Latest news with #ArtDubai
Gulf Today
6 days ago
- Entertainment
- Gulf Today
Sevil Dolmacı Dubai greets summer with Pop of Time group exhibition
Sevil Dolmacı Dubai is currently presenting Pop of Time, a summer exhibition centering on contemporary aesthetics and cultural rhythm of artists around the world. On view till September 9, the show combines the visual language of the digital age with neon colours, graphic imagery, and nostalgic elements. The featured artworks invite the viewer on a journey through time, set against the intense summer atmosphere of Dubai. In the curated selection, pop aesthetics are not merely a surface thing; it is deliberately intentional in attitude. Featured artists are Ebru Döşekçi, Sabine Boehl, Hiba Kalache, Jacopo di Cera, Matteo Mandelli, Sinem Sezgin Bozkurt, Emre Namyeter, Onur Hastürk and Deniz Özuygur. The exhibition also blends contemporary visual language with evocations of collective memory, while simultaneously engaging with critical issues at the forefront of contemporary art discourse. Pop of Time is a visual record of this era and a contemporary narrative shaped through pop. Matteo Mandelli's Cyber Carpets. Ebru Döşekçi was born in Ankara (1972), and has been creating sculptures since her graduation from the Faculty of Communication at Ege University, Turkey. She received her Master's degree in Plastic Arts from Yeditepe University and has participated in numerous exhibitions and fairs in Turkey and overseas. Her works are included in various private and public collections. The broad variety of vibrant structures of Sabine Boehl`s conceptual work refer to different cultural and historical epochs. She works with glass beads that are sewn onto canvas, with every single coloured bead serving as an informational sign. She is drawn to structures that meander, which simultaneously move and stand still. Boehl`s works have wide-ranging frames of reference, from ancient ornaments, grotesque embellishments, modernism and textile and fashion design, and range up to American abstraction. Hiba Kalache is an interdisciplinary artist whose practice spans installation, drawing, painting, sculpture and interactive projects. Kalache draws on her daily life for her materials, process and content. She interrogates the separation between the private and public spheres, more specifically what she calls 'the banality of daily rituals'. Emre Namyeter's untitled work. She has exhibited in Beirut, Berlin, Brussels, Istanbul, New Orleans, Oakland, San Jose (USA), San Francisco, Tehran, Athens, London and Paris. Her work has also been shown at art fairs including MENART fair, Art Dubai, Abu Dhabi Art, Drawing Now (Paris), and Gwangju Art (South Korea). In 2017, she taught fine arts at the Lebanese American University. Jacopo Di Cera (b. 1981, Milan, Italy), is a contemporary photographer and digital artist who treats photography not as a window to the world, but as a tactile, sensory encounter with it. From migration and memory to tourism and tradition, Di Cera's photographs are less about documentation and more about resonance — about holding space for feeling in a world that rarely slows down. In 2016, Di Cera introduced the idea of Photomaterism or photography that refuses to stay flat. Photomaterism insists that a photo can be more than an image; it can be an object, a presence, a tactile thing you feel as much as you see. 'Art, to me, is a passage — a point of contact between what exists and what could be. I don't offer answers, I spark questions,' says Matteo Mandelli. 'Art is never comfortable, but it is always necessary. With the gift of seeing beyond the horizon, the artist has the duty to reveal new perspectives, lighting the way to explore yet undiscovered worlds.' Sinem Sezgin Bozkurt (b. 1985), is an interdisciplinary artist who creates figurative paintings and textile works. She focuses on the persistent lack of representation of women in contemporary society. Her goal is to create a new 'personal reality' that reflects common female experiences and evoke a sense of empathy. She foregrounds feminine elements by integrating handcrafting techniques into her works. Artwork by Emre Namyeter. Emre Namyeter (b. 1984, Istanbul), uses the paint he creates on his own, to make multiple layered abstract sculptures. Onur Hasturk (b. 1983, Mersin, Turkey) specialises in the art of classical Ottoman miniature painting. In his work, he utilises the cultures of Islam and places them in new conversations with the art of the West, from Henri Matisse to Andy Warhol. Deniz Ozuygur (b. Istanbul) is a multidisciplinary artist whose work spans sculpture, photography, video, and ceramics. She often incorporates unconventional materials such as fuse beads, baby clothes, and domestic objects. Her practice explores themes of gender, identity, and labour, frequently subverting traditional craft techniques and familiar