Tickets for World Art Dubai are available on Platinumlist: https://shorturl.at/ekqI8

Dubai, UAE, 26 April 2024: World Art Dubai (WAD), the largest contemporary art fair in the region, is poised to celebrate its 10th edition. This year WAD will unveil 12 international pavilions dedicated to showcasing the vibrant artistic diversity from different countries and regions. From 2^nd to 5^th May 2024, art enthusiasts will have the opportunity to explore artworks from different pavilions. Namely, the UAE, America, Asia, China, Europe, GCC, India, Iran, Japan, Russia, and the UK, highlighting the universal language of art that transcends borders.

The fair, held at Dubai World Trade Centre in partnership with Dubai Culture, will feature over 4,000 artworks from over 65 countries. It will be presenting a dynamic snapshot of Dubai’s unique blend of local and international influences. The fair will be reinforcing the city’s position as an arts powerhouse for the Global South, elevating the global positioning of WAD

As a matter of fact, the international pavilions also stand as cultural gateways. Each offers a unique window into the country or region’s artistic heritage and contemporary creativity. From the traditional to the avant-garde, these pavilions curate a rich tapestry of artistic expressions. They underscore the universal language of art that unites us all. Each pavilion is a testament to the global nature of World Art Dubai and its commitment to fostering cultural exchange and appreciation. Moreover, it is adding positive economic impact to a city where 9% of the GDP comes from tourism.

World Art Dubai’s landmark 10^th edition will showcase a diverse array of pavilions and artists from around the world.

UAE and GCC Pavilion Highlights

The UAE and GCC Pavilions will spotlight both the talent of residents who call Dubai home and talented citizens. Undoubtedly, this demonstrates how the two populations exist and interact through their creative drives. These artists include Daria Avdeeva, Javeria Khan, and Francine Kaspar. They present their vibrant artworks, harmoniously blending classical techniques with contemporary interpretations, reflecting the UAE’s multicultural identity. Additionally, Hend Rashed, a Dubai-based abstract artist, will present her dynamic creations. Distinctly, with a repertoire spanning seven years at prestigious exhibitions worldwide, including in Singapore, Oman, and Italy, Rashed’s artistry has garnered recognition. She has earned nominations for the UAE Residence Artist Award by World Art Dubai for three consecutive years.

Bahraini artist Leena Al Ayoobi, Iraqi artist Nabil Ali, and Lebanese artist Lydia Moawad will showcase their unique artistic visions. They blend cultural influences and personal experiences to create compelling artworks. Specifically, their pieces demonstrate the wide variety of styles and cultural influences in Middle Eastern art.

Representing Diverse Global Regions

The pavilions of World Art Dubai feature artistic fusion among cultures, continents, and art schools that converge in Dubai from diverse global regions. The Europe Pavilion is curated by Tablinum Cultural Management. It presents innovative contemporary art, with artists like Tatiana Kramarenko, Follow Med, and Petr Shebarshin exploring themes of chaos, spirituality, and life’s profundity. China’s presence, facilitated by Artaflo Collective from Hong Kong, reflects the belief in art as a universal language. India’s offering showcases the dynamic art scene. This includes Sanuj Birla’s pop art, Raihan R Vadra’s immersive installations, and Niyati Parekh’s art and interior design.

Japan Promotion’s ‘Japan Tide’ project presents a curated blend of traditional and contemporary Japanese arts. The Russia Pavilion, featuring Igor Kirillov and IMMI Art, offers immersive experiences in romantic hyperrealism. Iran’s pavilion, represented by Ronas Gallery and Negara Group, highlights the vibrant contemporary art scene. In addition, insights from America, Asia, and the UK are incorporated, including contributions from the Museum of Modern Renaissance, Art Muse Gallery, and Lenny Lopes, respectively. These offerings provide fresh perspectives and innovative approaches to art.

Asma Al Sharif, Assistant Vice President at Exhibitions, Dubai World Trade Centre remarked about the fair. She said, “World Art Dubai’s 10th edition underscores our commitment to making art accessible and celebrating the diversity of the global art scene. The 12 international pavilions serve as portals, inviting visitors to immerse themselves in a vibrant mosaic of artistic expressions and explore a rich tapestry from around the world.”

Spotlight on Legacy and Innovative Artists

Notably, legacy exhibitors include Japan Promotion and Art Plus Photographers Production who have been loyal exhibitors at the fair for the past eight years. This signifies their longstanding commitment to World Art Dubai. Alongside them, new artists like Rinko Lim and Liz Ramos-Prado bring fresh perspectives to the Dubai art scene.

