What's on for Art Week this year

Programs for Art Week 2015 were announced at a joint press conference today at Mina A'Salam, with days to go before March Madness. The event focused mainly on Design Days Dubai and Art Dubai, the anchor events of the week that kicks off Art Season.

Some of the more notable points mentioned there included:

• Art Dubai IX will feature galleries from 40 countries -- the highest geo-diversity so far.
• Art Dubai's "Marker" programme will shine a spotlight on Latin America this year -- definitely something I look forward to.
• The Global Art Forum will set aside a day for the globe-trotting youth art project, 89plus (referring to the generation born after 1989).
• The Artists-in-Residence programme this year will feature six younger (in terms of industry experience) artists, distinguishing it from the Commissions programme of more experienced artists partnered with organizations.
• Some names to watch out for while browsing the 72 contemporary art galleries include Nikhil Chopra, Olu Amoda, and Rafael Lozano-Hemmer, while Farid Belkahia will be among the artists featured in the 15 modern galleries.
• RCA Secret from the Royal College of Art will be a special guest exhibitor at Art Dubai.
• Design Days will include its largest UAE and Middle East representation to date, with Sharjah and Ajman making their debuts.
• Most anticipated for me at Design Days Dubai will be the return of ArtFactum, Crafts Council, The Fatima bint Mohammed Initiative, and Wiener Silber Manufactur. Others to put on the must-visit list would be Zumtobel and House of Today.

Loom Ensemble brings Art Monastery performance to Dubai

Loom Ensemble's Dubai-based cohort returned to the city this month after half a year away, to begin a residency of performance and workshops at thejamjar. The fruits of their Art Monastery residency in Italy during their time away, which they refined over an international tour, premiered at thejamjar this weekend as a contemporary theatre performance they call "Prime".

The central theme of the performance is a relationship that becomes increasingly tempestuous as one of the two characters, played by Neva Cockrell, finds herself unable to relate to her partner, played by Raphael Sacks. The tension and lack of meaningful communication in their relationship is portrayed using an array of visual, verbal, physical and vocal metaphors -- some with more than one dimension of allusion.

The play features beautiful choreography and appropriate pacing, with some particularly interesting motifs expressed through color and clothing. A keen observer will notice a few internal cross-references in the narrative, and see aspects of the broader themes in seemingly mundane actions or words. Much is also added by the tactical lighting and playback sound, which were technically executed very well.

The many questions and interpretations from audience members were addressed during the short discussion session that followed, in which the inspirations and process behind the project were also described.

Comics workshop with The Animation Chamber

The early evening scheduling of this comics workshop by Dubai's The Animation Chamber was very helpful in ensuring I would get to Maraya Art Centre in minimal time, given how thick traffic to Sharjah tends to later. The program plan was also perfect for me, since it focused on character design and strip development rather than drawing; I already took a course in comic drawing previously.

The workshop consisted of several short timer-limited exercises, beginning with a warm-up: each participant drawing one consecutive panel of blank strips being passed around in each turn.

Then came each participant's individual assignment: random selection of three descriptors each for two characters, prototyping each character, and reducing them to easily-drawn essentials repeated in different poses. It was a little tricky for me at first, as I only trained in the drawing of human faces, but I eventually adapted some of those techniques and kludged up something halfway decent.

After a much-needed break, we chose names for our characters (in my case, "Greta" for my wise hippo supermodel, and "Wilhelm" for my psychotic turtle psychotherapist) and got down to the final stretch of comic production: plot conception, storyboard planning, bordering, sketching and drawing. I was familiar with the idea of the one-page foldout format, but I had never actually created a comic using it, and was pleased with the result achieved in the limited time we were allotted. It was a fun workshop, considering how the 3 hours flew by, and I even got some practice in for my drawing hand after a long time.

The Object as Mediator

Flemish artist duo Robbert&Frank/Frank&Robbert brought their performance art piece, The Object as Mediator, to the city this week. It's rare to see something of this abstract level here, even deep under the dermis of Dubai's art world. I had to miss their show at the Mahani event on Dec 10th, but there was, fortunately, another opportunity to see them perform today at The Mine, along with an unexpectedly strong turnout.

