Campus Art Dubai: Served

Campus Art Dubai: Served

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Foreword

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In 18 months, Campus Art Dubai has grown from a seed of an idea — to open an informal, peripatetic art school in Dubai — to graduating two rounds of participants, gaining 300 members, spawning its own muchused acronym (CAD), and now launching its own publication. What follows is a book of recipes ranging from the ingredients necessary to create an Emirati artist through to a description of a legendary Turkish feast of old — this slim volume says much about the character of Campus Art Dubai. It includes an eclectic selection of texts and images, for sure, but it is also imbued with community, accrued between October 2013 to March 2014 amidst the school’s day-to-day business of critiques,

workshops, lectures and lunch.

Campus Art Dubai 20132014 set out to explore the idea of ‘mediation’.

With part of the course brief to collectively produce an experimental book, the 16 Core participants opted for a set of ‘recipes’, taking the instructional tone and food theme lightly, and deliberately complicating the idea of producing something from a set of ingredients. The various ways in which the authors and contributors have approached this subject is indicative of the class itself and the ways in which the UAE can gather such a disparate yet harmonic group of artists, writers, architects, curators and art workers.

We’d like to thank our

tutors led by Tirdad Zolghadr — Campus Art Dubai has featured a brilliant and enthusiastic cast of writers, curators, historians, artists and academics who have given us their time and energy to help both teach, and debate what a part-time art school in the UAE can be. We’d also like to thank the participants of both Membership and Core classes, for throwing themselves wholeheartedly into this programme. And finally, our thanks and appreciation to our education programme partner, Dubai Culture and Arts Authority, and also to d3 Dubai Design District, for their support.

— Antonia Carver and Lee Xie

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0.Undo a Recipe A list of ingredients No instructions to go with it

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Automatic Achievement / 10 seconds

1 person (Emirati, preferably female) Cultural iconography

Choose an icon.

Apply.

Submit.

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1.Undo a Recipe Rip out a Recipe from this book.

Place it under a hot cup.

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Chopsticks / Variable. Dependent on the dexterity of fingers

Photocopy/print of Roland Barthes’ book on paper Acid-free glue 2 bamboo sticks

Cut the print into small pieces with the help of a scale. Paste them onto two identical bamboo sticks with acid-free glue and enjoy your meal with chopsticks that won’t harm or ruin your food.

Persepolis

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/ 8 years

Tent city; star-patterned cluster of 54 circular pavilions, 54 Tents; prefabricated plywood structures, forty-two feet in diameter and 20 feet in height, with recessed red entrance, air-conditioned with sitting room, two bedrooms, two bathrooms and service room, covered in sand-coloured sailcloth trimmed with Jansen’s characteristic Baroquestyle tabs or tongues of contrasting light blue, Interiors, Jansen, styles ranging from Louis XVI to contemporary, Carpet portrait of the tent’s main occupant by Iranian carpet weavers using official photographs as models, Linen and towels, Porthault, Toiletries, Elizabeth Arden, Multilevel fountain at the centre of tent city, modeled after the fountains of Versailles, Tent of Honour; 34 feet in diameter, Walls of red Italian silk damask with continuous gold-trimmed valance, 8 Empire-style chandeliers made of ormolu and Bohemian crystal hanging from a gathered ceiling of golden voile, Cerise moquette (a smooth woven wool fabric) flooring, Rococo furniture, Appliqués, Mirror-adorned paneling in white and gold, Grand Banqueting Tent; 223 feet by 79 feet, Walls, draped with blue faille (a slightly rib-textured silk) 187-foot long serpentine banqueting table decorated with scroll-patterned gold embroidery,

Backdrop, elaborate white-fringed swags, festoons, and canopy-capped doorways of gold-embroidered blue velvet, Embroidered and bejeweled representations of a peacock, behind the host’s chair Ceiling, pink, with 12 coffered recesses, each with suspended giltand patinated-bronze triple-tier chandelier and stylised branches in the form of acanthus leaves, 40 round tables, with Louis XIV-style curule-base chairs upholstered in sky blue velvet, Dinner service, Blue and gold Limoges, bearing the crest of the imperial family, Crystal, Baccarat, 92 serving platters anchored with taxidermy peacocks, Catering, Maxim’s de Paris, Oeufs de Cailles Aux Perles de Bandar Pahlavi Vin nature de la Champagne Château de Saran Mousse Queues d’Ecrevisses Sauce Nantua Château Haut-Brion Blanc 1964 Selle d’agneau De grands plateau Farcie et rotie dans son jus Château Lafite Rotschild 1945 en Magnum Sorbet Au viewx Champagne (Moët 1911) Paon à l’Impériale Paré at entoure de sa Cour

