< PreviousA new exhibition at Louvre Abu Dhabi is home to over 130 historic artefacts which are shedding a light on medieval chivalric cultures, writes Ayesha Shehmir ALL IMA GES C OUR TES Y OF L OUVRE ABU DHABI AND Department of Cultur e and T ourism – Abu Dhabi From top: Horse and Knight Armour. Turkey, 16th–17th century; Steel, iron, textile; Sword of a duke of Milan. Italy, Milan, second half of 15th century. Iron, gilt steel, horn; Kitab al-makhzun jami al-funun (Treasury of the Various Arts). Egypt, 8 July 1470. Ink, pigment and gold on paper; Helmet.Iraq, Turkey or Caucasus, c. 1450–1500. Steel damascened with silver and traces of gold, iron CHIVALROUS COMBAT Art Of On view until 30 May 2020 at Louvre Abu Dhabi and in keeping with the museum’s current cultural season of Changing Societies, an exhibition entitled Furusiyya: The Art of Chivalry between East and West is showcasing an immersive presentation of medieval objects from the Islamic and Christian cul- tures. Spanning over 130 artefacts such as medieval armours and illuminated manuscripts, the exhibi- tion pays homage to the medieval knights and their values of loyalty, faith, honour and courage. “These values were shared by both the social groups in the West and in the East,” says Dr. Souraya Noujaim, Scientifi c, Curatorial and Collections Management Director at Louvre Abu Dhabi. “The artworks [at the exhibition] illustrate the groups’ common goals and interests [such as] the art of hunting, the art of falconry, games such as polo and chess.” The artefacts, spread across three different sec- tions, refl ect on the early 11th to the 16th centuries and are sourced from around the Middle East including Iraq, Iran, Egypt and Syria, to the French and Germanic states in Europe. “The art of elite horsemen, called Furusiyya in the East and chivalry in the West, was born around the 8th to 9th centu- ries, drawing from several common sources,” say the curators of the exhibition, Dr. Elisabeth Taburet- Delahaye, Dr. Carine Juvin and Michel Huynh. “The two cultures forged multiple links throughout the Middle Ages, many of which are still unknown today. Today, it is not only the objects related to battle, but also the values and ambitions, the substi- tutes and activities beyond the fi eld of combat, the epics, novels and poems, combining stories of prow- ess and love, which are fascinating to compare. This show will not hide differences, but rather observe encounters between these two different cultures.” Upon entrance is Horse Armour from the late 15th century adjacent to Horse and Knight Armour from the fi rst quarter of the 16th century. Other highlights of the exhibition include Treatise on Combat from the late 15th century and Helmet (c. 1450–1500). Housed within the second section of the exhibi- tion are objects highlighting the different approaches to the art of battle. Here visitors will encounter bat- tle helmets and knightly armour from the Ottoman Empire, Egypt and Europe, as well as illuminated manuscripts. “Our home city has always been a gateway between East and West and is a natural stage for this exploration of a key moment in Arab history and its cross-cultural exchanges with the Western World,” says Manuel Rabaté, Director of Louvre Abu Dhabi. The last section of the show highlights the simi- larities between knightly culture in Western and Islamic worlds. The exhibition shines a light on the past, highlighting to visitors the common chivalric traditions and values embraced by different societ- ies overtime. “The magic of Changing Societies is really related to how the artists or the craftsmen were looking at the time of that period,” expresses Dr. Souraya. “Their focus on chivalrous culture through literature, music and art are all related to the evolution and the mutation of medieval societ- ies. The tradition and values of furusiyya are still very much alive and related to our background and sensibility.” Furusiyya: The Art of Chivalry between East and West is on show at Louvre Abu Dhabi until 30 May 2020 90 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_90_The exhibition_Furusiya_11217085.indd 9010/03/2020 05:23:31 PMMarking the first exhibition to be held in Sheikh Zayed Grand Mosque Centre’s new permanent galleries section, Coins of Islam: History Revealed narrates the ancient stories which have shaped present times, writes Ayesha Shehmir eld inside the Sheikh Zayed Grand Mosque Center in Abu Dhabi and inaugurated by His Highness Sheikh Mansour bin Zayed Al Nahyan, Deputy Prime Minister