One especially interesting dimensions to their 45-minute performance was the lighting. The performance began with the gallery lights shut off, and all the lighting from then on came from performance props, including a film projector and the headlamps of a MINI they drove through the gallery. Featuring no dialogue, their performance, as well as the occasional audience members' participation, took place silently, with an oddball music track mix playing in the background.

Employing such props as wooden blood pools, forensic brushes, and miniature pine tree cutouts, the artists' actions during the performance seemed to be portraying the construction of violence, and depicting as farce the process of investigating, analyzing, and assigning responsibility for it. Such themes could be particularly relevant now, given recent events in the US and in the Middle East.

Quoz Art Festival and a spot of ISEA

The Quoz Arts Festival returned to the neighborhood this year, with a new branding, a wider audience, and a lot of food. Literally, one lane of Al Serkal Avenue, turned into a food street. A satellite attraction was the upcoming expansion of the Avenue, the construction for which was now looking much closer to completion in the plot next door.

Before taking a look around the galleries, though, I dropped in at the Fridge for the final performance of ISEA 2014: Maziar Ghaderi's Dissolving Self, featuring Vrinda Bhandula's dance performance visually augmented with a live projection behind her, controlled by her movements. It's not the first motion-controlled rendering in the world, but the simple bi-chromatic star field, coalescing, expanding and spining with her was beautiful in execution.

I only had the time to look at a few galleries. One I liked a lot was FN Designs and its exhibition of pop art, especially the long panorama of iconic aspects of Dubai life, pixelated and colored in a style reminiscent of retro computer games.

At Grey Noise, Michael John Welan's Lupus consisted of works in the metaphorical vein typical of the gallery, using different media and/or cultural symbols to wistfully allude to the demise of the Irish wild wolf.

Further afield, Mottahedan Projects' multi-artists exhibition, The Other Side of Visibility, featured a diverse and mostly interesting array of art, with my favorites including the works of Tala Madani (right), Maryam Hoseini (top left) and Habib Farajabadi (bottom left).

Bombay quickie

I stepped out of the plane into a Mumbai airport far sexier than I remember. Parts of it are a tad too multi-colorful for my tastes (maybe just for Diwali?), but it's definitely swanky enough to impress for a major global air hub. One unexpected advantage of night-time flying into India during Diwali week is seeing fireworks from above, as they went off all over the city.

The ride to Vashi was long, but keeping my eyes fixed skywards got me a constant view of more fireworks. I arrived late (by Vashi standards) in the night, but I had a little time for a classic dum biryani and Haywards 5000 at a seedy old Sector 17 haunt, along with a local nightcap.

I spent pretty much all of the next day with my aunt and uncle in Vashi, catching up on the last few years over wholesome home-cooked treats, including delicious kanda poha (top center) and idli (left).

We took a circuitous walk down to and around the old holding pond, hitting a chai stall on the way back.

Late in the night, I made my first trip to Navi Mumbai's CBD Belapur area to sample some local nightlife. Rockville was the only live music place I could find in the neighborhood. I can't say I was blown away by the musicians; they were individually decent, but they could do with more some practice together to get the duo thing working in harmony. Anyway, the place had some awesome spicy russet potato wedges.

The next morning, I joined the rest of the wedding party on a trip to Pune for the reception, enjoying the smooth ride on the express road, and taking in the view of the rolling hills of inland Maharashtra. The hotel was also close to the river, so I took a walk across and about in the evening before the wedding, enjoying a hot vada pav and chai at a dhaba while a light evening rain fell around.

I slept early that night because I had to meet one of my MBA roommates the next morning, at the famous and consequently busy Wadeshwar vegetarian restaurant on FC Road. While catching up on events since our last meeting, we indulged in some delicious, fresh, and atypical (at least for me) breakfast items like buttery set dosa (top right) and aappe (bottom right). While the schedule of my short Pune trip did not allow a full Maharashtrian meal, I was able to get at least one dish in from the cuisine: kothimbir wadi (bottom left), a sort of coriander fritter with a great herbaceous bite to it. It's fine, though; I guess I can always just cook the cuisine up myself if needed.

