 2015). The

book is a space probe investigating London’s

creative solar system. It will enliven the city's

energy through the eyes of its resident creative

thinkers. You will discover the wildest cats,

whether young or old, high or low brow, novice

or master, from all fields of creativity including

artists, designers, architects, chefs, ballerinas,

writers and more.

WHAT ABOUT MORE BOOKS ON THE MIDDLE EAST?I would love to work on these and there’s

so much cataloguing and referencing to be

done in this area. Iran is my country and I am

genuinely hopeful and passionate about it. I

believe that one of the easiest places to start

opening minds is culture. Where politics fails,

culture often wins. Recently, there have been

massive changes in Iran within the artistic

platform both in the country and amongst the

Diaspora. As such, there is room for a new

book on Iranian art.

BEYOND BOOKS, WHAT’S IN STORE?A library for Middle Eastern art – we don’t

have that anywhere and institutions can be the

keepers. I’d love to be involved in the set-up

of such a centre. I am amazed at how visual

art can tell the history of a country; as such,

cataloguing and books are key. The more books,

the merrier.

ONE ON ONE with Maryam Eisler

Hossein Amirsadeghi, Robin Friend and Maryam Eisler in Pennsylvania.

Inset: The cover of Art Studio America. All images courtesy Maryam Eisler.

CD2.indd 1 3/1 /14 :2 M

CD2.indd 11 3/1 /14 :2 M


VERNISSAGEArt Dubai's VIP opening night.

CANVAS COLLECTORS

DINNERCanvas hosted its annual Collectors Dinner on 18 March at the Royal Mirage Hotel to celebrate the

magazine's 10-year anniversary and the start of Art Dubai. Held in partnership with Ahmed Seddiqi

and Sons and ChristieÕs, the dinner showcased lots by some of the region's greats, including Louay

Kayyali, Ayman Baalbaki, Farhad Moshiri and Paul Guiragossian, which will go under the hammer at

the Christie's auction today. Canvas commissioned �� !��"#�

� $ �� %��(�)� ��*+/#� ��2�the proceeds of which will go to charity.

Michele Lamy with designer Rick Owens.

Delfina Entrecanales of the Delfina Foundation with

Pi Artworks's Yesim Turanli.

HE Zaki Nusseibeh, his daughter Dyala and London/Zurich dealer Kashya

Hildebrand of her eponymous space.

Saudi artist Nasser Al-Salem with Ramin Salsali of the

Salsali Private Museum and Athr Gallery's Adnan Manjal.

Wafa Makki with Palestinian artist Samia Halaby.

HE Sheikh Terky Al-Khalifa with

Al-Bareh Gallery's Haifa Jishi.

Richard Armstrong, Director of the Solomon R Guggenheim Foundation.

Christie's Chairman Viscount David Linley and Canvas Publisher and

Editor-in-Chief Ali Khadra with lots from today's Christie's sale in

the background.

Canvas Editor Myrna Ayad with calligrafitti artist eL Seed's specially

commissioned limited edition Canvas magazine covers.

Fatima Maleki. Negin Fattahi-Bin Dasmal.

The British Museum's Venetia Porter, the Sharjah Art Foundation's Judith

Greer and Rajeeb and Nadia Samdani of the Dhaka Art Summit.

Basma Al-Sulaiman, Mohammed Hafiz of Athr Gallery and The

Pace Gallery's Sharifa Al-Sudairi.

CONTINUED ON PAGE 14 >

CD2.indd 12 3/19/14 4:12 AM

Organised by:

BE PART OF MODERN. CONTEMPORARY.ABU DHABI ART.5 - 8 November 2014Saadiyat Cultural DistrictAbu Dhabi, UAE

Applications now open for modern and contemporary art and design galleries.

Application closing date: 16 April 2014For more information call +971 2 406 1501 or email [email protected]

abudhabiart.ae

CD2.indd 13 3/1 /14 :2 M


Canvas's 10-year anniversary cake by Hey Sugar bakeshop. Ramin Salsali of the Salsali Private Museum and

Chanel's Farah Abdul-Reda.

The Canvas Collectors Dinner set-up with works from the

Christie's Dubai March sale.

Tarek and Dalya Qaddumi observe the craftsmanship of a Seddiqi

and Sons representative.

