CAMPUS ART DUBAI 3.0

Campus Art Dubai (CAD) is a school for artists, curators, writers, architects, designers and cultural producers based in the UAE. Meetings occur over weekends and feature courses, talks, workshops, taught and led by a local and international cast of academics, critics, curators and artists. The course provides a space for critical thinking and the exchange of ideas and skills, with participants encouraged to collaborate, debate and challenge.

CAD 3.0, the third iteration of Campus Art Dubai, ran from October 2014 to March 2015, culminating at Art Dubai and Art Week 2015.

CAD 3.0 was led by the Sharjah-born, New York-based curator and writer Murtaza Vali, with anthropologist Uzma Rizvi, a professor at Pratt Institute of Art and Design, New York.

Campus Art Dubai is the first and only programme of its kind in the UAE; the intensive six-month course gives artists, writers, curators and cultural producers the opportunity to develop their practices under the mentorship of world renowned curators. The course provides a space for critical thinking and the exchange of ideas and skills, with participants encouraged to collaborate, debate and challenge.

Campus Art Dubai is part of Art Dubai’s educational programming and is held in partnership with Dubai Culture and Arts Authority, and is supported by Dubai Design District (d3).

COMMUNITY

CORE

THEME

CAD 3.0 COMMUNITY

TALKS:

Regional Art History I

Regional Art History II

Global Art Forum Preview

Intimate Heritage: Constructing a Memory of Gulf Cities

Doubts About Organized Translations (Part 1)

Time Bracketed: Speed, clarity, frequency and the materiality of sound.

Slow Space: Everyday Urbanism in Dubai

COMMUNITY TUTORS AND SPEAKERS:

Chris Weaver

Haig Aivazian

Lara Khaldi

Murtaza Vali

Salwa Mikdadi

Sheik Abdul Basit Al Arakani

Uzma Z. Rizvi

Yasser Elsheshtawy

CAD 3.0 CORE

Campus Art Dubai 3.0’s Core programme is a highly competitive membership level open to serious career-oriented artists, writers and curators. The 16 participants of the 2014-15 course were selected from over 80 applicants that applied via an Open Call.

CAD 3.0 CORE TEACHING METHODS

Skills: developing and articulating the practices of locally-based artists / writers / curators, through discussions, talks, workshops and mentoring, all informed by regular readings, plus visits to exhibitions and artists’ studios.

Feedback: presenting work and learning strategies for critique, self-critique and self-motivated practice; all participants present their work and discuss it with the class and visiting tutors at least twice over the six-month period.

Access: to international, regional, and local tutors, perspectives and audiences.

Projects: participants develop their own projects, and also work collaboratively on a project with the CAD Core class.

CAD 3.0 CORE COURSE LEAD TUTORS

Murtaza Vali

Uzma Z. Rizvi

Participants selected by the tutorial committee for Campus Art Dubai 3.0’s Core programme 2014-15 were:

Ahmad Makia
Asma Alahmad
Faysal Tabbara
Hind Mezaina
Karim Sultan
Rahel Aima
Raja’a Khalid

Rasha Al-Duwaisan
Saba Qizilbash
Saira Ansari
Sham Enbashi
Sharmeen Syed
Vikram Divecha
Zahra Jewanjee

CAD 3.0 THEME

On being slow: Time, attention and the construction of heritage

CAD 3.0 interrogated the recent past and the contemporary condition of the GCC reflecting on issues of con-temporality and modes of productivity, both artistic and otherwise. Slow stands in the face of the now default fast-ness and 24/7-ness required by modernity, progress, and capitalist achievement. On being slow interrogates the place of food (fast food), sleep (lack of sleep as indicative of greater efficiency and achievement), and movement (fast pace) in an effort to contextualize cultural practices that emerge from deep engagements with geographies, localities, and people.

CAD 3.0 invested in a slow, organic excavation of how these various discourses might discover otherwise overlooked critical spaces that have a deep history in the region. Topics covered will include: the virtues and vicissitudes of slowing down; theorizing boredom as a productive state; heat and humidity as creating embodied torpidity; circles, ellipses and feedback loops as strategies for creating historical depth that counters to the conventional linear progression of history; and the creation and expansion of leisure time and space through the processes of modernity and supermodernity.

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