THE MIDDLE EAST FINE ART BOOM
AT THE BEGINNING OF THE FIRST DECADE IN THE 21ST CENTURY, THE MAJOR CULTURAL EFFORTS OF THE ARAB EMIRATES VIA THE TWO URBAN CAPITALS OF DUBAI AND ABU DHABI TURNED THE DESERT KINGDOM INTO A VIBRANT COSMOPOLITAN ART DESTINATION. CHRISTIE’S OPENED IN 2006 FOLLOWED BY THE FIRST EDITION OF THE ART DUBAI IN 2007 AND BONHAMS ARRIVED IN 2008. THE FIRST AUCTION ORGANISED BY CHRISTIE’S IN APRIL 2006 GENERATED 53 RECORDS FOR MODERN & CONTEMPORARY ARTISTS AND THEN EVERYTHING WAS MASSIVELY OVERHEATED. OVER THE YEARS THE GENERAL INFLATION WENT SUBSTANTIALLY HIGHER SUS­TAINED BY SEASONED BUYERS AND A GROWING WAVE OF YOUNG COLLECTORS.



Can you say that the UAE is the nucleus of Middle Eastern art today?

I think it is reasonable to say that the UAE has organically played a major role in the Middle Eastern art market of the Modern and Contemporary Art today, as a trading hub, with the plethora of galleries and auctions at however I would not say it is the nucleus of Middle Eastern art as no leading Middle Eastern artists are based here. Yes the UAE is a central point for sales within the GCC, due to a limited supply of local talent in the context of the MENA region, wealthy patrons have to pursue a culture known to themselves and this is drawn from across the Middle East.  In relation to Middle Eastern art, the answer is no. Look at Cairo, Damascus, Beirut, Casablanca, Khartoum and the Arab artists whom live outside their own countries – London, Paris, New York and Amsterdam and you will see where I am coming from in relation to my response to your question.


What was the role of Meem Gallery in the Zeitgeist and

Since its inception in 2005, Meem Gallery’s focus has been on the pioneers of Middle Eastern art. A key aim of the gallery is display this work and to research, archive and publish material related to modern and contemporary Middle Eastern art. Setting aside nationalistic opinion, we focus on the very best, the critically acclaimed, and hope to foster greater awareness of what is internationally recognised as leading work from the region. This was and is the role of Meem Gallery, as founded by Mishal Hamed Kanoo, Sultan bin Sooud Al Qassemi and myself.


your contributions in making the contemporary culture?

We have brought out and published books in both Arabic and English on many of the established artists from the Middle East. As they say back in England, the proof of the pudding is in the eating!



THE ART MARKET
IRANIAN ARTIST, FARHAD MOSHIRI (AGED 45) WAS ONE OF THE FIRST TO BE PRESENTED BY CHRISTIE’S TO APPEAR AT AUCTION. HIS WORK SOLD FOUR TIMES THE HIGH-END ESTIMATE SETTING THE TONE FOR THE ARTIST’S FUTURE AUCTION MOMENTUM. IN MARCH 2008, MOSHIRI’S ESHGH (LOVE) SOLD AT BONHAMS DUBAI, AT A PRICE LEVEL THAT BROUGHT HIM CLOSE TO THE PRICES COMMANDED BY PARVIZ TANAVOLI, THE BEST-KNOWN IRANIAN SCULPTOR (AGED 71). IN 2008, THE WALL (OH PERSEPOLIS-1975) A ONE-OFF BRONZE STATUE CREATED BY TANAVOLI GENERATED FOUR TIMES CHRISTIE’S HIGH ESTIMATE. LOOKING AT DUBAI ART MARKET FROM A PURELY ECONOMIC PERSPECTIVE, IT IS CLEAR THAT THE PRICE OF THE ARTISTS IN COUNTRIES WITH THE FASTEST GROWING POPULATIONS OF WEALTHY BUYERS WILL EXPERIENCE VERY RAPID INFLATION. THIS IS PARTICULARLY TRUE OF THE IRANIAN CONTEMPORARY ART MARKET AS IT WAS ALSO NOTED THAT MAJORITY OF IRANIAN ARTISTS IN THEIR THIRTIES ARE MAKING A CONSIDERABLE IMPACT ON THE SECONDARY MARKET.



