Passion for Art
September
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September 2011
JAMM are art specialists, consultants and promoters of significant Arab & Iranian artists in the West. How has the art market in Kuwait changed over the last 10 years? What do you think about the current art scene in Kuwait?
Our mission at JAMM is to create cultural projects without geographical boundary to advance Arab and Iranian artists in the region and abroad. The art scene is Kuwait was vibrant in the late 60s and 70s and then it went through a period of stagnation for about 20 years. In the last 10 years, we have seen an increase in the number of art galleries and art collectors. The private sector is the driving force behind this growth. The current art scene has all the potential to thrive and grow.
Do you have a lot of companies in Kuwait who invest in art through a specialized service of Art Advisory such as JAMM? What kind of investors are they?
Art transforms the workspace reflecting the diversity and history of a corporate culture. Even a small corporate art collection signals the individuality, vision and culture of an organization. Our aim is assist companies in Kuwait and the region to build corporate art collections. We feel this will become a growing trend in the future.
JAMM hosts a successful annual charity auction, how did the first auction, launched in February 2010, set a precedent for future auctions?
JAMM hosted the first contemporary art auction in Kuwait in 2010 and followed with a second auction in February 2011. Each time we had given some of our proceeds to a local charity to demonstrate corporate responsibility. By creating an arts program around the auctions and inviting collectors from abroad, our aim was to put Kuwait on the art-map and to help stimulate the local art scene. The auctions were a wonderful opportunity to present the works of emerging and established contemporary Arab and Iranian artists. The success of the first auction led us to raise the price point and the number of artworks for future auctions. Indeed, it was the incredible support that we had received from collectors and art enthusiasts from around the region after our first contemporary art auction that led us to organize future auctions.
Of those people who buy artwork in an auction, how often are they planning to re-sell it, and if they do re-sell it, do they expect to make a profit? How long should an investor keep an artwork before putting it again on the market?
If a buyer is purchasing a work of art purely for investment purposes, then it is not that important whether they like the work in itself. Their motivation is to generate income by selling that work a few years later when the price point for that particular artist increases. If a buyer is purchasing a work of art that they will display in their home or in their office, then it is crucial that they like the work that they are purchasing. Of course, if that buyer likes the work and it happens to increase in value over time then that is an added bonus.
We feature works by emerging artists that we feel have enormous potential and we also feature works by established artists that have an auction history and an existing collector base. In both cases, the work will very likely increase in value over time and be considered an asset that you can pass on to your children or to the future generation.
Where do you house your corporate collection? Which artists are represented in depth in your collection?
I have a private art collection that is housed in the apartment where I live. Some of the artworks in my collection are in storage until we move into a house with more wall space.
As JAMM is a young company, we have yet to build our own corporate art collection.
Art institutions- museums, collections, exhibitions, etc. - especially in the MENASA are powerful instruments of hegemony production and we have witnessed how the Arab spring has brought about increased politicization and targeted attention to mediation work. Do you think art institutions in the MENASA will allow socio-politically relevant exhibition formats, to question cultural-historical facts and myths, politicizing the narration of the shown content concerning gender issues, Diaspora, economy and globalization?
The Arab Spring had instigated a change in consciousness throughout the region, beginning with the hope for change, which spread very quickly. Institutional change will be a much slower process. I believe that contemporary art from the Arab world is no different from the contemporary art that is being produced elsewhere in that all artists are inspired by their experiences in life. I feel that contemporary art is a genuine expression of the world we live in today; artists help us better understand our cultures, offering interesting perspectives on the beauty and complexities of life. For this reason, it is crucial that artists are not censored and that art institutions allow artists to express themselves regardless of how ‘political’ the artwork is. It is also important for art institutions to inspire creativity, raise questions and debates by featuring and contextualizing works of art that express issues relating to gender, globalization, the economy and the Diaspora.
So what are the opportunities, possibilities, and impossibilities of curating now? How and for whom are programmes designed? What kinds of deviations from formats change content?
There are no limits per se. There are only consequences for pushing these socially constructed limits. Curators need to have the courage to show works of art that some people might deem too controversial or consider offensive. There are many ingenious ways for artists to express their thoughts and emotions without having to be explicit and this allows for more leeway. When people are currently taking to the streets and are willing to die for their beliefs, it seems a bit trivial to censor works of art due to the risks involved.