Rinko Lim uniquely blends art, design, and energy therapy. She harnesses her experiences from the United States to delve into themes of self-discovery and spiritual wellness. Meanwhile, Liz Ramos-Prado seamlessly merges graphic design with fine art, bridging the gap between commercial and personal artistic expressions. With a decade-long career in the UAE’s media and design landscape, Ramos-Prado’s work delves into the intricacies of human emotion.

With Hotel Indigo Dubai Downtown, the first certified boutique hotel in the UAE, proudly serving as the fair’s Art Hotel Partner. Additionally, Al Hathboor Group have joined WAD as Artistic Sponsor. There is an anticipated turnout of over 15,000 visitors at World Art Dubai 2024. The fair promises an immersive cultural journey, celebrating the transformative impact of art and its ability to forge global connections. Secure your tickets for World Art Dubai now on Platinumlist: https://shorturl.at/ekqI8.

For more information, visit www.worldartdubai.com

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One of Nasernia’s distinguishing features is his ability to seamlessly blend traditional Persian influences with contemporary artistic approaches. Drawing inspiration from Persian classical and modern calligraphy, he skillfully incorporates elements of traditional Persian painting and iconography into his artworks. However, Nasernia goes beyond mere replication and instead infuses his creations with abstraction and ambiguity, creating captivating compositions that captivate viewers with their tension and depth. Through his artistic exploration, Nasernia delves into symbolism, aesthetics, and cultural narratives, offering a multi-layered visual experience that stimulates introspection and contemplation. Nasernia’s artistic journey has taken him to various exhibitions, both solo and group, held in prestigious art galleries in Dubai and Tehran, including the highly regarded Seyhoun Art Gallery. Through his regional solo exhibitions, Nasernia has had the opportunity to showcase his distinctive artistic vision and engage with a diverse audience, captivating art enthusiasts with his thought-provoking creations. Additionally, his participation in international group exhibitions has broadened his artistic reach and contributed to the global art scene, allowing him to connect with artists and art enthusiasts from different cultures and backgrounds. An aspect that sets Nasernia apart is his keen interest in exploring the intersection between traditional and contemporary art forms. By merging traditional Persian techniques with modern approaches, he pushes the boundaries of artistic expression, encouraging viewers to contemplate the evolving nature of cultural heritage. Nasernia’s artistic endeavours serve as a personal exploration of his own identity and heritage while also contributing to the ongoing dialogue between tradition and innovation within the art world. Nasernia’s participation in biennales further underscores his significance in the contemporary art landscape. These international platforms provide him with the opportunity to showcase his artistic vision on a global scale, fostering cross-cultural exchange and enriching the artistic discourse. Through his participation in such esteemed events, Nasernia not only elevates the visibility of Persian art but also contributes to the broader narrative of contemporary artistic practices, bridging gaps and fostering a greater understanding and appreciation of cultural diversity.

With his multidisciplinary approach and thoughtful exploration of themes, Sasan Nasernia has firmly established himself as a noteworthy artist within the regional and international art scene. His ability to seamlessly integrate traditional and modern elements in his work, coupled with his participation in numerous exhibitions and biennales, demonstrates his unwavering commitment to artistic innovation and cultural preservation. Nasernia’s artistic journey serves as an inspiration to fellow artists and art enthusiasts alike, encouraging them to embrace the vast potential of artistic expression and to continue exploring the rich tapestry of cultural heritage.

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The collection includes paintings, drawings, sculptures, and multimedia works by artists from various countries in the region, such as Egypt, Iran, Iraq, Lebanon, North Africa, Syria, Saudi Arabia, Turkey, and the UAE, with a range of styles from figurative to abstract to experimental.

The auction will take place at Sotheby’s London on April 25, but 12 highlights from the collection are currently on display at Sotheby’s Dubai until March 3. Zayani has been amassing this collection for the past 20 years.

“Single owner collections of modern and contemporary Middle Eastern arts are very rare,” Alexandra Roy, Sotheby’s head of sale for modern and contemporary Middle Eastern art, told the National. “Al Zayani is buying across the board. You are getting Egyptian, Turkish, Moroccan, Iranian artists. You’re getting modern masters and contemporary work too.”

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Additionally, many international celebrities have recognized her work, as well as publications such as NYU, Airport Road magazine, The Gazelle publication, and Broadway on Demand. Most recently, the biennial Tisch Animation Film Festival in New York chose her stop-motion animation, “The Lockdown,” as its opening film.

