Singapore Architectural Design Competition for a New National Art Gallery

Singapore Launches Architectural Design Competition for a New National Art Gallery

Architects around the world invited to ceonceptualise a design for the Art Gallery, to be housed in two iconic heritage buildings set in the heart of Singapore's Civic District, City Hall and the former Supreme Court building

The heart of Singapore’s city centre is set to become even more vibrant in the Civic District area, with a new National Art Gallery (working title) to be completed around 2012. Minister for Information, Communications and the Arts, Dr Lee Boon Yang, announced on 13 February 2007 that Singapore will launch the Architectural Design Competition for the National Art Gallery this month for local and international architects to develop the best design concept for the new National Art Gallery.

The Art Gallery will be housed in two historically significant 20th century monuments situated in Singapore’s Civic District – City Hall and the adjacent former Supreme Court building. The Art Gallery is envisioned to be dedicated to the presentation, collection and study of Southeast Asian and Singaporean visual arts, and the examination of how the art of this region connects with developments in the rest of the international art world. Today, Southeast Asian art makes up two-thirds of Singapore’s national collection of some 7,500 pieces of artworks.

A unique opportunity to work with civic monuments of such scale and historical importance, this project will add a new dimension to the cultural and art spaces in Singapore.

Dr Balaji Sadasivan, Senior Minister-of-State for Information Communications and the Arts (MICA) and Foreign Affairs, who also chairs the Steering Committee for the National Art Gallery said, “A new National Art Gallery is timely at this juncture in Singapore’s transformation to become a global city of the arts. This architectural competition is just the first step, towards building a national institution that will be owned and valued by the community, and one in which all Singaporeans will be proud of.”

Since 1992, both buildings have been gazetted as national monuments, and are subject to preservation guidelines under the authority of the Preservation of Monuments Board. They were vacated in 2005, and have since been used occasionally, for example, in 2006 as one of the exhibition venues for the Singapore Biennale 2006 and as a registration centre for delegates of the International Monetary Fund/World Bank meetings. Architects participating in the competition will be provided with the preservation guidelines but are encouraged to develop innovative ideas.

This architectural competition is organised by MICA in association with the Singapore Institute of Architects.

The competition will be conducted in two stages. The first stage, an open ideas competition, will look for initial design ideas, and be judged on design philosophy and task appreciation. Entries at Stage I are kept anonymous and competitors’ identities will be revealed to the jury after they have been shortlisted for the second stage. Shortlisted competitors will move to Stage II, a design development competition, where they will be asked to develop their initial concepts and demonstrate the workability of their proposals against a budget. At the end of the two-stage competition, the jury will select not more than three winners, where one winner may be commissioned in end 2007 to design and build the National Art Gallery.

Extending an invitation to architects from Singapore and around the world to come forward with bold and creative ideas, Dr Balaji said, “The competition presents an exciting and unique opportunity for top talents from Singapore and around the world to not only shape the Civic District but to also steer Singapore to the forefront of global cities and define our presence as a visual arts hub.”

The competition brief for Stage I, terms and conditions will be available on the website at www.nationalartgallery.sg from 23 February 2007 onwards. The closing date for Stage I is 13 April 2007.

French Films and Filmmakers at IFFR 2007

 

INTERNATIONAL  FILM  FESTIVAL  ROTTERDAM  2007

 

French cinema will once again enjoy a place of honour at the 36th Rotterdam Film Festival, starring great actresses and filmmakers together with numerous representatives of the variety and the talent of emerging French cinema as well as many co-productions with southern countries.

French actress BULLE OGIER, muse of the author's cinema, from Bunuel to Rivette, will revere the Festival with her presence to support BELLE TOUJOURS, a French Portuguese co-production by a grand Master of world cinema, MANUEL DE OLIVEIRA.

After having both been honoured by the IFFR with a retrospective of their essential contribution to world filmmaking, BENOIT JACQUOT, Filmmaker in focus 2005, and JEAN-CLAUDE BRISSEAU, Filmmaker in focus 2003, will return to the Festival to present their last opuses. BENOIT JACQUOT will be attending Rotterdam with ISILD LE BESCO, starring in his most recent production L'INTOUCHABLE. The actress's remarkable performance of an identity quest in India has been distinguished by the Marcello Mastroianni Award at the last Venice Film Festival.

JEAN-CLAUDE BRISSEAU, together with his young actress MARIE ALLAN, will be lining up in the Maestros: Kings and Aces section with LES ANGES EXTERMINATEURS, his newest sulfurous production with a background of scandal and legal proceedings around the film's groundwork.

