Latest news with #culturalinsight
Gulf Business
3 days ago
- Business
- Gulf Business
Spotify's Mark Abou Jaoude on shaping culture and championing regional talent
Image: Gulf Business In a region pulsing with cultural energy and creative momentum, Mark Abou Jaoude is one of the most influential forces shaping the future of music. By day, he leads Spotify's music strategy as Head of Music for MENAP and it's his deep love for the culture that fuels everything he does. With over a decade in the industry, Abou Jaoude's approach is grounded in cultural insight, strategic intuition, and a constant push to break boundaries. 'Being exceptional means creating innovative, authentic, and impactful moves that resonate deeply with artists, fans, and communities,' he shares. His career has been shaped by bold decisions and a deep ear for sounds bubbling just beneath the mainstream a reflection of his ability to spot cultural shifts before they emerge. Abou Jaoude's process blends instinct with experience. He immerses himself in the region's grassroots music scenes, stays connected to youth culture, and has a keen understanding of evolving tastes. Yet his vision extends beyond trends. His mission is to help contribute to a more connected, sustainable music ecosystem across the region. 'Music across the region is evolving and growing quickly, with more people discovering and sharing sounds than ever before,' he says. 'But with that momentum comes a responsibility to build stronger support systems, invest in education, and create pathways that help artists grow long-term.' Abou Jaoude's passion for music remains the driving force behind his creativity, and leadership style. My curiosity about music has really inspired my leadership style,' he shares. It's that curiosity that pushes him to keep learning, seek out working with passionate people, and stay grounded in a mindset of growth and discovery. 'I don't mind getting messy or making mistakes. That's where growth happens,' he says. It's no surprise, that a vehicle like the But the QX80 offers more than just exceptional audio. From its refined interior and intuitive technology to its spacious design, the entire experience aligns with how Abou Jaoude moves through the world. 'It's built with attention to detail, comfortable, thoughtful, and powerful. Whether I'm heading to a strategy session or simply taking a moment to reset, it gives me the space to think and the sound to feel.' As a creative leader at the intersection of culture, innovation, and technology, Abou Jaoude sees a strong alignment between INFINITI's values—human, daring, and forward and the qualities today's creatives need to thrive. 'Staying true to yourself, being brave enough to try something new, and always looking ahead that's what defines both creative impact and strong leadership.' His advice to future industry leaders is direct and empowering: 'Know what you want to achieve. All you need is clarity, consistency, and the courage to take risks.' For Abou Jaoude, success is as much about mindset as it is about talent. He champions a balance between vision and execution, always staying grounded in purpose and committed to work that's both creatively and culturally meaningful. Abou Jaoude continues to drive the region's music industry forward, not by following formulas, but by listening deeply, acting boldly, and always staying in tune with what's possible.
Forbes
21-05-2025
- Entertainment
- Forbes
How Stockholm's Market Art Fair Is Reframing The Nordic Conversation
Loji Höskuldsson "193 Days in Stockholm" at V1 Gallery, Market Art Fair What do art fairs reveal about a place? With so many fairs popping up in cities across the globe—from the prestigious Art Basel to the ever-expanding Frieze network—does a sense of place still matter? Can it offer deeper cultural insight, invite a new lens through which to view the work? Sales may drive the art fairs, alongside visibility for galleries and artists, but these events can also be platforms where ideas converge—where we turn to visual culture to make collective sense of the world. This thought came to me walking through the bright, airy halls of Liljevalchs Konsthall in Stockholm during Market Art Fair. Now in its 19th year, and the Nordic region's longest-running fair, this relatively modest event offers something quietly radical: a Nordic perspective rooted in context and conversation. Loji Höskuldsson "193 Days in Stockholm" at V1 Gallery, Market Art Fair 'We're very much about Nordic values of democracy, equality—of gender, of race—and of fairness and humbleness,' says Sara Berner Bengtsson, CEO and director of Market Art Fair. 