{"id":1116,"date":"2021-07-27T08:18:21","date_gmt":"2021-07-27T00:18:21","guid":{"rendered":"https:\/\/www.atelierauction.com\/globalupdates\/?p=1116"},"modified":"2021-07-24T13:25:22","modified_gmt":"2021-07-24T05:25:22","slug":"after-years-of-investment-in-arts-infrastructure-dubai-grows-into-itself","status":"publish","type":"post","link":"https:\/\/www.atelierauction.com\/globalupdates\/artist\/after-years-of-investment-in-arts-infrastructure-dubai-grows-into-itself\/","title":{"rendered":"After Years of Investment in Arts Infrastructure, Dubai Grows Into Itself"},"content":{"rendered":"

I<\/span>t\u2019s March as I write this,\u00a0and Dubai is stretching like a cat after a nap. Vaccinations are rolling out at a furious pace and everywhere, there is a kind of manic, delirious optimism. At the end of January, I returned to my hometown after 15 years split mostly between Dubai and New York. I should have come back sooner. During college I would return in the summer, in those heady years post\u2013financial crash when the city was constantly reinventing itself. I would land each time to see new roads, new buildings, a new urban narrative and backstory. Things feel different now; the city is growing into itself.<\/span><\/p>\n

With things largely back in full swing, it has been easy to reacclimate to the art scene. Artist Lawrence Abu Hamdan launched a monthly series of artist crits; I attended two, and am heartened by the depth, rigor, and generosity of the discussions. I began taking an online class on the dancing body at the Bombay Institute of Critical Research and Analysis, and wondered what something similar might look like in Dubai. Mostly, I\u2019ve tried to sit down with as many new (mostly art or art-adjacent) people as possible, and it\u2019s as pleasurable as it is overwhelming after the discursive dead air of New York\u2014I\u2019m thankful I left before the NFT boom.<\/span><\/p>\n

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Charbel-joseph H. Boutros,\u00a0The Booth, The Gallerist and The Mausoleum<\/em>, 2021.<\/span>COURTESY GREY NOISE, DUABI<\/cite><\/figcaption><\/figure>\n<\/div>\n

The first crop of gallery shows I saw here was mostly disappointing, with the exception of Charbel-joseph Boutros\u2019s at Grey Noise gallery, in which the artist built a mausoleum within a constructed art fair booth for his dealer\u2014and by extension, for the gallery, the fair, the commercial scene. And then there was a promising, if uneven, show from\u00a0Afra Al Dhaheri<\/a>\u00a0at Green Art Gallery with one particularly stunning work: a door and fanlight frame with the paneling and glass removed, but the hinges and handle mechanism left intact (Absent Yet Present<\/i>, 2020). I can\u2019t stop thinking about the piece, in part because it feels the way the city\u2019s arts infrastructure does right now: all framed out and ready for participants to make of it what they will.<\/span><\/p>\n

In February, I visited Abu Dhabi, an hour\u2019s drive away, with my father to see a show about Filipinx seafarers and domestic workers in Hong Kong, and had to show the results of a PCR test to enter the city. (Later, I watched a talk by Laleh Khalili, whose new book\u00a0Sinews of War and Trade<\/i>, about stranded seafarers in the UAE, is being widely read locally.) We visited the Louvre Abu Dhabi, which has been substantially if not comprehensively rehung since I last visited, and although the museum didn\u2019t excite, it was still beautiful in its rare emptiness. My father wondered why there aren\u2019t more Indian artifacts; I remembered that the d\u00e9tente with Qatar has thawed, and look forward to visiting their magnificent Museum of Islamic Art, which, when I first visited it in 2017, radically changed my own ideas of patrimony.<\/span><\/p>\n

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\"Aicon<\/div>\n<\/div>
Aicon Gallery\u2019s booth at this year\u2019s\u00a0Art Dubai<\/a>, showing works by Rachid Kora\u00efchi (left) and Khadim Ali.<\/span>COURTESY ART DUBAI<\/cite><\/figcaption><\/figure>\n<\/div>\n