Following this logic - although it leads into a more ‘political’ reflection – do you think that Iran will become a more culturally open space and that contemporary art will no longer be limited to an elite generation of substantial profits?

Iran already is a cultural open space – however there is always room for improvement (as with every location and nation).  From what I understand from friends and clients in Tehran – there is less censorship to what can be exhibited in galleries in Tehran than in Dubai. At Art Dubai last year, works depicting the Shah’s wife, Farah Pahlavi, had to removed and adverts relating to the work of Ramim Harezadeh (http://www.economist.com/node/16690352) in Canvas magazine had to be blacked out. Art is open to all, not just the financially well-heeled. What matters is the affect the work has on the spectator.  One of the greatest collectors of modern art in America is a postal worker, who said ‘’You do not need to be a Rockafaller to collect art’’ – this being Herb Vogel (http://www.herbanddorothy.com/2010/)


With the windfall of Turkish and Pakistani artist, Middle Eastern artists are becoming increasingly popular among the inner circle of international collectors.

Do you think this speculative market can be exported?

The market has already crossed international boundaries, if you look at the international sales in London and New York of Contemporary art there are works of Moshiri, Hatoum, Shirin Neshat, Kiarostami, Tanavoli and Ahmed Al Soudani. The regional market is very speculative and open to manipulation, which has been well documented and witnessed by many. This speculative market has been manipulated nearly to the death of it, this can be seen with the collapse of pricing with a number of recognized artists from Iran, one work selling for $500,000 in 2009/2010 is now seeing prices of $50,000 in a specific instance, another $400,000 in 2008 now at $80,000. Boom and bust. One can see a number of works selling for in excess of $200,000, Arab and Iranian, though none of the artists work are held in recognized international collections or published in recognized journals. In time the market will find its true feet for itself, I hope.

With a total lack of public criticism in the press in relation to what everyone talks about privately, this process of change will take longer than in the West and The East. Until there is more openness and more public criticism I cannot see how change can happen.



CONTEMPORARY MIDDLE EAST
IN 2000, THE GLOBAL ART MARKET ACCORDED THE HIGHEST VALUES TO MODERN ART IN REVENUE TERMS, FOLLOWED BY 19TH CENTURY ART, OLD MASTERS, POST-WAR ART AND LASTLY, CONTEMPORARY ART. TEN YEARS LATER, EVEN IF MODERN ART STILL ACCOUNTS FOR THE BULK OF ANNUAL ART AUCTION REVENUE,  CONTEMPORARY CREATION NOW REPRESENTS A TOTAL REVENUE THAT HAS BEEN MULTIPLIED BY WELL OVER TEN TIMES IN 2010. CONTEMPORARY ART IN THE MIDDLE EAST TODAY, TOGETHER WITH THE RISE OF CURATORS CHALLENGES US TO LOOK BEYOND THE CONVENTIONAL BOUNDARIES OF THE ART WORLD.


Does it open the door toward a new consideration of what art practice can be? 

Firstly, curators and specialists in the region are self appointed, not by institutions but by themselves. I have seen some ‘curated’ shows in the region that are painful to the eye. To answer your question, does this explosive movement open new doors in the region. The answer should be yes but tragically the reality of the situation shows us that the answer is no. The market and the way work is displayed is still in its nascent stages.  Take away the public art such as the MENA (Midlde East North Africa) regional biennales and focus on the private sector, what sells is what is exhibited, which is sad as the boundaries of a clients understanding is then limited. What goes down in London and New York does not happen here as the market is limited in what it offers through a lack of experience and knowledge, on both sides, being the clients and the galleries. So once again the answer to your question is no. Video work does not get a look in at galleries in the region, the market is not ready to buy such work in the region so galleries will not exhibit. At Art Dubai 2011, the video work by Jananne Al Ani was the best work there in my opinion, it was not for sale, part of ACAP (Abraaj Capital Art Prize) and very few people bothered to enjoy it, they would walk in and walk out. Then again at the Sharjah Biennial, in my opinion only 20% of the video work displayed was watchable in relation to quality and content.


Trends in Contemporary art making prompts us to ask, what is craft and what is art? As witnessed in this year’s Sharjah Biennial and the Middle East participation at the Venice Biennial, do you think the curators’ aspirations overshadow the art and the artists’ intentions?

