Highlights From Art Dubai 2014

ART DUBAI 2014
A selection of major press clippings featuring more than 45 articles
and news reports in Arabic, English, French, Chinese, Russian and more
Art Dubai 2014 Top Press Coverage, March-April, 2014:
The Economist, The World in 2014, For Arts and Public Sake, January 2014-04-24
Clipping
Artnet, Art Dubai Opens With Steady Sales, Mostly Under $100,000, March 19:
http://news.artnet.com/market/strong-sales-and-a-bijou-modern-section-dazzle-at-art-dubai-6304?utm_campaign=artnetnews&utm_
source=031914daily&utm_medium=email
The Art Newspaper Russia, March 27, 2014: Clipping
Le Figaro, Dubaï, le hub du marché de l’art, March 20:
http://www.lefigaro.fr/arts-expositions/2014/03/20/03015-20140320ARTFIG00006-dubai-le-hub-du-marche-de-l-art.php
Asharq Al Awsat March 19:
http://bit.ly/PmeQzh
The Daily Star, A Thoughtful Walk Through Art Dubai, March 21:
http://www.dailystar.com.lb/Culture/Art/2014/Mar-21/250862-a-thoughtful-walk-through-art-dubai.ashx#axzz2zVacF1rK
Le Quotidien De L’Art, Une clientèle de plus en plus internationale sur Art Dubai, March 19:
http://bit.ly/1kRpRVA
Art and Investment, China, April 2014: Clipping
Al Akhbar, March 19 2014
http://al-akhbar.com/node/202893/
The Huffington Post, A Conversation With Slavs and Tatars, on the Occasion of Their Curation of Art Dubai’s 2014 Marker Program,
March 11:
http://www.huffingtonpost.com/james-scarborough/a-conversation-with-slavs_b_4940550.html
Financial Times, Art Dubai Report, March 20:
http://www.ft.com/intl/cms/s/2/426dd54e-b041-11e3-b0d0-00144feab7de.html#axzz2xi5ovpcU
CNN, Saving Syria Cultural Treasures, April 2:
http://cnn.it/1jv1H0a
The Hindu, Desert Spaces, April 5:
http://www.thehindu.com/features/magazine/desert-spaces/article5876002.ece
Al Hayat, March 23:
http://bit.ly/1eo6QEA
Euronews, Art Dubai: spotlight on Central Asia and Caucasus, March 19:
http://www.euronews.com/2014/03/19/art-dubai-spotlight-on-central-asia-and-caucasus/
The Art Newspaper, Dubai: the thinking man’s party town, March 20:
http://www.theartnewspaper.com/articles/Dubai-the-thinking-mans-party-town/32093
Hong Kong Economic Times, Mach 29, 2014,
clipping
Al Quds Al Arabi, March 30:http://www.alquds.co.uk/?p=149476
France 24, News Broadcast, Art Dubai: Cultural Crossroads, March 25, 2014
http://www.france24.com/fr/20140322-express-orient-abbas-obama-egypte-journalistes-irak-mariage-enfants-dubai-art
De Standaard, Kunst tussen klatergoud, March 20:
http://www.standaard.be/cnt/dmf20140319_01033006
Frankfurter Allgemeine, Der Maler ist ein Soldat, March 21:
http://www.faz.net/aktuell/kunstmesse-in-dubai-der-maler-ist-ein-soldat-12858123.html
Kommersant, March 22: http://www.kommersant.ru/doc/2436436
Ocula, Trading Histories for Futures: A Report from Art Dubai and the Sharjah March Meeting, March 25:
http://ocula.com/magazine/reports/trading-histories-for-futures-a-report-from-art-du/
Artslant, Art Dubai: To Buy Or Not To Buy, March 25:
http://www.artslant.com/ew/articles/show/39046
Art Review, Letter from Dubai, March 27:
http://artreview.com/opinion/opinion_letter_from_art_dubai_2014/
Economic Observer, (Why Dubai Needs Art), April 7: http://bit.ly/1ff4loi
Al Watan, April 12:: http://bit.ly/1iCtG02
Novoe pokoleniye, Kazakhstan, March 27 2014: Clipping
Blouin Art Info, Highlights from Art Dubai, March 24 2014
http://blogs.artinfo.com/artintheair/2014/03/24/highlights-from-art-dubai-2014/
Bloomberg, Dubai $45 Million Fair Stars Kapoor Mirror, Chastity Belt, March 19, 2014
http://www.bloomberg.com/news/2014-03-19/dubai-45-million-fair-stars-kapoor-mirro-chastity-belt.html
Elle Magazine Middle East, Art Dubai 2014: When South Meets South Meets West Meets You, March 2014.
Clipping
El Mundo, Spain, Art Dubai contará con 500 artistas de todo el mundo, March 21, 2014
http://www.elmundo.es/cultura/2014/03/20/532adda1ca47411c288b4570.html
Capital Magazine, March 2014, China: Clipping
Les Echos, En huit ans, la Foire Art Dubaï a conquis ses lettres de noblesse, March 21, 2014
http://www.lesechos.fr/entreprises-secteurs/service-distribution/actu/0203386833900-en-huit-ans-la-foire-art-dubai-a-conquis-seslettres-de-noblesse-658699.php
Nafas Art Magazine, Art Dubai 2014. Interview with Antonia Carver, March 2014
http://universes-in-universe.org/eng/nafas/articles/2014/art_dubai_2014
Art Tribune, Cinque gallerie italiane alla prova dell’Eldorado mediorientale, March 18, 2014
http://www.artribune.com/2014/03/cinque-gallerie-italiane-alla-prova-delleldorado-mediorientale-lottava-edizione-della-fiera-art-dubaial-via-al-madinat-jumeirah/
ArtEconomy 24, Art Dubai, galleristi soddisfatti: buone le vendite di moderno e contemporaneo, March 22, 2014
http://www.arteconomy24.ilsole24ore.com/art/cultura-tempo-libero/2014-03-22/dubai-galleristi-soddisfatti-buone-184218.php
Le Monde, Slavs and Tatars L’Art des Antipodes, March 26, 2014
http://www.lemonde.fr/culture/article/2014/03/26/slavs-and-tatars-l-art-des-antipodes_4389736_3246.html#no_mobile
Le Monde, Le Caucase séduit les chercheurs d’art, March 31, 2014
http://www.lemonde.fr/argent/article/2014/03/31/le-caucase-seduit-les-chercheurs-d-art_4393115_1657007.html
Blouin Art Info, Art Dubai Spotlights Work From the Caucasus and Central Asia, March 31, 2014
http://www.blouinartinfo.com/news/story/1021263/art-dubai-spotlights-work-from-the-caucasus-and-central-asia
Wall Street Journal, Art Dubai Eyes Cultural Growth Amid Dubai’s Commercial Upswing, March 19, 2014
http://blogs.wsj.com/middleeast/2014/03/19/art-dubai-eyes-cultural-growth-amid-dubais-commercial-upswing/
Ria Novosti, Russia, March 2014
http://ria.ru/culture/20140217/995280531.html
Vogue, Ukraine, March 2014: Clipping
Baku Post, March 2014: http://www.bakupost.az/az/qalereya/20140327020756325.html
Voice of Russia, March 2014: http://voiceofrussia.com/news/2014_02_18/Art-Dubai-2014-Russian-Central-Asian- galleries-to-beshowcased-for-first-time-in-forum-history-6684/
Elle Russia, March 2014
http://www.elle.ru/afisha/events/v-oae-startuet-yarmarka-sovremennogo-iskusstva- art-dubai-2014/
Dubaï, le hub du marché de l'art
4/23/14 11:24 AM
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La Bourse de Paris ouvre en petite baisse
Dubaï, le hub du marché de l'art
ARTS EX POSITION S
Publié le 20/03/2014 à 06:00
En plein essor, la plus grande foire d'art contemporain du monde arabe mise à la fois
sur les valeurs sûres et les découvertes.
Folle semaine du marché de l'art à Dubaï, qui s'achève samedi. Sa 8e foire d'art contemporain,
Art Dubaï, a beau être encore réduite - 85 galeries de 34 pays représentant 500 artistes -, elle
est un moment unique où les collectionneurs internationaux, curieux de découvrir de jeunes
artistes de la région, croisent des expatriés en mal de culture, et des responsables de musées
en quête de nouveaux amis et visiteurs. «Les mécènes potentiels ont besoin que l'on
s'intéresse à leur propre goût», affirmait mardi soir la galeriste parisienne Chantal
Crousel
Crousel, lors du dîner Christie's et de la revue d'art Canvas. «Soooold!», titrait hier cette
dernière en une de son édition dédiée à Art Dubaï, qui, huit ans après son ouverture, mise à la
fois sur des valeurs sûres et les espoirs. Elle s'appuie pour cela sur des galeries locales comme
Carbon 12, Third Line, Green Art Gallery ou Isabelle Van Den Eynde.
The Knot, Hassan Khan, 2012. Crédits photo : Courtesy de l'artiste et Galerie Chantal Crousel, Paris.
Chez Chantal Crousel, une œuvre de l'Égyptien Hassan Khan, 39 ans, suscita bien des
http://www.lefigaro.fr/arts-expositions/2014/03/20/03015-20140320ARTFIG00006-dubai-le-hub-du-marche-de-l-art.php
Page 1 of 5
Dubaï, le hub du marché de l'art
4/23/14 11:24 AM
Chez Chantal Crousel, une œuvre de l'Égyptien Hassan Khan, 39 ans, suscita bien des
convoitises: une corde nouée de verre qu'il avait présentée en 2012 à la Documenta (35.000
euros). Daniel Templon proposait plusieurs créations de l'Indien Jitish Kallat, en soulignant
que ce dernier sera le directeur artistique de la prochaine biennale de Kochi, sur la côte
Malabar, en décembre. À 60.000 euros, sa sculpture en plâtre dentaire mille fois
photographiée, ne tarda pas à être réservée.
À la galerie Hussenot
Hussenot, un jeune Anglais, Sachin Kaeley, moins de 26 ans, a séduit les
acheteurs. Ses œuvres mêlant résine et photo se sont arrachées à 4500 euros pièce. Nathalie
Obadia fit un pari gagnant: une photographie de Valérie Belin
Belin, lauréate du prix HSBC 2000 à
l'affiche de son enseigne à Bruxelles, fut cédée pour 31.000 euros à un Emirati. «Dubaï est la
plus enthousiasmante des petites foires d'art contemporain. À Miami, on ne peut plus rien
s'offrir», se réjouit une collectionneuse française. Et le richissime émirat ne compte pas en
rester là.
D'ici à la fin de l'année, le nouveau district d'art plastique Alserkal, situé dans la zone
industrielle Al Quoz, verra sa surface tripler et englober, outre des galeries d'art, des
restaurants, des studios d'animation pour le cinéma. Alserkal est en passe de détrôner
l'historique quartier des galeries d'art DIFC, où se situe Christie's
Christie's. Cette dernière organisait
d'ailleurs ses ventes de la saison pendant la foire cette année. Estimée 6 à 7 millions d'euros,
deux collections privées de tableaux modernes égyptiens et irakiens devaient y être
dispersées.
Art Dubaï
Dubaï, jusqu'au 22 mars.
La rédaction vous conseille :
Daniel Templon ouvre une galerie à Bruxelles
Nathalie Obadia, la guerrière de l'art
Londres, temple du marché ou de l'art de vivre?
Valérie Sasportas
journaliste 28 abonnés
Suivre
http://www.lefigaro.fr/arts-expositions/2014/03/20/03015-20140320ARTFIG00006-dubai-le-hub-du-marche-de-l-art.php
Page 2 of 5
‫ﻳﻮﻣﻴﺎت اﻟﺸﺮق‬
‫اﻷرﺑﻌﺎء ‪ - Wednesday ٢٠١٤/٣/١٩‬اﻟﻌﺪد ‪Issue ١٢٨٩٥‬‬
‫‪ASHARQ AL - AWSAT‬‬
‫‪ASHARQ AL-­AWSAT‬‬
‫‪٢٥‬‬
‫ﻗﺴﻢ ﻟﻠﻔﻦ اﳊﺪﻳﺚ ﻳﺴﺠﻞ اﻧﻄﻼﻗﺘﻪ اﻷوﻟﻰ‬
‫»آرت دﺑﻲ« ﻓﻲ دورﺗﻪ اﻟﺜﺎﻣﻨﺔ‪ ..‬وﺟﺒﺔ ﻓﻨﻴﺔ دﺳﻤﺔ ﳍﻮاة اﻟﻔﻨﻮن‬
‫دﺑﻲ‪ :‬ﻋﺒﲑ ﻣﺸﺨﺺ‬
‫اﻧﻄﻠﻘﺖ أﻣﺲ اﻟﺪورة اﻟﺜﺎﻣﻨﺔ‬
‫ﻟـ ـﺴ ــﻮق اﻟـ ـﻔـ ـﻨ ــﻮن اﻟـ ـﺴـ ـﻨ ــﻮي »آرت‬
‫دﺑـ ـ ـ ــﻲ« وﺳـ ـ ــﻂ ﺣ ـ ـﻀـ ــﻮر إﻋ ــﻼﻣ ــﻲ‬
‫ﻛﺒﻴﺮ‪ ،‬ﺣﻴﺚ ﺑﻠﻎ ﻋﺪد اﻟﺼﺤﺎﻓﻴﲔ‬
‫اﻟــﺬﻳــﻦ وﻓ ـ ــﺪوا إﻟ ــﻰ دﺑ ــﻲ ﻟﺘﻐﻄﻴﺔ‬
‫اﻟﺤﺪث ‪ ٧٠‬ﺻﺤﺎﻓﻴﺎ ﻣﻦ ﻣﻄﺒﻮﻋﺎت‬
‫ﻣ ـﺘ ـﺨ ـﺼ ـﺼــﺔ وﺟـ ــﺮاﺋـ ــﺪ وﻣ ـﺠــﻼت‬
‫ﻋﺮﺑﻴﺔ وأﺟﻨﺒﻴﺔ‪ .‬وﺧــﻼل اﳌﺆﺗﻤﺮ‬
‫اﻟـﺼـﺤــﺎﻓــﻲ اﻟ ــﺬي ﺳـﺒــﻖ اﻻﻓـﺘـﺘــﺎح‬
‫ﺗ ـﺤــﺪﺛــﺖ أﻧ ـﺘــﻮﻧ ـﻴــﺎ ﻛ ــﺎرﻓ ــﺮ ﻣــﺪﻳــﺮة‬
‫»آرت دﺑـ ــﻲ« ﻋــﻦ أﻫ ــﻢ اﻟـﻔـﻌــﺎﻟـﻴــﺎت‬
‫واﻷﻧ ـﺸ ـﻄــﺔ اﻟـﻔـﻨـﻴــﺔ اﻟ ـﺘــﻲ ﻳﻘﺪﻣﻬﺎ‬
‫اﳌـﻌــﺮض ﻫــﺬا اﻟـﻌــﺎم‪ ،‬وأﺷــﺎرت ﻓﻲ‬
‫ﺳـﻴــﺎق ﺣﺪﻳﺜﻬﺎ إﻟــﻰ ازدﻳ ــﺎد ﻋــﺪد‬
‫اﻟ ـ ـﺼ ــﺎﻻت اﳌـ ـﺸ ــﺎرﻛ ــﺔ ﻣ ــﻦ ﻣـﻨـﻄـﻘــﺔ‬
‫اﻟ ـﺸــﺮق اﻷوﺳ ـ ــﻂ‪ ،‬ﻣ ـﻘــﺪرة ﻋــﺪدﻫــﺎ‬
‫ﺑـﻨـﺼــﻒ اﻟ ـﻌــﺪد اﻟـﻜـﻠــﻲ ﻟـﻠـﺼــﺎﻻت‪.‬‬
‫وﻗﺎﻟﺖ‪» :‬ﻧﺤﻦ ﻣﺘﺤﻤﺴﻮن ﻻﻓﺘﺘﺎح‬
‫ﻓـ ـﻌ ــﺎﻟـ ـﻴ ــﺎت اﳌ ـ ـﻌـ ــﺮض ﻓـ ــﻲ دورﺗـ ـ ــﻪ‬
‫اﻟﺜﺎﻣﻨﺔ وﺧﺼﻮﺻﺎ ﻣﻊ اﳌﺸﺎرﻛﺔ‬
‫اﻟﻘﻮﻳﺔ واﳌﺘﻨﻮﻋﺔ ﻟـ‪ ٨٥‬ﺻﺎﻟﺔ ﻋﺮض‬
‫ﻣﻦ ‪ ٣٤‬دوﻟﺔ وﻋﺮض أﻋﻤﺎل ﻷﻛﺜﺮ‬
‫ﻣﻦ ‪ ٥٠٠‬ﻓﻨﺎن‪ ،‬ﻣﻀﺎﻓﺎ إﻟﻴﻬﺎ أﻛﺒﺮ‬
‫ﺑﺮﻧﺎﻣﺞ ﻏﻴﺮ رﺑﺤﻲ ﻧﻘﻴﻤﻪ ﺣﺘﻰ‬
‫اﻟﻴﻮم«‪.‬‬
‫ﻟ ـﻜــﻦ ﺑ ــﺪا اﻻﻫ ـﺘ ـﻤــﺎم واﺿ ـﺤــﺎ‬
‫ﺳـ ـ ــﻮاء ﻣـ ــﻦ ﻗ ـﺒ ــﻞ اﳌـ ـﺴ ــﺆوﻟ ــﲔ ﻋــﻦ‬
‫اﳌـﻌــﺮض أو ﻣــﻦ ﻗﺒﻞ اﻟﺼﺤﺎﻓﻴﲔ‬
‫ﺑــﺎﻹﺿــﺎﻓــﺔ اﻟـﺠــﺪﻳــﺪة اﻟـﺘــﻲ دﺧﻠﺖ‬
‫إﻟــﻰ ﺟ ــﺪول اﻟـﻔـﻌــﺎﻟـﻴــﺎت‪ ،‬أﻻ وﻫــﻲ‬
‫ﻗ ـﺴــﻢ اﻟـ ـﻔ ــﻦ اﻟ ـﺤ ــﺪﻳ ــﺚ »آرت دﺑــﻲ‬
‫ﻣـ ــﻮدرن«‪ ،‬ﻓـﺘــﻮاﻟــﺖ اﻷﺳـﺌـﻠــﺔ ﺣــﻮل‬
‫ﻋ ــﺪد اﳌ ـﺸــﺎرﻛــﲔ واﻷﺳـ ـﺒ ــﺎب اﻟـﺘــﻲ‬
‫دﻋــﺖ اﻟ ـﺴــﻮق اﻟـﺘــﻲ ﺗﻬﺘﻢ أﺳــﺎﺳــﺎ‬
‫ﺑﺎﻟﻔﻦ اﳌﻌﺎﺻﺮ ﻹﻟﻘﺎء ﻧﻈﺮة ﻋﻠﻰ‬
‫اﻟــﻮراء ﻟﺘﻘﺪم أﻋـﻤــﺎل اﻟﻔﻨﺎﻧﲔ ﻣﻦ‬
‫ﺑـ ــﺪاﻳـ ــﺎت اﻟ ـ ـﻘ ــﺮن اﳌ ــﺎﺿ ــﻲ وﺣ ـﺘــﻰ‬
‫اﻟﺜﻤﺎﻧﻴﻨﺎت‪ .‬وردا ﻋﻠﻰ ﺳﺆال ﺣﻮل‬
‫ﻣــﺎ إذا ﻛ ــﺎن اﻟـﺴـﺒــﺐ ﻫــﻮ ﻣـﺴــﺎﻳــﺮة‬
‫اﻻﻫﺘﻤﺎم اﻟﺬي ﻳﺸﻬﺪه اﻟﻔﻦ اﻟﻌﺮﺑﻲ‬
‫اﻟﺤﺪﻳﺚ ﺳــﻮاء ﻣﻦ ﻗﺒﻞ اﻟﺠﻤﻬﻮر‬
‫أو ﻣﻦ اﻷرﻗــﺎم اﻟﻘﻴﺎﺳﻴﺔ ﳌﺒﻴﻌﺎت‬
‫ﻟــﻮﺣــﺎﺗــﻪ ﻓــﻲ ﻣ ــﺰادات »ﻛﺮﻳﺴﺘﻴﺰ«‬
‫و»ﺳﻮذﺑﻴﺰ« ﻓﻲ اﻟﺴﻨﻮات اﻷﺧﻴﺮة‪،‬‬
‫ﻗﺎﻟﺖ ﻛﺮﻳﺴﺘﲔ ﺧــﻮري‪ ،‬وﻫﻲ ﻣﻦ‬
‫اﻟﻘﻴﻤﲔ ﻋﻠﻰ »آرت دﺑﻲ ﻣﻮدرن«‪،‬‬
‫إن ﻫﻨﺎك اﻫﺘﻤﺎﻣﺎ ﻣﻠﻤﻮﺳﺎ ﺑﺎﻟﻔﻌﻞ‬
‫ﻓﻲ اﳌﻨﻄﻘﺔ ﺑﺎﻟﻔﻦ اﻟﺤﺪﻳﺚ‪ ،‬وﻳﺄﺗﻲ‬
‫اﳌـ ـﻌ ــﺮض ﻟ ـﻴ ـﻀ ـﻴــﻒ ﻟ ــﺬﻟ ــﻚ اﻟــﺰﺧــﻢ‬
‫اﳌﻮﺟﻮد‪ .‬أﻣﺎ ﻛﺎرﻓﺮ ﻓﻌﻠﻘﺖ‪» :‬ﻛﻨﺎ‬
‫ﻧﻔﻜﺮ ﻣﻨﺬ ﻓﺘﺮة ﻓﻲ إﻗﺎﻣﺔ ﻓﻌﺎﻟﻴﺔ‬
‫ﺗﻬﺘﻢ ﺑﻌﺮض اﻟﻔﻦ اﻟﺤﺪﻳﺚ وﻫﺪﻓﻨﺎ‬
‫اﻷﺳ ـ ــﺎس ﻫ ــﻮ اﳌـ ــﻮازﻧـ ــﺔ ﺑ ــﲔ اﻟـﻔــﻦ‬
‫اﳌﻌﺎﺻﺮ واﻟـﻔــﻦ اﻟﺤﺪﻳﺚ واﻟــﺮﺑــﻂ‬
‫ﺑﲔ أﺟﻴﺎل اﻟﻔﻨﺎﻧﲔ اﳌﺘﻌﺎﻗﺒﺔ ﻓﻲ‬
‫اﳌﻨﻄﻘﺔ«‪ .‬وﻗﺎﻟﺖ ردا ﻋﻠﻰ ﺗﺴﺎؤل‬
‫ﺣــﻮل اﻟـﺘــﻮﺳــﻊ ﻓــﻲ ﻋــﺪد اﻟﻔﻨﺎﻧﲔ‬
‫اﻟﺬﻳﻦ ﺗﻘﺪم أﻋﻤﺎﻟﻬﻢ ﻓﻲ »آرت دﺑﻲ‬
‫ﻣــﻮدرن« إن اﻻﺗـﺠــﺎه ﻫــﻮ أن ﻳﻠﻘﻲ‬
‫ﻛ ــﻞ ﻏــﺎﻟ ـﻴــﺮي اﻟـ ـﻀ ــﻮء ﻋ ـﻠــﻰ ﻓـﻨــﺎن‬
‫أو اﺛ ـﻨــﲔ‪ .‬أﻣــﺎ ﺑﺎﻟﻨﺴﺒﺔ ﻟﻠﺠﺎﻧﺐ‬
‫اﻟﺘﺠﺎري‪ ،‬وﻫــﻮ ﻛــﺎن ﻣﻮﺿﻊ ﻋﺪد‬
‫ﻣـ ــﻦ اﻷﺳ ـ ـﺌ ـ ـﻠـ ــﺔ‪ ،‬ﻓ ـ ــﺄﺷ ـ ــﺎرت ﻛ ــﺎرﻓ ــﺮ‬
‫إﻟـ ــﻰ أن اﻟ ـﻌ ــﻮاﺋ ــﺪ ﺳـﺘـﻘـﺴــﻢ ﻟــﺪﻋــﻢ‬
‫اﻟﺠﺎﻧﺒﲔ اﻟﺮﺑﺤﻲ وﻏﻴﺮ اﻟﺮﺑﺤﻲ‬
‫ﻓﻲ اﳌﻌﺮض‪.‬‬
‫اﻋـ ـ ـﺘ ـ ــﺎد اﻟـ ـﺠـ ـﻤـ ـﻬ ــﻮر اﳌـ ـﺘ ــﺎﺑ ــﻊ‬
‫ﻟ ـ ـ ـ ـ ـ ـ ــﺪورات اﳌ ـ ـ ـﻌـ ـ ــﺮض أن ﻳ ـﻨ ـﺴــﻖ‬
‫ﺟــﻮﻻﺗــﻪ ﻣــﺎ ﺑــﲔ أﻗ ـﺴــﺎم ﻣ ـﺤــﺪودة‬
‫ﻣــﻦ اﻟ ـﻌ ــﺮوض ﻣـﺜــﻞ ﺻ ــﺎﻻت اﻟـﻔــﻦ‬
‫اﳌﻌﺎﺻﺮ وﺻــﺎﻻت »ﻣــﺎرﻛــﺮ« اﻟﺘﻲ‬
‫ﺗـﺴـﻠــﻂ اﻟ ـﻀــﻮء ﻓــﻲ ﻛــﻞ ﻋ ــﺎم ﻋﻠﻰ‬
‫ﻣـﻨـﻄـﻘــﺔ ﻣ ــﻦ اﻟ ـﻌــﺎﻟــﻢ ﻻﺳـﺘـﻜـﺸــﺎف‬
‫أﻫﻢ اﺗﺠﺎﻫﺎت اﻟﻔﻦ اﳌﻌﺎﺻﺮ ﺑﻬﺎ‪.‬‬
‫وﻫﺬا اﻟﻌﺎم ﺳﻴﺪﺧﻞ »آرت ﻣﻮدرن«‬
‫ﻟﻴﺘﺨﺬ ﻣﻜﺎﻧﻪ ﻓﻲ ﺟﺪاول اﻟﺰﻳﺎرة‪،‬‬
‫وﻫﻮ ﻣﺎ ﻳﻌﻨﻲ وﺟﺒﺔ ﻓﻨﻴﺔ دﺳﻤﺔ‪،‬‬
‫ﻳﻨﺒﻐﻲ ﻋـﻠــﻰ اﻟــﺰاﺋــﺮ وﺿـﻌـﻬــﺎ ﻓﻲ‬
‫اﻟﺤﺴﺒﺎن‪.‬‬
‫وﻳﺤﺎﻓﻆ ﻗﺴﻢ اﻟﻔﻦ اﳌﻌﺎﺻﺮ‬
‫ﻋـ ـﻠ ــﻰ ﻣـ ـﻜ ــﺎﻧـ ـﺘ ــﻪ ﻛـ ـﻜـ ـﺒ ــﺮى ﻗ ــﺎﻋ ــﺎت‬
‫اﳌ ـﻌــﺮض ﺑ ـ ــ‪ ٧٠‬ﺻــﺎﻟــﺔ ﻓـﻨـﻴــﺔ ﺗـﻘــﺪم‬
‫أﺣ ـ ـ ـ ــﺪث اﻹﺑـ ـ ـ ــﺪاﻋـ ـ ـ ــﺎت اﳌ ـ ـﻌ ــﺎﺻ ــﺮة‬
‫اﳌ ـﻌــﺮوﺿــﺔ ﻟـﻠـﺒـﻴــﻊ‪ .‬أﻣ ــﺎ »ﻣــﺎرﻛــﺮ«‬
‫ﻓـﻴــﺮﻛــﺰ ﻫــﺬا اﻟ ـﻌــﺎم ﻋـﻠــﻰ ﻣﻨﻄﻘﺘﻲ‬
‫آﺳﻴﺎ اﻟﻮﺳﻄﻰ واﻟﻘﻮﻗﺎز‪ ،‬وﺗﺸﺮف‬
‫اﳌﺠﻤﻮﻋﺔ اﻟﻔﻨﻴﺔ »اﻟﺴﻼف واﻟﺘﺘﺮ«‬
‫ﻋـﻠــﻰ ﺗـﻘـﻴـﻴــﻢ ﻫ ــﺬا اﻟ ـﻘ ـﺴــﻢ‪ ،‬وﺗـﻀــﻢ‬
‫ﻗ ــﺎﺋ ـﻤ ــﺔ اﳌـ ـﺸ ــﺎرﻛ ــﲔ ﻏــﺎﻟ ـﻴــﺮﻳ ـﻬــﺎت‬
‫ﻣ ــﻦ ﻗــﺮﻏ ـﻴــﺰﺳ ـﺘــﺎن وﻛــﺎزاﺧ ـﺴ ـﺘــﺎن‬
‫وأذرﺑ ـﻴ ـﺠــﺎن وﺟــﻮرﺟـﻴــﺎ‪ .‬ﻋــﺮوض‬
‫ﻣـ ـ ــﺎرﻛـ ـ ــﺮ ﺗـ ـﺴـ ـﺘ ـﻜ ـﺸ ــﻒ اﻟ ـ ـﻌـ ــﻼﻗـ ــﺎت‬
‫اﳌ ـﺸ ـﺘــﺮﻛــﺔ ﺑـ ــﲔ اﻟ ـﺨ ـﻠ ـﻴــﺞ وآﺳ ـﻴــﺎ‬
‫اﻟــﻮﺳـﻄــﻰ واﻟـﻘــﻮﻗــﺎز‪ ،‬اﻟـﺘــﻲ ﺗﺸﻤﻞ‬
‫اﻟــﺪﻳــﻦ واﻟـﺘـﺠــﺎرة‪ ،‬وﻗــﺪﻳـﻤــﺎ ﻃﺮﻳﻖ‬
‫اﻟـﺤــﺮﻳــﺮ‪ ،‬وﺣــﺎﻟـﻴــﺎ ﻫـﻨــﺎك ﻛﺜﻴﺮ ﻣﻦ‬
‫اﻟ ــﺮواﺑ ــﻂ ﺑ ــﲔ اﳌ ـﻘ ـﻴ ـﻤــﲔ ﻓ ــﻲ دﺑــﻲ‬
‫وﻣﻨﻄﻘﺔ آﺳﻴﺎ اﻟﻮﺳﻄﻰ‪ ،‬وﻳﺤﺎول‬
‫اﻟﻘﻴﻤﻮن ﻋﻠﻰ »ﻣﺎرﻛﺮ« اﺳﺘﻜﺸﺎف‬
‫ﺗﻠﻚ اﻟﻌﻼﻗﺎت ﻋﺒﺮ اﻟﻔﻦ اﳌﻌﺎﺻﺮ‬
‫ﺟﺎﻧﺐ ﻣﻦ اﳌﻌﺮض‬
‫ﺑـﺤـﻴــﺚ ﺗـﺨــﺎﻃــﺐ أﻋ ـﻤــﺎل اﻟﻔﻨﺎﻧﲔ‬
‫اﳌ ـﺸــﺎرﻛــﲔ ﻓـﻴــﻪ ﻣـﻔــﺎﻫـﻴــﻢ اﻟـﻬــﻮﻳــﺔ‪،‬‬
‫اﻹﻳ ـﻤ ــﺎن واﻟ ـﻠ ـﻐــﺔ‪ ،‬ﺑــﺎﻹﺿــﺎﻓــﺔ إﻟــﻰ‬
‫اﺳﺘﻜﺸﺎف ﺗﻌﻘﻴﺪات ﺗﻠﻚ اﳌﻨﻄﻘﺔ‬
‫وأﻫﻤﻴﺘﻬﺎ اﳌﺒﺎﺷﺮة‪ ،‬ﻟﻴﺲ ﻟﻠﻌﺎﻟﻢ‬
‫اﻹﺳــﻼﻣــﻲ ﻓﺤﺴﺐ وإﻧ ـﻤــﺎ ﻟﻠﻌﺎﻟﻢ‬
‫ﺑﺮﻣﺘﻪ‪.‬‬
‫وإﺿﺎﻓﺔ إﻟــﻰ ﻗﺎﻋﺎت اﻟﻌﺮض‬
‫اﻟﻔﻨﻴﺔ ﺗﺒﺮز ﻓﻌﺎﻟﻴﺔ »ﻣﺸﺎرﻳﻊ آرت‬
‫دﺑــﻲ«‪ ،‬وﻫــﻲ ﻓﻌﺎﻟﻴﺔ ﻏﻴﺮ رﺑﺤﻴﺔ‪،‬‬
‫وﺗﻘﻮم ﻋﻠﻰ ﺗﻜﻠﻴﻒ ﻣﺠﻤﻮﻋﺔ ﻣﻦ‬
‫اﻟ ـﻔ ـﻨــﺎﻧــﲔ اﻟ ـﺸ ـﺒ ــﺎب ﻻﺳ ـﺘ ـﻜ ـﺸــﺎف‬
‫ﺑﻨﻴﺔ وﻧﺴﻴﺞ اﳌﻌﺮض‪ .‬وﻫﺬا اﻟﻌﺎم‬
‫ﻳ ـﺸــﺎرك ‪ ١٢‬ﻓـﻨــﺎﻧــﺎ ﻓــﻲ اﻟﻔﻌﺎﻟﻴﺎت‬
‫ﻋﺒﺮ ﺗﻘﺪﻳﻢ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻷﻋﻤﺎل‬
‫اﻟـﺘــﺮﻛـﻴـﺒـﻴــﺔ واﻟ ـﻠــﻮﺣــﺎت وﻋ ــﺮوض‬
‫اﻷداء واﳌﻨﺤﻮﺗﺎت‪.‬‬
‫اﻟ ـ ـ ــﺰاﺋ ـ ـ ــﺮون ﻟ ـﻠ ـﻤ ـﻌ ــﺮض أﻳ ـﻀــﺎ‬
‫ﻳﻤﻜﻨﻬﻢ ﻣﺸﺎﻫﺪة ﻣﻌﺮض »اﻟﺤﺪﻳﻘﺔ‬
‫واﻟﺮﺑﻴﻊ« ﻟﻸﻋﻤﺎل اﻟﻔﺎﺋﺰة ﺑﺠﺎﺋﺰة‬
‫»أﺑﺮاج« اﻟﻔﻨﻴﺔ‪ ،‬واﻟﺘﻲ ﻣﻨﺤﺖ ﻟﺴﺘﺔ‬
‫ﻓﻨﺎﻧﲔ ﻫﻢ أﻧﻮب ﻣﺎﺛﻴﻮ ﺗﻮﻣﺎس ﻣﻦ‬
‫اﻟ ـﻬ ـﻨــﺪ‪ ،‬وﺑــﺎﺳــﻢ ﻣ ـﺠــﺪي ﻣــﻦ ﻣـﺼــﺮ‪،‬‬
‫وﺑﺸﺮى ﺧﻠﻴﻠﻲ ﻣﻦ اﳌﻐﺮب‪ ،‬وﻋﺒﺎس‬
‫أﺧــﺎﻓــﺎن وﻛ ــﺎﻣ ــﺮوز آرام ﻣــﻦ إﻳ ــﺮان‪.‬‬
‫وﺟــﺪﻳــﺮ ﺑــﺎﻟــﺬﻛــﺮ أن اﻟـﺠــﻮاﺋــﺰ ﺗﻤﻨﺢ‬
‫ﻟﻠﻔﺎﺋﺰﻳﻦ ﻋﻠﻰ أﺳــﺎس ﻣﻘﺘﺮﺣﺎﺗﻬﻢ‬
‫ﺑ ــﺪﻻ ﻣــﻦ أﻋـﻤــﺎﻟـﻬــﻢ اﳌ ـﻨ ـﺠــﺰة‪ ،‬وﺑـﻌــﺪ‬
‫إﻋــﻼن اﻟـﺠــﻮاﺋــﺰ ﻳـﺒــﺪأ اﻟـﻔـﻨــﺎﻧــﻮن ﻓﻲ‬
‫ﺗﻨﻔﻴﺬ اﻷﻋـﻤــﺎل ﺑﺎﻟﺘﻨﺴﻴﻖ ﻣــﻊ ﻗﻴﻢ‬
‫ﻓﻨﻲ زاﺋــﺮ‪ ،‬وﻫــﻲ ﻫــﺬا اﻟـﻌــﺎم ﺧﺒﻴﺮة‬
‫اﻟﻔﻨﻮن ﻧﺪى رازا‪.‬‬
‫وﺗـﻀــﻢ ﻟﺠﻨﺔ اﺧـﺘـﻴــﺎر »ﺟــﺎﺋــﺰة‬
‫ﻣﺠﻤﻮﻋﺔ أﺑــﺮاج ﻟﻠﻔﻨﻮن« ﻧﺨﺒﺔ ﻣﻦ‬
‫أﻫﻢ اﻟﺨﺒﺮاء اﳌﺘﺨﺼﺼﲔ ﻓﻲ اﻟﻔﻨﻮن‬
‫اﳌﺮﺋﻴﺔ‪ ،‬ﻣﻨﻬﻢ أﻧﺘﻮﻧﻴﺎ ﻛﺎرﻓﺮ ﻣﺪﻳﺮة‬
‫»آرت دﺑــﻲ«‪ ،‬وداﻧــﺎ ﻓــﺎروﻗــﻲ‪ ،‬داﻋﻤﺔ‬
‫ﻓـﻨــﻮن‪ ،‬وﻏﻠﲔ ﻟــﻮري‪ ،‬ﻣﺪﻳﺮ ﻣﺘﺤﻒ‬
‫اﻟﻔﻦ اﳌﻌﺎﺻﺮ ﻓﻲ ﻧﻴﻮﻳﻮرك‪ ،‬وﺳﻠﻮى‬
‫ﻣـ ـ ـﻘ ـ ــﺪادي‪ ،‬ﻗ ـﻴ ـﻤــﺔ وﻣـ ــﺆرﺧـ ــﺔ ﻓ ـﻨ ـﻴــﺔ‪،‬‬
‫وﺟﻴﺴﻴﻜﺎ ﻣــﻮرﻏــﺎن‪ ،‬ﻗﻴﻤﺔ اﻟﻔﻨﻮن‬
‫اﻟﻌﺎﳌﻴﺔ ﳌـﻌــﺮض داﺳـﻜــﺎﻟــﻮﺑــﻮﻟــﻮس‬
‫اﻟﺘﺎﺑﻊ ﻟﺪار »ﺗﻴﺖ«‪ ،‬وﺟﻮﻟﻴﺎ ﺑﻴﺘﻮن‬
‫ﺟﻮﻧﺰ‪ ،‬ﻣﺪﻳﺮة ﻣﺸﺎرﻛﺔ ﻣﻦ ﻏﺎﻟﻴﺮي‬
‫»ﺳﻴﺮﺑﺎﻧﺘﺎﻳﻦ«‪ ،‬إﺿﺎﻓﺔ إﻟﻰ داﻋﻤﺔ‬
‫اﻟﻔﻨﻮن ﻓﺎﻳﺰة ﻧﻘﻔﻲ‪.‬‬
‫ﺟــﺪﻳــﺮ ﺑــﺎﻟــﺬﻛــﺮ أن إﺟ ـﻤــﺎﻟــﻲ‬
‫ﻋــﺪد اﻷﻋ ـﻤــﺎل اﻟﻔﻨﻴﺔ اﻟـﺘــﻲ ﻓــﺎزت‬
‫ﺑﺎﻟﺠﺎﺋﺰة ﻣﻨﺬ اﻧﻄﻼﻗﻬﺎ وﺻﻠﺖ‬
‫إﻟ ـ ــﻰ ‪ ٢٦‬ﻋـ ـﻤ ــﻼ‪ ،‬ﺟ ـ ــﺮى ﻋــﺮﺿ ـﻬــﺎ‬
‫ﻓــﻲ أﺑ ــﺮز اﻟ ـﺼــﺎﻻت اﻟـﻔـﻨـﻴــﺔ ﺣــﻮل‬
‫اﻟﻌﺎﻟﻢ وﻣﻨﻬﺎ ﺑﻴﻨﺎﻟﻲ اﻟﺸﺎرﻗﺔ‪،‬‬
‫وﺑ ـﻴ ـﻨــﺎﻟــﻲ ﻛــﻮﺗ ـﺸــﻲ ﻣــﻮزﻳــﺮﻳــﺲ‪،‬‬
‫وﺑـﻴـﻨــﺎﻟــﻲ ﺳ ـﻴــﺪﻧــﻲ‪ ،‬إﺿــﺎﻓــﺔ إﻟــﻰ‬
‫ﻣﺠﻤﻮﻋﺔ ﻣــﻦ اﳌـﺘــﺎﺣــﻒ اﻟﻌﺎﳌﻴﺔ‬
‫ﻣـﺜــﻞ ﻣﺘﺤﻒ ﻓـﻴـﻜـﺘــﻮرﻳــﺎ وأﻟـﺒــﺮت‬
‫ﻓــﻲ ﻟـﻨــﺪن وﻣﺘﺤﻒ ﺳﻤﻴﺜﻮﻧﻴﺎن‬
‫ﻓﻲ واﺷﻨﻄﻦ دي ﺳﻲ‪.‬‬
‫وﻟـﻜــﻦ ﻳـﺠــﺐ اﻟ ـﻘــﻮل إن »آرت‬
‫دﺑـ ــﻲ« ﺗ ـﺤــﻮل ﻣ ــﻦ ﻓ ـﻌــﺎﻟ ـﻴــﺔ ﻓﻨﻴﺔ‬
‫ﻣـ ـﺨـ ـﺘـ ـﺼ ــﺔ إﻟ ـ ـ ــﻰ ﺣـ ــﺎﻟـ ــﺔ ﺛ ـﻘــﺎﻓ ـﻴــﺔ‬
‫ﺧ ــﺎﺻ ــﺔ‪ ،‬ﺣ ـﻴــﺚ ﺗ ـﺘ ـﺤــﻮل اﳌــﺪﻳ ـﻨــﺔ‬
‫ﻛﻠﻬﺎ وﺗﺪب ﻓﻴﻬﺎ ﺣﻴﻮﻳﺔ ﺧﺎﺻﺔ‪،‬‬
‫وﻟ ــﻦ ﻳ ـﺤ ـﺘــﺎج اﳌـ ــﺮء إﻟ ــﻰ اﻟــﺬﻫــﺎب‬
‫إﻟـ ــﻰ أﺑـ ـﻌ ــﺪ ﻣ ــﻦ ﻗ ــﺎﻋ ــﺎت اﻟ ـﻌــﺮض‬
‫ﻓ ــﻲ ﺟ ـﻤ ـﻴــﺮا ﻟ ـﻠــﻮﻗــﻮف ﻋ ـﻠــﻰ ﺗﻠﻚ‬
‫اﻟ ـ ـﺤ ــﺎﻟ ــﺔ‪ .‬ﻓ ــﺎﻟـ ـﻘ ــﺎﻋ ــﺎت اﳌـ ـﺸ ــﺎرﻛ ــﺔ‬
‫واﻟﺸﺮﻓﺎت واﳌﻤﺮات وﻛﻞ اﻷرﻛﺎن‬
‫ﺣــﻮل اﳌـﻌــﺮض ﺗﺸﻬﺪ ﻣﻨﺎﻗﺸﺎت‬
‫وأﺣ ـ ــﺎدﻳ ـ ــﺚ ﺗ ـﺸ ـﻤــﻞ ﻛـ ــﻞ ﻣ ـﻨــﺎﺣــﻲ‬
‫اﻟ ـ ـﺤ ـ ـﻴ ــﺎة ﻣـ ـﻤ ــﺎ ﻳ ـ ـﺤـ ــﻮل اﳌـ ـﻌ ــﺮض‬
‫إﻟـ ـ ــﻰ ﻣ ـﻨ ــﺎﺳ ـﺒ ــﺔ اﺟـ ـﺘ ـﻤ ــﺎﻋـ ـﻴ ــﺔ ﻣــﻦ‬
‫اﻟــﺪرﺟــﺔ اﻷوﻟــﻰ ﻟﻠﻜﺜﻴﺮﻳﻦ اﻟﺬﻳﻦ‬
‫ﻳﺤﺮﺻﻮن ﻋﻠﻰ اﻟﺤﻀﻮر ﻟﻠﻘﺎء‬
‫اﳌ ـ ـﻌـ ــﺎرف واﻷﺻـ ـ ــﺪﻗـ ـ ــﺎء‪ ،‬وأﻳ ـﻀــﺎ‬
‫ﻟــﺮؤﻳــﺔ ﺑـﻌــﺾ اﻷﺳ ـﻤــﺎء اﻟــﻼﻣـﻌــﺔ‬
‫ﻓ ــﻲ ﻋــﺎﻟــﻢ اﻟ ـﻔ ـﻨــﻮن‪ .‬وﻣـ ــﻦ ﺟــﺎﻧــﺐ‬
‫آﺧ ــﺮ ﻳ ـﺸــﺎرك ‪ ١٢‬ﻓـﻨــﺎﻧــﺎ وﻋــﺮﺿــﺎ‬
‫ﻓﻨﻴﺎ ﻓــﻲ ﻓﻌﺎﻟﻴﺔ »ﻣـﺸــﺎرﻳــﻊ آرت‬
‫دﺑ ــﻲ« ﺣـﻴــﺚ ﻳ ـﻘــﺪﻣــﻮن ﻣﺠﻤﻮﻋﺔ‬
‫ﻣﻦ اﻷﻋﻤﺎل اﻟﺘﺮﻛﻴﺒﻴﺔ واﻟﻠﻮﺣﺎت‬
‫وﻋﺮوض اﻷداء واﳌﻨﺤﻮﺗﺎت ﺗﻤﺘﺪ‬
‫ﻋ ـﻠــﻰ ﻣ ـﺴــﺎﺣــﺎت داﺧـ ــﻞ اﳌ ـﻌــﺮض‬
‫وﺧﺎرﺟﻪ‪.‬‬
‫ﺗﻘﻴﻴﻤﺎ ﻹﻧﺠﺎزاﺗﻪ ﰲ اﻟﺴﻨﻮات اﻷﺧﲑة ﻣﻦ ﻋﻤﺮه ﺣﱴ وﻓﺎﺗﻪ‬
‫ﻟﻨﺪن‪ :‬ﻋﺎدل ﻋﺒﺪ اﻟﺮﺣﻤﻦ‬
‫ﺗـﻌــﺮض ﻷول ﻣــﺮة ﻓــﻲ ﻟﻨﺪن‬
‫ﺗـ ـﺴ ــﻊ ﻣ ـ ــﻦ اﻟ ـ ـﻠـ ــﻮﺣـ ــﺎت اﻟــﺰﻳ ـﺘ ـﻴــﺔ‬
‫ﻟﻠﻔﻨﺎن »اﻟﺮادﻳﻜﺎﻟﻲ« اﻟﺒﺮﻳﻄﺎﻧﻲ‬
‫ﺟﻮزﻳﻒ ﺗﻴﺮﻧﺮ ﻣﻌﺎ ﺧﻼل ﻧﻬﺎﻳﺔ‬
‫ﻫﺬا اﻟﻌﺎم‪.‬‬
‫وﺗ ـﻜ ـﺸــﻒ اﻟ ـﻠــﻮﺣــﺎت اﻟـﺘـﺴــﻊ‬
‫اﻟﺰﻳﺘﻴﺔ اﻟﺘﻄﻮر واﳌﻬﺎرات اﻟﻔﻨﻴﺔ‬
‫ﻟ ـﺘ ـﻴــﺮﻧــﺮ ﻓ ــﻲ أواﺧـ ـ ــﺮ ﺣ ـﻴــﺎﺗــﻪ ﻓﻲ‬
‫ﻣﻨﺘﺼﻒ اﻟـﻘــﺮن اﻟـ ــ‪ ،١٩‬اﻟـﺘــﻲ ﻗﺎل‬
‫ﻋﻨﻬﺎ اﻟﻨﺎﻗﺪ ﺟﻮن روﺳﻜﲔ إﻧﻬﺎ‬
‫ﻛﺎﻧﺖ ﺗﻌﺒﻴﺮا ﻋﻠﻰ ﻣﺮﺿﻪ اﻟﻌﻘﻠﻲ‬
‫اﻟﺬي أﺻﺎﺑﻪ ﻓﻲ ﻋﻘﺪه اﻟﺴﺎﺑﻊ‪.‬‬
‫ُ‬
‫وﻳ ـﻌــﺪ اﳌ ـﻌــﺮض اﻟـ ــﺬي ﻳـﻘــﺎم‬
‫ﻓــﻲ »ﺗﻴﺖ ﺑــﺮﻳــﱳ« ﻓــﻲ اﻟﻌﺎﺻﻤﺔ‬
‫اﻟﺒﺮﻳﻄﺎﻧﻴﺔ ﻟﻨﺪن ﺗﻘﻴﻤﺎ أﺳﺎﺳﻴﺎ‬
‫ﻹﻧﺠﺎزاﺗﻪ ﻓﻲ اﻟﺴﻨﻮات اﻷﺧﻴﺮة‬
‫ﻣﻦ ﻋﻤﺮه ﺣﺘﻰ وﻓﺎﺗﻪ ﻋﺎم ‪.١٨٥١‬‬
‫ّ‬
‫وﻳﻌﺪ ﺗﻴﺮﻧﺮ ﺑﺮأي اﻟﻜﺜﻴﺮﻳﻦ‬
‫أﻋﻈﻢ رﺳﺎﻣﻲ اﻟﻄﺒﻴﻌﺔ وﻣﻨﺎﻇﺮ‬
‫اﻟﺒﺤﺮ اﻟﺮوﻣﺎﻧﺴﻴﺔ ﻓﻲ ﺑﺮﻳﻄﺎﻧﻴﺎ‬
‫ﺧﻼل اﻟﻘﺮن اﻟـ‪.١٩‬‬
‫ﻟ ـﻜ ـﻨــﻪ أﻗـ ــﻞ اﻟ ـﻔ ـﻨــﺎﻧــﲔ ﺣ ـﻈــﺎ‪،‬‬
‫ﻧـﻈــﺮا ﻷن اﻟـﻨـﻘــﺎد اﻧـﺼــﺮﻓــﻮا ﻋﻨﻪ‬
‫ﻋـﻠــﻰ اﻟــﺮﻏــﻢ ﻣــﻦ ﻣﻮﻫﺒﺘﻪ وﻣﻴﻠﻪ‬
‫ﺗﺴﻊ ﻟﻮﺣﺎت ﻟﻠﺒﺮﻳﻄﺎﻧﻲ ﺗﻴﺮﻧﺮ ﺗﻌﺮض ﻷول ﻣﺮة ﻓﻲ ﻟﻨﺪن ﻛﻤﺠﻤﻮﻋﺔ‬
‫اﻟﻔﻨﺎن اﻟﺒﺮﻳﻄﺎﻧﻲ ﺟﻮزﻳﻒ ﺗﻴﺮﻧﺮ ﻓﻲ ﻣﺮﺳﻤﻪ‬
‫اﻟـﺴـﻔـﻴـﻨــﺔ اﻟـﺤــﺮﺑـﻴــﺔ اﻟ ـﺘــﻲ ﻟﻌﺒﺖ‬
‫دورا ﻣﺸﻬﻮدا ﻓﻲ ﻣﻌﺮﻛﺔ اﻟﻄﺮف‬
‫اﻷﻏ ـ ـ ـ ـ ـ ّـﺮ‪ ،‬وﻫـ ـ ــﻲ ﺗـ ـﺴ ـﺤ ــﺐ ﺑ ـﻌ ـﻴــﺪا‬
‫اﻟﺤﻴﺎة‪ .‬ﻛﺎن ﺗﻴﺮﻧﺮ ﻳﺪرك أﻫﻤﻴﺔ‬
‫ﻫ ـ ــﺬه اﻟـ ـﻠ ــﻮﺣ ــﺔ‪ ،‬وﻟـ ـ ــﺬا ﻓ ـﻘ ــﺪ ﻛ ــﺎن‬
‫ﻳﺮﻓﺾ ﺑﻴﻌﻬﺎ ﻋﻠﻰ اﻟــﺪوام‪ ،‬ﻣﻨﺬ‬
‫اﻟـﺘـﻔــﺎﻋــﻞ اﻟــﻮﺛ ـﻴــﻖ واﻟ ـﺨــﻼق ﺑﲔ‬
‫اﻟﻀﻮء واﻟﺠﻮ‪ ،‬وﻫﻮ ﻣﻠﻤﺢ ﻃﺒﻊ‬
‫ﺟﻤﻴﻊ ﻟﻮﺣﺎﺗﻪ‪.‬‬
‫اﻟﻠﻮﺣﺎت ﺗﻌﻜﺲ اﻟﺘﻄﻮر واﳌﻬﺎرات اﻟﻔﻨﻴﺔ ﻟﺘﻴﺮﻧﺮ ﻓﻲ أواﺧﺮ ﺣﻴﺎﺗﻪ‬
‫ﻣﻨﻄﻘﺔ ﻗـﻨــﺎل ﺟـﻴــﻮدﻳـﻜــﺎ ﻓــﻲ ﻳــﻮم‬
‫ﻣﻠﺒﺪ ﺑﺎﻟﻐﻴﻮم أﺣﺪ أروع اﻷﻋﻤﺎل‬
‫اﻟﻔﻨﻴﺔ اﻟﺘﺸﻜﻴﻠﻴﺔ اﻟﺘﻲ ﺗﺘﺨﺬ ﻣﻦ‬
‫ﺑ ـﻨ ـﻴ ــﻮﻳ ــﻮرك‪ ،‬ﺑ ـﻤ ـﺒ ـﻠــﻎ ‪ ٣٦‬ﻣـﻠـﻴــﻮن‬
‫دوﻻر‪ .‬وﻫـ ــﻲ واﺣ ـ ـ ــﺪة ﻣ ــﻦ ﺛــﻼث‬
‫ﻟﻮﺣﺎت زﻳﺘﻴﺔ ﺑﺪأ ﺗﻴﺮﻧﺮ رﺳﻤﻬﺎ‬
‫اﻟﻈﺎﻫﺮة ﻓﻲ اﻟﺨﻠﻔﻴﺔ ﻛﻤﺎ ﻟﻮ أﻧﻬﺎ‬
‫ﺗﺬوب وﺗﻐﺮق ﻓﻲ اﻟﻀﻮء‪.‬‬
‫واﺳ ـ ـﺘ ـ ـﺨ ــﺪم اﻟـ ـﻔـ ـﻨ ــﺎن أﻟ ــﻮاﻧ ــﺎ‬
‫ﻗ ـ ــﻮي ﻳ ـﺘ ـﺴــﺎﻗــﻂ ﻣ ــﻦ اﻟـ ـﺴـ ـﻤ ــﺎء أو‬
‫ﻳﺘﺼﺎﻋﺪ ﻣﻦ اﳌﺎء‪.‬‬
‫ﻛ ـﻤــﺎ ﻛـ ــﺎن ﻳــﺮﻛــﺰ داﺋـ ـﻤ ــﺎ ﻋﻠﻰ‬
‫إﻇ ـ ـﻬـ ــﺎر اﻟ ـﺘ ـﺒ ــﺎﻳ ــﻦ ﺑـ ــﲔ اﻷﺟـ ـﺴ ــﺎم‬
‫واﻷﺷﻴﺎء اﻟﻘﺮﻳﺒﺔ واﻟﺒﻌﻴﺪة‪ .‬ﻟﻜﻦ‬
‫أﻫﻢ ﺳﻤﺔ ﻓﻲ أﻋﻤﺎﻟﻪ ﻫﻲ اﻧﺒﻬﺎره‬
‫اﻟﻜﺒﻴﺮ ﺑﺎﳌﺆﺛﺮات اﻟﺒﺼﺮﻳﺔ ﻟﻠﻤﺎء‬
‫واﻟﻨﺎر وﻋﻨﺎﺻﺮ اﻟﻄﺒﻴﻌﺔ إﺟﻤﺎﻻ‪.‬‬
‫و اﻋـﺘـﻤــﺪ اﻟ ـﻔ ـﻨــﺎن ﻓــﻲ رﺳـﻤــﻪ‬
‫اﻟﻠﻮﺣﺔ ﻋﻠﻰ ﻣﺠﻤﻮﻋﺔ ﻣﻦ اﻷﻟﻮان‬
‫اﳌــﺎﺋـﻴــﺔ اﻟـﺘــﻲ ﻋﻤﻞ ﻋﻠﻰ ﺗﻮﻟﻴﻔﻬﺎ‬
‫ﺧﻼل زﻳﺎرﺗﻪ ﻟﻠﺒﻨﺪﻗﻴﺔ ﻓﻲ اﻟﻌﺎم‬
‫اﻟﺬي ﺳﺒﻖ رﺳﻤﻪ ﻟﻠﻮﺣﺔ‪.‬‬
‫وﻳﺼﻨﻒ ﺗﻴﺮﻧﺮ ﺑﻮﺻﻔﻪ أﺣﺪ‬
‫أﻋـ ـﻀ ــﺎء اﻟ ـﺤــﺮﻛــﺔ اﻟــﺮوﻣــﺎﻧ ـﺴ ـﻴــﺔ‪،‬‬
‫ﺑﻴﻨﻤﺎ ﻳﺮاه آﺧﺮون راﺋﺪا ﻣﻦ رواد‬
‫اﻻﻧﻄﺒﺎﻋﻴﺔ اﻷواﺋﻞ‪.‬‬
‫وﺣ ـ ـﻘ ـ ـﻘـ ــﺖ ﻟـ ــﻮﺣ ـ ـﺘـ ــﻪ »روﻣ ـ ـ ـ ــﺎ‬
‫اﳌ ـﻌــﺎﺻــﺮة ‪ -‬ﻛــﺎﻣ ـﺒــﻮ ﻓــﺎﺗـﺸـﻴـﻨــﻮ«‬
‫أﻋ ـﻠــﻰ ﺳـﻌــﺮ ﺑــﲔ اﻷﻋ ـﻤــﺎل اﻟﻔﻨﻴﺔ‬
‫اﻟ ـﺘــﻲ ﺑـﻴـﻌــﺖ ﻓــﻲ اﳌـ ــﺰاد اﻟﺼﻴﻔﻲ‬
‫اﳌﺴﺎﺋﻲ اﻟﺬي أﻗﺎﻣﺘﻪ »ﺳﻮذﺑﻴﺰ«‬
‫ﻟـ ـ ــﻸﻋ ـ ـ ـﻤـ ـ ــﺎل اﻟ ـ ـﻔ ـ ـﻨ ـ ـﻴـ ــﺔ اﻟ ـ ـﻘـ ــﺪﻳ ـ ـﻤـ ــﺔ‬
‫واﻟـﻠــﻮﺣــﺎت اﻟﺒﺮﻳﻄﺎﻧﻴﺔ‪ ،‬ﺳﺠﻠﺖ‬
‫ﻓﻴﻪ أرﻗــﺎم ﻗﻴﺎﺳﻴﺔ ﻷﻋﻤﺎل ﺗﺴﻌﺔ‬
‫ﻓﻨﺎﻧﲔ‪.‬‬
ARTS & CULTURE
friday, march 21, 2014
Magic Malik
Music Hall, Starco Center,
Wadi Abu Jameel
April 8, 9 p.m.
