展览名称：第五届迪拜艺术博览会
展览时间：2011年3月17日到20日
展览地点：英国

艺术迪拜  采访

1. Would you like to talk about your art experiences about your earlier years and education background? Does these experiences influence your curatorial work in the after years? What kind of influence?
I grew up in the UK and started following and researching the Black British art movement of the 1980s and early 90s, and then did my thesis in Australia on urban Australian Aboriginal artists – so I guess it’s always been an understanding of the art world as ‘global’ – yet innate and particular to every society -- that’s interested me. 

2. Art Dubai had already been successful hold for 4 years, and as the new Director of Art Dubai, what is the important tasks facing you? What is the supreme challenge? How would you orientate the Art Dubai?
Dubai has been a trading hub linking India, Pakistan, Iran, the Arab world and parts of Africa for hundreds of years; it’s now fulfilling the same role in terms of contemporary art, and is also becoming a regional capital of ideas, debate and entrepreneurial activity. The arts scene here has grown organically, fostered and supported primarily by individual patrons. We want to connect with internationalist galleries, collectors and artists -- those that understand the art world as a truly global phenomenon, one that facilitates the exchange of ideas in a way that no other forum can. We feel it’s essential for galleries, curators and art world professionals to be engaged in a conversation with Asia and the Middle East, if they want to be part of a “future art world”, and that Dubai is a unique meeting point. Personally, the challenge is balancing the main business of our fair – match-making the most interesting regional and international galleries with the most dedicated and dynamic collectors – with the not-for-profit and educational elements of the fair, including the Global Art Forum and the artists’ projects.

3. The data showed that in last session, Art Dubai had lost one third old exhibitors, (there were one third old galleries could not attend your Art Dubai in the last session), because of the economic crisis. For Art Dubai 2011, what is the corrective measure about attracting exhibitors and booth aspect? Would you estimate the scale and level about exhibitors; visitors and sales situation for Art Dubai 2011?
We’re working on the selection process at the moment and are happy that some of the galleries that didn’t attend fairs in 2010 are re-applying to Art Dubai in 2011, and that the number of submissions is up – reflecting the more positive mood in the art market in general. In 2010, we decreased the cost-per-square-metre for the galleries, to help them through the difficult years, and we’re keeping to the same rate in 2011. We could increase the number of galleries but we’re opting to keep the fair the same size – around 70 galleries – as this is working so well at the moment. In 2010, we had 18,000 visitors, and we’re expecting more in 2011, as attendance has increased year-on-year and in 2011 the fair coincides with Sharjah Biennial 10, which is very exciting.

4. From the past years, we would see the most art collectors in Art Dubai were Arab, and they were not very interested in the art galleries from USA and Europe, so the collectors were mostly choosing artwork from galleries of Middle East and local and India. Would this situation influence the enthusiasm of art galleries from outside of Arab?
We are grounded in the region and known as the leading fair for the MENASA region, including South Asia and Iran, and the population of Dubai and the UAE is very international, so I’m not sure we’re dominated by Arab collectors per se. We also attract museum groups from all over the world, including from the Met, Fellows of Contemporary Art (USA), Tate, and so on. The Arab or Middle Eastern collectors that support us so enthusiastically have been primarily interested in art from the region but year-on-year, they are broadening their tastes and there’s a group of younger Emirati collectors coming up that are very international in their outlook, and attend Frieze, Art Basel, Hong Kong and so on.

5. Compare with art expo and fair in USA and Europe, the art form and style of artwork in Art Dubai is a little single, (is not abundant), for example, there were many paintings and photos, but only a little installation and so on. Do you think this situation would be change/ improve in the future?
Yes – especially as the number of institutional buyers grows each year. We have major museums opening in Doha and Abu Dhabi over the next few years, and several collectors opening their own arts centres and museums in Sharjah and Dubai too.

6. Compare with past, is there any different about choosing exhibitor for Art Dubai 2011? What is this different? The opening time for The 5th Art Dubai and The 10th Sharjah Biennale is all in year 2011, would this result compete for exhibitors and art organizations?
We work closely with the Sharjah Biennial – they work directly with artists and commission a lot of new work – it’s a completely different set-up to Art Dubai, so there’s no competition. The way the two events coincide provides a perfect opportunity for international visitors to connect with the wider region and the most dynamic galleries, curators and artists, and we’re working to try to make moving between the events as easy as possible.

