Saturday 23 January, 2016
11:00 a.m. – 7:00 p.m.
1971 – Design Space
The Flag Island
Sharjah, United Arab Emirates
A creative conference examining contemporary heritage, organised by 1971 – Design Space and ING, will be held in the space at The Flag Island, Sharjah, gathering regional and international professionals from various specializations in the creative industry to discuss what heritage is and what their views are on implementing it within their work.
The day’s action-packed agenda starts at 11:00 a.m., offering a range of interesting and diverse perspectives on the topic of cultural heritage.
Australian artist and designer Gemma O’Brien will first give a 30-minute talk on “The rise of hand lettering in the digital age.”
Following directly after O’Brien will be Austrian graphic designer and illustrator Verena Michelitsch, who will present on the topic of: “Out of intense complexities, intense simplicities emerge.”
Next up will be a Creative Panel, followed by portfolio reviews and workshops.
Not an official Galleries Night at Alserkal Avenue, but quite a few openings and interesting shows to be enjoyed at the moment.
Here are the shows I briefly visited last night:
Grey Noise – but even if I cannot see the sun. A group show. I did not take any photos- silly me! I love what Grey Noise stands for and it is fast becoming one of my favourite galleries purely because I am starting to understand their mission and I know exactly what to expect when entering. They stand fast in their convictions of experimental, minimalist and conceptual work. The trick here I find, is to talk to the gallery staff. The work in the current exhibition is extremely interesting and quite strong conceptually. My favourite piece here is Charbel-jseph H. Boutros’s No light in white light/ Night cartography, Night of 12.07.13, where the artist traces his sleeping patterns via spray paint on paper.
As you probably know by now, this is my favourite gallery in town. I was glad to catch curator Amanda Abi Khalil during her walk about, explaining some of the works. I enjoyed the different artists’ take on what a white cube can be. A must-see.
Here are a few event photos. This show brought together artists from all over the world, showing small scale artworks all for sale at Dhs 500. The works are anonymous to the viewer, signed on the back. A fantastic initiative.
Exhibition “L’Orient dans un miroir” by Roland et Sabrina Michaud
The idea behind the East in a mirror is to reflect the beauty of Islamic culture and to prompt reflection on it. The result was intended to be a conversation between art and life, past and present.
“My fascination with the idea of mirrors dated back to my trip in Persia, I was amazed to discover that the Palace of Forty Columns in Isfahan had only twenty but the reflection of these in the water made them appear double this number. The world of miniatures is an enchanting world of light, color and transparency” Roland Michaud highlights. Roland and Sabrina have a deep interest in miniatures and old illustrations for different cultures. While travelling the Orient, they wanted to re-discover this authenticity and genuiness of this particular culture.
This exhibition is a reflection of Beauty and the Islamic civilization. These images reflect a spiritual message, and together, they talk and we question their resemblance. Probably 700 years separate a picture from its illustration, but the essence of culture remains. Roland Michaud, French born met a Moroccan born girl called Sabrina in the late 1950’s and began their life together traveling through the mystic lands of the Orient discovering and documenting its wonders. Their images are poems written with light and shadow, colour and texture, transcending space and time.
This exhibition marks the premiere of a new body of work by NYUAD faculty member Sandra Peters. The artist was inspired by the architecture of Rudolph Schindler whose work eventually led her in to a deep study of the geometric permutations of a cube.
Pandora’s Box includes a series of eleven uniquely unfolded aluminum cube sculptures and a wall mural spanning 4.4 meters. Ten of the eleven sculptures are identical in color. The eleventh, Pandora’s box, is an inviting silver. Peters’ use of mathematical imagining, abstract geometry and simplicity of form generates a minimalist effect. The link between each work in the exhibition reiterates Peters’ almost obsessive and calculated patterns, with each cube being a transformation of another, and the mural being an unfolded execution of the silver Pandora’s box.
An added pattern emerges within the painted mural: the eleven unfolding executions found in each of sculptures in the show. In a kind of mathematical fantasy these modular forms, in turn, can fit together, puzzle-like, to make a single, large, hypothetical cube that the artist invites the viewer to imagine. Thus, the mural, in two dimensions, embodies a map for a three-dimensional sculpture.
Throughout the exhibition period, Peters will change both the placement and the orientation of the cubes in the space, turning the cubes into as Peters says, “nomadic objects that travel.” The artist clearly calculated every aspect of this exhibit, and at first glance it may seem rigid, yet once visited and experienced, the show demonstrates, in the end, a genuine fluidity and ability to change.
— Bana Kattan, Assistant Curator, NYUAD Arts Gallery
16 – 17 January, 2016
1971 – Design Space
The Flag Island
Sharjah, United Arab Emirates
1971 – Design Space will be hosting a two-day Social Media Forum titled “The Social Infraculture” on 16 and 17 January, 2016. The event, which will feature workshops, talks and panel discussions focusing on the role of social media in creative industry and social development, i.e. the roles social media for non-profit entities.
Day one of the event will concentrate on the theme of ‘Social Media in the Creative Industry’ and will feature a panel discussion entitled ‘Social Media & The Art World’. The panelists, all from various influential U.A.E. art institutions and magazines, will discuss how social media can help benefit the creative industry.
Day one will also include a range of informative and exciting workshops, including: Instapraneurship by designer Fatima Al Mulla, and ‘Brand yourself on Instagram’ with social media expert Zahra Nasralla founder of Social Addicts. The programme will be end with a Pecha Kucha Night event where entrepreneurs, bloggers and inspirational creatives will share their experience using social media in the 20 second x 20 slides format.
Day two of the Social Infraculture will look at ‘Social Media for Social Change’ and will include a panel discussion with representatives from non – profit organisations and local community heroes on how social media can support public service causes.
