The United Arab Art Powerhouse
An interview with Emirati curator Nasser Abdullah
In the 1980s, a decade after the UAE’s establishment, government scholarships enabled talented individuals, like sculptor Najat Makki and conceptual artist Hassan Sharif, to study abroad in countries like the UK, USA, Egypt, and Kuwait. Despite the absence of a local art scene, many chose to return home after their studies, laying the foundation for the UAE’s future art scene. In an interview with Arterritory, Emirati curator Nasser Abdullah highlights the importance of these first-generation artists who shared their newfound knowledge with the local community through innovative art interventions, open studios, and their ‘AL Tashkeel’ art zine, a valuable source of information in the 1980s.
Over the decades, the United Arab Emirates has rapidly evolved into a prime destination for art and culture in the Gulf region. It now boasts world-class museums in Abu Dhabi, a centre for commercial art in Dubai, and cutting-edge curatorial initiatives in Sharjah, all overseen by professionals who are as young as the local contemporary art scene itself. This art scene differs, perhaps, from that in Europe in the aspect that local talents, whether self-taught or formally trained, have an equal chance to succeed. A full-time career as an artist in the UAE and the Gulf region, without a secure profession in an unrelated field, is a reality for very few who have endured an unusual double life – maintaining a full-time career and an artistic practice, both of which require a high degree of self-discipline. Perhaps it is precisely such an ecosystem that quickly identifies the most potent and determined art practitioners since it virtually eliminates use of the well-known Western expression of ‘the starving artist’.
One standout figure among these homegrown professionals in the UAE is Nasser Abdullah, a curator and arts researcher hailing from Sharjah. Nasser Abdullah aims to highlight the history of fine art in the UAE and its importance and impact on the local contemporary art scene. As a curator, he tailors exhibitions with the UAE in mind, drawing inspiration from the words of Kuwaiti actor Abdulhussain Abdulredha, who once remarked, ‘We as artists or actors, the theatre and the audience have grown up together’. This sentiment also aligns with the late Emirati conceptual art pioneer Hassan Sharif’s assertion that ‘not only did I have to create my work, but I also had to create an audience for my work’. Nasser Abdullah’s previous role as Chairman of the Board of the Emirates Fine Art Society from 2014 to 2018 marked a significant period in his career. During his tenure, he breathed new life into AL Tashkeel Magazine, transforming it from a self-published artist zine into a quarterly bilingual art journal with a readership that extends far beyond national borders. One of his notable achievements is the groundbreaking exhibition ‘From Barcelona to Abu Dhabi: Works from the Barcelona Museum of Contemporary Art (MACBA) in Dialogue with the Emirates’, exhibited at the Manarat Al Saadiyat arts space in Abu Dhabi. Devoted to further creative industries, he consistently organises contemporary art gallery shows and artist residencies in both Dubai and Abu Dhabi.
Could you give me an impression of Sharjah and its people’s values in your own words?
In the relatively recent past, Sharjah was a small coastal town overlooking the Persian Gulf. Today, it has expanded so much that my private home sits in the desert, quite literally. Sharjah is my hometown; it’s where I was born and raised. Compared to the rest of the emirates, Sharjah is well known for its culture and art scene. It is an ideal city for families, offering opportunities to explore art and attend festivals throughout the year. We host numerous events tailored to children and young adults, including the Sharjah International Film Festival for Kids and youth, the Sharjah Children’s Reading Festival, and Sharjah’s Children’s Biennial, besides other thematic festivals and art exhibitions all over the city.
One may wonder why culture is the hallmark of the city...
I believe the primary reason for this distinction lies with the ruler of Sharjah, His Highness Sheikh Dr. Sultan bin Muhammad Al Qasimi, who is not only a historian but also an accomplished artist and playwright. In his earlier years, he was an actor. Consequently, he has always grasped the significance of the arts for both the community and its growth. This understanding is evident in Sharjah, where we have 20 museums, including one of the very first art museums in the GCC region, along with the longest-running theatre festival in the GCC.
What is your favorite place in Sharjah?
