Mohannad ORABI Self Portrait

The Future of the Middle East’s Art World: An Interview with ArteEast Artistic Director Barrak Alzaid

Barrak Alzaid ArteEast Artistic Director

Barrak Alzaid ArteEast Artistic Director

Barrak Alzaid is the Artistic Director at ArteEast. His deep knowledge of the Middle East’s contemporary art stems from his long involvement with the art industry and numerous powerhouse galleries, curators, and artists.

The art world is not a single, isolated entity, but part of other forms of cultural production. Luckily, ArteEast prides itself on having a cohesive vision for Arab art and creativity since they run film fests and also publish the Quarterly, which includes Shahadat, a free online lit webzine.

In this interview, he stresses the existence and creation of ‘linkages’ amongst participants in the Middle East art world. “There’s a need to find collaborations, to find partners, whether it’s an artist trying to find a way to generate new work, find space, or facilitating how institutions can come together to share resources to create something new,” he says.

In Barrak’s own words: “We’re supporting art – not just in cinema and visual art, but also performance and by offering education. We provide a holistic perspective of the region. We also have a very critical take. We don’t start from the presumptions that people have. We surprise people. We try to push people further in their understanding of the region.”

Khaleejesque spoke to Barrak about his outlook on emerging trends shaping the future of Middle Eastern art and discussed ArteEast’s upcoming Benefit Auction on September 21st at the Phillips de Pury & Company in Chelsea New York.

Tell us about ArteEast.

ArteEast was founded almost 10 years ago in New York with the aim to support and promote artists from the Middle East, North Africa, Turkey and Iran. We present rigorous, substantive, well-curated programs and plug them into top-notch venues around the world. There’s a range in scale and scope, but the one thing that’s consistent is the quality and rigor.

We’re building a new dynamic online portal to serve as an educational resource and outlet. The idea is to have a clean and robust online platform that acts as that resource for artists, filmmakers, and people interested in art from the region. People can access from the Middle East/North Africa globally. So we’re going to maintain our robust offline programming, but we’re also going to flex more muscle digitally.

Talk to us about your role in ArteEast.

In this curatorial role I have, I support and nurture an environment for critical and creative work to be done. My expertise is in creating the linkages and shining the light on the artists.

I like nurturing projects and cultivating the ideas of these artists. Just listening and being able to travel and see this range of cultural production offers me the bigger picture of ‘how does this all fit together’. The art we spotlight will shape how we see the present 5-10 years down the line. As cultural workers we’re cooperating with this effort to create a narrative for contemporary art and art history.

Mona Hatoum

Projections by Mona Hatoum

What are the trends that are shaping collector behavior In the Gulf? Who are the thought leaders and influencers?

The boundaries in the Khaleej are porous.  You have such a strong sense of familiarity and affinity; people are always talking to each other, everyone knows everyone. There isn’t a lack of education internally. I think there’s a great deal of support. Co-Founder of JAMM, Sheikha Lulu Al-Sabah (who is also a Benefit Committee Member) staged an art auction in Kuwait that featured work by a young Kuwaiti painter, Aziz Al-Mudhaf, and his work sold very well. There is a keen interest, and deep investment to support the work of these aspiring artists.

Mohannad ORABI Self Portrait

Mohannad Orabi Self Portrait

You have somebody like Sheikh Sultan Saoud Al-Qassemi who crafts a compelling model for collecting, someone who is not only actively engaged with everyday politics and writing, but also has this wonderful collection that he’s developing and a vision for art that he has concretized through his Barjeel Art Foundation. In Bahrain, you have Al-Riwaq Gallery started by Bayan Al-Barak Kanoo. She does public art education alongside her gallery and the exhibitions. She has a really sophisticated eye and take and a passion for bringing it to the Bahraini public.

At the same time, you have to balance that out with satisfying the general public. This is especially important for a commercial gallery. People are not equipped with the tools to access art that isn’t simply painting on the wall. People involved in this world get it, but the general public needs to be brought on-board somehow. And I think it’s going to happen naturally.

You have young collectors who are collecting based on what they like and the people they know. You have others doing it for 20-30 years and who have been doing it long before the Middle East became a center of art and artistic production within the global art market. They go to the international shows, and many of these young Gulf collectors are traveling extensively. Education comes naturally and for each person it’s different. For one person, it might be about spending time with the artist developing a personal relationship. This allows them to take on a role based more on patronage, something that has fallen by the wayside in the west, but I think it could be a really valuable model for us in the Gulf.

