Interview with Alexandra MacGilp, Curator of Al Haraka Baraka: In Movement There is Blessing:

Alexandra MacGlip: You have long been interested in the language of marketing and the way Dubai is promoted as a place to live, work, build your dreams - whether in property development or even as film location. You have been following the development of ‘Old Dubai’ closely. Now you have turned your attention to the creation of ‘Dubai South’. These kinds of projects are a worldwide phenomenon but are particularly accelerated in the UAE. Could you talk about the genesis of your project for Al Haraka Baraka?

Hind Mezaina: Over the past two years, the word ‘happy’ appeared frequently in headlines in local newspapers, “UAE is 14th happiest country in the world”, Dubai Municipality’s “Happy Dubai” initiative which invites people to express their happiness about its services, there’s even a website happydubai.ae and a hashtag #HappyDubai for people to express/upload images on social media when I also recently read this headline “Dubai To Rank Among World's Top Happiest Cities In 10 Years” and this “Dubai is aiming to become one of the world's happiest places to live and work. At the time, Sheikh Mohammed bin Rashid Al Maktoum commented: ‘The first objective for the Dubai Plan 2021 is achieving people’s happiness. We have full confidence in those responsible to fulfill this goal.’”

All of this got me thinking about how happiness is measured, who takes part in these surveys and how people express ‘happiness’ on social media. When I started looking for ‘Happy Dubai’ images, I noticed a common theme, images of food, the beach and Dubai’s high-rise skyline. I was also recently working on a project related to colour, which got me wondering what is the colour of happy in Dubai? So I started playing around on Photoshop using “Happy Dubai” images I found online and converted them by using tools to extract the subjects/locations and ended with an abstract version of the original images, relying on colour only.

Going back to my interest in the language of marketing and the representation of Dubai in objects, I thought of how can happiness be commodofied and how can it be represented in newly created and reimagined Dubai souvenirs you can find in shops here. You can buy a piece of Happy Dubai and take it home with you.

AM: You are known primarily as a photographer. Was It may have been where the tales of Sinbad and Aladdin came from (2015) your first extended video work? I feel that the form of the video essay lent itself perfectly to the nature of your exploration into the past history and future development of the Creek. It seemed to marry your interests in cinema, text and image seamlessly. Are you working on any other video projects? Or experimenting with media other than photography at present?

HM: Yes it was and I’d like to work on more video projects. But I’m also interested in collage and photo book as an object itself. There are lots of ideas and mediums I want to research. I am opening myself to explore new mediums and curious to see where this will lead me. I still want to create work that is visual and I’d like to find out how else I can express myself, and not just in traditional photography.

AM: Your artistic approach combines archival research with the collection of personal memory, which proves to be a fruitful tactic to capture a fast changing urban landscape. I enjoyed your workshop-walk An Observation of Baniyas Square in 2015. Why is it important to keep on looking at sites such as this square? What can we learn? Could you tell me about some of your artistic research into this area?

HM: There are lots of clichéd discussions, writings and art about Dubai and for me it’s trying to put things into context, share my perspective and to create a dialogue. Dubai is constantly changing, it’s been on that path since the 1950s, so it’s nothing new. But what I notice constantly happening here is we’re either talking about the past or the future and not about the present. Everything changes and yet everything remains the same. There isn’t much dialogue assessing or reassessing the present and that’s what I’m interested in. 

AM: With the Deira Polaroids (2013) and the Cassette Tape Project (2013), you seem to celebrate obsolete technologies. Do you feel you are recording or commemorating folk memories from the 70s and 80s?

HM: It’s more about sharing my personal memories linked to Dubai, which many related to with these two works. Again, it goes back to trying to put things into perspective, a perspective not many have because they’ve not lived here long enough. As for celebrating obsolete technologies, instant photography is making a comeback and so are cassettes (and vinyl), makes me think of the saying “history repeats itself”. I grew up in the 1970s/80s, and to this day if I have a choice between digital and analogue, I will go for analogue. I’m baffled how many try to replicate the “old” using new technologies; example Instagram filters to add a vintage feel to their images, or MP3 players that look like cassettes.

AM: Having being born and raised in the UAE, does anything you read in the local press ever surprise you? Any predictions for the future of Dubai and the country?

HM: I am always amused by the headlines in our local papers; they are a constant source of inspiration for me. I might actually start collecting them. As for predictions, I’ve resigned to the fact that Dubai will always think of something bigger to build.

AM: In your blog The Culturist you discusses cultural events happening in the UAE. What trends have you noticed coming and going since you started writing it? Do you feel optimistic about the future of the cultural scene here, it feels to me that events are proliferating at a rapid rate?

HM: I started the blog late 2009 and I have days where I’m optimistic, but also days when I’m pessimistic, especially on days when film festivals are cancelled or on hold, or when we just keep having more commercial galleries opening in Dubai and hardly any spaces supporting independent artists.

What I see lacking is presence and the role of independent artists here. The “art scene” is growing, but what that really means is just more commercial galleries are opening up and mostly presenting and selling artists that aren’t based here.

It’s true, the art events are proliferating at a rapid rate, but unfortunately many feel the same and there’s a lack of diverse programming – but I do see changes happening, albeit slowly. 

The good news is that there are more cultural activities outside Dubai. Sharjah has been leading the way for years thanks to Sharjah Art Foundation and of course with Maraya Art Centre and Barjeel Art Foundation. Whilst we wait for the museums to open in Abu Dhabi, there’s NYU Abu Dhabi’s Art Center and Art Gallery, ADMAF and Warehouse 421. Plus there’s been a trend of independent initiatives when it comes to film screenings and live gigs promoting bands and musicians based here.

So I’m glad we don’t just have to rely on art fairs and commercial galleries to see and experience art and culture. My only hope is we have more of this happening, and room for both commercial and independent/not for profit spaces and events.