Given the hot weather, we tend to avoid spending too much time outdoors. However, the newly built iconic cultural hub, the House of Wisdom, offers an excellent retreat. The Heart of Sharjah represents the old city, and it includes most of the art and cultural foundations – it will be great to enjoy a cup of coffee surrounded by history and art. On the other hand, we are fortunate to have the world’s best winter season, making the desert one of my favourite places to be. I often wonder how our forefathers and parents thrived here without air conditioning, although the climate has indeed changed a lot since then.
Homegrown Curators Nasser Abdullah | قيمون من دبي ناصر عبدالله
Is this impressive cultural offering supported by the government – the ruler of Sharjah?
The government supports a lot. His Highness Sheikh Dr. Sultan bin Muhammad Al Qasimi patrons and attends most of the openings of the major exhibitions at Sharjah Art Foundation, as well as the Art Biennale and the theatre days. His children are continuing his legacy of contributing to local art and culture. Sheikha Hoor Al Qasimi, the daughter of the ruler, is President and Director of the Sharjah Art Foundation. Her sister, Sheikha Bodour, is the President of the American University of Sharjah and runs many foundations related to publishing.
Doesn’t it seem like a monopoly, a family affair?
Knowing how the ruling system works in this region makes it understandable that having the ruler family running any organisation is an appreciation for this field, and it shows how deeply the government supports art and culture as well as how professional they are in developing those organisations.
You were a chairman of the Emirates Fine Arts Society for two terms.
To be the chairman of it was a great honour and responsibility, and also something that means a lot to me personally, namely, I was contributing to fostering the UAE art scene in a way.
Could you provide more insight into the origins and present role of the Emirates Fine Arts Society (EFAS)?
EFAS in Sharjah, established in 1980, emerged just a decade after the formation of the United Arab Emirates in response to the absence of a local art scene at the time. However, it went on to play a pivotal role in facilitating the return of ‘first-generation’ artists, including notable figures like Hassan Sharif, often regarded as the pioneer of conceptual art in the UAE, and Najat Makki, among others. These artists had pursued their studies abroad in countries such as the United States, the United Kingdom, Egypt and Kuwait. EFAS in Sharjah became one of the earliest organisations run by artists for artists and art enthusiasts. It provided a vital space for exhibitions and discussions, significantly shaping the art movement throughout the United Arab Emirates.
It’s important to note that in the UAE, there were no art colleges until 2002. This drove Sharif and his contemporaries to share the knowledge and experiences they had gained abroad. They introduced innovative art forms, including installations, video art and performance art, as well as impromptu outdoor exhibitions, which were previously unheard of in the region.
Today, EFAS no longer plays the same pivotal role it did in the 1980s and 1990s, given the evolution of the contemporary art infrastructure in the UAE. However, it continues to serve as a unifying platform for artists from across the country, hosting one of the longest-running annual exhibitions in the region.
Intimaa: Belonging / curated by Nasser Abdullah at NYU Abu Dhabi
How did the public and the government initially respond to these new artistic manifestations?
In the early days, Hassan Sharif and his group encountered some resistance. Hassan Sharif’s unique installations, which weren’t immediately comprehensible or widely accepted, were displayed alongside classical figurative and traditional icons, such as paintings of horses and falcons and heritage architecture. However, this juxtaposition sparked conversations and passionate debates about why both forms should be considered art. In today’s UAE, no one questions whether something is art or not; the focus is on understanding why artists make their creative choices and the research that underpins their work.
Everything that happened in the UAE of the 1980s laid the foundation for the open-minded community we have today. Now, when you visit the Sharjah Art Biennale, which is impressively scaled and addresses themes that would have been unthinkable three decades ago, you’ll find topics such as environment, race, the history of the region and colonisation, and its ongoing effects in different parts of the world.
In some places, like Saudi Arabia, where significant changes are occurring, there is still a crucial need for freedom of expression. Many assume that the two Arab Gulf countries, Saudi Arabia and the United Arab Emirates, are similar.
With all the huge similarities between the two countries, Saudi Arabia and the United Arab Emirates differ culturally, politically, and socially in many ways. This dissimilarity is evident in our federal power structures, multicultural societies, and flexible religious tolerance.