Yes, with some galleries it is often more about the curators than the work. My belief is that is has to be all about the work, take your ego out it, the work should be judged on its own merits, not the marketing and packaging or the ego of the curator. At Venice with regard the Middle East participation, much of the work is student work and should not be exhibited on an international platform when so much more can be achieved, such as embracing pan Arabism and promote the best of what there is in terms of art, not what promotes the curator in the best way, in turn bringing critical scorn on their shoulders by the international art press and in turn onto the region as a whole.

Many curators involved in the highlighted projects, not all, are appointed because they are self appointed as they either have access to finance and by proxy are in fact financing their own reputation or have marketed themselves extremely well and are selling themselves and not being judged on the projects they have curated. So much can be done but it is not, why, because as you state, the curators aspirations overshadow the art. A panel of three curators with experience, proven experience and celebrated, do it well and leave a mark to guide others for the benefit of the collective, not for the personal quest for glory.



ART DUBAI
FIVE-YEAR-OLD ART DUBAI HAVE TAKEN ON MORE PROMINENCE AS THE ORGANISERS REACHED OUT TO NEW PARTNERS DEVELOPING NEW PROGRAMMES FOR THE MORE THAN 20,000 ATTENDEES IN THIS YEAR’S ART FAIR. MAJORITY OF THE 81 PARTICIPATING GALLERIES REPORTED IMPRESSIVE SALES SENDING OUT STRONG SIGNALS OF CONFIDENCE IN THE MIDDLE EAST ART MARKET.


Leading the charge even if it is still considered 'emerging' on the world stage, do you think Middle Eastern modern and contemporary art is emerging as a whole with the help of Art Dubai?

We have never exhibited at Art Dubai although we work with artists that are celebrated as being pioneers and leaders of the Middle Eastern art movement, Dia Azzawi, Ali Omar Ermes, Adam Henein, Ibrahim Salahi, Mohamed Omar Khalil, Mohammed Melehi, Parviz Tanavoli, Abbas Kiarostami and many others. Has Art Dubai brought press and clients through our doors? No. Has Art Dubai brought Middle Eastern Art to the world stage? Along with Abu Dhabi Art, with Mathaf in Doha, with Guggenheim Abu Dhabi, with the British Musuem, with The Smithsonian, Tate MENAC committee, Sharjah Biennial, Sotheby’s, Christie’s and Bonhams, National Gallery in Jordan, Dar Al Funoon in Amman, the galleries in the region and above all the patrons whom buy the work and many others, the answer is yes. Art Dubai has brought some attention to Middle Eastern art in the region but to the international stage the answer is limited, I say this because firstly, I cannot see this through what we are doing and secondly Art Dubai has only recently found its feet with the assignment of Antonia Carver as its director. It still has a long way to go such as focusing its Global Art Forum which started well and has now lost itself and is not getting the speakers it deserves.

What is helping the market to emerge are Mathaf in Doha and Guggenheim Abu Dhabi, these two institutions will drive and form the market for the next ten years and Art Dubai will rely on this and they know it. Looking at Art Dubai and the Middle Eastern artists exhibited, far too many of the leading names are not there. There is still a long way to go, however it is their party and they can do as they wish.

Art Dubai is a great week to relax and enjoy the events and hospitality, see some interesting works and catch up with friends. It is more of an event. I hope Art Dubai will become more influential, it can and I hope it will.


What are the advantages, offerings, and purposes that artists’ can gain out of showing in galleries participating at Art Dubai?

Greater exposure to the regional market, this is what Art Dubai is selling to the galleries to exhibit there. Art Fairs do not really benefit artists, well researched monographs and well curated exhibitions with supporting press coverage benefit the artists, art fairs are there to benefit directly the gallery; to offer the gallery and its wares to new clients and catch up with existing clients.

With Art Dubai , the people visiting are mainly from the GCC; Kuwait, Saudi, Oman, Qatar, they travel in regularly to Dubai, it is therefore a weekend away. With Art Basel, Art Basel Miami Beach, Frieze, the audience is truly international, Art Basel being the most influential.

The benefit to artists coming to Art Dubai is to meet galleries that can give them exhibitions.



