Between Iraq and Lebanon | Review by Sara Al Haddad

Participation and the presentation of the Arab countries in the Venice Biennale in its 55th edition are quite evident. Several Arab pavilions’ works revolved around the country’s political and societal status, including Iraq, Lebanon and Bahrain.

The Iraqi and Lebanese Pavilion works both discussed the theme of war in their exhibited artworks, maybe not so evidently, but also the post-war effect on the country and its people through the artists’ artworks; a reflection of their own experiences with war using different medias such as carton paper and film. Bahrain and Kuwait artworks touched upon political and societal topics through figurative representations of women and the veil through photographs and drawings; sculpted figures of the country’s sheikh/ruler. The discussed themes touch base with ‘home.’ Familiar with the background history and society of the artist’s, visitors can make a connection as to why the artists decided to discuss and exhibit such artworks. Although the works discuss themes that can extend to a larger audience, they are, in themselves very limited through their specificness. Open to interpretation to an extent, one may find it difficult to stray away from the mainstream ideas and connotations associated with such artworks. For one, I did not get the opportunity to develop any intimate feelings with the works. The idea, concept, point of view – the feelings of the artist towards the subject matter, they were all there, very prominently. It may draw the viewer closer into the artist’s state of mind, but also creates an atmosphere of reactions but within constraints.

Whilst on the other hand, there’s the Israeli Pavilion. The work exhibited in the pavilion document an underground journey, fictional, from Isreal to Venice.  Taken by a small community of people, the pavilion’s space was turned into a workshop, where the group started to sculpt themselves. ‘The Workshop,’ is a video installation documenting the group’s journey of sculpting and creating sounds. It discusses the journey of underground networking across national boarders that goes undetected, while using the pavilion’s space itself as an interactive and essential part of the work.

Geographically being the only thing that connects both, politics aside, the Israel Pavilion works exhibits a developed stage of contemporary artworks. The works can appeal and connect with a larger group of audience. It allows for the viewer to formulate their own opinion, it allows them to interact with the work by creating their own connections with the work. Those connections are lacking in the Arab pavilions. Their topic specification; the dwelling and mourning with the past and focusing on societal taboo’s creates a limitation as to how far the works can go in today’s art world. Letting go of such apparent focal points in the Middle Eastern art will allow for the region’s art scene to progress and keep pace with the progression of the international art scene.

The Biennale provides a great platform for countries to represent their countries best artworks, works that can be seen alongside other international works. The Arab pavilions should not be afraid to showcase works that are not nationalistically related. Such works do not necessarily show strong national and societal affiliations; patriotic artworks have the tendency to act against themselves in an international scene.

Lorenzo Tel reviews Arab participation in the Venice Biennale

Saudi Arabia
Here it is Saudi Arabia with Rhizoma, generation in waiting. A side event that opens the reality of a country ready to contemporary thanks to the new generation of artists. The title has a direct reference to the word rhizome, which comes from the ancient greek and indicates a subterranean root of a plant that develops its roots both horizontally and vertically, as the same new Saudi culture ready to defy the force of gravity. You should therefore stay the proceedings in front of some works of the pavilion of the
Kingdom of Saudi Arabia. Nouf Alhimiary in the photographic series What She Wore emulates the outfit of the day of the fashion bloggers around the world, with the result of a long unfolding of women in abaya, “the unchangeable outfits of Saudi women.” As the artist herself points out, is a group of women who could be seen from a distance look like the same person, and is this the only sketched out in the exhibition attempt to address the issue of individuality in the sense really critical. In front, the works of Eiman Elgibreen tell a different story. Or rather, the same story read with different glasses. A series of small paintings show women in abaya submit to the dancers of Degas, and the courts of x-factor version of Banksy Trials ballet, just painted, waiting for a comment. So far, a well-deserved boost to the attitude towards talent show of Western art system. If it were not for the title of the work: Do not look at me look at my art. A yearning for spiritual inwardness and recognition that would be a provocation indignant
and effective, by Saatchi or Gagosian. But in a country where the woman’s body is demonized, covered, segregated, punished, and for the way in which political and civil rights begin now to make small but significant improvements, such a task is not only
controversy, but the all unpopular. Saudi Arabia is a country that has only recently become visible to the system of
international contemporary art, and it is a country in which the decision to embark on an
artistic journey, even more so for a young man of talent, remains a complicated choice, a social challenge. The exhibited works are strongly connoted in the sense of nationalism, and pride towards their cultural habitat. The impression is that the intersection of these different and common struggles to emerge, the issue of women has remained virtually strangled. Rather than rejecting their own reality, Eiman Elgibreen makes a banner of pride and belonging.

