Murtaza Vali

  • Stéphanie Saadé

    Using artifacts and recollections from her childhood, Stéphanie Saadé has developed a rich conceptual practice that is not just analytic or linguistic, but also affective, engaging both memory and forgetting. Her recent exhibition “The Encounter of the First and Last Particles of Dust” presented a series of visual and material propositions for recording temporal and spatial experiences—alternatives that acknowledge the importance of what other modes of mapping and measuring fail to capture. The journey, a type of lived experience that unfurls through both time and space, was a recurring theme.

  • “PHENOMENAL NATURE: MRINALINI MUKHERJEE"

    Curated by Shanay Jhaveri

    Adopting fiber as her medium in the late 1960s, Mrinalini Mukherjee created singular knotted-rope sculptures composed of undulating folds, soft crevasses, and drooping protuberances. Teetering between figuration and abstraction, her efflorescent forms revel in the sublime fecundity of nature; undeniably sexual, they also echo classical Indian sculpture. In the mid-1990s, Mukherjee shifted to ceramics, and subsequently to bronze, and this comprehensive exhibition includes sixty works in all three media, ranging from a never-before-shown 1972 fiber piece to a majestic

  • SHARJAH BIENNIAL 14: “LEAVING THE ECHO CHAMBER”

    Various venues

    Curated by Zoe Butt, Omar Kholeif, and Claire Tancons

    After a trio of single-organizer shows, the Sharjah Biennial returns to the multiple-curator model it used throughout the 2000s, presenting three discrete exhibitions that together investigate the phenomenon of the “echo chamber,” the uncanny bubble of self-validation that alienates us from others and diminishes our capacity to understand and negotiate difference. Zoe Butt will investigate cultural and political “tools” that enable and obstruct human mobility, adopting a key anthropological term to analyze the present. Omar

  • Yaminay Chaudhri

    Drawing its title from a poem by Agha Shahid Ali, Yaminay Chaudhri’s exhibition “Rooms Are Never Finished” presented portraits of Darakhshan Township, the neighborhood in Karachi, Pakistan, where the artist grew up. Facing the Arabian Sea, the planned housing development was built in the 1980s and sits adjacent to Seaview, one of the city’s most popular public beaches. Through works in different media that together offer an itinerary throughout the area, the exhibition touched on the following issues: urban change, growth and decay, land reclamation and gentrification, and middle-class aspirations

  • Vivek Vilasini

    For a few years in the 1990s, Kochi, India–based Vivek Vilasini was part of the small group of artists gathered around the pioneering Emirati Conceptualist Hassan Sharif. “Between One Shore and Several Others” at 1X1 Art Gallery—which brought together various bodies of mostly photographic work produced since the early 2000s, when Vilasini first picked up a camera—marked his long-overdue return to Dubai. The exhibition’s title, which Vilasini has used for both individual works and solo exhibitions in recent years, reveals his abiding interest in how knowledge, culture, ideas and ideologies

  • Barkley L. Hendricks

    The great Barkley L. Hendricks, who passed away last year, is best known for his majestic painted portraits of confident, self-assured black men and women, their dignified presence amplified through attitude and sartorial panache. Hendricks also worked in many other media—notably photography—and the full-breadth of his creative practice is only now beginning to emerge. “Them Changes” at Jack Shainman presented forty works on paper, including mixed-media collages and watercolors, that Hendricks produced between 1974 and 1984. Though touted as “newly discovered bodies of work” by the

  • GCC

    Much of the recent work of GCC—the group of artists whose eight members hail from various Persian Gulf countries, and whose name references the acronym for a regional political and economic alliance known as the Gulf Cooperation Council—has focused on the growing popularity in the area, among both governments and the wider populace, of the “positive energy” movement. Their 2016 solo at New York’s Mitchell-Innes & Nash included five bas-reliefs, in a maroon, velvet-flocked thermoformed styrene, based on 3-D renderings of stills derived from YouTube and other online sources of various

  • Ahmed Mater

    One of the standout collateral exhibitions during Art Dubai 2017 was by Saudi physician-turned-artist Ahmed Mater, based on his extensive research on the recent development and expansion of the holy city of Mecca. Conducted over a decade and compiled in his book Desert of Pharan: Unofficial Histories Behind the Mass Expansion of Mecca (2016), this work provided the foundation for Mater to create a rich, visually annotated timeline that simultaneously tracked the city’s history alongside that of mankind’s ambition to build the sort of grand structures that eventually became skyscrapers. For “

  • Tarek Al-Ghoussein

    Tarek Al-Ghoussein’s “K Files,” 2013, the result of an invitation to participate in Kuwait’s first national pavilion at the Fifty-Fifth Venice Biennale, is a series of photographs of key sites of nation building, from the iconic Kuwait Towers to its famous stock market—some now abandoned and in disrepair. His recent exhibition “Al Sawaber,” curated by art historian Salwa Mikdadi, was an in-depth photographic portrait of just one such site, the eponymous deserted government-housing complex in the heart of Kuwait City.

    Organized around a series of green corridors, the complex’s distinctive

  • Raja’a Khalid

    Drawing its title from a 1960 Looney Tunes episode featuring Road Runner, Raja’a Khalid’s “Fastest with the Mostest” continued the artist’s witty deconstruction of prevailing tropes of hegemonic masculinity. Specifically, the show mounted a critique of a neo-yuppie lifestyle increasingly taking hold in Dubai, exemplified by the figure of the expat consultant who splits his day between working and working out, performing both acts of what Khalid terms “conspicuous production” with a discipline and fervor traditionally reserved for religious rituals.

    The accompanying brochure identified Wile E.

