MORROW collective is working with galleries and artists to bring together art from around the world in curated, themed exhibitions. One word in that sentence may stand out to cryptoart purists, who often prioritise frictionless, open and free access to making art available: curation. But is curation a bad thing in cryptoart?
Read MoreWhen technology asks us to consider our reflection for the better. A review of The Digital Awakening.
Read More"This is a radical jump from the doomerism that persistently infiltrates public opinion about the rise of AI, where fear-based thinking sees machine intelligence an extinction risk. And it offers hope."
Over the centuries, many feet have traversed the desert sands of the Arabian Peninsula. Some seeking sustenance, some seeking shelter and others seeking inspiration. Although the musings of these wanderers were mostly charted in poems passed down orally, their footprints have left an imprint of collective memory upon the modern Arab world.
Read MoreFor MORROW collective’s exhibition All-Seeing Eye, the following Q&A is part of a series of short artist interviews. The showcase was on September 28, 2023 at the exhibition’s partner space Seeing Things on Alserkal Avenue, paired with a drop on Foundation.
Read MoreFor MORROW collective’s exhibition All-Seeing Eye, the following Q&A is part of a series of short artist interviews. The showcase was on September 28, 2023 at the exhibition’s partner space Seeing Things on Alserkal Avenue, is paired with a drop on Foundation.
Read MoreMariah (Veštica) is a contemporary artist from Belgrade, Serbia. Her style is often characterized as a digital and traditional avant-garde experiment with indication of surreal, magic realism and post-expressionistic elements. Using the diverse approaches within a formally divergent field of media, from physical painting to processing art, she is confronting new and traditional techniques while questioning the position of art in technological society.
Read MoreWhen art historian, critic, and curator Valeria Ibraeva visited Latifa Saeed’s Dubai studio in January, she told the Emirati artist that she wanted to bring her work to Almaty for a solo exhibition that would showcase its breadth and diversity. In June, Saeed’s show A Black Silhouette opened in the city’s Almaty Gallery with a collection of nine distinct bodies of work from 2013 to today. It was her first solo and the first time an Emirati has exhibited a solo show in Kazakhstan. The exhibition paid credit to Saeed’s evolution as an artist and designer whose experimental approach covers fine art, graphic design, advertising, branding, and product design.
Read MoreLabels are something singer Emel Mathlouthi has tried to avoid—but not always successfully. Activist. Revolutionary. Protest singer. Role model.
Born in the suburbs of Tunis and raised during the long rule of President Zine El Abidine Ben Ali, it is lore that Mathlouthi rose to prominence with a powerful song that became the soundtrack to Tunisia’s Jasmine Revolution, which ignited a fire that spread along the North African shore. ‘Kelmti Horra’ (‘My Word is Free’), based on lyrics by Tunisian poet Amine Al Ghozzi, changed Mathlouthi’s career.
Read MoreSawsan Al Bahar’s father raised her with music. “There was never a moment without music playing in our house. I grew up listening to a rich spectrum: songs by superstars and obscure musicians, songs known to all and songs known to nobody,” she says. But it was songs by Arab music’s pioneers that captured her heart. Richly lyrical numbers taught her—yearning, nostalgia, love, joy, pride, protest, celebration, mourning, and humour. Now the Damascus-born, Dubai-based artist presents an exhibition at Maraya Art Centre in Sharjah, which charts her life through 33 songs, a track for each year.
Read MoreLunging, jumping, and vaulting, dance masters demonstrate capoeira, inviting onlookers in Sharjah’s Arts Square to join them. Few will have guessed that the 60-something man in loose white trousers and a light pink T-shirt, part of the crowd, was the artist Hassan Hajjaj. He organised the workshop as part of Sharjah Biennial 15 in February as a way to engage the public with his documentary Gnawa Capoeira Brothahood (2023). A deeply personal project that took two decades to come to fruition, it traces the historical similarities between Gnawa, a Moroccan performance art rooted in Sufi music, and the Afro-Brazilian martial art of capoeira.
Read MoreBorn in the Christian quarter of Jerusalem in 1942, Boullata went on to study fine art at the Accademia di Belle Arti, Rome in 1965. When war broke out at home in 1967, he was in Beirut and was not able to return to Palestine. He lived the rest of his life in exile moving from Morocco to the US – where he received an MFA from Corcoran School of Art, Washington, DC in 1971, then to France and eventually to Germany, where he lived out the rest of his life. However, the city of Jerusalem was continuously alive in his heart. He once said: "I keep reminding myself that Jerusalem is not behind me, it is constantly ahead of me."
