< Previous120 HarpersBazaarArabia.com/culture/art Spring 2020 The REVIEW he well-renowned international art fair, dedicated to contemporary art from Africa and the African dias- pora took place at La Mamounia, Marrakech, from 22-23 February 2020. Since the fair’s successful inau- guration in Marrakech in 2018, it has broadened its reach and further diversifi ed its portfolio of exhibiting and promoting gallerists as well as artists who are connected to Africa, adding to the global network 1-54 has culti- vated over the past seven years. This year the fair show- cased the work of more than 70 established, as well as emerging artists, working in a wide variety of mediums and from a range of geographical locations ranging from 20 countries: Angola, Belgium, Cameroon, Côte d’Ivoire, Dem- ocratic Republic of Congo, Egypt, France, Gabon, Ghana, Guinea Bissau, Madagas- car, Mali, Morocco, Nigeria, Republic of the Congo, Senegal, South Africa, Sudan, Togo and the United States. “For the fi rst time, over half of the galleries coming to the fair are based in Africa, which is an exciting milestone,” remarked the found- ing director, Touria El Glaoui. Of the total of 20 galleries that have been distinctively selected to participate, ten participated in 1-54 Marrakech for the fi rst time, including Afi karis (Paris, France), AFRONOVA GALLERY (Cape Town, South Africa), Eclectica Contempo- rary (Cape Town, South Africa), Galerie 127 (Marrakech, Morocco), GVCC (Cas- ablanca, Morocco), Mashrabia Gallery of Contemporary Art (Cairo, Egypt), Nil Gallery (Paris, France), So Art Gallery (Casablanca, Morocco), UBUNTU art gallery (Cairo, Egypt) and WHATIFTHEWORLD (Cape Town, South Africa). “Providing spaces for mutually benefi cial exchange between artists, collectors and curators is intrinsic to what we do and was one of the primary reasons why I started 1-54,” says El Glaoui. “We aim to create an environment that is conducive to learning and open to all, allowing for visitors to feel comfortable in asking questions and for artists and gallerists to confi dently speak about the work shown.” The fair presented seven special partner projects, all of which are in important cultural spaces across the city. These included À l’epreuve du Tamis, an exhibi- tion at Le 18 which is an independent art space in Medina. 1-54 have also partnered with MACAAL and Musée Yves Saint Lau- rent, larger museums of which the former is presenting a group show, “HAVE YOU SEEN A HORIZON LATELY?, curated by Marie-Ann Yemsi with works by Yoko One and Kapwani Kiwanga, and the latter is set to have the fi rst retrospective by French artist Jacques Azéma. Other partner projects will be led by Fondation Montresso, Institut Français de Marrakech, Dada and Comptoir des Mines Galerie. 1-54 Marrakech was accompanied by 1-54 forum, a public programme of panels, performances and interventions taking multiple formats to explore the cultural scene and theories about Africa and its diaspora held at La Mamounia, ESAV and Le 18 in parallel to the fair. The Showroom London, an independent art space curated the 1-54 forum for the fi rst time. The Showroom’s curatorial team led the project taking its approach from the organisation’s programme of engagement with its local north- west London community, Communal Knowledge. The fair further showcased some of the most articulate murals, sculptors and portraits, some of which included, Untitled III (2019) by Lakin Ongubanwo, whose creation of enigmatic por- traits with an erotic and subversive undertone was complimented with the usage of vibrant fl at colours and bold compositions, paying a minimalistic homage to the African studio photography popular in the 1960s and 1970s; Out of Water – Evol Series (2019) by Alun Be, the Senegalese photographer who, with his extensive architectural skills and an international outlook garnered from a childhood spent between Europe, West Africa and the United States, dedicates his art to conveying an empowered image of his subjects and to bring forth change in the public cognizance of Africa; Untitled (HS 257) (2019) by Hussein Salim, whose deca- dent impasto paintings refl ects dialogue through the use of per- From top left: Doaa Fakher. Untitled. 2018. Acrylic on canvas. 103x108cm; Aboudia, Mogo Dakar. 2019; Soad Abdelrasoul. Plongee dans la nature. 2017. Facing page: Lakin Ogunbanwo. Untitled III. 2019. 