Other Masters of French cinema will also take the trip to Rotterdam to present their latest pictures in the Maestros: Kings and Aces section: OTAR IOSSELIANI with JARDINS EN AUTOMNE, starring Michel Piccoli disguised as an old women, as well as the iconoclastic LUC MOULLET with his latest feature, PRESTIGE DE LA MORT.

As each year, the new generation of French filmmakers will be attending to meet Rotterdam’s public and professionals with challenging and bright productions topping the bill in the Sturm und Drang section: the Tübingen Festival awarded 7 ANS by JEAN-PASCAL HATTU, COWBOY ANGELS, first feature by KIM MASSEE, PARDONNEZ-MOI by MAÏWENN as well as BEAU MATIN by Charlotte and David LOWE.

The renewed video artist ARIANE MICHEL will present her first feature, LES HOMMES. DOUGLAS GORDON and PHILIPPE PARRENO’ film ZIDANE: UN PORTRAIT DU XXI SIECLE, will be also shown in Rotterdam. A unique experience of a live football match with the world star, at the crossroads between sport cinema and art.
Last but not least, CLAIRE SIMON will be upholding her movie ÇA BRULE, also selected in Cannes 06 Director’s fortnight.

Underlining the leading role of France in world cinema, numerous French co-productions are again selected in all sections of the Rotterdam Film Festival 2007. Among them, the critic’s praised BAMAKO, by ABDERRAHMANE SISSAKO, one of this edition’s two ‘Filmmakers in Focus’, BLED NUMBER ONE by the RABAH AMEUR-ZAIMECHE (Algeria), DARATT by MAHAMAT-SALEH HAROUN (Chad), the French-Congo production KINSHASA PALACE by ZEKA LAPLAINE and WWW-WHAT A WONDERFUL WORLD by Moroccan filmmaker FAOUZI BENSAïDI. All filmmakers will be attending the IFFR to present their films.

Richard Avedon, Cantor Arts Center, Stanford University - In the American West

In the American West: Photographs by Richard Avedon
Cantor Arts Center, Stanford University
February 14 – May 6, 2007

The Cantor Arts Center at Stanford University presents In the American West: Photographs by Richard Avedon. The Amon Carter Museum, Fort Worth, Texas, originally presented the exhibition in 1985, then again put a major portion of the original works on view September 2005 in a 21st-century reprise of the original show. In 2006, the 20th-anniversary exhibition goes on a national tour, which ends at the Cantor Arts Center.

“No one who saw the original exhibition 'In the American West' in 1985 could forget the impact and beauty of Avedon’s colossal images. The Cantor Arts Center is thrilled to show this ground-breaking project to a new generation of museum-goers who will be amazed and inspired by the medium in the hands of the great master," said Hilarie Faberman, the Center's Robert M. & Ruth L. Halperin Curator of Modern and Contemporary Art.

Richard Avedon was already world famous for elevating fashion photography to an art form and for his insightful portraits of men and women of accomplishment, when the Amon Carter Museum’s first director, Mitchell A. Wilder, saw Richard Avedon’s 1978 portrait of a Montana ranch foreman. Wilder asked the artist to make portraits of others across the American West under the sponsorship of the Amon Carter Museum. From 1979 to 1984, Richard Avedon traveled through 13 states and 189 towns from Texas to Idaho, exposing 17,000 sheets of film through his 8-by-10-inch Deardorff view camera.

Focusing on the rural West, Richard Avedon visited ranches and rodeos, but he also went to truck stops, oil fields, and slaughterhouses. Rather than playing to the western myths of grandeur and space, he sought out people whose appearance and life circumstances were the antithesis of mythical images of the ruggedly handsome cowboy, dashing outdoor adventurer, or beautiful pioneer wife. The subjects he chose for the portraits were ordinary people, coping daily with personal cycles of boom and bust.

Instead of glamorizing these figures, he brought their various human frailties to the forefront. All his subjects are pictured against a seamless white backdrop that removes any reference to place, and many of the portraits are dramatically oversized, shocking in their stark detail. Visitors to the exhibition come face-to-face with images that shattered stereotypes of a glorified region.

A majority of the photographs have not been seen in the United States since the initial tour. Most of the original 124 portraits will be on view in this exhibition, including all of the project’s most important and best-known images. Amon Carter Museum Senior Curator of Photographs John Rohrbach began working with Richard Avedon in early 2003 on image selection and installation design. Following Avedon’s death in late 2004, Rohrbach continued to work on the exhibition with The Richard Avedon Foundation.

