Artistic Unity: Art in the UAE: Interview with Ramin, Rokni and Hesam

This article appeared in The Artistic Unity Issue #67 which was dedicated to the art scene in the UAE in which we unravel the threads of unity by exploring the perspectives of various stakeholders within the UAE’s art community. Through insightful interviews with galleries, art institutions, and auction houses, a vivid mosaic emerged, depicting how unity has been woven into the fabric of the art scene.

What personal experiences or artistic influences drew you into the vibrant UAE artist community, and how have these connections contributed to your growth as an artist in the region?

The Birthday Party, installation view ICA Boston, 2015–16 - Our narrative aimed to reengage works from ICA’s collection, as well as our own, through the lens of “sisterhood” - Photo by Charles Mayer.
The Birthday Party, installation view ICA Boston, 2015–16 – Our narrative aimed to reengage works from ICA’s collection, as well as our own, through the lens of “sisterhood” – Photo by Charles Mayer.

We were active in Tehran’s art scene from the early 1990s until 2009, presenting our work and sustaining ourselves through art. We began exhibiting in the UAE in the early 2000s. The UAE served as a significant platform for us, especially as contemporary art galleries were also emerging here. It provided a fresh perspective and was a welcome change from our past experiences with war, sanctions and political challenges. Engaging with fellow artists, thinkers, writers and art enthusiasts in the UAE instilled in us hope and confidence, showcasing art’s ability to transcend cultural boundaries. By 2009, the UAE had already become like a second home to us, offering a safe and conducive environment for both life and artistic practice, playing a key role in our growth as artists.

Reflecting on the evolution of the UAE’s art history since the 1990s, can you describe the ways in which your artistic journey has intersected with this transformation, and in what manner have you actively participated in shaping the evolving art landscape?
Since moving to the UAE in 2009, we’ve created an independent space that blends elements of a library, cinema, theatre, house, research centre and a studio. This hybrid environment blurs the line between public and private, allowing visitors to transition from observers to active participants and sometimes creators. Our space is a dynamic entity, resembling a cell within a body, drawing external elements and serving multifaceted purposes. It houses a diverse collection of objects and art, forming a sensory archive that captures life in Al-Barsha and the contemporary world. These objects sometimes act as actors, enhancing the space’s immersive nature. The spatial dynamics of our environment facilitate the creation of shared memories and collective dreams, transcending physical boundaries to craft a tapestry of togetherness and offering an immersive experience that invites exploration and engagement.

Art often serves as a reflection of the cultural and societal shifts within a region. How does your artwork capture and convey the historical and cultural nuances of the UAE, and what specific themes or narratives are central to your artistic expression?
Our art practice is about taking in as much as we can in order to comprehend our time as best as we can, collecting and using items and objects from daily life in the UAE. We transform these everyday items into art objects or preserve them as memories, which are sometimes influenced by the UAE’s climate that has become our fourth collaborator. Our life and work reflects an awareness of minute details, from a nail on the wall to paint dripping from a brush, including our daily errands and traditional recipes from West Asia to East Asia. Our space serves as an archive filled with both our indigenous knowledge as well as local and international learning, capturing and conveying the historical and cultural nuances of the UAE.

Photo by Waleed Shah.
Photo by Waleed Shah.

Collaboration and engagement with fellow artists often foster creativity and community growth. Could you share instances where you’ve collaborated with other artists in the UAE, and how have these collaborative efforts contributed to the diversity and advancement of the local art scene?

CCC OD, Le Diwan du Démon, 2023 installation view of Unfaithful Poetry as wall mural. Photo by Aurélien Mole. Unfaithful Poetry is a collective effort between our trio, Minnie McIntyre, Christopher Lord, Sohrab Mahdavi and Mandana Mohit.
CCC OD, Le Diwan du Démon, 2023 installation view of Unfaithful Poetry as wall mural. Photo by Aurélien Mole. Unfaithful Poetry is a collective effort between our trio, Minnie McIntyre, Christopher Lord, Sohrab Mahdavi and Mandana Mohit.

We have been working independently in the UAE art scene for 15 years, focusing on community engagement and self-education, inspired by the ethos of the Black Mountain College. Our collaborative efforts have included diverse individuals, breaking traditional hierarchies. A recent noteworthy example is when we collaborated with Abu Dhabi-based choreographer Kiori Kawai. Kiori created two dance films in response to a series of sculptures made by our trio. We then replicated a new series of sculptures based on her dance videos. Later, Kiori choreographed a dance piece for the sculptures as part of the Parthenogenesis exhibition at NYUAD Art Gallery, resulting in two dance film pieces and live performance of Mirroring Medusa, which featured dancers Concetta Cariello and Marwan Ghunaim, along with musician Aaron Sherwood.
In Abu Dhabi, we curated an exhibition with a year- long collaboration, aiming to establish a post-human environment. The exhibit showcased works by Emirati artists Ayesha Hadhir, Rawdha Al Ketbi and Shaikha Al Ketbi, seeking to unveil a new facet of humanity rooted in the local context.

In 2015, we invited Hassan Sharif to contribute a piece for an exhibition at the ICA Boston. The exhibition challenged conventions by embracing diverse artworks, abandoning traditional categorisations and defying chronological history within an installation. Our narrative aimed to re-engage works from ICA’s collection, as well as our own, through the lens of ‘sisterhood’ (a term coined by Helen Molesworth). These are just a few examples to show our ongoing engagements with fellow artists in the UAE that have fostered community growth that contributed significantly to the diversity and advancement of the local art scene.

Looking ahead to the future of the UAE’s art scene, what prospects or challenges do you find most exciting, and how do you envision your role in driving continued development and innovation within the UAE’s art landscape?
As we’ve grown with the dynamic UAE art scene, experiencing its ups and downs, we’ve strived to contribute to its evolution. Embracing optimism and seeking positive change, especially in challenging global times, is key for us. Dostoevsky said, “What is sown in the earth is subject to decay but what rises out is incorruptible. While beauty alone may not save the world, it can open doors to hope and optimism, helping to overcome cynicism and despair.” This resonates with our belief in the transformative power of beauty. We see our role as continuing to foster this sense of beauty and positivity in the UAE’s art landscape.


About Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian

As an Iranian art collective, Ramin Haerizadeh, Rokni Haerizadeh, and Hesam Rahmanian, who moved to the UAE in 2009, have enriched the local art scene with immersive experiences since the early 2000s.

Ramin Haerizadeh • Rokni Haerizadeh • Hesam Rahmanian. Photo credits by Andrea Rossetti, Courtesy of OGR Torino, Galerie In Situ-fabienne leclerc Grand Paris, and the artists. Portraits by Andrea Rossetti for OGR Torino.
Ramin Haerizadeh • Rokni Haerizadeh • Hesam Rahmanian. Photo credits by Andrea Rossetti, Courtesy of OGR Torino, Galerie In Situ-fabienne leclerc Grand Paris, and the artists. Portraits by Andrea Rossetti for OGR Torino.

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