The 11th edition of Abu Dhabi Art Happened between 21-23 November in Maranat Al Saadiyat.
The colorful corridors of this festival this year showcased the work of about 50 regional and international galleries.
Among the highlights of the year’s occasion, an initiative named After Dark allowed art fans to take remote control of a camera-equipped robot and also see the displays during the after-hours.
The piece, which has been commissioned as a member of Abu Dhabi Art’s 2019 Beyond program, will be on display to the general public at Abu Dhabi’s Al Ain Oasis.
The setup captures clouds at a transparent framework, made possible by 12 panes of glass being put back.
The art is another chapter of similar layouts that Erlich has shown in nations from Europe to the Far East in the last several decades.
“I’ve built a kind of nest that’s holding within that cloud,” he advised Inspire Middle East. “I discovered I wanted to make something poetic in connection to the desert. I like the notion of questioning the world we reside in. I like the notion of pushing to get an important sense to create consciousness and not take things for granted.”
The 46-year-old artist is famous for his gravity-defying’Bâtiment’ installment and his optical masterpiece piece,’ Swimming Pool’.
Another significant attraction this season in Abu Dhabi Art was the honored French-Tunisian artist El Seed.
On perspective was his job called’ The Journey’, which was a cooperation with the social venture band 81 Designs.
Murals were transformed into handstitched artworks, maintaining the Palestinian embroidery technique of Tatreez.
It is the most current in a long list of international endeavors for your UAE-based 38-year-old, whose signature is to utilize Arabic calligraphy to spread messages of humankind, unity coexistence.
His work was exhibited worldwide, by the favelas of Rio de Janeiro into the façade of L’Institut p Monde Arabe in Paris.
Another milestone endeavor was perception’, which saw his calligraffiti decorate nearly 50 buildings in Cairo’s segregated, Coptic community of Zaraeeb, referred to as the town’s trash collectors neighborhood.
The artwork and its artist made this impression, the underprivileged community took El Seed to its houses and its hearts.
Rebecca: You have always thought that art can ignite political change and spark a dialogue. Therefore, what’s the concept which you hope people will take away out of the most recent project,’The Journey’?
You utilize artwork to visit areas that you wouldn’t typically go to. For me, it is important to perform this type of project to prove that now in 2019, we have people living in refugee camps, and residing in such a challenging condition.
I mean this camp has been started in 1948. When you find a million people living in two square km, you merely believe you want to increase consciousness and reveal that this is still occurring.
Rebecca: Produced in France, you arrived to identify strongly with your Arabic origins when you’re aged 18. Expanding upon this, your art is born from something of an identity crisis. Describe the travel to me.
I believed I had to pick between being French being Tunisian. I ran in my identity because I seemed physically more overseas than French, then gradually I had been digging into Arabic learning and culture. And then I found calligraphy and bringing it into my graffiti. Back in the days understood I would not be able to do exactly what I do now if I was not French also.
Rebecca: Why is it essential that you utilize calligraphy instead of motifs, block colors, or some other art forms, such as:
El Seed: I presume you know, there’s more depth. It is not directly in mind. You encourage people to attempt and comprehend. So, I see three layers in my work. There is the decorative part – folks may like or not.
The next is that the message — therefore, each time that I paint something, I compose the message in Arabic and that I link it to the location where I am painting.
Arabic calligraphy, for me, has this ability to make it to the soul until we hit the eyes. And even if you don’t speak Arabic, or do not know it even if you don’t have some connection with the Arab world – you will nonetheless find a link and sense an emotion.
Rebecca: Creating friendships and undergoing human kindness is frequently a result of your work. Inform me about your adventures in that respect.
Thus, each time I had been painting these walls, each time I was moving in my elevator, people were opening their window and giving me a cup of tea.
So, the very first one I drank. The next one, you become amazed, as you had one before that, however you also take it and continue.
And after in Algeria, I had been painting, and that I had been on the floor of a structure. I said, “No, I’ll eat afterward.” And she gave me a huge plate of couscous.
Rebecca: It is impolite to say no more, naturally. Right?
El Seed: Yeah, you can’t say no. Therefore, we spent much time drinking tea, you understand. Nevertheless, it was a strategy, I believe, for your neighborhood to show me and my staff they admitted us and we remain in contact with them.
Rebecca: But with your art, and at the least the job in Cairo you referenced, there’s an impermanence for this. Buildings are already moving up facing a few of your murals. A number of your art was erased, destroyed or deleted. How do you feel about the temporary nature of your artwork?
El Seed: that I feel that the heart of my art is ephemeral. So, I make it to the moment and now we’ve got the technology to catch it. So, I record all of my jobs it is a part of it. Me, I am not here to prevent life. So, I paint and then there was a minute to catch it. The artwork piece was here. And people keep construction, the paint could decode, and a person can tear the building down. And that is a part of it. I like it. For me, that is the poetry of exactly what I do.
Rawan out of Syria snapped this El Seed mural in Bahrain, musing the buildings have something to say.