UNITED WITHOUT BORDERS
AFTER THE INVASION OF IRAQ IN 2003, THE IRAQI ARTISTS RESPONDED IN VARIOUS WAYS LOOKING TO ESTABLISH A NEW CONSCIOUSNESS OF ART IN RELATION TO THEIR HISTORY, CULTURE, AND MEMORY, EXPANDING THE NOTIONS OF “WHAT IS IRAQI ART” – WITHOUT BORDERS.

ALONG THE ROUTE OF THEIR HISTORIC DIASPORA, INVASION AND OCCUPATION, MEEM GALLERY, IN PARTNERSHIP WITH DIA AL AZZAWI SEEMS TO HAVE UNDERSCORED ITS PRESERVATION LOOKING AT THEIR CULTURAL CONTRIBUTIONS TODAY BY ORGANISING EXHIBITIONS, SYMPOSIUMS, LECTURES, PUBLICATIONS AND THE CONSTRUCTION OF A CONCRETE GROUP OF ARTISTS OF DIFFERENT AGE GROUP IN “ART IN IRAQ TODAY.”


How do you see the “Art in Iraq Today” project politically and ideologically?

Art in Iraq Today looks at the legacies of the pioneers of modern Iraqi art and by proxy modern Arab art. The legacy of artists like Faiq Hassan, Jewad Selim, Hafidh Droubi, Dia Azzawi and many others, is central to modern Arab art; however, this is all being lost through the destruction of the museums and the looting of the work, resulting in the destruction of knowledge. We are making a stand by revisiting the foundations of modern  Arab art; we are highlighting this artistic legacy and the artists that carry the torch. We embrace the work for the sake of the work itself, protecting and preserving it for future generations, today and for tomorrow. I see the Art in Iraq Today project as something that should grow organically. We are only a small part of this process. ‘Art in Iraq Today’ was first looked at critically fifty years ago in an essay by Jabra Ibrahim Jabra. What we are doing is a continuation of this: celebrating great work which hopefully inspires others to engage further with this subject and area of art. So much has been lost, now is the time to make a difference for future generations, it would be a cultural crime to do nothing.


Is it indicative of an attempt to categorise or characterise Iraqi art practice today, proposing new visions of art that will trigger a profound and durable modification of Iraqi art in the art market?

As mentioned, we are focusing on artists that have drawn on the legacies of the pioneers of modern Iraqi art. We are not trying to categorize or characterize, we are not proposing new visions; we are just exhibiting Iraqi art today, following its art movement and its development. Yes the project has brought a lot of focus on Iraqi art – with both the international and regional press – this in turn will trigger a profound and durable modification of Iraqi art in the art market. What this modification will be is a greater understanding of the subject through awareness through the work we have undertaken.


Can you tell us something about the development processes and production conditions of artists who are currently living in Iraq?

Conditions are impossible, economically, in terms of security, there is no real market in Iraq which is why so many artists have left. What is actually happening in Iraq, I have little experience of since very little gets out and because of security I cannot travel there. This is compounded by threats I have received from people involved with the repatriation of looted modern art, making the issue of travelling to Iraq even more difficult. Being told that I will be liable for unpleasant consequences as a result of trying to repatriate a work looted from the Museum in Baghdad back to the museum makes me realize that such efforts ultimately makes one a target.



THE RISE OF THE EMERGING
IN THE MIDDLE OF THE DECADE THE POTENTIAL AND PRODIGY HAVE ONCE AGAIN ENTERED THE POPULAR IMAGINATION OF THE WESTERN ART WORLD. AS RECORD NUMBERS OF ART SCHOOL GRADUATES ENTER THE MARKET CONTRIBUTING TO AN OVERABUNDANCE OF “TALENT” FROM WHICH TO PARSE THE NEXT BIG THING, THE POSITION OF THE EMERGING ARTIST HAS BECOME ONE OF PRIVILEGE. YOUNGER GENERATION OF GALLERISTS INVESTED AND IS SUCCEEDING IN PROFITABLY MARKETING THEIR OWN GENERATION OF ARTISTS. AND TOWARDS THE END OF THE DECADE, FORMERLY DISINTERESTED GALLERISTS, DEALERS, AND COLLECTORS IN THE MIDDLE EAST BEGAN INVESTING IN EMERGING PRACTICES.


How can the concept of the emerging be reconciled with the development into what commonly has been called mid-career, given the current over-determination and success of emerging practices?