Elie Khouri, Regional Chief Executive of the

Omnicom Media Group in the Middle East and

North Africa.

Sara Alireza Tamer.

Maryam Eisler.

Fatima Alshroogi and Master of Ceremony Wonho Chung.

The Guggenheim's

Reem Fadda.

Taymour Grahne of his eponymous New York space

and Wonho Chung.

Raed Saqfelhait, Yasmine Salaam, Taymour Salaam, Nisreen Salaam, Dana Jallad Saqfelhait

and Hawazen Nassief of Christie's. Maryam Beydoun.

Abdul Rahman Al-Zayani flanked by

Isabelle de la Bruyere, Hayat Shobokshi

and Hala Khayat of Christie's.

Talal Ghandour and his wife Ranya of Ruth Catone. Canvas 10th anniversary cakes.

Michael Jeha of Christie's and

Lombard-Freid's Alia Fattouh.

CD2.indd 14 3/19/14 4:13 AM

Ronald

Codra

i ©

TC

A A

bu D

habi

Qasr al Hosn: The Story of Abu Dhabi and its People

A permanent exhibition accompanied by a public programme of talks and workshops.

For more information, please call 02 697 6472

or email [email protected]

Qasr al Hosn Centre, Abu Dhabi

09:00 – 20:00

qasralhosnfestival.aevisitabudhabi.ae

CD2.indd 1 3/1 /14 :2 M


WHEN I THINK about when I first arrived to the UAE, I would walk

from the temporary TCA Abu Dhabi accommodation through a

building site to the office. The office was a block amongst others,

situated in a large building site that is now twofour54 in Abu Dhabi.

Now, there is more than one café, concrete parking spaces and

finished roads surrounding it. Even a school was built opposite in

the time that I worked there. Before I’d left London, one of the

attractions to moving to another country was that even a commute

would be something new and different to the years of cycling

through the city or squeezing on the tube. And it was definitely

different. I really enjoyed the unfinished-ness of Abu Dhabi,

except for the late night drilling! I loved that there were boulders,

abandoned scaffolding, bricks and debris all around, waiting to be

stitched together into the communities that now stand there.

Much the same can be said for Dubai – there is perpetual flux and

revision, frustrating road blocks and endless construction that feel

like if you take the wrong turn in Al-Quoz, you may well end up on

the road to Oman. On first exploring the art scene in the city, there

was an immediate sense of removal from the art itself. There were

galleries, showrooms, art fairs, museums being planned and the

occasional event or talk outside of ‘art week’. But where was the art

being made? Where was the grit and dirt of toiling artists’ studios

and workshops?

Now, I know that most artists work from home, have full-time

jobs and would largely not introduce themselves as artists. Sharjah

soon became a second home, wandering around near the studios

of the Emirates Fine Art Society, indulging in activities to get a

sense of things being made and unmade. I started working at

Tashkeel and my connection to art in the Middle East and Dubai

in particular has been transformed. I feel closer to a sense of

change within Dubai’s art scene, a desire from makers and thinkers

for something more connected. I’m motivated by other projects

and where they are heading. At Tashkeel, we look towards an

ongoing programme that supports the making process, encourages

open and honest critique, and that pushes the cross-cultural and

disciplinary approaches inherent in a country rich with diversity. We

provide studios spaces and professional workshops; critical practice

programmes and mentorships; materials and equipment. I’m excited

about making some mess, building on some grit and finding what

comes out of it. I'm passionate about the future of Tashkeel and

ultimately, the evolution of Dubai’s art scene.

WATCHING DUBAI’S ART SCENE GROW

WHAT TOPICS WOULD YOU LIKE TO SEE PANELLISTS DISCUSS?

ADNAN Z MANJAL, BUSINESS DEVELOPMENT MANAGER, ATHR GALLERY

I’d like them to discuss who they believe has the authority

to declare what is and is not art in the Contemporary art

arena today. I’d also like them to discuss the pros and cons

of art fairs in general and specifically, the abundance of

new art fairs around the globe.

MAYSSA FATTOUH,DIRECTOR AND CURATOR, KATARA ART CENTRE

What is contemporary

in Contemporary art:

Questioning the label of the

Contemporary, its criteria

and the validity of giving

it a closed definition. Is it

a movement? If not, are

movements outdated? And

if relating to a time, how

do we then classify artists

who are currently producing

after their death?