7. The people in Arabia are adherent to Islam. There are the taboo of religion and terms&Conditions. Would this influence the pluralism/multielement about showpiece? How would you handle the contradiction between showpiece and religious restrictions?
Galleries attending the fair tend not to opt to show nudes, or anything especially offensive to all religions, but Dubai is the most cosmopolitan city in the Gulf, and our visitors are very open-minded and there are few other restrictions. The view that Islam prohibits showing the human form is outdated.
8. Art Dubai has become the essential gathering place for collectors, artists and art professionals from across the Middle East, South Asia and beyond. But there is a long road for becoming the top art expo in the world. What step / measure of more effective will you adopt in order to lead Art Dubai beyond the area boundary and go to the global level?
We are not aiming to be the top expo in the world – but Art Dubai has quickly become established as the leading fair for the Middle East and South Asia, and as the importance of this part of the world – including the market for contemporary African art -- grows, and as European and American galleries look increasingly outward, the fair looks set to become one of the “must-visit” fairs globally.

9. Would the debt crisis of Dubai rusult an evil influence for the Art Dubai? The data showed that in year 2009, there were only 61 exhibitors during the Art Dubai and as the new Director, how would you reverse the tide/ turn the table and let the 5th Art Dubai become a successful art fair?
The legacy of 2010 speaks for itself: despite the global downturn, and Dubai’s own challenges, we had the most successful fair yet. Internationally the art market has proved very resilient, and in Dubai, the regional centre for the commercial art world, the galleries have continued to thrive 0—so we’re very optimistic about 2011.

10. It is said that there are two reasons about the prosperity and development of art market in Dubai, one reason is Dubai has its geographical advantage; a very lucrative oil dollar and historic opportunities about Post Petroleum Age.Another one is the  status of traditional art center of Middle East, Beirut and Teheran, goes down for the continuing scene of political and economic turmoil. How would you see this?  [another way to say is: what is the reason about prosperity and development of art market in Dubai?]
As described above, Dubai has always been a commercial hub, and from 2000, it became the most obvious place for a commercial art scene to grow. It is complementary to the scenes of Cairo, Beirut and Tehran, and in dialogue with them. There has been a sizeable population of collectors based in Dubai (Emirati, Iranian, Arab, European, Asian) for a  long time, but they would travel to Europe and elsewhere to source art before the galleries grew up here, plus auction houses and then the fair. Meanwhile, there has also been a group of conceptual, dynamic Emirati artists based in Dubai and Sharjah. Dubai became established as the business hub for the region in the early 2000s. All this created the perfect environment for a budding art market centre.

11. Now, the art market of Middle East is attracting the attention from all over the art world. Michael Jeha, managing director Christie’s Dubai says: “Although there were global economic crisis in last yeart, people were increasing their interesting in artwork from Middle East, and the price about artwork from Middle East is still increasing.” How do you think about this which contrarys to normal?
I think I cover some of this above – I agree with Michael – and we should also point out that there are two factors at play: there has never been so much interest in Middle Eastern art internationally, and at the same time, there has never been such a level of homegrown support from the region for its artists and institutions, especially from the Gulf for the region as a whole. After the boom we are now in a period of more steady growth, and this is good for the market, galleries and artists – the network has time to gain strength and stability.

12. Compare with the resources and buying power, the culture and art of Middle East is in the marginal position, and the influence is less than economic. Do you think it can change the marginal position by building some art museums and holding art expo?
Yes, it is gradually changing – and a slight slow-down in growth is very beneficial – during the ‘boom years’ of 2007-8, things were happening very fast, and it’s good now to have steady but meaningful growth, plus time to reflect and develop all aspects of the art scene here, including education, artists’ studios, critics, and so on. The museums in Doha and Abu Dhabi, plus arts centres in Dubai, provide a really exciting opportunity for more support from the region for its artists and also a dynamic, international engagement between this part of the world and the West.

13. What do you think about balance the relationship between "artistic quality" and "commerciality" in one art expo?

I think they can go hand in hand!