Bahrain 
On the contrary, in the pavilion of Bahrain, on his first official participation at the Biennale. Except for the presence of the artist Camille Zakharia (Tripoli, Lebanon in 1962 living in Bahrain), the pavilion shows a predominance of women. The other two artists of the pavilion are in fact Mariam Haji (Bahrain 1985) and Waheeda Malullah (Bahrain 1978).The photos from the series A Villager’s Day Out, by Waheeda Malullah, show a girl in her black abaya in the act of wandering and exploring desolate places but attractive in a delicate duality between childlike curiosity and isolation that expresses no screams, but in a totally effective, the existential condition. The photograph is a kind of visual notebook for her, a physical and mental space in which to project his inner world. She does not use the camera to document the reality, then, but as a starting point for creative processing that fully expresses her point of view. The photographic collage c/o, by Camille Zakharia, is a way to connect his various experiences and to propose to the observer in a “cool” to establish a dialogue that the personal becomes collective experiences shared beyond the geographical boundaries and cultural. The first question that the artist asks himself about the meaning that it has had thirty years ago to leave his country – Lebanon – and how this experience has changed his way of being. “His country” is no longer – or better is not only – the homeland, the birthplace and family affections, his country were also the places where he has passed, staying for a certain period. His photographic collage brings together hundreds of images (550 to be exact) taken by the author except those that portray him and his brothers or other family members, who come from the family. Mariam Haji, finally, presents her personal interpretation of the victory. Victory (2013) is a drawing on paper with crayons, charcoal, pigments and other materials along eight meter where the young Mariam Haji, in a furious horse race Berbers, paints the wheel of an attack on a donkey: the rejection of male hegemony is also rejection of its symbols, and its instruments.

Iraq
Welcome to Iraq, has a section of works by eleven artists who live and work in the country. The focus is on the nature of everyday life as it is now lived in Iraq. The exhibition space is transformed into a real living room where visitors can sit, read, discuss and learn about the true culture of Iraq too loaded to be unfounded judgments. So, The primary objective is to provide – after decades of repression, censorship and conflicts that have limited the development of culture in Iraq – a cross-section of diverse
artists working in Iraq: the artists in the exhibition, all Iraqis living in Iraq, represent two generations of artists from all parts of the country.The works on display range from photography to design, from painting to video, sculpture, installation and textiles. Jonathan Watkins and Tamara Chalabi, President of RUYA (Ruya Foundation for Contemporary Culture in Iraq (RUYA) is a non-profit organization Iraq and Iraqi non-governmental organization founded by lovers of art and culture; primary purpose
of the foundation is to promote the development of culture in Iraq, and to build bridges with the rest of the world), have collaborated with researchers and experts within the country to search for artists. They organized information events for groups of more than 90 artists, and visited studies in Baghdad, in the provinces of Kurdistan and to Babylon, and Basra. The exhibition introduces Iraq in the apartment on the first floor, creating a deliberately drawing-room and an interactive space where visitors can sit, read and learn the culture of Iraq, while drinking tea. The peaceful atmosphere and home building will be maintained through the use of the furniture already present and a slight intervention on the existing architecture.The emphasis is on the artistic nature of everyday life as it is lived now in Iraq, showing a determination to fend for themselves, and inventiveness born of extraordinary historical circumstances.

On Museums and Arab Representation in Venice | By Munira Al Sayegh

After spending several years visiting and studying ancient and key works from different eras in various museums revolving around different cultures and histories, within this trip I began to find it quite difficult to grasp the fascination I once had surrounding them. Astounded by this major rebelling force, my epiphany in relationship to this difficulty came about whilst walking in Venice and understanding its reachable and highly accessible history. I suddenly did not feel the need to visit a space that institutionalised a movement, barricading it within walls. The city itself mirrored in many ways an outdoor, and endless museum and I believed that I did not want to be told what was important, but instead I wanted to experience it.  I then met with a conflicting thought, ‘what could be greater than this, what is more historically and culturally dense than the day to day life of a Venetian that it needs to be taken care of and homed?” With the strength of the curiosity surrounding that thought I made my way into Museo Archeologico Nationale in San Marco.

