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The Curation by Nour Hassan
The Curation, formerly Radical Contemporary, is a Digital Curator and Podcast based between Cairo, Dubai & Jeddah. We curate everything from art, fashion, and design, to culture, wellness and tech to present you with only the best brands, founders, products and pioneers.
The Curation by Nour Hassan
Pablo Del Val: Introducing EDITIONS From Art Dubai to Dubai Design Week
In this episode our founder Nour Hassan speaks to Pablo Del Val, the visionary Artistic Director of Art Dubai and Editions. Pablo joins us to share how Editions is breaking down barriers in the art world by merging contemporary art with innovative design, creating a welcoming space for budding collectors. Editions is the region's first limited edition art and design fair with expression.
Pablo's insights offer a fresh perspective on the transformative power of Editions and its role in reshaping the design landscape. We discuss the anticipation surrounding future editions and how events like Art Dubai are pivotal in spotlighting creative innovation. A special shoutout goes to Mette Degn-Christensen, Director of Downtown Design for their stellar efforts in keeping Radical Contemporary at the forefront of Dubai's design scene.
For more information follow @dubaidesignweek.
Hey everyone, this is Noor, and you guys are listening to the 10th season of the Radical Contemporary podcast. The podcast has had over 100 guests so far and they have been some of the most successful, pioneering and absolutely radical individuals in the region and in the world. This conversation has been a long time coming. As one of the only podcasts that covers Art Dubai annually and exclusively, I'm very excited to present to you an interview with Pablo Del Val. Pablo Del Val is the Artistic Director of Art Dubai, as well as now the Artistic Director of Editions.
Speaker 1:Editions is the region's first limited edition art and design fair, and it ran from the 6th to the 9th of November alongside Downtown Design. It featured over 50 galleries, design studios and collectives showcasing contemporary design, photography, prints, ceramics, works on paper and more opening up collecting opportunities to a wider audience. Pablo shares with us the vision for the inaugural year of Editions, as well as some of his top picks and curations from the fair and what to expect next year from Editions as now part of Downtown Design. And now to my conversation with Pablo Del Valle. So first of all, Pablo, I'd love for you to briefly introduce yourself to the audience and the Editions exhibition concept so that we can start there just to kick off.
Speaker 2:So, hi everyone, my name is Pablo Del Valle and I'm Art Dubai's Artistic and editions for artistic director. So everything started when we started to see that the region, especially Dubai, was needing of a project that will mix design and contemporary art in a way that will open the way for younger collectors or for people that until that moment had not started to do so, and, at the same time, a space that was a little bit less intimidatory and more welcoming than what at first tend to be. We all, when we've been in a fair for the first time, we might feel a little bit like overwhelmed by the amount of works that are there, and also we many times don't find the path to start to ask and not to feel the sensation of being like, like, like, uh, examined by the other. So it was putting together a project that could bring uh, could bring first opportunities for people in a more friendly and more, let's say, relaxed atmosphere.
Speaker 1:Amazing, and so Editions is part of, obviously, dubai Design Week, and it's hosted at D3. Downtown Design is also part of this entire umbrella that encompasses how do we sort of showcase contemporary design within Dubai and within the region? So what does Editions add that is actually unique in and of itself? Is it the selection of designers and brands within Editions, or is it the curation? Can you tell us a little bit more about what, specifically, editions does? That's different.
Speaker 2:Well, the big, big difference is that for the first time, we include contemporary art, and that I think it's been the success of this. So with this I mean that we mix exhibitors, that from one end, they come from the design universe, they are limited editions that's why the project is called like that and they exhibit along with contemporary art galleries. Contemporary art galleries that have to bring only works on paper prints, photography, textiles, multiples and so on. So the idea was to bring into the design universe that artistic component that generally is never there and, vice versa, how to bring to the contemporary art collecting universe something that is never being exhibited together, which is objects, furniture and so on.
Speaker 1:Amazing and I'd love to get your specific edit of what galleries and designers you felt really stood out and were really received well by the audience and by participating you know, artists, collectors, curators at the first edition of the Editions project project.
Speaker 2:Well, I think that the most exciting thing of all was to see the mix right. I mean, generally, you don't walk through the aisle of these projects and you look to the right and you see a photography gallery, or you look to the left and suddenly you see a gallery that is bringing mainly furniture. You know, and I think that was a striking and amazing thing, that people could walk around and understand the project as what we call in these days contemporary culture. Proposals that went from one stream to the other, and I think that, more than exhibitors in specific, it was creating an energy that people loved. I mean, how you could walk around a space that was not big, because we had 40 exhibitors for this first edition, with a very beautiful special design, and then there was this amazing dialogue between all these techniques and all these expressions of contemporary culture.