14. Have you been to China in the past? How do you say /evaluate the contemporary art in China now?
What’s happened in terms of the Chinese art market and the scene in general in recent years has of course been phenomenal. But the history of Chinese art in general, as I understand it, is centuries old, and it has been through many different phases of looking outward, internationally, and moving inward – and now it seems to be in a time of consolidation, and I hope internationally, we’ll see more solo shows by Chinese artists, besides group exhibitions. In terms of politics and business, China is in a unique position vis-à-vis the Middle East, and its role will be fascinating to watch over the next few years. We’d welcome more opportunities for cultural exchange, as well as trade and business, between those of us working in the arts in the Gulf and our counterparts in China and Hong Kong.

艺术迪拜 相关文章和图片

http://blog.artintern.net/blogs/articleinfo/xinwen/113600

http://blog.artintern.net/blogs/articleinfo/xinwen/103439

http://blog.artintern.net/blogs/articleinfo/xinwen/93384

http://blog.artintern.net/blogs/articleinfo/xinwen/70456

“艺术迪拜”任命安东尼娅•卡弗(Antonia Carver)为展会新艺术总监
编译：张鸿宾

 
        今年，“艺术迪拜”任命安东尼娅•卡弗(Antonia Carver)接替约翰•马丁（John Martin），成为展会新艺术总监。
        安东尼娅•卡弗(Antonia Carver)是一位作家以及艺术管理者，是得到普遍赞誉的当代中东艺术的主要倡导者，她在过去十六年中一直工作于艺术领域，这使得她为展会带来商业以及非盈利方面的丰富经验。
        安东尼娅•卡弗从2004年起就工作于“Bidoun” 杂志，“Bidoun” 杂志是发行于美国的一本季度杂志，主要介绍“来自中东的艺术与文化”，目前安东尼娅是此杂志的主编以及“Bidoun 项目”总监。“Bidoun 项目”是2010年艺术迪拜的策展伙伴。
第五届艺术迪拜将于2011年三月开幕，并于沙迦双年展同时举办。

“艺术迪拜”：一个绝无仅有的艺术论坛
——专访迪拜艺术博览会艺术总监

作者：张鸿宾

       【编者按】第五届迪拜艺术博览会（以下简称“艺术迪拜”）将于2011年3月17日到20日举办。迪拜艺术委员会目前宣布，安东妮娅•卡弗（Antonia Carver）将接替约翰·马丁（John Martin）成为艺术迪拜新的艺术总监。近日，安东妮娅·卡弗接受了张鸿宾（艺术经纪人）、刘正花（艺术国际记者）的采访。

      问：能否为我们讲一下您早年的艺术经历与教育背景，这些经历对您以后的策展工作有什么样的影响？
    安东妮娅：我在英国成长，并在20世纪80年代和90年代初的黑色不列颠艺术运动开始跟随和探究，然后在澳大利亚做我的有关“城市中澳洲土著艺术家们”的论文——所以我猜艺术世界的理解也如“全球化”一样——每个社会都是固有并特殊的——我对这很感兴趣。

    问：艺术迪拜已经成功举办了四届，作为新一届艺术迪拜的总监，您面临的首要工作与最大挑战是什么？您将怎样为本届艺术迪拜进行定位？
    安东妮娅：迪拜是一个几百年来连接着印度、巴基斯坦、伊朗、阿拉伯世界以及非洲部分地区的贸易中心，它现在充分发挥着一些当代艺术的角色，同时也是一个集思想、争论、企业活动等于一身的区域中心。这里的艺术场景/舞台在独立资助人的鼓励和支持下，有组织的成长了起来。我们希望联系那些理解艺术世界的国际画廊、收藏家和艺术家们，让这里真正拥有全球氛围，成为一个绝无仅有的便于交流思想的艺术论坛。我们感觉如果画廊、策展人以及艺术界专业人士希望成为“未来艺术世界”中的一分子，那么与亚洲和中东谈话对他们来说就是必不可少的，而迪拜恰恰就是这么一个独一无二的见面地点。
    就个人而言，挑战就是平衡我们展会的主要事务——让最引人入胜的区域和国际画廊还有最专注、最活跃的收藏家们配对——展会中非盈利以及教育元素，包括国际艺术论坛和艺术家的项目等。
 