33.33x50cm; Courtesy of Mashrabia Gallery and the artists Images c ourt es y of participating galleries and artis ts “ P R O V I D I N G S P A C E S F O R M U T U A L L Y B E N E F I CI A L E X CH A N G E B E TW E E N A R T I S T S , CO L L E C T O R S A N D C U R A TO R S IS I N T R I N S I C TO W H A T W E DO A N D W A S O N E O F T H E P R I M A R Y R E A S O N S W H Y I S T A R T E D 1- 5 4 ” HBA_038_118-123_The Review_African Art_11208588.indd 12011/03/2020 09:22:13 AMHBA_038_118-123_The Review_African Art_11208588.indd 12111/03/2020 09:22:23 AMHBA_038_118-123_The Review_African Art_11208588.indd 12211/03/2020 09:22:29 AM123 HarpersBazaarArabia.com/culture/art Spring 2020 The REVIEW sonal symbolism of his dual African and Islamic identity and through this amalgamation, creates a personal conversation with the viewer of the effects of a diasporic background; Self-portrait with Botticelli, Florence (2009) by Youssef Nabil, whose distinguish- ing technique of hand-colouring silver gelatine prints removes the blemishes of reality. Nabil disrupts ubiq- uitous notions of colour photography and painting, as well as assumptions about the aesthetic sensibilities asso- ciated with art and popular culture. His hand-colouring awakens a sense of longing and nostalgia which invites his photographs to fl icker between our time and another era; Plongée dans la nature (2017) by Soad Abdelrasoul, who seeks the aid of metamorphosed fi gures in her murals, depicting the fact that she does not seek to visualise human physical beauty, but is used to refl ect on the earth’s elemental existence and its undulat- ing connection between mankind. Her inclusion of fragments and scientifi c illustrations of the human body re-evaluates the way we perceive space and repurposes notions of body, science, and nature. Nurtured by the contributions of local and international agents, 1-54 forum will become an insightful platform to inter- rogate multiple methods of socially engaging art, leading to the production of a new pathway of organisational and insti- tutional methodologies originated by this prestigious encoun- ter between artists, institutions and community organisers. “It’s an exciting moment to contribute even further to the market by continuing to provide a platform for interna- tional visibility, allowing artists to meet collectors, cura- tors and other artists on their home soil,” adds El Glaoui. “We look forward to forming deeper connections to this cul- turally rich city and giving visitors a great insight into its thriv- ing art scene.” 1-54.com/marrakech 1-54 Marrakech was on view at La Mamounia, Marrakech, Morocco, from 22 until 23 February 2020 Clockwise from left: Thania Petersen. Of birds and trees and fl owers and bees. 2019; Ghizlane Sahli. Histoire Des Tripes. 2018; Hassan Hajjaj. Nayla’s Gaze. 2015; Alice Mann. Taylim Prince. 2017; Facing page: Joseph Obanubi. The Rendevous. 2018. Courtesy of the artists HBA_038_118-123_The Review_African Art_11208588.indd 12311/03/2020 09:22:36 AMplace at Chesa Planta from 6 to 9 Feb- ruary 2020. Textile art Fine, high-quality handmade carpets designed by David/Nicolas for Iwan Maktabi, were inspired by constella- tions in the sky. Founders of The Invis- ible Collection, Anna Zaoui and Isabelle Dubern, made their debut with Le Salon, an immersive installa- tion comprising a melange of artists of different genres. Some names under this mix include French interior designer Pierre Yovanovitch and Paris- based architect Charles Zana. Experimental processes Carwan Gallery, for the fi rst time ever, showcased works by Vancouver and Berlin-based designer- Voyage The first travelling showcase for collectible design and contemporary art, NOMAD , brought together a network of artists, galleries, curators and collectors at Engadine, Switzerland. Beena Pagarani explores the exhibition’s third winter edition which was set in the heart of the scenic Swiss Alps AN ARTISTIC NOMAD, the brainchild of two leading art fi gures, Giorgio Pace and Nicolas Bellavance-Lecompte, brings forward bespoke art and collectible design in an intimate setting. The philosophy behind the travelling exhibition is to bring collectible contem- porary art and objects to a growing community of astute professionals and collectors in cultural desti- nations across the globe. Milan-based curator and co-founder of Carwan Gallery, Bellavance-Lecompte, has curated over 50 exhibitions around the world. Most recently he has been appointed Art Director at the historic bronze foundry in Milan, Fonderia Artistica Battaglia’s design department. “We simply wanted to create an experience rather than a fair, a place which would provide a certain context for acquiring and seeing works,” state Bellavance-Lecompte and Pace. “At the same time, it is certainly also a response to the perceived desire of many collectors and professionals to enjoy a certain intimacy and meet in an