forms, to challenge societal norms. Ember by Emre Namyeter. Located in the heart of the Dubai Design District where art, design, and fashion meet, Sevil Dolmacı Dubai is a contemporary space that embodies the white cube concept with single space, high ceilings, and large white walls. The gallery strives to bridge the gap between the western art world and the Middle East. Sevil Dolmacı, who has an academic background, completed her Master's and Doctorate studies on art history and attended courses on contemporary art at the Royal Academy of Arts, London. She worked in various institutions in London such as the Saatchi Gallery and Tate Modern Museum. She has long been providing consultancy services to Turkey's important art collections, and has undertaken important projects such as the DEMSA Group Art Consultancy and Museum Project, St. Regis Hotel Project, Demirören Group Art Consultancy, Kemer Country Golf Club Sculpture Park Project and Kabakçı Collection Art Consultancy. Sevil Dolmacı also offers consultancy services to private collections, galleries and artists.
Khaleej Times
11-06-2025
- Entertainment
- Khaleej Times
This Emirati artist is inspiring children to see water as more than a resource
In her deeply introspective and socially conscious practice, Emirati artist Alia Hussain Lootah explores the evolving dynamics of motherhood, identity, and cultural continuity in a rapidly modernising UAE. A graduate of the prestigious Salama bint Hamdan Emerging Artist Fellowship (SEAF), Lootah first gained attention through early participations in Sikka Art Fair, before cementing her place in the regional art scene with a solo presentation at Art Dubai 2024 and previous showcases at Abu Dhabi Art and the Aisha Alabbar Gallery. Her sculptural work often dwells in the quiet, emotional spaces between tradition and transformation—an ongoing reflection of her journey as a mother and artist. Now, in a new chapter that bridges environmental education and creativity, Alia is co-leading the A.R.M. Holding Children's Programme alongside celebrated Nigerian artist Peju Alatise. Under the theme 'The Future of Water,' the initiative invites children across the UAE to explore sustainability through immersive workshops, reimagining water not just as a resource, but as a symbol of identity, memory, and care. "The UAE has a unique relationship with water because of its environment and history, from the Al Khor creek to pearl diving," she says in a chat with City Times. "By approaching water through interactive, hands-on workshops, we invite children to engage emotionally and creatively, to ask questions, and to imagine how they can care for it as future custodians of the environment." Furthermore, Alia talks about motherhood in today's UAE, how young artists are blending heritage with modernity, and why art remains a powerful medium for both personal reflection and public change. Edited excerpts from the interview: Why is it important to introduce sustainability through art rather than traditional educational formats? Art allows children to process complex ideas in ways that feel natural to them. Rather than memorising facts or figures, they get to experience, create, and observe change through materials like seeing how water transforms their artwork on plexiglass. This approach nurtures curiosity, empathy, and critical thinking. In my experience, when children create with their hands and hearts, the lessons are far more lasting than simply being told about environmental issues. Your latest body of work explores the interpersonal relationship between mother and child, particularly in times of uncertainty. What prompted this focus, and how do you feel the context of the modern UAE plays into these themes? My experience of motherhood has made me more attuned to the quiet shifts that happen over time internally and around us. My work doesn't try to explain motherhood, but rather holds space for its complexity: the soft and the strong, the seen and unseen. Through form and material, I try to reflect that constant negotiation, between repetition, isolation and connection. How do you think societal expectations around motherhood have changed in the UAE, especially in urban settings? In the UAE, many mothers are balancing more roles than ever before. We are caregivers, professionals, creatives, entrepreneurs, among others. Society has opened more space for women to pursue personal ambitions while raising their families. At the same time, the cultural importance placed on family remains very strong. This balance between personal identity and family responsibility is something I see reflected in the lives of many mothers here, and it often finds its way into my work. Is your work also a personal reflection, or more a commentary on broader generational shifts? It's both. My work often starts from personal experience - my own journey as a mother and an