Salade Composée selon Alexandre Dumas Musigny Comte de Vogüe 1945 En Magnum Turban de Figues Garni de Framboises Au Porto Dom Perignon Rosé 1959 Cuvée Rarissime Cognac Prince Eugène Réserve des Caves Maxim’s Son et lumière show, Fireworks, Performance, Iannis Xenakis’ specially-commissioned Persepolis, Parade with men of the armed forces in period costume Grand Banqueting Tent II, Inserts of printed paisley-patterned cotton, Contemporary banquettes, Upholstered chairs, Tables, lavender and yellow drapery Imperial household gala uniforms, Lanvin, Imperial household gowns, couturier Jean Barthet, 250 guest limousines, Mercedez-Benz

Arrival In the middle of October 1971, sixty-two heads of state or their direct representatives converged on the airport of the fairytale city of Shiraz, set in the desert, beside the Persian Gulf. In a patchwork of colour, in a whirl of salutes, bows and curtsies, familiar faces on the world scene stepped out of their aircrafts, over red carpets fringed with guards of honour, into the welcoming Persian sunlight. It was just like this. Too much was happening to pick out the details; for all the arrivals, ceremony protocol had to be carefully observed.

None who were there saw it all. And so began one of the most historic

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Persepolis

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/ 8 years

cultural gatherings the world has ever seen. The flags of the guest nations flew in salute as the VIPs flew in. This was no party of the year. This was the celebration of twenty-five centuries.

Banquet It is not often that a state occasion like this has been shown to the world, not often if ever, but so many leaders of states have been gathered together simply to honour an anniversary in the history of a civilization.

In the state reception room at the royal pavilion at Persepolis, move people who influence the destiny of mankind.

The order of precedence, the etiquette of who sits

where, and who meets who for dinner, calls for all the skills of diplomacy.

“Your majesties, honourable presidents of republics, highnesses, imminences, excellences, ladies and gentlemen,” the Shah was proposing the toast to his guests, look at some of them.

“In our gathering this evening, past histories link with the realities of today. Such a bond of past and present, achieved by understanding and friendship, is surely an omen of good.”

Flame of Persia The celebrations were a signal that the ‘Flame of Persia’ was burning again. Great nations

come and go. A century ago, Persia had been of no importance, except to historians, romanticists and students of archaeology. Look at her now. She is making her challenge to join the new world… She is moving fast at heavy industry. The country has to do a lot yet to catch up with the industries of the Western world but one of the wonders of her, is that this old sleeping beauty, is now awake.

As narrated by Orson Welles in Flame of Persia

References: Abbott, James Archer. Jansen.

Acanthus Press: New York. 2006.

Flame of Persia. Dir. Golestan, Shahrokh. 1972. Tehran Ministry of Culture and Art, 2013.

Stevenson, Michael. Celebrations at Persepolis. Zurich: JRP/ Ringier, 2008

To Cook is to Compute

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/ This is a near-infinite recursive recipe

Intent [The essence of the dish] Variables [The ingredients] A System of Interactions [How the ingredients come together] Evaluation Criteria [Innovation, presentation, and taste profiles]

In his seminal 1995 book, Being Digital, Nicholas Negroponte, founder of the MIT Media Lab, referred to an already undergoing cultural shift as being one that moves from atoms to bits. Today, to state that computation has universally pervaded all human activities and aggressively displaced an archaic mechanical worldview, is far from being an understatement.

In architecture, art and design, amongst other creative practices, this is more evident with each passing second. However, there still exists an air of mystery around applied computation. Fortunately, the mystery is slowly dissipating.

My endeavour is not so much a call to arms as it is the stating of the obvious and a late one at that, given Negroponte’s comments two decades ago. A different kind of literacy continuously shapes the way we live and navigate our environments. This kind of literacy is driven by moving past using black box interfaces and directly interacting with computers through various programming languages. While programming languages are relatively new, computational thought processes are not novel.

Understanding that we have always been a computationally structured species has the

potential to demystify this different kind of literacy, subsequently allowing for further novel and creative practices to emerge.

For example, to cook is to compute.

When one decides to cook, it is safe to assume that a decision of what to cook follows fast. When adopting a computational attitude in art and design, discipline-driven intentions have to be laid out for computationally generative methodologies to actually drive said disciplines beyond their boundaries. Intent can be conceptualized in answering a key question: What is one

To Cook is to Compute

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trying to achieve?

As with all creative disciplines, intent might not be clearly defined at the outset, especially when one is thinking, operating and producing in computational modes that might appear alien to one’s discipline at first. However, a return to the disciplinary foundations when laying out intent will invariably transform archaic disciplinary shackles through cross pollination with a computational worldview. In short, what is the essence dish one is attempting to cook?