The lifeless walls were adorned with ornaments dating back from the 1st century BC as you walked on through there was silent interruptions of Contemporary Art.  This to me is what brought out this museum mainly. I only began to pay attention to the old through the reflections of the new. These interruptions made me appreciate and revaluate my  understanding of what is now the Contemporary in relationship to the first evolutions of man kind to the present day. The curaiting was done so gracefully, and allowed you to understand  the importance of a museum of such nature in a contemporary and new city. Documenting the now is very important and can be traced to several social, political, scientific, and religious subjects, but the key to that is understanding the roots of these discussions in terms of the past. With the past we are the present, thus having museums of such nature in the UAE is ideal as we are looking to explain the depths of our account through oral histories, and objects, throning a soon gone people.

With this balance of contemporary, and historically relevant pieces one can argue, the importance in the language of Art. The Biennale usually plays on subjects that touch with the now, for example, the Iraqi pavilion. A highly relevant space, touching on socio and political subjects it roots the problem of now in an in depth manner. Through installations of cardboard ‘house slippers’ and a bed, to the actuality of a vintage desk with the sound of a radio fuzzing out in the background. Although it is highly contemporary it was able to find the depth of history, through the tool of art. It summed up a history that has been on repeat, and then added the level of now through technology but at the same time using that to take you back to a simpler time of sweet Iraqi tea and chatter. It allows you to travel through time, and culture taking you a day into society’s mind, a society almost romanticised to us through western media. This pavilion played on all modes of expression, from shock, to pity, to humor in the darkest of days, to falling through the cracks of the night, it brought to life a reality so mildly correctly personified in the sub-world in which the majority occupy. With that said, as I was exiting the space, I left with the feeling that joins you when you are leaving a loved one’s home.

Reviewing Museums | by Sara Al Haddad

The works exhibited at the Venice Biennale in its early editions were purchasable, despite that, both classical museums and the biennale tend to be non-commercial spaces; the differences between museums and the biennale are not that vast. A museum of classical works carries out a historical weight to the name it is associated with, and with a city such as Venice and its renaissance movement, it rather exemplifies its dissimilarity with the biennale. On the other hand, the Biennale’s reputation is rather associated with the countries that take part of the exhibition; the artists that are selected to exhibit; and on a larger scale, the number of visitors it greets. The biennale accommodates to its day and time, its history does not necessarily play a big role in its success.

Having visited several museums in Venice (classical and modern), the concept of associating a museum to fit within the context of one era and its style is not always successful, neither it is always applicable. Museo Correr, a classical museum located in one of the most infamous piazza’s in Venice, San Marco. Greeted with the Napoleonic wing of imperial rooms where the empress Elizabeth of Austria has resided during her visit to Venice, one finds themselves wandering from one room to another of re-touched and maintained historic elements of what once used to be a dinning room; empresses’ bathroom and bed chamber, amongst few others. The rooms were recreated to fit into the idea of what was once there, acting as an aiding element for the visitors to easily visualize what is considered to be historic, or what could have been. The richness of the coloured walls, the bright velvet clothe and the good conditioned furniture give an impression of newness; the rooms did not fit my concept of what a classical museum would hosts. Regardless, the ‘museum’ acts as a tool to showcase what would have been classically historic through restorations and the assembly of collections. Why does the idea of classical works extend itself to allow and accept restored and re-assembled works, is what I find fascinating. Do these rooms really fit within the context of classically historic, or are they simply decorative and their decorative style is what pushes their aesthetics beyond decorative?

I started writing this piece thinking museums and the biennale are very different, but the pragmatic approaches taken by either institution are not far apart. The biennale hosts contemporary artworks; many artworks that fall under the category of contemporary may not always be accepted by the vast majority as Art, per say. Visiting Museo Correr, apart from its other classical showcased artworks, I was not drawn into the idea of considering rooms and their arrangement to be classical, historical or museum material, without disregarding their historic relevance to the city.

Is there an acting force that seeks to extend our understanding of what is to be acceptable to fall under Art and its subcategory genres, or is there an excessive need to associate things with Art, that may not necessary be art, but were rather driven with an artistic approach – is that still art? Could there be a lack of understanding from my part of what is a museum, what and how can it hosts different artworks under the same roof – is there a correlation between that and the lack of institutionalized museums in the UAE, and how can it rectify those perceptions and misunderstandings?