In addition to the panel discussions, there will be some great workshops on offer. Mohamed Al Hosani – Director of Leadership & Empowerment – will lead a talk entitled Social Media for Non – Profit Organisations, and Zahra will run a workshop entitled ‘Lead generation via Facebook ads’.
In addition to the social awareness theme, the forum will touch up on the growing use of Artificial Intelligence by online key players like Google, Facebook, LinkdIn with a panel talk, that will be chaired by Sultan Al Qassemi and include panellists from the Museum of Future, a unique incubator for futuristic innovations and designs launched by His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the U.A.E. and Ruler of Dubai.
Social Infraculture Programme:
Saturday 16 January, 2016
3:00 p.m. – 4:00 p.m.: Instaprenuership by Fatima Al Mulla
4:00 p.m. – 5:00 p.m.: The Use of Artificial Intelligence in Social Media
Moderated by Sultan Al Qassemi
Hunter Lee Soik, Noah Raford and Matt Suiche
5:00 p.m. – 6:00 p.m.: Brand yourself on Instagram
7:00 p.m. – 8:00 p.m.: Social Media & the Art World
Myrna Ayad, Hind Mezaina, Rebecca Anne Proctor, Meitha Al Mazrooei
8:20 p.m.: Pecha Kucha Night SHJ Vol.8
Sunday 17 January, 2016
5:00 p.m. – 5:45 p.m.: Social Media for Non- Profit Organisations
6:00 p.m. – 6:45 p.m.: Lead Generation on Facebook
7:00 p.m. – 8:00 p.m.: Social Media for Social Change
Moderator: Asma Hilal Lootah
Aisha Harib, Iman Ben Chaibah, Manal Taryam, Reem Saeed
Matheus Rocha Pitta
Exhibition Dates: 18 January – 6 March 2016
Opening Reception: Monday, 18 January 2016, 6 – 9 pm
Green Art Gallery presents 1497, a group exhibition curated by Lantian Xie, featuring works by Hera Büyüktaşçıyan, Gitanjali Dang, Shilpa Gupta, Raja’a Khalid, Jacob Lawrence, Matheus Rocha Pitta, UBIK, Deepak Unnikrishnan, and Danh Vo.
The four-number sequence that makes up the exhibition’s name refers variously to:
1. The number of a hotel room.
2. The street address of someone’s house.
3. A year in history, in which Europeans first arrived by sea into two different gulfs.
Here, images, scents, texts, and objects allude to a home in which history has taken place, amidst roofs on fire, a greenhouse filled with tropical plants, an orphaned balcony, scattered threads, a soup made from stone, and chapters pulled from books not yet written.
1497 is configured as a set in which intimations of homeliness are also stagings and props that pretend to describe determinable trajectories. Instead, these intimations are incomplete, or led awry, evoking ellipses, truncations, and shifts in hand and position. They feign familiarity—for homes, lands, places to be remembered or longed for—whilst in turn betraying their own constructedness, distance, and impossible heaviness, feeling somehow adrift. Like that Borges story about the nation of cartographers who try to draw a comprehensive map of their empire, only to end up with a map so vast and detailed that it turns out to be the exact size of the empire itself, and thereby useless, and left to ruin. Here too is an implication of bodies—of residents, long-timers, locals, as well as tourists, guests, strangers, and colonizers—and how differently the same house is conjured by each, and also for whom a house is intended or not intended at any given time.
Elsewhere, Thani Al-Suwaidi describes another familiar kind of building in The Diesel:
“Eventually our dilapidated house began to turn into a city, and my father announced that our home was his cell. From chaos and wrath he forged a foundation stronger than a boulder’s. So it grew gradually; adding walls, windows, and doors.”
Elsewhere still, a friend remarked the other day that in her cosmopolitan city, the roads seem to reconfigure every day, and so each day she finds a different way home.
Green Art Gallery
Al Quoz 1, Street 8, AlSerkal Avenue, Unit 28
T: +9714 346 9305
E: firstname.lastname@example.org W: www.gagallery.com
Larissa Sansour: In the Future They Ate From the Finest Porcelain | Private Preview | January 18, 6-9 PM -Preceded by Artist Talk at 5 PM
Lawrie Shabibi is delighted to invite you to the private preview of ‘In the Future They Ate From The Finest Porcelain’ by Larissa Sansour on Monday, 18 January from 6 – 9 PM. The exhibition examines the politics of archeology and how myths of the past can become historic interventions with the power to create nationhood. Sansour will present screenings of her most recent film – of the same name – together with an installation and three large-scale photographic works and
The film is the artist’s longest to date, and the first in which she makes no appearance other than as the narrator’s voice. It is presented in colloquial Arabic as a dialogue voice-over. A female protagonist who describes herself as a “narrative terrorist” is questioned by her interlocutor, whose identity remains unknown and is open to speculation – is she a journalist, a psychiatrist or an interrogator? The protagonist tells of being part of a resistance group seemingly on the brink of the apocalypse where “archeology is the frontline”.
In her typical tongue-in-cheek fashion, Sansour looks at the politics of archeology and how myths of the past can become historic interventions with the power to create nationhood. It is her most universal film to date highlighting how the construction of national mythology can create and justify present identity, power and territorial claims. As Edward Said writes in Culture & Imperialism: “Appeals to the past are among the commonest of strategies in interpretations of the present”.
The exhibition also includes three large-scale photographs that feature archival images taken from Library of Congress’ archives and UNRWA to make a pan-historical collection of the various occupying forces in Palestine through the ages.
Finally Larissa Sansour presents an installation depicting an assembly line that appears to have been abandoned half way through the creation of the fictional porcelain plates. Deliberately crude, the work highlights how our past can be systematically controlled and fabricated.