When intentions are made clear, variables need to be developed.

Variables have both, an

identifier or a name, and a value attributed to the name. Looked through a culinary lens, variables are ingredients, and how much of said ingredients are to be used.

Variables are plugged into an environment with very specific rule-set, or System of Interactions.

To conceive of the world computationally is to design a series of linear and nonlinear interactions between a finite number of variables. A computationally systemic worldview allows for the generation of a near-infinite number of variations that all respond to the initial disciplinary intent that has been laid

out at an earlier stage.

In essence, these are the complex and dynamic chemical reactions that take place while cooking.

The success of a dish is defined by many criteria including innovation, presentation, and sometimes most importantly, taste profiles. The key constant in the establishment of evaluation criteria is its relationship to initial intent. When faced with a near-infinite number of variations and answers generated by a complex system of interactions, evaluation criteria must be established.

A 16c festival, Ottoman style

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/ Approximately 2 months

Sultan Murad III Prince Mehmed III Hippodrome (At Meydanı) and neighboring Ibrahim Pasha Palace, situated at the heart of Istanbul Festive mood on the occasion of circumcision of the Prince Mehmed III, known as, Imperial Festival (Sûr-i Hümâyûn) Viziers and other high-level statesmen Religious groups Scholars and professors Foreign rulers and ambassadors Imperial procession of approximately 200 guilds including coffee-makers, kebab-makers, confectioners, barkeepers, blacksmiths, locksmiths, needle-sellers, shoe-makers, weavers, manufacturers of musk-scented soap, farmers, bath-keepers, and others Christian and Jewish guilds 500 janissaries 500 Tulumcus Sufis of Eyyub-i Ensari Veterans of Rumelia Protocol registries 500 cooks per day Banquet İznik-style glazed tile plates and bowls Scattering of gold Fireworks Performances including musicians who play instruments including çenk, def, ut, rebab, santur, nefir, zurna and kanun Singers and dancers Rope-dancers Sport competitions including

wrestling, archery, javelin throw, horse riding and races War performances with castle décor Last but not least, the court miniaturists (nakkaş)

Plan the festivities, banquets and entertainments carefully and invite the rulers of France, Spain, Venice, Persia, Morocco, Mecca and others to the circumcision of Prince Mehmed III, a year in advance / Make sure you have all the ingredients at the Hippodrome, Istanbul to celebrate the Imperial Festival / Watch the Sultan scatter gold entering the festival site on a horse with highlevel statesmen walking ahead, and arrive at his throne in the Ibrahim Pasha Palace. / Let the Prince kiss his mother’s hand and receive her blessings (do not forget his glamorous red kaftan!) / Watch the Prince arrive

at the festival venue, more scattering of gold / Let the Imperial procession begin and festive mood spread throughout / Allow the rulers of foreign lands and/or their ambassadors present precious gifts including carpets, fabrics, jewelry, books and others to the Sultan / Have the guilds also proceed and show their skills the Sultan and present him with various gifts, such as the Süleymaniye Mosque maquette or décor of Turkish baths by the guild of bath-keepers / Smell the most beautiful coffee smell spreading from the coffee-maker’s booth / List gifts with value of gifts with the imperial protocol registries / Add more dynamism to the

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Hippodrome through sports events such as wrestling, music and dance performances and others performances / Make sure to alternate these festivities to avoid any monotony / Enjoy the fireworks during evenings for an even more exciting festival / Prepare a banquet for all, serving meat, rice and bread on Iznik-style plates / Have the public fight over food / 500 tulumcus try to keep order and also entertain / Allow the Sultan to enjoy himself while watching the fight from his throne and then have him extend the festival for a little over a week on the 40th day / Have more activities including javelin throw, horse riding and races

/ Also, have more gold scattered to show the Ottoman generosity and might / Finally, do not forget the commissioned court artists – they should create the magnificent Imperial Festival book called Sûrnâme-i Hümâyûn and document the most ‘delicious’ festival of the year.

Suggested Bibliography: And, Metin. Istanbul in the 16th Century. Istanbul: Akbank, 1994.

Atasoy, Nurhan. 1582 Surname-i Hümayun An Imperial Celebration.

Istanbul: Koçbank Publications, 1997.

Atıl, Esin. ‘The Nakkaşhane” in The Age of Sultan Süleyman the Magnificent. Washington: National Gallery of Art; New York: H. Abrams, 1988, pp. 29-111.

Çağman, Filiz and Zeren Tanındı.

The Topkapı Saray Museum The Albums and Illustrated Manuscripts.