VENETIA PORTERCURATOR, BRITISH MUSEUM

I would like in

particular to hear

strong debate about

the importance of

Modernism and its

legacy. The focus

this year is going to

concentrate all of

our minds on the

reasons why we need to have a better understanding of

these artists and of what they were trying to achieve.

DR NADA SHABOUT,ART HISTORIAN I know my students would

like to see panellists

address practical and

methodological issues that

they could understand

and use in their studies.

They would appreciate

more direct engagements

with works of art instead of

philosophical and rhetorical

debates around them.

Panellists should consider

the dearth of resources, which consequently renders their

contributions as knowledge.

By Anabelle de Gersigny, Strategy �� )��)$��3��at Tashkeel.

Imag

e c

ou

rtesy

Tash

keel.

In partnership with the Dubai Culture and Arts Authority, the ArtBus

offers passengers a view of Dubai’s eclectic arts and cultural scene.

Three UAE-based artists – Afra Bin Dhaher, Mark Ganzon and Hala

Makhlouf – present specially commissioned artworks featured on

the ArtBus. From 20–22 March, the ArtBus leaves from Dubai’s Souk

Madinat Jumeirah roundabout at 10:00, and returns at 17:00. Tickets

are priced at AED 50 per person and the ArtBus runs three routes daily.

GALLERIES AND SPACES ON THE AL-QUOZ ROUTE:Art Sawa, Ayyam Gallery, Carbon 12, The Cartoon Art Gallery,

The Courtyard Gallery, Create! @ Sofa Studio, Etemad Gallery, FN

Designs, Gallery Isabelle van den Eynde, Gallery Ward, Green Art

Gallery, Grey Noise, Gulf Photo Plus, thejamjar, Khak Gallery, La

Galerie Nationale, Lawrie Shabibi, Meem Gallery, The Mine, Mojo

Gallery, Mottahedan Projects, Mussawir Art Gallery, Salsali Private

Museum, Satellite, Showcase Gallery, The Third Line and Total Arts.

GALLERIES AND SPACES ON THE DIFC GATE VILLAGE AND DOWNTOWN DUBAI ROUTE:Alif Art Gallery, Ayjad Gallery, Art Sawa, Artspace, Ayyam Gallery,

Cuadro Fine Art Gallery, Cube Arts, The Empty Quarter, The

Farjam Foundation, J+A Gallery, Opera Gallery, RIRA Gallery

and Tashkeel.

GALLERIES AND SPACES ON THE JUMEIRAH AND AL-FAHIDI HISTORICAL NEIGHBOURHOOD ROUTE:Authentique Art, Art Connection, Mawaheb from Beautiful

People, Dubai International Art Centre, DUCTAC, Hunar Gallery,

The Majlis Gallery, Pro Art Gallery, SIKKA Art Fair, Tashkeel

Bastakiya and XVA Gallery.

To book your seat or for more information call +971 43417303 or email [email protected]

ARTBUSMark Ganzon. Image courtesy

ArtintheCity, Dubai.

OPINION

CD2.indd 16 3/1 /14 :2 M

CD2.indd 1 3/1 /14 :2 M


THE IDEAL MEAL WITH ONE ARTIST IS: Please leave artists alone when they eat.

FIVE PREREQUISITES FOR SURVIVAL IN THE ART WORLD:There is no art world.

LOOKING BACK AT MY CAREER IN THE ART WORLD, I WISH I HAD: There is no art world.

IN THE ART WORLD, IT’S NEVER TOO LATE TO: Say goodbye.

THE ART WORLD’S BIGGEST CRIME IS: Its existence.

ONE OF THE ART WORLD’S GREATEST UNSUNG HEROES IS/WAS:None of them.

IF I HAD TO SUMMARISE IN ONE WORD, I WOULD SAY THAT ART IS: Art.

I AM HAPPIEST WHEN: I watch TV.

MY BIGGEST PET PEEVE: Is such a stupid interview and me filling it in for free.

MANKIND IS CAPABLE OF GREAT: Art.

LIFE WOULD BE MEANINGLESS WITHOUT: Home.

MY FAVOURITE FICTIONAL CHARACTER IS: Henry Ford.

BAD ART IS: Everywhere.