and Minis- ter of Presidential Affairs, under the Patron- age of Her Highness Sheikha Fatima bint Mubarak, The Coins Of Islam: History Revealed exhibition is home to a collection of almost 300 coins sourced from all over the world which serve to narrate stories that have shaped his- tory and infl uenced modern times. The purpose of the exhibition is to spread aware- ness of the history of Islam and the lives of ancient relics who have left a cultural legacy which contin- ues to leave its mark. Through the exhibition, it is hoped that visitors will be left with “an awareness that coins are basically one of the most important fi elds of art in history,” says Dr. Alain Baron, numis- matist and curator of the exhibition. “They also have a tremendous aesthetical value that needs to be emphasised and shown to the public.” Many of the featured coins are engraved with infl uential women of the past, a testament to how the Islamic religion has honoured women through- out various time periods. There is a dedicated sec- tion which pays homage to these women, entitled ‘Coins and Women Across The Span Of History’. Included in this section, for instance, is a coin from 1762-1796 CE devoted to Catherine II, also known as Catherine the Great, refl ecting her philosophy of a ‘new kind of person’ which she believed could be realised with literature and education. Visitors will also encounter the only coin in the world which features the names of prophet Mohamed and his four caliphs on one side (Abu Bakr, Umar, Uthman and Ali) and four great proph- ets from the pre-Islamic era on the other side (Noah, Abraham, Moses and Jesus). Dated AD 1336-1338, this artefact is known to be one of the earliest evi- dences of Christian-Islamic dialogue. “When you have a coin in your hand, you’re touching history,” expresses Baron. “Think about the coins that were struck at the time of the prophet - theoretically, who would have thought that around this time that they could touch that coin and hold it in their hands? It’s an absolute wit- ness of what has happened before us and what is still existing. It’s a gateway between us and our past.” Coins of Islam: History revealed is on view at the Sheikh Zayed Grand Mosque Centre in Abu Dhabi until 28 April 2020 Clockwise from top: an installation view of Coins of Islam: History Revealed; 296. Byzantine Empire, Leo VI (AD 886-912), AV solidus showing Virgin Mary, Constantinople, undated; 234. Filali Sharifs of Morocco, Moulay Hasan I (1873- 1894), AR 10, 5 and NI ½ and 1 dirham patterns, Paris AH 1298 (1880/1); UAE, Abu Dhabi, Fatima bint Mubarak Al Ketbi (b. 1943), AV medal commemorating the founders of the Emirate (2005). 40.21g., 40 mm; His Highness Sheikh Mansour bin Zayed Al Nahyan and Dr. Alain Baron Ancient RELICS 91 HarpersBazaarArabia.com/culture/art Spring 2020 IMA GES C OUR TES Y OF SHEIKH ZA YED GRAND MOSQUE The EXHIBITION HBA_038_91_The exhibition_Coins of Islam_11217130.indd 9110/03/2020 05:24:19 PM92 HarpersBazaarArabia.com/art Spring 2020 Alice Wielinga. Countryside. 2014. From the series North Korea, a Life between Propaganda and Reality. Ultrachrome print 113x120cm. Courtesy of the artist HBA_038_92-93_The Exchange_Zoe Alice_11230225.indd 9210/03/2020 05:25:59 PM93 HarpersBazaarArabia.com/culture/art Spring 2020 A New Eindhoven-born artist Alice Wielinga’s latest works serve to unravel the meaning of art as a tool for discovery and unity. Zoe Glaysher speaks to the Amsterdam-based artist on her latest works, art in the Middle East and fighting stereotypes angst of the regime under which it exists. Your latest series A Life between Propaganda and Reality took you to one of the most isolated nations today. What inspired you to go there and how was your project conceived? In March 2013, I landed in North Korea for the fi rst time, keen to learn and understand all that was there. While on the trip, I was exposed to North Korean art and all its wonders. I was amazed by the works I saw; some paintings completely blew me off my feet. I can only compare the experience to the fi rst moment I was able to stand and marvel at a Rembrandt. I was mesmerised by the compositions, the intricate brush strokes, but above all, the raw talent these artists pos- sessed. In my heart, I felt a tinge of sadness knowing these great works were largely unknown to the out- side world. Therefore, I made it my goal to give these artists the credit they deserve. Working alongside six cre- atives, I began my second project on North Korea titled The Artist’s Perspective. What