Edited by J. M. Rogers. London and New York: Thames and Hudson,1986. Çalış, Bahar Deniz. ‘Ideal and Real Spaces of Ottoman Imagination:

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Continuity and Change in Ottoman Rituals of Poetry (Istanbul, 14531730)’ (PhD Dissertation), Ankara: Middle East Technical University The Graduate School of Natural and Applied Sciences, 2004 Erdoğan, Sinem. ‘The Nakkaşhane’ in Tarih. Vol. 1 No. 1., 2009, pp. 37-69.

Karakaş, Sakine and Fatih Rukancı. ‘The Miniature Art in the Manuscripts of the Ottoman Period (XVth – XIXth centuries)’ http://www. melcominternational.org/wp-content/ content/past_conf/2008/2008_papers/ Rukanci&Karakas.pdf Korkmaz, Gülsüm Ezgi, ‘Sûrnâmelerde 1582 Şenliği’ (1582 Festival in the Imperial Festival Books) (MA Thesis), Ankara: Bilkent University Turkish Literature Department, 2004.

Ocak, Derya. ‘XVI. Yüzyıl Osmanlı Şenliklerinin Siyasal Boyutları ve Gündelik Hayata Etkileri’ (The Political Aspects of 16th Century Ottoman Festivals and their Impact on Daily Life) (MA Thesis), Ankara: Ankara University Institute of Social Sciences, 2006.

Surname-i Hümayun, ca. 1582, Topkapı Palace Museum, Istanbul.

Stout, Robert E. ‘The Sur-i Humayun of Murad III: A Study of Ottoman Pageantry and Entertainment’ (PhD Disserttation), Ohio State University, 1966.

Tanındı, Zeren and Julian Raby.

Turkish Bookbinding in the Fifteenth Century: the Foundation of an Ottoman Court Style. London: Azimuth editions on behalf of l’Association Internationale de Bibliophile, 1993.

Terzioğlu, Derin. ‘The Imperial Circumcision Festival of 1582: An Interpretation’ in Muqarnas: An Annual on Islamic Art and Architecture, Vol 12, 1995, pp.

84-100.

Yerasimos, Stephane. ‘The Imperial Procession: Recreating a World’s Order,’ 2, 7, http://www.webcitation. org/query?url=http://www.geocities. com/surnamei_vehbi/yerasimos. html&date=2009-10-25+22:34:18

A Recipe for a Day of Food & Fun

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Dubai, UAE is a place where everyone wants to be – but how well do you know your way to having a good time in this city?

Here is a recipe for a full day of food and fun as recommended by two young Emiratis in the know, Eisa Al Serkal and Abbas Al Abbas.

Such a day requires no more than 1,500 AED, a reliable mode of navigation such as google maps, or a driver who knows where he or she is going. All set? You’re ready to go!

Friends 1 Camera 1,500 AED A Swimsuit A fancy outfit for the evening A magic pill that will diffuse the fat out of you by the end of the day!

7:00- Wake up bright and early and prepare yourself for a full day of food and fun. Have your camera fully charged and bring an empty SD card. If you like analogue photography, good luck carrying film rolls around. #digitalalltheway 7:30- Leave house at 7, head to Al Raslaan Café, Al Aweer.

8:00- You should be at Raslaan by now! Order a plate of Chbab Bread with Honey & Kraft Cheese. #doseoftradition 8:10- Leave Raslaan & head to the Al Aweer desert area for a sandy experience.

8:30- You should have arrived by now, just park your vehicle on the side of the road, stare at the

dunes and have a Bedouin moment - don’t forget to take selfies. #bedouintime 8:45- Okay you’ve had enough of the sand, now head to Al Khour!

9:25- Have a look at the past, these old barren boats were how we moved around before (from #Dubai to #Deira or the other way round) 9:35- Visit the old Gold Souq in Deira! - cross over using the Abra.

9:45- Shop, shop and shop some more. These traditional items are hard to find anywhere else!

Take more #selfies for instagram. #tradition #souk 10:15- Now head to Halwat Mubarak, a shop that lies within the Gold Souq, and get yourself

some of that Halwa. Don’t eat the Halwa just yet; there will be a time for that later!

10:30- Leave the Gold Souq and head to the Dubai Women’s Museum, take a tour around and soak up all the history and the art (you don’t want to miss this).

11:00- Check out the coffee shop that’s located at the museum and have a cup of traditional Arabic coffee. Now take out your Halwa and let the flavours mingle in your mouth for a bittersweet explosion! #yummyinmytummy 11:25- Head to Atlantis, The Palm Jumeirah.

12:00- You should be here by now! Check out the aquarium!

