Chinartree

“In a way we are seeing a story unfold through Emirati art.” Liz Roy, curator of ‘Dubai Underground,’ New York– February 2009

Established in 2007 as a platform for contemporary Middle-Eastern and Asian art in New York, Mezze is run by Liz Roy - a former resident of Dubai.  Roy has already held several exhibitions in her gallery space and also maintains a strong online presence representing a select number of diverse artists from Turkey to China.

Mezze’s latest show, ‘Dubai Underground’ looks at exploring the contrasting perspectives of seven Emirati and expat artists living in Dubai and aims to “offer New York its first glimpse into the cutting-edge art being produced in the Persian Gulf’s headline-grabbing city.”   We explore the cross-cultural connections and impact of such a show with its curator, Liz Roy.

ChinarTree: How have people in New York responded to Mezze’s Middle-Eastern art focus so far?

Liz Roy: Contemporary Middle Eastern art is still relatively unknown in the US. While the Gulf is receiving attention for its investment in international brands such as the Guggenheim, Louvre, Christie’s and Bonhams, there has not been a substantial amount of focus on the artists from the region.

That said, my experience is that American audiences are very open minded and have responded positively to the art coming out of the Middle East and Gulf region.

In the West there is limited opportunity to access information about the Middle East in terms of contemporary culture, beyond the mass media representations. So, exhibitions like Dubai Underground offer a unique opportunity for the public to learn about contemporary artistic aesthetic coming out of the region.

CT: Why are you particularly interested in exhibiting Emirati art? And why now?

LR: I believe Emirati art holds the same potential as Indian or Chinese contemporary art did a decade or so ago. The Emirates, and Dubai in particular, offer complex and rich sources of conceptual material for young Emirati artists.

‘How do young Emiratis contend with the unprecedented growth and influx of foreign influences that Dubai has seen over the past 20 years?’ ‘What is it like to grow up in a city that is so vastly different from the one their parent’s knew at their age?’ ‘How do they define their identity as a minority in their own country?’ ‘How do they address stereotypes projected on to them and their culture by Western media?’  These are all complex issues that Emirati artists contend with in their work and which makes their art so compelling. 

Emirati art offers us an opportunity to look inside a culture that is rapidly changing.  Several decades from now, when we look back on the art produced in the UAE today, we will see it as a window into a unique point in the country’s history.  Art can often communicate these important issues present in a culture and in a way we are seeing a story unfold through Emirati art.

CT: What does the title of the show, ‘Dubai Underground’ make reference to?

LR: Dubai Underground refers to the local artistic community in Dubai which until recently remained largely unknown. This ‘underground’ of artists has been creating great work for some time but there has been little awareness of this, both internationally and even in within the UAE. 

In the media we only hear about the commercial or market aspects of Middle-Eastern art.  One could argue that even internationally renowned ‘Arab artists’ that we do hear about like Ghada Amer or Mona Hatoum are difficult to categorize as purely Arab, even though they have roots in the region.

CT: Why did you choose Emirati and non-Emirati, Dubai-based artists in this show?

LR: We chose to show both Emirati and expatriate artists to offer a diversity of perspectives and also to appropriately represent the demographic diversity in Dubai.  The exhibition reflects the viewpoint of Emirati artists whose identity is inherently linked to Dubai versus that of non-Emirati, ‘expat artists’, who experience Dubai in relation to their home countries.

That the city itself provides inspiration, may surprise people who have lived in or visited Dubai. One of the most common criticisms of Dubai is that it has no culture, ‘no soul’ so to speak, that it is superficial and therefore not a place that could inspire artists. This is untrue of course, not just for Emirati artists but for any artists living in Dubai.  It was important for us to show that.

CT: How does this differ from the exhibition entitled, ‘Dubai Next’ shown alongside last year’s Art Basel?* 

LR: As far as its theme, I believe ‘Dubai Next’ was purely curated on artistic considerations.  Europe historically has much stronger links with the Gulf because of its unique position on the silk route.  As such audiences there have had more exposure to the social and cultural dynamic prevailing in the GCC and particularly Dubai. 

Since this is an introductory show for the US audience on art from Dubai, while curating the show we also factored in the importance of social issues.  For example both Mohamed Somji and John Hollingsworth have a number of beautiful photographs of the migrant construction workers in Dubai.  These are not political statements but rather artistic representations of the multi-layered society that exists in Dubai.

CT: Do you feel that Emirati artists are still underexposed internationally?

LR: Yes, definitely, though through more international exhibitions and publications like ARTnews covering the Emirates, I hope that Emirati artists will continue to gain more recognition.

I think we will begin to see Emirati artists’ work being collected by the museums being built in the region.  Making these collections accessible to the both the local and international public, on a long-term basis, will be highly significant and will allow the works to be studied from an art history perspective.

It is important that the art be studied from a critical standpoint as it will further enhance the art’s cultural value - kudos to Chinartree.com in taking some strides in promoting that aspect of the visual arts in the Emirates!

CT: What response have you have had in terms of sales, given the current economic climate in the US?

LR: We’ve had a fair amount of interest and so far have been confident of the show’s success.  True collectors are still buying although the interest from speculators and ‘fashion buyers’ has waned.

More importantly, to my mind, is that we’re laying the groundwork for developing interest in contemporary Emirati and Middle Eastern art in New York.  It is a new area for collectors to learn about and it’s great that they can start their collections while it is still in its nascent stages, both in terms of prices and investment value.

*’Dubai Next’ was an exhibition in June 2008 showcasing Emirati with non-Emirati perspectives on Dubai.  View the following link for more information: http://chinartree.com/2008/08/13/%e2%80%98this-is-dubai-on-show-to-the-world-and-why-not%e2%80%99-interview-with-massimiliano-lodi-may-2008/

Dubai Underground, Mezze Art in conjunction with Like the Spice Gallery, New York, February 13 - March 1 2009