Archive for November, 2009

Middle East Identity

Saturday, November 28th, 2009

Dubai Memoirs II by Karen Lorena Parker

Dubai Memoirs II by Karen Lorena Parker


I listen to speakers discussing “Art from the Arab World” in Abu Dhabi, the same topic addressed at ArtParis. Why is the art from the Middle East gaining interest, and then, how is Middle East defined? by political borders? Historical? Religious? Do we segregate Muslim Arab art and Christian Arab Art? The interesting part was about identity.

As we live in a global village, as more citizens become expats/ third culture kids/ global nomads vs global citizens… how are we defining borders in art. What fundamentals are being expressed? Where do local and global issues blend or separate?

The talk gets redundant as art-speak can be. You need words, you need assumptions and you choose how to manage them. Let’s move on. But last year the MOMA Curator captured the essence: Contemporary art deals with contemporary issues. Issues of the Middle East and how they connect globally are of interest. Defining art by where the artist was born, or where they lived has become difficult.

We all study the masters in artschool and learn the period, techniques and themes that motivate artists and collectives. How we manage and filter amongst our own artistic identity and culture is another challenge.

If my children spend their life in Dubai, will they be more Middle-eastern than Canadian? More Euro-centric than North-American? Will their peers, politics, and the culture around them affect them more than their parent’s values? Is Canadian culture more “global” or did I actually listen to my expat parents and understood the values of global citizenship early in life.

Dubai Memoirs II <br>Karen Lorena Parker

Dubai Memoirs II
Karen Lorena Parker


Will people choose the Mocha Blending of the Future — personality/culture as well as skin color? Or will we become more defensive, holding onto ‘Culture’, something we can’t control? Moving forward and feeling the benefits of something greater, keeping a healthy past but not being controlled by it.

Culture is becoming global/universal, how you choose to hold on to ‘your’ identity or ‘your parent’s’ identity is overwhelming at times. Freedom of choice, to remain secular may have consequences to your family heritage. In Canada women of Sikh heritage who choose to date westerners can make homicidal headlines. How does a Saudi female teenager growing up in a liberal Dubai come to terms with being a third-culture-kid? She may never live in Saudi, but her family still has ties. Global citizenship may not be part of your home culture.

My mother was an immigrant (who knows about previous generations) and third culture adult before the term was commonly known. Born in Chile, I left for Canada very young. Marrying another immigrant to Canada, I find myself in Dubai raising my third culture children. Nothing new or unique, just one of the great things about having Canadian citizenship. A country of immigrants and tolerance — my children will not find it as difficult to come ‘home’. Repatriation is more common and understood better. We can look forward to the benefits of a global village with some experience.

We get closer to understanding the similarities of cultures rather than the differences. Even the cross-cultural background in marraige offers a small war zone for practicing understanding. The future is unknown, as our rapidly changing world is creating an ever evolving future every day. I’m glad to be part of the present and recognize the gifts.

“Guard well within yourself that treasure, kindness. Know how to give without hesitation, how to lose without regret, how to acquire without meanness.” —George Sand (1804 – 1876)

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Abu Dhabi Art Fair

Wednesday, November 25th, 2009

The Guggenheim reality becomes closer as they curate a selection of work on display at Emirates Palace. The outreach programs of lectures and workshops are evident. The Abu Dhabi Artfair displayed Hirst, Warhol, Picasso, Cezanne, but my favorite artist Safwan Dahoul’s work was an inspiration at Ayyam Gallery’s booth. The Beirut/ Damascus/ Dubai gallery produced a beautiful retrospective book of his work.

Picture 20
“For over twenty years, Syrian artist Safwan Dahoul has frequently used just a single word to title his paintings: ‘Dream.’…” Ayyam Gallery

“In May 2008, Safwan lost Nawar, his college sweetheart and wife of 20 years to cancer… In the fall of 2008, Safwan exhibited these eight paintings at Ayyam Gallery… as a memorial honoring the life of Nawar.”

We discuss the iconographic style and the gallerist tells me how people ask where is the male in the paintings? His form represented by the chair containing/comforting the female.

“Safwan originally from Hawa, travels to Belgium in 1990 and is engrossed in the works of Flemish masters Bosch (1453-1516) and Bruegal the Elder (1525-69) exploring universal themes. He never abandoned his roots… his palette would become muted as the Levantine landscape that surrounded him, while his figures would take on the stylized attributes of the Egyptian pharaohs and Assyrian warriors.”

Safwan Dahoul Ayyam Gallery

Safwan Dahoul Ayyam Gallery


Hauntingly beautiful, I find his work romantic and powerful, sincere. Executed beautifully with precision and care, the palette transforms me to another space I believe is real. I was thankful Myriam made time to speak with me about this profound artist who was next to the British Ice Cube Booth.

Safwan connected with my heart, was more evocative to me than the cold work of BritBrat Damien Hirst

“I can’t wait to get into a position to make really bad art and get away with it. At the moment if I did certain things people would look at it, consider it and then say ‘f off’. But after a while you can get away with things.” Quoted on Wikipedia.

Damien Hirst Butterflies

Damien Hirst Butterflies

“Hirst explores the uncertainty at the core of human experience; love, life, death, loyalty and betrayal through unexpected and unconventional media.” -WhiteCube His Butterfly paintings (taking the wings of tropical butterflies) and his work using animals does not amuse animal-right activists.

So cold compared to Safwan, I enjoy being influenced by the Middle Eastern art, and bring this emotion to my work. “Wouldn’t the world be a better place if people would wear their halos instead of their masks?” – Safwan. The identity of the artist is so important to the work. The collector, interested in how each artist chooses to express themselves.

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