After finally making it back to Mumbai later, I quickly checked into the surprisingly nice Hotel Airlines International before meeting a friend and heading to Mathuradas Mills Compound, where I would spend most of the rest of the evening. We started with a place I would visit just for the name: Sweetish House Mafia. There, we had a bite of sweet-salty melt-in-the-mouth Nutella with Sea Salt, their signature cookie.

Sipping at the Barking Deer next was my first ever microbrewery visit. Not so micro though -- it was actually quite large inside. We were also in 1+1 happy hours, so we each had one pint each of the mild light and strong dark specials, settling on those after sampling out of shot glasses.

Dinner followed at the nearby Jai Hind, a popular seafood spot. We were the first customers for dinner service, to boot. As a starter, we each had bombil -- also known as Bombay Duck -- rolled around prawns and fried (top right). The bombil has a lot of bones in the flesh, but these are small enough to be ignored. I can't say the taste was particularly distinctive (I should probably have it by itself, and cooked simpler to decide on that) but I liked the texture. For the main course, we enjoyed a delicious -- and extremely spicy -- helping of pomfret (top left) cooked "pulimunchi" (with tamarind and chilli).

I enjoyed the Comedy Store show at the Blue Frog much more than I thought I would. I guess I have been keeping tabs on developments in India more than I estimated. I even got the references to Savita Bhabhi (and there was more than one). Some bits went over my head all the same, especially if they were not in English or very simple Hindi. Others, though, I found quite relatable e.g. Atul Khatri's bit about "Worli creep" vis-a-vis Dubai's "Jumeirah creep". There may really be a common big city experience that transcends countries. Khatri (bottom left), by the way, was great, and emcee Anirban Dasgupta (top left) was pretty good too, as was that 10-minute-set Marathi guy (bottom right) they had on after the break (his name escapes me, though).

To end the night on a sweet note, we went to Marine Drive and had a little dessert at Bachelorr's (sic), a Chowpatty institution famous for ice creams, shakes and fresh fruity concoctions. Competing with dozens of parked car occupants to place orders, we got ours in, with me enjoying a small but scrumptious serving of their special kaju draksh: a perfect creamy scoop shot through with raisins and nuts.

I rarely took the trains much when I was in Navi Mumbai, having relied on the buses that had to pass through Vashi on their way to various destinations across the bridge. This was, however, the best way to get back to the hotel at the time. Ticket purchase also seems to have been automated with vending machines, which I'm sure was a welcome development.

After breakfast with my parents the next day, I went back to my hotel room to do a little homework for the evening plan, then popping over to Bandra Kurla Complex to join another friend for a quick lunch at Cafe Infinito. Our main of "Big Bloody Burger" was alright, but what really made the meal were the courses before: arugula poached pear salad (top left) and chorizo honey ravioli (bottom left). A lovely local Sula Dindori Shiraz (top right) complemented the meal well, especially the chorizo.

Half an hour later, I reached the Kala Ghoda arts district in South Mumbai. It was a Monday, so the National Gallery of Modern Art was closed. Jehangir Art Gallery (bottom center) was still open, though, so I got a good look at some collections of works by Indian artists: the "hairy" mythology paintings of CD Mistry, the finely textured abstracts of Abdul Salam, and the excellent colors, lighting, and detail in outdoor scenes and palace/temple courtyards by Kailas R Jadhav. I also caught the last day of Aspi H Patel's Architecture Beyond Platitude architectural photography exhibition in the Terrace Gallery.

I then spent almost an hour at Delhi Art Gallery, and I don't think that was enough. Captivating early Bengal oil (sometimes also gold) paintings were the mainstay of the Indian Divine exhibition, consisting of modern art depictions of Hindu and Christian mythological scenes and icons. The application of modern art techniques to classical themes and motifs produced a beautiful result, including some abstract neo-tantric and expressionist pieces. A few iron and bronze sculptures also made appearances in this 5-storey space.

And finally, a stop at the renowned Kalaghoda Cafe. No jazz on a day like this, of course, but what a dinner. The crispy cafe special sandwich was perfect, with just a dash of their whole mustard sauce. Their dense-yet-fluffy dark chocolate cake was one of the best I have tasted. I loved how wholesome their ingredients and condiments were, in addition to their reasonable prices and great service.