led you to premiere A Life between Propa- ganda and Reality at the Xposure Festival in Sharjah, UAE? In quite a short time span, Xposure has become one of the leading photography festivals in the world. Hence, an invitation to show my work instantly intrigued me. I saw the festival as the perfect moment to conclude my fi rst project in North Korea by pre- miering the full body of work. Together with the opportunity to give a seminar, I could complete the project while absorbing inspiration for my current, upcoming project on North Korea. What were some of the main inspirations you drew from visiting the UAE? I think it is righteously said that Xposure has become a leading photo festival in recent years. The overall level of innovation is very high. The printing, fram- ing, exhibition spaces and seminars are all of an excellent standard. However, more importantly, is the diversity of photographers the event attracts. All participants are regarded with the highest prestige and come from entirely different backgrounds, mak- ing the fair incredibly diverse. Whether from differ- ent corners of the world, male or female, documentary photographers or journalists, the combination of these different stories makes this festival incredibly inspiring. Who were some of the Middle Eastern photogra- phers you were able to connect with while in Sharjah and how have they infl uenced you? One of the other exhibiting photographers at Xpo- sure was Ziyad Alarfaj from Saudi Arabia. We had a conversation about what drives us to create our work; the belief that we need to change the preconceptions that exist. His series The Face, portraits from the kingdom, shows successful professional Saudi women. From my observation his photographs show quite intimate portraits. It nuances the way Saudi women are often represented in mass media, which is important. Do you hope to return to the Middle East and why? Yes I do. The response my work received was very inspiring. The audience was open and perceptive. Although my work focuses on preconceptions, it is also a quest into the meaning of art. Working together with six North Korean artists and trying to break down the biased framework, with which we normally look at their art, has taught me lessons how we perceive art in general. It has transformed me as an artist and changed the way I look at the work of other creators. I am only starting to explore what it will mean for the outcome of my work. While at Xposure I took the chance to visit galler- ies, such as The Third Line in Dubai. It acquainted me with Middle Eastern artists that I had not yet discovered. There was a show of Farah Al Qasimi and I discov- ered wonderful art and artists in the gallery book- store. If time had permitted, I could have spent hours and even days at Alserkal Avenue. I am sure that there is a tremendous source of inspiration to be found in Middle Eastern artists, something I hope to someday further explore. ■ alicewielinga.nl The EXCHANGE PERSPECTIVE I fi rst discovered the work of Dutch photogra- pher Alice Wielinga at the Xposure Interna- tional Photography Festival in Sharjah, a non-profi t educational and photography plat- form that combines photographic events with art exhibitions in the UAE. In a large auditorium surrounded by an eclectic mix of artists, photographers, fi lm-makers and visi- tors from all corners of the globe, Wielinga graced the stage to debut her project entitled A Life between Propaganda and Reality (2015), which focuses on the mystery surrounding the North Korean art scene. The project has seen her travel to North Korea, one of the most mysterious nations today, to uncover the region’s hidden art world. Upon returning the Netherlands, Wielinga explored North Korean pro- paganda art and the complex relationship it has with reality. In a distinctive style, Wielinga blends the documentary photographs she took in North Korea fl awlessly with the propaganda images produced by the government, to create unique photographic montages. By fi rst exploring these works from an outsider’s perspective, she discovered the profound beauty in the ideologies related to an art world fre- quently unheard of or wrongly associated with the Alice Wielinga. Sariwon. 