On Museums | by Lorenzo Tel

1.Peggy Guggenheim museum

The Building

The Peggy Guggenheim Collection is the most important museum in Italy for European and American art of the first half of the twentieth century. It is based in Venice at Palazzo Venier dei Leoni on the Grand Canal, in what was once the home of Peggy Guggenheim. Opened in 1951 by the niece of Solomon R. Guggenheim, wealthy American industrialist and art collector, the museum houses the personal collection of art of the twentieth century of Peggy Guggenheim, but also works from other collections and temporary exhibitions.

Permanent Collection

The museum houses the personal collection of Peggy Guggenheim , which includes masterpieces of Cubism, Futurism , Metaphysical painting , European abstraction , avantgarde sculpture , Surrealism and American Abstract Expressionism , of some of the greatest artists of the twentieth century. These include Picasso (The Poet , On the Beach ) , Braque ( The Clarinet ) , Duchamp ( Sad Young Man on Train), Léger ( Men in the City ) , Brancusi ( Maiastra , Bird in Space ) , Severini ( Sea = Dancer ) , Picabia ( Very Rare Picture on the earth ) , de Chirico ( the Red Tower , the Nostalgia of the Poet ) , Mondrian ( Composition no. 1 with gray and red 1938 / Composition with Red 1939) , Kandinsky (Landscape with red Spots 2 ) , Miró ( Woman session II) , Giacometti ( Woman slaughtered , Woman walking ) , Klee ( magic Garden ) , Ernst ( the Kiss, the dressing of the bride) , Magritte ( empire of Light ) , Dalí (Birth of liquid Desires ) , Pollock ( the moon Woman , Alchemy ) , Gorky ( Untitled ) , Calder ( Arc of Petals ) and Marini (Angel of the city) .

2. Punta della Dogana: Prima Materia

The Building
With its perfectly triangular shape, Punta della Dogana split the Grand Canal from the Giudecca Canal. The former monumental port of the city is the seat of the permanent collection of works from the François Pinault after a major redevelopment project commissioned by François Pinault Foundation. The building is so unique and distinctive, so changing function for the first time in its history, leaving the trades and becoming the
harbor mouth to the peaks representative of contemporary artistic production and the place of choice to share it with the wider public.

Exposition: “Prima Materia” i.e. Primal Substance

The artistic innovations of the late sixties , often expressed in the abstraction , and sometimes through the void , they had as a background images of wars , protests and social unrest . In the same years a new vision of social equality was born and became aware of problems such as the present and future condition of the environment in which we live. Today, science and technology offer the opportunity to connect globally through social networks , an endless amount of images accessible and , ultimately, longer life expectancy and the use of renewable energy. Yet there is a climate of anxiety generated by opponents often invisible and abstract, such as global warming or terrorism technology. There is a cacophony of images and sounds media . If the purpose of most of the works of nineteenth-century art was to represent the truth through beauty and balance, by the end of the twentieth century art tends to reconcile the extremes – abstraction and surrealism, vacuum and chaos, denial and show , high and low. From the artistic point of view , this is an age of global pluralism . Four basic forms of expression – painting, sculpture, installation, performance – are blended from the “Prima Materia” of the media; this term is not only the substance of the films or videos or the
Internet, but means of communication and the overall discussion. There are hundreds of different definitions and descriptions of the “Prima Materia” : primal substance which distinguishes and together constitute earth, air , fire and water ; formless substratum of all material, including soul and body, sun and moon, love and light , imagination and consciousness , but also urine, blood, dirt. It was sought in the dark soil of the woods and within the human body . It is the primordial chaos that exists before time and any chance of a future. The definitions of this medium that embodies all the elements vary in cultural perspective or personal identity. Sometimes represented in a circle like a snake biting its tail; the first matter is pure essence , everything and nothing , everywhere and nowhere , and can take many forms.

3. Manet, Back in Venice at Palazzo Ducale
The exhibition arose from the need of a critical study on the cultural models that inspired the young Manet during the years of his early start to painting. These models, up to now almost exclusively referring to the influence of Spanish painting on his art, were otherwise very close to the Italian Renaissance painting. In addition to his masterpieces, there are some exceptional works by Titian, Tintoretto and Lotto in particular. As is well known, studies of Manet, the great forerunner of Impressionism, have for a long time focused on the idea of one of his direct descent from the opera painting by Velázquez and Goya, seeing it right in painting spagnoal not only ‘only source of its modernity, but also the reason and the stimulus for its shunning “returns” to the academic tradition. A progressive approach, so to speak, that does not take account of the passion of Manet for Italian art of the Renaissance, which was a really intense fascination and a tie with Italy and the lagoon city.