In terms of artists, the boundaries being pushed by Fatima Al Qadiri, a New York based composer, musician and artist will be dropping her album Genre-Specific Xperience at the New Museum in October 2011, and Monira Al Qadiri another young Kuwaiti artist with a quite adept visual style. Here in New York Hala Matar, a young Bahraini, has launched a gallery space Chiles Matar that contest the entrenched institutionalization of the art world, and has still managed to bring on board valuable partnerships with the New Museum and Sotheby’s.

You claimed that the auction provides a good cross-section of Middle Eastern art. In what way is it a cross-section and is that something that most exhibits don’t provide?

Omran YOUNES

Artwork by Omran Younes

This auction brings together a collection of works and artists who of an extremely high caliber, and who represent an astonishing cross-section of what’s happening now in contemporary Middle Eastern art.

By working closely with our partners Art Reoriented and Leila Heller Gallery, we are able to draw on their expertise and experience with artists, to offer works that are truly exceptional.

The challenging thing about working on a regional level is that you don’t want to ghettoize. What allows ArteEast to stand out is that we work in an interdisciplinary way. We’re supporting art not simply cinema festivals and visual art exhibitions, but through fiscal sponsorships to artists and public education. We provide a critical and nuanced perspective of the region through art. This auction is yet another example of that – we try to push people further in their understanding of the region. Rather than taking it as a discrete or fixed object, for us the boundaries are very porous and malleable.

Shirin Neshat

Artwork by Shirin Neshat

Tell me about this new visual language. I’m specifically interested in the Arab Spring. How that opened up new narratives and a whole new way of thinking about the role of technology in the Middle East.

The Arab Spring was special because of the access that people gained through social media tools. There was this seemingly infinite array of images and texts and sound bites that populated Facebook, Twitter and Youtube that people now have access to. These things can be played around with, are tools to be redeployed. There’s this realization and sense of empowerment own these texts.

Nicky Nodjoumi

Artwork by Nicky Nodjoumi

People are still struggling to understand how to grapple with turning that into work in the art world. ArteEast published an issue of Shahadat, which is our online web publication that contends with contemporary literature and short form literature.  We did a bit in March on the signs that were disseminated in Tahrir Square.

We didn’t try to create something new. But rather sift through and synthesize. That’s what a lot of people are doing and if they bring that back into their art practice. One of our goals is to create an open space for criticism and participation.

I attended a notable meeting, at Beirut Art Center in Lebanon this spring. People in the room were heads of cultural institutions based in the Middle East and the conversation revolved around how do we as cultural practitioners, cultural institutions, individuals with access to mechanisms of policy, support our colleagues and our communities in Tunisia, Syria, Egypt and also how do we make sense of these new structures of power? How do we help artists in those areas? How do we support these small initiatives popping up in response to the vacuum that the revolution left? But also and perhaps most importantly, how do we listen carefully and respond in our own institutions back home?

Another issue here is like in Egypt, the government is completely dismantled but there is some remnants of power structures that remain. How do we work with this emerging regime? There is this new-but-old dynamic and we are still making sense of what’s happening.

Nihad AL-TURK Table

Table by Nihad Al-Turk

How are you working to make art more accessible?

We work strategically to make work from the Middle East and North Africa accessible globally. There are a few thresholds to access art.

I want people to feel challenged, to think, and welcome them to think. But I think if people aren’t equipped with the tools and space to think about it, they can actually feel alienated from art. The work won’t have strong significance or resonance for them.

ArteEast works in a very organic and strategic way. With this auction, we’re lucky to be working with some very prominent gallery owners and experienced curators working on Middle Eastern art right now. This expertise is reflected in the auction. We work based on our personal relationships. These people are our friends and colleagues. We have, in a way, grown up with them. There’s this mutual trust and respect and appreciation. We come at this work in the Middle East in different ways, so I think that’s what makes a collaboration like this Benefit Auction very beautiful. We’ve helped to create the platform and audience for it.

Mounira Al Solh

Artwork by Mounira Al Solh

What is something to keep in mind when thinking about this ‘big question’ regarding the future of Middle Eastern Art in the next 5-10 years?

The art world in the Middle East is very nimble and we’re very much using the new media tools at our disposal. There are small creative spaces cropping up everywhere, and we’re thinking on a global level, participating in European, Asian, and American festivals and biennials and so on. We are also creating new centers and there’s this intense linkage taking place.

Eventually, there’s going to be a cross-pollination of ideas, techniques, media, it’s going to create a wonderfully dynamic art presence in the next 5 to 10 years.