12:20- Now head to the

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Dolphin Pool & enjoy an experience with the smartest animal in the sea!

1:20- Alright, enough of the aqua-activities, time for lunch. Head to Saffron Restaurant (on the same premises) for a meal to remember!

2:20- Remember, a moment on the lips, a lifetime on the hips, let go of those calories.

Grab your car and make your way to Al Serkal Avenue for a dose of creativity you’ll never forget! Remember, talk to the people in the gallery, they will always have time to show you around and explain the art. #creativetime 2:45- You should have reached Al Serkal by now!

Just absorb the creativity

and submerge yourself in this sea of inspiration. #inspired 3:15- Drive to Downtown Dubai Mall, near Vida Hotel for some Segway action!

3:35- Now grab a Segway and begin moving around… more #selfies.

4:35- Enough Segwaying, if that’s even a word. Lets take a walk to Gerard at Burj Plaza.

4:45- Great, now let them take your order for a large full fat ‘Three Colours’ cup of liquid love, and maybe an Almond Croissant if you’re feeling particularly peckish! #yummyinmytummy 5:05- Let go of that Croissant and grab a ride to Top Chef Dubai! (remember to book this in

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advance) 5:30- You should have arrived at Top Chef Dubai by now. Time to cook your life’s dream!

6:30- Okay, put the pan down and head to DIFC and grab a snow cone. Strawberry flavor HIGHLY recommended!

7:00- You should have reached DIFC by now, don’t forget the snow cone. For an hour just walk around, in circles if you must, and if you haven’t had enough of art, go around to the galleries.

8:00- Time to hit that 4000 calorie mark with dinner at Roberto’s in DIFC! We recommend the Salmon Fillet or the Risotto!

9:20- Put your fork down and start planning your #detox for next week.

#notkidding! Grab your car and head to Dubai Mall (preferably the underground entrance).

9:45- You should be at Dubai Mall by now, just head to the Burj Khalifa pathway and climb right up. #nowimkidding, I’m pretty sure there’s an elevator (again, this should be booked in advance).

9:50- You’re officially at the top of the Burj Khalifa, enjoy the view!

10:20- Head back down and grab yourself a nice little memento from the gift shop, you’re going to want to remember this trip!

10:30- Go home. Your journey has ended. Sleep well and have sweet dreams, you will need them.

An Aperitif to Cleansing

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/ For two – six or more

This recipe can be created for one, but is simple enough to adapt and enjoy with as many guests as you like. In its traditional form there is great emphasis on using water for its cleansing properties, but this ingredient can be exchanged for preferred alternatives that bring comfort to the individual.

Decide on a public or private space where you can come together with your guest(s) and feel at home.

25 ml of drinking water or preferred alternative. (If using water, it is important to use the most natural water you can find.

If you are able to use fresh spring water, this is perfect).

A well loved drinking vessel of your choice Lightweight paper (cigarette papers will do) or rice paper, preferably trimmed to fit the oval shape of a tablespoon A pen / icing pen or drawing implement of your choice A pinch of brown sugar (unaccompanied paper is bitter to taste) 2-3 concise sentences that focus your experiential or existential thoughts to make one change for the better

As host you must lead the ceremony; setting up individual places with water, paper and pens.

With more, it is much nicer and convivial to use rice paper and icing pens.

The group should try to sit in a circle. Guests can begin their aperitif when everyone is seated.

Season with silence.

Prepare individual guests to still their mind and body. Spend time silently reflecting, contemplating

and diagnosing internal and external ailments and afflictions in process at this current moment in time. Invite your guests to be honest and open in the witness of others and ask “does anyone want to share ailments and afflictions for healing transformation to take place?”

Individuals can share their thoughts and feelings around the circle. The host acts as mediator while each guest listens in turn. If one common change for the better is apparent then everyone can use these collective thoughts, feelings and images as a focused change to be released.

The host will bring the group together and signal a time to collectively commence sharing expressive thoughts. When the guests are ready, they use the pen to express all thoughts, feelings, words, and images upon the paper. They can explore this in whatever form they like, although it must be a meaningful response. Once finished all participants place the paper in the palm of their writing hand.

The Host asks the collective: “Are our minds and bodies physically free?”

The collective response

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is “YES” before proceeding.

this current time, we do this to heal the world”.

The host makes the declaration: “We will prepare our bodies as vessels of empowerment.

We will disembody current thoughts and feelings, let go, and allow our physical forms to be free”.

The group responds in unison “We release internal and external ailments and afflictions in process at this current time, we do this to heal the world”.

The host states “Lets all take a sip from our chosen ampule. Place the intention (paper) inside your mouth and swallow.