artist. But I also see it as part of a wider dialogue about how motherhood is shifting across generations. Today, many women are navigating spaces our mothers and grandmothers didn't have access to. That expansion brings both freedom and new pressures, and my work tries to capture those emotional layers. How do you see the intersection between traditional Emirati culture and modern creative expression in the UAE's younger generation? The younger generation in the UAE is growing up with access to both strong cultural roots and global creative influences. What's beautiful is that many young artists aren't choosing one over the other, but they're blending the two. You see it in how they explore themes like environment, heritage, or identity, while using new materials, technologies, or styles. As an educator, it's exciting to watch them build something uniquely Emirati, but also globally relevant. Do you think there's a shift in how female Emirati artists are being perceived—both locally and internationally? Yes, absolutely. There's greater visibility and appreciation for female Emirati artists now than when I first started. Locally, institutions are giving us more platforms to share our work, and internationally, there's growing curiosity about our stories and perspectives. I think people are beginning to see the depth, diversity, and strength of women's voices in the UAE art scene, which brings more nuance to the global conversation around Middle Eastern art. How has your journey been shaped by mentors, collaborators, or female-led initiatives in the UAE art scene? I've been fortunate to be part of spaces like the Salama bint Hamdan Emerging Artist Fellowship, which offered both mentorship and community. Having a support system of peers and mentors, especially women, makes a tremendous difference. It's encouraging to see how many women-led initiatives are building safe, creative spaces where artists can learn, experiment, and grow. Collaboration, in particular, has always been important to my own practice. What advice would you give to emerging female artists navigating their creative and cultural identity? Trust your voice. It's okay if your work evolves over time because that's part of our growth. Don't be afraid to draw from personal experiences as they often hold the most powerful stories. And surround yourself with people who encourage and challenge you in healthy ways. The art world can feel overwhelming, but staying true to your vision will help you build something authentic and meaningful.
Arab News
06-06-2025
- Entertainment
- Arab News
Saudi artist Abdullah Al-Othman discusses work exploring linguistic architectural landscapes
DUBAI: In the Bawwaba section of the most recent edition of Art Dubai, Saudi artist Abdullah Al-Othman's installation 'Manifesto: Language & the City II' presented photographs and numerous illuminated signs and symbols in Arabic against two black walls, reflecting the urban signage one may find in Riyadh. For the latest updates, follow us on Instagram @ The installation was an evolution of a series that includes 2021's 'Manifesto: the Language and the City,' a multimedia installation exploring the linguistic and architectural landscape of Riyadh for the inaugural Diriyah Contemporary Art Biennale, which went on to be included in the Lyon Biennale in 2022, and 'Fantasy Land,' which Al-Othman created for the Sharjah Islamic Arts Festival in 2021 — a neon wall installation exploring themes of human experience and the shifts between reality and illusion. 'Language & the City II' pulsed with light and color and the expressive characters of the Arabic language made the viewer feel as if they were indeed on a bustling street in the Saudi capital. 'Language is akin to history — it's very deep,' Al-Othman tells Arab News. 'Through my research I realized how language is like a brand for a culture — it references history and people. I study the language that we find in cities. The documentation of language affects the architectural style in an urban environment and the relationship between people and their environment.' 'Language & the City II' was made from a variety of materials, predominantly neon signage, lightboxes and wooden advertising signs that were once hung in the streets of Riyadh. Al-Othman's installation brought them together to create a portrait of the city through its typographic, visual and architectural styles. Riyadh's identity, explains Al-Othman, is revealed through the language, style and vibrant colors of these lit symbols, offering a collective memory of a city in the throes of change. As an artist and a poet, language has always played an important role in Al-Othman's life. While he began as a writer, he arrived at a point where he could no longer fully express himself with words and turned to art, creating works that incorporate sound, found objects, sculpture, film and performance. In 2017's 'Suspended Al-Balad,' for the 21,39, contemporary art festival, Al-Othman wrapped an entire building in Jeddah's historic Al-Balad district, originally used as a shelter for widows and divorced women, with tin foil. Al Othman's intuitive approach to art creation leads him to organically move between and incorporate different mediums. Light is a significant element in his work, whether bouncing off tin foil or shining in neon to reflect the everyday urban environment of Riyadh. 