Bidding online ends on Wednesday AM New York time.Visit auction.arteeast.org to place bids online.

-    Plus Aziz

Images courtesy of ArteEast




There are 25 comments

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  1. Fares

    Is this the same arteast that participated in zoom art fair with a tel aviv gallery? Because if so then they definetley aren’t the experts on “art from the middle east” only people who profit from the middle east. And please don’t talk about the Arab revolutions, do try to jump on bandwagon, stick to tel aviv.

  2. Shurooq Amin

    Though I find Mr AlZaid’s vision to be inspiring, I tend to find it also inaccurate. He claims to be supporting art in the region and that “there’s a need to find collaborations, to find partners, whether it’s an artist trying to find a way to generate new work, find space, or facilitating how institutions can come together to share resources to create something new”. Well, yes, that’s true, but it’s not placed in action. His list of good artists is lacking. It’s all about “Wasta” here. That means you’re either backed up by a wealthy patron and so you’ve “made it”; eg: Manal Al-Dowayan supported by the Al-Shroogi family of Cuadro in Dubai; OR you’re struggling on your own and waiting for people to see that you’re the real deal.
    Mr AlZaid mentions 3 artists from Kuwait (who are my friends by the way, so nothing personal here), but one of them hasn’t produced a significant body of work yet (doing well at one auction? My work did even better at the 2010 JAMM auction in Kuwait at $28,0000 and my painting came 3rd top bid; in fact, FIRST top bid if you consider the other two were Iranian artists & not Arab). Al-Qadiris? Both are sisters and daughters of Thuraya Al-Baqsami, backed by their father, who has been managing the career of Thuraya for the last 30 years, and so they’ve got connections in every corner of the globe.
    As an artist, a published Anglophone poet and writer, a University Professor, and single mother of 4 with a stubborn, determined brain; bundles of creative energy & inspiration; and a single-mindedness & assurance that I can change the world one painting at a time, I’ve decided to take matters into my own hands and not wait around to be discovered by Larry Gagosian (forget Dubai, my work is in London now) and so I’ve started an art & design movement The Art Salon, which aims at supporting and helping uber-talented emerging artists, as well as help established artists (those “real-deal” hard working geniuses with no financial backing) to break into the international market. In any case, what matters is the end result, which for me is a two-fold goal: 1) To emerge as an artistic & cultural force to be reckoned with as a region, Kuwait being a central atom in the equation; and 2) To instigate change in the world by enlightening the dark minds of our people in the Arab world (yes, the majority are still living in the dark ages). That’s my goal, and I’ll achieve it with help from people who believe in it. I wish Mr Alzaid all the best in his efforts, but I also wish he would remove his blinders and look around a bit more. He’s very welcome to visit my studio.

  3. Shurooq Amin

    I’d like to add a correction to my comment. The Art Salon is founded as a joint effort by myself and three other brilliant artists, Amira Behbehani, Hamad Al-Saab & Ali Sultan (sorry guys I got carried away!).
    And one last thing: Thank you Khaleejesque, for a wonderful mag; and thank you Plus Aziz for an exciting interview :)
    S.

  4. Sultan

    I’m so amused/annoyed with Shurooq’s arrogant reply!!
    She considers herself an “artist” whereas all she does is taking a less-then-average photo, then paint over it! and she calls that art!! and on top of that she wants to be considered as the Best artist in the middle-east!! seriously?
    Then she gets so jealous and offended that someone such as Barrak Alzaid talks about the real artists (mentioned above) and not her, so she replies back smashing everybody else then starts promoting herself!!! It’s not like the guy said something bad about her so she felt compelled to defend herself! no no! it’s just that he didn’t mention her!
    Silly me, I thought that mr Alzaid was entitled to an opinion and mention whomever he wanted, turns out he can’t! He has to mention any person who consider that their work is art.
    And so what if other artists have some backup?? it doesn’t change the fact that they ARE real artists, creating some REAL art. Backup or no backup.
    Time to come down to earth Mrs Amin, maybe, if u’re not finding the support u think u deserve, u should probably consider the fact that u don’t actually deserve it!

    • ArtKuwait

      Wow, which an elegant conversation we have above, Mr. Sultan! Perhaps, you forget you speak to a lady, don’t you ?

      “all she does is taking a less-then-average photo, then paint over it! and she calls that art!!”
      :) You make me smile, really. If somebody missed a big piece of art history of 20th Century that start, let’s say, with famous signature of Mr. Mutt, sure, he will feel so shocked when he meet a piece that goes over of his comprehensive capacity, isn’t it ?