Italy, moreover, is not absent even in the paintings of Manet’s more related to Spain: its religious painting draws as much by Titian and Andrea del Sarto as El Greek and Velázquez. His still lifes silent behind the faithfulness to the formulas Dutch, many surprises that not only refer to the Nordic tradition, but also seem to be inspired by an Italian chromatic force. When the painter approaches definitively to the “modern” Paris, his
painting does not leave the memory of Italian, but it is full of memories.

4. Gallerie dell’Accademia

The monumental complex of the Gallerie dell’Accademia now occupies the prestigious headquarters of the Scuola Grande di Santa Maria della Carita, one of the oldest lay confraternities of the city. Are an integral part also the homonymous church of Santa Maria and Monastery of the Lateran Canons, designed by Andrea Palladio.The museum houses the largest collection of Venetian paintings from the fourteenth century Byzantine and Gothic to Renaissance artists, Bellini, Carpaccio, Giorgione, Veronese, Tintoretto and Tiziano until Giambattista Tiepolo and the eighteenth-century landscape painters, Canaletto, Guardi, Bellotto, Longhi. Artists who influenced the history of European painting. It preserves also other forms of art such as sculptures and drawings, among which the famous Vitruvian Man by Leonardo da Vinci (exposed only on special occasions).

5. Natural History Museum of Venice

The Building
The palace said Fontego dei Turchi, which houses the Museum was built by Giacomo Palmieri, founder of the noble family of Pesaro, in the first half of the thirteenth century. In 1381 it was purchased by the Republic of Venice, which he sold to the Marquis of Ferrara Nicholas V D’Este for the loyalty demonstrated in the war of Chioggia. An important chapter in its history began in 1621, when the Republic destined him to Turkish merchants as sales office, which held it until 1838. Detailed rules and strict he governed the operations, the schedules of daily life to the mode of trade. It was, inter alia, for a clear separation between inside Turks Europeans (Bosnians and Albanians) on one side, and Turks of Constantinople and Asia (Persian and Armenian) on the other. The Turkish merchants in Venice especially imported wax, oil, raw wool and leather, which was added in 1700 also tobacco goods were sold or exchanged with other products. The Fontego dei Turchi was totally rebuilt from 1860.

Collections
One of the institutional tasks of a Natural History Museum is to preserve the collections inherited by naturalists of the past and build on this heritage through the acquisition of new material. For this it is essential that the museum is equipped, as well as exhibition spaces, some of the areas intended for storage. These places are not directly accessible to the visitor where the collections are stored, available on request, by scholars and researchers. In warehouses environmental parameters must be kept within limits that allow optimal preservation of the finds, although these are periodically monitored to check the conditions and detect early signs of deterioration.The items that are damaged are restored by skilled personnel in the laboratory of biological preparations located in the Museum, where they are also prepared new materials for both the increase in collections of the deposits and used for the purposes of study for both exposure and enjoyment of teaching. The set of collections representing the history of the museum and research carried out by naturalists, both locally, and in distant lands. The collections originating from naturalistic researches in the local area make up the physical evidence and the historical memory of the territory and its transformation over time. That’s why specimens of the same species may be present in most collections, related to geographical areas and time periods, the study of the specimens and their ecology can indeed provide valuable information on the
state of the environment and its transformations. Other collections, which for the most part come from donations, are the result of trips and expeditions to discover unknown lands and is therefore palaeontological, ethnological, anthropological, geographical. Today, the scientific heritage of the Museum consists of over two million pieces.

1. Comparation to Biennale
From a cultural point of view, living in Venice is a challenge and a fortune, as the great cultural heritage is an open road calls for the courage of the way to produce new culture and not to be trapped in the gilded cage of the ephemeral glory of the past. The meeting / clash between the Venetian museums and exhibitions around the pavilions of the Biennale are a reality interesting and fruitful, because the museums collect the assets of an identity, the Biennale offers a look ahead, a look experimental, one look
fragile on the future of art that will be. At the Biennale there are artists who give birth to their works. These artists follow the current cultural or decide to go against the tide, however, feel that the lure of inspiration is urgent and must produce without worrying if their works be understood. At the Biennale no one knows if those artistic productions will
one day be preserved in a museum. No one knows if those artistic productions will one day a masterpiece, a work of art that future generations will admire. The museum houses a heritage, the Biennale designs, casts a glance at the future. The Biennale is not asked to provide a statement of artistic production because it is an exposition, i.e. exhibition. Ex-position means that I go out (ex-) from my location to another location, to another path.

