ACAP Unveiling at MAD

Dorothy Globus, Curator of Exhibitions, MUSEUM OF ART & DESIGN
Savita Apte, Chair of THE Abraaj Capital Art Prize

 
 

The Abraaj Capital Art Prize (ACAP) recipients of 2009 recently showed their work at the Museum of Art & Design (MAD) in New York from August to October this year. The Prize was held at the museum’s Design and Innovation Gallery, which explores emerging art trends in art and design through a series of short-term exhibitions and are guest curated by leading voices in the field. Here, the Art Dubai Journal talks to Dorothy Globus and Savita Apte about the award and its travel to New York.

How do you feel the ACAP works were perceived in New York?

Dorothy Globus: The works were viewed with great interest and generally well received. The opportunity to walk on the mirrored floor of the Bouabdellah was welcomed by many. Although some had expressed concern about the mirrors being revealing for women wearing skirts, this was not a big problem. Most of the people I watched walked across the reflected star field in an almost trance state, slowly and in awe. The infinity of reflections was very beautiful. Ataman’s film was another trance-inducing experience, a window into another world.
The Ansarina carpet was most provocative as most assumed it was a traditional pattern until they looked more closely. It was also good to have the support film of the carpet being made. We are always eager to show how works have been made so that fit nicely with our programme.

Savita Apte: I think there was enormous interest in New York about works of art from this generally under-represented region. Having the map of the MENASA region made a big difference as the viewing audience was made more aware of its vast size. In addition, they were able to appreciate the different countries of origin of the artists. The general feeling was one of surprise that the issues being dealt with were not purely political or gender sensitive. There were also positive comments on the care taken in the production of the works: that the production was so much a part of the artistic process. This was immediately apparent in Ansarina’s work because of the film.

A certain amount of cultural insight was necessary when viewing the works. It intrigued people that Ataman was plagued by the East versus West tension in the making of his identity as well as in his artistic consciousness. The notion that an artist from the region has to deal with the same problematics as Diasporic artists or indeed artists based in western art centres was unique.

In the case of Bouabdellah’s work, the monumentality of the piece was what fascinated everyone as well the conjunction of cultures: Islamic astronomy intertwined with biblical narrative. This is what ACAP is all about: destroying stereotypes, conflating narratives and creating cultural bridges.

Were they a welcome addition to MAD programming? Does MAD have an ongoing interest in works from the MENASA region?

DG: MAD is committed to the presentation of artists from around the world and thus this was an excellent fit for us. When planning our thematic exhibitions, we always endeavor to present a global perspective.

The show was also great because it is not easy to locate artists from the MENASA region. It was a wonderful opportunity for us to present works of the highest quality which we knew had been selected from a wide array by a distinguished jury. We are looking forward to an ongoing relationship with the Abraaj Capital Art Prize in the coming years. We are proud that we will be showing the winners for the next two years.

How was the perception of contemporary Middle Eastern art in the United States, and did it in any way influence the American perception of the Middle East socio-politically?

DG: I would say that the opportunities to see contemporary Middle Eastern work in the States are limited and that we must embrace every chance to do so. Art is one of the most important modes for the transmission of culture and artists offer personal insights that provide valuable alternatives to official, governmental statements.

 

SA: Perhaps more than ever, in this present socio-politically sensitive time, art can be used to facilitate cultural mediation. It was apparent that there was minimal awareness of art and artists from the MENASA region and perhaps not much awareness in New York (and this may be extrapolated to include North America) of the region itself as a site of creativity. There were also some misconceptions about the concerns of artists from the region. The expectations were that works would be highly politically charged and therefore culturally specific. The universality of the subject matter and the accessibility of the imagery took many viewers by surprise. More than ever the exhibition of the ACAP works highlighted creative individuality, whilst situating the art within an international art historical framework.

 

 

 

 

 

 

 


 

 


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