      I just would like to be clear, that not only Mr. Barrak Alzaid ( – I have a great respect ) is the only one who can express an opinion about kuwaiti artists, we also keep all the events under the lens and personally I understand the importance if somebody’s artwork “sold very well”, that’s great – but…that’s not enough. :)

      All those artists mentioned above they are emerging, it means today they emerge, but who knows what will happen tomorrow ( 2 years, 5 years, 10 years ?) If artists don’t produce new works ( one of those 3) and don’t make new exhibitions or use the same works for next year exhibition at the same place ( another of those 3), should we speak about them and about their importance? oh, come on, such conversations about somebody’s ego better keep private.

      The case of Shurooq Amin is different : we can see her artistic evolution through many years and through many exhibitions, we can see her multiple talents, but the most important thing that in her works we see a message, so strong, so mature, that provocate so many reactions from people which have never visited any art exhibition before. It is not enough Mr. Sultan ?

      Shurooq she has traced a new line in kuwaiti art that nobody has done before, and that’s why she is already inside of history of art, and I cannot say the same about the others mentioned before. It depends on the artists, if they decide to continue to be artists all his life or they are already happy with their first steps and some visibility but this effect will disappear very soon as Andy Warhol said: “In the future, everyone will be world-famous for 15 minutes.” – this is real deal: to see where is 15 minutes “artist” and where is artist as Artist.

  5. Shurooq Amin

    Thank you Sultan, for your response. I wish you wouldn’t get hurtful and personal, though. We are all civilized intellectuals, and can engage in a civilized discussion.
    First of all, I’m not going to defend my technique to you, because you just proved that you know very little about art techniques, I’m afraid.
    Secondly, I have the utmost respect and admiration for all the artists Mr AlZaid mentioned, and I’m not ‘smashing’ anyone. I was merely pointing to the fact that for some, it has been a smoother road than for others, due to patron support. There’s absolutely nothing wrong with that. And Manal, if you’re listening, you know I support & admire your work; so does Aziz & the Qadiri sisters, I support them too; and Thuraya was the first artist to give me MY first solo exhibition back in 1992; I love her dearly.
    Thirdly, I never said anything bad about Mr Alzaid, what I said was his list was “lacking”. That’s the word I used. And it’s true! And never, ever did I say I wanted to be the best in the Middle East (I want to make a difference, yes; I want Kuwait to be recognized, yes). Of course Mr AlZaid is entitled to an opinion and I respect it. And I would like to extend an apology to Mr Alzaid and to my fellow artists mentioned in the article if my words in any way came across as too aggressive; that’s a fault of my passion, and should not be misconstrued as negative.
    Fourthly, Sultan, I actually have support from more people than I personally know, elhamdillah. You have no idea what it takes to produce my work (which is why I’m now documenting my processes for all to see transparently how each painting is created), and you have no idea how many people write to me, by email, facebook, twitter, phone, etc, telling me of how my work has inspired them or helped them somehow. For every one person I’ve affected, I’m richer. THAT’s the purpose of REAL ART, Mr Sultan.

    • mary

      You didn’t say “anything bad” about barrack alzaid? I wonder. If you were to meet him face to face, would you so rudely tell him to remove his blinders? I would totally take offense to that! So although you didn’t say anything bad, you were certainly disrespectful. I am not familiar with your work but your arrogance and deceit-not to mention delusion and denial-detract from any work you have produced and God help us will produce in the future.

  6. Midhat

    Shurouk,

    Both Monira Al-Qadiri and Fatma Al-Qadiri are artists in their own right, neither one of whom I associate with her mother Thuraya Al Baqsami, who is an artist in HER own right. A trifecta of self-made and very different artists. Nothing wrong with that!

    It’s fresh insinuating that their success had ANYthing to do with not only their mother’s place in Kuwait’s art platform but their father being a diplomat. You can’t deny that it’s what you intended. You wouldn’t have brought it up if you didn’t believe it.

    Lastly, I don’t understand why you are so upset with this article. Here is a Kuwaiti artistic director doing great things for our region, mentioning the Kuwaiti artists who do us proud. So what about it has you so bent out of shape?

