Art Dubai, Dubai Culture & Arts Authority, Delfina Foundation and Tashkeel are collaborating for the fifth year to run the artists-in-residency programme in A.i.R Dubai.
UAE-based artists are invited to apply for a place on this exciting programme working collaboratively with six artists and with the residency’s international curator and locally based assistant curator.
The four successful applications, joined by two international artists, will have the opportunity to work closely with an international curator and to produce a major new work for Art Dubai Projects, the not-for-profit programme of commissions and site-specific works produced for the fair each year. The artists are provided with studio space at Tashkeel January-March 2016, plus access to a programme of mentorship, workshops, readings, talks and outreach events.
A.i.R Dubai also features an opportunity for an upcoming Emirati curator to apply for a curatorial position, working alongside the international curator and helping to curate and produce the artists’works, the residency, public programmes and associated publications. The Assistant Curator position is supported for the second year by Dubai Culture & Arts Authority.
Khalid Abdulwahid, Manager of Visual Arts at the Dubai Culture & Arts Authority, said: rld,
Having extended our collaboration and support to the initiative since its inception, we are taking it to the next level through a structured and updated programme that enables the participants to experience Dubai’s artistic diversity fully, interact with the artist community, access materials effortlessly and derive inspiration from the city’s cultural identity.”
Algiers- and London-based curator and writer Yasmina Reggad has been selected to lead the commissions and residency programmes for Art Dubai 2016. Yasmine previously participated in Art Dubai as a curatorial Forum Fellow (2014), and is currently programme curator at aria (artist residency in Algiers). Recent London projects include exhibitions at Delfina Foundation and The Mosaic Rooms, and ‘We Can’t Be There: Emergency Provisions for (un)Anticipated Futures,’ at the Institute of Contemporary Arts and Tate Modern, in partnership with Goldsmiths, University of London.
Art Dubai Projects supports artists’ practices, and encourages audiences to embrace the quizzical and participatory nature of the fair. In her role at Art Dubai, Yasmina will contribute to the selection of artists A.i.R Dubai and Art Dubai projects and commissions programmes, and will work closely with the artists to develop and produce their site-specific works.
Each year the participating curators and partners collaborate to develop an outreach and collateral programme around A.i.R Dubai. The programme includes unique opportunities for the public to interact with artists such as open studios, artists’talks, practical workshops, city and desert walks, curated exhibitions and special artists’ books.
Antonia Carver, Art Dubai Fair Director, said: “The annual A.i.R Dubai programme is central to the residency partners’ mission of nurturing emerging artistic and curatorial talent in UAE. The residency provides a unique collaborative work environment and a platform that offers reach to the international art scene.”
Applications are open until August 21, 2015. For more information about the programme and to apply, please visit artdubai.ae/air-dubai/2016.
It’s the wall that started it all: a layered amalgamation of multicolored, spray-painted hearts at Mott and Kenmare Streets in New York City. In an earlier time, a viewer might have simply stopped to marvel.
But today, the impulse is different: “Let me take a selfie.”
With more than 5,000 followers and counting, fashion maven and former Lucky editor-in-chief Eva Chen’s Instagram account PhotogenicWalls isn’t just popular — it is a reflection of a young, 21st century viewer’s relationship with art.
As we increasingly craft our personas around what we share on social media, the sharing of art — and the sharing of ourselves with art — has become emblematic of modern art viewership. “I was here,” your friends (or if we’re being honest, all of us) seem to say with each posting, “and this is the kind of style I like.”
Though Chen’s Photogenic Walls isn’t the only account dedicated to sharing art, it showcases the impulse better than any other — the stated purpose of her account, after all, is to inform followers of potential backdrops for their Instagram self-portraits. When it comes to walls, “photogenic” really means “shareable.”
This new art reality has prompted art institutions to respond in kind, increasingly creating and featuring pieces that contain photogenic elements — think neon colors and tactile or reflective surfaces.
The best example was last summer’s Jeff Koons retrospective at the Whitney Museum of American Art in New York City. Featuring Koons’ signature large, reflective, candy-colored sculptures, the exhibition capitalized on social media’s art-sharing trend, handing out cards that said “Koons is great for selfies,” promoting the #ArtSelfie hashtag and reblogging selfies weekly.
Even Koons suggested his art caters to this type of viewership, as he told The Cut in July: “What’s really great about art is where art happens is inside the viewer. That’s why I work with a reflective surface, so that the viewer realizes that they’re a very important element and the work can’t become art until it happens inside them.”