2014. From the series North Korea, a Life between Propaganda and Reality. Ultrachrome print 180x120cm. Courtesy of the artist HBA_038_92-93_The Exchange_Zoe Alice_11230225.indd 9310/03/2020 05:26:05 PM The EXCHANGE Turkey-born founder of the eponymous Turkey-born founder of the eponymous Nebihe Cihan StudioNebihe Cihan Studio walks walks Ayesha ShehmirAyesha Shehmir through a lavish through a lavish Bel Air abode in Los Angeles which Bel Air abode in Los Angeles which has formed a seamless marriage has formed a seamless marriage between art and design between art and design Beauty Bel Air bronze sculpture by Mexican artist Pedro Reyes, sourced from Lisson Gallery and an oil on canvas painting entitled There (2017) by British artist Christopher LeBrun. Complementing the décor of the dining room, the white, semi-open kitchen by Bulthaup houses two large paintings by Swiss artist Ugo Randinone. The walls of the foyer are adorned with bespoke wood cladding by Effearredi and at the periphery, visitors will fi nd Eclipse (2010), a neon artwork by French artist Laurent Grasso from New York-based Sean Kelly Gallery. “I cannot think of a California venture without a piece of neon artwork, it was needed,” exclaims Nebihe Cihan, founder of Nebihe Cihan Studio. “There is a careful juxtaposition between the upstairs and downstairs, which enables the client to seek refuge and entertain in the evening in the lounge.” Downstairs by the opening of the media room hangs What’s Up Mickey (2003), a work by the late American painter Joyce Pensato while over at the Situated on the foothills of the Santa Monica Mountains in California’s exclusive residential enclave of Bel Air, Los Angeles, is a 12,600 square foot property made to be a destination home for the modern art collector. Boasting a main house and a guest house, the space has been designed by the illustrious London-based Nebihe Cihan Studio over a period of one year, refl ecting the surrounding nature and the client’s love for art. The entrance, which resembles a hotel lobby, fea- tures 8 stack (2019), a sculpture by British artist Annie Morris, a stunning silver plated brass neon light by Milan-based architect Vincenzo De Cotiis, which was sourced from New York-based Carpen- ters Workshop Gallery and a Phocee Table by Liai- gre. Ocean Memories (2013), a marble bench designed by French designer Mathieu Lehanneur graces the intersection between the outside and inside of the living room, manifesting a seamless fusion of the exterior and the interior. The dining area is adorned with a beautiful The living room featuring Mathieu Lehanneur.Ocean Memories marble bench 94 HarpersBazaarArabia.com/culture/art Spring 2020 PHO T OGRAPHY B Y MA TT HARRING T O N HBA_038_94-95_The exchange_Bel air_11202898.indd 9410/03/2020 05:27:16 PMfl oor have darker wood as they’re not exposed to direct sunlight,” says Cihan. “Each bedroom is cus- tom designed by Nebihe Cihan Studio, crafted in Italy by fi ne Italian millwork and features bespoke rugs made in Nepal with different materials incor- porated throughout, exploring texture and tone.” The simplistic lamps, side tables and dining chairs seen throughout the space are by French brand Liaigre. “I was drawn to the understated and minimalistic style of their designs, which is exactly what I envisioned for this project,” she says. “This created a sophisticated and chic setting throughout the house, whilst not detracting from the artwork. To preserve the Californian infl uence, I chose a lighter palette and used lots of linen fabric through- out.” Cihan adds, “whether it is a retail or a residential project, I strive to make my designs both functional and timeless — good design should age well and not feel outdated.” nebihecihan.com the interiors were disconnected from the architec- ture and as a result, it just felt chaotic.” And so Cihan ventured on the project with the vision to create unity between the outside and inside. “I wanted to fi nd a harmony between the internal and external juxtaposition and I used the palette to enhance this.” Boasting a sophisticated indoor-out- door aesthetic, a rarity in California, the main house of the property comprises seven bedrooms, two open kitchens and one main kitchen. The lower ground is devoted to a lounge, bar, spa and gym area. “I would say I designed it to be a comfortable hotel,” she smiles. The minimalist designs of the bedrooms, which resemble hotel suites, are inspired by the client’s love for travel while the neutral colour palette echoes the surrounding views and natural light. “I kept the palette very light and airy on the ground fl oor which is saturated with sunlight, selecting light European oak fi nishing in all of the bedrooms while the bedrooms on the lower ground lounge, suspended from the wall unit amidst bespoke wall panelling, is the