What curatorial initiative would you like to see undertaken? What is needed now?
What is most needed is the establishment of art academies throughout the Gulf countries as this will help stimulate the growth of the arts in the region. There also needs to be on-going long term initiatives to develop the arts infrastructure, which will support the museums that have recently been established and the museums that are in the process of being established in the GCC. By developing our arts infrastructure, we can raise the bar in terms of the curatorial initiatives undertaken in the region.
What is the most memorable curatorial project you have ever encountered? What was important about it?
One of the most memorable was the exhibition on Duchamp, Man Ray and Picabia, which was shown at the Tate Modern in 2008. The exhibition showcased some of the most iconic works by these artists who, together, had been responsible for launching Dada in New York during WW1. They had completely changed the nature of art. The exhibition succeeded in drawing parallels between these three artists and in doing so, offered insightful commentary on society and conformity.
On a personal level, how long have you been collecting contemporary art? What are the guiding factors you use in acquiring artwork?
I have been collecting art since 2001. My main guiding factor is to purchase works that evoke an emotional response within me. It is crucial to buy what you and also to research what you buy. The more knowledge you have regarding the artist or the work in particular, the greater the appreciation. It is also important to ensure that the price reflects the actual market value.
As an art entrepreneur would you say that you collect art based on art world trends or passion?
Mostly passion. I have works by artists that are still unknown and felt an affinit y towards their works.
Finally, do you have any upcoming project you would like to share with us?
Our upcoming projects include a group exhibition in Kuwait in November, featuring contemporary Arab and Iranian works that incorporate graphics, calligraphy, graffiti or text; a solo artist exhibition in Dubai in March; and a group exhibition in London in May, inspired by the Arab Spring.
For more information, please visit: www.jamm-art.com
Our mission at JAMM is to create cultural projects without geographical boundary to advance Arab and Iranian artists in the region and abroad. The art scene is Kuwait was vibrant in the late 60s and 70s and then it went through a period of stagnation for about 20 years. In the last 10 years, we have seen an increase in the number of art galleries and art collectors. The private sector is the driving force behind this growth. The current art scene has all the potential to thrive and grow.
Do you have a lot of companies in Kuwait who invest in art through a specialized service of Art Advisory such as JAMM? What kind of investors are they?
Art transforms the workspace reflecting the diversity and history of a corporate culture. Even a small corporate art collection signals the individuality, vision and culture of an organization. Our aim is assist companies in Kuwait and the region to build corporate art collections. We feel this will become a growing trend in the future.
JAMM hosts a successful annual charity auction, how did the first auction, launched in February 2010, set a precedent for future auctions?
JAMM hosted the first contemporary art auction in Kuwait in 2010 and followed with a second auction in February 2011. Each time we had given some of our proceeds to a local charity to demonstrate corporate responsibility. By creating an arts program around the auctions and inviting collectors from abroad, our aim was to put Kuwait on the art-map and to help stimulate the local art scene. The auctions were a wonderful opportunity to present the works of emerging and established contemporary Arab and Iranian artists. The success of the first auction led us to raise the price point and the number of artworks for future auctions. Indeed, it was the incredible support that we had received from collectors and art enthusiasts from around the region after our first contemporary art auction that led us to organize future auctions.
Of those people who buy artwork in an auction, how often are they planning to re-sell it, and if they do re-sell it, do they expect to make a profit? How long should an investor keep an artwork before putting it again on the market?
If a buyer is purchasing a work of art purely for investment purposes, then it is not that important whether they like the work in itself. Their motivation is to generate income by selling that work a few years later when the price point for that particular artist increases. If a buyer is purchasing a work of art that they will display in their home or in their office, then it is crucial that they like the work that they are purchasing. Of course, if that buyer likes the work and it happens to increase in value over time then that is an added bonus.
We feature works by emerging artists that we feel have enormous potential and we also feature works by established artists that have an auction history and an existing collector base. In both cases, the work will very likely increase in value over time and be considered an asset that you can pass on to your children or to the future generation.
Where do you house your corporate collection? Which artists are represented in depth in your collection?
I have a private art collection that is housed in the apartment where I live. Some of the artworks in my collection are in storage until we move into a house with more wall space.
As JAMM is a young company, we have yet to build our own corporate art collection.
