As Abu Dhabi hurtles headlong into its cultural renaissance, exhibitions of local and regional artwork are springing up everywhere, each with the secret agenda of bolstering the credibility of the Middle East’s creative output. But, unlike other shows of its ilk, Opening the Doors: Collecting Middle Eastern Art isn’t another showcase of eager, up-and-coming local talent with hopes of hitting the big time. As its subtitle suggests, all of the 90 works on display have – with the help of auction house Christie’s – been acquired from the private collections of the world’s most discerning art collectors. Featuring pieces from as far back as the start of the last century, could this be the greatest hits package to finally thrust the Middle East’s under-appreciated cultural heritage into the spotlight?
The show opened a couple of weeks ago, but amid the buzz surrounding Abu Dhabi Art, missed out on the fanfare we’d argue it warrants. Fifty-one artists are featured in total and, while oil-painted canvases make up the majority, there are a few less conventional pieces positioned throughout Gallery One’s pristine, white-walled walkways.
Take Farhad Moshiri’s ‘Flying Carpet’ for example; a stack of 32 traditional Persian rugs, punched, cookie-cutter-style, with a hole the shape of a fighter jet, the piece is at once direct and ambiguous with its message. Is the Iranian lamenting the devastating impact of military action on domestic life? Or, in producing tools of aggression liveried in designs synonymous with his country, is this meant to symbolise defiance in the face of conflict, and even the threat of retaliation? Whatever your interpretation, this bold, innovative work is undoubtedly the show’s biggest talking point.
French-Algerian Kader Attia, whose sculpture of bunk beds made from burnt steel chains appears next to Moshiri’s carpets, is similarly provocative. Worlds apart from the quaint landscapes hung just metres from it, his intimidating piece leaves the onlooker unsettled, as they find themselves faced with the conflicting sensory implications of rusted metal and bedroom furniture. In contrast to some of the exhibition’s colourful, canvases, his creation acknowledges that suffering, discomfort and the restriction of freedom are all realities in the modern world.
That’s not to say that these sinister overtones dominate Opening the Doors – there is plenty here for those in search of more subtle imagery, with both abstract and traditional work exploring a diverse variety of themes. But perhaps the most refreshing aspect of the show is that this isn’t art selected for its ‘Arabness’, but rather a collection of well-executed work that happens to be of Arabian origin. Sure, there’s the odd spot of Arabian calligraphy and depictions of abaya and dishdasha-clad forms, but projecting an image of Arabian identity isn’t an obvious priority, to the exhibition’s great benefit.
A bold move, some would argue, but in our opinion Opening the Doors pulls it off, adding weight to the Middle East’s campaign for greater recognition on the global art scene. It may be very much a case of a handful of strong pieces standing out from a mediocre majority, but this is still one of the stronger art shows to grace Abu Dhabi this year. It’s on for a good few weeks yet, so you’ve no excuse for missing out.
Opening the Doors: Collecting Middle Eastern Art runs until January 8 at Gallery One, Emirates Palace, 10am-10pm. Entry is free (02 690 9000).
