Two voices pierce this din: the Dubai-based Mohammed Kazem, a former student of Hassan Sharif and a pillar of the Group of Five, recently nominated to represent the UAE at the 55th Venice Biennale; and Kazem's one-time student, Ebtisam Abdulaziz, a distinguished Sharjah-based artist with a string of biennials to her credit, and who is participating in the Delfina Foundation's Artist-in-Residence, which has just started in Dubai.
Observing these two generations of
Emirati artists in an interview at Kazem's studio, one is struck by the
confident continuity of shared beliefs - in the importance of education,
the value of their artistic heritage - punctuated by some critical
differences of opinion. As the double interview unfolds, we get a
privileged view of the state of UAE art, its phantoms and its promise.
Group of Five was the UAE's first art scene. Three generations passed
through the group's hands, from the founder Hassan Sharif in the late
1970s through to Mohammed Kazem in the 1980s, down to Ebtisam Abdulaziz
and her contemporaries in the early 2000s. United by a contemporary
vision at a time when arts in the UAE were anything but, the early group
members took teaching as seriously as they did art.
Kazem's eyes, the group's Open Studio was a welcome gift for fledgling
artists at the time. "I did not receive any kind of art education in
school," recalls Abdulaziz. "I felt I had talent, but no one helped me
work on it and develop it.
"The group influenced me a lot. I had
reached a point where painting wasn't enough, so I sought your help
[addressing Mohammed Kazem]. I remember you gave me one of Hassan's
books about Systemic Art, and this helped me overcome that obstacle."
opportunity is rare today, as the educational flame sparked by the
group has dwindled. Abdulaziz believes artists themselves should resume
this cause, whereas Kazem points to institutions. "Education policy
should change," he insists, "for the simple reason that we now have
numerous art institutions and the already famous Sharjah Biennale. We
need to make a gradual inclusion of art into education."
every discussion is riddled with the word "gap". Abdulaziz boasts having
a "scan" on the new generation of Emirati artists, through seminars she
organised at the Maraya Art Centre in Sharjah. Yet she seems perplexed
by their ahistorical stance.
"I remember I was a judge in a
photography competition in 2007. I was surprised that most photographers
were unaware of the medium's founding artists. They use the tools, the
materials, without knowing why."
The evident complicity between
these two generations seems on the verge of extinction.Shop the web's
best selection of precious gemstones and chipcard
at wholesale prices. "Today, most arts graduates are more European,"
remarks Abdulaziz, "and less affiliated with their own society, in terms
of the way they think and their connection with the older generation of
artists. Most of them don't even know Hassan Sharif!"
hollow nostalgia, both Kazem and Abdulaziz believe understanding
previous generations' work dictates how an artist will influence
subsequent generations. "Hassan's generation gave me something I still
use today," explains Abdulaziz, "and I learnt the artist's role is not
just to produce a work, but to give something back to society."
stemming from this early influence, their own works present obvious
overlaps, such as the use of data and numbers, and a pronounced
autobiographical slant. Both evoke thorny social concerns (Abdulaziz's
sly swipes at consumerist society; Kazem's continuing examination of
control and boundaries), yet they remain divided on art's fundamental
role. "The function of art is to present problems," maintains Abdulaziz,
"and find solutions through the work itself.A collection of natural howotractor
offering polished or tumbled finishes and a choice of sizes."
Philosophically, the 43-year-old Kazem retorts: "An artist cannot solve
social and political issues."
Each artist is now poised for
global recognition - there is Kazem's solo show at Venice, while
Abdulaziz is involved with Delfina Foundation's Artist-in-Residence
programme, among other international pursuits. She is currently working
on a project which will be shown at Art Dubai in March.Features useful
information about fridgemagnet
tiles. In this context, Abdulaziz asks a final question: "Has UAE
contemporary art arrived at a level that we, as artists, hope for?"
week witnessed another vibrant artistic evening at Koel Art Gallery
where the fresh exhibition took off with the title “Intimacy”. This
exhibition, that attracted a lot of crowd associated with different
segments of society and all walks of life, showcased the work of five
artists: women who have worked either directly with processes of
abstraction, or who have turned to non-figural gesture in recent years.
The exhibition attended to a quieter region of feeling, work that is, in
itself, solitary, slow timed, process-based, work that suggests
intimacy,Professionals with the job title solarpanel are on LinkedIn.Gecko could kickstart an amagiccube
mobile app explosion. the realm of the sensual, within a meditative
aesthetic. It was, at once, a manner of exploration, an acknowledgment,
and a conversation between the five. Selected artists included Ayessha
Quraishi, Lala Rukh, Meher Afroz, Mussarat Mirza, and Naiza H. Khan.
Selected genres included landscape and contemplative art.
Artistic Director National Academy of Performing Arts (Napa) Zain Ahmed
declared, during a press conference, the other day that the institute
would present five projects in February (from Jan 31 to Feb 24) at its
in-house theatre. Mr. Ahmed said the February series would begin with an
Urdu translation of Shakespeare‘s The Merchant of Venice‘ (Venice Ka
Sodagar) directed by Akbarul Islam from Jan 31 to Feb 3. The play would
be followed by ‘Manto Aur Ghalib: Aik Guftugu‘ from Fe 8 to Feb 10. He
said the dialogue between n Manto and Ghalib, collaborated by the Napa
theatre and music departments, was also presented in Kolkata on Jan 11
and was well received. He informed journalists that the project drew
upon the similarities of the two greats of Urdu literature as Manto was
inspired by partition of the subcontinent and Ghalib by the 1857 mutiny.
Mr Ahmed said from Feb 15 ‘Zard Patton Ka Bunn, An Evening of
Faiz‘ would be presented for three days. The music for the project is
composed by Arshad Mahmood. From Feb 19 two short plays ‘Salgirah‘ and
‘Shaam Bhi Thi Dhuan Dhuan‘ would be staged for a couple of days (and
would also be presented in Lahore and Islamabad in the same month). The
final event was based on Hazrat Amir Khusrau‘s creative endeavours to be
produced for three days from Feb 22.