Back in Dubai, late March brought a pared-down version of the city\u2019s annual Art Dubai fair, which had moved online last year but resumed as one of the first in-person events on the global art circuit since the pandemic began. In its scaled-back six-day version with 50 galleries (around half the usual number), the fair returned to Dubai\u2019s financial district, the Dubai International Financial Center (DIFC), where it originated in 2007 as the Gulf Art Fair. I was in Riyadh during this year\u2019s edition but heard that the new location\u2014along with Covid-19 restrictions, and a period of national mourning following the death of a sheikh\u2014gave it a rather sterile, corporate vibe. \u201cThe energy at 2019\u2019s fair felt buzzing and electric,\u201d artist Lena Kassicieh told me. \u201cThis year\u2019s didn\u2019t have that grassroots feel and felt much more like a sales event.\u201d Independent cultural adviser Aleksei Afanasiev said that, although the booth presentations and sales seemed weak, \u201cthe greatest thing about Art Dubai 2021 is that it actually happened.\u201d<\/span><\/p>\n

\u201cThe fair simply cannot be compared with its previous years,\u201d said Afanasiev. \u201cOf course, there were no big fat parties and no free flow of champagne. Everyone managed to keep their masks on, although social distancing was tough at such an art world reunion. The move back to DIFC I think somehow positioned the fair as more of a business-oriented event, and even in a way resembled other fairs like Frieze London with its tent structure. It is no longer a gathering in a Disneyland-looking, 5-star hotel ballroom, and it\u2019s great.\u201d<\/span><\/p>\n

Everyone praised the Art Dubai team for pulling off such a difficult feat. Chris Fussner of the Cebu-based gallery Tropical Futures Institute<\/a> returned to the fair thrilled to get back into it after a long pandemic year, albeit with low expectations, given the economic uncertainty of the time. The 2019 Art Dubai was the gallery\u2019s first-ever fair, and as a young business without a deep collector base, they rely heavily on the international collectors the fair attracts. This time, they didn\u2019t sell well, though they did place two works with institutions, including one with regional powerhouse Art Jameel. Fussner says that they had \u201ca lot of anxiety dealing with the social situation, but you have to take a foot forward sometime\u2026 We look at Dubai as a long-term participation.\u201d<\/span><\/p>\n

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View of the exhibition \u201cAge of You: a kaleidoscopic exploration of the extreme self,\u201d 2021, at the\u00a0Jameel Arts Centre<\/a>.<\/span>PHOTO DANIELA BAPTISTA<\/cite><\/figcaption><\/figure>\n<\/div>\n

For years, the art scene here was anchored by Art Dubai (and, to a lesser extent, the city\u2019s galleries), in part because the fair\u2019s longtime director, Antonia Carver, ran it as something more akin to an institutional umbrella than a commercial event. Over the years, the fair\u2019s residency and pedagogical programs did a lot to develop the local scene, while the introduction of a sector for regional 20th-century masters did much to shore up the markets for Arab, South Asian, Iranian, and East African art of that era. In return for all its gifts, the fair always seemed to exact a feudal kind of fealty\u2014criticizing it felt (and still feels) verboten\u2014and it produced an arts calendar that was disproportionately weighted toward March. More recently, however, as the fair has become increasingly important to the international art world as a clearinghouse for art from the surrounding region, it has felt decreasingly relevant to the city of Dubai\u2014and that feels like a healthy shift.<\/span><\/p>\n

Over the past few years, what\u2019s filled the role once played by the fair is a frenetic period of institution building. Carver now directs Art Jameel, the flagship exhibition space of the Saudi behemoth Jameel Foundation located on Dubai\u2019s waterfront. These days, everybody here is looking toward Saudi Arabia (and scrambling to represent Saudi artists). During the huge public art festival I attended in Riyadh in March, I found myself moved by the gritty energy of the sprawling city and its art scene, which will host its inaugural Ad-Diriyah biennial, curated by Philip Tinari, in December, while Jeddah will soon open the enormous Hayy: Creative Hub<\/a>.<\/span><\/p>\n

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\"The<\/div>\n<\/div>
The Jameel Arts Centre on the Dubai waterfront.<\/span>PHOTO RORY GARDINER<\/cite><\/figcaption><\/figure>\n<\/div>\n