  7. Personal

    I think that it would be very hard to interpret your comments in any other way than “personal”, Shurooq. When you say that you wish to “enlighten” the Arab World, the majority of whom you claim are still living in the dark ages… when you arrogantly provide a laundry list of your perceived accomplishments as though you are the only person working hard in the region and as though you somehow deserve more recognition than anyone else… when you most certainly imply there is a lot wrong with being funded, even though you yourself wish to break into the “international market” (as opposed to the international “art scene”, for example)… You made it very personal. In fact, you read this whole article as a personal attack against you, simply because you were not mentioned in it. You assume it was an oversight that you were not mentioned – that “blinders” need to come off, and you claim your “friends” have not produced “a significant body of work” – perhaps some people out there think the same about your work. After all, as the old cliche goes, quantity is not quality (nor, indeed, is the price tag on a work of art the measure of its significance). Your response was very personal and fraught with envy and insecurity. If you would take a second to pause for breath in your nauseating self-praise, you would notice that there are a lot of us in the Arab World generally and Kuwait specifically with academic qualifications, talent, and drive who have achieved a great deal and who continue to work daily to invoke change. There may even be some more worthy of mention than you (gasp)… But you don’t see them having a temper tantrum.

    • Shurooq Amin

      There are 3 generations of artists working in Kuwait at the moment. The new generation (mentioned in the article), my generation of established artists, and the older established & well respected generation of artists. The article mentions only a few from the new generation, and none at all from either of the other two. Forget about me for a second and focus on the rest. Why are they not mentioned? Artists who have produced quality AND quantity over the years. That’s why Mr Alzaid’s list is lacking. Period.
      It’s sad that we, as usual in the Arab world, can’t have an open & honest discussion about anything, let alone art. I also have a right to my opinion, but here I am getting guillotined by a bunch of “anons” for daring to speak the truth; for daring to express myself. At least I’m not hiding behind an anonymous name.

  8. Personal

    This is what an open discussion looks like. So what if only one generation was mentioned? And more to the point, you went on a tirade about *your* work not being mentioned, not anyone else’s. People have every right to respond to the arrogant tone and the anger you clearly displayed at someone who did not deserve it. You cannot imply insults so blatantly and then become all victim-like when people express their disgust. Read the things you said about the named artists, the interviewee, and the Arab World writ large. How in the world do you justify those remarks? It is your reaction that is everything that is wrong with the Arab world. You cause offense and then you get defensive and blame someone else. In fact, this whole thing started because you were blaming someone for not mentioning you – not any other, more established artists – but you. So to clarify, you get to blatantly disrespect anyone who does not mention you and belittle the achievements of others because they have funding and you don’t, but then, when people respond to you by pointing out the ways in which they think you were mistaken, they are uncivilized, dishonest Arabs? So much for “open, honest discussions”. Had your initial response to this piece contained a modicum of the civilized about it, I am sure people would have responded in kind. Sadly, you are so beyond reaching through logic because clearly you have delusions that won’t let any criticism in. It must be put down to the fact that we are all just a bunch of dishonest, closed-minded Arabs. The alternative, that you were just wrong and completely obnoxious, simply cannot be the case. As for the anonymity, not all of us crave the attention you seek.

  9. Shurooq Amin

    I wish all you haters a giant ray of beautiful white light to penetrate the darkness you harbour, and cleanse your soul from this malicious mean hatred you carry.
    The world is a big, big place, and fits all of us. We should be uniting and working together as Khaleeji artists. This is not a discussion. It’s a one-sided attack on me, and it shows that age really does matter: with it comes wisdom and experience, both of which are lacking in your attack.
    No wonder we’re still a region rife with wars.

    • Sandra

      When people calmly express their opinion about what you have said, is that more of an attack than your response to the article and everyone in it — a response filled with negativity and rudeness? In my humble opinion, your rants make you seem much younger and less experienced about life than anyone else on here. That is why you assume everyone else is wrong and you alone are right. Why are so many people offended by what you said? Because we are war mongers? No. Because you are lashing out like a hysterical person. Calm down. Your responses to people have in no way responded to their criticisms of your initial comments. All you do is lash out because you have been criticized. Where is this age and experience you speak of? Calm down. No one is attacking you. People are being rightfully critical of your arrogant comments.

  10. Mandy Warhol

    I wonder what Barrak Alzaid has to say on this? To be fair the interview was with him. It is only right that he be made aware of the comments and be given an opportunity to add his own thoughts. Barrak?

