About Contemporary Practices
Passion for Art
June
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June 2011
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CAN YOU PLEASE GIVE OUR READERS A BRIEF OVERVIEW AS TO WHO YOU ARE AND WHAT YOUR BACKGROUND IN THE CREATIVE INDUSTRY IS.
I was born and raised mainly in Cairo with extensive travel since I was seven due to my father’s work conditions living in Nigeria, Saudi Arabia, USA. At 16 I settled in Cairo till I earned my Masters Degree in Public Administration and Economic Development before leaving Egypt in 1997 till now. My Main work experience was in Private Banking till I was 36 when I decided to “die happy rather than rich” hence decided to move into my Passion, “Art”.
HOW DID YOU START CONTEMPORARY ART PRACTICES. I UNDERSTAND IT’S A LOT OF WORK. WHY DO YOU DO IT?
As my previous life as a banker, I always perceived art as a “Vehicle Of Investment”, just a cog in the microeconomics of a client. With the economic boom in the region and the growth of wealth substantially, general people started perceiving art more openly not only as a vehicle of investment but also as a social status driver. We thought of Contemporary Practices Art Journal (CP) as we believed that we need to make something more of an academic to document the art movement, the real art movement that is occurring in the region we specialize in (Middle East, Iran & Turkey)
WHAT MAKES YOUR MAGAZINE DIFFERENT FROM OTHER ART MAGAZINES IN THE MIDDLE EAST? WHAT I MEAN IS, IS CONTEMPORARY ART PRACTICES TOTALLY LITERARY AND SERIOUS?
First, we are not a Magazine, we proud ourselves of being a semi-academic “journal”.
We are different for many reasons
- We are governed by a mandate to provide coverage free-of-charge to “Good” Art, we NEVER ACCEPT
any financial rewords for our editorial.
- An advisory board of world-renowned names governs US. www.Contemporarypractices.Com/advisoryboard
- We have very limited paid ads; last volume, there were 5 paid advertisements out of the 208 pages
- Our writers are by invitation only with highest credentials.
- We come twice a year; during Dubai Art Fair and shortly before Abu Dhabi Art. In 2012 we intend to make it 3 volumes
to go in parallel of the 3 art seasons calendar.
- Even for our ads, we are very selective where we only accept paid advertisements from Galleries or art supporting
entities only
WHAT DO YOU PUBLISH IN CONTEMPORARY ART PRACTICES MAGAZINE? ARE ARTISTS AND ART INSTITUTIONS MUCH MORE COMFORTABLE WITH “COVERAGE” THAN CRITICISM?
We published non-biased opinions of professional curators and art practitioners from all over the world who are specialized in Middle Eastern, Iranian & Turkish Art. We don’t ever cover a specific show of a specific artist, rather a long-live journey of art production for established artist or a potential view of an uprising one.
As for institutions, we cover most important activities that are related to documenting the art movement. Some artist don’t like criticism, that is something we have to live with yet we are not here to “Butter” artist or sell editorial space for anyone one who can pay.
WHAT TYPES OF SUBMISSIONS DO YOU WISH TO RECEIVE? EXPLAIN THE TYPES OF MATERIAL YOU LIKE TO SEE IN SUBMISSIONS.
Our rule is simple; we publish “Semi-academic, non advertorial and non biased articles”
We also insist on having no essay less than 1,000 (some exceptions can happen) to ensure the depth of material for our readers.
SO, WOULD YOU SAY THAT ART MAGAZINES IN THE REGION FUNCTIONS AS A POWER GRAB BY INTELLECTUALS AND INSTITUTIONS TO WREST CONTROL OF THE ARTS AWAY FROM THE COMMERCIAL CONTEXTS? OR ARE THEY MOSTLY COMMERCIAL IN CONTEXT?
I would rather not speak about other players in the region, as they are only few hence any comment would be directed to someone specifically. I would rather speak about CP. We consider ourselves as a platform for the intellectual art practitioners and a medium to communicate and document art to the readers.