Drink from the ampule until the intention (paper) is washed down.

The host declares “We release internal and external ailments and afflictions in process at

Leave to digest for 4-6 hours.

Serve cleansed.

2.Undo a Recipe Is there an antonym for the word Recipe?

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Dinner at Bu Qtair

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/ As you walk away from the table, you’ll wonder, “How did it get so late so soon?” - Dr. Seuss

A friend An evening A love of sea-food The city of Dubai brings to mind adjectives in their superlative form.

Millions fly in each year to see the world’s tallest, largest and fastest, expecting the emirate to embody notions of ‘world-class’ and ‘cosmopolitan’. And Dubai rarely disappoints.

In the meantime, the man-made haven and its selection of the world’s finest malls, hotels and restaurants serves as an unlikely backdrop to a parallel culture developed behind the glamorous scenes – the cafeteria culture.

Stepping away from the main streets, one may come across an assortment of seemingly humble establishments with surprisingly extensive menus and a loyal clientele. They will serve you everything from a vegetable kuruma to ‘chicken lollypop’, and surprise you with an original approach towards naming their meals and drinks. These are places where you can have a ‘Khaleej Burger’ for lunch and wash it down with a ‘Titanic’ cocktail.

Several such cafeterias have managed to find a dedicated niche in a competitive market, make a name for themselves, and are able to survive on the loyalty of their customers and on the word-ofmouth marketing. A fine example

is a little sea-food shack located in the Jumeirah district, visually appearing to be a glaring misfit in the poised, Truman-show-like neighborhood, yet attracting crowds everyday and compelling them to line up in queues that go on for meters. This is a place that despite its unimpressive scale and shabby appearance has earned itself the status of a tourist attraction.

Tonight we dine in Bu Qtair!

Stripped of almost all the usual comforts of a restaurant, Bu Qtair will welcome you with neither a menu, nor a pre-planned seating arrangement.

Walk right into the shack and find out what the ‘catch of the day’ is. The wait to place your order can be a long one, so it would be handy to have a friend hold your place in line while you check out the miniature premises.

Tip: You may want to arrive a little before 6 pm, when Bu Qtair opens its doors, to beat the crowd.

The space is divided into a waiting area and an open kitchen, demarcated by a counter stand. A bucket with marinated

prawns and a tray with fish are placed behind the counter, and customers are asked to specify how many kilograms (!) of each they would like to have. The smallest serving portion is a quarter of a kilo, or as big as the smallest fish. After jotting down your name on a little card, the waiter will pass your order of seafood into the depths of the kitchen to be deepfried.

Tip: When asked for you name, do not hold back, be creative. I was preceded by a Shakira and followed by Sajid & Wajid.

After having ordered your dinner, step outside and

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sit on one of the plastic stools that would have appeared on Bu Qtair’s grounds by now. Do not take a place at a table yet!

Those are only meant for customers whose orders have been prepared and are ready to be served. As the evening progresses, more and more plastic tables and stools appear seemingly out of nowhere, and as meals are brought out, stray cats begin to survey the premises.

Your name will be called out very loudly, and as you take your place at the table, you will be served curry sauce and chopped cabbage along with your order of fish and prawns.

A side of rice or paratha?

Once seated, ask for these essential add-ons. Dig in, use your hands (do not instagram).

Bon Appetit!

3.Undo a Recipe Recipe Ctrl.

Z

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Making Concrete

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/ 10 seconds

Portland Cement (Type I or II) Masonry sand Aggregate (Gravel or crushed limestone) Water

Mix Portland cement and sand at a 1:2 or 1:3 ratio in your mixing container.

The 1:2 ratio will yield concrete with about a 3500 pound per square inch compression stress.

The 1:3 ratio will yield somewhat less than 3000 PSI, which is typical for house slabs, footings, and sidewalks.

Add gravel or crushed stone to the dry mixture at a ratio of as much as 5 parts gravel to 1 part cement and sand mixture.

The gravel doesn’t affect the tensile strength of the concrete unless you add so much that there isn’t enough cement paste to fill the voids in the finished concrete, and it merely acts as a filler, taking up space. Adding too much gravel can make it difficult to get a smooth finish surface on the cured

concrete. Normal ratio is 1 part cement, 2 parts sand, and 3 parts gravel.

Begin adding water to the mixture slowly, mixing continuously until it becomes plastic enough to place in your form.

The plastic character of the concrete is measured in “slump”, which is determined by filling a metal “slump” cone with the mixed, wet concrete, and lifting the cone off gently, then measuring how far the concrete sagged, or slumped. In inches, the typical “slump” of good structural concrete is about 3 or 4 inches.