Speaker 2:I think that gave people the opportunity to make links. No, it's to understand how works on paperwork. No, in a digital era where everyone reads the newspaper on the computer and you don't really buy, you don't go to the kiosk and you buy paper to read in your mornings, no, that was something very exciting to see which was going to be the reaction of people towards the material that is hardly used in our days, so so on and so forward. For me, what I will really point out is precisely this way of opening people's minds and driving them into these different universes, with techniques and and physicality especially. You know how you could touch and see things in a completely different way.
Speaker 1:Incredible and I see from the press release and from all of the content that I viewed for our interview. There was contemporary design, ceramics, works on paper, print, photography. Did you feel that the audience resonated with any particular presentation in specific or was in general the idea that you could view so much in a short space of time? But also, it is not an art fair, so it is not too sensory overload, not too overwhelming. Did you feel that balance elevated the experience?
Speaker 2:well, it's a, it's an advert, right, everything is for sale. Every participating gallery or design outlet comes with the best they can precisely to target a specific audience. What I think it was, in that sense, really, really cool for everyone, it was precisely for the people that is in the contemporary art scene to discover the magic of design, right, I mean how you could be surrounded also by amazing objects and vice versa, people that has never thought about buying a work of art, or that they could, they could and they're just focusing to design, right? I mean finally see that both universes have a very, very thin line that divides them. No, and these endless questions about who's a designer or who's an artist.
Speaker 2:So I think in that sense, it really worked nicely, because you could, for example, buy from a unique set of handmade ceramics from an Iranian artist and suddenly you could buy, like, an amazing photography by an artist coming from the UAE or coming from Saudi. So it was also these connections that contemporary art manages to put together were certain due to the times that we're living, certain things that are supposed not to work. They work, and how culture and how these projects. What they bring is an understanding of getting together. That is the most important thing of all. So I think that overall, in that sense, as it was a small and people could navigate it in a very straightforward and sincere way, it created great, great connections and you could see people really having the time and losing let's say, losing fears, and talking with galleries both from art and design and building up really exciting conversations. That in the beginning funny enough, of course. Does the reason go around? The technique that is used? No, because the project was also intending to bring light towards what is considered an addition.
Speaker 1:Thank you, and I'd love to know what, for you as Pablo, regarding specific galleries, pieces, artists that you might have felt that you presented and allowed people to discover your personal curation, your personal edit, and so please do share a few, at least.
Speaker 2:Well, the, the, the, how we could say the issue, the issue with this, with these questions, is that when you, when you are the artistic director of the project, in a way, you try to avoid to give names of favorites, but anyway, let's say that the the ferry's over, so I'm not pushing sales one direction or the other no, and I will say that, for example, jumping into the design universe, that might be something, that it's a little bit more away from my comfort zone.
Speaker 2:I think, for example, the furniture from Kameh the burn furniture was amazing. So they had this set of chairs that they were made in solid wood and they looked like they came from an ashes forest. They were like sculptures by themselves, but also you were supposed to use them and sit on them. It was really really, really cool. There was also this amazing. I have to confess that I collect contemporary art, but I also collect ceramics.
Speaker 1:Okay.
Speaker 2:So I cover this young designer, this young, how you call it ceramic designer, that was exhibiting in a gallery from Tehran called ASTIN A-A-S-T-I-N-N, and it was amazing because it's a type of ceramic that uses a certain glaze that looks like psychedelic, you know, it's like it lights by night and things like that, and I thought it was really beautiful in shapes and very exciting in materials.
Speaker 2:And then there was Enso Design, coming all the way from Colombia. And then there was Enso Design coming all the way from Colombia that they had this amazing set of vases made with gold dust and they were blown inside bricks that are used in construction. So the brick became the model. They will blow it inside the brick. Then the brick was broken and the final glass piece will have the shapes of the brick inside and they were really, really pretty. And then, in terms of contemporary art and this sort of bridge between one and the other, you had Iwan Maktabi with the carpets done by Mohamed Ahmed Ibrahim that he represented the UAE in the Venice Biennale, and they did this set of limited edition scarps.
Speaker 1:It's really, really fantastic, thank you so much for giving us your edits. One more please.