The New York publisher Harry N. Abrams, Inc., reissued the exhibition catalogue with a new introductory preface by John Rohrbach. The catalogue, with 174 pages and 120 reproductions is available in the Cantor Arts Center Bookshop for $35 soft cover and $75 hard cover.

In the American West is organized by the Amon Carter Museum, Fort Worth, Texas. Generous funding for the exhibition is provided by the Katrine M. Deakins and Crystelle Waggoner Charitable Trusts, Bank of America. Presentation at the Cantor Arts Center is made possible by The Cowles Charitable Trust, Gilbert Ellenberger, an anonymous donor, and Cantor Arts Center members.

Venues

Amon Carter Museum, Fort Worth, Texas, Sept. 17, 2005 – Jan. 8, 2006

Columbus Museum of Art, Columbus, Ohio, June 24 – Sept. 17, 2006

Center for Creative Photography, Tucson, Arizona, Oct. 21, 2006 – Jan. 14, 2007

Cantor Arts Center at Stanford University, California, Feb. 14 – May 6, 2007

CANTOR ARTS CENTER, STANFORD UNIVERSITY
328 Lomita Drive (at Museum Way), Stanford, CA 94305-5060
ccva.stanford.edu

David LaChapelle: Awakened at Tony Shafrazi Gallery

 

DAVID LACHAPELLE unveils his latest series of photographs in his exhibition, AWAKENED, at the TONY SHAFRAZI GALLERY in NEW YORK on February 24th from 6pm until 8pm.

Awakened is an exhibition of LaChapelle's new and iconic works. The show introduces a selection of his most recent photography series. Inspired by the biblical narrative of the great flood, David LaChapelle injects the apocalyptic narrative with his own intense modernity.

Thirty of David LaChapelle's iconic images will serve as an introduction to his years of photographic social commentary. The juxtaposition of the old works and new will give the effect of a before the flood and after, continuing the narrative quality of his work.

Awakened serves as a poignant title to the exhibition, as the works and career of David LaChapelle take a new turn. The show will serve as an arrival at a new chapter in LaChapelle's photography as he develops the subject matter of future works.

With the help of his longtime producer, Fred Torres, David LaChapelle has the support of the industry's most influential and well-known Gallery's and Museums. Currently, LaChapelle's works are hanging in two exhibitions in Berlin at the HELMUT NEWTON FOUNDATION and the renowned RAFAEL JABLONKA GALERIE.

In Milan, The full series of his new works will be unveiled in a large-scale LaChapelle show that the city of Milan plans to have in September. The exhibition planned will be shown at its premier art museum, the PALAZZO REALE. Fred Torres will curate his first show alongside celebrated curator, Gianni Mercurio. Mercurio is well known for his sensational exhibition, The Basquiat Show at the Milan Triennale.

The exhibition Awakened runs from February 24th at the Tony Shafrazi Gallery at 544 West 26th Street, New York, NY 10001

 

DAVID LACHAPELLE

AWAKENED

February 24 - August 3, 2007

New York

 

Related Post:

DAVID LACHAPELLE: Auguries of Innocence – LaChapelle’ next Exhibition at the Tony Shafrazi Gallery

A Life in Camera Work. Photographs from Five Decades by Gerald H. Robinson

Photo (c) Gerald H. Robinson - All rights reserved

"The book contains some of my best work from over fifty years of serious (and sometimes humorous) photography" - Gerald H. Robinson. Color and monochrome. 120 pages.

Tables of Contents

• Landscape and Nature
• People and Portrait
• Nudes
• Abstractions
• Towns and Cities

• Publish Date: February 10, 2007
• Dimensions: Standard Portrait - 120 pgs
• Softcover: $32.45
• Hardcover, Dust Jacket: $45.95
• Category: Arts & Photography
• Tags: Abstractions, Cities, Landscapes, Nudes, People

Related post:

Collaborations. Nudes from Half a Century by Gerald H. Robinson

http://www.blurb.com/

Bilan de la Foire des Antiquaires de Belgique 2007

Bilan de la Foire des Antiquaires de Belgique 2007

Le 28 janvier, la 52ème édition de la Foire des Antiquaires de Belgique refermait ses portes pour une année, laissant bien des yeux et des mémoires émerveillés aussi bien par la qualité de son contenu que par la splendeur majestueuse de l’événement.