WHAT, IN YOUR OPINION, ARE THE MOST IMPORTANT ELEMENTS OF GOOD ART CRITIQUE?
Education, exposure, thinking out of the box and most importantly an eye to view art within different context.
UNVERIFIED INFORMATION IS OFTEN USED BY ART WRITERS TO PROMOTE THE ARTIST OR INSTITUTION. DO YOU THINK CREATING A FICTIONALISED WORLD ABOUT AN ARTIST CAN BE DANGEROUS?
Honestly art is being commercialized. This phenomenon has its negative as well as positive sides; Negative could be in the fact that every JJJ (Jim, Jack & Joe - my own version of Tim, Dick & Harry) would try to make art, every JJJ with a fat bank account and longing for social acceptance with would act as “patrons of art” and every government bureaucrat who want to please his “Boss” would open a biennial. The important fact is who will perish and who will linger. Yet the positive side, which is the essence of your question is that artists are human at the end of the day who needs to live a life like you and me, hence there has to be an Art Industry which is supported by patrons, galleries, publications and crowned by “Internationally Famous & Renowned” People to give it the right spice and the wheel would keep on rolling.
HAVING SAID THAT, HOW MUCH POWER DO ART MAGAZINES REALLY HAVE, AND WHAT POWER?
Media have a grip, differs from one place to another. Yet media has a GRIP.
WHAT WOULD YOU SAY IS THE GREATEST OBSTACLE, OR DISAPPOINTMENT YOU STRUGGLE WITH, IN MAGAZINE PUBLISHING?
Everything practically everything from running after writers, meeting with our researcher, printing and logistics. What help us, as a small team who are passionate about their job.
IF YOU COULD LEAVE YOUR READERS A LEGACY, WHAT WOULD YOU LIKE IT TO BE?
“He contributed to the wealth of the art Knowledge”
I was born and raised mainly in Cairo with extensive travel since I was seven due to my father’s work conditions living in Nigeria, Saudi Arabia, USA. At 16 I settled in Cairo till I earned my Masters Degree in Public Administration and Economic Development before leaving Egypt in 1997 till now. My Main work experience was in Private Banking till I was 36 when I decided to “die happy rather than rich” hence decided to move into my Passion, “Art”.
HOW DID YOU START CONTEMPORARY ART PRACTICES. I UNDERSTAND IT’S A LOT OF WORK. WHY DO YOU DO IT?
As my previous life as a banker, I always perceived art as a “Vehicle Of Investment”, just a cog in the microeconomics of a client. With the economic boom in the region and the growth of wealth substantially, general people started perceiving art more openly not only as a vehicle of investment but also as a social status driver. We thought of Contemporary Practices Art Journal (CP) as we believed that we need to make something more of an academic to document the art movement, the real art movement that is occurring in the region we specialize in (Middle East, Iran & Turkey)
WHAT MAKES YOUR MAGAZINE DIFFERENT FROM OTHER ART MAGAZINES IN THE MIDDLE EAST? WHAT I MEAN IS, IS CONTEMPORARY ART PRACTICES TOTALLY LITERARY AND SERIOUS?
First, we are not a Magazine, we proud ourselves of being a semi-academic “journal”.
We are different for many reasons
- We are governed by a mandate to provide coverage free-of-charge to “Good” Art, we NEVER ACCEPT
any financial rewords for our editorial.
- An advisory board of world-renowned names governs US. www.Contemporarypractices.Com/advisoryboard
- We have very limited paid ads; last volume, there were 5 paid advertisements out of the 208 pages
- Our writers are by invitation only with highest credentials.
- We come twice a year; during Dubai Art Fair and shortly before Abu Dhabi Art. In 2012 we intend to make it 3 volumes
to go in parallel of the 3 art seasons calendar.