Speaker 2:Well, I gave you three designers. Then I will talk about contemporary art and I think that, for example, the works, works, the photographies by a Emirati photographer, a Farah Al-Qassimi, that you know she's been the first Emirati artist ever collected by the Tate Gallery in London in the in the past months was bringing two images from the research that she did as part of the project of the architectural Venice Biennale Pavilion of the UAE that you know that won the Golden Lion. So those two photographs of this woman walking around these like endless landscapes with the electricity towers was really breathtaking.
Speaker 1:Thank you, pablo, and one of my last questions for you is regarding the diversity. At this particular fair of editions, you were very careful to select such a just even in your edits. Right now, in your curation, right now that you shared with us, it's incredible how you went from all across the globe and found specific designers with their specific talent and material experiences. So can you tell us a little bit about the thought process and intentionality behind the incredible diversity of designers and brands that's available at Editions?
Speaker 2:Well, you need to understand the audience that you're working for and I think that was very important to understand that this was happening in Dubai and that the final client was in Dubai. So for me, because I moved to the UAE nine years ago, so for me the first thought was if I had an apartment and I need to furnish it, where do I go? And that's a tricky thing, that's a difficult thing to find, and that's a tricky thing, that's a difficult thing to find. Where can I buy not extremely expensive stuff, affordable stuff or some piece de resistance that could be like I can apply a bigger budget and furnish my apartment. So for me, the first idea was if this was for me, who do I will bring on board? And really, how can I give the opportunity to people to furnish their apartment in one go? I know it's crazy, but giving people the opportunity, no.
Speaker 1:But it's brilliant. I think this thought process is so helpful for the audience to hear. So you are really thinking of the client, the person who, in the end, oh, definitely yes.
Speaker 2:I could furnish my apartment just by walking through the aisles of the Fert. There was an amazing dining table in a gallery. Coming from Tehran, there was an amazing set of bases. Coming from Colombia, there was an amazing you know, on and forward. So that was an exciting thing. How you could build up a nomadic, multicultural.
Speaker 2:Editing of your house with beautiful stuff? No, editing of your house with beautiful stuff? No, because always you have this sort of dilemma. No, okay, if I find a sofa, where do I find what to put on top of the sofa, which, in my sector, is something you never say, but it's the truth. You need something to put on the sofa, no. Or what do I put in the kid's room? I mean, I'm not gonna spend fortunes in works of art for the kid's room. Maybe I will go for prints, you know, even bathrooms, we need to put a work of art there. So all these thoughts about, okay, I want the opportunity of having like a shopping spree, one day, one go in Dubai, or at least a weekend, I think it was the main aim behind and I think we succeeded in that sense Because my friends and collectors we know precisely did that exercise. They got a bit of everything.
Speaker 1:Amazing, beautifully orchestrated and practical, and I really, really love that. So, pablo, for my last question for you, I'd love to know what do we look forward to for next year's editions. I believe this will be a regular part now of Dubai Design Week overall, and that's a really exciting endeavor. So what are you looking forward to, what really worked this year that you think you will bring to the next editions, and is there anything you'd like to add?
Speaker 2:well, I think that we all learn from first experiences and I think that, uh, we want to encourage galleries to bring also like very specific new, new productions and additions for the fur, for example. I know that the contemporary art galleries are really looking forward bringing objects no like like a table set designed by a contemporary artist which could be like super, mega cool, you know. Or vases done by an artist that generally does only traditional sculptures and vice versa, and the design universe I mean how they can target it more into custom made, like new ideas and new projects, and also to jump into what could be like an entire programming of workshops where people can really understand how things are made, because, if you like design and if you like contemporary art, the entire production path is something that you are eager to know and to get your hands on.
Speaker 1:Beautiful. Thank you so much, pablo, for your time and for giving us an incredible insight and your perspective of editions. It's a really exciting endeavor and project, and thank you so much for being on the Radical Contemporary Podcast. I hope to see you soon, potentially at the next editions or at Art Dubai, of course.
Speaker 2:Thank you for inviting me. Thank you so much.
Speaker 1:Thank you for listening and make sure to follow at Downtown Design on Instagram to stay updated with everything design related in Dubai. And a special thank you to Mete and Daniela for ensuring that the curation Radical Contemporary remains part of the design world in Dubai. Looking forward to attending editions next year and, of course, don't forget to follow at Radical Contemporary on Instagram and I'll see you all on our next episode.