Ce bilan très positif est à la mesure des moyens mis en oeuvre pour accéder à pareil niveau d’excellence. Tant les exposants qu’un public de qualité venu en masse pour arpenter les somptueux espaces de la foire, soit 35.320 personnes ce qui représente une progression de 18% par rapport à 2006, se sont dits ravis du nouveau circuit linéaire qui permettait de prendre la pleine mesure de l’ensemble des stands, sans qu’aucun participant ne se sente lésé. De même, le majestueux hall d’entrée dû, comme l’ensemble de la décoration, au talent de Volume Architecture fut autant apprécié que le remarquable décor floral de l’Atelier en Herbe.

Alors que l’édition précédente de la Foire des Antiquaires de Belgique témoignait déjà d’un remarquable bon en avant, le prestige international du salon atteint désormais une ampleur jamais égalée. “Celle-ci, pouvait-on lire dans la presse quotidienne, accède à un niveau qualitatif suffisant, très homogène, et avec 130 exposants possède enfin une taille critique qui offre des perspectives avant tout en terme de réputation. Elle se positionne désormais entre la TEFAF de Maastricht et la Biennale des Antiquaires de Paris” (La Libre Belgique). L’ensemble de ses exposants s’est d’ailleurs dit enchanté de sa participation et prêt à signer d’ores et déjà pour 2008 : la qualité de l’audience qu’ils rencontrèrent à la foire, amateurs, collectionneurs et professionnels des antiquités confondus, fut particulièrement au rendez-vous.

Le succès s’est cette fois concrétisé dans le domaine de l’Antiquité qui connaît indéniablement une montée en puissance des valeurs, des intérêts, donc des prix. Cependant, il fut également notable dans tous les segments du marché. La constance de qualité dans la diversité des genres étant l’un des éléments caractéristiques de la Foire des Antiquaires de Belgique, il est salué notamment par les antiquaires étrangers, qui apprécient tout particulièrement l’homogénéité dans cette richesse de spécialités. Laquelle s’illustre évidemment dans une fourchette de prix très vaste qui permet de toucher une clientèle des plus variées. Pour la galerie Phoenix Ancient Art (Genève et New-York) dont s’était la seconde participation, “le salon représente une excellente plate-forme pour toucher à la fois le marché belge, mais également celui du Benelux et ce, lors d’une période plus calme de l’année.

On y rencontre un nombre croissant d’exposants étrangers de qualité, ce qui contribue à créer beaucoup d’enthousiasme auprès des collectionneurs.”

L’équipe du bureau Volume, de Nicolas de Liedekerke et Daniel Culot, s’est surpassée notamment dans l’aménagement du vaste hall d’entrée, tout tendu de fines cordelettes, particulièrement majestueux et en adéquation parfaite avec l’architecture du bâtiment. Cette touche inimitable, alliant la légèreté à la valorisation de l’espace architectural, fait tout le prestige de l’événement.

Comme à chaque édition, la mise en espace fut relayée par le soin tout particulier que les antiquaires eux-mêmes ont veillé à apporter à la conception et à la décoration de leurs stands.

Une sélection très pointue, un contrôle rigoureux effectué par des commissions d’expertises composées exclusivement de non exposants, tout comme un public très connaisseur ainsi qu’une presse unanime, sont les garants de l’excellence d’un salon qui a désormais achevé sa métamorphose.

Placée à nouveau sous la présidence de Madame Grethe Zeberg, symbole de probité et d’équité qui fait l’unanimité et vient d’être confirmée dans ses fonctions pour une période de trois ans.

Madame Zeberg a contribué fortement au choix de la Banque Delen comme sponsor principal de la Foire des Antiquaires de Belgique. Une évidence qui ne pouvait que déboucher sur une exceptionnelle synergie entre deux acteurs en pleine croissance caractéristique de cette édition 2007. 

Nous avons noté les résultats suivants : Ronny Van de Velde (Anvers), qui proposait une fois encore l’un des stands les plus remarqués du salon, s’est séparé d’un grand Alechinsky, d’un Servranckx, de la plupart de ses dessins de Rops, de deux petits Ensor, de trois petits Dubuffet et de trois petits Warhol. 

Spécialisée dans l’archéologie et les arts primitifs, la Galerie Phoenix Ancient Art (Genève et  New York) s’est dite enchantée de sa foire, elle qui s’est séparée de sa tête d’Horus égyptienne, d’époque ptolémaïque pour 130.000 euro ainsi que d’un très beau bas-relief de la XIXe dynastie.