'I want to create journeys for people to discover the importance of language,' says Al-Othman. 'Language is a deeply important part of being human.' Today Al-Othman continues to expand his research and art creation. He has recently published a book on his research supported by The King Abdulaziz Center for World Culture (Ithra) and the Saudi Cultural Development Fund. Presently he is creating sculptures out of various Arabic words from made from different materials for his latest project, 'Engineering the Incomplete.' 'In my artistic practice, I engage with language as an open field for analysis and reconstruction,' he writes in his statement for the new project. 'I begin from moments of absence — from missing letters and fractured words — treating them as signals of the fragility inherent in the symbolic systems we rely on to make sense of the world. 'Failure to achieve perfection becomes an essential part of creation, not a flaw to be corrected,' he continues. 'Incompleteness is not simply a void, but an active component that generates new, open-ended meanings. Each missing letter, each visual gap, forms an alternative path of reading and invites the viewer to reshape their relationship with language and the urban environment.' 'Engineering the Incomplete' uses the structure of the letter as an entity capable of both disintegration and destruction and therefore the resulting text as something that is unstable and constantly changing. 'My practice transforms language from a tool of communication into a material and temporal organism caught in the tension between structure and collapse,' Al-Othman adds. 'Through material techniques that draw from urban elements and the reconfiguration of textual spaces, my work seeks to highlight the continuous tension between the desire for expression and the inherent limits of linguistic possibilities.' Al-Othman says that 'Engineering the Incomplete' is not an attempt to restore what is lost, but an invitation to read absence, or lacking, as another form of presence and a new beginning. Incompleteness, he emphasizes, offers 'a way to produce new meaning and vision.'
Indian Express
21-05-2025
- Business
- Indian Express
Art Basel arrives in Qatar
After being announced as the first country in three decades to construct a permanent national pavilion at the Giardini gardens at the prestigious Venice Biennale, Qatar will also now host the newest art fair in the region. Following the launch of Art Basel Paris in 2022, the MCH Group – owner of Art Basel – has announced the inaugural edition of Art Basel in Qatar. To take place in February 2026 in Doha – at M7 creative hub and Doha Design District in downtown Msheireb, close to cultural landmarks including National Museum of Qatar – the event has been announced in partnership with leading Qatari organisations such as Qatar Sports Investments (QSI) and QC+. In a statement, Sheikha Al Mayassa Bint Hamad bin Khalifa Al Thani, Chairperson of Qatar Museums said, 'As part of His Highness the Amir's National Vision 2030, Qatar has been transforming itself into a knowledge-based economy, with culture and the creative industries helping to lead the way. We have built a thriving ecosystem of culture and sports, harnessing the capacity of both to break down barriers, create shared experiences, increase understanding and drive positive change. We have opened the National Museum of Qatar and the 3-2-1 Qatar Olympic and Sports Museum, and this year we will launch the Lusail Museum and DADU: Children's Museum of Qatar.' A post shared by UBS Art (@ubsglobalart) While the region already boasts of other art fairs such as Art Dubai, Abu Dhabi Art, the entry of a prestigious property like Art Basel – which is one of the oldest art fairs on the circuit, founded by three Swiss art dealers in 1970 – backing the fair, strengthens the perception of the Middle East as a potentially important market for art. Noah Horowitz, Chief Executive Officer of Art Basel, says, 'Growing the global art market, supporting artists and galleries and developing new collecting audiences is core to Art Basel's mission. The art scene across the MENA (Middle East and North Africa) region has undergone exponential growth in recent decades, with the establishment of world-class institutions, the launch of leading cultural events and the growth of a vibrant community of artists, galleries and professionals.'