Read MoreIn April 2019, Her Excellency Hala Badri was appointed as the Director General of Dubai Culture and Arts Authority [Dubai Culture] by a royal decree from His Highness Sheikh Mohammed bin Rashid Al Maktoum, Vice President and Prime Minister of the UAE and Ruler of Dubai, following more than 20 years upon an impressive path across dynamic business sectors critical to the UAE’s economic development: telecommunications, oil and gas, media and real estate. Since taking over that vital role, Her Excellency has paved the way for a cultural revolution across the city, which, most recently, has taken hold in the announcement of Al Quoz Creative Zone - a new hub for creative businesses, including those involved in the visual arts, cinema, music and cultural heritage.
Read MoreWhen an all-male cast of 13 virtuoso dancers from Algeria and Morocco took to the stage atThe Arts Center in New York University Abu Dhabi, audiences were thrilled by the stunning display of contemporary dance that combined capoeira, martial arts and urban-style street dance with powerful imagery evocative of orientalist paintings and the stone filigree of Islamic architecture.
Read MoreThe Taskhent Qur’an – also known as the Samarkand Kufic Qur’an is one of the oldest surviving Qur’an manuscripts in existence. The large lettering, where only a few words populate an entire page, is written in an early version of the kufic script and dates back to the eighth century. About one third of the original manuscript is housed in the Hast-Imam Library in Tashkent, Uzbekistan but one page, in immaculate condition is currently on show at the Museum of Islamic Civilisation in Sharjah. It is a key part of Sacred Words, Timeless Calligraphy: Highlights of Exceptional Calligraphy from the Hamid Jafar Qur’an Collection displaying some of the world’s finest examples of Qur’an manuscripts and Islamic calligraphy owned by Hamid Jafar. Jafar is the founder and chairman of Sharjah-based Crescent Group of companies and he began collecting the rare manuscripts more than 40 years ago.
Read MoreFewer than a thousand people have been to the blackness of outer space. But some 20,000 were able to walk through the Xposure International Photography Festival in February, where photographs of space exploration were spotlighted in the near darkness of galleries set up as mock moonscapes—featuring boulders and suspended meteors.
Read MoreInspired by desert rose crystal forma- tions, Moufida Mohideen designed a sculptural bookcase, titled Ascension, as a symbol of everlasting growth. Mohideen, a student of interior archi- tecture and design at the University of Sharjah, used contrasting raw materials—damas wood and mother of pearl—for the design, which won the ninth edition of the Van Cleef & Arpels Middle East Emergent Designer Prize.
Read MoreServing as a makeshift shade from the pervasive sunshine on Sharjah’s east coast, Ibrahim Mahama’s installation on the outer flank of Kalba Ice Factory had visitors squinting upward. A Tale of Time and Purple Republic (2023) is a convergence of several elements of the Ghanaian artist’s practice pulled together over much of the last decade. It consists of an 80 x 9 meter swathe of dark grey cloth, upon which traditional handwoven smock fabrics were sewn, the entire piece was then threaded through an enormous, purpose-built metal loom. Despite its almost overwhelming size, the artwork gave off a gentle presence as it caught the breeze coming from the nearby mangroves.
Read MoreIn 2021, Collins Dictionary announced that NFT was word of the year, which was a rather curious situation for a word that isn’t even a word. NFT is an acronym that stands for non-fungible token. Collins defines it as “a unique digital certificate, registered in a blockchain, that is used to record ownership of an asset such as an artwork or a collectible.” The rise of NFTs in popular discourse over the course of the past 12 months has been meteoric and frankly unprecedented especially given that the vast percentage of people had never heard of one before March 2021. This month two things happened to catapult them into the headlines. First was Twitter’s co-founder Jack Dorsey selling the first ever tweet as an NFT for USD 2.9 million and the second was the sale of an artwork by a previously unknown artist called Beeple whose digital collage sold at Christie’s for USD 69 million. Of course, this was not the birth of NFTs. Actually, the first ever piece of art minted [this is the term for making an NFT] on a blockchain was in 2014 but March 2021 will go down in history as a watershed moment.
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