
Calling +971: The New Book Profiling The Region's 50 Coolest Creatives
There were many moments that led to the conception of this project, but one of the most defining came during the Covid pandemic. Amidst the chaos and fear, the creative community came together – we moved online, determined to continue our work and support of one another. It was heartwarming, endearing and hopeful. In that same spirit, the Ministry of Culture, then led by Her Excellency Noura Al Kaabi, launched the National Grants Programme to support creatives. Of all the pressing issues the country faced, it chose to prioritise the creative sector. I remember being deeply moved by this gesture, as were many others. The UAE – my home – was the first country to take this step.
I've always believed in the creative community's power to document history. Their truth is one I seek out, one I believe in. So, when a government steps in to protect and elevate that truth, I can only bow in appreciation and respect. We are a young nation, but we have countless stories waiting to be told. That confluence – of our stories, our solidarity and our pride – became the foundation for this book.
The idea began to take shape in 2020, when we were celebrating the UAE's 50th anniversary. That milestone was the initial inspiration behind featuring 50 creatives. But even then, I knew this would never be a one-off book. It was always meant to be the first in a series – an evolving chronicle of the UAE's cultural growth. As we started listing names, it became clear: this is a dynamic, expanding sector. The more we uncovered, the more certain I became that we were only scratching the surface.
Finding the right publishing partner was key. I reached out to a few, and we chose Rizzoli – not just for its global reputation, but for its enthusiasm. That matters. I had already thought of the title: +971: 50 Emirati Creatives Shaping the UAE. It's contemporary and cool, but more than that, it's symbolic – it's the UAE's international calling code, a metaphor for dialling into the creative pulse of the nation.
I also spent time researching what defines a creative economy. After segmenting the sector, we compiled exhaustive lists. Even after two decades in the field, I was stunned by the breadth of talent here. I knew the community was large – but not this large. It was awe-inspiring.
We formed informal advisory bodies for each creative discipline – groups of respected specialists who voted on who would be featured. One of the most challenging parts was establishing the selection criteria. I insisted on dialogue, so the process was collaborative, with lots of back and forth. Those conversations were deeply enriching.
Then came the actual making of the book – commissioning texts, planning photoshoots, sourcing images, copyediting… At one point, it all existed as a massive, colour-coded Google doc that looked more like an eye chart than a manuscript. It was an honour to have Her Highness Sheikha Latifa Bint Mohammed Bin Rashid Al Maktoum author the foreword. She is an unwavering supporter of the arts and a voice to be reckoned with.
I am indebted to everyone who worked on +971 and extend my deepest respect to the 50 creatives featured. They reflect the heart of our nation and the rhythm of its cultural scene. I am equally grateful to the supporters who saw the book's potential from the very beginning: the Meem Foundation, Cartier and Dubai Holding – joined by our generous patrons Abdelmonem Alserkal, Olivier de Mestelan, Salma Shaheem, Barbara Farahnick-Mathonet and all those who wish to remain anonymous. Their belief and support made this vision possible.
The book will be released globally in September, and I'm genuinely thrilled – and ready for more. The UAE is my home. I've witnessed its extraordinary growth over the past 40 years, and I know this is only the beginning.
