Art Dubai Portraits is a film series that provides a short perspective into the lives and workspaces of artists that are connected to the fair through its programming or participating galleries. Follow the link below to watch the second film:

Portrait 3: Khalil Rabah

Khalil Rabah’s work is laced with humour and wit as the Ramallah-based artist continues to offer his version of an alternative history through the invention of the fictional Palestinian Museum of Natural History and Humankind at the Sharjah Biennal. Galleries that form this imagined institution have been exhibited around the world, in the biennials of Venice, Sharjah, Marrakech and Istanbul as well as in venues in Beirut, New York and London, among others. Fiction aside, Rabah, who was born in Jerusalem in 1961, employs a sense of forward thinking to his work that is rooted in issues of identity, displacement and politics – one such example is his launch of the Riwaq Biennale, an institution founded to safeguard and promote Palestine’s cultural heritage across various cities and towns and for the duration of a year. Rabah is represented by Sfeir Semler Gallery in Beirut/Hamburg and has held solo exhibitions at e-Flux, New York (2013), Beirut Art Center (2012), Kunsthaus Hamburg (2015) and Casa Arabe in Madrid (2016), among others.

Portrait 2: Ramin & Rokni Haerizadeh and Hesam Rahmanian

Dubai-based Iranian artists Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian are constantly redefining the limits of their practice as individual artists and as a collaborative, fervently developing their work to tackle issues that constitute nowadays reality. Permanently researching, reflecting, experimenting and creating, the trio’s first collective exhibition, I Put It There, You Name It, took pace in 2012 at their Dubai gallery, Isabelle van den Eynde, and they have since gone on to stage shows around the world. Most recently, they touched upon subjects of displacement at the recent Speak, Lokal exhibition at the Zurich Kunsthalle, the constraints inherent to the logistics required by the art system in the 9th Liverpool Biennale, the fluxus strategies in their immersive multi-room and multi-disciplinary installation at the Guggenheim Abu Dhabi’s The Creative Act. In all subjects, they seek to embrace the positive while they also explore alienation, disorientation and loss of meaning.

Portrait 1: Abdul Rahman Katanani

Born in 1983 in the Sabra and Shatila refugee camp in Lebanon, Abdul Rahman Katanani spent his childhood painting, using the realities of the Palestinian refugees’ everyday life in the camp as his subject matter. Over the years, Palestine became a metaphor for themes of hope, homeland, resilience and displacement – issues that are currently globally pertinent. In his work, and following a post graduate degree from the Lebanese University, Katanani has come to incorporate found objects from the camp such as bottle caps, rags and utensils, with corrugated iron and barbed wire – materials indigenous to the camp’s structure. Some of his more recent work include olive trees that are native to Palestine, rendered in barbed wire; as well as children made from corrugated iron flying kites formed from tin cans. Among his monumental pieces is a 200-kilogram tornado made from barbed wire and another of a gigantic wave, both of which serve as allegories for a void, political unrest and change. Katanani has completed residencies in France and has held solo and group shows in Beirut, Doha, Munich and Paris, among other cities. He is represented by Beirut’s Agial Art Gallery.