01-999-666
Magic Malik and his new
ensemble Tranz Denied will
take electro-pop to a whole
other dimension.
DESIGN
‘Element’
Beirut Art Center, off Corniche al-Nahr, Jisr al-Wati
Until March 22
01-397-018,
beirutartcenter.org
Characterized by raw textures, the selection of Raëd
Abillama designs exhibited
here are intended to evoke
feelings of both tension
and timelessness.
ART
‘Odditorium’
Al-Bustan Hotel, Beit Mery
Until March 23
www.albustanfestival.com
Lebanese artist Nabil Helou
immerses you in a strange
world where his installations
about void and space are
populated by odd creatures.
‘Mute Beauty …
Blinded Truth’
Cynthia Nouhra Art
Gallery, Elias Hrawi Avenue,
Furn al-Shubbak
Until April 10
01-281-755
With this exhibition, Antoine
Mansour’s paintings revisit
classical scenes and give
them a modern twist.
‘Animism’
Ashkal Alwan, Jisr al-Wati,
near Souk al-Ahad, facing
IMPEX Garage
Until April 4
01-397-018
ashkalalwan.org
Curated by Anselm Frank,
this exhibition of works and
archival documents
interrogates notions of
modernity via critical
application of the
anthropological term
“animism” to delineate how
objects are made and how
the status of person can be
withheld or withdrawn.
‘The Unseen’
Ayyam Gallery, across from
Beirut Marina, BCD
Until March 30
01-374-450
This exhibition of new photographs by Lebanese conceptual artist Lara Zankoul
challenges the conventional
rules of photography.
‘This Day @ Ten’
Sfeir-Semler Gallery,
Tannous Building, Karantina
Until March 22
01-566-550
This solo exhibition features
work by photographer and
artist Akram Zaatari, showcasing three of his video
works, “This Day” (2003),
“In This House” (2004-12)
and “Letter to a Refusing
Pilot” (2013).
‘Georges Daoud Corm
1896-1971: Lebanese
Painterly Humanism’
AUB Art Gallery, Sidani
Street, Ras Beirut
Until April 19
A thoughtful walk through Art Dubai
Twelve artists
unveiled their
installations as part
of Gulf fair
By Jim Quilty
The Daily Star
D
UBAI: Anyone walking
through the main entrance
of the Madinat Jumeira
conference center nowadays must run a gauntlet of thighhigh marsh grass. A miniature meadow of the stuff has been planted in
the foyer, in a few dozen small flowerpots, and arranged in thick rows
on either side of the twin doors.
By Tuesday evening – the day
before the eighth edition of Art
Dubai opened to the public – several of the pots had already been
knocked over and the grass trampled underfoot by the fair’s patrons,
who may not have realized they
were walking though a piece of
installation art.
That seems to have been the intention behind “The Desired Path,” a
two-stage work by New York-based
Lebanese artist Youmna Chlala.
“The title ‘The Desired Path’ is an
architectural
term,”
Chlala
explained. “Whenever there’s a concrete footpath through a green
space, you always see another one
that pedestrians take across the
grass. It’s more-or-less parallel to the
official pathway but less direct, and
that’s the one people want to take.”
The work’s second stage is located a few hundred meters north of
the first, beyond the far side of the
Madinat Jumeira, at the base of a
set of outdoor stairs leading to the
Mina al-Salam hotel – the venue of
Art Dubai Modern and the fair’s
Global Art Forum.
Here, art buyers don’t find pots of
marsh grass, but strips of sod – the
sort of weed-free grass cultivated in
nurseries, cut from the soil like a
scalp from the skull and sold to impatient and wealthy homeowners – that
has been arranged into a square. If
you raise one of the once-green strips
and peer beneath, as the public is
encouraged to do, you see the sod has
been laid on a bed of sterile sand.
“For me,” Chlala said, “this piece
is all about time.”
The most-obvious temporal element is the degradation of the plants
over the course of Art Dubai from
green to a shade of gray-beige. For
the artist, the work is also meant to
evoke “sensory memory” in the
public – recollected encounters with
greenery that are accentuated by the
piece’s incongruity within the meticulously manicured space.
The two different types of flora
used in “The Desired Path” juxtapose the way in which this patch of
turf may once have looked (when it
was still called Chicago Beach) with
Photo courtesy of Ayham Kalla
LE BAN O N
MUSIC
Solh speaks to visitors beside her installation piece, “Clogged.”
Photo courtesy of Youmna Chlala
AGENDA
REVIEW
The plants in Chlala’s installation piece, “The Desired Path,” are watered daily.
what it has become since being
transformed into the upscale hotel
district of Jumeirah.
There is also a performative
aspect – not simply the public’s
tramping through and over the
grasses, but in their maintenance.
The plants are being watered daily,
with a spray bottle.
If “The Desired Path” has a
weakness, it’s less in the work itself
than its spatial deployment. The two
stages are so far from each other that
preoccupied art-market aficionados
may have trouble keeping both in
mind at once, or even noticing that
they are both facets of the same art-
work, rather than the detritus of
some grounds-maintenance project
at the hotel complex.
Chlala is one of 12 artists
involved in the 2014 edition of Art
Dubai Projects. Held in conjunction
with A.i.R Dubai – a residency program run by the Dubai Culture and
Arts Authority, Tashkeel, Delfina
Foundation and Art Dubai – it commissions younger artists to collaborate with a curator to create new
site-specific works.
This year’s curator is New Yorkbased writer Fawz Kabra, who has
recently been involved in prominent
projects in New York as well as Abu
Dhabi and Sharjah.
As always, diversity is the mark
of this slate of projects.
Maitha Demithan’s “Live Portraiture,” for instance, is a performative photo collage created over
the course of Art Dubai that assembles images of the body parts that
participating fair-goers allow to be
scanned into a computer.
Nadia Ayari’s “Selfie Booth WC”
is comprised of a wall erected inside
a men’s washroom in the Madinat
Jumeira, on either side of which
have been hung a pair of similar
works – square plaster surfaces
adorned by floral paintings that
have been affixed to strip of burlap.
Hajra Waheed’s “Character 1: In
the Rough” is a series of shadow performances on a fake abra (a traditional boat), a permanent fixture in
the artificial lagoon separating the
Madinat Jumeira from the Mina AlSalam. Its deck has been surrounded
by a back-lit white curtain, in front
of which actors enact a story whose
plot only they know.
Another strong performanceinflected work situated on the fair’s
sprawling grounds is Mounira Al
Solh’s “Clogged.” Situated between
the Madinat Jumeira and the artificial lagoon, it consists of a kiosk-style
installation whose shelves are lined
with 36 pairs of traditional clogs –
the sort you’d be given if you went to
a traditional hammam.
Like so many contemporary
artists, Solh commissioned a fabricator to make her objects, in this
case a Damascus craftsman specializing in this footwear.
Many curious art-fair patrons
have enthusiastically swapped their
towering stilettos for a pair of the
handcrafted wooden sandals for a
couple of hours of relaxation, while
the Lebanese artist explains what is
behind this work.
“Since the crisis began in Syria
I’ve been blocked, clogged,” she
said. “My mom’s family is Syrian
and we have lots of relatives inside.”
“Clogged” is a simple and wellrealized work based on the multilingual notion of “placing yourself in
someone else’s shoes” or “walking a
mile in someone else’s shoes.”
“Walking is what displaced people do,” the artist says, “and as a
refugee you often only carry your
shoes with you.”
Like much of Solh’s previous
work, a wry sense of humor is
embedded within “Clogged,” here
accentuated by the incongruity of its
placement in the postmodern confines of the Madinat Jumeira, teeming with the fair’s well-heeled
patrons, who are often depicted as
being aloof of the humanitarian
concerns that compelled the artist to
make the work.
Lest anyone regard “Clogged” as
flippant, Solh says that, necessary as
it was for her, it didn’t come easily.
“For years I had a problem with
artists trying to do something on this
conflict,” she recalls. “It seemed too
early for me and the work that was
coming out seemed unfinished and
propagandistic. But I had to make
this work because until I did I felt
like I wouldn’t be able to do anything else. I guess you could say
‘Clogged’ has had a three-year gestation process.”
“For me this work is also about
how the clogs sound as you walk in
them.” She stamps a heel against the
stone surface. “Sometimes you have
to make noise.”
Art Dubai runs until 22 March. For more
information, see artdubai.ae.
Asian art auctions bring buyers from all over the world
By Patricia Reaney
Reuters
NEW YORK: Ancient ritual wine
vessels, modern contemporary paintings and masterpieces of Buddhism,
Hinduism, Daoism and Shintoism
are among the highlights of Asian art
sales in New York next week.
The Asia Week auctions at
Christie’s and Sotheby’s will feature
thousands of items in a series of sales
that could top $100 million. Last
spring’s auctions totaled more than
$130 million in sales.
“We’ve got collectors coming
from China, Hong Kong and India,
and Europe, of course,” said Hugo
Weihe, Christie’s international director for Asian art.
Asia has become a player in the
global art market, particularly in
postwar and contemporary art sales.
“I think one of the most wonderful and fascinating things about Asia
Week is that it covers literally the
whole of Asia,” said Henry
Howard-Sneyd, vice chairman of
Asian art at Sotheby’s.
“We offer art from predominantly China and from India, but of
course, we also have material from
other parts of Asia as well.”
Weihe said that along with the
aesthetic appeal of the works, collectors viewed art as an asset class.
“People see it as something beautiful you can live with, but it is also
going to hold its value over time.
And if you look historically the way
prices have risen, it is a very good
proposition,” he explained.
The global art market totaled
$65.9 billion last year, an increase of
8 percent and the highest level since
2007, according to a report by the
European Fine Art Foundation.
Although the United States is the
biggest art market with an estimated $25 billion, sales in China were
nearly $16 billion, a rise of 2 percent
from the previous year. It accounts
for about 24 percent of global art
sales, the figures showed.
Weihe said a Chinese “Min” fanglei, a massive bronze ritual wine
vessel, which sold for $10 million
previously and dates to the 12th-
11th century BC, was the top lot of
Christie’s March 18-21 sales.
Another highlight is Indian artist
Tyeb Mehta’s “Untitled (Bull),” a
2000 painting of a falling, flailing
bull, which has a presale estimate of
up to $3 million.
Paintings, sculptures, manuscripts
representing Asia’s religions and
drawings by Indian artist Francis
Newton Souza will also be featured.
At Sotheby’s, a Chinese bronze
owl-headed ritual wine vessel dating
to the 8th-7th century BC could
fetch as much as $6 million.
“It’s designed with the combination of owl and also a very abstract
form. And so you can use it both as
a vessel and you can treat it as a
sculpture,” said Tao Wang, the head
of Sotheby’s Chinese works of art
department in New York.
“The Cantilevered Road to Shu,”
a huge landscape painting by Chinese artist Yuan Yao, who worked
in the mid-18th century, could sell
for upward of $2 million.
Painting No. 3 by Vasudeo S.
Gaitonde, a leading Indian abstract
painter, has the same estimate.
Larger than life Ron Mueck sculptures on display in Rio de Janeiro
‫‪ 14‬ﺛﻘﺎﻓﺔ وﻧﺎس‬
‫اﻷرﺑﻌﺎء ‪ ١٩‬آذار ‪ ٢٠١٤‬اﻟﻌﺪد ‪٢٢٥٠‬‬
‫ﻣﻬﺮﺟﺎن‬
‫»آرت دﺑﻲ« ﻳﻌﻴﺪ اﻻﻋﺘﺒﺎر‬
‫ﻋﻴﻦ ﻋﻠﻰ اﻟﻘﻮﻗﺎز واﻟﺘﺎرﻳﺦ‬
‫اﻧﻄﻼق اﻟﺪورة اﻟﺜﺎﻣﻨﺔ ٌ‬
‫ﺑﺪءﴽ ﻣﻦ اﻟﻴﻮم‪ ،‬ﺗﻨﻄﻠﻖ اﻟﺪورة اﻟﺜﺎﻣﻨﺔ ﻣﻦ‬
‫اﳌﻌﺮض اﻟﺴﻨﻮي اﻟﺨﺎص ﺑﺎﻟﻔﻨﻮن اﳌﻌﺎﺻﺮة‬
‫ﻓﻲ ﻣﺪﻳﻨﺔ ﺟﻤﻴﺮا‪ .‬أﺳﻤﺎء ﻛﺜﻴﺮة ﺗﺸﺎرك ّﻓﻲ‬
‫اﻟﺤﺪث اﻟﺬي ّ‬
‫ﺗﺤﻮل ﺳﺮﻳﻌﴼ إﻟﻰ ﻣﺤﺠﺔ ﻟﻜﻞ‬
‫اﻟﺼﺎﻻت اﻟﻌﺮﺑﻴﺔ واﻷﺟﻨﺒﻴﺔ‪ ،‬وﻟﺠﺎﻣﻌﻲ اﻷﻋﻤﺎل‪،‬‬
‫اﻟﻬﻮاة واﳌﺤﺘﺮﻓﲔ‪ .‬ﺗﻐﻴﻴﺮات ﻋﺪة ﺷﻬﺪﻫﺎ‬
‫اﳌﻬﺮﺟﺎن ﻫﺬه اﻟﺴﻨﺔ ﻟﻌﻞ أﺑﺮزﻫﺎ ﻗﺴﻢ‬
‫»ﻣﻮدرن« اﻟﺬي ﻳﺪﻋﻮ ّ‬
‫اﻟﺮواد إﻟﻰ »اﻟﺤﻔﻠﺔ«‬
‫دﺑﻲ ــ روي دﻳﺐ‬
‫ّ‬
‫ﺧﻼل‬
‫أﺛﺒﺖ »آرت دﺑﻲ« ّ‬
‫ﺑﻼ أي ﻣﻨﺎزع‪ّ ،‬‬
‫ﺳـ ـﻨ ــﻮات ﻗـﻠـﻴـﻠــﺔ أﻧ ـ ــﻪ اﳌـ ـﻌ ــﺮض اﻟ ـﻔــﻨــﻲ‬
‫اﻷﺑﺮز ﻓﻲ اﳌﻨﻄﻘﺔ اﻟﻌﺮﺑﻴﺔ‪ .‬ذﻟﻚ ﻳﻌﻮد‬
‫إﻟﻰ ﻋﻨﺎﺻﺮ ﻋﺪة‪ ،‬ﻣﻨﻬﺎ إﻗﺎﻣﺔ اﳌﻌﺮض‬
‫ﺑﺮﻋﺎﻳﺔ ودﻋــﻢ رﺳﻤﻴﲔ‪ ،‬وﺗــﺰاﻳــﺪ ﻋﺪد‬
‫ﺻﺎﻻت اﻟﻌﺮض اﳌﺸﺎرﻛﺔ ﻛﻞ ﺳﻨﺔ ﻣﻦ‬
‫ﻣﺨﺘﻠﻒ أﻧﺤﺎء اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ واﻟﻌﺎﻟﻢ‪،‬‬
‫وﺗﻮاﻓﺪ ﻋﺪد ﻛﺒﻴﺮ ﻣﻦ ﺟﺎﻣﻌﻲ اﻟﺘﺤﻒ‪،‬‬
‫ﻻ ﺑﻞ اﻧﺘﻈﺎر ﻣﻮﻋﺪه ﻛﻞ ﺳﻨﺔ ﻻﻗﺘﻨﺎء‬
‫اﻷﻋـ ـﻤ ــﺎل اﻟـ ـﺠ ــﺪﻳ ــﺪة‪ .‬ﺑ ـ ــﺪءﴽ ﻣ ــﻦ اﻟ ـﻴــﻮم‪،‬‬
‫ﺗﺴﺘﻀﻴﻒ »ﻣــﺪﻳـﻨــﺔ ﺟـﻤـﻴــﺮا« اﻟ ــﺪورة‬
‫اﻟﺜﺎﻣﻨﺔ ﻣﻦ اﳌﻌﺮض اﻟﺴﻨﻮي اﳌﺴﺘﻤﺮ‬
‫ﺣﺘﻰ ‪ ٢٢‬آذار )ﻣﺎرس(‪.‬‬
‫ﺗـﺘــﻮزع ﺻــﺎﻻت اﳌ ـﻌــﺎرض ﻋﻠﻰ ﺛﻼﺛﺔ‬
‫ﺑـ ــﺮاﻣـ ــﺞ ﻣ ـ ـﺘـ ــﻮازﻳـ ــﺔ‪ ،‬ﺑ ـﻌ ــﺪ اﺳ ـﺘ ـﺤ ــﺪاث‬
‫ﺑ ـ ــﺮﻧ ـ ــﺎﻣ ـ ــﺞ »ﻣ ـ ـ ـ ـ ـ ـ ـ ـ ــﻮدرن« )ﻣـ ـﺨـ ـﺼ ــﺺ‬
‫ﻟ ـﻠ ـﻔ ــﻦ اﻟ ـ ـﺤـ ــﺪﻳـ ــﺚ( ﻫـ ـ ــﺬه اﻟ ـ ـﺴ ـ ـﻨ ــﺔ‪ .‬ﻓــﻲ‬
‫اﻟﺒﺮﻧﺎﻣﺞ اﳌﺨﺼﺺ ﻟﻠﻘﺴﻢ اﳌﻌﺎﺻﺮ‬
‫)ﻛــﻮﻧ ـﺘ ـﻤ ـﺒــﺮوري(‪ ،‬ﺗ ـﺸــﺎرك ﻫ ــﺬا اﻟـﻌــﺎم‬
‫‪ ٧٠‬ﺻــﺎﻟــﺔ ﻓﻨﻴﺔ ﻣــﻦ ‪ ٣٠‬دوﻟ ــﺔ‪ .‬أﻣــﺎ ﻣﻦ‬
‫ﻟـﺒـﻨــﺎن ﻓـﺘـﺸــﺎرك ﺛــﻼث ﺻ ــﺎﻻت‪ .‬ﺗﺤﺖ‬
‫ﻋـ ـﻨ ــﻮان »ﻣ ـﻨــﺎﻇــﺮ ﻓــﺎﻧ ـﺘــﺎزﻣــﺎﻏــﻮرﻳــﺔ«‪،‬‬
‫ً‬
‫ﺗ ـﻘــﺪم »ﻏــﺎﻟ ـﻴــﺮي أﺟ ـﻴــﺎل« أﻋ ـﻤــﺎﻻ ﻟﻜﻞ‬
‫ﻣ ـ ـ ــﻦ‪ :‬أﻳ ـ ـﻤـ ــﻦ ﺑـ ـﻌـ ـﻠـ ـﺒـ ـﻜ ــﻲ‪ ،‬ﻫـ ـﺒ ــﻪ ﻛ ـﻠ ــﺶ‪،‬‬
‫ﺗـ ـﻐ ــﺮﻳ ــﺪ درﻏـ ـ ـ ـ ـ ــﻮث‪ ،‬ﻋـ ـﻤ ــﺮ ﻓ ـ ــﺎﺧ ـ ــﻮري‪،‬‬
‫ﻓــﺎدﻳــﺎ ﺣـ ــﺪاد‪ ،‬ﺗـﻨـﺒــﻚ وﻣ ـﻴ ــﺮاي ﻗـﺼــﺎر‪.‬‬
‫أﻣ ــﺎ ﺻــﺎﻟــﺔ »ﺻ ـﻔ ـﻴــﺮ زﻣ ـﻠ ــﺮ« ﻓـﺘـﻌــﺮض‬
‫ً‬
‫أﻋ ـ ـﻤـ ــﺎﻻ ﻟ ـﻔ ـﻨــﺎﻧــﲔ ﻟ ـﺒ ـﻨــﺎﻧ ـﻴــﲔ اﻋ ـﺘــﺪﻧــﺎ‬
‫ﻣﺸﺎرﻛﺘﻬﻢ ﻓﻲ »آرت دﺑــﻲ« ﻣﺜﻞ إﻳﺘﻞ‬
‫ﻋــﺪﻧــﺎن‪ ،‬ﻫﺎﻳﻎ أﻳـﻔــﺎزﻳــﺎن‪ ،‬رﺑﻴﻊ ﻣـ ّ‬
‫ـﺮوة‪،‬‬
‫وﻟـﻴــﺪ رﻋ ــﺪ‪ ،‬ﻣ ــﺮوان رﺷ ـﻤــﺎوي‪ ،‬ﻣﻨﻴﺮة‬
‫اﻟـﺼـﻠــﺢ‪ّ ،‬‬
‫رﻳ ــﺎن ﺗــﺎﺑــﺖ‪ ،‬وأﻛ ــﺮم زﻋـﺘــﺮي‪.‬‬
‫واﻟ ـﺼــﺎﻟــﺔ اﻟـﺜــﺎﻟـﺜــﺔ اﻵﺗ ـﻴــﺔ ﻣــﻦ ﻟـﺒـﻨــﺎن‪،‬‬
‫ً‬
‫ﻫﻲ »آرت ﻓﺎﻛﺘﻮم« اﻟﺘﻲ ّ‬
‫ﺗﻘﺪم أﻋﻤﺎﻻ‬
‫ﻟـﻜــﻞ ﻣــﻦ ﳌـﻴــﺎ ﺟــﺮﻳــﺞ‪ ،‬ﻛــﺎروﻟــﲔ ﺗــﺎﺑــﺖ‪،‬‬
‫وﺗﺎﻧﻴﺎ ﻃﺮاﺑﻠﺴﻲ ﻣﻦ دون أن ﻧﻨﺴﻰ‬
‫ﻣﺸﺎرﻛﺔ ﻧﺪﻳﻢ ﻛﺮم ﻣﻊ ﻏﺎﻟﻴﺮي ّ‬
‫»أﻳﺎم«‬
‫اﳌﻮﺟﻮدة ﺻﺎﻻﺗﻬﺎ ﻓﻲ ﺑﻴﺮوت‪ ،‬وﻟﻨﺪن‬