Aquamarine Murano Glass Necklace (2013) sculpture by Paris-based artist Jean Michele Othoniel. In collaboration with the client, Cihan sourced the works from galleries around the world including Kukje Gallery in Seoul and Lisson Gallery in London — a testament to the owner’s love of collecting art since a young age. “He is always cognisant of upcoming successful artists and the trends,” says Cihan, of the owner. “Interestingly, his taste in interiors are minimal and reserved, compared to his taste in art. His artwork collection varies and he is open to slightly more dar- ing pieces, whereas his choice in interiors is more conservative.” Before the establishment of the interior design fi rm in 2016, Cihan lived in the United States for several years, graduating with a degree in interior design from the renowned Parsons School of Design in New York City. Having worked for Michael Kors and French fashion house Catherine Malandrino as the senior designer for store design and develop- ment globally, she grasped the power of design early on. “What really inspired me was seeing how the environment around us changes the way we think and behave,” she says. “When I was at Michael Kors, certain store lay- outs and designs changed the shopping habits and preferences of our customers which showed me how important architecture and design was.” Through- out her notable career, Cihan has worked on retail and high-end residential projects across Paris, Lon- don and the Upper East Side in New York. The Bel Air residence is dotted with art works and design objects throughout, a nod to the owner’s extensive travels and longstanding affi liation with the global art scene. “My objective for this project was to seamlessly marry the Californian heritage with the Italian and French infl uence in a way that was inextricably intertwined,” says Cihan. “My goal was to create the ultimate California destination home imbued with a Mediterranean feel.” The pri- vate residence marks the fi rst project the studio has worked on in California. Cihan joined hands with Italian craftsmen to cre- ate custom cladding throughout the opulent home, sourcing organic materials from stone yards in Italy which have been used to design buildings in Milan for decades, such as travertino venatino and ceppo lombardo. “I chose modern Italian fi ttings to mirror the modern exterior of the house,” she says. “I prefer to use classic materials that will never go out of fash- ion and are timeless.” The home features custom wood cladding, achieved through a wire brushing technique that is prevalent in Italy. “The pores of the travertine are fi lled with black stucco and left dry in the stone yard in Italy,” she shares. “This rare backdrop works in unison with the clean lines of the French furnishings from Liai- gre, whose furniture dominates the interiors of the house creating a look that is ‘style without being stylish’.” When the designer fi rst encountered the timeless property, “I was completely mesmerised by the pan- oramic views,” she expresses. “However, I felt that The dining room featuring Christopher LeBrun. There. 2017. Oil on canvas; Pedro Reyes. Protestor IV. 2017, courtesy of Lisson Gallery Annie Morris. 8 Stack Sculpture. Courtesy of Alex Eagle Studio; Two works by Ugo Rondinone. Courtesy of Lisson Gallery; Waqas Khan. Wind with in one. Courtesy of Galerie Krinzinger 95 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_94-95_The exchange_Bel air_11202898.indd 9510/03/2020 05:27:23 PM96 HarpersBazaarArabia.com/culture/art Spring 2020 CONVERSATION Art Of CONVEV Abu Dhabi-based artist Hashel Al Lamki speaks to Sharvari Alape about his multidisciplinary practice, opening Bait 15 and exploring concepts of collective identity in his first major solo exhibition I’ve been an artist all my life,” declares the Al- Ain-born artist, Hashel Al Lamki. True to his words, his colourful artistic history includes participating in the Salama bint Hamdan Emerging Artists Fellowship (known as SEAF) programme, a Bachelor of Fine Arts from Parsons the New School for Design in New York City, and being co-founder of the artist-run studio and exhibition space in Abu Dhabi, Bait 15. The multidisciplinary artist does not believe in focusing on one way of practicing but maintains that artists must use their platforms to start real conversations. “It’s not really an inspiration, it’s my calling in life,” he says. “I didn’t choose to be an artist. I was born an artist. It’s not really a conscious decision in my mind. It’s what I am.” Teaming