In comparison to the age of the country and the era when the art scene began to form, the UAE had the time and the opportunity to make progress in terms of freedom of expression. With the flexibility of the government to adapt to the changes going on in the world, we overcame obstacles at an early stage, while Saudi Arabia remained closed for decades. In Saudi Arabia, the most one could hope for was to create abstract paintings, whereas sculptures, especially those depicting the human body, remain a sensitive matter due to religious restrictions even today. However, this was not a significant concern here in the UAE, and we simply moved forward.
Our residents hail from various parts of the world, including India, North America, South America, Africa, and Europe, representing diverse religions. Since 2020, when the UAE normalised its relations with Israel, Israelis have been coming here and investing in businesses.
Doesn’t that sound idealistic?
Arabs are known for their welcoming nature, and we have extended this hospitality on a larger scale. We are not just hosting one guest; we are welcoming many, granting them the freedom to practice their beliefs, attitudes, and lifestyles. Regardless, the international community will be influenced by Arab culture, and we will be influenced by theirs, fostering an exchange in this shared environment.
Moreover, the UAE stands as a safe and prosperous nation, and there is absolutely no tolerance for criminal activities such as fraud. Engaging in illegal actions not only tarnishes an individual’s reputation but also reflects poorly on our entire nation when viewed on the international stage. It’s crucial to recognise that one person’s actions can cast a negative shadow over the entire country’s image.
Is it feasible to have a full-time career as an artist in the United Arab Emirates?
The art industry is still evolving here. Artists often need to pursue their creative passions alongside a stable profession or job. This dual approach is crucial due to the high cost of living in the UAE, which can make it difficult to sustain a full-time career as an artist. Compounding this challenge is the relatively small size of the UAE. Moreover, private art collecting practices are not yet sufficiently developed, and the artistic taste of the community still requires refinement.
Could you provide more context for that last statement?
The Kuwaiti actor Abdulhussain Abdulredha once said, ‘We – as artists or actors, the theatre, and the audience – have grown up together.’ This quote resonates with me deeply; knowing that Kuwait has a flourishing history of theatre, it’s essential to consider the context when introducing more complex forms of art to a public still largely enjoying traditional themes like paintings of horses and falcons. Even traditional photography is often easier to understand than abstract painting. Hassan Sharif argued that his installation-based work is, in a way, more realistic than a painting of a horse or a falcon. We’ve evolved beyond horseback riding and camel riding in this country. For someone to have a falcon today is a luxury.
Is there a culture of buying art in society at large?
In the UAE, a typical residence is not an apartment but rather a spacious house providing plenty of wall space for artwork. I have an amusing anecdote that illustrates how new this all is here and how much there is to educate the next generation of art buyers and collectors.
An acquaintance, contemplating the idea of filling his living space with art, initially set a budget of EUR 1,200, which he thought was reasonable. However, as he started to consult with galleries, he quickly realised that the art world had different plans. The minimum price he encountered for even a small-sized artwork was around EUR 10,000. While he wasn’t strictly on a tight budget, this experience deepened his understanding of the costs associated with building an art collection.
There is an art gallery scene in Dubai. Art fairs in Dubai and Abu Dhabi have been remarkably successful. The royal families engage in art collecting, primarily as a means of supporting the fair’s initiatives. However, their collecting style is often associated with luxury rather than being considered a seriously rooted practice.
What is your connection to AL Tashkeel magazine?
When I took on the role of Chairman at the Emirates Fine Art Society in 2014, one of my key initiatives was the revival of AL Tashkeel Magazine, with invaluable support from the Sharjah Art Foundation and its president and founder, Sheikha Hoor Al Qasimi. It’s worth noting that my professional background lies in news media and marketing.
Here is a short yet interesting history of AL Tashkeel. Back in 1984, AL Tashkeel Magazine had modest beginnings. Typed on a typewriter, it consisted of only a few pages and was distributed as a photocopied zine. To produce content, Hassan Sharif, along with a handful of other Emirati artists proficient in English, painstakingly translated various international articles. Due to resource constraints, only a limited number of copies were produced at a time, resulting in a few issues circulating among readers. Once one person had perused its contents, they would pass it on to the next reader, thus perpetuating its circulation. During that era, it served as the primary source of information regarding contemporary art from around the world.