‫ّ‬
‫ودﺑﻲ‪ .‬ﺑﺎﻹﺿﺎﻓﺔ إﻟﻰ ﻓﻨﺎﻧﲔ ﻟﺒﻨﺎﻧﻴﲔ‬
‫»ﻧﺎﺗﺎﺷﺎ‬
‫واﻟﺘﺎج«‬
‫ﻟﻠﻤﺼﺮي‬
‫ﻳﻮﺳﻒ ﻧﺒﻴﻞ‬
‫)اﻟﻘﺎﻫﺮة ــ‬
‫‪(٢٠٠٠‬‬
‫آﺧﺮﻳﻦ ﻣﻤﺜﻠﲔ ﻣﻦ ﻗﺒﻞ ﺻﺎﻻت ﻋﺮض‬
‫ً‬
‫أﺟ ـﻨ ـﺒ ـﻴــﺔ‪ .‬ﻳ ـﺸــﺎرك ﻋ ـﻠــﻲ ﺷـ ـ ّـﺮي ﻣـﻤـﺜــﻼ‬
‫ﻓﻲ ﺻﺎﻟﺔ »إﻳﻤﺎن ﻓــﺎرس« اﻟﺒﺎرﻳﺴﻴﺔ‪.‬‬
‫أﻣ ـ ــﺎ زﻳـ ـ ــﺎد ﻋ ـﻨ ـﺘــﺮ وﺑ ــﺎﺳـ ـﻜ ــﺎل ﻫــﺎﺷــﻢ‪،‬‬
‫ﻓ ـﻴ ـﺘــﺎﺑ ـﻌــﺎن ﺗ ـﻌــﺎوﻧ ـﻬ ـﻤــﺎ ﻣ ــﻊ ﻏــﺎﻟ ـﻴــﺮي‬
‫»ﺳﻠﻤﻰ ﻓﻴﺮﻳﺎﻧﻲ« اﻹﻳﻄﺎﻟﻴﺔ‪ ،‬وﺗﻘﺪم‬
‫ﺻﺎﻟﺔ اﻟﻌﺮض »إن ﺳﻴﺘﻮ« اﻟﺒﺎرﻳﺴﻴﺔ‬
‫ً‬
‫أﻋـﻤــﺎﻻ ﻟﻠﺜﻨﺎﺋﻲ ﺟــﻮاﻧــﺎ ﺣــﺎﺟــﻲ ﺗﻮﻣﺎ‬
‫وﺧـﻠـﻴــﻞ ﺟــﺮﻳــﺞ‪ ،‬ﻓﻴﻤﺎ ﺗـﻘــﺪم »ﻟــﻮﻣـﺒــﺮد‬
‫ً‬
‫ﻓــﺮﻳــﺪ« اﻟ ـﻨ ـﻴــﻮﻳــﻮرﻛ ـﻴــﺔ أﻋـ ـﻤ ــﺎﻻ ﻟـﻬــﺎﻳــﻎ‬
‫أﻳﻔﺎزﻳﺎن‪ ،‬وﻟﻮﺳﻴﺎن ﺳﻤﺎﺣﺔ‪ ،‬وﻳﺸﺎرك‬
‫أﻳﻀﴼ أﻳﻤﻦ ﺑﻌﻠﺒﻜﻲ ﻣﻊ »روز ﻋﻴﺴﻰ‬
‫ﺑﺮوﺟﻴﻜﺘﺲ« اﻹﻧﻜﻠﻴﺰﻳﺔ‪ .‬أﻣــﺎ ﺻﺎﻟﺔ‬
‫ً‬
‫»ﻛــﺎﻟـﻔــﺎﻳــﺎن« اﻟﻴﻮﻧﺎﻧﻴﺔ ﻓﺘﻘﺪم أﻋﻤﺎﻻ‬
‫ﻟﻜﻞ ﻣﻦ‪ :‬راﺋﺪ ﻳﺎﺳﲔ‪ ،‬وﻓﺎرﺗﺎن أﻓﺎﻛﻴﺎن‪.‬‬
‫ﺗﻠﻚ ﻋﻴﻨﺔ ﻋﻦ اﳌﺸﺎرﻛﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ ﻓﻲ‬
‫اﻟ ـﻔ ـﻨــﻮن اﳌ ـﻌــﺎﺻــﺮة ﻓ ــﻲ »آرت دﺑ ــﻲ«‪.‬‬
‫أﻣــﺎ ﻓــﻲ اﻟـﺒــﺮﻧــﺎﻣــﺞ اﻟـﺜــﺎﻧــﻲ ﻟﻠﻤﻌﺮض‪،‬‬
‫أي اﻟـ ـﻘـ ـﺴ ــﻢ اﳌـ ـﺴـ ـﺘـ ـﺤ ــﺪث »ﻣ ـ ـ ـ ــﻮدرن«‪،‬‬
‫ﻓـﺴــﻮف ﺗـﻘــﺎم ﻣـﻌــﺎرض ﻟ ــ‪ ١٥‬ﻓﻨﺎﻧﴼ ﻣﻦ‬
‫ﺑﻴﻨﻬﻢ اﳌ ـﺼــﺮﻳــﺎن آدم ﺣـﻨــﲔ وﺣــﺎﻣــﺪ‬
‫ُ‬
‫ﻋﺒﺪاﻟﻠﻪ‪ .‬وﻣﻦ ﻟﺒﻨﺎن ﺗﻘﺪم أﻋﻤﺎل ﻟﻜﻞ‬
‫ﻣــﻦ ﻫﻴﻮﻏﻴﺖ ﻛ ــﺎﻻن‪ ،‬وﻧـﺒـﻴــﻞ ﻧـﺤــﺎس‪،‬‬
‫وﻣـ ـﻴـ ـﺸ ــﺎل ﺑ ـﺼ ـﺒــﻮص )راﺟ ـ ـ ــﻊ اﳌ ـﻘــﺎل‬
‫أدﻧــﺎه(‪ .‬أﻣﺎ اﻟﺒﺮﻧﺎﻣﺞ اﻟﺜﺎﻟﺚ »ﻣﺎرﻛﺮ«‬
‫اﻟﺬي ﻳﺘﻨﺎول ﻛﻞ ﻋﺎم ﻣﻮاﺿﻴﻊ ﻣﺤﺪدة‬
‫ﺗ ـﻄــﺮﺣ ـﻬــﺎ ﻓ ـ ـﻀ ـ ــﺎءات ﻓ ـﻨ ـﻴــﺔ ﻧــﺎﺷ ـﺌــﺔ‪،‬‬
‫ﻓـﻴـﻘــﺪم ﻫــﺬه اﻟـﺴـﻨــﺔ اﻟـﻔــﺮﺻــﺔ ﻟﻠﺘﻌﺮف‬
‫ﻋﻠﻰ اﻹﻧـﺘــﺎﺟــﺎت اﻟﻔﻨﻴﺔ ﻓــﻲ ﻣﻨﻄﻘﺘﻲ‬
‫آﺳﻴﺎ اﻟﻮﺳﻄﻰ واﻟﻘﻮﻗﺎز‪ ،‬ﻣﺴﺘﻀﻴﻔﴼ‬
‫ﻋ ـ ــﺪدﴽ ﻣ ــﻦ اﻟ ـ ـﺼـ ــﺎﻻت واﻟ ـﻔ ـﻨ ــﺎﻧ ــﲔ ﻣــﻦ‬
‫ﻗﺮﻏﻴﺰﺳﺘﺎن وﻛﺎزاﺧﺴﺘﺎن وﺟﻮرﺟﻴﺎ‪،‬‬
‫واﻟﻘﻮﻗﺎز‪ ،‬وأذرﺑﻴﺠﺎن‪.‬‬
‫وﻛﻜﻞ ﺳﻨﺔ‪ ،‬ﻳﻨﺘﻈﺮ زوار ﻣﻌﺮض »آرت‬
‫دﺑ ـ ــﻲ« اﻟ ـﻜ ـﺸــﻒ ﻋ ــﻦ أﻋـ ـﻤ ــﺎل اﻟـﻔـﻨــﺎﻧــﲔ‬
‫اﻟـ ــﺬﻳـ ــﻦ ﺣـ ـ ـ ــﺎزوا »ﺟ ـ ــﺎﺋ ـ ــﺰة ﻣﺠﻤﻮﻋﺔ‬
‫أﺑــﺮاج ﻟﻠﻔﻨﻮن«‪ :‬أﻧــﻮب ﻣﺎﺛﻴﻮ ﺗﻮﻣﺎس‬
‫)اﻟﻬﻨﺪ(‪ ،‬ﺑﺎﺳﻢ ﻣﺠﺪي )ﻣﺼﺮ(‪ ،‬ﺑﺸﺮى‬
‫ﺧ ـﻠ ـﻴ ـﻠــﻲ )اﳌـ ـ ـﻐ ـ ــﺮب(‪ ،‬ﻋـ ـﺒ ــﺎس اﺧ ــﺎﻓ ــﺎن‬
‫)إﻳﺮان(‪ ،‬ﻛﺎﻣﺮوز آرام )إﻳﺮان(‪ .‬اﻟﻔﻨﺎﻧﻮن‬
‫اﻟ ـﺨ ـﻤ ـﺴــﺔ اﻟ ــﺬﻳ ــﻦ ﻋ ـﻤ ـﻠــﻮا ﺧـ ــﻼل ﻫــﺬه‬
‫اﻟﺴﻨﺔ ﻣﻊ ّ‬
‫اﻟﻘﻴﻤﺔ اﻟﻔﻨﻴﺔ اﻟﺒﺎﻛﺴﺘﺎﻧﻴﺔ‬
‫ﻧﺪى رازا‪ ،‬ﺳﻮف ّ‬
‫ﻳﻘﺪﻣﻮن ﻫﺬه اﻷﻋﻤﺎل‬
‫ﻓﻲ »آرت دﺑﻲ«‪.‬‬
‫ﺳ ـ ـ ــﻮف ﻳـ ـﺸـ ـﻬ ــﺪ اﳌـ ـ ـﻌ ـ ــﺮض أﻳ ـ ـﻀـ ــﴼ ﻣــﺎ‬
‫ﻳ ـﻄ ـﻠ ــﻖ ﻋ ـﻠ ـﻴــﻪ اﺳـ ـ ــﻢ »ﻣ ـ ـﺸـ ــﺎرﻳـ ــﻊ آرت‬
‫دﺑ ـ ـ ــﻲ«‪ .‬ﺑ ــﺮﻧ ــﺎﻣ ــﺞ ﻏ ـﻴ ــﺮ رﺑـ ـﺤ ــﻲ ﻳ ـﻘــﻮم‬
‫ﺑ ـﺘ ـﻜ ـﻠ ـﻴــﻒ ﻣـ ـﺠـ ـﻤ ــﻮﻋ ــﺔ ﻣ ـ ــﻦ اﻟ ـﻔ ـﻨــﺎﻧــﲔ‬
‫اﻟ ـﺸ ـﺒــﺎب واﳌ ـﺨـﻀــﺮﻣــﲔ ﺑﺎﺳﺘﻜﺸﺎف‬
‫ﺑﻨﻴﺔ وﻧﺴﻴﺞ اﳌﻌﺮض اﻟﻔﻨﻲ وﺑﻴﺌﺘﻪ‬
‫اﻟـﺤــﺎﺿـﻨــﺔ ﻓــﻲ اﻹﻣـ ـ ــﺎرات‪ .‬ﻫ ــﺬا اﻟ ـﻌــﺎم‪،‬‬
‫أﺷــﺮﻓــﺖ ﻓــﻮز ﻛﺒﺮا ﻋﻠﻰ ﺗﻘﻴﻴﻢ ﻧﺴﺨﺔ‬
‫اﻟ ـﺒــﺮﻧــﺎﻣــﺞ اﻟ ـ ــﺬي دﻋـ ــﺎ ﻣ ـﺠ ـﻤــﻮﻋــﺔ ﻣﻦ‬
‫اﻟ ـﻔ ـﻨــﺎﻧــﲔ ﻟ ـﻠ ـﺘــﺪﺧــﻞ ﺑ ـﺸ ـﻜــﻞ ﻓ ـﻨــﻲ ﻓــﻲ‬
‫ﻣﺨﺘﻠﻒ ﻣـﺠــﺎﻻت اﳌ ـﻌــﺮض‪ ،‬وﻣــﻦ ﺑﲔ‬
‫اﻟ ـﻔ ـﻨــﺎﻧــﲔ اﳌــﺪﻋــﻮﻳــﻦ ﻣــﻦ ﻟ ـﺒ ـﻨــﺎن ﻟـﻬــﺬا‬
‫اﻟﻌﺎم‪ :‬ﻣﻨﻴﺮة اﻟﺼﻠﺢ وﻳﻤﻨﻰ ﺷﻼﻻ‪.‬‬
‫ﺑـ ــﺎﻹﺿـ ــﺎﻓـ ــﺔ إﻟـ ـ ــﻰ ذﻟـ ـ ـ ــﻚ‪ ،‬ﺗ ـ ـﻘـ ــﺪم ﺧ ــﻼل‬
‫اﳌـ ـ ـ ـﻌ ـ ـ ــﺮض ﻓـ ـ ـﻌ ـ ــﺎﻟـ ـ ـﻴ ـ ــﺎت وﻧـ ـ ـﺸ ـ ــﺎﻃ ـ ــﺎت‬
‫ﻣــﻮازﻳــﺔ ﻣـﺜــﻞ ﺑــﺮﻧــﺎﻣــﺞ »رادﻳ ـ ــﻮ« اﻟــﺬي‬
‫ﻳ ـﺘ ـﺨــﺬ ﺷ ـﻜــﻞ ﻣ ـﺤ ـﻄــﺔ إذاﻋـ ـﻴ ــﺔ ﻣــﻮﻗـﺘــﺔ‬
‫ﺿـﻤــﻦ اﳌ ـﻌــﺮض؛ وﺑــﺮﻧــﺎﻣــﺞ »ﺳﻴﻨﻤﺎ«‬
‫اﻟ ـ ـ ــﺬي ﺳ ـﻴ ـﻘ ــﺪم ﻋ ـ ـ ــﺪدﴽ ﻣـ ــﻦ اﻟـ ـﻌ ــﺮوض‬
‫اﻟﺴﻴﻨﻤﺎﺋﻴﺔ ﻃﻴﻠﺔ أﻳــﺎم اﳌﻌﺮض‪ .‬ﻟﻜﻦ‬
‫ﻳﺒﻘﻰ »ﻣﻨﺘﺪى اﻟﻔﻦ اﻟﻌﺎﳌﻲ« اﻟﻔﻌﺎﻟﻴﺔ‬
‫اﻷﻫـ ـ ـ ّـﻢ اﳌـ ــﻮازﻳـ ــﺔ ﻟ ـﻠ ـﻤ ـﻬــﺮﺟــﺎن‪ .‬اﻧـﻄـﻠــﻖ‬
‫اﳌﻨﺘﺪى ﻣﻦ اﻟﺪوﺣﺔ ﺧــﻼل ﻳﻮﻣﻲ ‪١٥‬‬
‫و ‪ ١٦‬آذار )ﻣــﺎرس(‪ ،‬وﺳــﻮف ﻳﺘﻮاﺻﻞ‬
‫ﺿﻤﻦ ﻓﻌﺎﻟﻴﺎت »آرت دﺑﻲ« ﺑﲔ ‪١٩‬و‪٢١‬‬
‫آذار‪ .‬ﺗﻌﻘﺪ اﻟﺪورة اﻟﺜﺎﻣﻨﺔ ﻣﻦ »ﻣﻨﺘﺪى‬
‫اﻟﻔﻦ اﻟﻌﺎﳌﻲ« ﻫﺬا اﻟﻌﺎم ﺗﺤﺖ ﻋﻨﻮان‬
‫»ﺑﻴﻨﻤﺎ‪ ...‬اﻟﺘﺎرﻳﺦ« اﻟﺬي ﻳﻨﻄﻮي ﻋﻠﻰ‬
‫ّ‬
‫ﻣﺠﻬﺮي ﻟﻠﺤﻈﺎت‬
‫اﻗﺘﺮاح ﺟﺪول زﻣﻨﻲ‬
‫ﻣـ ـﺤ ــﻮرﻳ ــﺔ ﻓـ ــﻲ اﻟـ ـﺘ ــﺎرﻳ ــﺦ اﻹﻧـ ـﺴ ــﺎﻧ ــﻲ‪،‬‬
‫ﺣﻤﻠﺖ أﻫﻤﻴﺔ ﺧﺎﺻﺔ ﳌــﺎ أﺣﺪﺛﺘﻪ ﻣﻦ‬
‫ﺗﺤﻮﻻت ﻋﻤﻴﻘﺔ ﻓﻲ ﻓﻬﻢ اﻟﻌﺎﻟﻢ‪ .‬ﻳﻘﺎم‬
‫اﳌﻨﺘﺪى ﺑﺘﻜﻠﻴﻒ ﻣﻦ ﺷﻮﻣﻮن ﺑﺎﺳﺎر‬
‫)ﺑﺮﻳﻄﺎﻧﻴﺎ(‪ ،‬واﳌﺪﻳﺮﻳﻦ اﳌﺸﺎرﻛﲔ ﻋﻤﺮ‬
‫ﺑــﺮادة )اﳌﻐﺮب ‪ -‬ﻓﺮﻧﺴﺎ( وآﻻء ﻳﻮﻧﺲ‬
‫)اﻷردن(‪ ،‬وﺑﻤﺸﺎرﻛﺔ ‪ ٤٠‬ﻣﺘﺤﺪﺛﴼ‪.‬‬
‫ﻛﻜﻞ ﻋــﺎم‪ ،‬ﺳــﻮف ﻳــﺰدﺣــﻢ »آرت دﺑــﻲ«‬
‫ﺑــﺎﻟـﻌــﺪﻳــﺪ ﻣــﻦ اﻟـ ـ ــﺰوار‪ ،‬ﻣـﻨـﻬــﻢ ﻣــﻦ أﺗــﻰ‬
‫ﺑ ـ ــﺪاﻓ ـ ــﻊ اﻟ ـ ـﻔ ـ ـﻀـ ــﻮل واﻟـ ـ ـﺘـ ـ ـﻌ ـ ــﺮف ﻋ ـﻠــﻰ‬
‫اﻹﻧ ـ ـﺘـ ــﺎﺟـ ــﺎت اﻟ ـ ـﺠ ــﺪﻳ ــﺪة ﻓـ ــﻲ اﻟ ـﻔ ـﻨــﻮن‬
‫اﳌ ـ ـﻌـ ــﺎﺻـ ــﺮة‪ ،‬وﻣ ـﻨ ـﻬ ــﻢ ﻣـ ــﻦ ﺳ ـﻴ ـﺸ ـﺘــﺮي‬
‫ﺑ ـﻌــﺾ اﻷﻋ ـ ـﻤ ــﺎل ﻟ ـﻔ ـﻨــﺎﻧــﲔ ﻳـﺘــﺎﺑـﻌـﻬــﻢ‪،‬‬
‫أو ﻟﻔﻨﺎﻧﲔ ﺳــﻮف ﻳﻜﺘﺸﻒ أﻋﻤﺎﻟﻬﻢ‪.‬‬
‫ﻟﻜﻦ اﻷﻧﻈﺎر ﺳﻮف ﺗﺘﺠﻪ إﻟﻰ ﻋﻤﺎﻟﻘﺔ‬
‫ﺟ ــﺎﻣـ ـﻌ ــﻲ اﻷﻋـ ـ ـﻤ ـ ــﺎل اﻟ ـﻔ ـﻨ ـﻴــﺔ ﳌ ـﺘــﺎﺑ ـﻌــﺔ‬
‫اﺧﺘﻴﺎراﺗﻬﻢ ﻫﺬه اﻟﺴﻨﺔ‪ ،‬وﻣﺎ إذا ﻛﺎن‬
‫ﺑﻌﺾ اﻟﺠﺎﻣﻌﲔ اﻟﻬﻮاة اﻟﺠﺪد ﺳﻮف‬
‫ﻳﺘﺄﺛﺮون ﺑﺨﺪع اﻟﺴﻮق اﻟﻔﻨﻴﺔ‪.‬‬
‫»آرت دﺑ ــﻲ«‪ :‬ﺑــﺪءﴽ ﻣــﻦ اﻟـﻴــﻮم ﺣﺘﻰ ‪ 22‬آذار‬
‫)ﻣﺎرس( ـ ﻣﺪﻳﻨﺔ ﺟﻤﻴﺮا‪ ،‬دﺑﻲ‬
‫‪http://artdubai.ae‬‬
‫ﻣﻌﻠﻤﻮ اﻟـ»ﻣﻮدرن«‬
‫ﻫﺆﻻء ﻫﻢ ّ‬
‫ﻳﺸﻬﺪ »آرت دﺑ ـ ّـﻲ« ﺧـﻄــﻮة ﻣﻬﻤﺔ‬
‫ﻓـ ــﻲ ﻧ ـﺴ ـﺨ ـﺘــﻪ اﻟـ ـﺜ ــﺎﻣـ ـﻨ ــﺔ‪ ،‬وﻫ ـ ــﻲ ‪h‬‬
‫ﺳـﺘـﺤــﺪاث ﻗﺴﻢ ﺟــﺪﻳــﺪ ﻣﺨﺼﺺ‬
‫ﻟﻠﻔﻦ اﻟﺤﺪﻳﺚ ﻣﻦ اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ‬
‫ﺗ ـ ـﺤـ ــﺖ ‪h‬ﺳـ ـ ـ ــﻢ »ﻣـ ـ ـ ـ ـ ـ ـ ـ ــﻮدرن«‪ .‬ﻫـ ــﺬه‬
‫اﻟﺨﻄﻮة أﺳﺎﺳﻴﺔ ﻟﺮﺑﻂ اﻟﺤﺪاﺛﺔ‬
‫اﻟـ ـ ـﺘ ـ ــﻲ ﺷ ـ ـﻬـ ــﺪﻧـ ــﺎﻫـ ــﺎ ﻓـ ـ ــﻲ اﻟ ـ ـﺸـ ــﺮق‬
‫اﻷوﺳــﻂ وﺟﻨﻮب آﺳﻴﺎ‪ ،‬ﺑﺎﻟﻔﻨﻮن‬
‫اﳌﻌﺎﺻﺮة اﻟﻴﻮم‪ّ .‬‬
‫ﻳﺒﲔ ﻫﺬا اﻟﺮﺑﻂ‬
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‫ﺗــﺄﺛــﺮ اﳌـﻌــﺎﺻــﺮ ﺑﻤﺎ ﺳﺒﻘﻪ ﻣــﻦ ﻓﻦ‬
‫ﺣـ ــﺪﻳـ ــﺚ‪ .‬وﻣ ـ ــﻦ أﺟ ـ ــﻞ ذﻟ ـ ـ ــﻚ‪ ،‬ﺟ ــﺮى‬
‫ﺗﺄﻟﻴﻒ ﻟﺠﻨﺔ ﺗﻘﻴﻴﻢ ﻓﻨﻲ ﻟﻺﺷﺮاف‬
‫ﻋﻠﻰ ﺑﺮﻧﺎﻣﺞ ﻫــﺬه اﻟﺴﻨﺔ‪ّ .‬‬
‫ﺿﻤﺖ‬
‫اﻟﻠﺠﻨﺔ اﳌﺆرﺧﺔ ورﺋﻴﺴﺔ »ﺟﺎﺋﺰة‬
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‫ﻣـﺠـﻤــﻮﻋــﺔ أﺑـ ــﺮاج ﻟ ـﻠ ـﻔــﻦ« ﺳﺎﻓﻴﺘﺎ‬
‫آﺑ ـﺘــﻲ‪ ،‬واﳌــﺆرﺧــﺔ وﻗـ ّـﻴـﻤــﺔ ﻣﻌﺮض‬
‫»دوﻛﻴﻮﻣﻨﺘﺎ ‪ «١٠‬ﻛﺎﺗﺮﻳﻦ داﻓﻴﺪ‪،‬‬
‫واﳌــﺆرﺧــﺔ واﻟﻘﻴﻤﺔ اﻟﻌﺮاﻗﻴﺔ ﻧﺪى‬
‫ﺷﺒﻮط‪ ،‬واﳌﺘﺨﺼﺼﺔ ﻓﻲ ﺗﺎرﻳﺦ‬
‫اﻟﻔﻦ اﻟﺤﺪﻳﺚ ﻓــﻲ اﻟﻌﺎﻟﻢ اﻟﻌﺮﺑﻲ‬
‫اﻟـ ـﻜ ــﺎﺗـ ـﺒ ــﺔ اﻟ ـﻠ ـﺒ ـﻨــﺎﻧ ـﻴــﺔ ﻛــﺮﻳ ـﺴ ـﺘــﲔ‬
‫ﺧ ــﻮري‪ .‬ﻫ ـﻜــﺬا‪ ،‬ﺗـﻘــﺪﻣــﺖ اﻟـﺼــﺎﻻت‬
‫ﺑ ــﺎﻗـ ـﺘ ــﺮاﺣ ــﺎﺗـ ـﻬ ــﺎ‪ ،‬ﻓ ــﻮﻗ ــﻊ اﺧ ـﺘ ـﻴــﺎر‬
‫اﻟ ـﻠ ـﺠ ـﻨــﺔ ﻋـ ـﻠ ــﻰ ‪١٢‬ﺻ ـ ــﺎﻟ ـ ــﺔ ﻟ ـﺘ ـﻘــﺪم‬
‫ﻣ ـﻌــﺎرض ﻓــﺮدﻳــﺔ أو ﺛـﻨــﺎﺋـﻴــﺔ ﻟ ــ‪١٥‬‬
‫ﻓ ـﻨ ــﺎﻧ ــﴼ‪ ،‬ﺗ ــﺮﻛ ــﻮا أﺛـ ـ ــﺮﴽ ﻛ ـﺒ ـﻴــﺮﴽ ﻋـﻠــﻰ‬
‫اﻟـﻔــﻦ اﻟـﺤــﺪﻳــﺚ ﻓــﻲ اﳌـﻨـﻄـﻘــﺔ ﺧــﻼل‬
‫اﻟﻘﺮن اﻟﻌﺸﺮﻳﻦ‪ .‬وﻣﻦ ﺑﲔ ﻫﺆﻻء‪،‬‬
‫ﺳ ـﻴ ـﺠ ــﺮي ﺗ ـﻘ ــﺪﻳ ــﻢ أﻋ ـ ـﻤـ ــﺎل ﺛــﻼﺛــﺔ‬
‫ﻓﻨﺎﻧﲔ ﻟﺒﻨﺎﻧﻴﲔ‪ :‬ﻫﻮﻏﻴﺖ ﻛــﺎﻻن‬
‫)ﺟ ــﺎﻧ ــﲔ رﺑ ـ ـﻴ ــﺰ(‪ ،‬وﻧ ـﺒ ـﻴــﻞ ﻧـﺤــﺎس‬
‫)ﻟــﻮري ﺷﺒﻴﺒﻲ ـ دﺑـ ّـﻲ( ‪ ،‬وﻣﻴﺸﺎل‬
‫ﺑﺼﺒﻮص )أﺟﻴﺎل(‪.‬‬
‫ﻫﻮﻏﻴﺖ ﻛﺎﻻن ﻟﻴﺴﺖ ﺳﻮى اﻻﺑﻨﺔ‬
‫اﻟﻮﺣﻴﺪة ﻷول رﺋﻴﺲ ﻟﻠﺠﻤﻬﻮرﻳﺔ‬
‫اﻟﻠﺒﻨﺎﻧﻴﺔ ﺑﺸﺎرة اﻟﺨﻮري‪ .‬وﻟﺪت‬
‫ﻋــﺎم ‪ ،١٩٣١‬ودرﺳــﺖ ﻓﻲ اﻟﺠﺎﻣﻌﺔ‬
‫اﻷﻣﻴﺮﻛﻴﺔ‪ ،‬ﻗﺒﻞ أن ﺗﻐﺎدر ﻟﺘﻌﻴﺶ‬
‫ﻓ ــﻲ ﺑ ــﺎرﻳ ــﺲ ﺛ ــﻢ ﻟـ ــﻮس أﻧـﺠـﻠـﻴــﺲ‬
‫ﺣﻴﺚ ﻣﺎ زاﻟــﺖ ﺗﻌﻴﺶ ﻣﻨﺬ ‪ .١٩٨٨‬ﻣﺪﻳﻨﺔ« ﻟﻬﻮﻏﻴﺖ ﻛﺎﻻن )زﻳﺖ‪ ١٠٠ × ٨٠ ،‬ﺳﻨﺘﻢ‪(١٩٦٨ ،‬‬
‫ﺗـﻌـﻤــﻞ ﻛ ــﺎﻻن ﺑــﻮﺳــﺎﺋــﻂ ﻣـﺘـﻌــﺪدة‪،‬‬
‫ﻣـﻨـﻬــﺎ اﻟــﺮﺳــﻢ واﻟ ـﻨ ـﺤــﺖ‪ .‬ﺷــﺎرﻛــﺖ‬
‫ﻓــﻲ اﻟـﻜـﺜـﻴــﺮ ﻣــﻦ اﳌ ـﻌ ــﺎرض‪ ،‬ﺑــﺎدﺋــﺔ‬
‫ﻣﺸﻮارﻫﺎ ﻋﺎم ‪ ١٩٧٠‬ﻓﻲ »ﺑﻴﻨﺎﻟﻲ‬
‫اﻟـﺒـﻨــﺪﻗـﻴــﺔ« اﻟ ـ ــ‪ ،٣٦‬و»ﻣـﺘـﺤــﻒ اﻟﻔﻦ‬
‫اﻟـﺤــﺪﻳــﺚ« ﻓــﻲ ﻃﻮﻛﻴﻮ‪ ،‬وﻣــﺎ زاﻟــﺖ‬
‫ﺣﺘﻰ اﻟﻴﻮم ﺗﻘﺪم اﻷﻋﻤﺎل اﻟﺠﺪﻳﺪة‪.‬‬
‫ﻓــﻲ ﻏــﺎﻟ ـﻴــﺮي »ﺟــﺎﻧــﲔ رﺑ ـﻴــﺰ« ﻓﻲ‬
‫ﺑ ـﻴــﺮوت‪ ،‬ﻗــﺪﻣــﺖ آﺧــﺮ ﻣـﻌــﺮض ﻟﻬﺎ‬
‫ﻋـ ـ ــﺎم ‪ ٢٠١١‬ﺑ ـ ـﻌ ـ ـﻨ ــﻮان »ﺳ ـ ـﻨـ ــﻮات‬
‫اﻟﺼﺒﺎ«‪ .‬وﻓــﻲ اﻟﻌﺎم ﻧﻔﺴﻪ ﻗﺪﻣﺖ‬
‫ﻣﻌﺮﺿﴼ ﻓــﻲ ﻧـﻴــﻮﻳــﻮرك ﻓــﻲ »ﺑﻴﺘﺮ‬
‫ﻓــﺎﻳ ـﻨــﺪر ﻏــﺎﻟ ـﻴــﺮي« ﺗ ـﺤــﺖ ﻋ ـﻨــﻮان‬
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‫»ﺳﺮي«‪ .‬أﻣﺎ ﻧﺒﻴﻞ ﻧﺤﺎس )‪،(١٩٤٩‬‬
‫ﻓﻌﺎش ﺳﻨﻮاﺗﻪ اﻟﻌﺸﺮ اﻷوﻟﻰ ﻓﻲ‬
‫اﻟ ـﻘــﺎﻫــﺮة‪ ،‬ﺛــﻢ درس ﻓــﻲ »ﺟــﺎﻣـﻌــﺔ‬
‫ﻟﻮﻳﺰﻳﺎﻧﺎ«‪ ،‬ﺛــﻢ ﻓــﻲ »ﺟﺎﻣﻌﺔ ﻳــﺎل«‬
‫ﻓــﻲ أﻣ ـﻴــﺮﻛــﺎ‪ .‬ﻓــﻲ ﺑــﺪاﻳــﺎﺗــﻪ‪ ،‬اﻋﺘﻤﺪ‬
‫اﻷﺳ ـﻠــﻮب اﻟـﺘـﺠــﺮﻳــﺪي ﻓــﻲ اﻟــﺮﺳــﻢ‪،‬‬
‫ﻣـﺴـﺘــﻮﺣـﻴــﴼ اﻷﺷـ ـﻜ ــﺎل اﻟـﻬـﻨــﺪﺳـﻴــﺔ‬
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‫واﻟـ ـﻘ ــﻮاﻟ ــﺐ اﻟ ــﺰﺧ ــﺮﻓ ـﻴ ــﺔ ﻣ ــﻦ اﻟ ـﻔــﻦ‬
‫اﻟ ـ ــﺮﺳ ـ ــﻼﻣ ـ ــﻲ‪ .‬وﻣ ـ ـ ــﻦ اﻟـ ـﺘـ ـﺠ ــﺮﻳ ــﺪي‬
‫اﻟ ـﻬ ـﻨــﺪﺳــﻲ اﻧ ـﺘ ـﻘــﻞ إﻟ ــﻰ اﻟـﺘـﺠــﺮﻳــﺪ‬
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‫ﻟﺘﺼﺐ أﻋـﻤــﺎﻟــﻪ اﻷﺧـﻴــﺮة‬
‫اﻟـﻠــﻮﻧــﻲ‪،‬‬
‫واﻟ ـﺤ ــﺎﻟ ـﻴ ــﺔ ﻓ ــﻲ ﺛ ـﻴ ـﻤــﺔ اﻟ ـﻄ ـﺒ ـﻴ ـﻌــﺔ‪.‬‬
‫ﺷـ ـ ـ ـ ــﺎرك ﻓـ ـ ــﻲ ﻣ ـ ـ ـﻌـ ـ ــﺎرض ﻛـ ـﺜـ ـﻴ ــﺮة‪،‬‬
‫واﻗـ ـﺘـ ـﻨ ــﺖ اﻟـ ـﻌ ــﺪﻳ ــﺪ ﻣـ ــﻦ اﳌ ـﺘــﺎﺣــﻒ‬
‫ﻟﻮﺣﺎﺗﻪ‪ .‬وﻓــﻲ آب )أﻏﺴﻄﺲ( ﻣﻦ‬
‫اﻟﺴﻨﺔ اﻟﻔﺎﺋﺘﺔ‪ُ ،‬ﻣﻨﺢ وﺳــﺎم اﻷرز‬
‫ﻣــﻦ رﺗ ـﺒــﺔ ﻓ ـ ــﺎرس‪ .‬وأﺧـ ـﻴ ــﺮﴽ‪ ،‬ﻧــﺄﺗــﻲ‬
‫إﻟ ــﻰ اﻟـﻨـﺤــﺎت اﻟـﻠـﺒـﻨــﺎﻧــﻲ اﳌ ـﻌــﺮوف‬
‫ﻣﻴﺸﺎل ﺑﺼﺒﻮص )‪ ١٩٨١‬ـ ـ ‪(١٩٢١‬‬
‫ّ‬
‫اﻟ ــﺬي أﻋ ـﻄــﻰ ﻓ ــﻦ اﻟـﻨـﺤــﺖ ﻣﻜﺎﻧﺘﻪ‬
‫ﻓــﻲ ﻟـﺒـﻨــﺎن‪ .‬ﻫ ــﺆﻻء ﺛــﻼﺛــﺔ ﻓﻨﺎﻧﻮن‬
‫ﻣﻦ ﻟﺒﻨﺎن‪ ،‬ﻣﻤﻦ ﺗﺮﻛﻮا أﺛــﺮﴽ ﻣﻬﻤﴼ‬
‫ﻓــﻲ اﻟ ـﻔــﻦ اﻟ ـﺤــﺪﻳــﺚ‪ ،‬ﻓــﺮﺻــﺔ ﻣﻬﻤﺔ‬
‫ﻳـ ـﻘ ــﺪﻣـ ـﻬ ــﺎ »آرت دﺑ ـ ـ ــﻲ ﻣـ ـ ـ ــﻮدرن«‬
‫ﻹﻋــﺎدة اﻻﻃــﻼع ﻋﻠﻰ أﻋﻤﺎﻟﻬﻢ أو‬
‫ﻟﻠﺘﻌﺮف إﻟﻴﻬﺎ‪.‬‬
‫ر‪.‬د‬
‫ﺛﻘﺎﻓﺔ وﻧﺎس ‪15‬‬
‫اﻷرﺑﻌﺎء ‪ ١٩‬آذار ‪ ٢٠١٤‬اﻟﻌﺪد ‪٢٢٥٠‬‬
‫ر إﻟﻰ »اﻟـﻔﻦ اﻟﺤﺪﻳﺚ«‬
‫»أﺷﻴﺎء ﻻ ﻳﻤﻜﻦ ﺗﺼﻨﻴﻌﻬﺎ« إﻻ ﻓﻲ ﻟﺒﻨﺎن!‬
‫ﻳـ ـﺒـ ـﻘ ــﻰ اﻟـ ـ ـﺤـ ـ ـﻀ ـ ــﻮر اﻟ ـ ـﻠ ـ ـﺒ ـ ـﻨ ــﺎﻧ ــﻲ ﻓــﻲ‬
‫»آرت دﺑـ ـ ـ ــﻲ« ﻣ ـ ـﻤ ـ ـﻴ ــﺰﴽ‪ ،‬وﺧ ـﺼ ــﻮﺻ ــﴼ‬
‫ﻓ ـ ــﻲ اﻟ ـ ـﻔ ـ ـﻨ ــﻮن اﳌ ـ ـﻌ ـ ــﺎﺻ ـ ــﺮة‪ .‬اﻟ ـﺴ ــﺎﺣ ــﺔ‬
‫اﻟﻔﻨﻴﺔ اﻟﻠﺒﻨﺎﻧﻴﺔ ﻧﺎﺷﻄﺔ ﺑﺈﻧﺘﺎﺟﺎت‬
‫ﻓ ـﻨــﺎﻧ ـﻴ ـﻬــﺎ اﳌـ ـﺘـ ـﻌ ــﺎوﻧ ــﲔ ﻣـ ــﻊ ﺻـ ــﺎﻻت‬
‫ﻟﺒﻨﺎﻧﻴﺔ وأﺟﻨﺒﻴﺔ‪ .‬ﺧﻼل ﻫﺬه اﻟﺴﻨﺔ‪،‬‬
‫ﺗ ـﻌــﺮض أﻋ ـﻤ ــﺎل ﺟ ــﺪﻳ ــﺪة ﻟـﻠـﻜـﺜـﻴــﺮ ﻣﻦ‬
‫اﻟﻔﻨﺎﻧﲔ اﻟﻠﺒﻨﺎﻧﻴﲔ ﺑﻌﺪﻣﺎ اﺧﺘﺎرﺗﻬﺎ‬
‫اﻟـ ـﻐ ــﺎﻟـ ـﻴ ــﺮﻳ ــﺎت ﻣـ ــﻦ ﻣ ـ ـﻌـ ــﺎرض ﻓ ــﺮدﻳ ــﺔ‬
‫أﻗﻴﻤﺖ ﻫﻨﺎ وﻫﻨﺎك‪.‬‬
‫ﻫ ـﻜــﺬا‪ ،‬ﻣــﻦ ﻣ ـﻌــﺮض ﻫــﺎﻳــﻎ أﻳ ـﻔــﺎزﻳــﺎن‬
‫اﻟ ــﺬي أﻗـﻴــﻢ ﻫــﺬه اﻟـﺴـﻨــﺔ ﻓــﻲ ﺻﺎﻟﺘﻬﺎ‬
‫اﻷﳌ ــﺎﻧ ـﻴ ــﺔ ﺑ ـﻌــﺪﻣــﺎ اﻧ ـﻄ ـﻠ ـﻘــﺖ ﻣــﺮﺣـﻠـﺘــﻪ‬
‫اﻷوﻟﻰ ﻣﻦ »ﺑﻴﻨﺎﻟﻲ اﻟﺸﺎرﻗﺔ« )‪،(٢٠٠٩‬‬
‫اﺧﺘﺎرت »ﺻﻔﻴﺮ زﻣﻠﺮ« ﻟﻮﺣﺎت ﻛﺒﻴﺮة‬
‫رﺳﻢ ﻓﻴﻬﺎ اﻟﻔﻨﺎن اﻹﺿــﺎءة اﻟﻌﻤﻼﻗﺔ‬
‫اﻟﺘﻲ ﺗﻨﺼﺐ ﻓﻲ اﳌﻼﻋﺐ اﻟﺮﻳﺎﺿﻴﺔ‪.‬‬
‫ﺑﺬﻟﻚ‪ ،‬أراد أﻳﻔﺎزﻳﺎن ﻣﺴﺎءﻟﺔ وﻓﻀﺢ‬
‫اﻟ ـ ـﻌ ـ ــﻼﻗ ـ ــﺔ اﻟـ ـ ـﺘ ـ ــﻲ ﺗ ـ ــﺮﺑ ـ ــﻂ اﻟـ ــﺮﻳـ ــﺎﺿـ ــﺔ‬
‫ﺑﺎﻟﺴﻠﻄﺔ واﻟﺴﻴﺎﺳﺔ‪ ،‬إذ إن اﻟﺸﺮﻛﺎت‬
‫ً‬
‫اﻷﻣﻨﻴﺔ اﻟﺘﻲ ﺗﻮﻛﻞ إﻟﻴﻬﺎ ﻋﺎدة ﻣﻬﻤﺔ‬
‫ﺣﻔﻆ أﻣﻦ وإﻧﺎرة اﳌﻼﻋﺐ اﻟﺮﻳﺎﺿﻴﺔ‪،‬‬
‫ﻫﻲ ذاﺗﻬﺎ اﻟﺘﻲ ﺗﻮﻛﻞ إﻟﻴﻬﺎ اﻟﺴﺠﻮن‬
‫واﳌﻌﺘﻘﻼت‪ .‬ﻟﺬﻟﻚ‪ّ ،‬‬
‫ﻗﺮر اﻟﻔﻨﺎن ﺗﺴﻠﻴﻂ‬
‫ً‬
‫اﻟﻀﻮء ﻋﻠﻰ اﻹﺿﺎءة ﺑﺤﺪ ذاﺗﻬﺎ ﺑﺪﻻ‬
‫ﻣﻦ اﻟﺤﺪث اﳌﻀﺎء‪.‬‬
‫ﻳﺴﺎﺋﻞ ﻫﺎﻳﻎ‬
‫أﻳﻔﺎزﻳﺎن اﻟﻌﻼﻗﺔ‬
‫اﻟﺘﻲ ﺗﺮﺑﻂ اﻟﺮﻳﺎﺿﺔ‬
‫ﺑﺎﻟﺴﻠﻄﺔ واﻟﺴﻴﺎﺳﺔ‬
‫ﻛﺬﻟﻚ‪ ،‬ﺗﻌﺮض »ﺻﻔﻴﺮ زﻣﻠﺮ« ﻟﻮﺣﺎت‬
‫ﻓــﻮﺗــﻮﻏــﺮاﻓ ـﻴــﺔ ﺑ ــﺎﻷﺑ ـﻴ ــﺾ واﻷﺳ ـ ــﻮد‬
‫ﻟ ـﻄــﺎﺋــﺮات ﺣــﺮﺑـﻴــﺔ إﺳــﺮاﺋـﻴـﻠـﻴــﺔ ﺗﻌﺒﺮ‬
‫ﺳ ـ ـﻤـ ــﺎء ﻟ ـ ـﺒ ـ ـﻨـ ــﺎن‪ ،‬ﻣ ـ ــﻦ ﻣ ـ ـﻌـ ــﺮض أﻛ ـ ــﺮم‬
‫زﻋﺘﺮي اﻷﺧﻴﺮ ﻓﻲ ﺑﻴﺮوت »اﻟﻴﻮم ﻓﻲ‬
‫اﻟﻌﺎﺷﺮة ﻣﻦ ﻋﻤﺮه«‪ .‬أﻣﺎ ﻣﻦ ﻣﻌﺮض‬
‫»أﻗ ـ ـﺼـ ــﺮ ﻣ ـﺴ ــﺎﻓ ــﺔ ﻣـ ــﺎ ﺑـ ــﲔ ﻧ ـﻘ ـﻄ ـﺘــﲔ«‬
‫ﻟﺮﻳﺎن ﺗﺎﺑﺖ‪ ،‬ﻓﻨﺠﺪ ﺗﺮوﻳﺴﺎت ﺷﺮﻛﺔ‬
‫»ﺗـ ــﺎﺑـ ــﻼﻳـ ــﻦ« ُﻣ ـ ـ ـ َـﺒ ـ ـ ـ َ‬
‫ـﺮوزة ﺿ ـﻤ ــﻦ إﻃـ ــﺎر‬
‫ﺧـﺸـﺒــﻲ‪ .‬وﻣ ــﻦ اﳌ ـﻌــﺮض اﻻﺳ ـﺘ ـﻌــﺎدي‬
‫اﻷﺧـ ـﻴ ــﺮ ﻹﻳ ـﺘ ــﻞ ﻋ ــﺪﻧ ــﺎن ﻓ ــﻲ ﺑ ـﻴ ــﺮوت‪،‬‬
‫اﺧﺘﺎرت »ﺻﻔﻴﺮ زﻣﻠﺮ« ﻋﺮض ﻟﻮﺣﺎت‬
‫زﻳ ـﺘ ـﻴــﺔ ﻣ ــﻦ ﻣ ـﺠ ـﻤــﻮﻋــﺔ ﻋـ ــﺪﻧـ ــﺎن‪ ،‬ﺗـﻠــﻚ‬
‫اﳌﺴﺎﺣﺔ اﻟﻐﻨﻴﺔ ﺑﻜﻞ ﻣﺎ ﺗﻜﺘﻨﺰه ﺗﻠﻚ‬
‫اﻟـ ـﻴ ــﻮﻧ ــﺎﻧـ ـﻴ ــﺔ ﻟـ ــﻮﺣـ ــﺎت راﺋ ـ ـ ــﺪ ﻳــﺎﺳــﲔ‬
‫اﻟﻌﺎﺋﻠﻴﺔ اﳌﻄﺮزة‪ .‬ﻋﻠﻰ ﺧﻠﻔﻴﺔ ﻗﻤﺎش‬
‫ﻣ ــﺰرﻛ ــﺶ ﺑ ــﺎﻟ ــﺰﻫ ــﻮر واﻷﻧـ ـ ـﻤ ـ ــﺎط‪ ،‬ﻗــﺎم‬
‫ﻳ ــﺎﺳ ــﲔ ﺑ ـﺘ ـﻄــﺮﻳــﺰ ﻟ ـﺤ ـﻈ ــﺎت ﻋــﺎﺋ ـﻠ ـﻴــﺔ‬
‫اﺳـﺘــﻮﺣــﺎﻫــﺎ ﻣــﻦ ﺻــﻮر ﻓــﻮﺗــﻮﻏــﺮاﻓـﻴــﺔ‬
‫ﻟ ـﻠ ـﻌــﺎﺋ ـﻠــﺔ ﻟ ــﻢ ﺗ ـﻌــﺪ ﻣ ـ ــﻮﺟ ـ ــﻮدة‪ ،‬ﻻ ﺑــﻞ‬
‫ﺗــﻼﺷــﺖ ّإﻣ ــﺎ ﺧ ــﻼل اﻟ ـﺤــﺮب أو ﺧــﻼل‬
‫اﻟﺘﻨﻘﻞ ﻣــﻦ ﺑﻴﺖ إﻟــﻰ آﺧــﺮ‪ .‬ﻟﻜﻦ راﺋــﺪ‬
‫ﻳﺎﺳﲔ ﻳﻌﻴﺪ ﺗﺮﻛﻴﺒﻬﺎ ﻛﻤﺎ أﺻﺒﺤﺖ‬
‫ﻣــﻮﺟــﻮدة اﻟ ـﻴــﻮم ﻓــﻲ ذاﻛــﺮﺗــﻪ‪ ،‬أو ﻛﻤﺎ‬
‫ﺳﻤﻊ ﻋﻨﻬﺎ ﻣﻦ اﻟﻌﺎﺋﻠﺔ واﻷﻗﺎرب‪ .‬أﻣﺎ‬
‫ﻟﻔﺎرﺗﺎن أﻓﺎﻛﻴﺎن ﻓﺘﻌﺮض »ﻛﺎﻟﻔﺎﻳﺎن«‬
‫ً‬
‫ﻋـ ـﻤ ــﻼ أﻧ ـﺘ ـﺠــﻪ ﻋ ـ ــﺎم ‪ ،٢٠١٠‬وﻳ ـﺤ ـﻤــﻞ‬
‫»اﺳﺘﻴﻘﻆ«‬
‫ﻋ ـﻨــﻮان »أﺷ ـﻴــﺎء ﻻ ﻳﻤﻜﻦ ﺗﺼﻨﻴﻌﻬﺎ‬
‫ﻷﻳﻤﻦ ﺑﻌﻠﺒﻜﻲ ﻓﻲ اﻟﺼﲔ«‪ .‬اﻟﻌﻤﻞ ﻛﻨﺎﻳﺔ ﻋﻦ ﻟﻮﺣﺎت‬
‫)ﺗﺠﻬﻴﺰ‬
‫ﻓﻮﺗﻮﻏﺮاﻓﻴﺔ ﻛﺒﻴﺮة ﺗﻈﻬﺮ ﺗﻔﺎﺻﻴﻞ‬
‫ﻣﻦ ﻣﻮاد‬
‫ﻷﺷﻴﺎء )ﻣﺼﻨﻌﺔ ﻓﻲ اﻟﺼﲔ( ﺗﺮاﻓﻘﺖ‬
‫ﻣﺨﺘﻠﻔﺔ‪،‬‬
‫راﺋﺤﺘﻬﺎ ﻣــﻊ ذاﻛــﺮة اﻟﻔﻨﺎن اﳌﺮﺗﺒﻄﺔ‬
‫‪× ١١٠ × ١٧٠‬‬
‫ﺑــﺰﻣــﻦ اﻟـﺤــﺮب ﻓــﻲ ﻟـﺒـﻨــﺎن‪» :‬اﻟـﻜــﺎﺗــﻮل«‬
‫‪ ٨٠‬ﺳﻨﺘﻢ ــ‬
‫و»اﳌﺎﻟﻴﻨﻎ« وﺑﻮدرة اﻟـ»ﻣﻴﺮﻣﺎﻳﺪ«‪.‬‬
‫‪(٢٠١٢‬‬
‫أﻣ ـ ــﺎ ﺟ ــﻮاﻧ ــﺎ ﺣ ــﺎﺟ ــﻲ ﺗ ــﻮﻣ ــﺎ وﺧ ـﻠ ـﻴــﻞ‬
‫ﺟــﺮﻳــﺞ‪ ،‬ﻓـﻴـﺘــﺎﺑـﻌــﺎن رﺣـﻠــﺔ اﻟ ـﺼــﺎروخ‬
‫اﻟـﻠـﺒـﻨــﺎﻧــﻲ ﻣــﻊ ﻏــﺎﻟ ـﻴــﺮي »إن ﺳﻴﺘﻮ«‬
‫اﻟ ـﺒــﺎرﻳ ـﺴ ـﻴــﺔ وﻳ ـﻘ ــﺪﻣ ــﺎن ﻫـ ــﺬه اﻟـﺴـﻨــﺔ‬
‫أﻳ ـ ـﻀ ـ ــﴼ ﺻ ـ ـ ـ ــﻮرﴽ ﻓـ ــﻮﺗـ ــﻮﻏـ ــﺮاﻓ ـ ـﻴـ ــﺔ ﻣــﻦ‬
‫ﺳﻠﺴﻠﺔ »ﻏـﺒــﺎر ﻓــﻲ اﻟــﺮﻳــﺢ« وﺗﺠﻬﻴﺰ‬
‫ﻓ ـﻴــﺪﻳــﻮ ﺟ ــﺪﻳ ــﺪ ﻳ ـﺤ ـﻤــﻞ ﻋـ ـﻨ ــﻮان »ﻓــﻲ‬
‫اﻧ ـﺘ ـﻈ ــﺎر اﻟ ـ ـﺒـ ــﺮﺑـ ـ ّ‬
‫ـﺮي«‪ .‬وﻣ ـ ــﻦ ﻣ ـﻌــﺮض‬
‫ﻋـ ـﻠ ــﻲ ﺷـ ـ ـ ـ ّـﺮي اﻷﺧ ـ ـﻴ ـ ــﺮ »ﻋـ ـ ــﻦ أﺷـ ـﻴ ــﺎء‬
‫ﺗﺘﺤﺮك« ﻓــﻲ ﺑــﺎرﻳــﺲ‪ ،‬ﺗﻘﺪم ﻏﺎﻟﻴﺮي‬
‫»إﻳ ـ ـ ـﻤ ـ ــﺎن ﻓ ـ ـ ـ ــﺎرس« ﺧ ـ ــﺮاﺋ ـ ــﻂ ﻗــﺪﻳ ـﻤــﺔ‬
‫ﻟﻠﻌﺎﻟﻢ وﻟﺒﻌﺾ اﳌــﺪن اﻟﻌﺮﺑﻴﺔ اﻟﺘﻲ‬
‫ﻗــﺮر ﺷـ ّـﺮي أن ﻳــﺮﺳــﻢ ﻓﻮﻗﻬﺎ ﺑﺎﻟﺤﺒﺮ‬
‫واﻟـ ـﻔـ ـﺤ ــﻢ‪ ،‬ﻣ ـﻘ ـﺴ ـﻤــﴼ إﻳ ــﺎﻫ ــﺎ ﻛ ـﻤــﺎ ﻳـﺘــﻢ‬
‫ﺗﻘﺴﻴﻢ اﳌــﻮاﻗــﻊ اﻷﺛــﺮﻳــﺔ ﻟــﺪراﺳـﺘـﻬــﺎ‪،‬‬
‫ﻣـﻄـﻠـﻘــﴼ ﻋ ـﻠــﻰ ﺗ ـﻠــﻚ اﻟ ـﻠــﻮﺣــﺎت ﻋ ـﻨــﻮان‬
‫»أرﻛﻴﻮﻟﻮﺟﻲ‪ /‬ﻋﻠﻢ اﻵﺛﺎر«‪ .‬أﻣﺎ زﻳﺎد‬
‫ﻋﻨﺘﺮ‪ ،‬ﻓﻴﻌﺮض ﺻﻮره اﻟﻔﻮﺗﻮﻏﺮاﻓﻴﺔ‬
‫ﻋــﻦ اﳌـﻌــﺎﻟــﻢ اﻟﻬﻨﺪﺳﻴﺔ ﺣــﻮل اﻟﻌﺎﻟﻢ‬
‫ﻣـ ــﻊ ﻏ ــﺎﻟـ ـﻴ ــﺮي »ﺳـ ـﻠـ ـﻤ ــﻰ ﻓ ـﻴ ــﺮﻳ ــﺎﻧ ــﻲ«‬
‫اﻹﻳﻄﺎﻟﻴﺔ‪ ،‬اﻟﺘﻲ ﺗﻘﺪم أﻳﻀﴼ »ﻣﻮﻟﻮد‬
‫ﻣــﻊ ﻣـﻠـﻌـﻘــﺔ ﻣــﻦ ذﻫـ ــﺐ« و»ﻛـ ــﻞ واﺣــﺪ‬
‫ﻣﻨﺎ دﻳﻜﺘﺎﺗﻮر ﻣﺴﺘﻘﺒﻠﻲ« ﻟﺒﺎﺳﻜﺎل‬
‫ﻫــﺎﺷــﻢ‪ .‬ﻓﻴﻤﺎ ﺗـﻘــﺪم »ﻟــﻮﻣـﺒــﺮد ﻓــﺮﻳــﺪ«‬
‫اﻟ ـﻨ ـﻴــﻮﻳــﻮرﻛ ـﻴــﺔ ﺻـ ــﻮرﴽ ﻓــﻮﺗــﻮﻏــﺮاﻓـﻴــﺔ‬
‫ﻟﻠﻤﺼﻮر اﻟﻠﺒﻨﺎﻧﻲ اﳌﻘﻴﻢ ﻓﻲ أﻣﻴﺮﻛﺎ‬
‫ﻟﻮﺳﻴﺎن ﺳﻤﺎﺣﺔ‪ ،‬وﻟــﻮﺣــﺎت ﺟﺪﻳﺪة‬
‫ﻟـﻬــﺎﻳــﻎ أﻳ ـﻔــﺎزﻳــﺎن ﻳــﺮﺳــﻢ ﻓـﻴـﻬــﺎ ﺑﺸﺮﴽ‬
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‫ﻳﻘﻔﺰون ﻣﻦ ﺑﻨﺎﻳﺎت‪ .‬ﻟﻮﺣﺎت ﺗﺬﻛﺮﻧﺎ‬
‫ﺑﻤﺸﺎﻫﺪ اﻟﺒﺸﺮ اﻟﺬﻳﻦ ﻛﺎﻧﻮا ﻳﺮﻣﻮن‬
‫ﺑﺄﻧﻔﺴﻬﻢ ﻣﻦ ﻣﺒﻨﻰ اﻟﺘﺠﺎرة اﻟﻌﺎﳌﻲ‬
‫ﻓﻲ اﻋﺘﺪاءات ‪ ١١‬ﺳﺒﺘﻤﺒﺮ ‪ ،٢٠٠١‬ﻛﻤﺎ‬
‫ﻓﻲ ﻟﻮﺣﺎت آﻧﺪي واورﻫﻞ »اﻧﺘﺤﺎر«‪.‬‬
‫روي ‪...‬‬
‫اﻟﻔﻨﺎﻧﺔ ﻣــﻦ ﺷــﺎﻋــﺮﻳــﺔ وأﻟـ ــﻮان‪ .‬ﻛﺬﻟﻚ‪،‬‬
‫ً‬
‫أﻋﻤﺎﻻ أﻗﺪم ﻟﻜﻞ ﻣﻦ‪ :‬رﺑﻴﻊ ّ‬
‫ﻣﺮوة‪،‬‬
‫ﻧﺠﺪ‬
‫وﻟ ـﻴــﺪ رﻋـ ــﺪ وﻣـ ـ ــﺮوان رﺷ ـ ـﻤـ ــﺎوي‪ .‬أﻣــﺎ‬
‫ﻣﻨﻴﺮة اﻟﺼﻠﺢ‪ ،‬ﻓﺘﻌﺮض ﻣﻊ »ﺻﻔﻴﺮ‬
‫زﻣـﻠــﺮ« ﺻــﻮرﴽ ﻣ ـﻄـ ّـﺮزة وﻣــﺄﺧــﻮذة ﻣﻦ‬
‫ﻓﻴﻠﻤﻬﺎ اﻟﺴﺎﺑﻖ ‪ ،vrijouiliers‬ﻟﻜﻨﻬﺎ‬
‫أﻳ ـﻀ ــﴼ ﺗ ـﻠ ـﺒــﻲ دﻋ ـ ــﻮة »ﻣ ـﺸ ــﺎرﻳ ــﻊ آرت‬
‫دﺑـ ــﻲ« ﺣ ـﻴــﺚ ﺳ ــﻮف ﺗ ـﻘــﻮم ﺑـﻤــﺪاﺧـﻠــﺔ‬
‫ﻓ ـﻨـ ّـﻴــﺔ ﺗ ـﻔ ـﻀــﻞ أن ﺗ ـﺘــﺮك ﺗـﻔــﺎﺻـﻴـﻠـﻬــﺎ‬
‫ﻟ ـﺤــﲔ ﺣــﺪوﺛ ـﻬــﺎ ﻓــﻲ اﳌ ـﻌ ــﺮض‪ .‬ﺗـﻘــﻮل‬
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‫ﻟـ»اﻷﺧﺒﺎر« إن اﳌﺪاﺧﻠﺔ ﺳﻮف ﺗﻜﻮن‬
‫ﺟ ـ ــﺰءﴽ ﻣ ــﻦ ﻣ ـﻌــﺮﺿ ـﻬــﺎ اﳌ ـﻨ ـﻔ ــﺮد اﻟ ــﺬي‬
‫ﺳــﻮف ﻳﻔﺘﺘﺢ ﻓﻲ »ﺻﻔﻴﺮ زﻣﻠﺮ« ﻓﻲ‬
‫ﺑﻴﺮوت اﻟﺸﻬﺮ اﳌﻘﺒﻞ‪ .‬ﻛﺬﻟﻚ ﻣﻦ ﻟﺒﻨﺎن‪،‬‬
‫ﺗ ـﺸــﺎرك ﻳـﻤـﻨــﻰ ﺷ ــﻼﻻ ﻓــﻲ »ﻣـﺸــﺎرﻳــﻊ‬
‫آرت دﺑــﻲ« ﻫــﺬا اﻟـﻌــﺎم‪ .‬أﻣــﺎ ﻣﺪاﺧﻠﺘﻬﺎ‬
‫اﻟـﻔـﻨـﻴــﺔ اﻟ ـﺘــﻲ ﺗـﺤـﻤــﻞ ﻋ ـﻨــﻮان »ﻣ ـﺴــﺎر‬
‫اﻟــﺮﻏ ـﺒــﺔ«‪ ،‬ﻓـﺘـﻘــﻮم ﻋـﻠــﻰ زرع ﻣـﺴــﺎرات‬
‫ﺛــﺎﺑ ـﺘــﺔ وﻣ ـﺘ ـﺤــﻮﻟــﺔ ﻓــﻲ اﳌ ـﻌــﺮض ﻟﻜﻲ‬
‫ﺗــﺪﻓــﻊ زاﺋ ـ ــﺮي اﳌ ـﻌــﺮض إﻟ ــﻰ اﺧـﺘـﺒــﺎر‬
‫اﳌﺴﺎﺣﺔ واﻟﻔﻀﺎء اﳌــﻮﺟــﻮدﻳــﻦ ﻓﻴﻬﺎ‬
‫ﺿﻤﻦ »آرت دﺑــﻲ« ﺑﻄﺮﻳﻘﺔ ﻣﺨﺘﻠﻔﺔ‬
‫وﻏﻴﺮ ﻣﺘﻮﻗﻌﺔ‪.‬‬
‫»آرت ﻓ ــﺎﻛـ ـﺘ ــﻮم« ﺗـ ـﻘ ـ ّـﺪم ﻣ ــﻦ ﺟـﻬـﺘـﻬــﺎ‬
‫ﺑـ ـ ـﻌ ـ ــﺾ أﻋـ ـ ـ ـﻤ ـ ـ ــﺎل ﳌـ ـ ـﻴ ـ ــﺎ ﺟـ ـ ــﺮﻳـ ـ ــﺞ ﻣــﻦ‬
‫ﻣـﻌــﺮﺿـﻬــﺎ اﻷﺧ ـﻴــﺮ »ﺳ ـﺠــﻼت ﻷزﻣـﻨــﺔ‬