During the pandemic, Dubai-based institutions like Art Jameel and the Alserkal Arts Foundation have pumped resources into Zoom\u2014and more recently, in-person\u2014talks and panels, where people in the art world discuss this place and this region, its politics of repression and exclusion, and so many other topics formerly out-of-bounds, not directly but obliquely. There\u2019s a lot happening in the way of conversation but very little on record or in pixels or print. There\u2019s been a profusion of new artist collectives, grassroots initiatives, and\u2014from young Emiratis, who are thus far the only ones who can afford it\u2014project spaces. They are concentrated in Sharjah and Abu Dhabi, serving as counters to the market-based dominance of Dubai. There\u2019s next to no arts funding despite a collective desire to have an arts space independent of all these institutions\u2019 efforts to brand and claim responsibility for any cultural production.<\/span><\/p>\n

For a long time, the art and writing produced by noncitizens in Dubai was shot through with the idea of belonging\u2014not the alienation of diaspora from an idealized homeland, however distant, so much as a dissonance felt in the place you now call home, where you may have been born and lived all your life but will be kicked out of when your visa expires. There was a yearning to be acknowledged as something-hyphen-Emirati, to say nothing of the rights and privileges\u2014and along with it, hyper-surveillance\u2014accorded to those with citizenship.<\/span><\/p>\n

But people seem to have gotten over that now, assuaged perhaps by the 2019 introduction of the Golden Visa program, which grants a 10-year stay. It renews automatically\u2014functioning as a permanent residency in all but name. You can apply, but like much else in this region, I hear that approval for the cultural categories is predicated not on your portfolio but on\u00a0wasta<\/i>, as they say here\u2014Arabic for \u201cwho you know.\u201d I met an artist-curator who applied early this year and received a rejection in just four days; now, he\u2019s moving back to the United States to do an MFA, generously funded by the government under the Sheikha Salama residency. (Initially, this residency and fellowship was restricted to UAE nationals, but like much else, it has now expanded to include all residents.) Never too far behind Dubai, Abu Dhabi recently announced a new cultural visa, though the details are fuzzy.<\/span><\/p>\n

What occupies artists, writers, and curators in Dubai<\/a> today is, above all, the Indian Ocean, as a site where excavated regional histories and a decentered consideration of global Blackness, in the form of what is sometimes reductively referred to as the Arab slave trade, converge. Another thing on people\u2019s minds: questions of terroir and what it means to produce from here, and how to avoid getting co-opted and instrumentalized under the aegis of national soft power. The schlocky materiality of the city-as-freeport, a tendency that can be traced back to artists like Hassan Sharif responding to the early consumerist boom, remains popular. Also, tracing family histories of migration across the Arabian and other seas. Young South Asians in the art scene are waking up to the fact that they\u2014we, though perhaps I\u2019m not so young anymore\u2014are overwhelmingly the demographic majority in this city (and in the Emirates as a whole), and increasingly produce work that excavates that.<\/span><\/p>\n

In 1986, Salim Abdallah Salim\u2014aka Sal Davis\u2014from Mombasa, released a promotional music video for the World Chess Championships. It\u2019s a real yeehaw energy banger, all sun, sand, and jet-skiing, with waving Emirati flags and a rousing chorus of \u201cBack in Dubai \/ there\u2019s a sun and it shines there all the time \/ going home to the smiles on the faces of kids who remind me \/ Dubai is mine.\u201d<\/span><\/p>\n

Funnily enough, there\u2019s no chess playing anywhere at all in the video. I\u2019ve had the song stuck in my head since I returned. Dubai is mine. I miss my partner and my friends, but it feels good to be home.<\/span><\/p>\n

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Source\uff1ahttps:\/\/www.artnews.com\/<\/p>\n","protected":false},"excerpt":{"rendered":"

It\u2019s March as I write this,\u00a0and Dubai is stretching like a cat after a nap. Vaccinations are rolling out at a furious pace and everywhere, there is a kind of manic, delirious optimism. At the end of January, I returned to my hometown after 15 years split mostly between Dubai and New York. I should […]<\/p>\n","protected":false},"author":2,"featured_media":1117,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"tdm_status":"","tdm_grid_status":"","footnotes":""},"categories":[5,13,7,4,3],"tags":[173],"class_list":{"0":"post-1116","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-artist","8":"category-auction","9":"category-events","10":"category-gallery","11":"category-latest-news","12":"tag-dubai"},"yoast_head":"\nAfter Years of Investment in Arts Infrastructure, Dubai Grows Into Itself - Investable Art Auctioneer<\/title>\n<meta name=\"description\" content=\"It\u2019s March as I write this,\u00a0and Dubai is stretching like a cat after a nap. 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