I’D LIKE PEOPLE TO REMEMBER MY: Paintings.

CREATIVITY CAN BE CRUSHED BY: There is no creativity.

FIVE PREREQUISITES FOR SURVIVAL IN THE ART WORLD: Belief in self, money, don’t put your trust in the market, money and money.

THE ART WORLD’S BIGGEST CRIME IS: Fashion.

MY BIGGEST PET PEEVE: Is seeing art becoming a brand.

FOR INSPIRATION, I GO TO: Swim.

LIFE WOULD BE MEANINGLESS WITHOUT: Friends.

THE THREE THINGS I LOOK FOR IN AN ARTWORK ARE: Intelligence, probity and that gut feeling.

MY BEST ART INVESTMENT WAS: A work by Francis Bacon when I was 23 years old.

I WOULD HAVE LOVED TO BE A FLY ON THE WALL WHEN: Warhol, Basquiat and Clemente collaborated.

MY FAVOURITE FICTIONAL CHARACTER IS: Mr Magoo.

THE MOST OVERUSED ART TERM(S): ‘Disturbing ambiguity’, ‘disquieting feelings’ and ‘uneasiness of identity’.

THE ARTIST I’D WANT MY PORTRAIT CREATED BY: John Currin.

I’D LIKE PEOPLE TO REMEMBER MY: Enthusiasm.

I WISH PEOPLE WOULDN’T: Listen to experts when viewing art.

CREATIVITY CAN BE CRUSHED BY: Success.

WORD SEARCHSpeakers at the Global Art Forum

CROSSWORDMonographs by Middle Eastern Artists

ACROSS3. Last name of Lebanese artist, architect and urban

planner whose monograph is titled Stretching Thoughts7. Named after Rokni Haerizadeh's series that features

animated characters

9. Last name of Algerian-born artist who has recently

staged a solo at Mathaf: Arab Museum of Modern Art

11. Last name of artist and Lieutenant in Saudi army, who

stages a solo show at Ayyam Gallery in Dubai

DOWN1. Monograph of an Abraaj Group Art Prize winner

currently staging a solo at Green Art Gallery

2. Last name of Moroccan artist represented by Rose Issa

Projects and The Third Line

4. First name of Saudi artist whose book cover features a

yellow cow

5. Last name of Egyptian/German artist whose

monograph is the third in the Pars Pro Toto series

6. Lost Walls, a new book by this Tunisian-born

calligraffiti artist

8. First name of Turkish artist renowned for his Lost Paintings photorealist series

10. First name of Iranian artist based in Minneapolis and

shows work through Alexander Gray Associates

12. Last name of Palestinian-born artist whose

monograph documents 50 years of her practice

5 minutes with...

ANDRÉ BUTZERARTIST SHOWING THROUGH CARBON 12 (A24)

PAUL GREENAWAYGAG PROJECTS (J4)

Across: 3. Karam; 7. Fictionville; 9. Abdessemed; 11. Gharem.Down: 1.Palimpsest; 2. Hajjaj; 4. Ahmed; 5. Hefuna; 6. eL Seed; 8. Taner; 10. Siah; 12. Halaby.

BALAGHIBERRADAENWEZORKAZIMOBRISTSTEELESZYMCZYKVAZQUEZYOUNISKHOURIDAVIDALBASSAM

CD2.indd 1 3/1 /14 :2 M

NEW HORIZONS Guest Country China

PLUG-IN ISTANBUL New Media Section by Contemporary Istanbul

ART ISTANBUL “A week of Art” 10-16 November 2014Istanbul Design Biennial, Istanbul Galleries, Museums, Institutions, Initiatives,

Cultural Centers, Guided Art Tours

facebo

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Main Sponsor Sponsors Official Carrier

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CD2.indd 19 3/1 /14 :2 M


EXHIBITIONS IN THE UAEDUBAI1x1 Art GalleryUntil 17 AprilLook − Over − LookA group show featuring works by

Christiana de Marchi, Lujin Yoon

and Mohammed Kazem.

Tel: +971 43411287

www.1x1artgallery.com

Albemarle GalleryUntil 27 MarchThe Painted WordPakistani artist Jamil Naqsh explores

the 99 names of Allah.