‫ﻣﻠﺘﺒﺴﺔ« اﳌﺘﻤﺤﻮر ﺣﻮل اﻟﺬاﻛﺮة ﻋﺒﺮ‬
‫ﻣ ـﺤــﻮر اﳌـﺘـﺤــﻒ اﻟــﻮﻃ ـﻨــﻲ اﻟـﻠـﺒـﻨــﺎﻧــﻲ‪،‬‬
‫ﺑــﺎﻹﺿــﺎﻓــﺔ إﻟ ــﻰ ﺻ ــﻮر ﻓــﻮﺗــﻮﻏــﺮاﻓـﻴــﺔ‬
‫ﻟﻜﺎروﻟﲔ ﺗﺎﺑﺖ وﺗﺎﻧﻴﺎ ﻃﺮاﺑﻠﺴﻲ‪ .‬ﻓﻲ‬
‫اﳌﻘﺎﺑﻞ‪ ،‬اﺧﺘﺎرت ﻏﺎﻟﻴﺮي »أﺟﻴﺎل« أن‬
‫ﺗﻌﻴﺪ ﺗﻘﺪﻳﻢ أﻋﻤﺎل ﻋﺪد ﻣﻦ ﻓﻨﺎﻧﻴﻬﺎ‬
‫ﺟ ـﻤ ـﻌ ـﺘ ـﻬــﺎ ﺗـ ـﺤ ــﺖ ﻋـ ـ ـﻨ ـ ــﻮان »ﻣ ـﻨ ــﺎﻇ ــﺮ‬
‫ﻓــﺎﻧ ـﺘــﺎزﻣــﺎﻏــﻮرﻳــﺔ«‪ .‬ﻫ ـﻨــﺎ‪ ،‬ﺳـﻨـﺸــﺎﻫــﺪ‬
‫ً‬
‫أﻋـﻤــﺎﻻ ﻟﻜﻞ ﻣــﻦ‪ :‬أﻳـﻤــﻦ ﺑﻌﻠﺒﻜﻲ‪ ،‬ﻫﺒﺔ‬
‫ﻛﻠﺶ‪ ،‬ﺗﻐﺮﻳﺪ درﻏﻮث‪ ،‬ﻋﻤﺮ ﻓﺎﺧﻮري‪،‬‬
‫ﻓــﺎدﻳــﺎ ﺣ ــﺪاد‪ ،‬ﺗﻨﺒﻚ وﻣ ـﻴــﺮاي ﻗـﺼــﺎر‪.‬‬
‫ﻟـ ــﻮﺣـ ــﺎت ﻳ ـﻌ ـﻴــﺪ ﻓ ـﻴ ـﻬــﺎ ﻫ ـ ـ ــﺆﻻء رﺳ ــﻢ‬
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‫ﻣ ـﻨــﺎﻇــﺮ ﻃـﺒـﻴـﻌـﻴــﺔ‪ ،‬ﻛ ــﻞ ﻋ ـﻠــﻰ ﻃﺮﻳﻘﺘﻪ‬
‫وﺑﺄﺳﻠﻮﺑﻪ اﻟـﺨــﺎص‪ .‬وﻳـﺸــﺎرك أﻳﻀﴼ‬
‫أﻳﻤﻦ ﺑﻌﻠﺒﻜﻲ ﻣﻊ ﺻﺎﻟﺔ »روز ﻋﻴﺴﻰ‬
‫ﺑ ــﺮوﺟ ـﻴ ـﻜ ـﺘ ــﺲ« اﻹﻧـ ـﻜـ ـﻠـ ـﻴ ــﺰﻳ ــﺔ‪ ،‬ﺣـﻴــﺚ‬
‫ﻳـﻌــﺮض ﻟــﻮﺣــﺎت ﻳــﺮﺳــﻢ ﻓﻴﻬﺎ ﺣﺎﺟﺰ‬
‫اﻟﺒﺎﻃﻮن اﻟﺘﺎﺑﻊ ﻟﺸﺮﻛﺔ »ﺳﻮﻟﻴﺪﻳﺮ«‪.‬‬
‫ﻛــﺬﻟــﻚ ﻳ ـﻘــﺪم ﺑـﻌـﻠـﺒـﻜــﻲ ﺗـﺠـﻬـﻴــﺰﴽ ﻓﻨﻴﴼ‬
‫ﺗ ـﻈ ـﻬ ــﺮ ﻓـ ـﻴ ــﻪ ﻟ ـ ـﻔ ــﺎﻓ ــﺎت ﻣ ـ ــﻦ اﻟ ـﻘ ـﻤ ــﺎش‬
‫اﳌــﺰرﻛ ـﺸــﺔ اﻟ ـﻠــﻮن واﳌ ـﻜــﺪﺳــﺔ ﺑﻌﻀﻬﺎ‬
‫ﻓـ ـ ــﻮق ﺑ ـ ـﻌـ ــﺾ‪ ،‬ﻣ ـ ــﻊ ﺑـ ـﻌ ــﺾ اﻷدوات‬
‫اﳌﻄﺒﺨﻴﺔ‪ ،‬وﻳﻌﻠﻮﻫﺎ دﻳﻚ ﻳﺼﻴﺢ ﻣﻊ‬
‫ﻋﺒﺎرة »اﺳﺘﻴﻘﻆ« اﳌﺜﺒﺘﺔ ﻓــﻮق رزﻣﺔ‬
‫اﻷﻏﺮاض‪ ،‬واﳌﻀﺎءة ﺑﺎﻟﻨﻴﻮن اﻷزرق‪،‬‬
‫ﻣﻦ ﺿﻤﻦ ﺳﻠﺴﻠﺔ ﺗﺠﻬﻴﺰاﺗﻪ اﻟﻔﻨﻴﺔ‬
‫ﺣﻮل ﻓﻘﺪان اﻻﺳﺘﻘﺮار ﻓﻲ ﻟﺒﻨﺎن‪.‬‬
‫وﺗ ـ ـ ـﻌ ـ ــﺮض ﻏـ ــﺎﻟ ـ ـﻴـ ــﺮي »ﻛـ ــﺎﻟ ـ ـﻔـ ــﺎﻳـ ــﺎن«‬
‫ﻣﺸﺎرﻛﺎت ﻟﺒﻨﺎﻧﻴﺔ‬
‫ﺑﺎﺳﻜﺎل ﻫﺎﺷﻢ‬
‫ﻋﻠﻲ ّ‬
‫ﺷﺮي‬
‫أﻛﺮم زﻋﺘﺮي‬
‫رﻳﺎن ﺗﺎﺑﺖ‬
‫أﻳﻤﻦ ﺑﻌﻠﺒﻜﻲ‬
‫ﳌﻴﺎ ﺟﺮﻳﺞ‬
‫ﻳ ـﻌــﺮض ﺑــﺎﺳ ـﻜــﺎل ﻫــﺎﺷــﻢ ﻣ ــﻊ »ﺳـﻠـﻤــﻰ‬
‫ﻓﻴﺮﻳﺎﻧﻲ« ﻋﻤﻠﲔ‪ .‬ﻓﻲ »ﻣﻮﻟﻮد ﻣﻊ ﻣﻠﻌﻘﺔ‬
‫ﻣﻦ ذﻫﺐ« )اﻟﺼﻮرة(‪ ،‬ﻧﺮى ﺑﻮدرة اﺳﻤﻨﺖ‬
‫ﻋﻠﻰ اﳌﻠﻌﻘﺔ اﻟﺬﻫﺒﻴﺔ‪ ،‬ﺣﻴﺚ ﻳﺴﺎﺋﻞ اﻟﻔﻨﺎن‬
‫اﻟ ـﻠ ـﺒ ـﻨــﺎﻧ ـﻴــﲔ ﻋ ـﻠــﻰ ﺟـﺸـﻌـﻬــﻢ وﻋـﺸـﻘـﻬــﻢ‬
‫ﻟﻠﻌﻤﺮان اﻟﻌﺸﻮاﺋﻲ‪ .‬أﻣــﺎ ﻓــﻲ »ﻛــﻞ واﺣــﺪ‬
‫ﻣﻨﺎ دﻳﻜﺘﺎﺗﻮر ﻣﺴﺘﻘﺒﻠﻲ«‪ ،‬ﻓـﻴــﻮزع ﻛﻞ‬
‫ﻛﻠﻤﺔ ﻣﻦ اﻟﻌﻨﻮان ﻋﻠﻰ »ﺷﻮﺑﻚ« ﻳﻤﻜﻨﻪ أن‬
‫ﻳﺘﺤﻮل ﺑﺴﻬﻮﻟﺔ إﻟﻰ آﻟﺔ ﻗﻤﻊ‪.‬‬
‫ﺗــﻮﺗــﺮ اﻟـﻄـﺒـﻘــﺎت اﻟـﺠــﻮﻓـﻴــﺔ ﺗـﺤــﺖ ﺑﻌﺾ‬
‫اﻟـﺒـﻠــﺪان ﻳ ــﻮازي ﻣــﺎ ﻓــﻮﻗـﻬــﺎ ﻓــﻲ ﺧــﺮاﺋــﻂ‬
‫ﻋ ـﻠ ــﻲ ﺷـ ـ ـ ّـﺮي اﳌـ ـﻘ ــﺪﻣ ــﺔ ﻣـ ــﻊ »ﻏ ــﺎﻟ ـﻴ ــﺮي‬
‫ّ‬
‫ﻳﺼﺐ اﻟﻔﻨﺎن اﻟﻠﺒﻨﺎﻧﻲ‬
‫إﻳﻤﺎن ﻓــﺎرس«‪.‬‬
‫اﻫﺘﻤﺎﻣﻪ أﺧﻴﺮﴽ ﻋﻠﻰ اﻟﻜﻮارث واﻟﺰﻻزل‬
‫اﻟـﺘــﻲ ﻗ ـ ّ‬
‫ـﺪم ﻋﻨﻬﺎ ﻓﻴﻠﻢ »اﻟ ـﻘ ـﻠــﻖ«‪ ،‬وﺣــﺎز‬
‫ﻋﻨﻪ ﺟﺎﺋﺰة أﻓﻀﻞ ﻣﺨﺮج ﻟﻔﻴﻠﻢ ﻗﺼﻴﺮ‬
‫ﻓـ ــﻲ »ﻣـ ـﻬ ــﺮﺟ ــﺎن دﺑـ ـ ـ ّـﻲ اﻟ ـﺴ ـﻴ ـﻨ ـﻤــﺎﺋــﻲ«‬
‫)‪.(٢٠١٣‬‬
‫ﻃ ــﺎﺋ ــﺮات أﻛـ ــﺮم زﻋ ـﺘ ــﺮي ﻣ ــﻊ »ﺻـﻔـﻴــﺮ‬
‫زﻣـﻠــﺮ« ﻛــﺎﻧــﺖ ﻗــﺪ راﻓـﻘــﺖ ﻋﻤﻠﻪ اﻷﺧﻴﺮ‬
‫»رﺳ ـ ــﺎﻟ ـ ــﺔ إﻟ ـ ــﻰ ﻃـ ـﻴ ــﺎر راﻓ ـ ـ ـ ــﺾ«‪ ،‬اﻟـ ــﺬي‬
‫ّ‬
‫ﻋـ ــﺮض ﻓ ــﻲ ﺑـ ـﻴ ــﺮوت ﻛ ـﻤــﺎ ﻣــﺜــﻞ ﻟـﺒـﻨــﺎن‬
‫اﻟ ـﻌــﺎم اﻟـﻔــﺎﺋــﺖ ﻓــﻲ »ﺑـﻴـﻨــﺎﻟــﻲ اﻟـﺒـﻨــﺪﻗـﻴــﺔ«‪.‬‬
‫ﺻﻮر ﻓﻮﺗﻮﻏﺮاﻓﻴﺔ ﺑﺎﻷﺑﻴﺾ واﻷﺳــﻮد‬
‫ﻟﻄﺎﺋﺮات ﺣﺮﺑﻴﺔ إﺳﺮاﺋﻴﻠﻴﺔ ﺗﻌﺒﺮ ﺳﻤﺎء‬
‫ﻟ ـﺒ ـﻨــﺎن‪ ،‬ﻛ ــﺎن ﻗ ــﺪ اﻟـﺘـﻘـﻄـﻬــﺎ اﻟ ـﻔ ـﻨــﺎن ﻓﻲ‬
‫ﻃﻔﻮﻟﺘﻪ‪.‬‬
‫رﻳـ ـ ــﺎن ﺗ ــﺎﺑ ــﺖ اﻟـ ـﺤ ــﺎﺋ ــﺰ »ﺟـ ــﺎﺋـ ــﺰة أﺑ ـ ــﺮاج‬
‫اﻟ ـﻔ ـﻨ ـﻴــﺔ« اﻟـ ـﻌ ــﺎم اﳌ ــﺎﺿ ــﻲ‪ ،‬ﻳ ـﻌ ــﺮض ﻣــﻊ‬
‫»ﻏــﺎﻟ ـﻴــﺮي ﺻـﻔـﻴــﺮ زﻣ ـﻠ ــﺮ« ﺗــﺮوﻳ ـﺴــﺎت‬
‫ﻣ ـﺒــﺮوزة ﻟـﺸــﺮﻛــﺔ »ﺗــﺎﺑــﻼﻳــﻦ« اﻟﻨﻔﻄﻴﺔ‪.‬‬
‫ﻋـﺒــﺮ ﻧ ــﻮع ﻣــﺎدﺗ ـﻬــﺎ اﻟــﻮرﻗ ـﻴــﺔ وﺣﺠﻤﻬﺎ‬
‫واﻟ ـﻠ ـﻐــﺔ اﳌـﺴـﺘـﻌـﻤـﻠــﺔ ﻓـﻴـﻬــﺎ‪ ،‬ﺗ ـﺴــﺮد ﻫــﺬه‬
‫اﻟ ـ ـﺘ ــﺮوﻳ ـ ـﺴ ــﺎت ﺗـ ــﺎرﻳـ ــﺦ ﻋ ــﻼﻗ ــﺔ ﺷــﺮﻛــﺔ‬
‫»ﺗــﺎﺑــﻼﻳــﻦ« اﻻﻗ ـﺘ ـﺼــﺎدﻳــﺔ ـ اﻟـﺴـﻴــﺎﺳـﻴــﺔ‬
‫ﺑﻤﻨﻄﻘﺔ اﻟﺸﺮق اﻷوﺳﻂ‪.‬‬
‫ﻳــﺮﺳــﻢ أﻳ ـﻤــﻦ ﺑﻌﻠﺒﻜﻲ ﻓــﻲ ﻟــﻮﺣــﺎﺗــﻪ ﻣﻊ‬
‫»روز ﻋـﻴـﺴــﻰ« ﺣــﺎﺟــﺰ اﻟ ـﺒــﺎﻃــﻮن اﻟــﺬي‬
‫ﻛـ ــﺎن أوﻟ ـ ــﻰ ﻋ ــﻼﻣ ــﺎت اﻧ ـﺘ ـﺸ ــﺎر ﺷــﺮﻛــﺔ‬
‫»ﺳــﻮﻟ ـﻴــﺪﻳــﺮ« ﻓــﻲ ﺑ ـﻴــﺮوت‪ ،‬وﺗﺮﺳﻴﻤﻬﺎ‬
‫ﻟ ـﺤــﺪود اﳌـﻨـﻄـﻘــﺔ اﻟ ـﺘــﻲ اﺳـﺘــﻮﻟــﺖ ﻋﻠﻴﻬﺎ‬
‫ﺿﻤﻦ ﻣﻨﻬﺠﻴﺔ إﻋ ــﺎدة إﻋـﻤــﺎر ﺑـﻴــﺮوت‪.‬‬
‫ﺑــﺎﻃــﻮن »ﺳــﻮﻟـﻴــﺪﻳــﺮ« ﻓﺼﻞ اﻟﻠﺒﻨﺎﻧﻴﻮن‬
‫ﻋــﻦ ﻣــﺪﻳـﻨـﺘـﻬــﻢ‪ ،‬وﻳ ـﻀــﺎف إﻟ ــﻰ ﺳﻠﺴﻠﺔ‬
‫ﺑﻌﻠﺒﻜﻲ ﻣﻦ اﻟﺤﻮاﺟﺰ‪.‬‬
‫ﻋ ـﺒــﺮ ﻛــﺎﻣ ـﻴــﺮا »ﺑ ـﻴ ـﻨ ـﻬــﻮل«‪ ،‬ﺗـﻠـﺘـﻘــﻂ ﳌﻴﺎ‬
‫ﺟــﺮﻳــﺞ ﺻــﻮرﴽ ﻟﺴﺎﺣﺔ اﳌـﺘـﺤــﻒ‪ ،‬ﻓﺘﻨﺘﺞ‬
‫ﺻﻮرﴽ ﻧﻴﻐﺎﺗﻴﻒ ﻧﺮى ﻓﻴﻬﺎ ﺑﻴﺮوت ﻋﺒﺮ‬
‫اﻟـﺜـﻘــﻮب‪ ،‬ﻓــﻲ إﻳ ـﺤــﺎء ﳌـﻨـﻈــﺎر اﻟﻘﻨﺎﺻﲔ‬
‫اﻟ ــﺬﻳ ــﻦ ﻛ ــﺎﻧ ــﻮا ﻳ ـﻤ ـﻠــﺆون اﳌ ـﻨ ـﻄ ـﻘــﺔ ﻋـﻠــﻰ‬
‫ﺧﻄﻮط اﻟﺘﻤﺎس ﺧــﻼل اﻟﺤﺮب اﻷﻫﻠﻴﺔ‪.‬‬
‫ﻋﻤﻞ ﻳﻘﺪم ﻛﺠﺰء ﻣﻦ ﻣﺸﺮوع »ﺗﻄﺮﻳﺲ‬
‫ﺑ ـﻴــﺮوت ‪ -‬ﻣـﺘـﺤــﻒ« ﻣــﻊ ﻏــﺎﻟ ـﻴــﺮي »آرت‬
‫ﻓﺎﻛﺘﻮم«‪.‬‬
Desert spaces - The Hindu
http://www.thehindu.com/features/magazine/desert-spaces/arti...
Features » Sunday Magazine
Art Bazaar
Desert spaces
SHAILAJA TRIPATHI
An art work "The Great Escape" by Iranian artist Farhad Moshiri which was reportedly bought by an European collector for US$200,000.
Photo: Special Arrangement
The right blend of local and international flavours was the common refrain that echoed across the just concluded Art Dubai.
An art fair is an art fair. At the end of the day, it is all about the business of selling art. But it is how the fair goes about
achieving the task, which defines the fair's identity and separates it from hundred others now dotting our artscape. Art
Dubai, whose eighth edition recently came to a close, isn’t aspiring to be Art Basel (it organises three mega fairs in
Basel, Miami Beach and Hong Kong), someone mentioned during a casual conversation and rightly so. There seems no
clamour for matching up to the overwhelming figures of any massive art fair in the world, but it negotiates a unique
space for itself.
So, on Al Sufouh Road, at the uber-luxurious Madinat Jumeirah located near the Burj Al Arab, lay an interesting
spread of 85 galleries from 28 countries, art projects, works by 500 artists, A.i.R Dubai (Artists in residency) Global Art
Forum, Marker, Terrace talks, The Sheikha Manal Little Artists Program, The Abraaj Group Art Prize plus two brand
new additions: Art Dubai Film and Art Dubai Modern. Elsewhere in the city was happening SIKKA Art fair (an
artist-led fair) and Design Days, a design fair.
A curatorially stronger fair, dominance of conceptual art and just the right blend of local and international flavours was
the common refrain that echoed across Art Dubai’s eighth edition, once again directed by Antonia Carver. To prepare
the right mix, the gallery selection committee carefully chose one third of the 85 galleries from West and South Asia
and a third from Europe and yet another one third from the Americas, Africa and East Asia. “Over the years, Art Dubai
has come to be known as a fair of discovery,” says Antonia Carver. And her claim was corroborated by the absence of
blue-chip western galleries and the presence of several unknown and uncelebrated artists from West Asia. “We are
aware that the art calendar is so busy these days and that any successful event has to carve out a particular place and
unique identity for itself, so giving the time-poor gallerists, artists, curators, collectors and museum directors a
fundamental reason to be there, every year. Art Dubai has its roots in the UAE and is the leading international fair for
the Middle East and South Asia — complementing the fairs and biennials taking place in Delhi, Kochi, Dhaka, and
elsewhere. The fair is also increasingly is seen as the global fair of choice — the meeting point for all those interested in
arts scenes and regions outside of Europe and the Americas, as it becomes a platform also for the arts scenes of Africa,
too,” she says.
Hans-Ulrich Obrist, one of the most influential names in the art world, discovered the work of 89-year-old Etel Adnan,
a Lebanese-American poet, writer and artist. He has now curated an ongoing exhibition of her work for Mathaf: Arab
Museum of Modern Art in Qatar. “It is a great place to find Emirati artists, middle-eastern artists of different
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4/22/14 10:37 AM
Desert spaces - The Hindu
http://www.thehindu.com/features/magazine/desert-spaces/arti...
generations,” says Hans, who feels very positive about the emergence of multiple cultural centres across the world.
If we are talking about discovery, then what can be a better example than the Marker section where the famous art
collective in their first curatorial outing focused on Caucasus and Central Asia, a region remaining obscure despite its
pluralism and complexity. Visitors were surprised to find art galleries from places like Tblisi and Baku in the section
designed like a tea salon or a traditional chaikhaneh.
Remembering last year’s Marker section which focused on West Africa, art critic Bharti Lalwani says, “Art Dubai also
makes an attempt to foreground contemporary art from lesser exposed regions such as Indonesia and Africa. As an
Indian diaspora from Nigeria, it was a thrill to meet collectors, curators and artists from Lagos last year. At the time,
my conversations with these remarkable individuals focused on how Art Dubai could act as a facilitator for fostering
new collectors in a region that may not have the infrastructure yet.”
Another remarkable thing about this year’s Art Dubai was Art Dubai Modern. With modern art eliciting so much
interest in the art world, to devote one section to modern art from the region was the right thing to do. While London’s
Grosvenor brought Pakistani-born British artist Rasheed Araeen, Karim Francis of Cairo brought Hamed Abdalla and
Adam Henein, the artists who were marginalised because of their strong anti-establishment stance, Pakistan’s Art
Chowk got some brilliant works by Zahoor ul Akhlaq — which blends modernist abstraction with traditional forms,
New York’s Aicon gallery had splendid creations of M.F. Husain and some unseen works by Pakistani modernist
Sadequain. These works were left behind in Paris in 1967 after he moved to Pakistan to never return to claim them. In
2010, the works were returned to The Sadequain Foundation.
“Of 11 galleries at Art Dubai Modern, four were showing Pakistani artists,” pointed out Varda Nisar of Karachi-based
Art Chowk gallery, which has returned after selling three quarter of the works. Responding to how Art Dubai has been
increasingly engaging with Pakistani art, Varda says, “I think a lot of it has to do with how people are so curious to find
and accept positive things coming from the country which is mostly in news for negative things. Talks by Rashid Rana
and Shahzia Sikandar were packed.” To add to the burgeoning Pakistani presence, was Nada Raza, the guest curator for
this year’s Abraaj Art Group Prize show titled ‘Bagh O Bahar: Garden and Spring’.
The Indian presence didn’t disappoint either, most noteworthy being Bangalore’s Anup Mathew Thomas who won the
Abraaj Art Group Prize (for his work ‘Nurses’) along with Abbas Akhavan, Kamrooz Aram, Bouchra Khalili of Iran,
Basim Magdy of Cairo.
“Art Dubai is possibly one of the most well attended art events of the region. The fair goes beyond the confines of the
traditional role of an art fair and puts together a host of engaging programs via the Global Art Forum initiative, Art
Dubai Projects, the Abraaj Prize Exhibition and more. The fair is possibly getting stronger each year from the point of
view of curatorial content. We participate in several of the most important fairs in the world, but to us, Art Dubai feels
like home. The organisers pay special attention to the gallery’s key interests and facilitate conversations. Also this fair
attracts a whole host of international curators, which to me is a really important part of the fair,” says Priyanka Raja of
Experimenter gallery, Kolkata.
Young artist Hajra Waheed’s poignant commentary on migration and loss in her sea change series, shown by
experimenter at Art Dubai, got completely sold out. A first-timer at the fair, GallerySKE, enthused by the response,
hopes to participate next year too. Art Dubai projects had works by Sunoj D, another Bangalore-based artist, and
Mumbai-based art collective Clark House Initiative. Bombay-based Chatterjee and Lal and Jhaveri Contemporary also
had booths.
Malini Gulrajani, owner of Dubai-based 1X1 art gallery, has been introducing to the Dubai art scene some interesting
names from the Indian art world. Putting things into perspective, the gallerist says, “This year saw Art Dubai mature
from a fair with a slightly local flavour into an absolutely international affair with top quality works and tonnes of
buyers. The only downside in Dubai is its small population and limited audience for the arts, but Art Dubai has found a
perfect way around this, showcasing the art and culture of the region to visitors through a week-long cultural
experience. Its booming economy, good infrastructure and a great mix of international crowd and government
patronage also encourage the art scene here.”
Not to forget the Sharjah Art Foundation — a non-profit initiative aimed at developing art in the Gulf — located in
Sharjah, which is just an hour away from Dubai.
The writer was in Dubai at the invitation of Art Dubai.
Keywords: Shailaja Tripathi, Art Dubai, art exhibition, art fair
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Art Dubai: spotlight on Central Asia and Caucasus | euronews, le mag
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Art Dubai: spotlight on Central Asia and
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19/03 16:09 CET
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The leading international art fair in the Middle East and South Asia Art Dubai has opened featuring more than 500 artists from 35 different countries.
Contemporary art in an array of media from paintings to various digital platforms adorn the walls, floors, ceilings and even the bathrooms at this year’s event. It
highlights select artists with specially commissioned projects and a series of talks, live installations and edgy films.
“Art Dubai is the biggest international art fair that takes place in the Middle East and South Asia. But it’s also a place where the world’s biggest galleries from
Europe and America come to the region; this is their point of contact with the Middle East and with South Asia. We see, every year, museum directors, curators, art
world professionals from all of the world pour into Dubai, and this has become their hub. We look to connect with regions that have already a strong relationship
with Dubai and with the Gulf and also look at regions where we find the artists particularly dynamic, very exciting art scenes, but rarely seen on the international
stage,” said the fair’s director Antonia Carver.