On my way back, I took a walk through the bustling and heritage-rich path from KG to CST, enjoying the Diwali lighting and checking out the myriad items street vendors had on display.

And last, but not least, my Indian debut in stand-up, at the Big Mic comedy open mic held at the venue and art space known as The Hive. The place is tucked away in by-lane Khar, and the performance room, part of which was under a staircase, was packed -- it doesn't get much more underground than this.

The event began with a show by local improv artists (top right). It was mainly WLIIA-style short games, but I would love to see their scene work someday. Several stand-up comedians (bottom left) then took stage for (with one exception) 4-minute sets. Some of them had really great material, and I enjoyed the relaxed atmosphere that reminded me of open mics in the US. The emcee, Aakash Mehta (bottom right), was great entertainment in particular.

As for my set, I had by now accumulated quite a bit of India-specific material I could finally use, and I'm happy to say that it seemed to have been generally received enthusiastically; it was the first time for me to use any of it, though, so it was a bit shaky on delivery. I had a great time at the event overall, and it was a lovely end to my tiny Mumbai trip.

Music Diversity at NYUAD

After a long time, I attended a NYU Abu Dhabi music event tonight. These have always been "different", and this one was, well, no different.

In this special performance, five specialist musicians from very diverse schools and cultures shared the stage: (left to right) American-based Peruvian computer musician Jaime Oliver, Ghanian traditional percussionist Gideon Alorwoyie, Indian traditional instrumental and vocal percussionist Akshay Anantapadmanabhan, British saxophonist Barak Schmool, and French computer-assisted composer/mixer Gérard Assayag. 

Each performed solos -- occasionally leading collaboration acts -- in turn, before a closing performance as an eclectic quintet.

As someone who works with computers, I was fascinated at a technical level by Mr Oliver's setup, which created electronic sounds based on the movements and shapes he made with his hands. Mr Anantapadmanabhan's traditional Indian percussion (top) was also very impressive, especially his vocal percussion.

And being both a jazz fan and a general performing arts fan, I thoroughly enjoyed the moves and chords in Mr School's act (bottom), in which he played saxophone to a backing track while synchronized video slides of him casually dancing to elements of the track were projected overhead.

Whatever the individual tastes for their styles of music, though, I understood, from overheard reviews on the way out, that many fellow attendees thought the final collaborative quintet performance was amazing -- an assessment with which I heartily agreed.

Mind Your Hashtags at The Space Abu Dhabi

This weekend, I paid a quick visit to the twofour54 building in Abu Dhabi City's Al Muntazah, taking the opportunity of the opening night of Henosis' month-long multi-artist exhibition, Mind Your Hashtags, to check out this space called, well, The Space.

Unlike its Dubai counterparts (at least the ones to which I've been), The Space is one long, continuous hall. The configuration at the time of my visit had a long table running almost all of its length, with a cluster of privacy seats at one end, and a work table and cinema at the other. A window cafe sits in the middle, and  few walls have shelves to hold assorted books and magazines.

Mind Your Hashtags, featuring the works of numerous expat artists from around the world, consists mainly of the 2D, although there were a few video and object pieces, such as this interesting one by Deislava Dare (top left). Some particularly striking variations on technique and/or medium could be seen, like those of Nissa Riyas (bottom left) and Sarah Amer (right).

I especially liked the drawing pieces on display, appreciating some sharp and artistically distinctive samples of work by (clockwise from top left) Michael Turda, Haafiza Sayed, and Sumanta Dahda.

Corals and Crochet at NYUAD

To provide some context to its two-month-long exhibition of "crochet coral", beginning this week, NYU Abu Dhabi is hosting two panel discussions on crochet art, one of which I attended.

Each of the three crochet artists in the panel introduced their very different approaches to crocheting.

Shauna Richardson (left), spoke about her "crochetdermy" of animal forms with dense "skins" of crochet, including some inspired by public figures, and large outdoor projects like the three over-sized lions of Lionheart. As she confirmed, she does them in aggressive poses and natural colors, in order to avoid the toy look.