Mix the concrete until it is uniformly and thoroughly mixed, and continue mixing for 2 or 3 more minutes to begin the process of hydration,

which ultimately is what causes the concrete to harden.

Finger Crochet DIY

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/ Requires patience

To start, use a lengthy piece of dental floss (60-90cm for a comfortable process with good results). The instructions are geared towards a right-handed person. For a leftie, all the directions should be performed using left-hand fingers.

For better results and to ensure smooth movement while making a chain stitch, it is recommended not to tighten the strand throughout the process.

Tie a knot on one of either end of dental floss and tighten it softly around your index finger (ref: 01,02).

Once tied, keep the shorter end close to your right hand thumb and middle finger to avoid any annoyances (ref: 03).

Place the longer end on your left and proceed; roll the longer strand on your index finger, right in front of the first knotted strand (ref: 04).

Once adjusted, pull the knotted strand above the newly placed strand (ref: 05), pull your index finger and hold on to the longer strand with your left hand thumb (ref: 06,07).

You have created the first stitch in your chain stitch.

Continue rolling over the longer strand and pulling over the previous one (ref: 08,09) until the longer strand comes to an end (ref: 010). Once there is no room to create any more stitches, create a knot and tighten (ref: 011).

Now that you have finished creating your chain stitch, you can use it to floss your teeth.

Depending on how tight the stitches are, you may be able to place the stitches between and around two or more teeth at a time. (ref: 12)

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By using essential themes such as language, symbolism and identity, she tries to grasp culture. Transformed into art, culture becomes an ornament. At that moment, lots of memories and associations, which are inherent to the phenomenon, come to the surface. Her work demonstrates how culture extends beyond its own subjective limits and often tells a story about the effects of global cultural interaction over the latter half of the twentieth century. It juxtaposes traditional and modern elements as a continuous reconstruction of the Emirati identity in the age of globalization. With a conceptual approach, she tries to explore a wide scale of subjects in a multi-layered way, likes to involve the viewer in a way that is mostly passive and believes in the idea of function following form in a work. Her works focus on celebrating elements of Emirati tradition and creating a dialogue between form and content and the dysfunctions of language. In short, the abundance of clear references are key elements in the work. By investigating culture on a meta-level, she tries to create narratives with an inherent nostalgic atmosphere, bridging the gap between traditional and modern culture. The drama unfolds elsewhere while the build-up of tension is frozen to become the memory of an event that will never take place. At times, disconcerting beauty emerges. The inherent visual seductiveness, along with the conciseness of the works, further complicates the reception of their manifold layers of meaning. Her works directly respond to the surrounding environment and use everyday experiences from her life as a starting point. Often these are framed instances that would go unnoticed in their original context. By emphasising aesthetics, she touches various overlapping themes and strategies. Several reoccurring subject matter can be recognised, such as the relation with popular culture and media, working with repetition, provocation and the investigation of the process of expectations. Her works question the conditions of appearance of an image in the context of contemporary visual culture in which images, representations, signs and ideas normally function. By studying and exploring sign processes, communication and signification, she seduces the viewer into a world of ongoing equilibrium and the interval that articulates the stream of daily events.

Moments are depicted that only exist to punctuate the human drama in order to clarify our existence and to find poetic meaning in everyday life. Her works are given improper functions: significations are inversed and form and content merge. Shapes are dissociated from their original meaning, by which the system in which they normally function is exposed. Initially unambiguous stereotypes are shattered and disseminate endlessly.

By putting the viewer on the wrong track, she makes work that generates diverse meanings.

Associations and meanings collide. Space becomes time and language becomes image. Her works often refer to pop and mass culture as a reflection of her identity.

A world where light-heartedness rules and where rules are undermined is created.

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Fideua

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750 gr. tunna fish (Euthynnus affinis) 750 gr. hammour (Epinephelus malabaricus) 750 gr. squid, cleaned (Illex argentinus) 1 kg. small clams (Amiantis umbonella) 750 gr. large shrimps, cleaned (Penaeus monodon) 3 litres stock, fish, shrimp and vegetables 1 big onion (Allium cepa) 3 zucchini (Cucurbita pepo var. cylindrica) 2 leeks (Allium ampeloprasum) hammour head and bones shrimps shells 6 medium tomatoes (Solanum lycopersicum) 5 cloves garlic (Allium sativum) 2 dry red pepper pods 1 large red bell pepper (Capsicum annuum) 1.5 kg vermicelli pasta 1/2 teaspoon saffron threads 200 ml extra virgin olive oil 3 bay leaves allioli olive oil, lemon juice, salt and garlic salt to taste

Good knives and patience are important.