environment that offers novelty and excitement too. The fl exible and mobile format of NOMAD allows us to explore new markets and dare to go where other realities cannot happen due to structural limitations.” Following an inaugural edition in Monaco in 2017, this year, NOMAD was set up at St. Moritz, within the picturesque Chesa Planta mansion against the beautiful backdrop of the Swiss Alps. Chesa Planta, a historic building located in the Upper Engadine, is an upcoming cultural centre for art, design and artists alike. Here are some highlights from the evocative trav- elling exhibition’s third winter edition, which took 124 HarpersBazaarArabia.com/culture/art Spring 2020 Domenico Mangano & Marieke van Rooy. Eight Proposals for a Mental Architecture. 2017. Gray clay. Two elements 37.5x35x37cm and 20x18x27cm Alberto Burri. Rosso Plastica. 1968. Plastic, acrylic, vinavil and combustion on celotex. 51x75cm HBA_038_124-125_The Review_Nomad_11232341.indd 12411/03/2020 02:22:03 PMcum-sculptor Omer Arbel whose bronze sculptures series titled 113 is a byproduct of experiments using glass and metal. Polish artist Marcin Rusak intentionally created ‘metallic fossils’ using plant leaves and zinc in a work titled Protoplasting Nature. Barcelona-based architect and owner of Cierto Estudio studio, Marta Armengol, in collaboration with Belgian gal- lery Maniera showcased a new series of voluminous blown and non-blown forms of glass lamps in odd shapes and forms under The Four Folds. Glass sculptures Taking centre-stage once again, glass pieces were the focus of several artists. Danish artist Thomas Poulsen, also known as FOS, introduced new edi- tions of the Mountain Vase and brass wall lamps Mask Lamp Hair collection for Copenhagen-based gallery Etage Projects. Maria Foerlev, founder of Etage Projects comments, “like the previous years, I try to create a conversation between the surround- ings of the beautiful Chesa Planta and the designs on show: mountains, wood, ice, snow and the warm and cosy interiors you fi nd here. For Etage Projects, it resonates with the core focus of the gal- lery, how ideas can translate into aesthetics and how aesthetics affect our ideas.” New editions British brand Established & Sons launched brand new pieces, of which most notable were antique Greek ceramic vases reimagined by Rome-based- Swedish ceramicist and illustrator Liselotte Watkins and unique table lamps by Committee. Watkins exhibited ceramics under the series enti- tled Objects of Desire, in bold and bright colours alongside Kebab lamps from husband-and-wife duo Clare Page and Harry Richardson’s London- based gallery, Committee. Ceramics and craft London’s The Gallery of Everything presented The Folded Forms with a collection of 25 clay works by the late ceramist George Ohr. To feed the growing enthusiasm for Asian art, New York’s Thomsen Gallery focused on the con- cept of wabi-sabi, a Japanese concept of accepting and seeing the beauty in imperfections. The gallery paid attention to handmade bamboo baskets, ones which gained appreciation by Japanese tea masters over four centuries ago. NOMAD serves as a platform for the debut of rare collections and limited edition pieces for gal- leries and art collectors worldwide, and for broader discussions on today’s global design landscape. The architecture of the building the exhibitions are held in plays an equally important role, and in this year’s edition, intertwining contemporary 21st century art with the historic setting of the Chesa Planta residence made it rather exquisite. When ques- tioned about NOMAD’s contribution to the world of art so far, Bellavance-Lecompte and Pace refl ect, “we’d like to think we were one of the fi rst to chal- lenge the norm and introduce an inspiring model not only for design, but also for the art industry. We have also presented exceptional works in unex- pected locations, brought curious visitors and col- lectors from around the world together and created memorable experiences in outstanding buildings and destinations – we offer a place for perception.” nomad-circle.com NOMAD St. Moritz was on show 6 to 9 February 2020 The REVIEW “T H E F L E X I B L E AN D MOBI L E F O R M A T OF NOM A D A L L O WS U S T O E X P L OR E NE W M A R K E T S A N D D A R E T O G O W H E R E OT H E R R E A L I T I E S C A NNO T H A P P E N DU E T O ST RUC TU R A L LI M I T A T I O N S ” Bellavance-Lecompte and Pace Established & Sons at NOMAD 2020. Liselotte Watkins Objects of Desire Series. Trinitá (2019) and Kebab Lamp Series (2019). Courtesy of Filippo Bamberghi Etage Projects. FOS, Mountain Vase. 2019 Thomsen Gallery. Tanabe Chikuunsai IV, Connection. 