It is true that a museum can offer temporary collections, but collections are always an asset. The museum helps to reflect on the way that the artistic culture has made over the centuries and is expected to help the human being to understand its own mobile identity, oscillating between past, present and future. What represents a museum and what offers a Biennale are a reality not in antagonism and not mutually exclusive. Are in mutual exchange and relationship. It would be disastrous if one of them happen a communication of the deaf, as both would lose vitality and fertility, would be condemned to sterility and would be imprisoned in the sophistic dialectic between old and new, because what is old can be new inside and outside what new outside can being old inside. I mean, if I make a new work of art, it must be able to communicate something, do not just appear, it must touch and vibrate the strings of my soul and my mind. The work of art is not a matter of privacy, but it is a public issue. What
we produce, no longer belongs to you, but it belongs to the public, so that you create a triangular relationship between artist, audience and artwork. The work of art does not seek and do not want to mere spectators as when we sit at home to watch television. A work of art seeks and asks the people who know how to contemplate. But to contemplate should
be able to stop. This I think is the challenge for the next human civilization: to learn to stop and contemplate. At the Biennale there are numerous artistic productions that are expressed mostly through  short movies or videos. A movie, I watch it but I’m not educated to contemplate, because the images are constantly moving and reflect the fact that I, a human being of this time, I
find it hard to stop or are not able to stop except to eat (perhaps ) and sleep (maybe). Maybe exception is the work of Kazem, in which there is a two minute video that shows the movement of the sea, an image so moving but highly stimulating to the contemplation.Be that as it may, the museum says what I have been. Biennial says what I am today. Maybe, inshallah, if it keeps alive the relationship between the museum and two years, the future of mankind will have the high hopes of civilization… because the images have a soul and maybe someone forgot about it… I mean the artist’s soul, mirror of the Mankind.

The UAE
Sharjah
I never visited it. So I surfed on the web. Searching on the web I found out that Sharjah City was crowned by UNESCO in 1998 as the Cultural Capital of the Arab world, thanks to the efforts by the responsible bodies inartistic and cultural field.
The emirate boasts 15 museums, almost all concentrated in the capital city is located in the center of the Archaeological Museum, which displays artifacts recovered during the excavations carried out in the area, a witness to the rich past of the territory, and that also presents an interesting wing used as a library which houses ancient manuscripts and texts, in the area the “souq Al Bahar” is the “Sharjah Art Museum,” an exhibition held in 32 halls where they meet paintings and lithographs, some of which came from the private collection of the Emir, not very far here is the Islamic Museum, with its collection of ancient and rare manuscripts, as well as crafts from Morocco and Afghanistan. To make a leap into the past, we must go to the “Sharjah Heritage Museum,” a faithful reconstruction of the typical old house of the Emir, feature the exhibition of clothes, jewelry and vintage toys.
Focused on weapons and combat vehicles is the Museum Sharjah Police, which also houses a small scale reconstructions of old forts, including that of the strong “Al Husn” built in 1820 by Sheikh Sultan bin Saqr Al Qasimi, now restored and can be visited with a display of weapons, jewelry and vintage photographs.

Abu Dhabi
It will  adopt a Louvre in large format, The Cultural District is aiming to open the Louvre Abu Dhabi in 2015, while in 2016 the Zayed National Museum will open in 2017 and the Guggenheim Abu Dhabi: art for an injection of capital of the United Arab Emirates, founded in 1791 by the tribe Bedouin of the Banu Yas and today one of the richest cities in the world thanks to a wealth of the most significant oil. Partners of this cultural operation are Agence France Museums, The British Museum and the Solomon R. Guggenheim Foundation. In this regard, the Abu Dhabi Executive Council said: “The museums of the Saadiyat Island Cultural District will help make Abu Dhabi one of the leading destinations in the world culture and tourism and encourage communication
and the integration of different cultures”. Today Abu Dhabi offers the effervescent technology of the contemporary and the flavor of ancient traditions, places like Qasr AlHosn, where the history triumphs and cultural sites such as Al Ain, the Garden City of the
Museum Al Ain, within the strong Al Jahili, hosts precious archaeological artefacts.

If this is so, this confirms that the art does not know the colors of the flags and that it can speak to everyone through a variety of expressions. When the mind and the heart of the human being is not darkened by the smoke of any fundamentalism, he comes close to the beauty of art, and where there is beauty, there is life, and where there is life, there is God .. saw that he was very creative during the act of creation, if I am allowed to write so.