Alongside the Contemporary and Modern sections is the so-called ‘Marker’ section. This year, its spotlight is on artists from Central Asia and the Caucasus,
highlighting the organisers’ wish to broaden the fair’s geographical reach, in line with Dubai’s expansion as a commercial hub.
Art-East is an artists’ collective from Kyrgyzstan.
“We represent the artists’ organisation Art-East here. For our organisation, it means a lot because we haven’t any big art market in our country, that’s why to be
represented here is quite a big success. There will be a lot of panel discussion here and it’s a good way to meet intellectuals and friends,” explained Kyrgyz artist
Muratbek Djumaliev.
Besides the gallery halls, the fair’s extensive programme includes commissioned projects and performances, residencies for artists and curators, as well as an
exhibition of new works by winners of the annual Abraaj Group Art Prize.
“What emerges here at Art Dubai is the identity of a city that sees itself as cosmopolitan. And to those who argue that the only common language is that of
business, the answer is that city-states often successfully manage to combine art and trade,” concluded euronews’ Dubai correspondent, François Chignac.
Copyright © 2014 euronews
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‫اﻟﺴﻨﺔ اﳋﺎﻣﺴﺔ واﻟﻌﺸﺮون ـ اﻟﻌﺪد ‪ 7704‬اﻻﺛﻨﲔ ‪ 31‬آذار )ﻣﺎرس( ‪ 2014‬ـ ‪ 30‬ﺟﻤﺎدى اﻷوﻟﻰ ‪1435‬ﻫـ‬
‫ﺛﻘﺎﻓﺔ‬
‫ﺣﻮل ﻣﺪﻳﻨﺔ اﻟﺘﺠﺎرة واﻟﺴﻴﺎﺣﺔ إﻟﻰ ﻣﺮﻛﺰ ّ‬
‫دوﻟﻲ‬
‫ﻓﻨﻲ‬
‫ّ‬
‫ّ‬
‫ﻛﻮﺳﺘﻠﺮ وﲡﻮﻳﻊ اوﻛﺮاﻧﻴﺎ‬
‫دﺑﻲ«‪ :‬واﺣﺔ ﻓﻲ ﺻﺤﺮاء أم ﺛﻘﺎﻓﺔ ﻋﻤﻴﻘﺔ ﺗﺨﺘﺮق اﻟﻮاﻗﻊ؟‬
‫»آرت ّ‬
‫ﺣﺴﺎم اﻟﺪﻳﻦ ﻣﺤﻤﺪ ٭‬
‫■ »ﻣـﺎذا ﺣﺼﻞ ﻟﻠﻤـﺎل اﻟﺬي ﺟﻤﻊ ﻹﻏﺎﺛﺔ اﻟﺸـﻌﺐ‬
‫اﻟﺴـﻮري اﻟﻌـﺎم اﳌﺎﺿـﻲ؟«‪» ...‬ﻣـﺎ ﻫﻲ اﻷرﺑـﺎح اﻟﺘﻲ‬
‫ﺟﻨﺘﻬـﺎ ﺻـﺎﻻت اﻟﻌـﺮض؟«‪» ،‬ﳌـﺎذا ﻟـﻢ ﺗﻮاﻓﻘـﻮا ﻋﻠﻰ‬
‫ﻣﺸـﺎرﻛﺔ ﻏﺎﻟﻴﺮي ﺳﻮﻳﺴـﺮي ﻓﻲ ﺗﻈﺎﻫﺮة ﻫـﺬا اﻟﻌﺎم‬
‫ﻣـﻦ آرت دﺑـﻲ؟«‪ ...‬إﻧﻬﺎﻟـﺖ أﺳـﺌﻠﺔ ﺻﻌﺒـﺔ ﻣﺜﻞ ﻫﺬه‬
‫ﻣﻦ ﺑﻌـﺾ اﻟﺼﺤﺎﻓﻴـﲔ ﻋﻠـﻰ أﻧﺘﻮﻧﻴﺎ ﻛﺎرﻓـﺮ‪ ،‬ﻣﺪﻳﺮة‬
‫ﻓﻌﺎﻟﻴﺎت »آرت دﺑﻲ« ﻓﻲ اﳌﺆﲤﺮ اﻟﺼﺤﺎﻓﻲ ﻟﻠﺘﻈﺎﻫﺮة‪.‬‬
‫إﺟﺎﺑﺎت ﻛﺎرﻓﺮ ﻋﺎدت ﻣﻮﺟﺰة وﻣﺼﺎﻏﺔ ﺑﻄﺮﻳﻘﺔ ﻟﻄﻴﻔﺔ‬
‫ﻟﻠﺘﻌﺎﻣﻞ ﻣﻊ ﻃﻘﺲ ﻏﻴﺮ ﻣﺘﻮﻗﻊ‪.‬‬
‫ﺧـﻼل اﻷﻳـﺎم اﻟﻼﺣﻘـﺔ ﺳـﺘﻜﻮن أﻧﻄﻮﻧﻴـﺎ ﻛﺎرﻓـﺮ‬
‫ﺗﺘﺤﺮك ﺑﺄﻟﻮان ﺑﺴـﻴﻄﺔ‬
‫روح اﻟﺘﻈﺎﻫﺮة اﻟﻬﺎﺋﻤﺔ وﻫﻲ‬
‫ّ‬
‫ﺳـﻮداء ودون ﻣﺎﻛﻴـﺎج أو ﻣﺒﺎﻟﻐﺎت ﺗﺰﻳﻴﻨﻴﺔ‪ .‬ﺗﺒﺘﺴـﻢ‬
‫ﻟﻠﺠﻤﻴـﻊ أو ﲢـﺎول أن ﺗﺘﺬﻛـﺮ أﻳـﻦ رأﺗﻚ ﻛـﻲ ﻻ ﺗﺒﺪو‬
‫ﲢﺲ أﻧﻬﺎ ﺗﻘﻮل ﻣﺎ ﺗﻘﻮﻟﻪ‬
‫ﻣﺘﻌﺎﻟﻴﺔ‪ ،‬وﻋﻨﺪﻣﺎ ﺗﺘﺤﺪث ﻻ ّ‬
‫ﺑﺪاﻋﻲ اﻟﺪﺑﻠﻮﻣﺎﺳﻴﺔ‪.‬‬
‫ﳝـﺮ ﺣـﺪث ﺑﻬـﺬه‬
‫ﻻ ﳝﻜـﻦ‪ ،‬ﺑﺎﻟﺘﺄﻛﻴـﺪ‪ ،‬ﺗﻮﻗـﻊ أن ّ‬
‫اﻟﻀﺨﺎﻣـﺔ ﻓـﻲ اﳋﻠﻴـﺞ )‪ 70‬ﻣﺠﻤﻮﻋـﺔ ﻣﺘﺤﻔﻴـﺔ و‪85‬‬
‫ً‬
‫ﺑﻠـﺪا( دون أن ّ‬
‫ﻳﻬﺰ دواﺋـﺮ ﻣﺤﻠﻴﺔ‬
‫ﺻﺎﻟـﺔ ﻓﻨﻴﺔ ﻣـﻦ ‪35‬‬
‫وإﻗﻠﻴﻤﻴﺔ وﻋﺎﳌﻴـﺔ ودون أن ﻳﺜﻴﺮ اﻟﻜﺜﻴﺮ ﻣﻦ اﻷﺳـﺌﻠﺔ‬
‫اﳉﺬرﻳﺔ اﻟﺘﻲ ﻳﻄﺮﺣﻬﺎ اﳊﺎﺿﺮون ﻋﻠﻰ أﻧﻔﺴـﻬﻢ ﻗﺒﻞ‬
‫أن ﻳﻄﺮﺣﻮﻫﺎ ﻋﻠﻰ ﻣﺴﺆوﻟﻲ اﻟﺘﻈﺎﻫﺮة‪.‬‬
‫دﺑﻲ« )‪ 22 – 18‬آذار‪/‬ﻣﺎرس‬
‫ﺗﺸـﻜﻞ ﻓﻌﺎﻟﻴﺎت »آرت ّ‬
‫‪ (2014‬ﻣﻠﺘﻘﻰ ﻛﺒﻴﺮا ﳉﺪل اﻟﺜﻘﺎﻓﺎت واﻷﻓﻜﺎر واﻟﻔﻨﻮن‬
‫ﺑﺼـﻮرة ﻻ ﺗﺸـﺒﻪ ﺗﻈﺎﻫـﺮة ﻓﻨﻴـﺔ أﺧـﺮى ﻓـﻲ اﻟﻌﺎﻟﻢ‬
‫دﺑﻲ«‬
‫ﻓﻘـﺪ ﺟﻤﻌﺖ ﻫـﺬه اﻟﻨﺴـﺨﺔ اﻟﺜﺎﻣﻨـﺔ ﻣـﻦ »آرت ّ‬
‫ﻣﺌـﺎت اﻟﺼﺤﺎﻓﻴـﲔ واﻟﻔﻨﺎﻧـﲔ وأﺻﺤـﺎب اﻟﺼـﺎﻻت‬
‫اﻟﻔﻨﻴـﺔ وﺟﺎﻣﻌﻲ اﻟﺘﺤﻒ ورﺟﺎل اﻷﻋﻤﺎل واﻟﺸـﺮﻛﺎت‬
‫اﻟﻜﺒﺮى واﻟﻨﺎﺷﻄﲔ واﳌﻌﺘﺮﺿﲔ واﳌﺘﻔﺮﺟﲔ واﻟﺒﺎﻋﺔ‬
‫واﳌﺸـﺘﺮﻳﻦ )واﻟﻌﺎﺑﺮﻳﻦ ﺑﺪاﻋﻲ اﻟﻔﻀـﻮل( ﻓﻲ ﺑﻮﺗﻘﺔ‬
‫ً‬
‫ﺟﺴـﻮرا ﺑﲔ‬
‫واﺣـﺪة ﻏﻨﻴـﺔ ﺗﻨﺒـﺾ ﺑﺎﳊﻴﺎة وﻣـﺪّ ت‬
‫ً‬
‫ﺛﻘﺎﻓﻴـﺎ ﻓـﻲ ﺧﻠﻄـﺔ ﻣﺬﻫﻠـﺔ ﻻ ﳝﻜـﻦ‬
‫ﻋﻮاﻟـﻢ ﻣﺨﺘﻠﻔـﺔ‬
‫ﻟﻠﺼﺤﺎﻓـﻲ أو اﻟﻜﺎﺗﺐ اﻟﻌﺎﺑـﺮ أﻳّ ً‬
‫ﺎﻣﺎ ﻗﻠﻴﻠﺔ اﺳـﺘﻴﻌﺎﺑﻬﺎ‬
‫ﺑﺴﻬﻮﻟﺔ‪.‬‬
‫ﺑﺪاﻳﺔ‪ ،‬ﻣـﺎ ﻛﺎن ﻟﻬﺬه اﻟﺘﻈﺎﻫـﺮة أن ﺗﺘﻮﻓﺮ ﻋﻠﻰ ﻫﺬا‬
‫اﻟﻌﺎﳌـﻲ اﻟﻔﺮﻳـﺪ ﻟـﻮﻻ ﲤﻮﺿﻌﻬﺎ ﻣﺜـﻞ ﺟﺰﻳﺮة‬
‫اﻟﻄﺎﺑـﻊ‬
‫ّ‬
‫ﻋﺎﳌﻴﺔ ﺿﻤﻦ ﺑﻴﺌﺔ ّ‬
‫ﻣﺤﻠﻴﺔ ﻗﺎﺑﻠﺔ ﻻﺳﺘﻴﻌﺎب اﻵﺧﺮ‪ ،‬وﻓﻲ‬
‫اﻵن ﻧﻔﺴـﻪ ﺗﻮﻇﻴﻒ ﻛﻞ ذﻟﻚ ﻻﺳﺘﻴﻌﺎب ﻓﻨﻮن اﳋﻠﻴﺞ‬
‫ً‬
‫ً‬
‫وإﺑﺪاﻋﺎ‪.‬‬
‫ﺗﺄﺛﻴﺮا‬
‫اﻟﻌﺮﺑﻲ واﻣﻜﺎﻧﻴﺎﺗﻬﺎ اﳌﺘﺰاﻳﺪة‬
‫دﺑـﻲ« ﻓﻲ‬
‫ﻟﺬﻟـﻚ ﻧﻔﻬـﻢ ﳌـﺎذا ﺑـﺪأت ﺗﻈﺎﻫـﺮة »آرت ّ‬
‫اﻟﻌﺎﺻﻤـﺔ اﻟﻘﻄﺮﻳﺔ اﻟﺪوﺣﺔ ﺑﻨـﺪوة ﺧﺎﺻﺔ ل«ﻣﻨﺘﺪى‬
‫ً‬
‫ً‬
‫أﺻﻴﻼ ﻣﻦ‬
‫ﺟﺰءا‬
‫اﻟﻔﻦ اﻟﻌﺎﳌﻲ« )وﻫﻲ ﻓﻌﺎﻟﻴﺔ أﺻﺒﺤﺖ‬
‫دﺑـﻲ« ﻋﻠﻰ ﻣﺪى اﻟﺴـﻨﻮات اﻟﺜﻤﺎﻧـﻲ اﳌﺎﺿﻴﺔ(‪،‬‬
‫»آرت ّ‬
‫ﻣﺘﻨﺎوﻟـﺔ اواﺋـﻞ ا‪Ð‬ﻄﻄـﺎت اﻟﺘﻨﻈﻴﻤﻴـﺔ ﻓـﻲ اﻟﺪوﺣﺔ‬
‫ﺑـﲔ ‪ 1982-1972‬ﺑﺎﻟﺸـﺮاﻛﺔ ﻣـﻊ ﻫﻴﺌـﺔ ﻣﺘﺎﺣﻒ ﻗﻄﺮ‬
‫وﻣﺒـﺎدرة »اﻷﻋـﻮام اﻟﺜﻘﺎﻓﻴـﺔ«‪ ،‬ﻓـﻲ ﻧﻮع ﻣـﻦ اﻟﻠﻤﺤﺔ‬
‫اﻟﺘـﻲ ﻻ ﺗﻔﻮﺗﻬـﺎ اﻟﺪﻻﻟﺔ اﻟﻰ ان اﻟﺜﻘﺎﻓـﺔ واﻟﻔﻦ ﻗﺎدران‬
‫ﻋﻠﻰ ﲡﺎوز اﻟﺘﻮﺗﺮات اﻟﺴﻴﺎﺳﻴﺔ اﻟﻌﺎﺑﺮة‪.‬‬
‫اﳋﻠﻴﺠـﻲ ﻧﻔﺴـﻪ‪ ،‬ﺷـﻬﺪت اﻟﺘﻈﺎﻫﺮة‬
‫ﻓـﻲ اﻹﻃـﺎر‬
‫ّ‬
‫اﻹﻋـﻼن ﻋﻦ اﻓﺘﺘـﺎح ﻣﺮﻛﺰ اﳌﻠـﻚ ﻋﺒﺪ اﻟﻌﺰﻳـﺰ ﻟﻠﺜﻘﺎﻓﺔ‬
‫وﻋﻦ ﻓﻌﺎﻟﻴﺎﺗﻪ ﻓﻲ اﳌﻤﻠﻜﺔ اﻟﻌﺮﺑﻴﺔ اﻟﺴﻌﻮدﻳﺔ )واﻟﺬي‬
‫ﻛﺎن ﻣﻮﺿـﻮع ﻧﻘﺎش ﺣﻮل اﳋﺼﻮﺻﻴﺔ واﻻﺧﺘﻼﻓﺎت‬
‫اﻟﺴـﻌﻮدﻳﺔ ﻣـﻊ ﻣﺴـﺆوﻟﺔ اﻟﺜﻘﺎﻓﺔ واﻻﺑـﺪاع ﻓﻴﻪ رﻓﻘﺔ‬
‫اﻟﺰﻣﻼء ﻣﺤﻤـﺪ ﻏﻨﺪور )ﻣﻦ »اﳊﻴـﺎة«( وﻣﺤﻤﺪ وردة‬
‫)ﻣﻦ »اﻻﲢـﺎد« اﻻﻣﺎراﺗﻴﺔ(‪ ،‬واﻟﺰﻣﻴـﻞ ﻣﺤﻤﺪ ﻣﻨﺼﻮر‬
‫)ﻣﺮاﺳـﻞ »اﻟﻘﺪس اﻟﻌﺮﺑﻲ« ﻓﻲ اﻹﻣـﺎرات( وزﻣﻴﻞ ﻣﻦ‬
‫»اﻟﺮأي« اﻟﻜﻮﻳﺘﻴﺔ‪.‬‬
‫ﻏﻴﺮ أن اﻟﺘﻈﺎﻫﺮة ﻫﺬه ﻟﻴﺴـﺖ وردة ﻓﻲ اﻟﺼﺤﺮاء‬
‫ﻓﻬﻨـﺎك ﻋﺸـﺮات اﻟﻔﻌﺎﻟﻴـﺎت اﻟﺘـﻲ ﺗﺘﻔﺘـﺢ وﺗﻔﺎﺟﺌـﻚ‬
‫ﺑﺪﻳﻨﺎﻣﻴّ ـﺎت ﺧﺎﺻـﺔ ﺑﻬﺎ‪ ،‬ﻣﺜـﻞ ﻓﻌﺎﻟﻴﺎت »ﺳـﻜﺔ« اﻟﺘﻲ‬
‫ﻛﺎن ﻓﻲ ﺻﻤﻴﻤﻬﺎ ﻣﻌﺮض ﺳـﻜﺔ اﻟﻔﻨﻲ ‪ 2014‬اﻟﺬي ﻳﻘﺪّ م‬
‫ً‬
‫ً‬
‫ﻣﺨﺼﺼﺎ ﺑﺎﻟﻜﺎﻣﻞ ﻷﻋﻤـﺎل ﻓﻨﺎﻧﲔ إﻣﺎراﺗﻴﲔ‬
‫ﺑﺮﻧﺎﻣﺠـﺎ‬
‫وﻣﻘﻴﻤـﲔ ﻓﻲ دوﻟﺔ اﻻﻣﺎرات‪ ،‬ﻛﻤـﺎ ﺗﻘﺪم ﻋﺮوض اﻓﻼم‬
‫ً‬
‫وﻋﺮوﺿـﺎ ﻣﻮﺳـﻴﻘﻴﻰ وﺗﺮﻓﻴﻬﻴﺔ‬
‫ﻓـﻲ اﻟﻬـﻮاء اﻟﻄﻠـﻖ‬
‫ﺣﻴﺔ وﺟﻮﻻت ﺛﻘﺎﻓﻴﺔ وﻣﻨﺎﻗﺸـﺎت ﻓﻨﻴـﺔ وورش ﻋﻤﻞ‬
‫وﻧﺸـﺎﻃﺎت ﺗﺜﻘﻴﻔﻴﺔ اﺿﺎﻓـﺔ اﻟﻰ اﻻﺳـﺘﻮدﻳﻮ اﳌﻔﺘﻮح‬
‫ﻟﺒﺮﻧﺎﻣﺞ »اﻟﻔﻨﺎﻧﲔ اﳌﻘﻴﻤﲔ ﻓﻲ دﺑﻲ«‪ ،‬وذﻟﻚ ﺑﺎﺷـﺮاف‬
‫اﻟﻘﻴّ ﻤﲔ اﻟﺸـﻴﺨﺔ وﻓﺎء ﻫﺎﺷﺮ اﳌﻜﺘﻮم وﻛﺎﻳﻮﻛﻮ اﳝﻮرا‬
‫وﻳﻮﺳﺎﻛﺎ اﳝﻮرا‪.‬‬
‫أﻣـﺎ اﳊﺪﻳـﺚ ﻋـﻦ اﻟﻔﻌﺎﻟﻴـﺎت اﻟﺜﻘﺎﻓﻴـﺔ واﻟﻔﻨﻴـﺔ‬
‫اﳌﻮازﻳـﺔ اﻻﺧﺮى اﻟﺒﺎﻗﻴﺔ ﻓﻲ دﺑﻲ وﻛﺬﻟﻚ ﻓﻲ اﻹﻣﺎرات‬
‫ً‬
‫اﻷﺧﺮى ﻣﺜﻞ ﻋﺠﻤﺎن واﺑﻮ ﻇﺒﻲ ﻓﺘﺤﺘﺎج ً‬
‫ﻣﻮﺳﻌﺎ‬
‫ﻣﻘﺎﻻ‬
‫ﺑﺤﺪ ذاﺗﻬﺎ‪.‬‬
‫اﺳﺘﺤﺪاث ﻗﺴﻢ اﻟﻔﻦ اﳊﺪﻳﺚ‬
‫اﻟﺘﺠﺪﻳﺪ اﻷول ﻓﻲ ﺑﺮﻧﺎﻣـﺞ »آرت دﺑﻲ« ﻟﻬﺬا اﻟﻌﺎم‬
‫ﻛﺎن اﺳـﺘﺤﺪاث ﻗﺴـﻢ اﻟﻔـﻦ اﳊﺪﻳـﺚ وﺗﺨﺼﻴﺼـﻪ‪،‬‬
‫ﻟﻔﻨﻮن اﻟﻘﺮن اﻟﻌﺸـﺮﻳﻦ ﻓﻲ اﻟﺸﺮق اﻷوﺳﻂ وﺟﻨﻮب‬
‫آﺳـﻴﺎ ﺑﺈﺷـﺮاف اﻟﻘﻴّ ﻤﺎت ﻛﺮﻳﺴـﺘﲔ ﺧﻮري وﻛﺎﺛﺮﻳﻦ‬
‫داﻓﻴﺪ وﺳـﺎﻓﻴﺘﺎ آﺑﺘﻲ واﳌﺆرﺧـﺔ اﻟﻔﻨﻴﺔ اﳌﻌﺮوﻓﺔ ﻧﺪى‬
‫ﺷـﺒﻮط‪ ،‬وﻗﺪﻣﺖ ﻓﻴﻪ اﻟﺼﺎﻻت اﻟﻔﻨﻴﺔ ﻣﻌﺎرض ﻓﺮدﻳﺔ‬
‫او ﻣﺸﺘﺮﻛﺔ ﻟﻠﻔﻨﺎﻧﲔ ﻣﻴﺸﺎل ﺑﺼﺒﻮص وﺳﻴﺪ ﺻﺎدﻗﲔ‬
‫وﻣﻘﺒﻞ ﻓﺪا ﺣﺴـﲔ وﻧﺎﺻﺮ اﻟﻴﻮﺳﻒ وراﺷﺪ آل ﺧﻠﻴﻔﺔ‬
‫وزﻫـﻮر اﻷﺧﻼق وﺑﺎﻳـﺔ وﺣﺎﻣﺪ ﻋﺒﺪ اﻟﻠـﻪ وآدم ﺣﻨﲔ‬
‫ورﺷـﻴﺪ أراﺋـﲔ واﻧـﻮر ﺟـﻼل ﺷـﻤﺰا وﻧﺒﻴـﻞ ﻧﺤﺎس‬
‫وﻫﻮﻏﻮﻳﺖ ﻏﺎﻻﻧﺪ واردﺷـﻴﺮ ﻣﺤﺴﺲ اﺿﺎﻓﺔ ﻟﺒﻌﺾ‬
‫أﻋﻤﺎل ﻋﺒﺪ اﻟﻠﻪ اﻟﺮﻳﺲ‪.‬‬
‫ﺗﺘﺠـﻮل ﻓـﻲ اﳌﻌـﺮض وﺗﺴـﺘﻄﻠﻊ‬
‫ﺗﺮﻛـﺖ روﺣـﻲ‬
‫ّ‬
‫ﳝﻴّ ﺰ ﺑﲔ اﻟﻔﻦ اﻟﺴـﻲء واﳉﻴﺪ وﺗﻮﺻﻞ اﻟﻰ اﺳﺘﻨﺘﺎج‬
‫ﺻﺎدم »أﻏﻠﺐ ﻣﺎ ﻳﺒﺎع ﻣﻦ اﻷﻋﻤﺎل اﻟﻔﻨﻴﺔ ﺳﻲء!«‪.‬‬
‫ﺑﻌﺪ ذﻟﻚ اﺳـﺘﻮﻗﻔﺘﻨﻲ ﻓﻨﺎﻧـﺔ ﻟﺒﻨﺎﻧﻴﺔ أﺧﺮى ﺗﺪﻋﻰ‬
‫ﺿﻮ اﻟﺘـﻲ ﻋﺮﺿﺖ ﺻﺎﻟﺔ ﺗﺎﻧﻴﺎ ﻓﺎﻏﻨﺮ ﻓﻲ ﺑﺮﻟﲔ‬
‫أﻧﺎﺑﻴﻞ ّ‬
‫أﻋﻤﺎﻟﻬـﺎ‪ .‬ﻗﺎﻣـﺖ اﻧﺎﺑﻴﻞ ﺑﺠﻤﻊ رﺳـﺎﺋﻞ ﺣـﺐ ﻷﻛﺜﺮ ﻣﻦ‬
‫ﺧﻤﺴﻤﺌﺔ ﺷﺨﺼﻴﺔ ﻣﺸﻬﻮرة وﻏﻴﺮ ﻣﺸﻬﻮرة وﺻﻨﻌﺖ‬
‫ً‬
‫ﺟﺪﻳﺪا ﻓﻲ أﻋﻤﺎل ﻓﻨﻴـﺔ‪ .‬ﺧﻼل ﺑﺤﺜﻬﺎ ّ‬
‫اﻟﻔﻨﻲ‬
‫ﻧﺼ ًﺎ‬
‫ﻣﻨﻬـﺎ ّ‬
‫اﻛﺘﺸﻔﺖ اﻧﺎﺑﻞ وﺟﻮد ﺗﻜﺮار ﻛﺒﻴﺮ ﻟﻸﻓﻜﺎر ﻓﻲ اﻟﺮﺳﺎﺋﻞ‪.‬‬
‫اﻹﻋﺠـﺎب ﺑﺎﻟﻌﻴﻮن اﻟﺰرق ً‬
‫ﻣﺜﻼ‪ .‬ﻟﻜﻨﻬﺎ ﺻﻨﻌﺖ أﻋﻤﺎﻟﻬﺎ‬
‫ﺑﺸﻐﻒ وﲢﻠﻴﻞ‪.‬‬
‫ﺑﻌﺪ اﳊﺐ ﺟﺎءت اﻟﺸـﻬﻮة وﻛﺎن أﺟﻤﻞ اﻟﺘﻌﺒﻴﺮات‬
‫اﻟﻔﻨﻴـﺔ ﻋﻨﻬـﺎ ﻟﻔﻨﺎﻧـﺔ اﺳـﺘﺮاﻟﻴﺔ ﺷـﺎﺑﺔ ﺗﺪﻋـﻰ ﺟـﻮز‬
‫ً‬
‫ﺑﻠﺪاﻧﺎ ﻛﺜﻴﺮة واﻟﺘﻘﻄﺖ ﻣﻨﻬﺎ ﺗﻔﺎﺻﻴﻞ‬
‫ﻛﻴﺘﺴـﻮن ﺟﺎﻟﺖ‬
‫وﻣﺮﻣﻴّ ـﺎت وﻓﻮاﻛـﻪ وﺣﺼـﻰ وﺧـﺮز وﻗﻮﻟﺒﺘﻬـﺎ ﻓـﻲ‬
‫ﺳـﻤﺘﻪ »اﳌﺸـﺘﻬﻰ ﻳﺸـﺘﻬﻲ ﻣـﺎ ﻳﺸـﺘﻬﻴﻪ اﻵﺧﺮ«‬
‫ﻋﻤـﻞ ّ‬
‫ﺣﻴـﺚ ﺧﻠﻘﺖ ﻣـﻦ ﻫﺬه اﻷﻧـﻮاع اﳌﺘﻌﺪدة ﻣﻦ اﻷﺷـﻴﺎء‬
‫ً‬
‫اﳌﺘﻨﺎﻓﺮة ً‬
‫ﻧﺎﺑﻀﺎ ﺑﻜﻞ دﻻﻻت اﻟﺸـﻬﻮة‬
‫ﻋﻤﻼ ﻓﻨﻴﺎ ﻣﺬﻫﻼ‬
‫واﳉﻨﺲ‪.‬‬
‫ﻣﺠﺪدون وﻣﺨﻀﺮﻣﻮن‬
‫ﻣﻦ اﳌﻌﺮض‬
‫آراء اﻟﻨـﺎس واﻟﻌﺎرﺿـﲔ‪ .‬ﺿﻤـﻦ ﺗﻈﺎﻫـﺮة اﻟﻔـﻦ‬
‫اﳊﺪﻳـﺚ ﻟﻔﺘﺘﻨـﻲ أﻋﻤـﺎل زﻫـﻮر اﻷﺧـﻼق ﻓﺴـﺄﻟﺖ‬
‫ﻛﺎﻣﻴـﻼ ﺗﺸـﻮدري‪ ،‬ﻣـﻦ ادارة اﻟﻐﺎﻟﻴـﺮي‪ ،‬ﻋـﻦ ﻋﻤﻮم‬
‫اﳊﺮﻛـﺔ اﻟﺘﺸـﻜﻴﻠﻴﺔ ﻓـﻲ ﺑﺎﻛﺴـﺘﺎن وإن ﻛﺎن ﻟﻠﻬﻨﺪ او‬
‫ﻓـﺮدت ﺑﺄن‬
‫ﻟﺘﺄﺛﻴـﺮات ﻋﺎﳌﻴّ ـﺔ أﺧﺮى ﺗﺄﺛﻴـﺮات ﻋﻠﻴﻬﺎ‪ّ ،‬‬
‫اﻟﻔﻦ اﻟﺘﺸـﻜﻴﻠﻲ ﻓﻲ ﺑﺎﻛﺴـﺘﺎن ﻣﺰدﻫﺮ ﺷﺪﻳﺪ اﻹزدﻫﺎر‬
‫ﻧﺘﻴﺠـﺔ اﻟﺘﻨﺎﻓـﺲ اﻟﻜﺒﻴـﺮ ﻓﻴﻪ اﻟـﺬي أدى اﻟـﻰ ﻗﻨﺎﻋﺔ‬
‫ﻟﺪى اﻟﻔﻨﺎﻧﲔ ﺑﻀﺮورة اﻟﺘﻤﻴﺰ واﻟﻔﺮادة‪ ،‬وأن ﻻ ﺗﺄﺛﻴﺮ‬
‫ً‬
‫ﺣﻘﻴﻘﻴـﺎ ﻟﻠﻬﻨﺪ او ﳌﺮاﻛﺰ ﻛﺒﺮى ﻋﻠﻴﻪ ﻓﻘﺪ ﲡﺎوز ﻣﺮﺣﻠﺔ‬
‫اﻟﺘﺄﺛﺮ ﺑﺎﻟﻔﻨﻮن اﻟﻌﺎﳌﻴﺔ‪.‬‬
‫زﻫـﻮر اﻷﺧـﻼق )‪ ،(1999-1941‬اﻟـﺬي ﻋﺮﺿـﺖ‬
‫»آرﺗﺸـﻮك« أﻋﻤﺎﻟﻪ‪ ،‬ﺑﺤﺴـﺐ ﻛﺎﻣﻴﻼ‪ ،‬ﻣﺜـﺎل ﻋﻠﻰ ذﻟﻚ‬
‫ﻓﻬـﻮ ّ‬
‫ﻣﻌﻠﻢ ﻷﺟﻴﺎل ﻋﺪﻳﺪة ﻓﻲ اﻟﻜﻠﻴﺔ اﻟﻮﻃﻨﻴﺔ ﻟﻠﻔﻨﻮن‪،‬‬
‫وأﻋﻤﺎﻟﻪ أﻟﻬﻤﺖ ﺗﻼﻣﻴﺬه‪» .‬ﻣﻦ ﻳﻨﻈﺮ اﻟﻰ أﻋﻤﺎل زﻫﻮر‪«،‬‬
‫ﺗﻘﻮل ﺗﺸﻮدري‪» ،‬ﻳﻼﺣﻆ اﳌﺴﺘﻮﻳﺎت اﻟﻌﺪﻳﺪة ﻷﻋﻤﺎﻟﻪ‬
‫ً‬
‫ﻇﻼﻻ ﻣﺮﺳﻮﻣﺔ ﻓﻮق ﻇﻼل‪ .‬ﻣﺎ ﻓﻌﻠﻪ زﻫﻮر‬
‫ﻛﻤﺎ ﻟﻮ ﻛﺎﻧﺖ‬
‫ﻛﺎن اﻋـﺎدة وﺻﻞ اﻟﺒﺎﻛﺴـﺘﺎﻧﻴﲔ ﺑﺘﺮاﺛﻬﻢ وﻣﺤﻠﻴﺘﻬﻢ‪.‬‬
‫ﺣﺼـﻞ ذﻟـﻚ ﺧـﻼل دراﺳـﺘﻪ ﻓـﻲ ﺑﺮﻳﻄﺎﻧﻴـﺎ وزﻳﺎرﺗﻪ‬
‫ﻟﻠﻤﺘﺤﻒ اﻟﺒﺮﻳﻄﺎﻧﻲ ﺣﻴﺚ ﺷـﺎﻫﺪ أﻋﻤﺎل اﳌﻐﻮل وﺷﺎه‬
‫ﺟﻬﺎن«‪ ،‬وﻣﻊ ﻋﻮدﺗﻪ اﻟﻰ ﺑﺎﻛﺴﺘﺎن أﻟﻬﻢ زﻫﻮر ﻣﺪرﺳﺔ‬
‫ﻛﺎﻣﻠﺔ واﺷـﺘﻬﺮت ﺑﻔﻀﻞ ذﻟﻚ أﺳـﻤﺎء ﻓﻨﻴﺔ ﺑﺎﻛﺴﺘﺎﻧﻴﺔ‬
‫ﻛﺒﻴـﺮة ﻣﺜـﻞ ﻋﻤـﺮان ﻗﺮﻳﺸـﻲ وراﺷـﺪ راﻧـﺎ وﺷـﺎزﻳﺎ‬
‫اﺳﻜﻨﺪر‪.‬‬
‫ﻣﺨﺘﻠﻔﻮن ﺑﺸﻜﻞ وﺣﺸﻲ!‬
‫ﺗﺮاﻓﻘﺖ ﺗﻈﺎﻫﺮة »ﻣﺆﺷـﺮ« )‪ (Marker‬ﻫﺬا اﻟﻌﺎم‬
‫ً‬
‫ً‬
‫دﻳﻨﺎﻣﻴﻜﻴﺎ‬
‫ﻃﺎﺑﻌـﺎ‬
‫ﻣـﻊ أﺣـﺪاث اوﻛﺮاﻧﻴﺎ ﳑـﺎ أﻋﻄﺎﻫـﺎ‬
‫ﻛﻮﻧﻬـﺎ ﻣﺨﺼﺼـﺔ ﻟﻔﻨـﻮن اواﺳـﻂ آﺳـﻴﺎ وﻣﻨﻄﻘـﺔ‬
‫اﻟﻘﻮﻗﺎز‪ ،‬ﺑﺤﻴﺚ أﻋﻄﺖ ﺣﻴﻮﻳـﺔ ﻛﺒﻴﺮة ﻟﻘﻀﺎﻳﺎ ﺗﺪاﺧﻞ‬
‫اﻟﺴﻴﺎﺳـﻲ واﳉﻐﺮاﻓﻲ واﻟﺘﺎرﻳﺨﻲ ﺑﺎﻟﻔﻨﻲ ﻓﻲ ﻣﻨﻄﻘﺔ‬
‫ﻛﺎﻧﺖ ﺧﺎﺿﻌﺔ ﻟﻺﻃﺎر اﻟﺴﻴﺎﺳـﻲ واﻟﻔﻨﻲ اﻟﺴﻮﻓﻴﻴﺘﻲ‬
‫ﻗﺒﻞ ان ﺗﻬﺐ ﻋﻠﻴﻬﺎ رﻳﺎح اﻟﺘﻐﻴﻴﺮ‪.‬‬
‫ﻗﺎﺑﻠـﺖ ﺑﻴـﺎن ﺷـﺮﻳﻔﻲ ﳑﺜـﻞ إﺣـﺪى ا‪á‬ﻤﻮﻋـﺎت‬
‫ﻋﺮف اﳌﻨﻄﻘﺔ‬
‫واﻟﺬي‬
‫اﳌﺴـﻤﺎة »ﺳﻼف وﺗﺘﺎر«‬
‫اﳌﺪﻋﻮة‬
‫ّ‬
‫ّ‬
‫ّ‬
‫ً‬
‫اﻟﺘـﻲ ّ‬
‫ﺟﻐﺮاﻓﻴﺎ ﺑﺄﻧﻬﺎ ﲤﺘﺪ ﻣﻦ ﺷـﺮق‬
‫ﻏﻄﺎﻫﺎ ﻣﻌﺮﺿـﻪ‬
‫ﺟـﺪار ﺑﺮﻟـﲔ ﺣﺘﻰ ﻏـﺮب ﺟـﺪار اﻟﺼﲔ‪ .‬اﺳـﺘﺜﺎرﺗﻨﻲ‬
‫أﻓـﻜﺎر ا‪á‬ﻤﻮﻋـﺔ اﻟﺘـﻲ ﻣﺜﻠﻬﺎ ﺷـﺮﻳﻔﻲ ﻣﺜـﻞ اﻋﺘﺒﺎرﻫﺎ‬
‫ان اﻹﺳـﻼم ازدﻫـﺮ ﻓـﻲ اﳊﻮاﺷـﻲ واﻷﻃـﺮاف أﻛﺜـﺮ‬
‫ﻣـﻦ اﳌﺮاﻛـﺰ‪ ،‬وأن ﻫﺒـﻮب اﳊﺪاﺛـﺔ اﳌﺘﺄﺧـﺮ ﻋﻠﻴﻪ ﺑﻌﺪ‬
‫اﺧﺘﻼﻃﺎﺗـﻪ ﺑﺎﻟﺸـﺎﻣﺎﻧﻴﺔ واﻟﻬﻨﺪوﺳـﻴﺔ وﻏﻴﺮﻫـﺎ ﻣﻦ‬
‫اﻷدﻳـﺎن ﻓﺘـﺢ ا‪á‬ـﺎل ﻟﻠﺘﻌﺒﻴـﺮ اﻹﺷـﻜﺎﻟﻲ اﻟﻔﻨـﻲ ﻋﻦ‬
‫اﻟﻬﻮﻳﺔ وﻗﻀﺎﻳﺎ إﺷﻜﺎﻟﻴﺔ ﻋﺪﻳﺪة أﺧﺮى‪.‬‬
‫ﻓﻲ ﻗﺎﻃﻊ آﺧﺮ ﻣﻦ »ﻣﺆﺷﺮ« اﻟﺘﻘﻴﺖ ﻳﻮﻟﻴﺎ ﺳﻮروﻛﻴﻨﺎ‬
‫ﻣﺪﻳـﺮة »آﺳـﻴﺎ آرت ‪ ،«+‬أﳌﺎﺗﻲ )ﻛﺎزاﺧﺴـﺘﺎن(« اﻟﺘﻲ‬
‫»دردﺷـﺖ« ﻣﻌـﻲ ﺣـﻮل اﻧﺸـﻐﺎﻻﺗﻲ اﻟﺘـﻲ ّ‬
‫وﻟﺪﺗﻬـﺎ‬
‫اﻷﻋﻤـﺎل اﳌﻌﺮوﺿـﺔ ﻓـﻲ ﻗﺴـﻤﻬﺎ ﺿﻤـﻦ »ﻣﺆﺷـﺮ«‪.‬‬
‫»ﻣﺨﺘﻠﻔﻮن ﺑﺸـﻜﻞ وﺣﺸـﻲ!« ﺗﺼﻒ ﻳﻮﻟﻴﺎ اﻟﺘﻔﺎرﻗﺎت‬
‫ﺑـﲔ ﻓﻨﺎﻧﻲ اﳌﻨﻄﻘﺔ اﻟﺸﺎﺳـﻌﺔ اﻟﺘـﻲ ﻳﻐﻄﻴﻬﺎ اﳌﻌﺮض‪.‬‬
‫»ﻛﺎزاﺧﺴـﺘﺎن ﻫﻲ اﻷﻏﻨﻲ ﺑﺴـﺒﺐ اﻟﻨﻔـﻂ واﳌﻌﺎدن«‪،‬‬
‫ﺗﻘﻮل‪» .‬اوزﺑﻜﺴـﺘﺎن ﻓﻴﻬـﺎ ﻧﻈﺎم ﻏﺮﻳـﺐ ﻣﺆﻳﺪ ﻟﻠﻨﻈﺎم‬
‫اﻟﺴـﻮﻓﻴﻴﺘﻲ اﻵﻓـﻞ ودﻛﺘﺎﺗﻮرﻳـﺔ ﺗﻌﺎﺿـﺪ ﻫـﺬه‬
‫اﻟﺼـﻮرة«‪ .‬ﻣـﻊ ذﻟـﻚ ﺗﺘﺤﺪث ﻳﻮﻟﻴـﺎ ﻋﻦ اﻟﺘﺸـﺎﺑﻬﺎت‬
‫ﺑﲔ ﻛﻞ ﻫﺬه اﻟﺒﻠﺪان اﻟﻜﺒﻴﺮة »ﻟﺪﻳﻨﺎ ﺗﺮاث ﺳـﻮﻓﻴﻴﺘﻲ‪.‬‬
‫ﻫﻨﺎك ﺷﻜﻞ ﻣﻦ اﻷﺧﻮة‪ .‬ﻟﺪﻳﻨﺎ ﺟﺬور ﻣﺸﺘﺮﻛﺔ‪ .‬اﻟﺘﻌﻠﻴﻢ‬
‫وﺷـﻜﻞ اﳊﻴﺎة وﻛﻴﻒ ﻧﻔﻜﺮ‪ ...‬وﻓﻲ اﻟﻨﻬﺎﻳﺔ ﻛﻠﻨﺎ ﻧﺘﻜﻠﻢ‬
‫اﻟﺮوﺳﻴﺔ«‪.‬‬
‫ﺗـﺮى ﺳـﻮروﻛﻴﻨﺎ ان ﺷـﻌﻮب آﺳـﻴﺎ اﻟﻮﺳـﻄﻰ‬
‫ﻗﺼﺎﺋﺪ ﻟﻠﺸﺎﻋﺮ اﻟﻔﺮﻧﺴﻲ ﺟﻮﻟﻴﺎن ﻓﻴﺮدﻳﻨﺎﻧﺪ‬
‫ﺗﺮﺟﻤﺔ وﺗﻘﺪﱘ‪ :‬ﻋﺒﺪ اﳉﻮاد اﻟﻌﻮﻓﻴﺮ ٭‬
‫اﺑﻦ اﻟﺸﻤﺎل واﻟﺸﻌﺮ‪ ،‬ﺟﻮﻟﻴﺎن ﻳﻌﻴﺶ ﻓﻲ ﻣﺪﻳﻨﺔ »ﻟﻴﻞ« ﺣﻴﺚ‬
‫ﻳﺘﺠﻮل ﺑﺄﺣﻼﻣﻪ ﻋﺒﺮ اﳌﺪﻳﻨﺔ‪.‬‬
‫ﻋﺎد ﻣﻦ اﻗﺎﻣﺔ ﻃﻮﻳﻠﺔ ﺑﻠﻨﺪن ﻓﺎرغ اﳉﻴﻮب‪ ،‬ﻟﻜﻦ ﺑﻌﻴﻨﲔ‬
‫ﻣﻠﻴﺌﺘﲔ ﺑﺎﻟﺪﻫﺸﺔ أﻣﺎم ﻫﺬا اﻟﻌﺎﻟﻢ اﻟﺬي ﻳﻠﻤﻊ ﺑﺄﺿﻮاء‬
‫ﻣﺼﺎﺑﻴﺢ اﻟﻨﻴﻮن‪ ،‬ﻟﻜﻨﻪ ﻳﺤﺴﺐ أﻧﻪ ﻳﺒﻨﻲ ﻣﺘﺎﻫﺔ ﺣﻴﺖ أﺑﻮاﺑﻬﺎ‬
‫اﳌﺘﻌﺪدة وﻧﻮاﻓﺬﻫﺎ ﻻ ﺗﻔﻀﻲ اﻟﻰ ﻣﺪﺧﻞ أو ﻣﺨﺮج‪.‬‬
‫اﻧﻪ ﻣﺘﻔﺮج ﻣﺸﻮش ﻳﺘﺄﻣﻞ اﻟﺪﻳﻜﻮرات اﻟﺘﻲ ﺗﺨﺪع اﻟﻌﲔ‪.‬‬
‫ﺟﻮﻟﻴﺎن ﺑﺤﺚ ﻣﻠﻴﺎ ﻓﻲ ﺟﻴﻮﺑﻪ‪ ،‬اﻧﻪ ﻣﺘﺄﻛﺪ أﻧﻪ أﺿﺎع ﺑﻄﺎﻗﺔ‬
‫اﻟﺪﻋﻮة ﳊﻀﻮر »ﺳﻬﺮة ﲢﺖ اﻟﻘﻤﺮ«‪ ،‬اﻻ أن ﻳﻜﻮن ﻣﺘﺄﻛﺪا‬
‫أﻧﻪ ﺧﺒﺄ ﺷﻴﺌﺎ آﺧﺮ ﺣﻴﺖ ﻳﻘﻮل‪:‬‬
‫»ﻟﻘﺪ وﺿﻌﺖ اﻟﻘﻤﺮ ﻟﻠﺘﻮ ﻓﻲ ﺟﻴﺒﻲ‬
‫ﺳﺄذﻫﺐ ﻟﻠﻘﻴﺎم ﺑﺄﺷﻴﺎء ﻏﺎﻣﻀﺔ«‬
‫ﺟﻮﻟﻴﺎن ﻓﻴﺮدﻳﻨﺎﻧﺪ أﺻﺪر ﻋﺪة ﻣﺠﺎﻣﻴﻊ ﺷﻌﺮﻳﺔ ﻣﻨﻬﺎ‪» :‬ﺳﻬﺮة‬
‫ﲢﺖ اﻟﻘﻤﺮ«‪» ،‬أﺧﺒﺎر اﻟﺸﻤﺲ«‪» ،‬ﻫﺎﺗﻪ اﻷﺷﻴﺎء ﻣﻦ زﻣﻦ‬
‫آﺧﺮ«‪» ،‬ﺿﺪ اﳉﻤﻴﻊ«‪.‬‬
‫أﺣﻴﺎﻧﺎ أﺗﺨﻴﻠﻨﻲ ﻣﻌﻄﻔﺎ ﺑﻼ أي ﻣﻼﺑﺲ داﺧﻠﻴﺔ‪ ،‬ﻋﺎﺑﺮا ﻓﻲ‬
‫اﻟﺮﻳﺢ‬
‫رأﺳﻲ ﻧﺎﻓﺬة ﻣﻬﺸﻤﺔ‪ ،‬أﺣﺲ ﻣﻦ ﺧﻼﻟﻬﺎ اﻟﺮﻳﺢ ﻳﻌﺒﺮ‬
‫اﳊﻘﺎﺋﻖ ﺗﻘﻔﺰ ﻣﺜﻞ ﺟﺪران‪ ،‬ﺧﺎﻟﻘﺔ ﻣﺘﺎﻫﺎت ﺻﻌﺒﺔ‪ ،‬ﻏﻴﺮ‬
‫ﻣﺘﻮﻗﻌﺔ‪ ،‬ﺣﻴﺚ ﻣﻦ ﺧﻼﻟﻬﺎ ﻧﻌﺪوا ﺑﺪون ﺟﺪوى ﻧﺤﻮ ﻛﻮة‬
‫ﻣﻀﻴﺌﺔ‬
‫ﺑﻜﻞ ﺗﺄﻛﻴﺪ ﳝﻜﻨﻨﻲ اﻋﺘﺒﺎر ﻧﻔﺴﻲ رﺟﻼ ﻛﺜﻴﺮ اﻷﺣﻼم‪ ،‬وﻗﻠﻴﻞ‬
‫اﳌﺎل‬
‫ﺷﻲء ﻣﺎ أﻛﺜﺮ رﻋﺒﺎ ﻣﻦ أﻛﻮن ﻣﻔﻬﻮﻣﺎ‪ ،‬أن أﻛﻮن ﻣﺜﻴﺮا‬
‫ﻟﻼﻋﺠﺎب‪ ،‬أن أﻛﻮن ﺷﻌﺒﻴﺎ‪ ،‬أرﻳﺪ أن أﺑﻘﻰ ﻏﺎﻣﻀﺎ اﻟﻰ آﺧﺮ‬
‫ﻧﻘﻄﺔ‬
‫اﻟﻮاﻗﻊ ﻫﻮ ﺳﻤﻜﺔ ﻓﻀﻴﺔ ﺗﺨﺒﺌﻨﺎ ﻓﻲ ﻳﺪﻳﻬﺎ‪.‬‬
‫ﻛﻨﺖ راﻏﺒﺎ اﻟﺪﺧﻮل ﻓﻲ أﺣﺎدﻳﺜﻜﻢ‪ ،‬ﻟﻜﻨﻨﻲ ﻟﻢ أﺟﺪ ﺑﺎﺑﺎ‪ ،‬ﻇﻠﻠﺖ‬
‫ﻫﻨﺎ أﺗﺄﻣﻞ ﻋﺒﺮ اﻟﻨﺎﻓﺬة‪.‬‬
‫ﻛﻨﺎ ﻫﻨﺎ ﻧﺤﻦ اﻻﺛﻨﲔ أﻣﺎم ﻋﺸﺎء ﻓﺎﺧﺮ ﺑﺎﻟﺸﻤﻮع‪ ،‬ﻓﺠﺄة‬
‫ﻣﺪدت ﻋﻨﻘﻚ وﺗﻘﻴﺄت اﳊﺐ‪.‬‬
‫أﻏﻄﻴﺔ اﺑﻠﻴﺲ اﻟﺘﻲ ﻧﺘﻜﻮر ﻓﻴﻬﺎ ﻛﻞ ﻟﻴﻠﺔ ﻟﻢ ﺗﻌﺪ ﺳﻮى ﻫﺎﺗﻪ‬
‫اﳌﻜﻌﺒﺎت اﳌﺜﻠﺠﺔ‪.‬‬
‫ﺗﺸـﺘﺮك اﻳﻀﺎ ﻓـﻲ ﻧﻮع ﻣﻦ اﳌﻨـﺎخ اﻟﺒـﺪوي‪» .‬اذا ﻛﺎن‬
‫ﻟﺪﻳﻬﻢ ﻃﻘﺲ ﺟﻴﺪ وأﻛﻞ ﻓﻜﻞ ﺷـﻲء ﺟﻴﺪ‪ ،«.‬ﻛﻤﺎ ﺗﺸـﻴﺮ‬
‫اﻟـﻰ ﻧﻘﻄﺔ أﺧـﺮى ﻣﻬﻤﺔ »اﻟﻔﻦ ﳝﻜﻦ ﳌﺴـﻪ ﻫﻨﺎك ﻷﻧﻬﻢ‬
‫ﻳﻌﻤﻠـﻮن ﺑﺄﺷـﻴﺎء ﻣـﻦ اﳊﻠﻴـﺐ واﻟﻄﲔ‪ .‬ﺣـﲔ اذﻫﺐ‬
‫اﻟﻰ روﺳـﻴﺎ اﺷﻌﺮ ﺑﺸـﻌﻮر ﻣﺨﺘﻠﻒ‪ .‬ﻟﺪﻳﻨﺎ ﻣﺘﻊ أﺧﺮى‬
‫ﻓﻲ اﳊﻴﺎة وﺣﲔ ﻧﻨﺘﻘﺪ ﻧﻘـﻮم ﺑﺬﻟﻚ ﺑﺪﻋﺎﺑﺔ وﺑﻄﺮﻳﻘﺔ‬
‫ﻓﻨﻴﺔ‪«.‬‬
‫ﻋﻠـﻰ اﳌﻘﻠـﺐ اﻟﺴﻴﺎﺳـﻲ ﺗـﺮى ﻳﻮﻟﻴـﺎ ان اﻟﻔﻨﺎﻧـﲔ‬
‫ً‬
‫ﺳﻴﺎﺳﻴﺎ وﻟﻜﻨﻬﻢ ﻳﻘﺎﺗﻠﻮن‬
‫ﺣﺴﺎﺳـﻮن وﻏﻴﺮ ﻣﺮﺗﺎﺣﲔ‬
‫ﺑﻄﺮﻗﻬـﻢ اﳋﺎﺻﺔ وﺑﺎﺷـﺎراﺗﻬﻢ اﳋﺎﺻـﺔ‪» .‬ﻫﺬا اﻷﻣﺮ‬
‫ً‬
‫ً‬
‫داﺋﻤﺎ‪ .‬ﻻ ﳝﻜﻦ‬
‫ﻧﻘـﺪي‬
‫ﺟﺪﻳـﺪا‪ .‬اﻟﻔﻦ اﳌﻌﺎﺻﺮ ﻫﻮ‬
‫ﻟﻴﺲ‬
‫ّ‬
‫ً‬
‫ً‬
‫ﺳﻴﺎﺳـﻴﺎ‬
‫ﻣﻌﺎﺻـﺮا دون أن ﻳﻜـﻮن‬
‫ﻟﻠﻔـﻦ أن ﻳﻜـﻮن‬
‫ً‬
‫وﻧﻘﺪﻳﺎ«‪.‬‬
‫ﻓﻨﺎن ﻟﺒﻨﺎﻧﻲ ﻟﻐﺎﻟﻴﺮي ارﻣﻨﻲ ﻓﻲ اﻟﻴﻮﻧﺎن‬
‫ﻟﻔﺘﺘﻨﻲ ﻓﻲ اﻟﻌﺮوض أﻋﻤـﺎل ﻟﻠﻔﻨﺎن اﻟﻠﺒﻨﺎﻧﻲ راﺋﺪ‬
‫ﻳﺎﺳـﲔ ﻛﺎﻧﺖ ﻣﻌﺮوﺿﺔ ﻓﻲ ﻏﺎﻟﻴـﺮي ﻛﺎﻟﻔﺎﻳﺎن )أﺛﻴﻨﺎ(‬
‫وﻣـﺎ ﻟﺒﺜـﺖ أن ﻋﺮﻓـﺖ ﳌـﺎذا‪ .‬روﺑـﲔ ﻛﺎﻟﻔﺎﻳـﺎن‪ ،‬أﺣـﺪ‬
‫ﻣـﺪراء اﻟﻐﺎﻟﻴـﺮي أﺧﺒﺮﻧـﻲ اﻧﻬـﻢ اﻷﻗﺪم ﻓـﻲ اﻟﻴﻮﻧﺎن‬
‫ﻓـﻲ اﺧﺘﺼﺎﺻﻬﻢ ﺑﻔﻨـﻮن اﻟﺸـﺮق اﻷوﺳـﻂ‪ّ .‬‬
‫»ﻛﻨﺎ ﻓﻲ‬
‫دﺑﻲ ﻣﻨﺬ اﻟﺒﺪاﻳﺔ‪ .‬اﻟﻴﻮﻧﺎن ﻫﻲ ﺟﺴـﺮ ﺑﲔ اوروﺑﺎ‬
‫آرت ّ‬
‫واﻟﺸـﺮق اﻷوﺳـﻂ«‪ .‬أﺻﺤـﺎب اﻟﻐﺎﻟﻴـﺮي ﻣـﻦ أﺻـﻞ‬
‫أرﻣﻨﻲ‪» .‬اﻟﺸـﺮق اﻷوﺳـﻂ وﻃﻦ أﺣﻔﺎدﻧـﺎ‪ .‬ﻫﺮﺑﻨﺎ ﻣﻦ‬
‫اﻻﺑﺎدة اﻟﻰ ﻟﺒﻨﺎن وﻣﻨﻬﺎ اﻟﻰ اﻟﻴﻮﻧﺎن«‪.‬‬
‫ً‬
‫ﻛﺜﻴﺮا ﻓﻲ »آرت‬
‫ﻳﺮى روﺑﲔ ان اﳌﺸـﻬﺪ اﻟﻔﻨﻲ ﺗﻐﻴّ ﺮ‬
‫دﺑـﻲ«‪ .‬ﺻـﺎر ﻫﻨﺎك اﻫﺘﻤـﺎم أﻛﺒـﺮ وﺗﻐﻴﻴﺮ ﻓـﻲ اﻟﺬوق‬
‫ّ‬
‫ً‬
‫وﺧﺼﻮﺻﺎ ﺑﲔ ﺟﺎﻣﻌﻲ اﻵﺛﺎر اﻟﻔﻨﻴﺔ اﻟﺸﺒﺎب‪.‬‬
‫ﻣﺤـﺐ ﻟﻠﻔـﻦ ﺑﺤﻴـﺚ ﺻﺎر‬
‫ﺗﺮﺑّ ـﻰ روﺑـﲔ ﻓـﻲ ﺑﻴﺖ‬
‫ّ‬
‫ﻗﺪم ﻋﻤﻼق ﻓﻮق ﻋﻨﻜﺒﻮت دﻗﻴﻖ‪.‬‬
‫ﻣﻦ ﺧﻼل ﻫﺬا اﻟﺮﺟﻞ أﻋﺮف اﳌﺮأة‪.‬‬
‫أﺷﺎرت ﺑﺄﺻﺒﻌﻲ ﻧﺤﻮﻫﺎ‪.‬‬
‫زﺟﺎﺟﺔ »اﻟﻬﻴﻨﻴﻜﲔ« ﺛﻤﻠﺔ ﻋﻠﻰ ﺳﻴﺎج »ﻣﺘﺮو« ﻗﺎﺣﻞ ‪ :‬ﻣﻦ‬
‫ﺗﻜﻮن ؟‪.‬‬
‫ﺗﺒﺪو ﻛﻤﺎ ﻟﻮ أﻧﻬﺎ ﻋﺎرﻳﺔ ﺧﻠﻒ اﻟﺴﺘﺎﺋﺮ اﻟﻮردﻳﺔ‪.‬‬
‫أﺗﺮﻛﻨﻲ أﳌﺲ اﻟﻨﺠﻮم‪ ،‬وﻟﻮ ﻟﺜﺎﻧﻴﺔ‪.‬‬
‫أﺻﻮات ﻣﻦ اﻟﻜﺮﻳﺴﺘﺎل ﺧﻠﻒ اﻟﺒﺎب اﻷﺑﻴﺾ‪ ،‬ذﻟﻚ اﻟﺬي ﻻ‬
‫أﻣﻠﻚ ﻣﻔﺘﺎﺣﻪ‪.‬‬
‫ذﻛﺮﻳﺎت‬
‫ﺑﺒﻄﺊ‬
‫ﺗﺘﺠﻮل ﺑﲔ اﻷﺷﺠﺎر اﳋﻀﺮاء وﻣﺤﻼت ﻣﻦ ﺣﻘﺒﺔ ﻣﻀﺖ‪.‬‬
‫اﻟﻮاﺟﻬﺎت ﻣﻐﻄﺎة ﺑﻼﻓﺘﺎت ﻋﻦ اﳊﺮب‪.‬‬
‫ردﻫﺎت ﻣﺤﻄﺔ ﺻﺎﻣﺘﺔ‪.‬‬
‫ﻛﻞ ﻫﺬا ﻳﺬﻛﺮﻫﺎ ﺑﺤﻜﺎﻳﺔ‬
‫ﻗﺮأﺗﻬﺎ ﻣﻨﺬ ﻣﺪة ﻃﻮﻳﻠﺔ‬
‫رﲟﺎ ﺳﺘﺠﺪ رﺟﻼ ﻧﺎﺋﻤﺎ ﻓﻲ ﺳﺎﻋﺔ ﺣﺎﺋﻂ‬
‫أو ﻏﺎرﻗﺎ ﻓﻲ ﺣﻮض اﺳﺘﺤﻤﺎم‬
‫ﺣﻴﺚ اﳌﺎء ﻳﺴﻴﻞ داﺋﻤﺎ‪.‬‬
‫‪AL-QUDS AL-ARABI‬‬
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‫■ ﻛﺘﺐ آرﺛﺮ ﻛﻮﺳﺘﻠﺮ ذات ﻳﻮم »اﳋﻤﻮر اﻟﻔﻜﺮﻳﺔ«‪ ،‬وﻫﻮ ﻧﺺ ﻳﺸﺮح‬
‫ﻓﻴﻪ ﳌﺎذا وﻛﻴﻒ اﻧﺘﺴﺐ إﻟﻰ اﳊﺰب اﻟﺸﻴﻮﻋﻲ اﻷﳌﺎﻧﻲ ﻓﻲ ﻧﻬﺎﻳﺔ ‪،1931‬‬
‫وﳌﺎذا اﺳــﺘﻘﺎل ﻣﻨﻪ ﺑﻌﺪ ﺳــﺒﻌﺔ أﻋــﻮام ﻣﻦ ﲡﺮﺑﺔ ﺣﺎﻓﻠــﺔ ﺑﺎﻷﺣﺪاث‪،‬‬
‫ﻗﻀﻰ ﻣﻨﻬﺎ ﺳــﻨﺘﲔ ﻓﻲ اﻻﲢﺎد اﻟﺴﻮﻓﻴﻴﺘﻲ‪ ،‬ﻗﺒﻞ أن ﻳﻌﻮد إﻟﻰ ﻓﺮﻧﺴﺎ‬
‫وﻳﺬﻫــﺐ ﻣﻨﻬﺎ اﻟﻰ اﺳــﺒﺎﻧﻴﺎ ﻛﻤﺮاﺳــﻞ ﺻﺤﺎﻓﻲ إﺑﺎن اﳊــﺮب اﻷﻫﻠﻴﺔ‬
‫اﻹﺳﺒﺎﻧﻴﺔ وﻳﻘﻀﻰ ﺑﻀﻌﺔ اﺷﻬﺮ ﻓﻲ واﺣﺪ ﻣﻦ ﺳﺠﻮن ﻓﺮاﻧﻜﻮ‪.‬‬
‫ﺗُ ﺮﺟــﻢ ﻛﺘﺎب اﳋﻤــﻮر اﻟﻔﻜﺮﻳﺔ إﻟــﻰ اﻟﻌﺮﺑﻴﺔ‪ ،‬وﻧﺸــﺮﺗﻪ دار اﻟﻜﺎﺗﺐ‬
‫اﻟﻌﺮﺑﻲ ﻓﻲ ﺑﻴﺮوت‪ ،‬ﻣﻦ دون اﺳﻢ اﳌﺘﺮﺟﻢ وﻻ ﺳﻨﺔ اﻹﺻﺪار‪ .‬ﻓﻲ ﺣﲔ‬
‫ً‬
‫ﻛﺎﻣﻼ وأرﻗﺎم ﻫﻮاﺗﻔﻬــﺎ اﻟﺜﻼﺛﺔ‪ .‬ﺗﻀﻤﻦ اﻟﻜﺘﺎب‬
‫ﻧﺸــﺮت اﻟﺪار ﻋﻨﻮاﻧﻬﺎ‬
‫ﺻﻔﺤﺎت ﻣﺆﳌــﺔ ﻛﺎﻟﺼﻔﺤﺔ اﻟﺜﻤﺎﻧﲔ‪ ،‬ﻣﻊ وﺻﻮﻟﻪ إﻟﻰ أوﻛﺮاﻧﻴﺎ ﺑﻌﺪ أن‬
‫َ‬
‫اﻟﺰراﻋﺔ اﳉﻤﺎﻋﻴﺔ‬
‫ﻓﺮض ﻳﻮﺳــﻒ ﻳﻮﻏﺎﺷﻔﻴﻠﻲ )ﺣﺎﻣﻞ ﻟﻘﺐ ﺳــﺘﺎﻟﲔ(‬
‫ﻓﻲ اﻻﲢﺎد اﻟﺴــﻮﻓﻴﻴﺘﻲ‪ ،‬ﻓﻜﺘﺐ ﻛﻮﺳﺘﻠﺮ‪) :‬ﺷــﺎﻫﺪت ﺑﻌﻴﻨﻲ ﻣﺎ ﻓﻌﻠﺘﻪ‬
‫أﺑﺼــﺮت ﻋﺎﺋﻼت‬
‫ا»ﺎﻋــﺔ ﻓــﻲ أوﻛﺮاﻧﻴــﺎ ﺧــﻼل ﺗﻠــﻚ اﻟﺴــﻨﻮات‪ .‬إذ‬
‫ُ‬
‫وﺟﻤﺎﻋﺎت ﺗﺘﺴــﻮل ﻓﻲ ﻣﺤﻄﺎت اﻟﺴــﻜﻚ اﳊﺪﻳﺪﻳﺔ وﻫﻢ ﻓﻲ أﺳــﻤﺎل‬
‫ﺑﺎﻟﻴﺔ‪ ،‬ورأﻳﺖ اﻟﻨﺴــﺎء ﻳﺮﻓﻌﻦ إﻟــﻰ ﻧﻮاﻓﺬ ﻋﺮﺑﺎت اﻟﻘﻄــﺎرات اوﻻدﻫﻦ‬
‫اﻟﺴﺎﻏﺒﲔ‪ ،‬وﻫﻢ ﻓﻲ ﻣﻨﻈﺮﻫﻢ اﻷﻟﻴﻢ‪ ،‬ﺳﻴﻘﺎن ﻛﺎﻟﻌﺼﻲ ورؤوس ﻛﺒﻴﺮة‬
‫ﻛﺠﻤﺎﺟﻢ اﳌﻮﺗﻰ وﺑﻄﻮن ﺿﺎﻣﺮة‪ ،‬ﻳﻠﻮﺣﻮن أﺷﺒﻪ ﺑﺎﻷﺟﻨﺔ أو »اﻟﺴﻘﻂ«‬
‫اﳌﻮﺿﻮﻋــﺔ ﻓــﻲ اﻟﺰﺟﺎﺟﺎت اﳌــﻸى ﺑﺎﻟﻜﺤﻮل‪ .‬وﺑﺪا اﻟﺮﺟــﺎل ﺑﲔ ﺗﻠﻚ‬
‫اﳉﻤــﻮع ﻓﻲ أﺣﺬﻳــﺔ ﳑﺰﻗﺔ ﺗﻠﻮح ﻣﻨﻬــﺎ أﻃﺮاف أﻗﺪاﻣﻬــﻢ اﻟﺘﻲ ﻫﺮأﻫﺎ‬
‫اﻟﺜﻠﺞ‪.‬‬
‫ﻗﻴــﻞ ﻟﻲ ان أوﻟﺌــﻚ ﻫﻢ اﻟﻜﻮﻻك اﻟﺬﻳــﻦ رﻓﻀﻮا اﻟﺰراﻋــﺔ اﳉﻤﺎﻋﻴﺔ‪،‬‬
‫ﻓﺎرﺗﻀﻴــﺖ ﻫــﺬا اﻟﺘﻌﻠﻴــﻞ ‪ .‬ورأﻳﺖ اﳋﺎدﻣــﺔ اﻟﺘﻲ ﻛﺎﻧﺖ ﺗﺸــﺘﻐﻞ ﻓﻲ‬
‫ﻓﻨﺪق رﻳﺠﻴﻨﺎ ﻓﻲ ﺧﺎرﻛﻮف‪ ،‬ﻳﻐﻤﻰ ﻋﻠﻴﻬﺎ ﻣﻦ ﺷﺪة اﳉﻮع وﻫﻲ ﺗﻨﻈﻒ‬
‫ﻏﺮﻓﺘــﻲ ‪ .‬وأﻧﺒﺄﻧــﻲ اﳌﺪﻳﺮ أﻧﻬﺎ ﻗﺪﻣﺖ أﺧﻴﺮ ًا ﻣﻦ اﻟﺮﻳــﻒ‪ ،‬وأﻧﻬﺎ ﻟﻢ ﺗﺘﻠﻖ‬
‫ﺑﻄﺎﻗﺔ ﺟﺮاﻳﺘﻬﺎ إﻟﻰ اﻵن ﺑﺴﺒﺐ ﺑﻌﺾ اﻻﺟﺮاءات اﻟﻔﻨﻴﺔ ‪ .‬ﻓﻠﻢ ﻳﺴﻌﻨﻲ‬
‫إﻻ ﻗﺒــﻮل ﻫﺬا اﻟﺘﻔﺴــﻴﺮ(‪ .‬اﻧﺘﻬﻰ اﻻﻗﺘﺒﺎس‪ .‬ﻧﻌــﺮف أن ﲡﺮﺑﺔ اﻟﺰراﻋﺔ‬