2005 C OUR TES Y OF RESPECTIVE AR TIS T S, DESIGNERS AND NOMAD 125 HarpersBazaarArabia.com/culture/art Spring 2020 HBA_038_124-125_The Review_Nomad_11232341.indd 12511/03/2020 02:22:11 PM126 HarpersBazaarArabia.com/culture/art Spring 2020 126 HarpersBazaarArabia.com/art Spring 2020 A view of Tollinton Market, Lahore Biennale 2020 Site T he Art O f C O L L A B O R A T I O N Curator of the second Lahore Biennale Sheikha Hoor Al Qasimi conceives to illuminate the rich culture of Pakistan and simultaneously foster artistic exchange and dialogue across continents. Aisha Zaman reports from Lahore HBA_038_126-131_The Review_Lahore_11205627.indd 12611/03/2020 09:24:52 AM127 HarpersBazaarArabia.com/culture/art Spring 2020 “The world needs to appreciate the vibrancy of Lahore’s heritage,” Sheikha Hoor Al Qasimi explains how Lahore Biennale can prove to be an important catalyst in the revival of the city’s glory days, when it used to be recognised as a major cen- tre of knowledge and creativity in South Asia. Themed ‘Between the Sun and the Moon’, the second edition of the Lahore Biennale aims to explore one’s identity within the universe today, amongst a conjuncture of planetary climate crises and heightened polarities between societies. Al Qasimi explains; “it fosters imaginations of the future that encompass the full breadth of its mate- rial and virtual possibilities, growing from a prac- tice of intra-regional mobility of ideas and people.” Her curatorial strategy of staging art within her- itage sites to create a public discourse has proved to be an effective instrument not just for the local community but also to open up Pakistan to the world. The aim is to break down cultural and geo- graphical barriers and put shared human stories at the heart of a wider dialogue spanning the region and the world. Even though, some of the most popular contemporary artists recog- nised in the West are from Pakistan; such as Shazia Sikander, Imran Qureshi, Aisha Khalid, Huma Mulji, to name a few. Yet, Al Qasimi states many artists were initially hesitant to travel to Pakistan, mindful of warn- ings that foreigners may be targeted. However, having had explored every inch of the city on her multiple trips to Lahore, she convinced them other- wise. Therefore, it is the fi rst time that such a signifi cant number of contem- porary artists from all over the world have fl ocked to Lahore to display their work. Installations by around 80 artists, including 20 new commissions, have gone on show in venues across Lahore. British artist Barbara Walker has crafted a large wall mural in one of its historic markets, Tollinton Mar- ket. An immersive multimedia instal- lation by Berlin-based, Kazakhstan-born Almagul Men- libayeva that is inspired by Timurid ruler and astronomer Sultan Ulugh Beg; a fi lm by Alia Farid exploring humanity’s multidimensional rela- tionship with animals and the envi- ronment; an installation and publication by Reem Falaknaz on pigeon racing as a shared cultural link between Pakistan and the United Arab Emirates; and a bronze sculp- ture by Taus Makhacheva that depicts the fragmentary narratives of 12 fi ctional female characters, each accompanied by sound and poetry by female writers such as Rachida Madani and Warsan Shire; were all on public display. Al Qasimi states that “art is not just for the art sdaestio. Et repererum rernatqui doloriossi dolorendae nimintis dolum illaborem volest volorpore et dolorum soluptaquam hilis elites”, it is not enough to offer international cover- age and recognition to brilliant artists from Paki- stan but instead, also to bring artists from abroad to engage with the local artists and community; a colossal task, which could only be accomplished by someone of Al Qasimi’s stature. In 2018, the inaugural Lahore Biennale attracted 1.5 million visitors according to its organisers, an extraor- dinary number for an exhibition that only ran for a fortnight. But Sharjah’s renowned power player, Al Qasimi, proposed the second edition to run for a month – forecasting almost 3 million visitors. At the dazzling inauguration cere- mony, set against the backdrop of the majestic Lahore Fort, the audience comprised not just of a spectacular line-up of local and international art- ists and politicians, but also eminent Middle Eastern personalities ranging from members of the Sharjah royal family to cultural authoritative fi gures such as Dyala Nusseibeh, Director of Abu Dhabi Art and Noura Al Kaabi, UAE’s Minister of Culture and Knowledge Development – all of them in attendance simply because of their trust in Al Qasimi’s vision. “I came because I have full faith in her curatorial skills. I am here because I know she has an impressive line-up of artists; but nothing could have prepared me for this spectacular show; full of awe inspiring historical sites to the tremendously talented local community,” says Nusseibeh, on her fi rst visit to Lahore. One of the foremost authorities in the contem- porary art word, Al Qasimi’s list of job titles, acco- lades and collaborations is so long that it’s hard to From top: Michael Rakowitz. The Ballad of Special Ops Cody. 2017. Video Still HD, Lahore Museum; Slavs And Tatars, ‘Friendship Of Nations’. 