up with Abu Dhabi-based curator Munira Al Sayegh, Al Lamki explores the concepts of collective identity and individualism through nine subthemes in his fi rst major solo exhibition at Abu Dhabi-based Warehouse421, The Cup and The Saucer. What led to the opening of artist-run space Bait 15, which you co-founded? Bait 15 is an artist-run studio and gallery space located in a villa in downtown Abu Dhabi. It was created out of necessity because as artists, there aren’t any studio spaces or warehouses where we can go and practice; everyone was working from home. Hence, for Afra Al Dhaheri, Maitha Abdalla and myself (co-founders), there was a need for a common space where we could practice, and also include the community, whether it’s the visual artists, musicians, writers or curators. It was to have a place where we can gather and discuss what’s on our minds. How has the culture and environment you’ve been brought up in infl u- enced your artworks? My practice is very much from here, and it’s talking about cur- rent issues like looking at socio- economic dynamics, observing cultural phenomena, creating ques- tions rather than solutions and open- ing up a dialogue for people to participate and be able to contribute to the cultural landscape. But in my big- ger practices, I respond to my environ- ment, regardless of whether I’m producing in the UAE or in New York. I’m always interested in people and how to include them in my work. It just comes naturally. I’m inter- ested in the human mind and anthropology and how we can have a dialogue to progress and be able to contribute to any conversation that is happening around us. That’s where my practice revolves, but it’s not necessarily just discussing issues from here. If we look at the bigger picture, our concerns and issues here are similar to anywhere else in the world – there might be a difference in scales or capacities, however, topics are the same. You can see that in the show, The Cup and The Saucer, where the three main cities that infl uence the works are New York, Cairo and Abu Dhabi. Hence, it’s a homegrown show, but it is also refl ective of the world on a bigger scale. For us, human beings, it’s not just claiming a system or belonging to a particular territory. We all exist on this planet, and our concerns are the same regardless. What were the inspirations behind your fi rst solo show, The Cup and The Saucer? After showing in a lot of group exhibi- tions, I’m really honoured that I had to wait all these years to have my solo show in an institution like Warehouse421. I’m thank- ful to Warehouse421 and Salama bint Ham- dan Al Nahyan Foundation who I fully respect and I’m very grateful for this oppor- tunity. The idea behind The Cup and The Saucer is talking about the notion of separation from the unit in order to understand yourself fully, to be able to fi t in the bigger scale. If you don’t know yourself, there’s a big problem for you to be able to fi t. You just become a shadow like this whole idea of mass identity, which is quite frightening. Sometimes people divert from their own purpose to join a group, regardless of what the group is and fully sub- mit themselves to some sort of calling without com- prehending what they are doing. And for us artists, I think it’s very important to know who you are as a person before you’re able to contribute to any con- versation. I have my own unique voice and I would like to keep it. The Cup and The Saucer by Hashel Al Lamki, curated by Munira Al Sayegh, is on view until 17 May at Warehouse421, Mina Zayed, Abu Dhabi The EXCHANGE Hashel Al Lamki. Rejection and Refl ection, The Cup and The Saucer, curated by Munira Al Sayegh Hashel Al Lamki. Photography by Hanna Orlowski HBA_038_96-97_The Exchange_Munira_11219483.indd 9611/03/2020 12:34:47 PMMINDS Curating D Abu Dhabi-based curator Munira Al Sayegh opens up to Sharvari Alape about the burgeoning local art scene, history classes and curating artist Hashel Al Lamki’s first solo exhibition From top: Munira Al Sayegh, Curator of The Cup and The Saucer, at Warehouse421; Middle: an art piece by Hashel Al Lamki from The Cup and The Saucer; Bottom: Hashel Al Lamki. Versailles, The Cup and The Saucer; Courtesy of the artist and Warehouse421 For me, art is life and life is art. My day and my night revolves around this one sub- ject,” professes Abu Dhabi-based curator, Munira Al Sayegh, who is defying labels while redefi ning the local art scene. Hav- ing completed her undergraduate degree in the His- tory of Art and Archaeology with a