Group shows – well curated with well researched catalogues – this is the role of the museums and not for profit institutions such as Dar Al Funoon in Amman. One must draw on the other – push the boundaries together.


How can an attempt be made to re-establish a critical or discursive framework that could help in the development of such practices into larger, continuous artistic projects?

Patronage with an understanding of movements, not markets. This is the role of Museums – they need to show the line – take commerce out of the equation – focus and employ the best. Take the ego out the curator – leave it with the artist – follow the line – stay in the shadows and let the art do the work.


How do you see your role with regards to this new generation?

We are in a unique position to draw both groups together, we look at the work, we either love it or we do not, if we do not, we will not exhibit it. We take the ego out the curation and focus on the work.

We play small role in a much a greater picture, it is the artists and their work that is the feature. If we can make a difference for the right reasons to the right people then that is a start.



MIDDLE EASTERN ART TODAY
THE ANATOMY OF MIDDLE EASTERN ART IS CHANGING.  UNLIKE THE ARTISTS OF THE 80S AND 90S WHO CREATED ALLEGORICAL WORKS TO THE HIGHEST STANDARDS IN RESPONDS TO THEIR POLITICAL PLIGHT, TODAY’S YOUNG GENERATION USES ART TO REVEAL SOCIAL WOUNDS, ARTICULATE THEIR PENT-UP FRUSTRATIONS AND TO MAKE POLITICAL STATEMENTS. AND BECAUSE THEY FEEL A SENSE OF SOCIAL RESPONSIBILITY, CONTEMPORARY CREATION ALLOWS THEM TO PRIORITISE CONTENT OVER FORM. ART THAT HAD TO HAVE MEANING AND THIS MEANING HAD TO BE SOMETHING USEFUL, SOMETHING THAT PRAISED OR CRITICIZED, OR THAT COULD GIVE THE VIEWER’S FOOD FOR THOUGHT- ART SERVING THE PEOPLE.


How do you see political art today relating to art of the 1980s?

I think that political art in the region during the 1980s drew heavily on graphic art through graphic mediums - specifically printmaking - through posters, since that is what could be exhibited and distributed. Political art in the eighties was used to communicate a message, political art now has a message but it also has a price tag. Political art in the 80s was accessible to many because of its medium – such as Middle Eastern artists like Azzawi and Melehi producing the posters for Palestine. Also the market was in Lebanon where there was freedom in as much as there was a level of political freedom. Now the market is in the GCC where there is limited political freedom, which is why works were withdrawn at the last minute at Art Dubai this year. With the shift in market forces there is a geographical change in rules of censorship as seen with the Sharjah Biennial and the dismissal of its director.


Could you imagine a curator accurately representing a time-specific political work in an exhibition in the Middle East? 

Yes, in Beirut.


Do you think that, by nature of their role, artists should take a political stance in their work?

Yes. They need to express themselves, their feelings and thoughts, they have a responsibility to their audience and to themselves. To quote Ali Ibn Talib, “if you cannot speak your mind, you have no mind to speak of.”

In the future, can the Middle East provide an alternative international framework for the art market with a new model based on diversity? 

I cannot see why not but because of the nature of the market and the fact that there is no open criticism in the press, there is limited opportunity. Unless the flood gates are opened and there is a free press and the freedom to speak one’s mind in relation to the arts and there is more exposure of the good and the bad, then I cannot seen how things will change or can change dramatically. In London, where I am from, we have this, here we cannot.


Where would be the next art destination in the Middle East?

Everywhere one goes there are ‘Art Destinations’ – be it Doha, Cairo, Damascus, Beirut, Tunis, Casablanca, Tehran, Istanbul, Abu Dhabi, Dubai, Sharjah, Rabat and Amman. People travel to these destinations just to see the art, be it ancient Islamic, pre Islamic, modern, contemporary.  In ten years a new offshore destination call ‘Art World’ in the Persian Gulf could be built, surrounded with 300 ft sculptural apartment blocks, roads named after artists ; Dia Azzawi road, Adam Henein Street, Mahmoud Said Avenue, Ali Omar Ermes Boulevard, Paul Guiragossian Square, Jawad Selim Highway , who can tell what or where the next art destination will be! We are blessed with incredible art destinations in the region, it is up to the individual to discover them for themselves.