2017. Tollinton Market PHO T OGRAPHY B Y ALEENA NA Q VI HUS S AIN IMA GES C OUR TES Y OF THE AR TIS T S The REVIEW HBA_038_126-131_The Review_Lahore_11205627.indd 12711/03/2020 09:24:59 AM128 HarpersBazaarArabia.com/culture/art Spring 2020 keep track of them. The President and Director of the Sharjah Art Foundation, she is renowned for transforming Sharjah into an international art capital. She curated the UAE National Pavilion for the Venice Biennale (2015). Al Qasimi serves on the board of directors for MoMA PS1 in New York; Kunst-Werke in Berlin; Ashkal Alwan in Beirut; and Sharjah Architecture Triennial; as well as advisory boards for Khoj, New Delhi; and Darat al Funun, Amman. Her vision has led to the formation of the Sharjah Art foun- dation and other side projects, including the Africa Institute and the new Africa Hall. The Sharjah Biennale is consistently rated as one of the top ten biennales in the world, which is quite the tribute when there are hundreds of art exhibitions taking place every year. The objective of the Lahore Biennale is to provide much needed context for the art scene that exists in South Asia today and to help the viewers understand that the global south has long been an incubator for arts and culture by bringing Lahore’s history to light as an opportunity to revise and rethink some of the pre-conceived notions of geographical separations. “Many of the works on view at the Biennale are informed by the multiple layers of history shaping the Global South and through displays like this, we are working towards a more inclusive future through art,” claims Al Qasimi. The Global South is one of the curator’s long- standing areas of interest; Al Qasimi elab- orates; “I want to explore the concept of identities and connecting cultures because of the diaspora of British Asians and South Asians in the Middle East.” Hav- ing numerous friends from Pakistan and building upon the close long-standing ties between the UAE and Pakistan; Al Qasimi has invested a unique personal commitment and passion in this project. The passion is evident in the thought- ful array of international artists’ work, which resonates with the local audience, especially to highlight themes of identity and confl ict. For example, renowned Arab artist, Wael Shawky’s uses his fi lming of puppet-theater to tell the story of the Crusades. In his fi lm series Cabaret Crusades (2010-15), based on a book by the French-Lebanese writer Amin Maalouf, the story of the war is told from an Arab perspective. However, Shawky does not present Arabs as victims but as active players responsible for their fate. A large cluster of master professionals, from native classical singers, craftsmen and puppeteers to a full fi lm crew, crafted these intelligible videos on elaborate sets. The magnifi cent, handcrafted puppets are more than enough to hypnotise the viewer emotionally and intellectually. “In Lahore, the audience celebrates Cabaret Crusades, not only because the videos playfully harness the boundaries between history and storytelling but also because I care about details and I work a lot with historical Indian miniatures as a base for my fi lm scenography,” Shawky said. The artist’s ambi- tious, multi-layered fi lm renditions explore the ways in which history and folklores are recorded, highlighting the unreliabil- ity of cultural memory, while offering critical evaluations on Clockwise from above: Khadim Ali’s multimedia tapestry installation at Summer Palace, Lahore Fort; Anwar Saeed. Temporary Situations I. 2012. National College of Arts (NCA) Lahore; Guide Book of Lahore Biennale 2020. Below: Rasheed Araeen, Zero to Infi nity displayed at the National College of Arts (NCA) in Lahore. Facing page: Taus Makhacheva, Bronze sculpture installation Seismic Jitters. 2020. Summer Palace, Lahore Fort HBA_038_126-131_The Review_Lahore_11205627.indd 12811/03/2020 09:25:05 AM129 HarpersBazaarArabia.com/culture/art Spring 2020 129 HarpersBazaarArabia.com/art Spring 2020 The REVIEW HBA_038_126-131_The Review_Lahore_11205627.indd 12911/03/2020 09:25:13 AMNext >