Emirates 24/7
19-05-2025
- Entertainment
- Emirates 24/7
Latifa bint Mohammed opens Art Dubai 2025, highlights vital role of cultural collaboration, youth empowerment
H.H. Sheikha Latifa bint Mohammed bin Rashid Al Maktoum, Chairperson of Dubai Culture and Arts Authority (Dubai Culture) and Member of the Dubai Council, inaugurated the 2025 edition of Art Dubai, the Middle East's leading international art fair. Held under the patronage of His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai. In strategic partnership with Dubai Culture, this year's edition features more than 120 galleries from 65 cities across five continents, underscoring Dubai's position as a global centre for culture and creativity. During her visit, H.H. Sheikha Latifa bint Mohammed toured key exhibitions across the fair's diverse sections, including Contemporary, Modern, Digital, and Bawwaba, and engaged with local and international artists and gallerists. She was accompanied by Shamma Al Mazrui, Minister of Community Development and Chair of Zayed University Board of Trustees; Noura Al Kaabi, Minister of State at the Ministry of Foreign Affairs; Essa Kazim, Governor of Dubai International Financial Centre (DIFC); and Hala Badri, Director General of Dubai Culture. H.H. Sheikha Latifa highlighted how Art Dubai has evolved into a global platform for artistic exchange, further cementing Dubai's role as a vibrant centre for creative dialogue and emerging talent. She said: 'Art Dubai continues to be a celebration of creativity and innovation, and a reflection of the cultural diversity that defines our city. Each edition introduces new voices and narratives that connect us, reminding us of the power of art to bring people and ideas together. As we shape our cultural future, platforms like Art Dubai ensure that creativity remains at the heart of Dubai's development and global presence.' On the sidelines of the event, H.H. Sheikha Latifa bint Mohammed visited the newly unveiled Common Grounds exhibition by Dubai Collection, curated by Zayed University students Shamsa Al Qubaisi, Maryam Al Zaabi, and Sara Al Sulaimani under the guidance of Dr. Nada Shabout and Magalí Arriola. Part of a first-of-its-kind academic collaboration, the exhibition features selected works from the Dubai Collection spanning 1949 to 2024, offering curatorial insight rooted; in educational exploration and cultural research. Reflecting Dubai Collection's long-term commitment to research, education, and community engagement, Common Grounds highlights the emirate's commitment to empowering youth and fostering a sense of cultural responsibility among future generations. As part of efforts to expand this collaboration, H.H. and Shamma Al Mazrui witnessed the signing of a memorandum of understanding (MoU) between Dubai Culture and Zayed University. The agreement was signed by Hala Badri, Director General of Dubai Culture, and Professor Michael Allen, Acting Vice President of Zayed University. The agreement establishes a strategic framework for future cultural cooperation, providing students with opportunities for hands-on experience in research, curatorial practice, and creative development through Dubai Culture's extensive ecosystem and initiatives such as the Dubai Collection. Commenting on the MoU, H.H. said: 'This partnership reflects our conviction that education and culture are deeply interconnected. By empowering students to contribute meaningfully to our cultural landscape, we are not only nurturing emerging talent but also fostering a strong sense of ownership, purpose, and pride among the next generation. Together, we are shaping a cultural future driven by inspired and engaged youth.' H.H. Sheikha Latifa bint Mohammed concluded her visit by reaffirming Dubai Culture's commitment to fostering meaningful partnerships and nurturing a sustainable creative ecosystem, one that empowers every artist and creative talent to thrive. Follow Emirates 24|7 on Google News.