Melika, also known online as Melzarts, has been documenting her artwork for more than eight years and publishing it online. During this time, she has worked with a variety of brands. However, when the pandemic left her stranded in New York City for months without any painting supplies, Melika decided to improvise. She decided to experiment realizing that a jar of Nutella that had been left behind by a roommate had a consistency comparable to paint. Before she realized it, she had started a body of work that attracted millions of views per video. Even though she eventually returned home and resumed using oil and acrylic paint in place of chocolate, she still enjoys experimenting and sharing her work online, producing intricate paintings that each tell a story or encourage viewers to reflect on their perceptions.

Her artwork combines minute details with profound thoughts and is frequently colorful. She finds relationships and connections between various things since she is an artist. She frequently prefers to create art by fusing or distorting photos she has shot and piecing them all together to resemble a puzzle. It comes naturally to her to fit puzzle pieces together and make connections; in fact, she once finished 18,000 jigsaw puzzle pieces in just three months. After completing her art studies, she is now eager to return to Dubai and work on new pieces. Archival-grade signed copies of her paintings and photographs are available to collect on her website.

Melika says she enjoys experimenting with various mediums and art forms, including clay, chocolate, metal, sculpture, painting, spray painting, animation, video, photography, and printmaking.

She has tried everything. She can’t picture herself as an artist if she stuck to one style or medium. Melika says, “as artists, we can get too caught up in trying to develop or maintain a certain ‘style’, but for me, “at one point I decided that I care far more about deciding what I’m trying to say and how I want to say it, rather than sticking to a certain style.”

Melika acknowledges that” there’re many artists who are very focused on one specific media and I think that’s great, but for me, I’m always interested in exploring different forms of art and conveying a concept.” She would claim that while she uses each medium somewhat differently, she frequently crosses across them.

She might, for instance, capture a picture that serves as the basis for a painting that later serves as the focal point of animation. She considers it an incredible honor to be able to explore the boundless possibilities of art. Her work has consistently drawn inspiration from Persian poetry, which influences a lot of her observations and general approach to art. Color also plays a significant role in her work. She is therefore frequently drawn to ideas about perception, connection, longing, belonging, and the “self.”

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His paintings are mostly oil on canvas and built upon his strong cultural traditions as well as his interest in the changing world of today. His work often combines contemporary ideas with traditional techniques. In his paintings, he has quite often questioned the attitudes, fears, conflicts, incompatibilities, and unwritten rules which have formed our environment and our behavior within it.

Haghighi was already a celebrated creator in Iran before moving to the UK. Though, throughout the primary number of years in London, he had to form an excellent deal of changes to cope and grow familiar with the new culture and language. With the conflicts that these challenges led to in his mind, he found that painting was the most effective way to speak to others efficiently.

Raoof’s paintings are in varied personal collections worldwide notably in Spain, China, Denmark, Thailand, France, the United Kingdom, and the USA. In 2017, he was crowned the winner of the Gold Memorial Bowl award for best miniature work appointive by the Royal Society of Miniature Painters, winner of The Mundy Sovereign Portrait Award 2019 (Royal Society of Miniature Painters), and also the winner of two awards for best pure colored pencil and nice art award for the best different subject at Annual UK colored Pencil Society Open International Exhibition.

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The 51 restituted glazed bricks, most just over one square foot in size, have a wide variety of motifs including winged lions and bulls with human heads, mythological figures, birds of prey, deer and floral or geometric designs. They come from Qalaichi, one of the most important archaeological sites in western Iran, which is just north of the north-western city of Boukan, near the Iraqi border. Qalaichi was the capital of the Mannaean kingdom.

In the 1970s a farmer ploughing at Qalaichi came across a decorated brick, probably from the columned hall of its citadel. This discovery led to extremely damaging illegal excavations, partly using a bulldozer. Eventually, in 1985, there was an official rescue excavation, but this was quickly abandoned because of an intensification of the Iran-Iraq war. There were then 14 more years of illegal digging until 1999, when there was another official excavation.

In 1991 an Iranian antiquities dealer with a base in Switzerland contacted John Curtis, the British Museum’s keeper of the Middle East at the time, with a view to selling a collection of Qalaichi bricks. Curtis travelled to a warehouse in Chiasso, very close to the Italian border. He warned the vendor that the bricks may have been illegally exported from Iran and advised that they should be returned. His advice was ignored.