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The National
4 hours ago
- The National
No Trespassing: Dubai exhibition challenges contradiction between gallery and street art
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Street art, by definition, is inextricable from the urban environment. It responds to the architecture, the social fabric, the noise, grime and politics of public space. By contrast, galleries are curated and controlled, even relatively sterile. If anything, galleries can be antithetical to the core ethos that drives street artists. When street art enters a gallery setting, the immediacy that gives it its edge is blunted. It becomes sapped of its subversive spirit. But the new exhibition at Ishara Art Foundation challenges (or even embraces) this inherent contradiction between the gallery and street art. No Trespassing is the first summer exhibition to be held at the foundation. Running until August 30, it brings six artists into the gallery – not to simply pin their works in the white space, but to treat it with the same way they would an open urban environment. 'I told Fatspatrol to think of the space as a playground, not a white cube space,' Mehra says. A week later, just before work on the exhibition was due to start, Mohiuddin returned from a trip to India with a 'radical idea' of painting the space using a broom similar to those used by street sweepers. The result was a moving, even awe-inspiring gestural trail, with bold, fervent strokes from which emerge forms, like birds, faces and stop signs. It is a thought-provoking work, particularly with the use of a broom – a tool used to sweep and clean – to imprint marks in the gallery. The work, dubbed The World Out There, also incorporated several scavenged objects, from discarded street signs and license plates to posters and scraps of wood. 'She could have gone very abstract with it, because it's easier to just make marks with the brooms. But then she has this beautiful, expressive quality,' Mehra says. Mohiuddin's work can be seen as the curatorial nucleus of No Trespassing. 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Instead of rendering the hands and buildings with the photorealistic touch Maharjan is known for, the team replaced the design with materials, like corrugated steel and wood, blending them with acrylic panels. Thus, the project became at once a juxtaposition between what-is and what-could-have-been, while simultaneously testing the definition of authorship. While Maharjan's work is a vivid display of how an artist can leave a mark – even through their absence – Rami Farook does so by pulling elements out. The Emirati artist has removed a significant portion of one of the gallery's walls, baring its metal framing and insulating wool. The gypsum board that was removed leans against the perpendicular wall – the dust from the removal process still left on the floor. The work is a thought-provoking example of intervening through erasure. 'It is a very conceptual piece,' Mehra says. 'It is talking about extraction, and this is the only work that is an extraction, as compared to putting something on the surface, which also brings us down to ownership.' The rest of the works in No Trespassing spotlight other public and personal interactions with urban landscapes. In For a Better Modern Something, Emirati artist Sarah Alahbabi presents cement blocks printed with maps and superimposed by LED strips that run the surface of the wall and floor. The work draws from Abu Dhabi's urban fabric and came as a result of Alahbabi's experiences as a pedestrian in the city. The final space of the exhibition features two complimentary works. In Heritage Legacy Authentic, Palestinian-Filipino artist Khaled Esguerra reflects on the urban transformation of historic neighbourhoods. Sheets of ordinary copier paper are plastered on the floor, forming a surface that actively invites interaction. Viewers are encouraged to stomp, tear, or even skid over the sheets. As the top layers strip away, words like Quality, Indulge and Fresh emerge, bringing to mind the sanitised rhetoric of billboards and commercial advertisements. These fragments of marketing-speak crowd the floor over the course of the exhibition, alluding to the takeover of gentrification. The surrounding walls, meanwhile, are the work of Palestinian artist Salma Dib. Her layered, fragmented, and faded messages evoke the raw immediacy of graffiti – recalling how walls, in contested spaces, often become platforms of resistance for the voiceless. The work is inspired by the walls of Palestine, Jordan and Syria. The work, Mehra says, is rooted in Dib's own experiences while visiting refugee camps, 'waking up to something and by the night it isn't there any more'. The work, Mehra says, took the longest time to produce in the exhibition. 'Because she first spray painted the words, then sands it, and then she puts posters up and spray paints a bit more,' Mehra says. 'It took three weeks to make.' Collectively, the works in No Trespassing prompt a reconsideration of the everyday aesthetic of the streets. By bringing elements like copier paper, construction materials or faded wall markings into the gallery, the exhibition shows how torn flyers and weathered signs are not just happenstance noise in urban life, rather carriers of memory and resistance.


Gulf Today
5 hours ago
- Gulf Today
Hala Badri, Dubai Culture DG, speaks at London Art Biennale on art scene
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The Gagliardi Gallery, London. In her address, Hala Badri highlighted the momentum behind Dubai's growing arts scene, underlining Dubai Culture's strong support for both homegrown talent and international collaboration. 'We aspire to make creativity part of the everyday experience — to transform the entire city into a living canvas where expression and imagination are not confined to galleries, but encountered everywhere,' she said. She also pointed to recent milestones, such as the introduction of the Dubai Cultural Grant and the long-term cultural visa, as well as the UAE's emergence as a sought-after venue for major international events. During the Biennale, she toured the exhibition with Aarien Areti, Deputy Mayor of the Royal Borough of Kensington & Chelsea, and Peter Gagliardi, Director at Gagliardi Gallery and a member of the Biennale's curatorial team. 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