Très remarqué, le stand de Flore de Brantes (Paris) comportait sans doute la pièce maîtresse du salon, soit une encoignure effectuée à la demande de Madame de Pompadour pour le château de Bellevue, s’est vendu assez rapidement ainsi que ses grandes et superbes tapisseries (vendues à plus d’1 million d’euro).

Bernard De Leye (Bruxelles) s’est dit enchanté par ses ventes dont entre-autre d’une boîte à thé en vermeille début de 18ème à 22.000 euro et d’une chope allemande en vermeille du 17ème à 29.000 euro.

La Galerie Sycomore (Genève) a réalisé de belles ventes également dont un bas-relief de l’époque de Ramsès II à 35.000 euro ainsi que d’une tête de faucon à 130.000 euro

Alors qu’il avait plutôt mal commencé le salon et se désespérait de ne rien y céder, l’antiquaire parisien Perrin (Paris) s’est séparé en deuxième partie de foire de six de ses plus belles pièces de mobilier français. De quoi lui redonner le sourire...

Philippe d’Arschot (Bruxelles), a également vendu sa pièce maîtresse, soit un plat en vermeil d’Anvers, 1678.

Quant à lui, Harold t’Kint de Roodenbeke (Bruxelles) s’est séparé d’un grand nombre d’oeuvres modernes signées Rops, Delvaux, Evenepoel, Spilliaert ou Quinet. Patrick Lancz vendait son exceptionnelle toilée signée Ferdinand Schirren, une grande victoire de Victor Rousseau de même qu’une oeuvre de Xavier Mellery. Enfin, Kunsthandel Peter Pappot cédait un tableau signé André Lhote pour 85.000 euro.

Des personnalités, de grands collectionneurs belges et étrangers, quelques grands décorateurs américains et européens, de grands financiers belges de même que quelques antiquaires très importants venus, déjà, solliciter leur entrée pour l’édition de 2008.

On notera dès à présent dans les agendas les dates de la 53ème édition en janvier 2008 sur le site de Tour et Taxis.

FOIRE DES ANTIQUAIRES DE BELGIQUE
Rue Ernest Allard 32, 1000 Bruxelles
www.antiques-fair.be

Updated post

Gamme Ilford Inkjet Photo Paper

Avec cette nouvelle gamme de papier photo pour imprimante numérique, Ilford vise le marché grand public auquel son nom n'a pas toujours été associé.

Cette nouvelle gamme Ilford Inkjet Photo Paper dispose d'un code couleur facilitant l'identification de catégorie de papier : "Good" (Rose, 160g/m² & 200g/m²) pour un usage courant, "Better" (Argent, 250g/m²) pour l'aspect et le toucher des photos traditionnelles et "Best" (Or, 270g/m²) pour une qualité encore supérieure à celle des photos traditionnelles.

Cinq applications clefs ont été créées regroupant des produits fabriqués par Ilford et le Groupe Oji Paper (qui a racheté la division papier numérique en 2005) :

􀂉 La gamme ILFORD Premium Plus assure aux images l'aspect et le toucher des photos traditionnelles avec un grammage supérieur. Elle est constituée d'un papier professionnel, à séchage instantané, disponible en surface brillante ou perlée, spécifique à Ilford, en formats allant du 10x15cm au A3+. La gamme Premium Plus permet à l'utilisateur d’imprimer ses plus belles images, avec un rendu professionnel, afin de les placer dans un album ou de les encadrer.

􀂉 La gamme Premium Photo a été spécialement conçue pour donner aux impressions l’aspect et le rendu authentique d’une photo argentique. Elle est constituée d'un papier de haute qualité, à séchage instantané, disponible en surface brillante ou satinée et en formats allant du 10x15cm au A3+. C'est une gamme idéale pour réaliser des images à glisser directement dans l’album photo, à encadrer ou bien destinées au "scrapbooking".

􀂉 La gamme ILFORD Photo a été conçue pour produire des images d'excellente qualité en toutes circonstances. Elle comprend un papier à séchage instantané, disponible en surface brillante ou satinée, en formats 10x15cm et A4. Cette gamme convient pour imprimer les photos souvenirs à partager avec la famille et les amis.

􀂉 La gamme de produits ILFORD Office est adaptée aux applications de bureautique, à la maison comme au bureau. Elle comprend des étiquettes CD/DVD, des cartes de visite et un papier mat double face. Ce support spécifique est disponible en format A4 et permet de personnaliser nombre d'applications bureautiques en leur apportant une touche professionnelle et originale.