focus on the Middle East from the University of London’s School of African and Oriental Studies, Al Sayegh believes that, “the role of artists is very important because it is the dictation of history, it’s the one thing that tells us what went on at that exact time.” Most recently Al Sayegh worked with artist Hashel Al Lamki on his fi rst and largest solo exhibition entitled The Cup and The Saucer, which features over one hundred pieces that explore the notions of unity, separation, collective identity and individualism. How have your studies in art history contributed to your understanding of contemporary art? I remember my father asking me what exactly I learn in the History of Art class in an undergraduate pro- gram, and my answer was that I walk into the class and the lecture will have an image, it was like storytime. From one image or an object, I would learn about the politics, societal taboos, religion, laws or gender roles of a place. So when I would talk to my history or politics colleagues, I knew exactly what they were learning, but I learned it through images as opposed to learning through text. I wasn’t very inter- ested in contemporary art when I fi rst started. But when I graduated and moved to New York, I got lost in a place, and I found myself in a small exhibition of contemporary artists from the Gulf. That’s when I realised that contemporary art is speaking a language that I understand and I’m a part of and that in the future, this language will be a tool for understanding the time and place that we’re in. Of all the projects that you have worked on, which one is most dear to you and why? I think The Cup and The Saucer is the one because generally with the exhibitions that I’ve worked on, people have approached me to curate something for them, whereas this exhibition is the other way around. My personal practice revolves around the importance of grassroots initiatives and fostering things outside of governmental constructs. So this exhibition gave me the chance to work on an exhibi- tion from the ground up. Hashel Al Lamki approached me and we started working. Once we had a solid idea, we approached Warehouse421 and they decided to support us. It’s the fi rst time that an exhibition takes place like this in my career, where it’s really from the ground up, as opposed to top-down. Not that one is right and one is wrong, but I genuinely believe in working from the ground up because you learn how to navigate almost everything. How would you describe the art scene in the UAE? It’s very vibrant. It’s a very exciting time for us to be a part of this scene. What’s interesting is there’s a very mature dialogue taking place with regards to the role of creatives within the overall complex structure that’s the Gulf. Alongside these mass institutions that have been just dropped onto Earth from the skies, there are really inter- esting subcurrents that are taking place, not in opposition but on the opposite side of the spectrum. How do you think the art scene in the UAE has evolved over the years? I feel like creatives are taking more agency. You don’t need to wait for an art fair to learn about the region’s art scene, there’s consistency and fl uidity. I used to talk a lot about this idea that the art scene is seasonal in the Emirates, and I feel like that’s changed. You have something going on almost all year, be it something that’s happening on a large scale, like a biannual fair or an exhibition at Bait 15 that has a talk revolved around it. It’s not just super elegant and extravagant openings; you have some- thing for everyone and anyone. Art in all its forms is taking place all year round now and that’s the biggest change. The EXCHANGE HBA_038_96-97_The Exchange_Munira_11219483.indd 9711/03/2020 12:34:56 PMBaku-based non-profit art space YARAT’s Artistic Director Suad Garayeva-Maleki shares an insightful narrative with Athwifa Saleem, shedding light on her role and the substantial changes she hopes to execute to nurture the art scene for aspiring Azerbaijani artists IMA GES C OUR TES Y OF RICHARD MILLE 98 HarpersBazaarArabia.com/culture/art Spring 2020 Azerbaijani HBA_038_98-99_The Exchange_Suad_11237561.indd 9811/03/2020 12:36:05 PM The EXCHANGE What inspired you to pursue a career in art? My fi rst degree is in economics and I started with a career in fi nance. However, after a few years working for Lehman Brothers and – after the crash – Nomura, I realised that I was not passionate about the work, so I decided to pursue another degree and took some time