  • “HERE: Locating Contemporary Canadian Artists”

    Cultural institutions across Canada are marking the country’s sesquicentennial through exhibitions that revisit history and reexamine current notions of nationhood. “HERE: Locating Contemporary Canadian Artists” is one of the most distinct shows to emerge from this initiative. Its unique character is largely owing to its venue, the Aga Khan Museum, an institution dedicated to showcasing pluralism through both its permanent collection of Islamic art dating back to the eighth century, and regular exhibitions of more recent art from disparate parts of the so-called Islamic world. Curated by Swapnaa

  • Mohamed Bourouissa

    Mohamed Bourouissa began his breakout series “Périphérique,” 2005–2009, after the riots that famously engulfed banlieues across France. Collaborating with friends and fellow inhabitants of the Paris suburbs he hails from, the artist created carefully staged tableaux vivants—borrowing compositional and lighting cues from paintings by the likes of Caravaggio, Delacroix, and Géricault—that captured eerie moments of undisclosed tension. By representing the viewpoint, lived experience, and urban milieu of the banlieues’ residents, Bourouissa’s depictions of and from the periphery did not

  • Amba Sayal-Bennett

    While drawing is the undeniable core of Amba Sayal-Bennett’s practice, this strong, self-assured exhibition, “Plane Maker,” provocatively and playfully expanded the field of drawing into other dimensions. The thirty-four small abstract drawings that were shown here, along with a pair of sculptures and an installation incorporating a projected image of a drawing, intuitively combine references derived from a broad spectrum of diagrammatic sources, suggesting everything from scientific schematics and architectural drawings—both plans and cross sections—to mystical charts and esoteric

  • the Sharjah Biennial

    AS PART OF the Sharjah Art Foundation’s push to expand its presence into more remote areas of the emirate, recent editions of the organization’s signature event have spread beyond its existing facilities to satellite venues across and outside city limits. This year’s ambitious Biennial goes a step further, extending the program over a year and dispersing it internationally across the greater region. Titled “Tamawuj”—an Arabic word that means “a rising and falling in waves; a flowing, swelling, surging, or fluctuation; a wavy, undulating appearance, outline or form”—the Sharjah Biennial’s

  • Singapore Biennale

    Reflecting the curatorial ambit of the Singapore Art Museum (SAM), the institution that both organizes and hosts the Singapore Biennale, the event’s fifth edition continued its regional focus on Southeast Asia, expanded this time to include work by sixty-three artists from nineteen countries and territories across Southeast, East, and South Asia. Titled “An Atlas of Mirrors,” and clustered by creative director Susie Lingham and a team of nine curators into nine somewhat unnecessary subthemes, the biennial suggestively coupled cartography as a form of knowledge with the mirror as a reflective

  • Robert Breer

    THE FLYING SAUCER, a whimsical UFO-shaped glass and concrete structure built in the late 1970s, is one of Sharjah’s stranger architectural icons. Recently restored and repurposed by the Sharjah Art Foundation as an exhibition venue, the structure’s unsettling temporality, at once futuristic and strangely anachronistic, made it a particularly apt venue for “Time Flies,” a retrospective of the work of Robert Breer. The influence of the American artist and experimental filmmaker is widely acknowledged, but his heterogeneous oeuvre—which includes pioneering experiments in many new media of the

  • Cristiana de Marchi and Monira Al Qadiri

    To say that Dubai is obsessed with its future is an understatement. Its ethos of unbridled development makes it, arguably, the test case for the type of visionary urbanism sometimes dubbed “Gulf futurism.” A Museum of the Future is in the works, and, as the city gears up for Expo 2020, the United Arab Emirates’ cabinet recently announced a comprehensive strategic plan for incorporating future planning into all aspects of governance. Cristiana de Marchi’s Future, 2016—an ice sculpture spelling out the word—could easily have been the centerpiece for a reception accompanying this

  • picks October 23, 2016

    Monika Grabuschnigg and Christine Kettaneh

    Through work that is visually and materially distinct, Christine Kettaneh and Monika Grabuschnigg subtly scramble assumptions and subvert stereotypes by smuggling unexpected references and meanings into forms and formats that appear, at least initially, familiar. In Mute Melodies, 2013, Kettaneh deploys the amorphous shapes of the parts removed when keys are cut as an arcane vocabulary, their undulating contours uncannily approximating Arabic script. Presented in a four-by-five grid, each laser-engraved plywood panel, whose surface resembles a sheet of yellowing paper, features a few neat lines

  • “The Artist as Activist: Tayeba Begum Lipi and Mahbubur Rahman”

    One of the first exhibitions of contemporary art from Bangladesh at an American museum, the two-person show “The Artist as Activist” confirmed the South Asian country’s place in the art world as it surveyed the politically engaged practices of artist couple Tayeba Begum Lipi and Mahbubur Rahman. While Lipi’s work takes gender as its central focus, Rahman’s tackles everything from the legacy of border disputes and their geopolitical ramifications to the plight of the disenfranchised and poor.

    Devoting a section to each artist, the exhibition showcased Lipi’s and Rahman’s individual practices while

  • picks September 09, 2016

    Richard Ibghy and Marilou Lemmens

    The twenty-two whimsical sculptures that make up Montreal-based Richard Ibghy and Marilou Lemmens’s exhibition “Measures of Inequity” look like the products of an especially dexterous arts-and-crafts class at a Marxist elementary school. Each translates a graph or diagram sourced from a scholarly journal that charts the unequal distribution of global wealth—resulting from neoliberal economic policies—into models ingeniously crafted from common household materials. Blond wooden sticks serve as axes, while brightly colored strings trace line graphs, stretched into and held firm by white threads