Tel: + 971 504216601

www.albemarlegallery.com

Alif Art GalleryUntil 15 AprilWonders Of Central AsiaA solo show by Uzbek artist

Sanjar Djabbarov.

Tel: +971 505577267

www.alifartgallery.ae

Art Sawa (Al-Quoz)Until 18 AprilAnd Now… Shall We Dance?Egyptian sculptor Ahmed

Askalany’s solo show.

Tel: +971 43408660

www.artsawa.com

Art Sawa (DIFC)Until 16 AprilHappy LuckyA solo show by Robert Hammond.

Tel: +971 43862366

www.artsawa.com

Art SpaceUntil 20 AprilIn The Wind Of JanuaryEgyptian artist Khaled Zaki presents

his sculptural works.

Tel: +971 43230820

www.artspace-dubai.com

Ayyam (Al-Quoz)Until 30 AprilSamia Halaby: Five Decades Of Painting And InnovationThe Palestinian artist’s first

retrospective in Dubai presents

works produced over the past

50 years.

Tel: +971 43236242

www.ayyamgallery.com

Ayyam (DIFC)Until 30 AprilAl-Sahwa (The Awakening)Saudi artist Abdulnasser Gharem’s

solo show.

Tel: +971 44392395

www.ayyamgallery.com

Baginskaya Gallery & StudioUntil 2 AprilThe Beauty Of UzbekistanDilorom Mamedova and Dilmurod

Yuldashev present snippets from

their motherland.

Tel: +971 505562210

www.baginskaya.com

Carbon 12Until 30 AprilNGerman artist André Butzer’s

solo show.

Tel: +971 43406016

www.carbon12.com

Cuadro Fine Art GalleryUntil 6 AprilCrashSaudi-born Manal Al-Dowayan

surveys the fatal car crashes of

women teachers in the Kingdom.

Tel: +971 44250400

www.cuadroart.com

Cuadro Fine Art GalleryUntil 6 AprilPrimordialEmirati artist Mohammed Ahmed

Ibrahim's solo show.

Tel: +971 44250400

www.cuadroart.com

Gallery Isabelle van den EyndeUntil 1 MayThe Exquisite Corpse Shall Drink The New WineRokni & Ramin Haerizadeh and

Hesam Rahmanian present

new works created during

their residency at the Robert

Rauchenberg Foundation.

Tel: +971 43235052

www.ivde.net

Gallery WardUntil 20 AprilDiscovering Visions Within A Trapped MemoryEgyptian artist Essam Marouf’s solo

show, curated by Ehab El-Labban.

Tel: +971 43883204

www.galleryward.com

Green Art GalleryUntil 3 MayPalimpsestIranian artist Kamrooz Aram

explores the complex role of

ornaments in Modern paintings.

Tel: +971 43469305

www.gagallery.com

Grey NoiseUntil 30 AprilYieldPakistani artist Fahd Burki

highlights the notion of utopia

through sculptures and works

on paper.

Tel: +971 43790764

www.greynoise.org

Gulf Photo PlusUntil 19 April50 PortraitsGregory Heisler presents 50 iconic

portraits of personalities such as

George W Bush, Yasser Arafat and

Denzel Washington.

Tel: +971 43808545

www.gulfphotoplus.com

JAMMUntil 19 AprilAs The Jungle WeepsZhivago Duncan reflects on his

travels to the deserts of Wadi Rum

in Jordan.

Tel: +971 43285179

www.jamm-art.org

Kenza Art GalleryUntil 31 MarchWhere Spirits LandIn collaboration with Karachi-based

gallery ArtChowk, Sumairah Isaacs,

Shakira Masood and Ziyyad Gulzar

present their work.

Tel: +971 43686603

www.artkenza.com

Lawrie ShabibiUntil 22 AprilPTSDShahpour Pouyan presents new

sculptures and drawings for his

second solo at the gallery.

Tel: +971 43469906

www.lawrieshabibi.com

Leila Heller GalleryUntil 17 AprilThe Whistle Of The Souls, A Play That Never StartsIranian artist Reza Aramesh

presents his site-specific

installation at Warehouse 18

in Al-Quoz.

Tel: +1 2122497695

www.leilahellergallery.com

Mojo GalleryUntil 30 AprilArcheology Of The SpiritMedhat Shafik's solo exhibition,

curated by Mohammed

Abou Elnaga.