    问：有数据显示，上一届艺术迪拜由于受金融危机的影响，损失了三分之一的老客户（有三分之一的老客户未能参加），为吸引参展商，展位费下调了20%， 2011年艺术迪拜在吸引参展商与展位和租金方面有哪些改进措施？您预计2011年艺术迪拜在参展商、参观人数以及作品销售方面能达到一个怎样的规模与水平？
    安东妮娅：我们目前正在做的工作是挑选程序，并很高兴看到有一些2010年没来参展的画廊都准备着重新申请参加2011年的艺术迪拜，提交申请的数量是上升的——这反映了艺术市场大体上是有更积极情绪的。2010年，我为参展画廊减少了每平方米的价格，帮助他们度过艰难的年份，而2011年我们还是保持同样的价格。我们可以增加参展画廊的数量，但是我们还是选择保持展会的规模——大约70家参展画廊——目前来说这项工作很顺利。在2010年，我们吸引了 18,000位参观者，并期待2011年能有更多参观者，因为出席展会的人数都是一年比一年增加的，在2011年，展会还将与“沙迦双年展10”同时举行，这也是令人兴奋的。

    问：从以往几届艺术迪拜成交作品的情况看，由于大多数艺术品收藏家是阿拉伯人，他们对于美国、欧洲等国画廊的作品兴趣不大，因此，藏家大多选择中东本地以及来自印度画廊的作品。这一状况是否会影响到阿拉伯以外国家与画廊参加艺术迪拜的热情？
    安东妮娅：我们立足于该地区，是MENASA地区知名的顶级展览，这个MENASA地区包括了南亚、伊朗等，迪拜和阿拉伯联合酋长国的人们是很国际化的，所以我不确定我们阿联酋本身的收藏家占主要地位，我们吸引一些来自世界各地的博物馆团体的注意，包括来自美国的大都会当代艺术博物馆、英国泰特等等。支持我们的阿联酋或者中东的收藏家们非常的热情，并对来自地区的艺术有主要兴趣，但与上年同期数字相比的，他们加宽了他们的鉴赏力，有一组年轻的阿联酋的收藏家正显现出来，他们的见解就非常国际化，并经常出席弗瑞兹、艺术巴塞尔、香港（艺术展会）等展会活动。

    问：与欧美等国家的艺博会相比，艺术迪拜在参展作品的种类与形式上还略显单一，例如：绘画与摄影较多，装置等作品较少。您认为这一情景在今后的艺术迪拜中会有所改进吗？
    安东妮娅：是的，特别是每年的装置购买者的数量在增加。我们未来几年在多哈以及阿布扎比都会开放一些重要博物馆，有几位收藏家也会在沙迦和迪拜开办其自己的艺术中心和博物馆。

    问：2011年艺术迪拜的画廊选择与往届相比，将会有哪些不同？第五届艺术迪拜与第十届沙迦双年展将于2011年同时举办，这是否会造成参加艺术家与艺术机构资源上的竞争？
    安东妮娅：我们与沙迦双年展的时间很接近——他们的工作是直接与艺术家交流并委任一些新作品——这与艺术迪拜完全的不同，所以不存在竞争。两个活动同时举办的方式，为国际参观者们接触广泛区域和最具活力的画廊、策展人和艺术家提供了完美的机会，我们正试图让人们在活动之间的移动尽量简单容易。

    问：有一个现象是我们关注的，那就是艺术迪拜产生的直接土壤是信奉伊斯兰教的阿拉伯半岛，由于宗教的禁忌与严格的作品审查制度，这是否会影响到参展作品的多元化？怎样解决参展作品内容与宗教限制的矛盾？
    安东妮娅：参展的画廊趋势是不会选择展示裸体或任何特别冒犯所有宗教的事物，但是迪拜是海湾地区最具世界性的城市，而且我们的参观者们也是思想很开明的，除上述之外很少有其他的限制。人们对伊斯兰教禁忌的看法是过时的。

    问：艺术迪拜主要吸引了来自中东以为和南亚的艺术家、收藏家以及画廊，然而，要跻身于国际具有广泛影响力的世界顶级艺博会，艺术迪拜还有很长的一段路要走，您将采取哪些措施来引领艺术迪拜的走向，使其超越地域界限成为全球性的艺博会？
    安东妮娅：我们没有以成为世界顶级博览会为目标——但是艺术迪拜已经快速的成为中东和南亚的成熟顶级展会，在世界这一部分（包括当代非洲艺术的市场）上占有重要地位，而且向外扩展到有越来越多的欧洲和美洲画廊，展会要成为全球“必须参观”的展会之一。