Art institutions- museums, collections, exhibitions, etc. - especially in the MENASA are powerful instruments of hegemony production and we have witnessed how the Arab spring has brought about increased politicization and targeted attention to mediation work. Do you think art institutions in the MENASA will allow socio-politically relevant exhibition formats, to question cultural-historical facts and myths, politicizing the narration of the shown content concerning gender issues, Diaspora, economy and globalization?
The Arab Spring had instigated a change in consciousness throughout the region, beginning with the hope for change, which spread very quickly. Institutional change will be a much slower process. I believe that contemporary art from the Arab world is no different from the contemporary art that is being produced elsewhere in that all artists are inspired by their experiences in life. I feel that contemporary art is a genuine expression of the world we live in today; artists help us better understand our cultures, offering interesting perspectives on the beauty and complexities of life. For this reason, it is crucial that artists are not censored and that art institutions allow artists to express themselves regardless of how ‘political’ the artwork is. It is also important for art institutions to inspire creativity, raise questions and debates by featuring and contextualizing works of art that express issues relating to gender, globalization, the economy and the Diaspora.
So what are the opportunities, possibilities, and impossibilities of curating now? How and for whom are programmes designed? What kinds of deviations from formats change content?
There are no limits per se. There are only consequences for pushing these socially constructed limits. Curators need to have the courage to show works of art that some people might deem too controversial or consider offensive. There are many ingenious ways for artists to express their thoughts and emotions without having to be explicit and this allows for more leeway. When people are currently taking to the streets and are willing to die for their beliefs, it seems a bit trivial to censor works of art due to the risks involved.
What curatorial initiative would you like to see undertaken? What is needed now?
What is most needed is the establishment of art academies throughout the Gulf countries as this will help stimulate the growth of the arts in the region. There also needs to be on-going long term initiatives to develop the arts infrastructure, which will support the museums that have recently been established and the museums that are in the process of being established in the GCC. By developing our arts infrastructure, we can raise the bar in terms of the curatorial initiatives undertaken in the region.
What is the most memorable curatorial project you have ever encountered? What was important about it?
One of the most memorable was the exhibition on Duchamp, Man Ray and Picabia, which was shown at the Tate Modern in 2008. The exhibition showcased some of the most iconic works by these artists who, together, had been responsible for launching Dada in New York during WW1. They had completely changed the nature of art. The exhibition succeeded in drawing parallels between these three artists and in doing so, offered insightful commentary on society and conformity.
On a personal level, how long have you been collecting contemporary art? What are the guiding factors you use in acquiring artwork?
I have been collecting art since 2001. My main guiding factor is to purchase works that evoke an emotional response within me. It is crucial to buy what you and also to research what you buy. The more knowledge you have regarding the artist or the work in particular, the greater the appreciation. It is also important to ensure that the price reflects the actual market value.
As an art entrepreneur would you say that you collect art based on art world trends or passion?
Mostly passion. I have works by artists that are still unknown and felt an affinit y towards their works.
Finally, do you have any upcoming project you would like to share with us?
Our upcoming projects include a group exhibition in Kuwait in November, featuring contemporary Arab and Iranian works that incorporate graphics, calligraphy, graffiti or text; a solo artist exhibition in Dubai in March; and a group exhibition in London in May, inspired by the Arab Spring.
For more information, please visit: www.jamm-art.com
artBahrain interview with Lulu M
Al-Sabah
- accomplished art journalist, curator, tastemaker and art collector. She, along with her business partner Lydia Limerick, co-founded JAMM in 2009, an independent art advisory shaping Kuwait's contemporary art market and the market for contemporary Arab and Iranian art.
Al-Sabah
- accomplished art journalist, curator, tastemaker and art collector. She, along with her business partner Lydia Limerick, co-founded JAMM in 2009, an independent art advisory shaping Kuwait's contemporary art market and the market for contemporary Arab and Iranian art.
FONDAZIONE ANTONIO PRESTI -FIUMARA D’ARTE
International Museum of Image
Terzocchio Meridiani di Luce - Sole di Mezzanotte
(ThirdEye Meridian of
Light - Midnight Sun)
Librino,Catania
Deadline: Ongoing
Terzocchio Meridiani di Luce - Sole di Mezzanotte
(ThirdEye Meridian of
Light - Midnight Sun)
Librino,Catania
Deadline: Ongoing
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