􀂉 La gamme ILFORD Create permet à chacun d’explorer et de mettre à profit sa créativité. Elle comprend le papier Beaux Arts mat, 100% chiffon "Fine Art Matt Paper" ainsi qu’un choix de cartes de voeux pré-pliées avec enveloppes imprimables pour personnaliser tous les évènements importants.

www.ilford.com

Julian Schnabel, McClain Gallery, Houston - Works On Paper

Julian Schnabel: Works On Paper 

McClain Gallery, Houston 

February 3 – March 3, 2007 

McClain Gallery presents "Julian Schnabel: Works on Paper", the first exhibition of "map drawings" in over a decade by the internationally known JULIAN SCHNABEL. 

In the early 1980's, a gift of old nautical maps during a surfing trip to Hawaii marked the beginning of this series. These utilitarian maps with its own abstract composition, became the ground for his markmaking. This change of function of a found material with its own history transformed into part of the poetic expression of a finished artwork has been an esthetic device that Julian Schnabel has employed throughout his career. His "tarp" paintings are a prime example.

Much of the imagery of the map drawings evidence Julian Schnabel fascination with palm trees. Tall and graceful, stubby and weatherworn, they suggest the human figure. The making of map drawings has continued through the years, serving as a kind of visual diary of his travels.

Julian Schnabel has established himself as one of the significant creative voices of his generation. As a painter, sculptor, film maker, stage set designer and architectural designer, he has collaborated with artists of almost every discipline of the visual and performing arts.

Julian Schnabel began his career as an artist at the University of Houston and was the subject of his first one person museum exhibition at the Contemporary Arts Museum in Houston in 1976. His works have been exhibited all over the world and has been the subject of retrospective exhibitions at the Tate Gallery, London, The Centre Georges Pompidou, Paris, The Whitney Museum of American Art, NY, The Tamayo Museum, Mexico City, the Museo Nacional Centro de Arte Reina Sofia, Madrid, and numerous other museums.

He is an award-winning film director with the features "Basquiat" and "Before Night Falls" to his credit. Julian Schanbel currently lives and works in New York City, Montauk, New York, and San Sebastian, Spain.

McCLAIN GALLERY

2242 Richmond Avenue, Houston, TX 77098

www.mcclaingallery.com

DIFC - Gulf Art Fair Partnership Dubai

Dubai International Financial Centre (DIFC) enters partnership with the Gulf Art Fair

Photo of DIFC building © DIFC – Courtesy DIFC

The Dubai International Financial Centre (DIFC) and the Gulf Art Fair (8-10 March 2007) announced a strategic partnership that will develop the DIFC Gulf Art Fair into a major annual event and a significant new platform for international contemporary art.

HE Dr. Omar Bin Sulaiman, Governor of the DIFC, said: “The Dubai International Financial Centre, which possesses a significant art collection of its own, believes wholeheartedly in supporting the development of Dubai as a regional and international centre for the arts and the development of art in the region. Just as the DIFC has become a truly international gateway for capital, the DIFC Gulf Art Fair is positioned to become a global gateway for the arts. We are very pleased to join in leading this worthy initiative.”

Recognising the increasing significance of the art market as an investment vehicle, and as part of its strategy to create a world-class financial centre, the DIFC will be the first financial center to create a location dedicated to art commerce. The DIFC Gulf Art Fair aims to become one of the top five contemporary art fairs worldwide within three years, and will provide the first stage in a plan to establish Dubai as the most important centre for art commerce in Asia and one likely to rival London and New York within a decade.

Providing both a zero-tax environment as well as unparalleled access between Europe, Africa, The Middle East and South Asia, Dubai offers an ideal focal point for the booming Asian art market to become established. A working party will gather expert advice to develop specific areas of the art market within the DIFC and its report will be published at the inaugural DIFC Gulf Art Fair in March. In addition a three-day Global Art Forum will bring together regional and international artists, writers, curators and academics to discuss a framework for the encouragement and promotion of art within the UAE and the region.

Fair Director, John Martin said: “We are delighted to be working in partnership with the Dubai International Financial Centre on this important project. It emphasises the increasingly close ties that exist between the international contemporary art market and the financial sector. The partnership is a significant and unique project in which a major financial institution will take an active role using the platform of art commerce to help construct a cohesive cultural strategy relevant for Dubai and the wider region. In bringing the international art market to Dubai, the DIFC will lay the necessary foundations for the region’s flourishing art scene to develop at the highest level.”.

Related posts

The DIFC Gulf Art Fair 2007 in Dubai opening

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