- Even for our ads, we are very selective where we only accept paid advertisements from Galleries or art supporting
entities only
WHAT DO YOU PUBLISH IN CONTEMPORARY ART PRACTICES MAGAZINE? ARE ARTISTS AND ART INSTITUTIONS MUCH MORE COMFORTABLE WITH “COVERAGE” THAN CRITICISM?
We published non-biased opinions of professional curators and art practitioners from all over the world who are specialized in Middle Eastern, Iranian & Turkish Art. We don’t ever cover a specific show of a specific artist, rather a long-live journey of art production for established artist or a potential view of an uprising one.
As for institutions, we cover most important activities that are related to documenting the art movement. Some artist don’t like criticism, that is something we have to live with yet we are not here to “Butter” artist or sell editorial space for anyone one who can pay.
WHAT TYPES OF SUBMISSIONS DO YOU WISH TO RECEIVE? EXPLAIN THE TYPES OF MATERIAL YOU LIKE TO SEE IN SUBMISSIONS.
Our rule is simple; we publish “Semi-academic, non advertorial and non biased articles”
We also insist on having no essay less than 1,000 (some exceptions can happen) to ensure the depth of material for our readers.
SO, WOULD YOU SAY THAT ART MAGAZINES IN THE REGION FUNCTIONS AS A POWER GRAB BY INTELLECTUALS AND INSTITUTIONS TO WREST CONTROL OF THE ARTS AWAY FROM THE COMMERCIAL CONTEXTS? OR ARE THEY MOSTLY COMMERCIAL IN CONTEXT?
I would rather not speak about other players in the region, as they are only few hence any comment would be directed to someone specifically. I would rather speak about CP. We consider ourselves as a platform for the intellectual art practitioners and a medium to communicate and document art to the readers.
WHAT, IN YOUR OPINION, ARE THE MOST IMPORTANT ELEMENTS OF GOOD ART CRITIQUE?
Education, exposure, thinking out of the box and most importantly an eye to view art within different context.
UNVERIFIED INFORMATION IS OFTEN USED BY ART WRITERS TO PROMOTE THE ARTIST OR INSTITUTION. DO YOU THINK CREATING A FICTIONALISED WORLD ABOUT AN ARTIST CAN BE DANGEROUS?
Honestly art is being commercialized. This phenomenon has its negative as well as positive sides; Negative could be in the fact that every JJJ (Jim, Jack & Joe - my own version of Tim, Dick & Harry) would try to make art, every JJJ with a fat bank account and longing for social acceptance with would act as “patrons of art” and every government bureaucrat who want to please his “Boss” would open a biennial. The important fact is who will perish and who will linger. Yet the positive side, which is the essence of your question is that artists are human at the end of the day who needs to live a life like you and me, hence there has to be an Art Industry which is supported by patrons, galleries, publications and crowned by “Internationally Famous & Renowned” People to give it the right spice and the wheel would keep on rolling.
HAVING SAID THAT, HOW MUCH POWER DO ART MAGAZINES REALLY HAVE, AND WHAT POWER?
Media have a grip, differs from one place to another. Yet media has a GRIP.
WHAT WOULD YOU SAY IS THE GREATEST OBSTACLE, OR DISAPPOINTMENT YOU STRUGGLE WITH, IN MAGAZINE PUBLISHING?
Everything practically everything from running after writers, meeting with our researcher, printing and logistics. What help us, as a small team who are passionate about their job.
IF YOU COULD LEAVE YOUR READERS A LEGACY, WHAT WOULD YOU LIKE IT TO BE?
“He contributed to the wealth of the art Knowledge”
- ArtGuide
- Art Fair
- Galleries/Museums
- Artists' Opportunities
- Awards
- Venice Biennale
- Archives
"We don’t ever cover a specific show of a specific artist, rather a long-live journey of art production for established artist or a potential view
of an uprising one."
of an uprising one."
artBahrain in conversation with
OMARDonya
Co-founder of CONTEMPORARY PRACTICES Art Journal
on...How much power do art magazines really have?