'You see it not only in the way we run the fair, but also in the art itself. There's a deep connection to nature, to craft, and to environmental themes. This is what sets the region apart.' Since launching in 2006, Market has established itself as the Nordic region's key platform for serious art commerce. It combines a light curatorial sensibility with a relaxed, informal atmosphere that feels true to its Stockholm base. Exhibitors—this year saw 51 galleries representing more than 150 artists with roots spanning Sweden, Denmark, Finland, Norway, Iceland, Greenland, Sápmi and beyond—are selected by a committee of museum directors and curators from across the region, currently chaired by Lars Nittve, founding director of Tate Modern and former head of Stockholm's Moderna Museet. This year he was joined by Marie Nipper of Arken (Denmark), Pilvi Kalhama of EMMA (Finland), and independent curator Magnus af Petersens. Critically, their criteria are not commercially driven, but rather favoring quality of presentation, artistic ambition, and cultural relevance. Greenlandic Inuit artist Inuuteq Storch and Danish ceramicist-painter Mikkel Ørsted, Wilson Saplana Gallery at Market Art Fair The architecture and layout of the fair feels more democratic compared to some of the bigger events, where blue-chip galleries tend to secure the most prominent spots. Here, there's a clear effort to ensure no single gallery overshadows another. 'It's very democratic in how a gallery gets a booth,' replies Berner Bengtsson as I share my observation. 'We rotate them based on representation and what they need—wall space for paintings, floor space for sculpture. It's not about hierarchy. That's not who we are.' Iria Leino at Larsen Warner, Market Art Fair Arguably, Sweden's 'One Percent Rule' (which allocates art investment to public spaces) has quietly shaped a culture where creativity is woven into daily life. Here, art isn't a luxury, it's essential. You really notice it in the many, many cultural hubs scattered across the city. There's a prevailing sense that culture is good for the health of the nation. And I can't help wishing countries like the UK, where I'm based, would better recognize the soft power of the arts. Chair of the selection committee Nittve sees the fair's growth as also reflective of Stockholm's place as a leading art destination in the region, driven by both a traditional and vibrant younger gallery scene. 'For nearly two decades, we've been a meeting place for galleries, artists, and collectors, united by a commitment to quality of art and meaningful connections,' he says. 'With its boutique scale, Market offers an intimate environment where every interaction counts.' Karin Lind at SE Galleri Duerr at Market Art Fair One of the key themes at Market, explored through its public program, was the elevation of Indigenous perspectives. Swedish artist Carola Grahn advocated for Sámi sovereignty in art during the fair's talks program, while Kiruna's Kin Museum for Contemporary Art presented Reports from the North, a curatorial project connecting Sámi worldviews, Arctic ecologies, and global artistic discourse. Particularly notable at the fair were the works of Greenlandic Inuit artist Inuuteq Storch and Danish ceramicist-painter Mikkel Ørsted—both showing at Copenhagen's Wilson Saplana Gallery. Market Art Fair 2025 in Stockholm With the Arctic Triennale in Umeå planned for next year and the Sámi Pavilion at last year's Venice Biennale still resonating, Berner Bengtsson sees growing interest in this area. 'In Sweden, this isn't new, but we haven't always used art to reframe the conversation,' she tells me. 'We're starting to cultivate and understand what we have up here, which is completely unique,' say continues. 'We're the most northern fair in Europe, and until recently, no one here really made that a point of identity. But Nordic art resonates powerfully now: whether through Sámi perspectives fusing folklore with imagined pasts and futures, or works exploring Arctic ecologies and radical craft traditions.' Sculpture by Fabian Bergmark Näsman in the Liljevalchs Konstall courtyard Among the discoveries this year at Market are two historically overlooked female artists receiving long-overdue attention through representation at the fair and solo presentations elsewhere in Stockholm. with work that feels alive and relevant today, Atti Johansson (1917–2003), represented by Belenius gallery, staged an artistic protest against the destructive forces of modern technology. Meanwhile, Iria Leino (1932–2022), shown at Larsen Warner, worked with ethereal abstractions that remained largely unseen