out to explore my strong interest in art. A couple of months into my masters, I realised that I would never go back and that this was the path for me. I have not looked back since. In your opinion, what does contemporary art stand for in the modern day and age? I think that contemporary art in every age is a mirror of the society it represents – artists are the fi rst to refl ect, analyse and comment on the changes in ideologies, pressing political and economic issues, new technologies and life in general. I have a degree in philosophy and to me, there is nothing better that represents how forms of thought come about and evolve over time, than contemporary art in all its various manifestations. What are the main programmes and activities that will be included at YARAT this year? It is a very long list. YARAT is an organisation that was founded at a time ripe for such an intervention – many artists, not just from Baku, but from the whole region, fl ocked to this idea and it has been growing at an unprecedented rate over the last eight years. We now have three venues, for both more established artists and ambitious commissions and younger, more experimental voices – as well as a space dedicated to modern Azerbaijani art. We have an artist residency for both local and international artists and a very wide programme of public events such as fi lm screenings, performances, workshops, open stage events as well as a dedicated educational programme for everyone – from little children to schools, universities and art professionals. YARAT also hosts various festivals throughout the year and a travelling exhibition and programme that reaches beyond Baku, into smaller cities and towns around the country. Who are some of the emerging artists that will be represented by the art centre? Our main centre will start the year off with two solo shows of brand new commissions by Turkish artist Ahmet Ö üt and Azerbaijani artist Farid Rasulov. We will then have two big shows dedicated to ecology, co-commissioned with Migros Museum for Gegenwartskunst in Zurich, featuring works of many young and established artists from all over the world such as Monira Al Qadiri, Cao Fei, Bo Zheng, Adrián Villar Rojas, Jakob Kudsk Steensen and many others. What can visitors of YARAT expect in 2020? Most of the programming for 2020 will be dedicated to the issues of ecology and climate change and along with the usual YARAT Academy lectures and public events, we are planning a more in-depth conference on the particular issues facing the region and especially the Caspian Sea, later in the year. Our visitors range widely in age and vocation; some are confronted with contemporary art for the fi rst time while others are professionals or students of art. With each exhibition and accompanying programme, we aim to address issues that are important both locally and universally which would resonate with our audiences. Such awareness is important in our effort of trying to introduce contemporary art to our visitors and to engage them in discourse and conversation. Seeing a whole generation of young creative people raised on our activities is a source of great inspiration, as they keep coming back and often go on to start their initiatives or careers in the arts. Main piece of advice you would give to aspiring artists in the region? To keep an open mind and not give up on their pursuits. The general lack of infrastructure and a strong market for arts is an issue but one that will hopefully be rectifi ed with time. New technologies provide more connectivity and opportunities for exploration and learning, so I would also advise them to take advantage of that to pursue more knowledge and awareness of what’s going on elsewhere. And most importantly, to keep creating. yarat.az Facing page: Reena Saini Kallat. Siamese Trees (Palmyra- phruek). 2018-19. Electric wires, metal, circuit boards, fi ttings. 60.96x53.34cm. Image courtesy of Chemould Prescott Road and Reena Kallat Studio. Photo by Iris Dreams; Above: Kiluanji Kia Henda. Havemos de Voltar (We Shall Return). 2017. Single-channel video (colour, sound), 17:30 min. Commissioned by Jahmek Contemporary Art, Luanda, Angola, part of YARAT’s 2020 project Potential Worlds: Planetary Memories & Eco-Fictions, in collaboration with the Migros Museum of Contemporary Art in Zurich; Left: Suad Garayeva. 2018. Image courtesy of YARAT Contemporary Art Space, Baku 99 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_98-99_The Exchange_Suad_11237561.indd 9911/03/2020 12:36:14 PMNext >