Toshiko Horiuchi MacAdam's (center) presentation drew many amused reactions from the audience, since her contrasting use of bright colors and playful shapes in huge, heavy-duty, netting-type crochet installations made them popular as jungle gyms for kids (and some adults), as many of her pictures showed. These and some of her less physically interactive works additionally employed interesting use of layering, as well as deliberate anchoring and weighting for dramatic surface contortion.

Finally, Christine Wertheim (right) began her segment with a fascination comparison of crochet to the ferrite core memory boards used in computers nearly half a century ago, pointing out that contemporary women's handicraft skills made them naturals when it came to weaving core memory boards, and supporting her opening statement that "crochet is a digital technology". She is also a co-founder of the Institute for Figuring and its Crochet Coral Reef project, assembling brightly colored, organic-looking hyperbolic crochet surfaces that bunch up into forms that resemble corals. She described how the artists' allowing variation in the crochet "formula" resulted in diversity akin to that found in nature due to genetic mutations, and how they preserved their plastic waste for years to weave them into the project's "toxic reefs".

After the event, I had a look around the reef exhibition. You had to go up close to see the use of various waste materials -- such as plastic piping, cable ties, and bags -- among the brightly-colored yarn coral bunches, balls and stalks, and even some full-blown crochet marine fauna. There was much variation in size and shape as well, and some also included beads and other effects. A beautiful exhibition, and worth checking out on the Saadiyat campus before it closes on December 4th.

A look at the Recent Acquisitions of Barjeel Art Foundation

The last time I went there, the Barjeel Art Foundation showcased exemplary modern Arab World art with RE: Orient. About a year later, hearing of an upcoming few weeks' exhibition of some of its recent acquisitions -- appropriately entitled Recent Acquisitions -- I drove down to Maraya Art Centre in Sharjah to catch opening night, betting on a show as good as before.

The exhibition included a selection of paintings and drawings from among the foundation's art vault newcomers, ranging from modern to contemporary, and by artists from several countries around the Arab World. I recognized some of them, such as Guirguis Lotfi (bottom left), and discovered many more I liked, like Yaser Dwaik (right).

Overall, I liked the quality of the artworks, as well as the broad and interesting range of styles, ages and origins represented in the curator's choice. If you want to see some great diverse art from the region, I once again recommend a visit to the Foundation, before the gallery's contents are archived after the first week of November.

Thank you for your cooperation

Gallery Isabelle van den Eynde's latest exhibition, Thank You for Your Cooperation, applies bold colors and words to a urban facade. Par for the course with Turkish artist duo :mentalKLINIK, who have been known to make resourceful and novel use of modern materials. The works on glass are especially striking.

A4 Space unfolds in Al Serkal

Al Serkal Avenue's A4 Space officially opened its doors on Monday with a live music performance by Hamdan al Abri, and milling throngs of have-a-lookers, bringing to the compound and the neighborhood a much-needed replacement for Shelter. With a cafe, a community library, a store, and rather large gallery and screening halls (the latter with stepped rows of beanbags), it also sort of fills in the void left by the old Pavilion. The space's design is neat, too; a platform constructed halfway into the front section, with another level of catwalk overlooking it, and little reading nooks complementing the desk space.

Wild Garden blooms at XVA

Wild Garden, a month-long exhibition curated by Morteza Zahedi, displays the very interesting works of three artists at the XVA Gallery, part of the XVA Art Hotel at the Bastakiya. I had a look around at the vernissage on April 19th.

Salim Karami's drawings stand out for the color combinations and the way the artist fills the paper space with the floral forms. The thickly-packed lines of colored pen on paper result in a texture that resembles embroidery from a distance, and the thin white spaces left between the strokes give the trunks and branches a flowing, growing, organic look.

The bird motif appears frequently in Hasan Hazer Moshar's mixed media sculptural array. The small figurines of humans standing erect, birds (especially owls), and human-bird creatures bring to mind ancient Greek statuary of palladia, Athena iconography, and harpies.

Davood Koochaki's penciled figures stare hypnotically out from the cards, appearing bestially hirsute and muscled thanks to the coarse line fill, like a draft of a Studio Ghibli character.

On till May 22nd