{"id":12236,"date":"2019-01-16T09:53:07","date_gmt":"2019-01-16T05:53:07","guid":{"rendered":"https:\/\/www.alowais.com\/?p=12236"},"modified":"2019-01-16T09:53:07","modified_gmt":"2019-01-16T05:53:07","slug":"1612019-2","status":"publish","type":"post","link":"https:\/\/www.alowais.com\/en\/1612019-2\/","title":{"rendered":"Past and present: an artistic journey through Abu Dhabi’s Cultural Foundation"},"content":{"rendered":"
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To mark the Cultural Foundation\u2019s re-opening, a core group of artists present an exhibit of its past<\/strong><\/p>\n<\/div>\n<\/div>\n

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When the Cultural \u00adFoundation was first open, from 1981 to 2008, it was the centre for artistic \u00adactivity in Abu Dhabi. After it closed, many of the works that were shown there were not seen again, and the groups it hosted \u00addisbanded. A spell, almost, settled over the building, and no one knew when it would be lifted.<\/p>\n

Even now the building evokes a feeling of travelling through time. Less altered than the rest of the Qasr Al Hosn site, the Cultural Foundation opens with an exhibition of its past \u2014\u00a0Artists and the Cultural Foundation: The Early Years<\/em>\u00a0\u2014 that extends freely into the present, with contemporary works by historical artists, new commissions, and most excitingly, a glimpse into the variety of work that was made in the 1980s and 1990s, from sculpture to painting to works on paper, many of which have been seen before.<\/p>\n

\u201cThere is a sense of Abu Dhabi as an outlier,\u201d says Maya Allison, who co-curated the show with artist and curator Alia Zaal Lootah. \u201cBut this was a place where teenagers went on to become more established artists. What we are looking at here\u00a0are the seeds that nourished the generation that\u00a0came later.\u201d<\/p>\n

A history through art<\/h2>\n

The show opens with an array of sculptures in the building\u2019s grand entrance hall, almost as a scene-\u00adsetter rather than historical documentation. Cultural Foundation shows were oriented towards \u00adpainting, and many sculptures wouldn\u2019t have made it into public view.<\/p>\n

The show\u00a0stretches across what are now the first-floor galleries, and is divided into two parts: those who exhibited at the Cultural Foundation when it was active, and a second group\u00a0that the curators refer to as the \u201cCairo cohort\u201d,\u00a0artists who went abroad to study at the College of Fine Arts in Cairo in the 1980s.<\/p>\n

\u201cThis was a big surprise to me,\u201d says Allison, who previously curated work by the so-called Five \u2014 the Dubai and Sharjah-based artists \u2014 led by Hassan Sharif, for the show\u00a0But We Cannot See Them<\/em>. \u201cI knew they went to London and Paris, but I had not realised how many artists had been sent abroad to Cairo before that.\u201d<\/p>\n

A pattern in the works<\/h2>\n

These artists, such as Najat Makki, Mohammed Mandi, Obaid \u00adSuroor, Salma Al Marri, and Abdul Rahim Salim,\u00a0did not\u00a0collaborate\u00a0as a group, but Allison and \u00adLootah\u00a0see some shared traits among them, such as the influence of the sculpture department. Makki, for \u00adexample, built up bright layers of paint into almost ridged, landscaped works; others incorporate\u00a0objects they\u2019ve found into their \u00adpractice. These artists would have also shown at the Cultural Foundation, which had two major \u00adexhibitions a year\u00a0\u2014 the\u00a0Emirates Fine Arts Exhibition<\/em>, open to all, and the\u00a0Spring Exhibition<\/em>, open to those with either a degree or 10 years\u2019 experience in art. There were also smaller shows throughout the year, which artists could\u00a0book easily to exhibit their work.<\/p>\n

There are some incredible \u00adre-\u00adintroductions, such as the work of Mahmoud Jameel Al Ramahi, whose portraits evoke Egon Schiele, with their gaunt, expressive faces\u00a0on decorative backgrounds that are as important as the figures themselves. This was literal in one case\u00a0\u2014\u00a0The Child<\/em>\u00a0(1988) is a picture of a\u00a0baby, swaddled in yellow cloth and surrounded by decorated handprints. It is a portrait of Al Ramahi\u2019s son, who became sick just after\u00a0he was born, and the handprints are made by family members to protect him\u00a0(art is power: he survives). In one of the\u00a0vestibules \u00adoverlooking the show \u2014 former translation booths that have been \u00adre-purposed as small viewing areas for works on paper \u2014 Allison and Lootah have hung sketches for this painting, showing the other positions for the sleeping child that Al Ramahi played with \u00adbefore deciding on the swaddled baby, lying on his back.<\/p>\n

Both in the viewing booth and in the galleries, Al Ramahi\u2019s work is beautifully paired with that of his friend Mohamed Al Mazrouei, who worked in the library at the Cultural Foundation. Al Mazrouei is more well-known\u00a0in Abu Dhabi, but his paintings are nevertheless a revelation\u00a0\u2014 they have a lightness of colour that nearly eclipses their narrative potential, in small vignettes such as a woman\u00a0who appears to be\u00a0washing clothes in an untitled 1988 work, with a bird hovering above her and a strange figure below.<\/p>\n

The pairing of Al Ramahi and Al Mazrouei also shows the close \u00adconnection between artists and poets of the time. They were part of the Wall Group and Friends of Art groups, and were associated with the great \u00adEmirati poet Ahmed Rashed Thani.<\/p>\n

Discoveries under the\u00a0curators\u00a0noses<\/h2>\n

Allison, the director of the NYUAD Art Gallery, and Lootah, a curator at Louvre Abu Dhabi, started with a list of around\u00a020 artists and took off from there, making trips to \u00adartists\u2019 studios and working their way through archives of the period. Some discoveries were right under their noses\u00a0\u2014 they found a fine, almost Paul \u00adGuiragossian-esque painting by\u00a0Suroor, who studied in Cairo, in the collection of the Department of Culture and Tourism itself. (The Cultural Foundation acquired work from most of its exhibitions, and this collection has now been passed on to DCT.) \u201cSuroor is really under\u00adrepresented in the history of UAE art,\u00a0perhaps because he is based in Ras Al Khaimah,\u201d says Allison. \u201cBut he has an \u00adunbelievably diverse, interesting body of work.\u201d<\/p>\n

Some of Suroor\u2019s paintings, for example, are executed on teela fabric, the brightly-coloured material that women\u2019s traditional dresses are made of.<\/p>\n

\u201cHe asked himself, \u2018Why is Hassan Sharif getting all the attention?\u00a0So he made his own conceptual art, initially as a joke,\u201d says Lootah.<\/p>\n

But the results were astounding\u00a0\u2014 earthy displays that are \u00adliterally \u00adimprinted with the changes of time and the natural world of the ocean and sand. \u201cEveryone loved them,\u201d Lootah\u00a0says. \u201cAnd so he has \u00adcontinued them to this day.\u201d<\/p>\n

Artists and the Cultural Foundation: The Early Years is free to enter and runs until June 8..<\/em><\/p>\n

www.thenational.ae<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

To mark the Cultural Foundation\u2019s re-opening, a core group of artists present an exhibit of its past When the Cultural \u00adFoundation was first open, from 1981 to 2008, it was the centre for artistic \u00adactivity in Abu Dhabi. After it closed, many of the works that were shown there were not seen again, and the […]<\/p>\n

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