‫اﳉﻤﺎﻋﻴﺔ أﺑﺎدت ﻋﺸﺮة ﻣﻼﻳﲔ إﻧﺴﺎن ﺳﻮﻓﻴﻴﺘﻲ‪ ،‬أﻣﺎ ﳌﺎذا ﻓﻬﺬا ﺳﺆال‬
‫ً‬
‫ﻣﺤﺮﻣﺎ إﻟﻰ اﻟﻴﻮم‪.‬‬
‫ﻣﺎزال‬
‫ﻧﺤﻦ اﻟﻴﻮم أﻣﺎم ﲡﺮﺑﺔ ﲡﻮﻳﻊ اﻟﺸــﻌﺐ اﻟﺴــﻮري‪ ،‬ﺑﺪﻋﻢ ﻣﻦ ورﻳﺚ‬
‫ﻳﻮﻏﺎﺷﻔﻴﻠﻲ ‪ .‬وﺗﺒﺪو اﻟﺼﻮر اﳌﻨﻘﻮﻟﺔ ﻣﻦ ﺳﻮرﻳﺎ وﻣﻦ ﻣﺨﻴﻤﺎت اﻟﻠﺠﻮء‬
‫ً‬
‫إﻳﻼﻣﺎ ‪ ..‬وﻟﻦ‬
‫ﻓﻲ دول اﳉﻮار اﻛﺜﺮ ﻓﺼﺎﺣﺔ ﻣﻦ ﻧﺺ ﻛﻮﺳــﺘﻠﺮ واﺷــﺪ‬
‫ﻧﺴــﺘﻐﺮب إذا ﺗﻔﺎﻗﻢ ﻋــﺪد اﻟﻀﺤﺎﻳﺎ وﲡــﺎوز ﻣﺎ ﺣﺪث ﻓــﻲ أوﻛﺮاﻧﻴﺎ‬
‫ً‬
‫ﻧﺴــﺒﻴﺎ‪ .‬ﺗﻌﺎﻧﻲ أوﻛﺮاﻧﻴــﺎ اﻟﻴﻮم أزﻣــﺔ ﻃﺎﺣﻨﺔ ﻣﻦ ﺟــﺮاء اﻟﻬﻤﺠﻴﺔ ﻓﻲ‬
‫ﻏﺮﺑــﻲ اوروﺑﺎ وﻓﻲ ﺷــﺮﻗﻬﺎ‪ ،‬ﻛﻤﺎ ﻳﻌﺎﻧﻲ ﺷــﻌﺐ ﺳــﻮرﻳﺎ‪ .‬ﻓﻬﻞ ﻳﺠﻮز‬
‫اﻟﺴﺆال ﻣﻦ أﺟﻞ ﻣﺎذا؟ أﻳﻮﺟﺪ ﻣﻦ ﻳﻌﺮف اﳉﻮاب؟ ‪..‬‬
‫ﻫــﻞ ﻫــﻮ روح اﻟﻠﻪ اﻟﻌﻈﻤــﻰ أم ﻳﻮﺳــﻒ ﻳﻮﻏﺎﺷــﻔﻴﻠﻲ اﳌﻌﺎﺻﺮ؟ أم‬
‫ﻏﻴﺮﻫﻤــﺎ‪ ..‬ﻛﺎﻟﻔﻨﺎﻧﺘــﲔ رﻏــﺪة وﻣﻴﺎدة اﳊﻨــﺎوي ﻟﻌــﻞ ﻋﻨﺪﻫﻤﺎ اﳋﺒﺮ‬
‫اﻟﻴﻘﲔ‪.‬‬
‫ﻫﻨﺎك ﻓﻨﺎﻧﻮن ﻛﺜـﺮ ﻓﻲ ﻓﻌﺎﻟﻴﺔ »آرت دﺑﻲ« اﻷﺧﻴﺮة‬
‫ً‬
‫ﺳﺮﻳﻌﺎ دون إﺳﺪاء اﻻﺣﺘﺮام‬
‫ﻻ ﳝﻜﻦ اﳌﺮور ﺑﺄﻋﻤﺎﻟﻬﻢ‬
‫اﳌﻔﺘـﺮض ﻹﺑﺪاﻋﻴﺘﻬـﻢ اﻟﻌﺎﻟﻴـﺔ‪ .‬ﻛﺜﻴـﺮون ﻣـﻦ اﻟﺬﻳﻦ‬
‫اﺳـﺘﺠﺎﺑﺖ ذاﺋﻘﺘﻲ اﻟﻔﻨﻴﺔ ﻟﻬﻢ ﻳﻌﻤﻠـﻮن ﻋﻠﻰ اﳊﺪود‬
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‫ﻟﺴـﺮدﻳﺎت اﻟﻬﻮﻳـﺔ ﻓـﻲ ﻋﻼﻗﺎﺗﻬﺎ‬
‫ا‪Ð‬ﺘﻀـﺔ واﳌﺜﻴـﺮة‬
‫ّ‬
‫اﳌﻌﻘـﺪة ﺑﺎﻟﺘﺎرﻳـﺦ واﳉﻐﺮاﻓﻴﺎ واﳉﻨـﺲ واﻟﻄﺒﻴﻌﺔ‪،‬‬
‫ﻣﺜﻞ اﻟﻔﻨﺎﻧﲔ اﻣﻴﻨﺔ ﺑﻦ ﺑﻮﺷﺘﺔ وﻋﻠﻴﻤﺠﺎن ﺟﻮروﺑﻮف‬
‫وﺣﺴـﲔ ﻓﺎﻻﻣﺎﻧﻴﺶ وﻟﻴﻠﻰ اﻟﺴـﻌﻴﺪي وﺷﻴﺰاد داود‬
‫وﺑﺸﺮى ﺧﻠﻴﻠﻲ وﻣﻴﻤﻮﻧﺔ ﻏﺮﻳﺴﻲ وﺳﻴﺮﻏﻲ ﻣﺎﺳﻠﻮف‬
‫وﺟﻴﻮرﺟﻲ ﺧﺎﻧﻴﺎﺷﻔﻴﻠﻲ ورﺿﺎ ﻫﺰاري‪.‬‬
‫ً‬
‫أﻳﻀﺎ ا‪Ð‬ﻀﺮﻣﻮن اﻟﺬﻳﻦ أﺳﺴـﻮا ﻣﺴﺎراﺗﻬﻢ‬
‫ﻫﻨﺎك‬
‫وﺑﻨـﻮا ﻋﻤﺎراﺗﻬﻢ اﻟﻔﻨﻴـﺔ اﳌﺆﺛﺮة ﻣﺜﻞ ﺑﺎﻳﺔ اﻟﺘﻮﻧﺴـﻴﺔ‬
‫وﻣﻨـﻰ ﺣﺎﻃـﻮم اﻟﻔﻠﺴـﻄﻴﻨﻴﺔ وﺻﻔـﻮان داﺣـﻮل‬
‫اﻟﺴﻮري وﺣﺴﻦ ﺷﺮﻳﻒ اﻻﻣﺎراﺗﻲ وﻓﺮﻫﺎد ﻣﻮﺷﻴﺮي‬
‫اﻻﻳﺮاﻧﻲ‪ ،‬وﻋﺸﺮات ﻏﻴﺮﻫﻢ‪.‬‬
‫إﺿﺎﻓـﺔ ﻟﻠﻔﻌﺎﻟﻴـﺎت اﻟﻜﺜﻴـﺮة اﻟﺘـﻲ ﺿﻤﻬـﺎ ﺑﺮﻧﺎﻣﺞ‬
‫ﻫـﺬا اﻟﻌﺎم ﻟﻔـﺖ ﻧﻈﺮي ﺟﻬـﺪ ﻛﺒﻴﺮ ﺗﻘﻮم ﺑﻪ ﻣﺆﺳﺴـﺔ‬
‫»ﻳـﺎرات« اﻷذرﺑﻴﺠﺎﻧﻴـﺔ واﻟﺘـﻲ ّ‬
‫وزﻋـﺖ اﻟﻜﺜﻴـﺮ ﻣـﻦ‬
‫أدﺑﻴﺎﺗﻬـﺎ ﺧـﻼل اﻟﻔﻌﺎﻟﻴـﺎت وأﻋﻠﻨـﺖ ﻋـﻦ ﻣﻌـﺮض‬
‫ً‬
‫ﻓﻨﺎﻧـﺎ ﻣـﻦ اذرﺑﻴﺠـﺎن واﻳـﺮان وروﺳـﻴﺎ وﺗﺮﻛﻴﺎ‬
‫ل‪17‬‬
‫وﺟﻮرﺟﻴـﺎ ﻓﻲ »ﻣﺮﻛـﺰ ﺣﻴﺪر ﻋﻠﻴﻴﻒ« )ﲢﻔـﺔ اﻟﻔﻨﺎﻧﺔ‬
‫اﳌﻌﻤﺎرﻳﺔ اﻟﻌﺮاﻗﻴﺔ زﻫـﺎ ﺣﺪﻳﺪ( ﻓﻲ ﺑﺎﻛﻮ ﲢﺖ ﻋﻨﻮان‬
‫»ﲢﺒﻨﻲ‪ ،‬ﻻ ﲢﺒﻨﻲ«‪.‬‬
‫ﲢـﻮل »آرت دﺑـﻲ« اﻟﻰ ﻧﻬﺮ ﻻ‬
‫ﻣﻊ ﺳـﻨﺘﻪ اﻟﺜﺎﻣﻨﺔ‪،‬‬
‫ّ‬
‫ﳝﻜﻦ اﻟﺴـﺒﺎﺣﺔ ﻓﻲ ﻣﻴﺎﻫﻪ ﻧﻔﺴﻬﺎ ﻣﺮﺗﲔ ﻣﺜﺒّ ًﺘﺎ ﻣﻌﺎدﻟﺔ‬
‫ﺟﺪﻳﺪة ﺗﻮازي ﺑـﲔ اﻟﺜﻘﺎﻓﺔ اﻟﻨﺨﺒﻮﻳـﺔ واﳉﻤﺎﻫﻴﺮﻳﺔ‬
‫وﻣﺤـﻮ ًﻻ‪ ،‬ﺑﻄﺮﻳﻘـﺔ اﺳـﺘﺜﻨﺎﺋﻴﺔ‪ ،‬ﺻﻮرة اﳌﺪﻳﻨـﺔ اﻟﺘﻲ‬
‫ّ‬
‫ﺗﺴـﺘﻀﻴﻔﻪ اﻟـﻰ ﻣﺮﻛﺰ ّ‬
‫ﻓﻨﻲ ﻛﺒﻴﺮ وﺟﺴـﺮ ﺑـﲔ ﺛﻘﺎﻓﺎت‬
‫اﻟﻌﺎﻟﻢ ﻻ ﳝﻜﻦ ﻣﻀﺎﻫﺎﺗﻪ‪.‬‬
‫ً‬
‫ً‬
‫دﻳﻨﺎﻣﻴﻜﻴﺎ ﻫﻮ‬
‫ﺣﺪﺛﺎ‬
‫وﻣﺎ ﺟﻌﻞ ﻣﻦ ﻫﺬه اﻟﻈﺎﻫﺮة‬
‫اﺟﺘﻤـﺎع ﻋﻮاﻣﻞ ﻋﺪﻳـﺪة أﻫﻤﻬﺎ اﻧﻪ ﻧﺸـﺄ وﺗﻮاﺻﻞ‬
‫ﻣﻊ ﺑﻴﺌـﺔ ﺛﻘﺎﻓﻴـﺔ ّ‬
‫ﺗﺘﻠﺨﺺ ﻓﻴﻬﺎ ﺧﺼﺎﺋـﺺ اﳌﺪﻳﻨﺔ‬
‫ً‬
‫ﻋﻤﻮﻣـﺎ ﺑﺤﻴـﺚ اﺳـﺘﻄﺎع ﺧﻠﻖ‬
‫واﳋﻠﻴـﺞ اﻟﻌﺮﺑـﻲ‬
‫ﺑﻴﺌـﺔ ﲢﺘﻴـﺔ واﺳـﻌﺔ ﻣـﻦ ﻣﺮاﻛـﺰ ﻓﻨﻴـﺔ وﺛﻘﺎﻓﻴـﺔ‬
‫وﺻـﺎﻻت ﻋـﺮض ﺗﺸـﻜﻴﻞ وﺳـﻴﻨﻤﺎ وﻣﺴـﺮح‬
‫وﻣﺘﺎﺣـﻒ ﺗﺮﻓﺪﻫﺎ ﻃﺒﻘﺔ وﺳـﻄﻰ ﻣﺘﻌﻠﻤـﺔ وﻏﻨﻴﺔ‪،‬‬
‫واﺳـﺘﻄﺎﻋﺖ ادارة اﻟﺘﻈﺎﻫـﺮة ﺗﻠﻤـﺲ اﺷـﻜﺎﻟﻴﺎت‬
‫ﺣﻮل‬
‫ﺛﻘﺎﻓﻴـﺔ وﻓﻨﻴـﺔ وﺗﻔﺎﻋﻠـﺖ ﻣﻌﻬﺎ ﺑـﺬﻛﺎء ﳑـﺎ ّ‬
‫ﺳـﺮة ﺟﻐﺮاﻓﻴﺔ ﺗﺘـﻮازن وﺗﺘﻨﺎﻓﺲ ﻓﻴﻬﺎ‬
‫اﳌﻜﺎن اﻟﻰ ّ‬
‫ﺣﻮاﺿـﺮ آﺳـﻴﺎ اﻟﻜﺒﺮى‪ :‬اﻟﻬﻨـﺪ واﻳـﺮان واﻟﻌﺮاق‬
‫وﺳـﻮرﻳﺎ ﻣﻊ ﺑﻠﺪان اﳌﻌﺴﻜﺮ اﻟﺴـﻮﻓﻴﻴﺘﻲ اﻟﺴﺎﺑﻖ‬
‫ﺣﺮك‬
‫وﺣﻮاﺿـﺮ اﻟﻐـﺮب واﻓﺮﻳﻘﻴـﺎ واﻣﺮﻳﻜﺎ‪ ،‬ﳑـﺎ ّ‬
‫اﳌﺮﻛﺰﻳـﺔ اﻟﻐﺮﺑﻴـﺔ ﻋـﻦ ﻣﻜﺎﻧﻬـﺎ وﺣﻔـﺰ ﺣـﺮاﻛﺎت‬
‫ﳑﺎﺛﻠﺔ ﻓـﻲ اﻟﺪوﺣﺔ واﺑﻮ ﻇﺒـﻲ واﻟﺮﻳﺎض وﺟﺪة‪،‬‬
‫ﺛـﻮري ﻳﻐﻴـﺮ ﺑﻬـﺪوء وﺣﻜﻤـﺔ اﻟﻘﻮاﻟﺐ‬
‫ﻓـﻲ ﻋﻤـﻞ‬
‫ّ‬
‫اﳊﻀـﺎري ﻻ‬
‫اﻟﺜﻘﺎﻓﻴـﺔ اﻟﺮاﺳـﺨﺔ ﺑﻘـﻮة اﳉـﺬب‬
‫ّ‬
‫ﺑﺎﳌﺪاﻓـﻊ واﻟﻄﺎﺋﺮات‪ ،‬وﻫـﻲ ﻣﻘﺎرﺑﺔ ﻋﺮﺑﻴﺔ ﺟﺪﻳﺪة‬
‫ﻟﺘﻄﻮﻳﺮ اﻟﺜﻘﺎﻓﺔ ﲟﻌﻨﺎﻫﺎ اﻟﻌﻤﻴﻖ‪.‬‬
‫ﻳﺠﺐ اﻟﻘـﻮل‪ ،‬ﻣﻊ ذﻟـﻚ‪ ،‬ان ﻫﺬه اﻟﺒﻴﺌـﺔ اﻟﻠﻴﺒﺮاﻟﻴﺔ‬
‫ً‬
‫ً‬
‫واﺟﺘﻤﺎﻋﻴـﺎ ﻻ ﳝﻜـﻦ ان ﺗﻨﻤـﻮ ﲟﻌـﺰل ﻋـﻦ‬
‫ﺛﻘﺎﻓﻴـﺎ‬
‫اﻟﻠﻴﺒﺮاﻟﻴﺔ اﻟﺴﻴﺎﺳﻴﺔ‪ ،‬وان آﻓﺎﻗﻬﺎ اﳌﺴﺘﻘﺒﻠﻴﺔ ﺳﺘﺘﺄﺛﺮ‬
‫ً‬
‫ﺳـﻠﺒﺎ ﺑﺄي اﲡﺎه ﻟﻺﻗﺼـﺎء اﻟﺴﻴﺎﺳـﻲ واﳊﺠﺮ ﻋﻠﻰ‬
‫اﻵراء واﻻﻓﻜﺎر ّأﻳ ًﺎ ﻛﺎن ﻣﺼﺪرﻫﺎ‪.‬‬
‫■ َو َأ َﺧﺎﻟﻨﻲ ﻃﻔﻼ ﻓﺄﲢﺪّ ث ﻋﻦ ّأﻣﻲ وأﺑﻲ‪ ،‬وأﻧﺎ اﻵن ﺟﺪّ ﺑﻼ أﺣﻔﺎد‪،‬‬
‫أﻟﺴــﺖ ﺑﻐﻼ ﺑﺄﰎّ ﻣﻌﻨﻰ اﻟﻜﻠﻤــﺔ‪ ،‬واﻟﻜﻠﻤﺔ ﻟﻴﺲ ﻟﻬﺎ‬
‫ﺗﺎم؟ أﻧﺴﻰ أﻧّ ﻲ ْأﻛﺘُ ﺐ ُﻣ ّ‬
‫ﺬﻛﺮة أﺣﻼﻣﻲ‪،‬‬
‫ﻣﻌﻨﻰ ّ‬
‫وأﺣﻼﻣــﻲ ﻫــﻞ ﺗﺴــﺘﻘﺒﻞ أﻋﻤﺎﻟــﻲ؟ أﺳــﻴﺮ‬
‫ﻣﺘﺮاﺧﻴﺎ ﺑﲔ اﳋﻴــﻮل‪ ،‬أزرع ﻣﻦ َﺣﻤﺎﻗﺘﻲ ُﻏﺼﻮن‬
‫ﻔــﻮات اﻟﺘّ ﺼﺎﺑﻲ‪ ،‬أﺟﻬﺶ‬
‫ذﻛﺎﺋــﻲ ﻓﺘﻠﻤﻊ ﻓﻲ ﻇﻼﻣﻲ َﻏ‬
‫ُ‬
‫أﺣﺒﺘﻲ‪،‬‬
‫اﳋﻮف ﻣﻦ ﺗﻼﺑﻴــﺐ اﻵﺗﻲ‪ ،‬أﻋﻴﺶ ُﻣﻔﺎرﻗﺎ ّ‬
‫ﺑﺘﺮاﻧﻴﻢ ْ‬
‫وﻫــﻞ ﺗﻨﻔــﻊ ِﻛﺘﺎﺑﺎت ﺗﺒﻴﻊ زﻓﺎﻓــﻲ ﻟﻠﻤﺂﰎ‪ ،‬اﳊــﺮوف ﺗﻐْ ﺪرﻧﻲ‪،‬‬
‫وﻟﻴــﺲ ﻟﻲ ﻣــﻦ اﻟﻮﻓﺎء ﻏﻴــﺮ ﻗﺸــﻮر‪ ،‬أوﻫﺎﻣﻬﺎ ﻣﻦ أﻧّ ﺎﺗــﻲ وآﻫﺎﺗﻲ‬
‫وﻣﺴــﺮاﺗﻲ‪ ،‬وﻫﺬا اﻟﺒﻐﻞ أأﻗﻮده ﻟﻴﺴــﺒﻘﻨﻲ إﻟﻰ ﻓﻤﻲ ﻓﺄﻧﺘﺸﻲ ﻻﻓﻈﺎ‬
‫ّ‬
‫ﻣﻦ ُرﻓﺎﺗﻲ ﻧﻬﻴﻖ ﻣﺎ ﻓﺎﺗﻨﻲ ﻣﻦ ّ‬
‫زﻻﺗﻲ‪ ،‬وﻣﺮﺑﺾ ﺑﻐﻠﺘﻨﺎ ﻳﺠﺪّ د ﻫﻔﻮاﺗﻲ‪.‬‬
‫اﻟﺮﻗﺼﺎت وأﺣﻤــﻞ ﻋﻠﻰ ﺻﺪرك‬
‫أﻳــﺎ ﻣﻨﺴــﻴﺘﻲ أراك ﺗﺒﺎﻟﻐﲔ ﻓــﻲ ّ‬
‫أوزاري ﻣــﻦ ذﻛﺮﻳﺎت اﻷﺗﻲ‪ ،‬وﻻ أﻧﺴــﺎك ﻃﻔﻠﺔ ﻣﻦ ﻧﺸــﺄﺗﻬﺎ ﻳﺮاودﻧﻲ‬
‫ﻃﻴﻔﻬــﺎ‪ ،‬وﻻ أزال أﺧﻄﺐ أﻫﻠﻬــﺎ وﻗﺪ ﻣﺎﺗﻮا وﻣﺎﻓﺎﺗــﻮا‪ ،‬أﺣﺎول أن أﻟﻘﻰ‬
‫ﻣــﻦ ُﻓــﺮص اﻟﻔــﺮاق إﺟﻬــﺎض ﺑﻼدﺗــﻲ ﻓﺘﻨﺸــﻴﻨﻲ ﺣــﻼوة اﻹﺧﻔﺎق‪،‬‬
‫وﻟﻌﻠﻬﺎ ﺗﺴــﻴﺮ ﺑﺠﺎﻧﺒــﻲ ﻓﻲ ﺑﻬﻮ ّ‬
‫ﻫﻤﻠﺔ ّ‬
‫اﻟﺸــﻮاﻃﺊ‬
‫اﻟﻜﻠ ّﻴــﺔ ﺗﺪﻋﻮﻧﻲ إﻟﻰ ْ‬
‫وﻧــﺰوة اﻟﻐﺎﺑــﺎت‪ّ .‬‬
‫اﻟﻌﻘــﻼء ‪،‬ﻻ ﻓﺎﺋــﺪة ﻗﻲ ﻋﻘﻞ‬
‫أﺗﻌﻘــﻞ وﺗﻠﻚ ﺧﺴــﺎرة ُ‬
‫ﻳﺤﺮﻣﻨــﻲ ﻣﻦ ْ‬
‫رﻛﺸــﺔ ﺳــﺘﺄﺗﻲ‪ ،‬وﻣﺘﻰ ﺗﺄﺗﻲ؟ ﻻﺑــﺪّ ﻣﻦ اِ ﻏﺘﻨــﺎم اﻟﻔﺮص‬
‫ّ‬
‫واﻟﻠ ّ‬
‫ﲢﺐ اﳉﺴــﻮر وﺗﻜﺮه ُاﳌﺘﺮاﺧــﻲ‪ ،‬وﻗﻠﺖ أﺧﺬﻫــﺎ‪ ،‬ﺑﻞ ﺗﺄﺧﺬﻧﻲ‬
‫ــﺬة ّ‬
‫إﻟــﻰ ﻫﻨــﺎك‪ ،‬ﻻ أدْ ري أﺑﻌﻴــﺪا أم ﻗﺮﻳﺒــﺎ ﻧﺒــﺪأ ﺑﻘﺒﻠــﺔ اﻟﻔــﺮاق‪ ،‬و ﻫــﻞ‬
‫أﺗﻠﻤﻆ ﻋﺴــﻼ ﻣﻦ ّ‬
‫زﻃــﻪ ﻳﺪﻣﻊ‬
‫أﻧﺘﻈــﺮ اﻟﺒﺎﻗــﻲ؟ وﻣــﺎ أﺑﻠﺪﻧــﻲ‬
‫ﻣﺘﺴــﺮﻋﺎ ّ‬
‫ّ‬
‫ً‬
‫ﻓﺎﺗــﻼ ﻣــﻦ ﺳــﺮاﺑﻲ ﺣﺒــﺎل ﻋﺠﻠــﺔ ﺗﻘﺰﻗــﺰ ﺑﺎﻟﺘّ ﻮاﻟﻲ‬
‫اﻟﻔــﺮززو ﻓﺄﻓﻴــﻖ‬
‫ﺑﻌﺮاﳊﻮاﺷــﻲ ﺗﺘﺮاﻛﺐ ﻟﺘﻤﺘﺴــﺦ ﻧﺰوات روث ﲤﺴــﺦ‬
‫‪،‬ﺣﺮوﻓﻬﺎ ﻣــﻦ ْ‬
‫ﺠﺮﻛﻲ ﻟﻴﻠﺔ رأس اﻟﻌﺎم ﻻﻳﺠﺮي وﻻ ﻳﻮﻗﻒ ﻋﻠﻰ أﻧﻐﺎم‬
‫ﻧﺰوات‪ ،‬واﻟﺒﻐﻞ أﻧﺎ إﻧْ ِْ‬
‫ﺑﺮوﻳﻄﺔ‪ ،‬ﺳﻌﺪك ﻳﺎ ﻟﻄﺮش ﺗﺴﻤﻊ اﻟﺒﻨﺎﻳﺎت ﻃﻠﻌﺖ ﻓﻮق اﻟﺒﻨﺎﻳﺎت وأﺧﺒﺎر‬
‫ﺷﻮﻳﺎ ﺗﺨﺮج ﻣﻦ ﳉﺎﻣﻲ ﺑﺰﻃﻠﺔ اﻟﻨّ ّﻴﺔ‬
‫ﺷﻮﻳﺎ ّ‬
‫أﺗﻔﺮﻋﻦ ّ‬
‫أﺻﺤﺎب اﻷﻓﺎرﻳﺎت‪ْ ،‬‬
‫ﺑﺎﻟﺴﻮرﻳﺔ‪ ،‬ﻧﻌﺎودو‬
‫ﺳــﻮرة ﺣﻤﺎر أﺑﻲ وﻻ ﻳﻨﻘﺾ ﺻﻼﺗﻪ اﳌﺴﻠﺴﻞ اﻟﺘّ ﺮﻛﻲ اﳌﺪﺑﻠﺞ ّ‬
‫ْ‬
‫ﺗﻔﺮج ﻓﻲ‬
‫اﻟﺼﺒﺎح‬
‫واﻟﻌﺸــﻴﺔ‪ ،‬وﺑــﻮري ﺑﺤﻴﺮﺗﻨﺎ ّ‬
‫ّ‬
‫ﻧﺸــﻮﻓﻮه ﻓﻲ ّ‬
‫ﻧﻮدك وﻻﻧﺸــﻬّ ﻴﻚ‪ّ ،‬‬
‫ﺑﺒﻨّ‬
‫اﻟﺼﻐــﺎر واﻟﻜﺒﺎر‪ ،‬وﻻ‬
‫ﻧﻌﻤﺔ‬
‫‪،‬واﳉﻠﻄــﺔ‬
‫ﺘﻪ‬
‫ﻳﻘﺘــﻞ‬
‫ﻣﺎل‬
‫ﻧﻮر‬
‫ﻣــﻮش‬
‫ﻟﻴﻠﻰ‬
‫ﻣﺠﻨــﻮن‬
‫ّ‬
‫ْ‬
‫ﻳﺮﺑﻴﻬﺎ وﻟــﺪ ﺟﺎرﻧﺎ اﻟﺒﻮﻟﻴﺲ ُاﳌﺘﻘﺎﻋــﺪ وﻻ ﺗﻘﻌﺪ ﻋﻴﻨﺎه‬
‫أﺣﺐ ﺳــﺠﻊ ﻫﺬه اﳊﻤﺎﻣﺔ‪ّ ،‬‬
‫ّ‬
‫اﳌﻴﺖ‪ ،‬أﻟــﻢ أﻗﻞ ﻣﻨــﺬ اﻟﺒﺪاﻳﺔ وﻻ ﺑﺪاﻳــﺔ ّ‬
‫إﻻ ﻗﻲ ﻋﻘﻠﻲ‬
‫اﳊﻲ ّ‬
‫ﻋــﻦ ﻣﻼﺣﻘﺔ أﺻﺤــﺎب ّ‬
‫اﻟﺒﺎﺻــﺺ‪ ،‬ﺑﺄﻧّ ﻲ ُ‬
‫ﺑﻐــﻞ ﺑﺮوﻳﻄﺔ ُﻣﻐﺮم ﺑﻠﺜﻢ ُﻓﺘﺎت ِﻣﺨﻼة أرﺛﻬﺎ ﻋﻦ أﺑﻲ وﻟﺴــﺖ ﻣﻦ‬
‫ﻣﻨﺨﺮي راﺋﺤﺔ‬
‫وأﺷــﻢ ﻋﺒــﺮ‬
‫اﻟﻐﻠﻴﻈﺘﻴﻦ‬
‫ﺑﺸــﻔﺘﻲ‬
‫أﺗﻠﻤﻆ‬
‫ّ‬
‫ُﺻﻠﺒــﻪ وﻻ ﺻﻠﻴﺐ ﻏﻴﺮي‪ّ ،‬‬
‫ّ‬
‫ْ‬
‫ّ‬
‫أﺟﺘﺮه‪.‬‬
‫ﺒﻲ ﻻ أﻗﻀﻤﻪ وﻻ ّ‬
‫ﺗﺸﺒﻪ راﺋﺤﺔ ﺷﻌﻴﺮ اﻟﻨّ ّ‬
‫٭ ﺷﺎﻋﺮ وﺻﺤﺎﻓﻲ ﻣﻦ اﺳﺮة »اﻟﻘﺪس اﻟﻌﺮﺑﻲ«‬
‫رواﺋﻲ ﻣﻦ ﺗﻮﻧﺲ‬
‫ّ‬
‫ﻟﻢ ﺗﻌﺪ ﺗﺬﻛﺮ ﻣﻦ ﻫﻲ‪.‬‬
‫ﻓﺴﺘﺎﻧﻬﺎ اﻟﺬي ﻳﺮﻏﻲ ﻓﻲ اﳌﺮآة‬
‫ﻳﺬﻛﺮﻫﺎ ﺑﺒﻄﻠﺔ رواﻳﺔ‪.‬‬
‫ﺑﺤﺰن‬
‫ﺗﺘﻴﻪ ﺑﺪون ﻫﺪف ﻓﻲ ﺣﺪاﺋﻖ زﻣﻦ ﻏﺎﺑﺮ‬
‫ﺗﺘﻴﻪ ﻓﻲ ﻫﺎﺗﻪ اﳌﺴﺎرح اﻟﻘﺎﺣﻠﺔ‪.‬‬
‫ﻋﻠﻰ اﳉﺴﺮ‬
‫ﻟﺪﻳﻬﺎ رﻏﺒﺔ ﻓﻲ اﻻرﲤﺎء ﻓﻲ اﻟﻨﻬﺮ‬
‫اﻧﻬﺎ اﻟﻄﺮﻳﻘﺔ اﻟﻮﺣﻴﺪة ﻻﻧﻬﺎء ﻛﻞ ﻫﺬا‪.‬‬
‫ﺳﺎرق اﻟﺼﻮر‬
‫ﻋﺒﺮ ﻃﻮل ﺣﺎﺋﻂ أﺗﻘﺪم‬
‫ﻣﺠﺮﺟﺮا ﺻﻨﺪوﻗﺎ ﺛﻘﻴﻼ ﻓﺎرﻏﺎ‬
‫ﺑﺎﺣﺜﺎ ﻋﻦ ﺷﻲء ﻣﺎ‪.‬‬
‫ﻋﺒﺮ ﻃﻮل ﺣﺎﺋﻂ‬
‫أرى ﻋﺮﺑﻴﺪا ﺑﺜﺮوة ﺳﻴﺌﺔ‬
‫اﶈﺮر اﻟﺜﻘﺎﻓﻲ‬
‫ﻗﺺ‬
‫ﺧﺮﻳﻒ ٭‬
‫ﻣﺤﻤﺪ ّ‬
‫ّ‬
‫اﻟﺒﺮي‬
‫ﻧﺒﺖ اﳋﺮاﺑﻴﺶ ّ‬
‫ﻓﻲ اﳌﻜﺎن ﺣﻴﺚ اﻟﺴﻬﺎم اﳌﺸﻌﺔ‬
‫ﺗﺘﺮﺻﺪﻧﻲ‪.‬‬
‫اﻟﻌﺘﻤﺔ ﲢﺎول اﻣﺴﺎﻛﻲ‪.‬‬
‫اﳌﺸﻬﺪ ﻟﻴﺲ ﺳﻮى ﺻﻮرة ﻗﺎﺣﻠﺔ‬
‫ﺑﺎﻟﻜﺎد أﺻﺎﺑﻬﺎ اﻟﺮﻳﺢ ﺑﺎﻻﻧﺘﻨﺎء‬
‫ﺷﺨﺺ ﻋﺒﺮ ﻗﺒﻠﻲ‬
‫و ﺳﺮق ﻛﻞ ﺷﻲء‪.‬‬
‫٭ ﺷﺎﻋﺮ وﻣﺘﺮﺟﻢ ﻣﻐﺮﺑﻲ‬
‫‪oufir2003@yahoofr‬‬
http://www.france24.com/en/20140322-middle-east-matters-abbas-obama-risksmiddle-east-egypt-freedom-press-child-brides-art-dubai/
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27 ìàðòà 2014 ¹31 (1118)
www.np.kz
ïðåäñòàâëÿåò
“ÎÑÍÎÂÀÍÛ
ÍÀ ÏÐÀÂÄÅ
È ÑÏÐÀÂÅÄËÈÂÎÑÒÈ”
Àäìèíèñòðàòèâíî-òåððèòîðèàëüíîå äåëåíèå
áûâøåãî ÑÑÑÐ èçìåíÿëîñü ïîä âîçäåéñòâèåì
ïîëèòè÷åñêîé êîíúþíêòóðû è èìåëî ñëàáóþ
èñòîðè÷åñêóþ è ïñèõîëîãè÷åñêóþ ëåãèòèìíîñòü.
Ñòðåìèòåëüíî ðàçâèâàâøèåñÿ â òå÷åíèå ôåâðàëÿ - ìàðòà 2014 ãîäà ñîáûòèÿ â Êðûìó
ïðèâåëè, êàê èçâåñòíî, ê ïðîâåäåíèþ òàì
ðåôåðåíäóìà, êîòîðûé ïîäàâëÿþùèì áîëüøèíñòâîì ãîëîñîâ çàñòàâèë ïîëèòèêîâ äâèãàòüñÿ ê
èçìåíåíèþ ìåæãîñóäàðñòâåííûõ ãðàíèö Ðîññèéñêîé Ôåäåðàöèè è Óêðàèíû. Ðåñïóáëèêà
Êðûì è ãîðîä Ñåâàñòîïîëü âîøëè â ñîñòàâ
ÐÔ, âûéäÿ òàêèì îáðàçîì èç ñîñòàâà óêðàèíñêîãî ãîñóäàðñòâà. Âûñòóïàÿ 18 ìàðòà â Êðåìëå ïåðåä ÷ëåíàìè Ôåäåðàëüíîãî ñîáðàíèÿ,
ïðåçèäåíò Ðîññèè Âëàäèìèð Ïóòèí çàÿâèë, ÷òî
ýòè ðåøåíèÿ ìíîãîíàöèîíàëüíîãî íàðîäà
Êðûìà “îñíîâàíû íà ïðàâäå è ñïðàâåäëèâîñòè” è ïîä÷åðêíóë, ÷òî ðåøåíèå î ïåðåäà÷å
Êðûìñêîé îáëàñòè èç ÐÑÔÑÐ Óêðàèíå â
ôåâðàëå 1954 ãîäà èìåëî ñîìíèòåëüíóþ
êîíñòèòóöèîííóþ îñíîâó
ÂÍÓÒÐÈ ÑÑÑÐ
Î÷åâèäíî, ÷òî ñîâåòñêèå ðóêîâîäèòåëè ðàññìàòðèâàëè òåððèòîðèþ è àäìèíèñòðàòèâíûå
ãðàíèöû âíóòðè Ñîâåòñêîãî Ñîþçà îòíþäü íå ñ òî÷êè çðåíèÿ
Êîíñòèòóöèè ÑÑÑÐ. Èõ äåéñòâèÿ
íàïðàâëÿëèñü â ïåðâóþ î÷åðåäü
ïîëèòè÷åñêèìè, ïîðîé ñèþìèíóòíûìè ìîòèâàìè. Òðàãåäèÿ ñîâåòñêîãî ñïîñîáà ïðàâëåíèÿ, ñîá-
ñòâåííî ãîâîðÿ, è çàêëþ÷àëàñü
â àáñîëþòíîì ïðåîáëàäàíèè âîëþíòàðèñòñêîãî ïîäõîäà è îòñóòñòâèè êàê ìåõàíèçìîâ ñäåðæåê è ïðîòèâîâåñîâ, òàê è â
íåïîíèìàíèè ïðîöåññîâ èñòîðè÷åñêîãî ðàçâèòèÿ.
Íàïîìíþ ïðè ýòîì òî÷íîñòè
ðàäè, ÷òî Íèêèòà Õðóùåâ â ôåâðàëå 1954 ãîäà íå áûë ïîëíîâëàñòíûì àâòîðèòàðíûì ïðàâèòåëåì ÑÑÑÐ - åãî òîãäàøíÿÿ
äîëæíîñòü Ïåðâîãî ñåêðåòàðÿ ÖÊ
ÊÏÑÑ íå äàâàëà åìó àáñîëþòíîé âëàñòè â ãîñóäàðñòâå. Îí
ôàêòè÷åñêè äåëèë ýòó âëàñòü ñ
ïðåäñåäàòåëåì Ñîâåòà Ìèíèñòðîâ
ÑÑÑÐ Ãåîðãèåì Ìàëåíêîâûì. Ñåðüåçíîå ïîëèòè÷åñêîå âëèÿíèå
èìåë â òîò ïåðèîä è ïðåäñåäàòåëü Ïðåçèäèóìà Âåðõîâíîãî
Ñîâåòà ÑÑÑÐ Êëèìåíò Âîðîøèëîâ. Äàëåêî íå ñëàáûìè áûëè è
ïîçèöèè ïåðâîãî çàìåñòèòåëÿ
ïðåäñåäàòåëÿ Ñîâåòà Ìèíèñòðîâ
ÑÑÑÐ Âÿ÷åñëàâà Ìîëîòîâà. Âñå
îíè áûëè îäíîâðåìåííî ÷ëåíàìè Ïðåçèäèóìà ÖÊ ÊÏÑÑ (òîãäàøíåå íàçâàíèå Ïîëèòáþðî), ðåøåíèå êîòîðîãî îò 25 ÿíâàðÿ
1954 ãîäà è ïðåäîïðåäåëèëî ïåðåäà÷ó Êðûìà. Ãîòîâèëè ñàìî
ýòî ïàðòèéíîå ðåøåíèå ñåêðåòàðè ÖÊ Ìèõàèë Ñóñëîâ è Ïåòð
Ïîñïåëîâ. Òî åñòü íå â îäèíî÷êó Íèêèòà Ñåðãååâè÷ äåéñòâîâàë, à øàã ñ Êðûìîì âïîëíå
ìîæíî îõàðàêòåðèçîâàòü êàê
êîëëåêòèâíûé âîëþíòàðèçì.
Òàêîãî ðîäà ñïîíòàííîñòü è
íåïðîäóìàííîñòü â ïðèíÿòèè è
îñóùåñòâëåíèè “ïîëèòèêè êîììóíèñòè÷åñêîé ïàðòèè” áûëà ïðèñóùà ïàðòèéíî-ñîâåòñêèì ðóêîâîäèòåëÿì êàê äî, òàê è ïîñëå
1954 ãîäà. Òàê, ãðàíèöû òîé æå
Óêðàèíñêîé ÑÑÐ ìåíÿëèñü íåîäíîêðàòíî. ×àñòè ïðèãðàíè÷íûõ
òåððèòîðèé Ðîñòîâñêîé, Áåëãîðîäñêîé, Õàðüêîâñêîé îáëàñòåé
ãóëÿëè èç ÐÑÔÑÐ â ÓÑÑÐ è
îáðàòíî.
ÎÒ ÊÈÐÃÈÇÈÈ
ÄÎ ÊÀÇÀÕÑÒÀÍÀ
Èíòåðåñíû íåêîòîðûå ìîìåíòû òåððèòîðèàëüíûõ èçìåíåíèé
âíóòðè Ñîâåòñêîãî ãîñóäàðñòâà
â äðóãèõ ðåãèîíàõ ñòðàíû. Òàê,
â 1920 ãîäó áûëà îáðàçîâàíà
îãðîìíàÿ ïî òåððèòîðèè Êèðãèçñêàÿ àâòîíîìíàÿ ñîâåòñêàÿ ñîöèàëèñòè÷åñêàÿ ðåñïóáëèêà
(ÀÑÑÐ) ñî ñòîëèöåé â Îðåíáóðãå. Îíà ÿâëÿëàñü ïðè ýòîì ÷àñòüþ ÐÑÔÑÐ.  1925 ãîäó áûëà
ïåðåèìåíîâàíà â Êàçàêñêóþ
ÀÑÑÐ ñ èçìåíåíèåì òåððèòîðèè
è ñòîëèöû. Îðåíáóðã è îêðåñòíîñòè îñòàëèñü â ÐÑÔÑÐ êàê
îòäåëüíàÿ îáëàñòü. Â 1930 ãîäó
èç ñîñòàâà Êàçàêñêîé ÀÑÑÐ â
Óçáåêñêóþ ÑÑÐ áûëà ïåðåäàíà
Êàðàêàëïàêèÿ, ïîëó÷èâøàÿ âíóòðè
Óçáåêñêîé ñîþçíîé ðåñïóáëèêè
ñòàòóñ àâòîíîìèè. È, íàêîíåö, â
1936 ãîäó, çà òðè íåäåëè äî
ïðèíÿòèÿ íîâîé Êîíñòèòóöèè
ÑÑÑÐ, Êàçàêñêàÿ ÀÑÑÐ ìåíÿåò
ñòàòóñ è ÷àñòè÷íî íàçâàíèå, è
êàê Êàçàõñêàÿ Ñîâåòñêàÿ Ñîöèàëèñòè÷åñêàÿ Ðåñïóáëèêà âñòðå÷àåò ñòàëèíñêóþ Êîíñòèòóöèþ
ÑÑÑÐ-36. Ïðè ýòîì þæíåå Êàçàõñêîé ðåñïóáëèêè ñóùåñòâîâàëà ñ 1924 ãîäà Êàðà-Êèðãèçñêàÿ àâòîíîìíàÿ îáëàñòü, êîòîðàÿ íåîäíîêðàòíî ìåíÿëà íàçâàíèå è ñòàòóñ, à çàîäíî èçìåíÿëèñü è åå ãðàíèöû, ïîêà ê òîìó
æå äåêàáðþ 1936 ãîäà íå ïðèíèìàåòñÿ ïàðòèéíî-ïðàâèòåëüñòâåííîå ðåøåíèå î òîì, ÷òî ýòà íåáîëüøàÿ àâòîíîìíàÿ ðåñïóáëèêà ïðèîáðåòàåò ðàâíûå ñ ñîñåäíåé Êàçàõñêîé ÑÑÐ ñòàòóñ è
ïðàâà.
 ÒÀÄÆÈÊÈÑÒÀÍ
- ×ÅÐÅÇ ÓÇÁÅÊÈÑÒÀÍ
Íå ìåíåå óäèâèòåëüíûå ïðåâðàùåíèÿ èìåëè ìåñòî ïàðàëëåëüíî è ó ñîñåäåé. Ñóùåñòâîâàâøèå òàì ê 1920 ãîäó Áóõàðñêàÿ è Õîðåçìñêàÿ Ñîâåòñêèå
Íàðîäíûå ðåñïóáëèêè ïðåîáðàçóþòñÿ ñïåðâà â ñîþçíûå ðåñïóáëèêè, èìåþùèå àññîöèàòèâíûå äîãîâîðû ñ ÐÑÔÑÐ, à çàòåì, â 1924 ãîäó, âîîáùå óïðàçäíÿþòñÿ, à íà èõ òåððèòîðèÿõ îáðàçóþòñÿ Óçáåêñêàÿ
ÑÑÐ è Òóðêìåíñêàÿ ÑÑÐ. Â
1929 ãîäó èç ñîñòàâà Óçáåêñêîé ÑÑÐ âûäåëÿåòñÿ ñóùåñòâîâàâøàÿ Òàäæèêñêàÿ ÀÑÑÐ è
ñòàíîâèòñÿ ñàìîñòîÿòåëüíûì
ñóáúåêòîì ñîþçíîãî ãîñóäàðñòâà â êà÷åñòâå òàêîé æå, êàê
è “ìàòî÷íûé” Óçáåêèñòàí, ñîþçíîé ðåñïóáëèêè.
ÍÀ ÊÀÂÊÀÇÅ
Îïðåäåëåííàÿ ñïåöèôèêà èìåëà ìåñòî ïðè ôîðìèðîâàíèè è
èçìåíåíèè ãðàíèö Àðìÿíñêîé è
Àçåðáàéäæàíñêîé ÑÑÐ. Çäåñü
ñîâåòñêîå ðóêîâîäñòâî äåéñòâîâàëî â óñëîâèÿõ âîåííûõ äåéñòâèé, êîòîðûå âåëèñü ìåæäó
âîéñêàìè Àðìÿíñêîé Ðåñïóáëèêè, ïðîâîçãëàøåííîé â 1918 ãîäó,
è îñìàíñêîé Òóðöèè äî 1920
ãîäà, à çàòåì - âîéñêàìè êåìàëèñòñêîé Òóðöèè. Â ñîñåäíèõ
ðàéîíàõ Þæíîãî Êàâêàçà âåëèñü âîåííûå äåéñòâèÿ ìåæäó
ðàçëè÷íûìè ïîëèòè÷åñêèìè ñèëàìè íà òåððèòîðèè Àçåðáàéäæàíñêîé Äåìîêðàòè÷åñêîé Ðåñïóáëèêè è ìåíüøåâèñòñêîé Ãðóçèíñêîé Ðåñïóáëèêè.
Ñëîæíàÿ êîíôèãóðàöèÿ âîåííûõ, ýòíè÷åñêèõ è ïîëèòè÷åñêèõ ôàêòîðîâ áûëà â èòîãå óìåëî
èñïîëüçîâàíà ïðàâèòåëüñòâîì
Ëåíèíà äëÿ óñòàíîâëåíèÿ äðó-
æåñêèõ îòíîøåíèé ñ Òóðåöêîé
Ðåñïóáëèêîé ïîä ðóêîâîäñòâîì
Ìóñòàôû Êåìàëÿ, â òîì ÷èñëå
çà ñ÷åò âíåäðåíèÿ â ñîñòàâ òåððèòîðèé îáðàçîâàííûõ íîâûõ ñîâåòñêèõ ðåñïóáëèê Àðìåíèè è
Àçåðáàéäæàíà èíîÿçû÷íûõ àíêëàâîâ. Ñîîòâåòñòâåííî, âíóòðè
òåððèòîðèè Àðìÿíñêîé ÑÑÐ îáðàçîâàëàñü àçåðáàéäæàíîíàñåëåííàÿ Íàõè÷åâàíñêàÿ àâòîíîìèÿ, ïîä÷èíåííàÿ Àçåðáàéäæàíó; íà ÷àñòè òåððèòîðèè Íàãîðíîãî Êàðàáàõà â ñîñòàâå Àçåðáàéäæàíñêîé ÑÑÐ îáðàçîâàëàñü
íàñåëåííàÿ áîëüøåé ÷àñòüþ àðìÿíàìè àâòîíîìèÿ, ïîä÷èíåííàÿ Áàêó.
Êëàññè÷åñêàÿ ñèòóàöèÿ “ðàçäåëÿé è âëàñòâóé”, ñîçäàííàÿ
Êðåìëåì âïîëíå èñêóññòâåííî,
íå ìîãëà çàêîí÷èòüñÿ íè÷åì
õîðîøèì. Ïðè îñëàáëåíèè âëàñòè ñîâåòñêîãî ïðàâèòåëüñòâà â
Ìîñêâå â êîíöå 1980-õ ãîäîâ
ýòè òåððèòîðèàëüíûå ïåðåäåëû
ïðèâåëè ê ïîëíîìàñøòàáíîé âîéíå
ìåæäó àðìÿíàìè è àçåðáàéäæàíöàìè, à âïîñëåäñòâèè - ê
äëÿùåìóñÿ äî ñèõ ïîð ìåæãîñóäàðñòâåííîìó êîíôëèêòó ìåæäó
Àðìåíèåé è Àçåðáàéäæàíîì.
Ñàìî ñîáîé ðàçóìååòñÿ, ÷òî
àäìèíèñòðàòèâíî-òåððèòîðèàëüíûå ïåðåêðîéêè â åùå áîëüøèõ
êîëè÷åñòâàõ çàòðàãèâàëè è ÷èñòî ðóññêèå êðàÿ, îáëàñòè è íàöèîíàëüíûå ðåñïóáëèêè, âõîäèâøèå â ñîñòàâ ÐÑÔÑÐ. Åñòåñòâåííî, ÷òî íåîáõîäèìîñòü ïîäîáíûõ èçìåíåíèé òåððèòîðèé è
ãðàíèö íàñåëåíèþ íèêàê íå îáúÿñíÿëàñü èëè æå ìîòèâèðîâàëàñü
÷ðåçâû÷àéíûìè ìåðàìè.
Èçâåñòíî, ÷òî ìàñøòàáíîé ïåðåêðîéêå ïîäâåðãëèñü àäìèíèñòðàòèâíûå ãðàíèöû íà Ñåâåðíîì Êàâêàçå â ñâÿçè ñ ìàññîâûìè ðåïðåññèÿìè ïðîòèâ öåëûõ íàðîäîâ è óïðàçäíåíèåì àäìèíèñòðàòèâíûõ åäèíèö èõ ïðîæèâàíèÿ.  1944 ãîäó áûëà óíè÷òîæåíà ×å÷åíî-Èíãóøñêàÿ ÀÑÑÐ
â ñîñòàâå ÐÑÔÑÐ, ÷å÷åíöû è
èíãóøè âûñåëåíû â Êàçàõñòàí è
Çàïàäíóþ Ñèáèðü, à òåððèòîðèÿ
àâòîíîìèè “ðàñïèëåíà” è ïîäåëåíà ìåæäó ñîñåäÿìè. Â 1957
ãîäó ñïðàâåäëèâîñòü âðîäå áû
áûëà âîññòàíîâëåíà, íî ñ íåêîòîðûìè òåððèòîðèàëüíûìè èçúÿòèÿìè óæå ó ñîñåäåé. Ñòàâðîïîëüñêèé êðàé âåðíóë â âîññòàíàâëèâàåìóþ ×å÷åíî-Èíãóøñêóþ
ÀÑÑÐ áîëüøå çåìëè, ÷åì ïðèîáðåë çà 13 ëåò äî òîãî. À î
ïåðåøåäøèõ â òîì æå 1944-ì â
ñîñòàâ Ãðóçèíñêîé ÑÑÐ çåìëÿõ
×å÷íè è Èíãóøåòèè, ðàâíî êàê è
÷àñòè ïðèãðàíè÷íîé òåððèòîðèè
Ñåâåðíîé Îñåòèè, è âîâñå íèêòî íå âñïîìèíàåò ïî ñåé äåíü...
Ïðîâîäèìûå ñîâåòñêîé âëàñòüþ ãðàíèöû íå ó÷èòûâàëè íè
ðàññåëåíèÿ íàðîäîâ, íè çîíû
ðàñïðîñòðàíåíèÿ ÿçûêîâ, íè ñëîæèâøèåñÿ âåêàìè òðàíñïîðòíîõîçÿéñòâåííûå è òîðãîâûå ñâÿçè. È, êàê ðåçóëüòàò, êðàéíå
ïðåíåáðåæèòåëüíûì áûëî îòíîøåíèå íàñåëåíèÿ ê ýòèì òî è
äåëî èçìåíÿâøèìñÿ ãðàíèöàì.