    问：迪拜遭遇的债务危机是否会给艺术迪拜造成不良影响？有数据显示，09年的迪拜艺术市场趋于平淡，09年3月21日的艺术迪拜不仅参展画廊规模减至61家，而且成交量也令人失望，迪拜艺术拍卖会成交同样清淡，作为新的总监，您准备怎样扭转这一不利的被动局面，使第五届艺术迪拜成为一个成功的艺博会？
    安东妮娅：2010年的遗留是不言自明的：尽管全球低迷，迪拜面临自我挑战，但我们还是举办了一届成功的展会。国际上，艺术市场已经被证实是非常有弹力的，在迪拜这个艺术世界的商业中心地区，画廊仍然继续兴旺着——所以我们对2011持非常乐观的态度。

    问：有的议论指出：迪拜艺术市场蓬勃繁荣的景象是有两个因素直接导致的：一是迪拜自身所处的优越便利的地理位置，丰厚的“石油美元”，以及立足于“后石油时代”社会经济转型等历史机遇；二是中东传统的艺术中心——贝鲁特、德黑兰由于政治和经济动荡而地位下降造成的。您是怎样看待这一问题的？（迪拜艺术市场繁荣与发展的原因是什么？）
    安东妮娅：就像上面所描述的，迪拜一直是商业中心，从2000年开始，这里就成为商业艺术舞台成长的最明显之地。这里与开罗、贝鲁特以及德黑兰是相辅相成的，并与他们进行对话。基于迪拜，一直以来就有相当大的收藏家人数（阿联酋人、伊朗人、阿拉伯人、欧洲人、亚洲人），他们在此地的画廊、拍卖行以及展会成长起来之前会去欧洲或世界其他地方旅行。同时，还有一群基于迪拜和沙迦的概念上的、有活力的阿联酋艺术家。迪拜在21世纪早期成为成熟的地区商业中心。所有这些创造了发展艺术市场中心的完美环境。

    问：目前的中东市场成为全球艺术品市场所关注的焦点，佳士得中东地区执行总监Michael Jeha （迈克尔）表示：“尽管去年全球经济受到打击，但是世界对中东地区艺术的兴趣还在增加，中东艺术品的价格也在上升”，您是怎样看待这一有悖常态的现象？
    安东妮娅：我认为这个问题我在上面已经提到了——我同意迈克尔的说法——我们应该指出有两个因素：国际上从未有过如此的对中东艺术的兴趣，同时，也从未有过如此的对艺术家和艺术机构的地区本土支持，特别是来自海湾以及整个地区。繁荣后我们现在处于一个稳定成长的阶段，这对市场、画廊以及艺术家们来说是好事——网络也获得了壮大和稳固。

    问：与中东丰富的资源与强大的购买力相比，中东的文化与艺术显然处在一个比较边缘的位置，其影响力也远不如经济那样强大，您认为仅靠修建几个博物馆和举办几个艺术展就可以改变目前中东文化与艺术边缘的现状吗？
    安东妮娅：这是逐渐得到改善的——在2007到2008“繁荣年代”期间轻微的慢速增长是很有利的。事情发生的非常快，而且现在也已经趋于平稳，但这是富有意义的增长，正好有时间去反映和发展这里艺术平台的各个方面，包括教育、艺术家工作室、评论等等。多哈和阿布扎比的博物馆，加上迪拜的艺术中心，为来自地区的更多支持；对其艺术家；以及对世界的这个部分和西方之间的活跃国际参与，提供一个真正令人兴奋的机会。

    问：您认为应该怎样平衡一个艺术博览会的“艺术性”与“商业性”之间的关系？
    安东妮娅：我认为他们可以手拉手相伴而行。

    问：您来过中国吗？您对中国当代艺术现状有怎样的评价？
    安东妮娅：中国艺术市场都发生了什么以及最近几年来大体上的场景当然已经是非常出众和非凡的。但是就我个人理解的，中国艺术历史有上千年之久，并且经历了许多向外、国际化以及向内发展的不同阶段——现在看起来应该是巩固加强的时间，我希望国际化，我们将看到在集体展之外，中国艺术家更多个人展示。从公共与商业的方面来说，中国具有独特的与中东面对面的位置，在接下来的几年，它的角色将是迷人的、具有巨大吸引力的。我们很欢迎海湾的艺术从业者以及中国相关人士之间的更多文化交流机会，同时还有贸易和商业交流机会。