Tel: +971 43477388

www.themojogallery.com

Meem GalleryUntil 1 MayThe ReplacementPolitical propaganda through

communication and imagery is the

core premise of Mahmoud Obaidi’s

solo show.

Tel: +971 43477883

www.meemartgallery.com

Rira GalleryUntil 14 AprilBalanceIranian artist Safa Hosseini's

solo show.

Tel: +971 43699339

www.riragallery.com

Salsali Private Museum

Until 31 AugustAmir Hossein ZanjaniThe exhibition revolves around the

philosophical and social idea of

submission to power.

Tel: +971 43809600

www.salsalipm.com

Showcase GalleryUntil 15 AprilThe Gamcha ProjectElise Vazelakis highlights the

importance of construction workers

in Dubai.

Tel: +971 43790940

www.showcaseuae.com

TashkeelUntil 30 AprilTurning PointA group show featuring works

by Alia Lootah, Afra Bin Dhaher,

Vikram Divecha and Hind Mezaina,

among others.

Tel: +971 43363313

www.tashkeel.org

thejamjarUntil 7 AprilLandingsIn collaboration with Campus

Art Dubai, Pakistani artist Ferwa

Ibrahim presents a solo show.

Tel: +971 43417303

www.thejamjardubai.com

The Third LineUntil 17 AprilLanguage ArtsSlavs and Tatars explore the politics

of language through sculptures,

installations, textile works

and prints.

Tel: +971 43411367

www.thethirdline.com

XVA GalleryUntil 17 AprilRite Of PassageKurdish artist Walid Siti surveys the

notion of transformation through

the story of Gilgamesh.

Tel: +971 43535383

www.xvagallery.com

SHARJAHBarjeel Art FoundationUntil 24 OctoberTariqahArabic for 'pathway' or 'route', this

exhibition looks at works by Kamal

Boullata, Samir Sayegh and Rafa

Al-Nasiri, among others.

Tel: +971 65566555

www.barjeelartfoundation.org

Maraya Art CentreUntil 12 MayEncounter: Listening To The CityThis group show presents sound

installations in shipping containers

at Maraya Art Park.

Tel: +971 65566555

www.maraya.ae

Sharjah Art FoundationUntil 13 JuneAnother PlaceEgyptian artist Susan Hefuna’s

solo exhibition.

Tel: +971 65685050

www.sharjahart.org

Sharjah Art FoundationUntil 13 JuneBefore And After MinimalismPakistani-born British artist

Rasheed Araeen’s first major

exhibition in the region.

Tel: +971 65685050

www.sharjahart.org

Sharjah Art FoundationUntil 13 JuneHorsemen Adore Perfumes And Other StoriesWael Shawky explores history,

religion, culture and the effects

of globalisation through videos,

photographs, installations

and performances.

Tel: +971 65685050

www.sharjahart.org

Sharjah Art FoundationUntil 22 MayBetween My East And My WestThis exhibition is curated by HE

Sheikha Hoor Al-Qasimi and

traces the journey of Eduard

Puterbrot’s two decades of

artistic practice.

Tel: +971 65685050

www.sharjahart.org

Sharjah Art FoundationUntil 22 MayAl-ToubayThis exhibition traces Emirati

Abdullah Al-Saadi’s life and history

as an artist.

Tel: +971 65685050

www.sharjahart.org

Sharjah Art FoundationUntil 22 May100 Found ObjectsSaudi artist Ahmed Mater

comments on the urbanisation of

Mecca through archival images,

videos and research material.

Tel: +971 65685050

www.sharjahart.org

Sharjah Museum ofIslamic CivilisationUntil 14 JuneSo That You Might KnowEach OtherThis exhibition features a selection

from the collection of the Vatican

Ethnological Museum.

Tel: +971 65566002

www.sharjahmuseums.ae

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Leila Heller Gallery.

Reza ArameshAction 121: Palestinians wait at the Rafah border point to cross into Egypt from the Gaza Strip. Tuesday, 8:00 a.m. 15 September 2009, 2013Hand printed silver gelatin, mounted on aluminumand archival board, and framed in black aluminum and museum glass195 × 270 in / 495.3 × 685.8 cmEdition of 3 + 1AP

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Publisher & Editor-in-Chief Ali Khadra

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