Íèêòî âåäü íå ïðåäïîëàãàë, ÷òî
öåííîñòü ëèíèé íà êàðòå êîãäàíèáóäü ïîâûñèòñÿ äî íåèìîâåðíûõ âåëè÷èí, èçìåðèòåëÿìè êîòîðûõ áóäóò ìèëëèîíû òîíí
ñûðüÿ è òûñÿ÷è ÷åëîâå÷åñêèõ
æèçíåé. Íå îñîáåííî çàäóìûâàëèñü îá ýòîì òîãäà è â Êðåìëå.
Ïðîöåññ ðàñïàäà ñîâåòñêèõ
ãðàíèö, íà÷àòûé â 1991 ãîäó,
äàëåêî íå çàêîí÷åí. Îñòàåòñÿ
íàäåÿòüñÿ, ÷òî òåïåðü âñå áóäåò
èíà÷å, íî òîãäà íóæíî, ÷òîáû
çàðàáîòàëè áîëåå íàäåæíûå è
ëåãèòèìíûå èíñòðóìåíòû, ÷åì
“ïðàâäà” è “ñïðàâåäëèâîñòü”.
Âåäü êàê òà, òàê è äðóãàÿ èìåþò, êàê ìèíèìóì, äâå ñòîðîíû...
Àëàí Êàñàåâ,
êàíäèäàò èñòîðè÷åñêèõ
íàóê, - äëÿ “ÐÈÀ Íîâîñòè”
ÄÓÁÀÉÑÊÈÅ
×ÀÅÏÈÒÈß
Ðàáîòû áîëåå 45 õóäîæíèêîâ èç ñòðàí
Öåíòðàëüíîé Àçèè è Êàâêàçà áûëè ïðåäñòàâëåíû â ñåêöèè Marker êðóïíåéøåé
ìåæäóíàðîäíîé âûñòàâêè èñêóññòâ íà
Áëèæíåì Âîñòîêå è â Þæíîé Àçèè - Art
Dubai, ïðîøåäøåé ñ 19 ïî 22 ìàðòà â
Äóáàå. Marker - ýòî ïðîãðàììà, êîòîðàÿ
åæåãîäíî ôîêóñèðóåòñÿ íà îïðåäåëåííîé òåìå èëè ãåîãðàôè÷åñêîì ïðîñòðàíñòâå è îáû÷íî âûäåëÿåò ðàáîòû òåõ àâòîðîâ, êîòîðûõ ðåäêî ìîæíî âñòðåòèòü
íà ìåæäóíàðîäíîé àðò-ñöåíå
“Art Dubai íà÷àëà ýòó ïðîãðàììó â 2011
ãîäó è âîâëåêëà â ñâîþ äåÿòåëüíîñòü ñòðàíû, êîòîðûå òàê èëè èíà÷å ñâÿçàíû îñîáåííûìè îòíîøåíèÿìè ñ ÎÀÝ è Ïåðñèäñêèì çàëèâîì. Ýòî áûëà Èíäîíåçèÿ â 2012
ãîäó, Âîñòî÷íàÿ Àôðèêà â 2013 ãîäó, â íûíåøíåì ãîäó - Öåíòðàëüíàÿ Àçèÿ è Êàâêàç. Ýòî êàê ðàç òå ðåãèîíû, êîòîðûå èñòîðè÷åñêè ñâÿçàíû ñ çàëèâîì è èìåþò òåñíûå êîíòàêòû ñåãîäíÿ”, - ðàññêàçàëà Àíòîíèÿ Êåðâåð, äèðåêòîð Art Dubai.
Êàçàõñòàí íà âûñòàâêå áûë ïðåäñòàâëåí
ôîíäîì Asia Art+, êîòîðûé ïðåäëîæèë
âíèìàíèþ ïîñåòèòåëåé ðàáîòû ðÿäà õóäîæíèêîâ èç Öåíòðàëüíîé Àçèè, â òîì ÷èñëå
æèâîïèñü, ôîòî- è âèäåîðàáîòû, ñêóëüïòóðíûå êîìïîçèöèè.
Ïðåäñòàâèòåëü Slavsand Tatars Ïàéàì
Øàðèôè îñîáî îòìåòèë óíèêàëüíûé ïðîåêò ôîíäà - ñîçäàíèå îíëàéí-àðõèâà ðàáîò
ïî ñîâðåìåííîìó èñêóññòâó “Çâåçäíûå êî÷åâíèêè” (Astralnomads).  àðõèâå êàòàëîãèçèðóåòñÿ è ñîõðàíÿåòñÿ òâîð÷åñêîå íàñëåäèå õóäîæíèêîâ, íåêîòîðûå èç êîòîðûõ
óæå óøëè èç æèçíè, êàê, íàïðèìåð, Ñåðãåé Ìàñëîâ è Þðèé Äâèíÿíèíîâ.
“Îáåñïå÷åíèå óäàëåííîãî äîñòóïà èç-çà
ðóáåæà ê ðàáîòàì õóäîæíèêîâ Êàçàõñòàíà è Öåíòðàëüíîé Àçèè - ýòî î÷åíü âàæíûé è ïîëåçíûé ïðîåêò. Ê ñîæàëåíèþ, íà
Çàïàäå î÷åíü ìíîãèå ëþäè âîîáùå íè÷åãî íå çíàþò îá ýòîì ðåãèîíå è òåì áîëåå
îá èñêóññòâå ýòîãî ðåãèîíà”, - îòìåòèë
Øàðèôè.
Êðîìå òîãî, â ïðîãðàììå Marker ïðèíÿëè ó÷àñòèå òàêèå õóäîæåñòâåííûå ïëîùàäêè, êàê ArtEast (Êèðãèçèÿ), IADA (Êàçàõñòàí), Popiashvili Gvaberidze Window
Project (Ãðóçèÿ), YARAT Contemporary Art
Space (Àçåðáàéäæàí) è Ñåâåðî-Êàâêàçñêèé
ôèëèàë Ãîñóäàðñòâåííîãî öåíòðà ñîâðåìåííîãî èñêóññòâà (Ðîññèÿ).
Ðàçíîîáðàçèå èñêóññòâà, ïðåäñòàâëåííîãî Marker, âàðüèðóåòñÿ îò æèâîïèñè ñåðåäèíû XX âåêà äî ñîâðåìåííûõ ðàáîò: êàðòèí, ñêóëüïòóð, âèäåî.
Îòäåëüíî ñòîèò îòìåòèòü îðèãèíàëüíîå
îôîðìëåíèå ñåêöèè Marker, âõîä â êîòîðóþ áûë âûïîëíåí â âèäå ÷àéõàíû, â êîòîðîé ìîæíî ïðèñåñòü, ïîãîâîðèòü îá èñêóññòâå, îçíàêîìèòüñÿ ñ îáðàçîâàòåëüíûìè ìàòåðèàëàìè, à òàêæå öåííûìè êíèãàìè îá èñêóññòâå è õóäîæíèêàõ Öåíòðàëüíîé Àçèè, èçäàííûìè â ñîòðóäíè÷åñòâå ñ
ïàðèæñêèì èçäàòåëüñêèì äîìîì Onepress.
Íàðÿäó ñ Marker íà âûñòàâêå Art Dubai
áûëè ïðåäñòàâëåíû òàêèå ñåêöèè, êàê
Modern è Contemporary. Â ïîñëåäíåé òàêæå ýêñïîíèðîâàëèñü ðàáîòû õóäîæíèêîâ èç
Öåíòðàëüíîé Àçèè. Òàê, íàïðèìåð, öåíòðîì ýêñïîçèöèè ìèëàíñêîé Laura Bulian
Gallery ñòàëè çíàìåíèòûå ôëàãè-êîðïåøå
èçâåñòíîãî êàçàõñòàíñêîãî õóäîæíèêà Ñàèäà Àòàáåêîâà.
 öåëîì æå â Âîñüìîé ÿðìàðêå Art
Dubai ïðèíèìàëè ó÷àñòèå 85 ãàëåðåé èç 34
ñòðàí ìèðà ñ ðàáîòàìè áîëåå ÷åì 500 õóäîæíèêîâ.
“Ðàçâèòèå ArtDubai çà ïîñëåäíèå âîñåìü
ëåò îòîáðàæàåò ýêñòðàîðäèíàðíûé ðîñò
àðò-ñåãìåíòà â ÎÀÝ. ßðìàðêà, ïî ñóùåñòâó, âûñòóïàëà êàòàëèçàòîðîì, óñêîðèâøèì ðîëü Äóáàÿ êàê ãëàâíîãî êóëüòóðíîãî õàáà â ðåãèîíå è çà åãî ïðåäåëàìè”, îòìåòèëà Àíòîíèÿ Êåðâåð.
 õîäå ìíîãî÷èñëåííûõ äèñêóññèé â ðàìêàõ Art Dubai èõ ó÷àñòíèêè âûðàæàëè óâåðåííîñòü â òîì, ÷òî ó÷àñòèå õóäîæíèêîâ
èç Öåíòðàëüíîé Àçèè è Êàâêàçà â îäíîì
èç êðóïíåéøèõ ìåæäóíàðîäíûõ êóëüòóðíûõ ìåðîïðèÿòèé ïðèäàñò èìïóëüñ ðàçâèòèþ ñîâðåìåííîãî èñêóññòâà â ðåãèîíå è,
â ÷àñòíîñòè, â Êàçàõñòàíå.
Ïðåäñòàâèòåëü Slavsand Tatars Ïàéàì
Øàðèôè îòìåòèë, ÷òî ìíîãèå íåïðàâèòåëüñòâåííûå îðãàíèçàöèè, ïîääåðæèâàâøèå èíèöèàòèâû â îáëàñòè ñîâðåìåííîãî
èñêóññòâà â Êàçàõñòàíå â ïðåæíèå ãîäû,
íàïðèìåð, ôîíä “Ñîðîñ-Êàçàõñòàí” è
Hivos, â íàñòîÿùåå âðåìÿ ñâîðà÷èâàþò ýòó
äåÿòåëüíîñòü, ïîëàãàÿ, ÷òî áîãàòûå ðåñóðñàìè ñòðàíû íå íóæäàþòñÿ â ôèíàíñîâîé
ïîääåðæêå ñî ñòîðîíû íåïðàâèòåëüñòâåííîãî ñåêòîðà. Îäíàêî ïîñëå óõîäà ÍÏÎ ýòà
íèøà íå áûëà çàíÿòà ãîñóäàðñòâîì, è ñîâðåìåííîå èñêóññòâî Êàçàõñòàíà ïåðåæèâàåò ñëîæíûå âðåìåíà.
 ñâîþ î÷åðåäü äèðåêòîð ôîíäà Asia Art+
Þëèÿ Ñîðîêèíà ïîä÷åðêíóëà, ÷òî îòñóòñòâèå ìàñøòàáíîé ãîñóäàðñòâåííîé ïîääåðæêè ïîçâîëÿåò êàçàõñòàíñêîìó
contemporary art ñîõðàíÿòü íåçàâèñèìîñòü
è èçáåãàòü öåíçóðû è ñàìîöåíçóðû.
“Ó íàñ contemporary art - ýòî äâèæåíèå
àëüòåðíàòèâíîå, è ñëàâà áîãó! Ïîòîìó ÷òî
åñëè â ãîñóäàðñòâàõ ñòàðîé äåìîêðàòèè ãîñóäàðñòâî äàåò êàêèå-òî äåíüãè, òî îíî íè
â êîåì ñëó÷àå íå öåíçóðèðóåò è íå òðåáóåò
èñïîëíåíèÿ ñâîèõ çàêàçîâ”, - îòìåòèëà Ñîðîêèíà, äîáàâèâ, ÷òî â Êàçàõñòàíå ñèòóàöèÿ èíàÿ.
“ ñëó÷àå ãîñóäàðñòâåííîãî ôèíàíñèðîâàíèÿ âîîáùå òåðÿåòñÿ ñìûñë âñåãî òîãî,
íà ÷òî íàïðàâëåíî ñîâðåìåííîå èñêóññòâî, ïîòîìó ÷òî ýòî, ïðåæäå âñåãî, êðèòè÷åñêèé äèñêóðñ. À êàêàÿ ìîæåò áûòü êðèòèêà, åñëè ýòî ïðàêòè÷åñêè ãîñçàêàç?” ñ÷èòàåò Þëèÿ.
Íàèáîëåå àêòóàëüíûì âîïðîñîì, ïî åå
ìíåíèþ, ñåãîäíÿ ÿâëÿåòñÿ íåîáõîäèìîñòü
ñîõðàíåíèÿ íàñëåäèÿ ñîâðåìåííûõ êàçàõñòàíñêèõ õóäîæíèêîâ, èçó÷èòü è îöåíèòü
êîòîðîå ïî äîñòîèíñòâó åùå ïðåäñòîèò â
áóäóùåì.
Ìèõàèë Åãîðèí - äëÿ “ÐÈÀ Íîâîñòè”
Çàïàä åñò Çàïàä
ÐÎÑÑÈß È ÅÂÐÎÏÀ ÏÎÄÂÅÐÃËÈ ÄÐÓà ÄÐÓÃÀ ÑÀÍÊÖÈßÌ.
×ÒÎ ÄÀËÜØÅ?
Òàêîãî ñàììèòà Åâðîñîþçà íå áûëî íèêîãäà â èñòîðèè. Ïðåäñåäàòåëü Åâðîïåéñêîãî ñîâåòà Õåðìàí âàí Ðîìïåé íå äîïóñòèë íà óæèí 20 ìàðòà íèêàêèõ ñîâåòíèêîâ èëè ïîìîùíèêîâ ãëàâ 28 ãîñóäàðñòâ
ÅÑ. È íà ïîëíîì ñåðüåçå ïîòðåáîâàë,
÷òîáû íà ýòîì óæèíå è ïðî÷èõ âñòðå÷àõ
ñàììèòà íå áûëî íå òîëüêî ìîáèëüíûõ
òåëåôîíîâ, íî è “ïðî÷èõ ýëåêòðîííûõ
óñòðîéñòâ”.
Èíòåðåñíî áóäåò óçíàòü íå òîëüêî òî, î
÷åì ãëàâû ãîñóäàðñòâ è ïðàâèòåëüñòâ
ãîâîðèëè íà ýòîé ñâîåé ñâåðõçàêðûòîé
âñòðå÷å (ïîñòåïåííî âñå âñïëûâåò), íî
è òî, îáûñêèâàëà ëè ëèäåðîâ îõðàíà ó
âõîäà íà ïðåäìåò çàïðåùåííûõ ãàäæåòîâ. È ÷òî ñäåëàëè ñ òåìè, ó êîãî òàêîâûå îáíàðóæèëèñü. Îò÷åãî, êñòàòè, ñåêðåòíîñòü? À ÷òîáû ïóáëèêà íå óçíàëà,
÷òî íà ñàìîì äåëå ãîâîðÿò è äóìàþò
ëèäåðû íåêîòîðûõ ñòðàí Åâðîñîþçà íàñ÷åò ñàíêöèé ïðîòèâ Ðîññèè “çà Êðûì”
Ñ ÊÐÛÌÎÌ ÓÆÅ ÂÑÅ ßÑÍÎ
Ãîâîðÿò è äóìàþò îíè ðàçíîå è äðóã ñ
äðóãîì íå ñîãëàñíû. Ïîêà ñåðüåçíûõ è åäèíûõ äëÿ âñåãî ÅÑ ñàíêöèé íå ïîëó÷èëîñü.
Íî ðàçîéòèñü ñîâñåì áåç ââåäåíèÿ òàêîâûõ
ñî÷ëè íåâîçìîæíûì è, êàê è îæèäàëîñü,
óâåëè÷èëè ÷åðíûé ñïèñîê íåâúåçäíûõ ðîññèÿí äî 33 ÷åëîâåê.
Ñëîæèëàñü ñèòóàöèÿ, êîãäà ðàíüøå áûëî
ñäåëàíî ìíîæåñòâî ãëóïîñòåé, à òåïåðü îñòàåòñÿ èëè ïðèçíàâàòü, ÷òî ïðîøëîå áûëî
îøèáêîé, èëè - êàê ñåé÷àñ - äåëàòü âèä,
÷òî âñå áûëî ïðàâèëüíî è ÷òî ñàíêöèè
èìåþò êàêîé-òî ñìûñë.
 äàííîì ñëó÷àå ðå÷ü èäåò î íåîáõîäèìîñòè ïðèçíàòü ïðîâàë êóðñà, êîòîðûé òàê
èëè èíà÷å ïðîâîäèëñÿ ÅÑ 23 ãîäà. Êóðñà
íà “åâðîïåèçàöèþ” Ðîññèè ïîä äèêòîâêó
íåêîé “êîëëåêòèâíîé Åâðîïû” èëè “êîëëåêòèâíîãî Çàïàäà”.
Ñàìîå èíòåðåñíîå èç èòîãîâ ñàììèòà
âûãëÿäèò òàê: ïîäïèñàëè ïîëèòè÷åñêóþ
÷àñòü ñîãëàøåíèÿ îá àññîöèàöèè ÅÑ è Óêðàèíû (òî åñòü äåêëàðàöèþ, áåç ýêîíîìèêè); ðåøèëè åùå ðàç ïîäóìàòü, êàê óìåíüøèòü çàâèñèìîñòü îò ðîññèéñêîãî ãàçà, äóìàòü áóäóò äî ëåòà.
Âîîáùå-òî ñàììèò áûë ïîñâÿùåí íå óæå
ñëó÷èâøèìñÿ â Óêðàèíå ñîáûòèÿì, à òåì,
÷òî òàì åùå ìîãóò ïðîèçîéòè. È ñàíêöèè
ïðîòèâ Ìîñêâû è ïðàâäà ðàçðàáàòûâàëèñü,
íî íå ñòîëüêî “çà Êðûì”, ñêîëüêî íà áóäóùåå, íà ñëó÷àé, åñëè Ðîññèÿ çàõî÷åò ïðèñîåäèíèòü ñåáå ïðî÷èå þãî-âîñòî÷íûå óêðàèíñêèå òåððèòîðèè.
Âîò ýòî - âêëþ÷àÿ âîïðîñû î òîì, ÷òî
íûíåøíèå êèåâñêèå âëàñòè è ïðàâäà äåëàþò âñå, ÷òîáû îòòîëêíóòü þã è âîñòîê, à
òî è ïîïðîñòó ïðîâîöèðóþò äðàêó - äåéñòâèòåëüíî ñåðüåçíàÿ ïðîáëåìà äëÿ Åâðîïû. À Êðûì... óæå ìåëüêàëè ìàòåðèàëû î
òîì, ÷òî íà ñàìîì-òî äåëå â Êèåâå ìíîãèå
òîëüêî ðàäû, ÷òî èì áîëüøå íå íàäî èìåòü
äåëî ñ òåððèòîðèåé, ãäå íàñåëåíèå íàñòðîåíî òàê î÷åâèäíî ïðîðîññèéñêè.
ÖÈÐÊ È ÊËÎÓÍÛ
Ìåæäó ÑØÀ è Ðîññèåé “ñàíêöèîííàÿ”
èñòîðèÿ ïðîèçîøëà ÷óòü ðàíüøå. È ïîñêîëüêó ÑØÀ - íèêîèì îáðàçîì íå Åâðîïà, è àìåðèêàíñêèå èíòåðåñû îò êðûìñêî-óêðàèíñêèõ äåë âåñüìà äàëåêè, òóò îáìåí çàïðåòàìè è ÷åðíûìè ñïèñêàìè ïðåâðàòèëñÿ â íàñòîÿùèé öèðê. Ó íèõ ñâîé
ñïèñîê, ó Ðîññèè”çåðêàëüíûé”, âíåñåííûå â íèõ øóòÿò è ñìåþòñÿ. È âåäü äåéñòâèòåëüíî ñìåøíî.
Ïðîèñõîäÿùåå â ÑØÀ, ñ èõ íåáîëüøèìè ýêîíîìè÷åñêèìè èíòåðåñàìè â Ðîññèè
è ôèçè÷åñêîé îòäàëåííîñòüþ îò Âîñòî÷íîé Åâðîïû, - ýòî ÷èñòàÿ èäåîëîãèÿ. Ýòî
ñîòðÿñåíèå âîçäóõà â ïîëüçó òåõ èçáèðàòåëåé, êòî âñå åùå æèâåò â ñìåøíîé ñêàçêå â êîòîðîé åñòü ìèðîâîé ëèäåð Àìåðèêà,
îíà ìîæåò âñå è ëèäåðñòâóåò è â Åâðîïå, è
íå òîëüêî â íåé. Â ýòîé ñêàçêå çà ïðåäåëàìè “ìåæäóíàðîäíîãî ñîîáùåñòâà” åñòü
ëèøü ãîðñòêà “äèêòàòîðîâ”, êîòîðûå â
óæàñå îò îäíîé ìûñëè, ÷òî íà íèõ íàëîæàò ñàíêöèè...
Êîãäà ýòà ñêàçêà ñíèìàåòñÿ Ãîëëèâóäîì
(êîòîðûé èñïîãàíèë àìåðèêàíñêîé èäåîëîãèåé äàæå ïîâåñòâîâàíèÿ î Áåëîñíåæêå è
Àëèñå â Ñòðàíå ÷óäåñ, ñäåëàâ õðóïêèõ äåâóøåê áîðöàìè ñ “äèêòàòóðîé”), òî ýòî ïðîñòî ïðîòèâíî. À â ðåàëüíîé æèçíè...
 ðåàëüíîé æèçíè, íàïðèìåð, èäåò äèñ-
êóññèÿ íàñ÷åò ñàíêöèé êàê èíñòðóìåíòà
âíåøíåé ïîëèòèêè. Âîò Foreign Affairs
ïèøåò î òîì, ÷òî Ðîññèÿ - íå Èðàí, è
ñàíêöèÿìè åå íå îáåñêðîâèøü. Øòóêà â
òîì, ÷òî àìåðèêàíöû óïîðíî ñ÷èòàþò, ÷òî
èõ ñàíêöèè ïðîòèâ Èðàíà áûëè äåéñòâåííû, ãîâîðÿò îá ýòîì äàâíî è âîïðåêè ôàêòàì. À âîò ïðèçíàòü, ÷òî è Èðàí áåññìûñëåííî áûëî äàâèòü ãîäàìè, è ìíîãèå äðóãèå ñòðàíû ñàíêöèé íå áîÿòñÿ - ýòî óæå
ðåâîëþöèÿ, äàæå íå â ñîçíàíèè, à â òîì,
÷òî ìîæíî, à ÷òî íåëüçÿ ãîâîðèòü âñëóõ.
Íåîáõîäèìîñòü òîòàëüíîé ïåðåñòðîéêè
Àìåðèêè áûëà î÷åâèäíà äàâíî. Íî ñëîæèâøàÿñÿ òàì ñèñòåìà íå äàåò ïðåçèäåíòó Áàðàêó Îáàìå ñòàòü Ìèõàèëîì Ãîðáà÷åâûì. È êàê îí íè ñòàðàåòñÿ íå îêàçàòüñÿ çàëîæíèêîì íàêîïèâøèõñÿ çà ãîäû è
äåñÿòèëåòèÿ îøèáîê, ìîùíîé èíåðöèè
ïðåæíèõ ðåøåíèé â îòíîøåíèè Èðàíà
ëè, Ñèðèè, Ðîññèè - “ïåðåñòðîèòü” âñå
áûñòðî è ïîä êîðåíü îí íå ìîæåò.
Ñêîëüêî ëåò îñòàëîñü íûíåøíèì ÑØÀ
- ñëîæíûé âîïðîñ. “Áðåæíåâñêèé” (èëè
“ìàêêåéíîâñêèé”) ýòàï îíè óæå ïðîøëè.
À êàêîé ýòàï ïåðåìåí ïåðåæèâàþò ñåé÷àñ, îïðåäåëèòü ñëîæíî. Òàê ÷òî îæèäàòü
îò íèõ êàêîé-òî íîâîé ðîññèéñêîé ïîëèòèêè ïðÿìî çàâòðà íå ñòîèò.
ÕÎÒÅÒÜ “Â ÅÂÐÎÏÓ”?
ÈÍÒÅÐÅÑÍÀß ÌÛÑËÜ
Íî ñ Åâðîïîé âñå ïî-äðóãîìó. Ïîòåðÿòü
Ðîññèþ è ïðèîáðåñòè “ïîäàðîê” â âèäå
ðàñïàäàþùåéñÿ íà ÷àñòè Óêðàèíû - ýòî
íå çàâòðà, à óæå ñåãîäíÿ, è ýòî ôèçè÷åñêè áëèçêî. Ïðè õóäøåì ðàçâèòèè ñîáûòèé âïîëíå ìîæíî ïðåäñòàâèòü ñåáå íåîæèäàííûé õàîñ íà âñåì ïðîñòðàíñòâå Âîñòî÷íîé Åâðîïû, ñ åå íîâûìè ãîñóäàðñòâàìè, íàçâàíèÿ êîòîðûõ ïóòàþò äàæå èõ
ñîñåäè. È ýòî âäîáàâîê ê íèêóäà íå äåâøåéñÿ ïðîáëåìå âðàæäåáíûõ èììèãðàíòîâ ñ Áëèæíåãî Âîñòîêà, êîòîðûå èíòåãðèðîâàòüñÿ â åâðîïåéñêèå îáùåñòâà íå
æåëàþò. Êòî â ýòîì ñëó÷àå åâðîïåéöàì
ïîìîæåò? Ðîññèÿ?
Íå íà÷àòü, íàêîíåö, ðàçðàáàòûâàòü íîâóþ, íàñòîÿùóþ ïîëèòèêó â îòíîøåíèè
Ðîññèè áûëî íåâîçìîæíî è ãîä, è äâà íàçàä. Íî òåïåðü è ñîâñåì íåâîçìîæíî. Õîòÿ
áû ïîòîìó, ÷òî åâðîïåéöû ïîëó÷èëè òÿæåëûé ìîðàëüíûé óäàð â âèäå òîãî ñàìîãî êðûìñêîãî ðåôåðåíäóìà. Êòî-òî (áðèòàíñêèé ïðåìüåð Äýâèä Êýìåðîí, ñêàæåì) ïûòàåòñÿ ñäåëàòü âèä, ÷òî ýòî
ñïëîøíîé îáìàí, íî ñåé÷àñ íå 2008 ãîä,
êîãäà Åâðîïà ìåñÿöà äâà èñêðåííå äóìàëà, ÷òî âîéíó â Þæíîé Îñåòèè íà÷àëà
Ðîññèÿ. Ñåé÷àñ ìåäèàêàðòèíà áîëåå ñìåøàííàÿ.
È â íåé ôèãóðèðóåò òîò ôàêò, ÷òî êðûì÷àíå ïîñòàâèëè ðåêîðä - ðåêîðä óíèêàëüíîé çà âñþ èñòîðèþ íåçàâèñèìîé Óêðàèíû ÿâêè íà èçáèðàòåëüíûå ó÷àñòêè. Ê ñîæàëåíèþ, ïîøëè îíè òóäà äëÿ òîãî, ÷òîáû ñ Óêðàèíîé ðàññòàòüñÿ.
Òàê ÷òî ñòàðàÿ åâðîïåéñêàÿ ïîëèòèêà,
êîòîðàÿ ïðèâåëà ê íûíåøíåìó íåäîñàíêöèîííîìó íåäîóìèþ, êîí÷èëàñü. À áóäåò íîâàÿ ïîëèòèêà. Ïðè÷åì îòíîñèòåëüíî ñêîðî.
Äìèòðèé Êîñûðåâ, ïîëèòè÷åñêèé
îáîçðåâàòåëü “ÐÈÀ Íîâîñòè”
“ÐÓÑÑÊÀß ÏÐÅÌÈß”
ÎÁÚßÂÈËÀ ËÓ×ØÈÕ ËÈÒÅÐÀÒÎÐÎÂ
Îáúÿâëåí øîðò-ëèñò ìåæäóíàðîäíîé ëèòåðàòóðíîé “Ðóññêîé ïðåìèè”, êîòîðàÿ îòìå÷àåò ëó÷øèå ïðîèçâåäåíèÿ ïèñàòåëåé, ïèøóùèõ íà ðóññêîì ÿçûêå çà ðóáåæîì.
Òàê, â íîìèíàöèè “Ïîýçèÿ” ïðåäñòàâëåíû Øàìøàä Àáäóëëàåâ èç Óçáåêèñòàíà,
Íèäæàò Ìàìåäîâ èç Àçåðáàéäæàíà è Àíäðåé Ïîëÿêîâ èç Óêðàèíû. Íà íàãðàäó â êàòåãîðèè “Ìàëàÿ ïðîçà” ïðåòåíäóþò Èëüÿ
Îäåãîâ (Êàçàõñòàí), Àëåêñàíäð Ñòåñèí
(ÑØÀ) è Åëåíà Ñòÿæêèíà (Óêðàèíà).  êîðîòêèé ñïèñîê íîìèíàöèè “Êðóïíàÿ ïðîçà” âîøëè Âàëåðèé Áû÷êîâ, æèâóùèé â
ÑØÀ, Àëåêñåé Íèêèòèí èç Óêðàèíû è Ñàøà
Ôèëèïïåíêî èç Áåëîðóññèè.
Ñïåöïðèç è äèïëîì îðãêîìèòåòà è æþðè
êîíêóðñà “Çà âêëàä â ðàçâèòèå è ñáåðåæåíèå òðàäèöèé ðóññêîé êóëüòóðû çà ïðåäåëàìè Ðîññèéñêîé Ôåäåðàöèè” ïðèñóæäåí
Æîðæó Íèâà - èñòîðèêó ëèòåðàòóðû, ïåðåâîä÷èêó ïðîçû Àíäðåÿ Áåëîãî è Àëåêñàíäðà Ñîëæåíèöûíà íà ôðàíöóçñêèé ÿçûê.
Âåäóùàÿ ïîëîñû Ôàðèäà Ãàëèåâà
Ïðåäñåäàòåëü æþðè Ñåðãåé ×óïðèíèí
îòìåòèë, ÷òî ïîýò Øàìøàä Àáäóëëàåâ, âîøåäøèé â øîðò-ëèñò, - ïðàêòè÷åñêè êëàññèê ñîâåòñêîé è ðóññêîé ëèòåðàòóðû, è
“åñëè áû áûëà ïðåìèÿ “Çà ÷åñòü è äîñòîèíñòâî”, îíà, íåñîìíåííî, äîñòàëàñü áû
åìó”. Òàêæå, ïî ñëîâàì ïðåäñåäàòåëÿ
æþðè, ïîÿâèëèñü è íîâûå èìåíà.  ÷àñòíîñòè, ×óïðèíèí îòìåòèë òàëàíò Íèäæàòà Ìàìåäîâà. “Ýòîò ïîýò ïðèíàäëåæèò ê
ðÿäó ìîëîäûõ àêòóàëüíûõ àâòîðîâ, ñîçäàþùèõ íå ñòèõè â ïðÿìîì ñìûñëå, à êîìïîçèöèè”, - ñ÷èòàåò îí.
Öåðåìîíèÿ íàãðàæäåíèÿ ïðåìèåé ñîñòîèòñÿ â Ìîñêâå 22 àïðåëÿ.
Ìåæäóíàðîäíûé ëèòåðàòóðíûé êîíêóðñ
“Ðóññêàÿ ïðåìèÿ” ó÷ðåæäåí â 2005 ãîäó
äëÿ ñîõðàíåíèÿ è ðàçâèòèÿ ðóññêîãî ÿçûêà êàê óíèêàëüíîãî ÿâëåíèÿ ìèðîâîé
êóëüòóðû è ïîääåðæêè ðóññêîÿçû÷íûõ
ïèñàòåëåé ìèðà.
“ÐÈÀ Íîâîñòè”
Highlights From Art Dubai 2014 | In the Air: Art News & Gossip | ARTINFO.com
4/23/14 2:47 PM
Highlights From Art Dubai 2014
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Shirin Neshat's "Bahram (Villains)," from The Book of Kings series (2012), Anish Kapoor's
"Untitled" (2012), Tiffany Chung's "Communes, IE and ET Organisms" (2010), Rasheed
Araeen's "Burgundy Dark" (1971), Giorgi Khaniashvili's "Portrait" (2014), Adam Henein's
"Cheese Seller" (1956), Adam Henein's "Waiting for Water," (1955), Popiashvilia
Gvaberidze's "Window Project Marker" (2014), Zahoor ul Akhlaq's "Untitled" (1982),
Ardeshir Mohasses's "Untitled" (1997)
DUBAI, United Arab Emirates — Art Dubai, which just completed its eight edition, running March 19-22,
appears to be faring better than ever. The same might be said for its home in the Persian Gulf, the Emirati state
that hosts the most important art fair in the Middle East each year. Dubai’s current building boom reflects the
city’s booming economy — and yet, many of the works for sale at the fair are priced under $100,000. The
availability of several price points makes Art Dubai a destination for both very important collectors, like Dubai’s
own ruler Sheikh Mohammed bin Rashid al Maktoum and Libyan Princess Alia Al Senussi, and for more
modest art collectors looking to expand their collections with exceptional and well-priced pieces. In sum, there
was a total of $40-$45 million worth of art for sale at this year’s fair. Though Art Dubai cuts an idiosyncratic
figure among the ranks of prestigious art fairs — there are 85 galleries here, compared with 203 at this month’s
Armory Show in New York — the tightly edited selection of exhibitors proved to be one of the fair’s many
positive attributes.
“Over the years, Art Dubai has become known as a fair of discovery,” said fair director Antonia Carver at a
March 17 press conference. That may well be the case — the focus here is decidedly regional: the Madinat
Jumeirah’s exhibition halls are filled with work from contemporary Middle Eastern, North African, and South
East Asian artists, many of whom are relatively unknown and unavailable at other major fairs. Largely unknown,
too, are the artists of the Caucasus and Central Asia shown in the fair’s Marker section. The curatorial debut of
the art collective Slavs and Tatars, Marker was the most comprehensive representation of the region at any fair
to date. This year also marked the debut of Art Dubai’s Modern section, devoted exclusively to modern art from
the MENASA region. With 11 galleries each showing work by one or two modern masters from the region,
Modern proved to be but one of the highlights from Art Dubai 2014.
Contemporary
http://blogs.artinfo.com/artintheair/2014/03/24/highlights-from-art-dubai-2014/
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Highlights From Art Dubai 2014 | In the Air: Art News & Gossip | ARTINFO.com
4/23/14 2:47 PM
This year’s Contemporary section featured 70 galleries, with Western dealers bringing pieces by Middle Eastern
artists to the fair, and non-Western galleries hailing from the world over to offer work by contemporary artists
both established and emerging. New York’s Gladstone Gallery offered portraits by Shirin Neshat from the 2012
“Book of Kings” series, priced between $50,000 and $110,000. Gladstone also selected Anish Kapoor from its
venerable roster, displaying his latest Untitled reflective concave dish sculpture from 2014. Also from New York,
Tyler Rollins Fine Art brought paintings by Sopheap Pich and recent map illustrations by Tiffany Chung;
among its display were two such maps made specifically for Art Dubai 2014, both of which sold for an
undisclosed sum. “It’s going really well,” said gallery manager Hisakiku Abe, a sentiment repeated many times
over in the fair’s other booths.
Anish Kapoor's "Untitled" (2012), Shirin Neshat's "Bahram (Villains)," from The Book of
Kings series (2012), Sopheap Pich's "Blue on Blue and Reds" (2013), Tiffany Chung's
"Communes, Nature and ET Organisms" (2010) and "Communes, IE and ET Organisms"
(2010)
Modern
Modern debuted with both impressive art and steady sales, with each booth presenting a solo or two-person show
by the likes of Rasheed Araeen represented by Grosvenor Gallery in London, Hamed Abdalla and Adamn
Henein represented by Karim Francis in Cairo, and M.F. Husain represented by Aicon Gallery in New York.
The section’s most impressive display featured Iranian-American artist Ardeshir Mohasses, represented by
Shirin Gallery in Tehran and New York. His collages, made in 1987 and 1988 from illustrations discarded a
decade earlier, are akin to Iranian Dada — and unlike any other pieces available at the fair. Elsewhere in the
Modern section, Karachi-based Artchowk Gallery brought outstanding work from Zahoor Ul Ahkla. Many of
his painting are based on the image of a grid, such as the standout piece, “Homage to the Nobel Prize,” from
1983, which sold for $15,000-$25,000 at the fair. Dubai-based gallery Lawrie Shabib, which represented Nabil
Nahas, brought his early abstract geometric paintings from the 1970s to the fair. Untitled from 1976 and Untitled
2 from 1978 both sold, the former to a private collector and the latter to a London-based institution. With two
more canvases reserved, the gallery’s results at the fair mirrored the successful sales of the other participants in
the inaugural Modern section.
http://blogs.artinfo.com/artintheair/2014/03/24/highlights-from-art-dubai-2014/
Page 3 of 9
Highlights From Art Dubai 2014 | In the Air: Art News & Gossip | ARTINFO.com
4/23/14 2:47 PM
(l-r) Zahoor ul Akhlaq's "Homage to the Nobel Prize" 1983 and "Untitled" 1991. Courtesy
ArtChowk
Marker
Marker, Art Dubai’s program of curated art spaces and galleries, is the non-commercial section of the fair,
devoted to the exhibition of artwork from a region related historically or culturally to the Middle East and the
Islamic world. This year’s edition of the Marker section, devoted to the Caucasus and Central Asia, follows on
previous iterations of Marker focused on West African art and Indonesian art. Compared to these previous
editions, the Caucasus and Central Asia are relatively unknown in terms of location and artistic output — which
led the artists Slavs and Tatars, who curated the section, to adopt a “regime of portraiture,” according to group
member Payam Sharifi. Slavs and Tatars selected five arts organizations to represent the region: the Popiashvili
Gvaberidze Windows Project, a public artspace and commercial gallery from Tbilisi, Georgia; Yarat!
Contemporary Art Organization, an NGO from Baku, Azerbaijan; ArtEast, an NGO from Bishkek, Kyrgyzstan;
the North Caucasus branch of the National Center for Contemporary Arts (NCCA), a state institution devoted to
the promotion of contemporary art in Vladikavkaz, Russia; and Asia Art +, a foundation based in Almaty,
Kazakhstan that supports the development of contemporary art in the region and operates Astral Nomads, an
online archive of Kazakh contemporary art.
True to its designation as a “regime of portraiture,” Marker’s participants displayed work that focused on
representation, a departure from the abstraction seen elsewhere in the Contemporary galleries. Popiashvili
Gvaberidze Windows Project included the work of Giorgi Khaniashvili, a church icon painter whose 2010
“Venus” wood sculpture presents a female head atop an androgynous body, a statement, according to gallerist
Irena Popiashvili, criticizing the Georgian Orthodox Church. In the Asia Art + booth, Sergei Maslov’s
“Baikonur 2” collage from 1990 represented aliens sitting with tribal leaders — merging the futurism of space
imagery with traditional Kazakh culture. Whereas the commercial nature of the Contemporary galleries drove
dealers to bring work that would sell well at Art Dubai, Marker’s non-commercial focus made for a presentation
that highlighted the experimental and critical qualities of contemporary art from the southern and eastern
colonies of the former Russian Empire.
http://blogs.artinfo.com/artintheair/2014/03/24/highlights-from-art-dubai-2014/
Page 4 of 9
Highlights From Art Dubai 2014 | In the Air: Art News & Gossip | ARTINFO.com
Highlights From Art Dubai 2014 | In the Air: Art News & Gossip | ARTINFO.com
4/23/14 2:47 PM
4/23/14 2:47 PM
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Wednesday, April 23, 2014
EFFARTINFO March 24, 2014 at 8:46 pm
Visualby
Arts
Dubai
is
phony city in the sand and an environmental travesty. Worse, they are a fully oppressive regime,
Performinga Arts
oppressing
women and even imprisoning foreign rape victims for fornication. You don’t see any are about
Architecture local
& Design
Artists
that in Dubai do you????? Idiots.
Art Prices
Marketby
News
behjat reshad March 25, 2014 at 1:45 pm
Lifestyle
afrin I like it. keep going your way , you are shirin partovi, you are able to accomplish what you dessier, I am the
Fashion
only
Eventswho know you how strong and hard worker, wish you luck, love you.
Travel
by Peter Brandt March 25, 2014 at 5:01 pm
Would have loved to see some photos of the show floor to see the ratio of sculpture / paintings /photography on
display, however a slide show without the bothersome advertising kicking in every 3-4 pics that Blouin installs.
Add a Comment
In the Air
Art News & Gossip
http://blogs.artinfo.com/artintheair/2014/03/24/highlights-from-art-dubai-2014/
In the Air – Art+Auction's Gossip Column
Page 5 of 9
Dubai $45 Million Fair Stars Kapoor Mirror, Chastity Belt - Bloomberg
4/23/14 12:07 PM
Dubai $45 Million Fair Stars Kapoor Mirror, Chastity
Belt
By Frederik Balfour - Mar 19, 2014
A mirror by Anish Kapoor and a chastity belt sculpture by Lebanese-Egyptian artist Lara Baladi are
among as much as $45 million worth of contemporary art works on sale at Art Dubai.
VIPs including Sheikh Hamdan bin Mohammed bin Rashid Al Maktoum, Crown Prince of Dubai, and
British furniture maker David Linley got a preview of the 8th annual fair yesterday at the Madinat
Jumeirah Hotel where guests strolled the aisles sipping Ruinart champagne and snacking on hummusfilled cornets.
“This is Dubai at its best,” said Paul Hewitt, managing director of growth markets at Christie’s Plc, who
attended the Hamdan International Photography Award ceremony featuring a private acrobatic
performance by Cirque du Soleil on March 17.
Anchoring a week of talks, art auctions and gallery openings, the Dubai art fair, which opens to the
public today and runs to March 22 is Dubai’s bid to become the arts hub of the Middle East.
“Our global footprint expands each year,” fair director Antonia Carver told a media conference,
including 70 journalists flown in by fair organizers. A Bloomberg News reporter was not among them.
“Dubai has been a trading city for such a long time, and we have seen more and more of that spirit
going into the cultural sphere.”
Contemporary Section
The contemporary section of the fair includes 70 galleries, with combined art worth almost $45
million, she said. About half of the exhibitors are from the middle East and central Asia. Prices range
from as little as $1,000 for emerging artists to a Kapoor gold mirror sculpture costing several hundred
thousand dollars. For the first time, a separate section of modern art is also included.
The fair is attracting an increasing number of exhibitors from outside the region. New York-based
gallery Tyler Rollins Fine Arts and Manhattan’s Gladstone Gallery, which is offering the Kapoor work
alongside a painting by Iraqi artist Ahmed Alsoudani, are exhibiting for the first time.
“Dubai is a crossroads and a meeting point and a very international city where you have collectors and
http://www.bloomberg.com/news/print/2014-03-19/dubai-45-million-fair-stars-kapoor-mirro-chastity-belt.html
Page 1 of 3
Dubai $45 Million Fair Stars Kapoor Mirror, Chastity Belt - Bloomberg
4/23/14 12:07 PM
“Dubai is a crossroads and a meeting point and a very international city where you have collectors and
curators from all over Europe, South Asia and the Middle East,” said gallery owner Tyler Rollins, who
brought works by Cambodian-American sculptor Sopheah Pich and Vietnamese-American painter
Tiffany Chung. With six works sold during the VIP preview he said “It definitely lived up to our
expectations.”
Better Returns
Wealthy buyers are flocking to art after prices surged in the past decade, beating asset classes such as
U.S. stocks, gold and fine wine. The Artnet C50 Index (SPX), which combines performance data from
50 contemporary and postwar artists, advanced 434 percent from the beginning of 2003 through 2013,
according to research firm Artnet Worldwide Corp. In the same period, as the Standard & Poor’s 500
Index of U.S. stocks advanced 160 percent and the NYSE Arca Gold Bugs Index climbed 51 percent,
including reinvested dividends.
Ursula Krinzinger, whose Vienna-based Galerie Krinzinger participated in the first edition of Art
Dubai, says the region’s collectors has grown significantly since then. Prominent patrons include the
Sheikha Mayassa bint Hamad Al Thani, who commands a budget of about $1 billion per year,
according to Art Review.
This year Krinzinger is offering photographs by Serbia-born Marina Ambramovic priced at 52,100
euros ($72,500), and a photographic collage by Lebanese artist Alfred Tarazi entitled “A Necromanic’s
Dream” sold for 15,000 euros to a private collector from Saudi Arabia.
Chastity Belt
Dubai-based Gallery Isabelle van den Eynde sold a sculpture of a chastity belt by Lebanese-Egyptian
artist Lara Baladi to a Saudi collector for 6,000 Euros. Baladi, made her name for her politicallycharged photographs of the Tahrir Square uprising in Cairo in 2011.
Christie’s International Plc. is taking advantage of the influx of international visitors this week to hold
an auction of Modern and Contemporary Arab, Iranian and Turkish Art today.
The London-based house, which held its first Dubai sale in 2006, is catering to the growing wealth
fueled by the oil and gas industries in the region. Tonight’s sale is expected to raise $5.66 million to
$7.88 million Christie’s said.
The top lot is a fiberglass sculpture by Iranian artist Parviz Tanavoli estimated to sell for as much as
$350,000.
The Dubai Art Fair, sponsored by the Abraaj Group and EMAAR Properties, runs through March 22.
http://www.bloomberg.com/news/print/2014-03-19/dubai-45-million-fair-stars-kapoor-mirro-chastity-belt.html
Page 2 of 3
Dubai $45 Million Fair Stars Kapoor Mirror, Chastity Belt - Bloomberg
4/23/14 12:07 PM
Information: http://www.artdubai.ae.
To contact the reporter on this story: Frederik Balfour in Hong Kong at fbalfour@bloomberg.net
To contact the editors responsible for this story: Matthew G. Miller at mmiller144@bloomberg.net
Claudia Maedler, Tomoko Yamazaki
®2014 BLOOMBERG L.P. ALL RIGHTS RESERVED.
http://www.bloomberg.com/news/print/2014-03-19/dubai-45-million-fair-stars-kapoor-mirro-chastity-belt.html
Page 3 of 3
En huit ans, la Foire Art Dubaï a conquis ses lettres de noblesse sur le marché, Actualités
Recherchez sur Les Echos
CONNEXION
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INDUSTRIE - SERVICES
INSCRIPTION
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4/23/14 12:04 PM
TECH
SITES DU GROUPE
PATRIMOINE
MÉDIAS
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En huit ans, la Foire Art Dubaï a
conquis ses lettres de noblesse
sur le marché
Par Martine Robert | 20/03 | 16:30 | mis à jour à 17:22
Art Dubaï, qui ferme ses portes dimanche, a réuni 85 galeries
de 34 pays représentés. La Foire présente des œuvres plus
ambitieuses et pèse une quarantaine de millions de dollars.
Sur le même sujet
L'univers impitoyable des galeries d'art
contemporain
Par Martine Robert | 29/05/2013
La foire d'Art Dubai se pose en trait
d'union vers l'Asie
Par Martine Robert | 20/03/2013
Comment expliquer le succès des foires
d'art
Par Martine Robert | 20/03/2013
Art Basel Miami : un modèle (au soleil)
bien rôdé...
Par Martine Robert | 30/11/2012
Arts
Une nouvelle maison de vente à Paris
veut casser les codes de la profession
Par Martine Robert | 23/04 | 06:00
Green art
Par Boris Coridian | 18/04 | 09:00
Dubaï
Algérie : l'économie et la politique
sclérosées
Par Yves Bourdillon | 17/04 | 06:00
A Londres, le calme trompeur
de la communauté russe des affaires
Par Nicolas Madelaine | 17/04 | 06:00
http://www.lesechos.fr/entreprises-secteurs/service-distribution/act…rt-dubai-a-conquis-ses-lettres-de-noblesse-sur-le-marche-658542.php
Page 1 of 4
En huit ans, la Foire Art Dubaï a conquis ses lettres de noblesse sur le marché, Actualités
4/23/14 12:04 PM
A l’ouverture de la foire Art Dubaï 2014. - Dubaï
Déjà sa huitième édition ! La jeune foire d’art contemporain Art Dubaï a l’âge de
raison et cela se sent. Elle a un positionnement bien à elle –avec un tropisme
particulier vers l’Afrique, l’Asie, et le Moyen-Orient–, une taille conviviale (85
galeries), une offre diversifiée (34 pays représentés), un programme VIP attractif, des
sponsors prestigieux comme le joaillier Cartier ou, entre autres, le constructeur
automobile Maserati. « Nous voulons rester un lieu de découverte et porter sur la
scène internationale des artistes de la région », explique Antonia Carver, la directrice
de la foire.