The bricks remained in Chiasso, but in 2008 the warehouse owners took action after the dealer’s storage bill had remained unpaid. The warehouse obtained authority to seize the contents and on finding the bricks, the Swiss authorities were alerted. Curtis, together with a London-based lawyer, Jeremy Scott, contacted Tehran’s National Museum, which submitted a formal request for their return.

The decorated bricks have led to a reconsideration of Mannaean civilisation, since they show that its people were highly skilled artists. Their designs also reveal a strong Assyrian influence, such as the human-headed winged bulls.

Curtis, now the academic director of the Iran Heritage Foundation, says that before the discovery of the bricks, “the richness of Mannaean civilisation and its links with Assyria had not been appreciated”.

The exhibition The Repatriated Boukan Glazed Brick Collection from Switzerland will be shown at the Haghighi Museum in Boukan and then at the Iran National Museum in Tehran. A bilingual catalogue has also been published.

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Shahidi follows the trends of hyperrealism in her artworks. Hyperrealism is an art that includes the real world’s extremely realistic surroundings in an unusual, different, and appealing manner that creates a false reality for the audience.

Her art mainly focuses on the sense of minute details. She was this meticulous because she was able to grow her career on her own. She developed her career by reading articles and watching tutorials, which are the best way to help people learn on their own. After quite some time, while focusing on building her artistic career, she also started to share her talents and creativity with other people by teaching them her techniques. This helps her keep up with the trends in the arts industry.

She takes great pride when most people tell her that the expressions and feeling through the portraits she creates, especially the eyes of the portrait, look extremely real and lifelike. She believes that the pandemic was a golden time for her, because it was during the pandemic that she started focusing on art professionally and concentrated on improving her technique and styles. She promotes her works on her Instagram page @_moonartgallery_.

Her message to the fellow artists is, “Reinforce your self-confidence and believe that your art looks like your finger print. Don’t compare yourself with others! Try to be impressive and express your attitude through your artworks.”

Sheila Giovanni is Fateme’s color pencil idol in hyperrealism, but the greatest inspiration she believes, is the future version of herself. The futures is what everyone should believe in and look forward to because it will be able to help us be better than who we were yesterday and try to find new ways to love ourselves more.

Shahidi is an aspiring artist who was able to believe in herself by investing time and effort in specializing her craft. She believes that art is important especially during these days because art helps people to improve their creativity. The time spent making art gives you inner peace and calms you.

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The painting, titled Minotauro sulla riva del mare (1977) , is coming to the auction for the first time under the joint-ownership of the artist’s estate, run by his heirs Leyla and Rooja Mohassessy and the Italy-based Bruni family, which has held the work for three decades. The painting is estimated to fetch around  £350,000–£450,000 ($488,100–$627,600).

The work was formerly owned by Mohassess’s close friend, Francesco Bruni, who assisted the artist in making bronze sculptures and ran the Italian art studio, the Bruni foundry. Mohassess “deserves to be in a global international auction,” Baghestani said.

The painter, Mohassess, took his inspiration from  Pablo Picasso, Max Ernst, Henry Moore, and Alberto Giacometti; his anthropomorphic figures have also been compared to Francis Bacon.  The reclusive artist moved to Rome in the late 1960s, following an American-backed coup ousting Iranian Prime Minister Mohammed Mossadegh.

In Italy, the artist derived his inspiration from Cubism, Surrealism, and Greek mythology, and combined them with his own Iranian heritage. His art of the era was able to depict nude figures and erotic subject matter—something which would have been taboo in his home country during the 1960s-70s, according to Baghestani. Works such as Minotauro sulla riva del mare, which depicts the Surrealist-favored minotaur character, rarely come to auction.

The market of Mohassess painting grew in the recent years after European institutions began paying more attention to his art. In 2014,his work was included in the exhibition “Unedited History” at the Musée d’Art Moderne de la Ville de Paris. Mohassess’s 1968 work Requiem Omnibus (Death of Martin Luther King) depicting a macabre figurative painting made in reaction to the death of the civil rights leader, sold for $755,000, setting a record price for the artist.

Despite all of the interest in the artist works, Mohassess painting coming up for an auction is a very rare event because many of his work’s location are still unknown. “It is probably the most important event of my young career, but also in the market for Iranian artists,” Ashkan Baghestani, Sotheby’s head of sales and director for Middle Eastern and contemporary art, said. “It’s a big deal in our market.”

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