During that era, despite its simplicity, the magazine served as the primary source of information on contemporary art from around the world. The magazine continued for a while, generating only 21 issues before ultimately ceasing publication.
Over the course of three years, when I was editor-in-chief, AL Tashkeel Magazine was consistently published every quarter, featuring content in both Arabic and English. While its initial purpose had changed since its inception in the 80s, it evolved into a valuable platform for discussions on contemporary art and culture in the United Arab Emirates. Its content resembled a journal more than a traditional magazine, as it contained numerous academic papers and essays authored by professionals in the field. I’m aware that some universities and institutes still incorporate copies of the magazine in their curriculum.
Thanks to your involvement, AL Tashkeel underwent a renaissance, but this time with a focus on local developments rather than international ones.
At the time, yes. Currently, a different board oversees both the society and the magazine. Each board brings its own vision for further growth and development.
How does one get involved in exhibition curating, especially as a self-taught individual?
The practice of curating arrived relatively late in our cultural landscape. Initially, there was resistance to the concept of a curator due to a lack of understanding regarding the curator’s role in contextualising art for the audience’s benefit. Today, we find ourselves in a situation where there are five talented artists and a much greater number of curators, although this is somewhat exaggerated. Both professions, artist and curator, require a personal journey and demand a significant amount of time, specialisation and dedication.
I’ve had the opportunity to curate exhibitions, but one that truly stood out was ‘From Barcelona to Abu Dhabi: Works from the Barcelona Museum of Contemporary Art (MACBA) in dialogue with the Emirates’. This exhibition at Abu Dhabi’s Manarat Al Saadiyat marked a pivotal moment, as it brought one of Europe’s most avant-garde and prestigious contemporary art collections to the Arab world for the first time. It allowed us to explore the connections between pieces from this collection and works by 20 contemporary Emirati artists celebrating diverse perspectives on our shared human experience. I divided the show into three themes: Figure, Environment, and Form, selecting artists from their respective collections to fit within each category. It showcased masterpieces by artists such as Fischli/Weiss, Francis Alÿs, John Baldessari, Joseph Beuys, and Gego, alongside Emirati talents like Hussain Sharif, Abdul Rahim Salem, Mohammed Kazem, and Ammar Al Attar, among others.
How do you approach curating exhibitions that cater to such a multicultural local audience?
Freedom of speech varies across the Middle East. Curators must draw inspiration from artists such as the Saudi Arabian artist Abdul Nasser Gharem, who very smartly engages with a broad spectrum of people. The role of the curator is to effectively convey a message through exhibitions. However, more often than not, galleries or foundations invite curators with a discerning eye to simply create displays, which is a more commercial approach to curating. The education of curators is also a topic of discussion in my country.
One of my fundamental principles in curatorial practice is distinguishing between my personal taste in art and my criteria for curation. While I may appreciate a painting of a horse or a sunset, that doesn’t necessarily translate into considering it a great masterpiece or a valuable artistic endeavor. Curating, however, is not about my preferences alone; we must also acknowledge the longer histories of artistic practices in the region and foster possible continuities rather than solely focus on forging new paths. To enrich our perspectives, we need a blend of classical, traditional, contemporary, boundary-pushing Western, Eastern, and Arab art. Additionally, we must smartly present different art forms to the public in question.
What’s your next project?
I’ll be overseeing an artist’s residency in Abu Dhabi – the Spectrum: Photographer-In-Residence programme. It’s scheduled to run from January to April of next year and will culminate in an exhibition. I’m a member of the committee board for this project. In the meantime, I remain dedicated to mentoring emerging artists and talking about art economics, politics, and how to leave their comfort zone, which is what I enjoy the most.
Our conversation began with your description of the Emirate of Sharjah. What are your hopes and aspirations for Sharjah?
In terms of progress made in the highest art education and art institutions, I would say the cultural scene in the region is nearing its completion. Once the entire cycle – encompassing art education, art production, art dissemination and preservation – becomes self-sufficient, it will create new opportunities for individuals to pursue full-time careers as artists.