Pour renouveler l’appétit des collectionneurs, Art Dubaï a fait deux focus, l’un sur
l’Asie Centrale et le Caucase, l’autre sur l’art moderne du Moyen-Orient et de l’Asie
du sud. De quoi satisfaire aussi la clientèle des musées qui se multiplient dans la
région. « Dans les années 1940 à 1980, des artistes créaient au Caire, à Beyrouth,
Amman, Bagdad, Téhéran, Bombay, Karachi, en parallèle de leurs confrères
occidentaux. Nous avons donc choisi d’exposer ceux qui ont influencé les
générations suivantes », poursuit Antonia Carver.
«!Marché plus mature!»
Signe que la foire plaît : 90% des exposants présents l’an dernier ont postulé de
nouveau cette année. C’est le cas de nombreuses galeries françaises. « On peut
rencontrer ici des collectionneurs et des directeurs de musées internationaux de
manière détendue, privilégiée », observe Nathalie Obadia, qui a vendu dès le premier
jour des œuvres de Joana Vasconcelos et Valérie Belin. Daniel Templon a opté cette
fois pour des œuvres ambitieuses, de 65.000 à 250.000 euros, des pièces de valeur
d’artistes reconnus car, explique-t-il, «!le marché est désormais plus mature ».
Bernard Utudjian, de la galerie Polaris, fréquente pour sa part Art Dubaï pour la
première fois. « Je suis venu car l’une de mes artistes a obtenu cette année le prix
Abraaj Group, mais aussi parce que la scène émergente du Moyen-Orient change
très positivement.!»
Un havre propice à la création
Face à l’instabilité de certains pays voisins, des artistes de la région ont trouvé à
Dubaï un havre propice à la création. Cette dynamique bénéficie à cette foire
intimiste, qui ne pèse encore qu’une quarantaine de millions de dollars, mais
accueille désormais des marchands de stature internationale, comme Marian
Goodman (Paris, New York et Londres). Car on rencontre ici à la fois les familles
régnantes des monarchies pétrolières, les expatriés aisés d’Europe, d’Inde et du
Pakistan et de gros acheteurs occidentaux. Ainsi, Emmanuelle Prat et Suzanne
Flammarion de Bokay, clientes du couple Obadia-Templon, ont fait le déplacement
de Paris. « Nous sommes agréablement surprises par la qualité de cette foire »,
relèvent-elles. «!Ici, on voit des artistes que l’on ne voit pas ailleurs », renchérit
l’Américain Scott Stover, qui a créé la Centre Pompidou Foundation.
Art Dubaï a atteint une crédibilité dans le paysage encombré des foires que sa
directrice entend « consolider encore ». Et pour cause, la foire va subir en 2015 la
concurrence frontale de Art Basel Hong Kong, qui vient d’annoncer qu'elle ne se
tiendra plus en mai, mais en" mars.
A lire aussi :
Dubaï fait de l’art une priorité
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Page 2 of 4
Art Dubai 2014. Interview with Antonia Carver. Nafas Art Magazine
4/23/14 9:40 AM
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Art Dubai 2014. Interview with Antonia Carver
Fair Director of Art Dubai
By Haupt & Binder | March 2014
>> Art Dubai Photo Tour
+ zoom
Pat Binder & Gerhard Haupt: When your appointment
as Fair Director of the Art Dubai was announced in
2010, you had been primarily known as an author
about art and film and as the curator and organizer of
art and educational projects. Were you explicitly given
the task of strengthening the role of the art fair as an
engine for local art activity and its international
networking? After all, Dubai has great ambitions in this
field, as well, which were expressed in the plans for the
gigantic cultural development project Khor Dubai 2008,
which had to be abandoned in the same year because
of the financial crisis.
Antonia Carver: One of the great challenges of this job,
but what makes it so interesting, is the need to have a
360-degree view of the artworld: from leading patrons
and high-level collectors, through institutions and
museums, the market and gallery world, as well as the
full gamut of the not-for-profit art scene % projects, talks,
educational programming. It's this diversity which
makes it so interesting, and this is an explicit part of the
identity of the fair.
!"#$ | deu
print | send | recommend:
>> Images
41 image pages
Art Dubai
19 - 22 March 2014
Location:
Madinat Jumeirah
Al Sufouh Road, Umm Suqeim
Exit 39 (Interchange 4) from Sheikh Zayed
Road
Art Dubai
PO Box 72645
Dubai
United Arab Emirates
Website / Email
United Arab Emirates:
Articles
in Nafas Art Magazine
United Arab Emirates:
Artists
in Nafas and UiU
See also:
The diversity comes through programming % the breadth
I mention above, but also in terms of always thinking
how we can be different, how we can carve out a
unique identity for ourselves amid so many fairs,
biennials and events, the world over. Even just within
the educational programmes, we try to have the widest
range % from exciting and innovative children's projects
(this year, the Sheikha Manal Little Artists programme
has workshops with sound artist Dylan Martorell)
through to asking some of the most pertinent questions
Art Dubai 2012
Remarks and photo tour: art fair,
projects, galleries at Alserkal Av.,
exhibitions in Al Bastakiya. By
Haupt & Binder, April 2012
of our time through the Global Art Forum.
Art Dubai, Sharjah Biennial
In 2009, Art Dubai and the Sharjah
Biennial coincided for the first time.
Photos and information. March
2009
And yes, the fair strives to have a balance between the
local and the global and year-on-year, we see greater
participation in the fair by UAE-based artists, curators,
audiences. We believe a fair like ours can act as a
catalyst in the growth of the local arts scene, as well as
reflecting its extraordinary development over the past 8
years.
B & H: What were your greatest challenges? Isn't it a
tricky tightrope walk to have to work for an art fair's
commercial success while simultaneously doing justice
to artistic and educational ambitions, which are mostly
independent of market interests?
Art Dubai 2011
Information and photos of the 5th
Art Dubai. Photo tour through
galleries in the DIFC and Downtown
area, Al Quoz, Al Bastakia. April
2011
Art Dubai 2008
Review of the 2nd edition of the
international fair for contemporary
art, including parallel events. By
Haupt & Binder, April 2008
DIFC Gulf Art Fair 2007
A milestone in the development of
the visual arts in Dubai and the
region's art market. By Seth
Thompson, March 2007
AC: Yes, it is a tightrope sometimes % but I'm sure all
fair or institutional directors have to walk this kind of
walk! It's about balancing the commercial interests of
galleries (and of course artists % often we forget that
they need to eat, too) and sponsors, while opening up
spaces for debate and for artists to create interesting
works, to experiment. But in the end, a strong, artistoriented, discursive environment benefits everyone %
and we tend to work with sponsors and government
departments that recognise this and encourage it. I
don't think in today's art world the commercial and the
non-commercial are so strictly divided % and given that
an art fair like Art Dubai attracts all the players in the
art community (artists, gallerists, collectors, institutions,
curators, critics and so on), this is perhaps the one site
http://universes-in-universe.org/eng/nafas/articles/2014/art_dubai_2014
Page 1 of 3
Art Dubai 2014. Interview with Antonia Carver. Nafas Art Magazine
4/23/14 9:40 AM
curators, critics and so on), this is perhaps the one site
that can really explore these commercial/noncommercial relationships.
B & H: In which direction have the offerings of the
galleries represented at the fair consolidated? What
are the primary groups of buyers and where do they
come from?
AC: When the fair launched in 2007, the rhetoric was
very much one of 'East meets West' % the hangover
from the post-9/11 era, perhaps. Over the years, the
discourse has shifted, and nowadays, we are looking
more at the relationships that come through Dubai, as
a hub for trade, transport and communications (and
increasingly, culture). The galleries this year come from
34 different countries, which makes us one of the most
'global' of art-world meeting points. The balance in
gallery location has been the same for the past 3-4
years: around a third from the Middle East and South
Asia, a third from Europe, and a third from the
Americas, Africa and East Asia. But around half the
artists represented are from the Middle East and South
Asia % and through the fair's life, we've seen increasing
numbers of artists from this part of the world pick up
international representation.
We are highly supported by a 'bedrock' of collectors
from the UAE and GCC, then the Middle East in
general who come in for the fair. And then there is a
loyal and highly knowledgeable group of collectors
from the Middle Eastern diaspora, whose families may
have collected for generations, but who now see Art
Dubai as their 'home fair'. We make it our mission to
attract museum directors, curators, and their groups,
and work with them to provide bespoke trips that take
these groups throughout the UAE and the Gulf % and
commentators have noted an unusually high number of
institutions attending the fair, compared to other major
fairs. Of course, many of the major museums see
themselves as international, rather than national,
institutions: Art Dubai is a point where they can take in
a lot of artists, ideas, interesting people involved in the
diverse arts scenes of the Middle East, Asia, and
increasingly, Africa.
B & H: In 2014, with "Art Dubai Modern" there will be a
new section devoted to modern art from the Middle
East and South Asia. Why was this new market
segment included? Was this intended to strengthen the
Art Dubai in relation to the competition from other art
fairs, for example in Abu Dhabi and Istanbul?
AC: The development of this new section was
something we've been thinking about for a while, and
the idea came out of discussions with galleries, artists
and with institutions in particular. We felt it was
important to show where today's artists and ideas
came from % the influential artists of the 1940s-1990s
that inspired and taught today's generations. Many
international institutions first became acquainted with
the Middle East and South Asia through contemporary
art, and are now working back through history,
matching the great European artists of the twentieth
century with their 'colleagues' who were making work at
the same time in dynamic cities such as Beirut, Cairo,
Manama, Amman, Tehran, Karachi, Bombay.... We're
working with some incredible curators and historians,
all of whom are experts in the field - Nada Shabout,
Kristine Khouri, Savita Apte, Catherine David % to put
together a series of solo and 2-person shows, working
very closely with the galleries.
Some of the Art Dubai Projects commissioned artists %
such as Clark House Initiative and Najat Makki % have
opted to explore this field through their site-specific
works too. And the subject also influence some of the
thinking behind this year's Global Art Forum, titled
'Meanwhile...History'.
With all our programmes, and in all developments, we
tend to think Art Dubai, and our constituency of
http://universes-in-universe.org/eng/nafas/articles/2014/art_dubai_2014
Page 2 of
Art Dubai 2014. Interview with Antonia Carver. Nafas Art Magazine
4/23/14 9:40 A
tend to think Art Dubai, and our constituency of
galleries, artists, curators, collectors, and how best we
can grow the fair, rather than compare with others. Art
Dubai was the first international fair in this region when
it began in 2007, and since then has come Hong Kong,
Delhi, Marrakech, Abu Dhabi, Beirut % and this is
indicative of the great economic and cultural shift
eastwards % the complementary and multiple events are
something to be celebrated.
B & H: Since 2012, the curated section "Marker" has
presented galleries from certain countries or regions.
After Indonesia and West Africa, in 2014 it will be the
turn of Central Asia and the Caucasus. What are the
criteria for selecting the respective Marker foci? How
far will this geographical arc extend? Will this actually
bring about a desired cross-cultural exchange with
some lasting effect?
AC: Slavs and Tatars are curating this year's Marker
and it's certainly the most ambitious to date: there are
five organisations involved in the main Marker section,
another two contributing works, plus a new series of
artists' books published by One-Star Books, plus an
education programme supported by Caspian Arts
Foundation. Through Marker, we tend to focus on
regions or themes that are under-represented on the
international stage, yet have close links (through
history, trade, religion, sensibility) with the Gulf and
Dubai. These two regions are vast, of course, but we
were particularly looking for dynamic organisations that
work with really interesting artists, and have tried to
present something very fresh. In this way, Marker
epitomizes the role of Art Dubai as a 'fair of discovery'.
One particular aim is to create a kind of 'stickiness'
going forward. We have maintained and grown links
with Indonesia % in fact, Gulf countries were the focus of
the last Jogja Biennial % and our links with West Africa
grow all the time. We're hoping for the same long-term
impact with Central Asia and the Caucasus as well.
Art Dubai
19 - 22 March 2014
Location:
Madinat Jumeirah
Al Sufouh Road, Umm Suqeim
Exit 39 (Interchange 4) from Sheikh Zayed Road
Download the Art Dubai 2014 Fair Highlights
Haupt & Binder
Gerhard Haupt and Pat Binder. Publishers of Universes in Universe Worlds of Art; co-publishers and editors-in-chief of Nafas Art Magazine.
Based in Berlin, Germany.
>> Photos
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Art Dubai, galleristi soddisfatti: buone le vendite di moderno e contemporaneo - Foto - Il Sole 24 ORE
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Glauco Cavaciuti
Direttore: Glauco Cavaciuti
Fondata nel: 2006
Città: Milano
Tutte le gallerie >>
Da THE ART NEWSPAPER - FRIEZE
ART FAIR
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Art Dubai, galleristi soddisfatti: buone le vendite di
moderno e contemporaneo - Foto
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Sede Vico Lungo Pontecorvo 29D, 80135
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Alighiero Boetti
Autodidatta, espone per la prima volta nel
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Thomas Ruff
Dal 1995 a oggi i passaggi in asta sono 923.
Percentuale di venduto ...
IN EVIDENZA
Mps Art Market Value Index
Nata nel 2007 Art Dubai, la fiera dell'arte di Dubai, ha festeggiato quest'anno l'ottava edizione. Costruita
in origine su un modello di riferimento serrato all'interno di una visione domestica dell'arte, per dare
spazio in prima istanza alla produzione artistica del Medio Oriente, Art Dubai ha saputo trovare ad ogni
nuova edizione un punto di contatto con il sistema dell'arte internazionale, senza dimenticare quale era il
punto di partenza. Il direttore Antonia Carver (alla sua quarta edizione) anno dopo anno ha dato spazio puntando su una progettualità parallela, attraverso le conversazioni, con presenze internazionali; alla
produzione di opere d'arte e quest'anno anche al cinema - a un modello aperto al quale guardare con
fiducia, in un'ottica di mercato dell'arte qualitativamente alto.
I collezionisti l'hanno sostenuta. L'interesse per l'arte internazionale ha sempre più spazio, le gallerie
locali, moltissime con sede a Dubai, sembrano non fare più distinzioni così marcate tra produzione locale
e internazionale.
Art Dubai è comunque cresciuta anche grazie a un sistema dell'arte capace di fare autenticamente
Mps Art Market Value Index: Settimana in
ripresa il listino americano S&P 500 (-1,06%),
e bene anche piazza affari, che registra una
decisa salita del FTSE Mib 500 (-1,64%).
http://www.arteconomy24.ilsole24ore.com/art/cultura-tempo-libero/2014-03-22/dubai-galleristi-soddisfatti-buone-184218.php
Page 1 of 3
Art Dubai, galleristi soddisfatti: buone le vendite di moderno e contemporaneo - Foto - Il Sole 24 ORE
sistema. La creazione dell'Art Week basato su progetti condivisi, quest'anno partiva da Doha, in Qatar, la
città sede dei grandi musei, dove sono iniziate le Conversazioni. Sempre in ambito museale, Sharjah, la
città storica degli Emirati Arabi Uniti, a solo 40 minuti da Dubai, attraverso Sharjah Art Foundation
aveva presentato un panel di mostre che vedeva la presenza di autori mediorientali e in prima mondiale
esponeva il lavoro di un artista moderno dell'Asia Centrale, Edward Puterbrot.
Questo mentre i direttori dei cinque musei più grandi al mondo, situati nel distretto culturale di Sadiyaat
Island ad Abu Dhabi fanno le loro scelte e acquistano opere per i futuri musei in fiera.
In questo sistema giovane e dinamico Art Dubai è una pedina importante, capace di catalizzare in un solo
momento, in pochi giorni, l'attenzione di galleristi internazionali, di collezionisti, di art dealer, di direttori
di musei – non va dimenticato che numerosi musei occidentali, soprattutto in Inghilterra e negli Usa,
godono di un ampio sostegno finanziario del mondo arabo.
La novità in questa edizione 2014 di Art Dubai è stata nella scelta programmatica. Antonia Carver ha
voluto scindere, per la prima volta, il settore moderno da quello contemporaneo, con la costruzione di
una sezione dedicata completamente all'arte Moderna del Medio Oriente e dell'Asia meridionale,
segmento storico artistico, come fa notare Carver, del quale non c'è sufficiente consapevolezza nel
panorama internazionale.
La sezione Moderna era costruita come una curatissima rassegna collettiva: 11 le gallerie presenti.
Tra queste, Aicon Gallery (New York e Londra) che ha presentato una selezione di lavori di grandi
dimensioni del maestro indiano Maqbool Fida Husein (1915-2011) e dell'artista pachistano Syed
Sadequian (1930-87).
I due "Untitled" di Sadequan, datati entrambe 1966, avevano un prezzo di base di oltre 200mila $. Due
anche le tele di M.F. Husein: "Pandharpur", paesaggio modernista, omaggio al suo villaggio natale.
La seconda tela del 1957 era una riflessione sull'indipendenza dell'India e la conseguente divisione del
subcontinente indiano nelle regioni del Pakistan, India e Bangladesh. Il quadro, intensissimo, giocato su
una base cromatica scura, rappresentava tre uomini con le mani sulle spalle uno dell'altro in segno di
amicizia. Il range di prezzo andava dai 150 ai 300mila $.
La galleria Elmarsa, con sede a Tunisi e Dubai proponeva uno stand monografico dedicato a una delle
artiste più note del Nord Africa: Baya (1930-98). Algerina di nascita, orfana, Baya fu adottata da una
famiglia francese che toccata dal suo naturale talento la incoraggiò a dipingere. Le sue opere colpirono
molto l'art dealer Aimé Maeght in visita ad Algeri. Matisse la portò a Parigi. Espose alla Galerie Maeght.
Nella capitale francese iniziò la sua vita d'artista: divenne musa e amica dei pittori d'avanguardia. Attratti
in molti, dalla sua pittura dal tratto semplice, per lei tradizionale, per loro in dialogo con l'avanguardia. Il
gallerista ha venduto già il giorno della pre-apertura della fiera (18 marzo) quattro suoi lavori dell'artista
con prezzo riservato.
Di rilievo la presenza di Jhaveri Contemporary , galleria di Mumbai che ha avuto il grande merito di
introdurre l'arte indiana in Inghilterra, co-producendo una serie di mostre, tra cui la prima in UK di Anish
Kapoor. A Dubai Jhaveri Contemporary presentava il lavoro di Anwar Jalal Shemza (1928-85) autore
pachistano già nella collezione della Tate a Londra. I prezzi, riservati. Diverse le opere cedute all'apertura
della fiera. La galleria Janine Rubeiz fondata nel 1992 a Beirut, che da anni promuove la progettualità
degli artisti libanesi, ha proposto uno stand totalmente dedicato alle opere di Huguette El Khoury
Calande (1931). Diversa la scansione delle opere, sia astratte che figurative, appartenenti a diversi periodi
della carriera dell'artista. Figura emblematica, figlia del primo ministro del Libano indipendente, Hugette
Calande giovanissima aprì un dialogo con diverse realtà sociali del suo paese. Uno dei suoi progetti più
noti è certamente quello, legato alla manifattura tessile, con un gruppo di donne libanesi.
I collezionisti hanno mostrato di apprezzare la sezione Moderna e le vendite non si sono fatte attendere,
ma l'interesse per il Moderno Medio Orientale e dell'Asia meridionale, a detta di tutti i galleristi, era
soprattutto quello dei direttori e dei curatori dei musei internazionali.
Gli acquisti non sono mancati. Albareh Gallery galleria del Barhein che rappresenta solo artisti del
Barhein, ha ceduto quattro pezzi di Nasser Al Yousif (1940-2006) per una somma di 30mila $. Lawrie
Shabibi con uno stand dedicato al lavoro di Nabil Nahas (1949) ha venduto due disegni a un collezionista
privato e alcune opere a un'istituzione pubblica inglese. Prezzo riservato.
Grosnove Gallery ha venduto un lavoro dell'artista Rashid Araeen (1935) per 60mila $, mentre Agial
Gallery ha venduto una scultura datata 1952 opera di Michel Basbous (1921) per un prezzo prossimo ai
30mila $ a un collezionista degli Emirati Arabi.
La sezione Contemporanea ha raccolto il successo di sempre. Di pubblico e di vendite.
Tra le gallerie italiane, Franco Noero, per la prima volta ad Art Dubai, si è detto soddisfatto per
l'interesse dei collezionisti. L'installazione di Lara Favaretto è stato uno dei lavori più fotografati e
pubblicati della fiera. Stand sempre pieno da Galleria Continua che presentava e ha anche venduto le
opere di Serse, Michelangelo Pistoletto e Mona Hatoum.
Laura Bulian, per la terza volta ad Art Dubai, presentava una selezione di artisti dell'Asia Centrale ed ha
confermato il forte interesse per questo segmento da parte di fondazioni locali e turche. Quest'anno, la
sezione tematica Marker aveva come focus, proprio l'arte dei paesi dell'Asia Centrale e Caucasici.
Chantal Crousel ha venduto, tra gli altri, due lavori, rispettivamente di Allove Callowlily (35mila $) e di
Haegue Young (120mila $), giovane artista coreana già presente con una partecipazione alla Biennale di
Venezia e una al New Museum di New York.
La galleria di Brussel Greta Meert ha venduto un "Untitled" di Edith Dekyndt (le sue opere sono parte
della collezione del MoMA di New York) per 32mila $. Natalie Obadia ha riproposto, dopo il successo
ottenuto lo scorso anno, le opere di Joanna Vasconcelos. "Candy Garden", questo il titolo dell'opera è
andata a un collezionista europeo, per la cifra di 97mila $.
Pi ArtWork spazio con doppia sede, Istanbul e Londra, presentava uno stand monografico dedicato
all'artista egiziana Susan Hefuna. Vendute due opere della serie ‘mashrabya' a un collezionista di New
York. Il prezzo era prossimo ai 75mila $. Susan Hefuna era contemporaneamente al museo di Sharjah
4/23/14 12:08 PM
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Page 2 of 3
Art Dubai, galleristi soddisfatti: buone le vendite di moderno e contemporaneo - Foto - Il Sole 24 ORE
4/23/14 12:08 PM
con una personale.
La storica galleria parigina Jaeger Bucher, per la seconda volta ad Art Dubai ha venduto alcune opere di
Fabienne Verdier, artista alla quale la fiera di Hong Kong ha commissionato un lavoro. Range di prezzi
dai 30mila ai 150mila ! per le grandi tele.
La galleria di Vienna Krinziger ha venduto una tela "Untitled" (27.000 $) di Secundino Hernandez,
autore nella collezione dei Rubell di Miami.
Leila Heller ha ceduto con successo le opere dell'artista iraniana Haideh Shafie. La grande psichedelica
"Transition" è andata a un collezionista europeo per 58mila $, l'installazione "Spike6" è stata acquistata
da un collezionista locale per 55mila $ e "Transition 3" per 28mila $ sempre da un collezionista locale.
La galleria Yavuz Fine Art, di Singapore, per la prima volta ad Art Dubai, si è presentata con un
ambizioso progetto site specfic in uno stand monografico dedicato alla città di Dubai, realizzato
dall'artista tailandese (ma residente a Chiang Mai, in Giappone) Navin Rawanchaikul.
Rawanchaikul ha ricostruito una parte della storia moderna di Dubai attraverso i racconti delle persone
che vi vivono, soprattutto i migranti. Con "Postcards from Dubai", questo il titolo del lavoro,
Rawanchaikul ha proposto ancora una volta riflessione sull'identità, un lavoro come ci ha fatto notare
l'artista stesso sviluppato in cinque mesi di permanenza nella città degli emirati. Un progetto più museale
che da fiera, che non è stato di fatto colto nella sua essenza dai collezionisti, ma che ha, invece, suscitato
molto interesse da parte delle fondazioni locali.
Gli sponsor come sempre sono stati Abraaj Capital e Cartier. Per la sezione Moderna, invece, Mashreq
Private Banking.
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Page 3 of 3
As Art Dubai winds down for another year, we select the top 10 of this year’s event | The National
4/24/14 4:54 PM
As Art Dubai winds down for another year, we select the top 10 of this
year’s event
March 22, 2014
Year on year the numbers of !visitors, industry attendees and galleries at Art Dubai grow. It is !testament to the
success of the event and an indication that the community as a whole enjoys and demands a thriving art
landscape in the UAE.
But, by many accounts, Art Dubai, which closed its eighth edition yesterday, is still a boutique fair with much
fewer galleries than some of its international rivals. As such, it maintains a familiar, almost homely atmosphere
for many and gives an annual opportunity for art enthusiasts from all corners of the globe to catch up and swap
notes.
Here is our pick of the fair’s best bits.
1 Najat Makki’s Coin Museum
As part of the non-profit section, 12 artists produced a commissioned work to sit within the grounds of the fair.
One of the strongest was Najat Makki’s small booth made to resemble a mini coin museum. Her wonderfully
rich, dreamlike paintings hung on the wall and in the centre was a display cabinet filled with coins that she has
collected throughout her career. Makki studied metal coins to doctorate level at the Faculty of Arts in Cairo and
her paintings featured circular forms and her trademark female figures. Makki is one of the UAE’s greatest
artists and it was a real pleasure to see such a focus on her work.
2 Mona Hatoum’s Hair Necklace
The original Hair Necklace, made from the artist’s real hair in 1995, is part of the Centre Pompidou’s
permanent collection in Paris. So to see the second edition, which was commissioned last year by
Galerie Chantal Crousel at a commercial art fair, was a pleasant surprise. It is truly a museum-quality
piece and was, naturally, snapped up by a private collector from the French gallery for a figure ranging
between !120,000-150,000 (Dh608,000-760,000).
3 Silent Fortune Telling In a continuing international project, the artist Annabel Daou explored notions
of power, fascination and simultaneous fear of knowledge about the future, cynicism and belief, in an
interactive installation called Fortune. Everyday, Daou invited fair visitors to sit with open palms for a
silent palm reading. In a “line for a line” exchange, she wrote to the participant telling them where they
were coming from and where they were going. Linked to her artwork that showed in Tanja Wagner
gallery’s booth, Daou is interested in attempts to crystallise the intangible in words.
4 Baya
The story of this late Algerian painter would touch even the hardest heart. She lost her parents when she was 8
and was raised by her grandparents on a farm. She was later adopted and moved to Algiers, where her entirely
self-taught talent was spotted and eventually took her to Paris. There she met Picasso, who envied her for
being able to paint in a childlike fashion with such adherence to form. She was considered a master by the age
of 17. Baya is sometimes referred to as the Frida Kahlo of the Arab world. Her work is in all major institutions
but rarely exhibited in the region. The Tunisian gallery El Marsa held a solo show of her work in Art Dubai’s
new modern section and it was welcomed with appreciation.
5 Maitha Demithan’s live portraiture
Another artist from the Projects, or non-profit programme, the Emirati Maitha Demithan spent nearly all of the
fair in a small black booth in between the two contemporary gallery halls, inviting visitors to have their faces,
arms or hands scanned. The end result was this spectacular composite portrait showing the many different
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As Art Dubai winds down for another year, we select the top 10 of this year’s event | The National
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faces that passed through the fair.
6 Art meets literature
One of the things that made the exhibition by the winners of the Abraaj Group Art Prize stand out – other than
the five different but interesting projects – was a bank of iPads installed for public viewing and containing
abstract writings and poems by five authors invited to respond to the five artists’ work (even though it wasn’t yet
produced when they started the project). The idea was experimental and the results were really interesting.
7 Gallery Kashya Hildebrand
The juxtaposition of two female artists in this curated booth created a really powerful message. Lalla Essaydi
and Simeen Farhat both work with calligraphy to redress the position of the female in male-dominated Arab
and Pakistani societies – and the gallery placed them together to open a dialogue about repression and
Orientalism. Essaydi’s work is particularly powerful as the great measures she takes to put together her
photographs – covering her models in henna or constructing a bed of real bullets – show her dedication to her
work. “Women all over the world all have a similar response to feminism, alienation, isolation – so I think
everyone can relate to it,” says Hildebrand.
8 Experimenter
One of the most daring booths was Experimenter Gallery from Kolkata. The gallery, which is only five years old
and in its fourth year at the fair, decided to go with a solo show from the emerging artist Hajra Waheed. A
Montreal-based artist who grew up in Saudi Arabia, Waheed has imagined nine fictional characters who are
searching for something but get lost along the way. The black-walled booth was filled with the observations of
the fictional journey of just one of these characters, including notes, sketches, photographs and a stop-frame
storyboard for a film. In an environment where most galleries choose their star pieces and aim to boost sales,
this choice shows guts – and we think it paid off.
9 Musical drawing
In the Sheikha Manal Little Artists Program, the guest artist Dylan Martorell was doing children’s workshops in
musical drawing. He placed aluminium and copper tape on the floor and electric wires attached to the paper
with crocodile clips. Through the connection of the graphite from the pencil and with the human touch to
complete the electric circuit, the kids were able to create music as they drew.
10 Communes, IE & ET Organism by Tiffany Chung
This beautiful image was one of my personal favourites. Chung is a Vietnamese artist who won a prize at last
year’s Sharjah Biennial and whose work is widely appreciated in this region. She uses felt pen on vellum, a
material like tracing paper, to map out patterns that resemble urbanisation but at the same time look like
microorganisms, which gives a different perspective on the sociopolitical structure of cities.
aseaman@thenational.ae
Related
! Emirati artist’s love of UAE royals led her to create almost 1,000 portraits
! Silent Fortune Telling: Art or transaction?
! Moving Image Museum celebrates comic book comp entrants
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Slavs and Tatars, l'art des antipodes
LE MONDE | 26.03.2014 à 08h39 • Mis à jour le 27.03.2014 à 09h36 |
Par Roxana Azimi
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On ne vous dévoilera pas leurs noms qu'ils préfèrent taire, juste leurs prénoms,
Payam et Kasia, même s'il suffit de surfer sur Internet pour les identifier. La
première est une ancienne graphiste élevée dans la banlieue de Lodz (Pologne),
plutôt discrète. Le second, enfant de la diaspora iranienne au Texas, est un
polyglotte rompu aux recherches stratégiques. L'une pense en images, l'autre en
mots. Ils parlent d'une seule voix, celle de Payam. Tous deux ont formé en 2006 le
collectif Slavs and Tatars.
Récemment, ils ont signé un contrat leur interdisant de travailler en solo dans le
champ de l'art. Ce n'est pas par coquetterie qu'ils briguent un semblant d'anonymat.
Ils craignent juste que leur biographie éclipse leur propos, articulé en trois «
chantiers » : la complexité linguistique et son corollaire, la translittération ; les
rapports entre la Pologne et l'Iran ; la question du syncrétisme. Leur modus
operandi ? Relier des territoires a priori aux antipodes, sortir de la nappe phréatique
de l'Histoire des collisions ou des similitudes, voire des exemplarités. « Qu'est-ce que
la lutte des Polonais contre le communisme peut apprendre aux Iraniens dans leur
propre combat contre l'islam ? », s'interroge Payam.
D'autres enseignements découlent de leur enquête sur le Caucase et l'Asie centrale,
deux aires aux différences criantes bien qu'anciennement soviétiques, que le collectif
rassemblait dans la section Marker de la foire Art Dubaï, qui s'est achevée le 22
mars.
« Si on veut contrer la bêtise qui prétend que l'islam a un problème avec la
modernité, qu'il est en conflit avec l'Occident, il faut se consacrer à une région qui a
été l'exception à la règle », indique Payam. Car, en Asie centrale, l'islam a longtemps
résisté au fondamentalisme malgré tous les ingrédients pour l'attiser : la pauvreté et
le gaspillage des ressources. Sans doute parce que, jusqu'à il y a peu, la religion y
relevait plus du rituel, du mode de vie que de l'idéologie. « On veut montrer à quel
point le pluralisme de ces régions peut faire sens pour le monde musulman »,
insiste Payam.
PRODUCTION À TIROIRS
Les recherches de Slavs and Tatars se sont résumées les premières années à l'édition
de livres et de pamphlets. Avec la Biennale de Sharjah, l'un des plus conservateurs
des Emirats arabes unis, ils passent en 2011 à une étape supérieure : la mise en
espace de leur projet Polish Shi'ite Show-biz. Leur pavillon se trouve alors coincé
entre une mosquée chiite et l'installation de Mustapha Benfodil, censurée dès le
vernissage. Comment ont-ils échappé au couperet ? « On livrait une critique
camouflée dans l'humour et l'hospitalité », répond Payam.
Leur production à tiroirs requiert un effort de décryptage, même si elle glisse parfois
vers la galéjade et les facilités pop. « L'art sérieux devrait avoir une apparence
sérieuse ? C'est ridicule, réplique Payam. On vient de pays où la critique prend la
forme de la satire. C'est le défi pour nous : faire de l'art qui ne ressemble pas à de
l'art. On vit à une époque où il y a trop d'art. »
Trop de succès aussi. Car le duo enchaîne conférences et expositions à un rythme
effréné. Payam l'admet : « Au moment où les gens commencent à comprendre ce
qu'on fait, il faut faire autre chose. » Des « choses » comme une cellule de recherche
dans une université, ou un bar à torchi, ces légumes en saumure typiquement
iraniens. Deux espaces de réflexion et de convivialité. Car, pour Slavs and Tatars,
l'une ne va pas sans l'autre.
Roxana Azimi Journaliste au Monde!
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Le Caucase séduit les chercheurs d’art
LE MONDE ARGENT | 31.03.2014 à 19h24 • Mis à jour le 02.04.2014 à
09h05 |
Par Roxana Azimi
Réagir | Classer | Partager facebook twitter google + linkedin pinterest
Les sourciers du monde de l’art arpentent toujours de nouveaux territoires en quête
de surprises artistiques. Après la Chine et le Moyen-Orient, leurs regards se
braquent désormais sur le Caucase et l’Asie centrale. En 2012, Christie’s avait
organisé une exposition à Bakou, en Azerbaidjan, et Sotheby’s a orchestré à
Londres, en mars 2013, une vente consacrée à ces territoires.
CONTRASTES
L’idée ? Ferrer les nouveaux oligarques de ces pays riches en pétrodollars et faire
émerger des scènes méconnues. En janvier, Art Stage Singapore a consacré une
plate-forme à l’Asie centrale. En mars, c’était au tour de la Foire Art Dubai de mettre
en vedette cette vaste région aux disparités saisissantes. « Il y a des différences
géographiques, mais aussi générationnelles, entre les artistes qui ont vécu l’ère
soviétique et ceux qui ont vécu la transition et sont en quête d’identité », indique la
galeriste italienne Laura Bulian, qui s’intéresse depuis six ans à cette aire
géographique.
Au sein même du Caucase, les contrastes sont saisissants. Au Daghestan, si la
situation politique et religieuse est des plus crispées, certains artistes font de la
résistance comme Taus Makhacheva, dont les vidéos rudes et désenchantées sont
proposées pour 5 000 euros par Laura Bulian.
Autre scénario en Géorgie : « Les Géorgiens ont vécu le modernisme presque en
même temps que les Russes. A la fin du XIXe siècle, comme Berlin aujourd’hui,
Tbilissi était plus intéressante que Saint-Pétersbourg ou Moscou », indique le
collectif d’artistes Slavs and Tatars, qui a assuré le commissariat de la section Asie
centrale et Caucase pour la foire Art Dubai.
De fait, certains artistes géorgiens qui ont migré à l’étranger sont extrêmement
connus, comme Andro Wekua, représenté par la puissante Barbara Gladstone, ou
Thea Djordjadze, qui figure dans l’écurie de la galerie Sprüth Magers. Pour ceux
restés en Géorgie, la situation est moins rose.
PÉPITES
Ainsi, l’artiste Karlo Kacharava, qui fut aussi un critique d’art influent dans les
années 1980, reste méconnu hors des frontières. Lors d’Art Dubai, ses dessins
étaient proposés entre 8 000 dollars et 15 000 dollars par Irena Popiashvili, qui a
ouvert le centre d’art Window Project à Tbilissi. « Nous sommes dans une société
bourgeoise, où les gens achètent des marques de luxe, confie cette dernière. Ce n’est
qu’après qu’ils vont se mettre à acheter de l’art. Pour l’instant, ils sont prudents et
conservateurs. »
Pourtant, l’un des plus gros acheteurs internationaux est géorgien. Le politicien
Bidzina Ivanishvili a défrayé la chronique en 2006 en achetantDora Maar au
chat, de Picasso, pour 95 millions de dollars. Mais ce collectionneur d’art
contemporain – il possède des œuvres de Peter Doig, Damien Hirst ou Jeff Koons –
n’est pas un fervent défenseur de la scène locale.
Le Kirghizistan, que beaucoup peinent à situer sur une carte, recèle pourtant de
vraies pépites artistiques. Notamment celles du duo Gulnara Kasmalieva et
Muratbek Djumaliev, dont les vidéos abordent avec subtilité les problèmes de leur
pays. Pour leur vidéo Spring, ils ont invité l’Orchestre philharmonique de Bichkek à
jouer près d’une grande décharge où vit une communauté de migrants.
« Depuis quelques années, la censure s’est accrue, l’islam s’est raidi. On voit des
restrictions sur le plan de la religion ou de la sexualité, mais le Kirghizistan reste
malgré tout plus libre que l’Ouzbékistan ou le Turkménistan », confie Muratbek
Djumaliev, qui, avec son épouse, a créé le centre d’art ArtEast, situé à Bichkek au
Kirghizistan. Malgré la maturité de leur travail, leurs prix restent raisonnables :
autour de 7 000 euros pour une vidéo. Une réelle opportunité.
Roxana Azimi Journaliste au Monde!
Art Dubai Spotlights Work From the Caucasus and Central Asia | BLOUIN ARTINFO
4/23/14 3:21 PM
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ART DUBAI 2014
VISUAL ART / FAIRS / ANNA KATS
Art Dubai Spotlights Work From the
Caucasus and Central Asia
by Anna Kats 31/03/14 4:31 PM EDT
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A still from Orkhan Huseynov's video "Dancing With No Sound," 2011.
(Courtesy Yarat )
The Marker section of Art Dubai, the fair’s curated, noncommercial program of booths devoted to showcasing the art
scene of a locale with cultural ties to the Middle East, began in
2012 with an Indonesian focus, expanding to a regional program
by highlighting West African art in 2013. This year’s Marker cast
an even wider net, examining the art scenes of both the Caucasus
and Central Asia under the curatorial direction of artist collective
Slavs and Tatars. The group’s own artistic practice interprets
the vast geography between the former Berlin Wall and the Great
Wall of China, where the rule of Russian, Persian, Mongol,
Ottoman, and, most recently, Soviet empires during the past
millennium produced a huge diversity of nations, languages, and
Evgeniy Boikov's "Prince Charles of
religions. At Marker, the group expanded upon its own work in
Wales," 1997. Courtesy of ArtEas
these realms of inquiry to display contemporary art from
Transcaucasia and Central Asia. Their goal: to introduce fair visitors to the visual cultures of the
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Page 1 of 3
Art Dubai Spotlights Work From the Caucasus and Central Asia | BLOUIN ARTINFO
4/23/14 3:21 PM
relatively unknown lands that lie south of Russia, north of Iran, and west of China.
Slavs and Tatars’ curatorial debut was also a project of geopolitical reorientation — an effort to
present the Caucasus and Central Asia beyond the post-Soviet sphere of reference that typically
colors discussion of the regions. As part of their emphasis on the regions’ longstanding ties to
Islamic civilization, the artists created a Eurasian chaikhaneh tea salon at Marker’s entrance,
where visitors drank, discussed, and perused books about art from the Caucasus and Central
Asia. Beyond the foyer, five art spaces from across both regions exhibited alongside Art Dubai’s
Contemporary booths: the Popiashvili Gvaberidze Window Project, a commercial gallery from
Tbilisi, Georgia; the North Caucasus branch of the National Centre for Contemporary Art
(NCCA), a state institution devoted to promoting contemporary art in Vladikavkaz, Russia; Yarat
Contemporary Art Organization, a nongovernmental arts organization from Baku, Azerbaijan;
Asia Art +, a public art foundation in Almaty, Kazakhstan that also operates Astral Nomads, an
online archive of regional art; and ArtEast, an artist-run art and film school in Bishkek,
Kyrgyzstan.
“If this region is so remote from much of the art
world, then the best thing you can do is to go
with the lowest-hanging fruit, with the basic
things. We decided just to look at
representation itself,” explained a member of
the collective who wished to remain
anonymous, per the group’s policy for
individuals giving interviews. Thus, Slavs and
Tatars established a “regime of portraiture,” as
they see it, eschewing the hallmark conceptual
flourishes of their own art to help regional
artists represent themselves and their
contemporary art scenes. Portraiture and
representation also figured prominently among the artwork displayed on Marker’s walls — the
curators’ efforts to represent the region gave way to artist projects rendering the distinct
surroundings and identities of the Caucasus and Central Asia.
Portraiture facilitates Taus Makhacheva’s inquiry into topography and national identity in her
native Daghestan, a region in the North Caucasus along the Russian-Georgian border famed for
its mountains and multiculturalism. Her 2013 piece “Landscape,” a series of wooden noses
arranged along a straight line, invokes both the region’s physical and linguistic features (it
appears in the NCCA booth). Carved in the shape of her relatives’ noses, the objects resemble a
mountain range when placed one next to the other — wryly playing with both Russian
stereotypes about Daghestani physiognomy and with her native Avar language, in which the
words for “nose” and “mountain” are the same. Even while the arrangement of noses celebrates
regional characteristics, the comical absurdity of the disjointed noses suggests, too, the
deteriorating fabric of traditional Avar identity. The latter subject is addressed in Makhacheva’s
2010 video “Bullet,” also displayed in the NCCA booth.
Video art, though a relatively new discipline in the Caucasus and Central Asia, proved one of the
most fruitful mediums for interrogating national and regional identities at Marker. Take, for
example, the work of Azerbaijani artist Orkhan Huseynov, whose video “Dancing With No
Sound” was on view as part of Yarat’s presentation. Huseynov depicts middle-aged adults
dancing against a green screen — a color associated with the absence of scenery, much as it
symbolizes Islam in the region. The actors, clad in formal attire appropriate for a wedding or
other social functions where guests typically perform folk dances, raise their arms and flick their
wrists with a gait common across the Caucasus. In the absence of the festive music that usually
accompanies such dancing, the actors’ movements become mere gestures. Their significance
would be altogether lost in the void of context, were it not for title cards announcing the name of
each dance. Huseynov underscores the fissure between ritual and identity — a quality
reinterpreted throughout Yarat's booth — to mesmerizing results.
Despite the apparent interest among regional artists in new mediums, Marker’s booths also
included numerous pieces that reference the region’s longstanding craft traditions. Giorgi
http://www.blouinartinfo.com/news/story/1021263/art-dubai-spotlights-work-from-the-caucasus-and-central-asia
Page 2 of 3
Art Dubai Spotlights Work From the Caucasus and Central Asia | BLOUIN ARTINFO
4/23/14 3:21 PM
Khaniashvili’s sculptures at the Popiashvili Gvaberidze Window Project booth, for example,
which represent Georgia through a synthesis of contemporary themes and local handicraft.
Khaniashvili trained as a woodcarver; his previous work carving Georgian Orthodox icons and
crosses informs his 2011 woodcut “The Smell of S**t.” A portrait of an anonymous man pinching
his nose, the piece critiques the Georgian Orthodox Church by adopting the flattened, geometric
features typically used to depict saints. Khaniashvili’s 2010 “Venus,” a wood figurine with an
androgynous body and a head painted in the style of a female Byzantine saint, criticizes the
Georgian Orthodox Church’s opposition to the country’s LGBTQ community. Khaniashvili’s
social critique emerges from the stark contrast between craft and subject matter in his work,
pitting traditional values against contemporary culture in Georgia. The work’s Christian motifs
also serve as a reminder of the religious and cultural diversity present throughout the Caucasus;
positioning all of Central Asia and the Caucasus relative to the Middle East and Islamic
civilization emphasizes these disparities.
Throughout the fair, the two regions and their art scenes proved so varied as to qualify for
separate iterations of Marker. But as curatorial debuts go, Slavs and Tatars’ Marker was
undoubtedly impressive, and what’s more, a highlight of Art Dubai 2014. The artworks on view
introduced aesthetically innovative and critically insightful art scenes, which will continue to rise
in prominence as institutions mature and artists expand their engagement with the commercial
art world. Even now, Sotheby’s is hosting a sale of art from Central Asia and the Caucasus
through April 1 in London — proof, like Marker, that the most interesting contemporary art is
being bought and sold, but not necessarily made, in the cultural capitals of the West.
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Art Dubai Eyes Cultural Growth Amid Dubai’s Commercial Upswing - Middle East Real Time - WSJ
4/23/14 4:20 PM
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Some of the work on display from the Caucasus and Central Asia at Art Dubai. — Asa Fitch for The Wall Street
Journal
Along one edge of the main exhibition space at this year’s Art Dubai art fair is a smattering
of galleries from Central Asia and the Caucasus – places like Georgia, Azerbaijan and
Kyrgyzstan. They’re here as part of an annual “Marker” section that covers a theme or
region the organizers want to spotlight, but they also represent one way in which the fair is
trying to broaden its geographical reach in line with Dubai’s expansion as a commercial
hub.
As Dubai has grown – its airlines now fly to 239 destinations and its ports handled 13.6
million standard shipping containers last year – people in the business of culture also see
it increasingly as a go-to meeting point between Africa, Asia and other parts of the Middle
East. While many artists and galleries are wary of local censorship and the treatment of
foreign workers on big museum projects in the region, the emirate’s geographical
centrality, ease of access, relative political stability and cultural ties to other parts of the
Muslim world have made it an obvious destination.
“It’s safe to say that if this invitation to curate work from this region had come from
anywhere else other than Dubai we probably wouldn’t have agreed,” said Payam Sharifi,
who co-founded an art collective that brought the Marker galleries to Dubai. “I think it’s
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Art Dubai Eyes Cultural Growth Amid Dubai’s Commercial Upswing - Middle East Real Time - WSJ
very important to situate the context of the Caucasus and Central Asia vis-a-vis the
Muslim world and the Middle East.”
Successful fairs should take on the character of their host cities, which for Dubai means
embracing its cosmopolitanism and bringing in art from parts of the world that aren’t
necessarily well-represented on the global circuit, said Antonia Carver, Art Dubai’s
director. Dubai’s trading spirit is increasingly entering the cultural sphere, she said, making
the city a point of exchange for ideas, not just goods.
“It’s also something that’s very strategic on our part, because we know this is what makes
the fair part attractive for museum directors and collectors and curators,” she said. “They
see this as the one point in the year they can really connect with art scenes they don’t see
anywhere else.”
Whether Dubai or other Gulf cities can compete on a cultural level with the established
hubs of the Middle East is a more controversial question. When the Emirati commentator
Sultan Al Qassemi suggested last year that the Gulf was surpassing Cairo, Beirut and
other traditional centers, it provoked a heated debate over whether energy-rich countries
spending billions of dollars on new museums and art collections was an adequate
substitute for endemic cultural development.
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A recent outcry over regional labor practices poses another risk for the Gulf’s growth as a
center for art. Abu Dhabi is building Louvre and Guggenheim museums as part of a
massive cultural playground on an island near its city center, but artists’ groups have
protested the projects because of the involvement of thousands of low-wage migrant
construction workers who don’t have the right to form unions and often have their
passports confiscated by their employers, restricting their freedom of movement. Those
protests could be especially galling for Abu Dhabi because of the involvement of
contemporary Arab artists the museums likely want to court and exhibit.
Mr. Sharifi said the labor issues were a big concern not just for artists but for people in
general. Still, he said, there’s no better place to meet and exchange ideas right now than
Dubai.
“We can’t meet anywhere else in the Middle East other than Dubai,” he said. “That’s sad.
That so-called weakness of Dubai – people criticize it for being neutral and aseptic, like
Switzerland – actually in this moment it’s very urgent and necessary. That’s why this fair is
so important.”
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http://blogs.wsj.com/middleeast/2014/03/19/art-dubai-eyes-cultural-growth-amid-dubais-commercial-upswing/
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43. ()*)+"%),"#)- ./)&0), 28 12&/)3- 2014 / www.kazpravda.kz
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