  11. Sara

    Seriously?? are you for real shurooq??
    Who talks like that? this is sooo rediculous…
    What “haters”??? the only “hate” in all the above comments is coming from you!!! all the other comments were either a critic or a difference of opinion, but clearly u can’t stand that!
    Besides, who put you above everybody else? is there no limit to your arrogance? I mean u really believe yourself to be so superior that you wanna give us lessons of wisdom and experience?
    We’re all fine my dear, it is your soul that need to be cleansed from hatred, and if u had a shred of wisdom and tiny bit of experience as u pretended, you wouldn’t be having this nasty attitude toward negative criticism.

  12. Mo

    Dear Shurooq,

    Having wisdom, experience, etc… or being called an artist, is not something you refer yourself to, but it should rather be the other that refers to you as having those qualities, and it should be the others that refer to you as an artist!
    besides, what does being a “single mom raising 4 kids” got to do with the discussion? personally i don’t think that’s something to be proud of, then again, are trying to get our sympathy so we will like your work?
    What u said was so wrong on so many levels: first u insult other artists who you say are your friends (nice way to treat a friend) by implying that the only way they are out there is because of the funding they have and not their talent, then u want to get the reader’s sympathy at any cost, even mentioning that you are a single mom!! wooow!!
    and you want to give us lessons about wisdom???

    • nn

      i agree with MO completely. she’s bitter. her comments were merely promotional towards her and her new “supportive” endeavor. your argument seems more focused on the background and gossip of the art scene rather than the artists and what they do. spoke like a real bigot.

      i really wanna avoid gossip but please don’t get sensitive about the jamm auction, many people know how “sensitive” that argument can get with you. shameful.

  13. zooz

    Shurooq 3an el shi66a el zaayda… if you claim to be from an established generation.. then one would assume you would be happy that those aspiring artists are getting recognition… you claim you want everyone to work together.. yet you’re so bitter. My advice: La tishta6ayn..

  14. Nima

    ____━━____┓━╭━━━━━╮
    ____━━____┗┓|::::::^━━━^
    ____━━____━┗|:::::|。◕‿‿­­­­◕。|
    ____━━____━━╰O–O-O–O ╯ 

    In the works of khaleeji artists, a predominant concept is the distinction between destruction and creation. The regional galleries represent, representation as such. Barrak Alzeid suggests that we have to choose between Foucaultist power relations and cultural narrative. Some may suggest the use of Baudrillardist simulation to read and attack truth in the gulf world and perhaps, the greater region.

    In a sense, a number of theories concerning the conceptual paradigm of discourse may be found. Lyotard promotes the use of subcapitalist nihilism to challenge outdated, colonialist perceptions of class. Does that apply here? Well, who knows. Does the market exist here? I couldn’t really say.

    If one examines neodialectic feminism and the regional burgeoning LGBT art world, one is faced with a choice: either accept Baudrillardist simulation or conclude that academe is part of the economy of sexuality, given that the premise of Foucaultist power relations is valid.

    But yeah, other than that everything is shit.

    • +Aziz

      Thanks for the name dropping Nima – and especially for steering the conversation away from bashing Shurooq Amin’s controversial comments.

  15. Alya

    As an Admin on this site, and because we at Khaleejesque believe that everyone is entitled to their own opinion, we won’t interfere with anyone’s comments.

    Comments on this site, however controversial they may be, would never be unapproved, unless they contained profanity, offensive, violent or sexual language.

    However, as the editor who has edited and read every single word of this article, I would have loved to have read peoples’ opinions and thoughts on Barrak’s view of the future of the art world in the Middle East, rather than just focus on one person’s comment and indulge in a debate.

    Feel free to respond to any comment, however way you wish (politely!) – it’s your right after all. But do let us know, how do YOU see the future of the Middle East’s art world?

    Looking forward to reading your responses :)

  16. Andrey Nastenko - New Art Style and Technology, Kiev, Ukraine.

    ALLAH WADUD SALAM!
    Salam Aleykum!
    Marhaba!
    Dear Barrak Alzaid!
    I wish You Peace and Love!
    I*am Andrey Nastenko – Founder of the City YARUSALAM – Centr of the Spirit the Love and the Harmohi.
    You can Really Help me to present to all the world – New Art Style and Technology – which represents the State of Kuwait.
    http://www.stereosalam.narod.ru *Tale of the East or Mirror of Time*.
    There are 8 baze stereoworlds with 4 levels of complexity in this Picture with infiniti quantity of plots of differents sizes and the Past and the Future.
    The Style of Harmoni.
    My Best regards to You!
    I wish You success!
    Andrey Nastenko – Author: *Tale of East or Mirror of Time*.


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