until her death. Her life was full of adventure too, taking her to Paris where she worked as a sought-after model for Dior and others, and later to New York where she lived and worked within the SoHo art scene of the 1960s and 70s. With an artistic practice deeply intertwined with spiritualism, it's natural that comparisons are being made between Leino and Hilma af Klint, who is portrayed in a new semi-fictional novel by Ida Therén—also discussed at the fair. Magnus Thierfelder at Tzotzis_Elastic Gallery, Market Art Fair Several artists are reinventing the Nordic region's rich craft traditions through radical innovation. I particularly enjoyed the playful work of Loji Höskuldsson, whose In Stockholm 193 Days at Danish V1 Gallery is an impressive six-panel embroidery narrating his experience living in the city for —well—193 days, weaving in references to Swedish flora and fauna, regional products, and cultural icons: midsommarstång, smörgåsbord, Volvo, Ikea, ABBA. His is an art of hope and humanity. Market also put the spotlight on the urgent topic of visual literacy. Responding to our shared global concerns around AI-generated disinformation, and in an initiative backed by Sweden's Psychological Defence Agency, the cultural body Bildkonst Sverige used the occasion of the fair to launch a national research program exploring how visual literacy might strengthen democratic resilience. A keynote conversation between Bildkonst Sverige's director Magdalena Malm and artist Annika Elisabeth von Hausswolff delved into the power of images—and their role in shaping, or distorting, our understanding of the world. Anja Fredell at Galleri Hedenius during Market Art Week 'Artists have long been trained in visual literacy—in understanding what happens behind the camera, what changes when an image sits next to a text,' Malm told me at the fair. 'There's an enormous depth of knowledge in the arts that society urgently needs. If we want to equip people to take part in democratic conversations, we need to help them decode what they see, and understand how images affect them emotionally.' 'There could be no more fitting venue to launch this initiative than our fair in Stockholm,' adds Berner Bengtsson. 'We're supporting it because they don't have a global outlet, and we want to use our platform to bring these urgent conversations to the public. In a world flooded with information and disinformation, artists have a crucial role to play in helping us decode what we see.' Erik Thörnqvist and Sophie Reinhold at Market Art Week That public-facing mission is also reflected in the fair's open curatorial approach, which this year allocated space for galleries and artists not necessarily tied to the Nordic region. 'We have to give our galleries the freedom of expression,' Berner Bengtsson insists. 'Our focus remains on the Nordic region, but we're also here to serve a purpose. The art world is global. And so are many of our artists.' The collector base, too, is evolving. 'In Sweden we have a strong tradition of collecting—we have good institutions and a solid base of committed collectors —old-school collectors, and a new wave from tech, gaming, and music,' she says. 'We also have, last I checked, 42 billionaires, and personal relationships with 30 of them. And this being Sweden, they don't come through a PA. They show up with their families. The Swedish royal family are regulars at the fair, too. I come from a gallery background, and when I took this position in 2020 realized we have to work directly with the collectors. The galleries don't come here because we're nice—they come here because we're well organized and can sell. This is how I see our place in the ecosystem.' Éva Mag and Eline Mugaas at Galleri Riis For Berner Bengtsson, that clarity of purpose is everything. 'A prominent collector told me last year that he felt our fair is a feminine fair—it's run by women and it's not a masculine showing-off affair. Of course, you can be envious of the bigger fairs, the ones with the big-name galleries. But that comment gave me clarity. We should be strong in doing what we do best, and do it with conviction,' she says. 'My biggest hope with this fair, and with all our fairs, is success for the galleries. Behind each gallery is a living artist, often making work specifically for this event. This is their livelihood. When the galleries do well, we're happy.' Market Art Fair was at Liljevalchs Konsthall, Stockholm, Sweden May 15-18, 2025. See 'Typologien' at Fondazione Prada in Milan; read my highlights from Milan Design Week 2025; see what's happening at the 24th Triennale Milano here, and read my year in art.