Fideuà is a variation of paella cooked in a similar fashion but with noodles. A popular belief in Arabic-speaking countries is that the word paella derives from the Arabic word for leftovers, baqiyah (Arabic script: ‫)بقية‬, because it was customary among the servants of Moorish kings to combine the leftovers of a banquet for royal guests, purportedly leading to a paella-like creation in Moorish Spain.

We will start by preparing the fish and vegetable broth, which will be added to the paella pan when the other ingredients are ready. To prepare the broth, first put 4 to 5 L of water in a big pan. Then add the hammour head and bones, the onion, the zucchini, the leek and 12 prawn heads.

Bring to the boil and simmer for at least one hour. Add water when necessary.

Cover.

Once the head is well cooked and coming apart, turn off the heat. Throw away the hammour head and bones. The prawn’s heads and vegetables must be whipped.

It is very important to strain the broth carefully several times to ensure there are no bones left. Put the broth aside for later.

While the broth is cooking, we can prepare the rest of the ingredients. So let’s start now with the main part of the dish.

Wash and slice all the ingredients. The ingredients will be added according to the cooking time. We will start with the squid, because squid needs more time to cook and to become soft.

Use your biggest pan. Slice the garlic into very small pieces to perfume the “sofrito” (sauce used as a base) without burning it.

Put plenty of oil in the pan and add the garlic. Be careful not to cook it too much, as garlic can be browned quickly and we do not want it to be browned. Around 20

sec over a medium heat will be enough. The squid can be sliced into rings, but it is better to cut it into irregular pieces because it looks better and it is easier to eat and chew.

Squid rings are usually too big. Increase the heat and add the squid and salt. Stir.

The red bell pepper should be sliced into very small pieces. Cook the squid for a couple of minutes and then add the red pepper. Cook at medium heat until the pepper is brown and soft.

The ñoras (dry pepper) need to be soaked overnight. Separate the rehydrated meat of the ñoras with a spoon and add to the pan.

Peel the tomatoes, throw away the seeds and grind the flesh. Add to the pan. Stir.

Now add the bay leaves and saffron. Three or four bay leaves is enough, depending on their size. Two portions of saffron strings should also be enough. Add salt, but not too much, we can always add more later.

Lightly fry the diced tuna separately in other pan. Do the same with the grouper, since it is a soft fish and we don’t want it to fall apart. Brown it a bit to crust it. Fry the clams with a little bit of oil and garlic.

This way we can separate the closed clams from the open ones, as closed ones are not good to eat.

Once the tomato is ready with the squid and garlic, add the tuna, the clams and the grouper. Do not stir the mix too much because the fish will come apart.

Now add the broth and leave it to settle for a couple of minutes so all the flavours can mix. Now you can prepare the noodles.

Use the paella dish in which the fideuà is going to be served. Put plenty of virgin oil on it. Once the oil is hot, add the noodles.

The idea is to brown the noodles a little before adding the other ingredients. The noodles will become crispy and give colour to the dish.

Once the noodles are brown, add the rest of ingredients that are already mixed into the broth. Add the peeled prawns. It is much better to add them at the end because they require a very short time to cook.

Wait for the noodles to cook and absorb all the broth liquid. Distribute the ingredients around the paella dish. Add water and salt if needed. You can decorate the fideuà with some whole unpeeled prawns. Once the noodles are ready, remove them from the heat and add lemon slices and a bit of parsley.

Now while the fideuà settles, we will prepare the allioli.

Put the garlic cloves in a bowl. Mash them for several minutes to get a very smooth mixture. Do not use an electric blender.

Add the egg yolk and 2 pinches of salt.

Mash until the mixture is thick.

Drizzle in the olive oil very slowly and blend. Pound the mixture, while adding the lemon juice. The sauce must remain quite heavy. Add salt if needed.

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Glossary

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Emirati – A person from tribes originally found in the area which is now the U.A.E., for example the tribe of Bani Yas. Many Emiratis are also of Persian origin as these families moved from Iran to the U.A.E many years ago.

Roland Barthes - (1915 – 1980) was a French Literary Theorist, Philosopher, Linguist, Critic, and Semiotician. * Documentary for the Shah ** Book on 20th century decorators *** Book on the recreation of tents for Basel 2008 The MIT Media Lab - Their logo can create 40,000 logo shapes in twelve different colour combinations. This inspiringly bright, active and very happy logo like many of the projects at the lab is ahead of traditional media.

Circumcision - is probably the world’s most widely performed procedure.

Approximately one-third

of males worldwide are circumcised, yet the origin of circumcision is not known with certainty; the oldest documentary evidence for it comes from ancient Egypt but predates even that.

Analogue photography – Usually refers to photography that is “not digital.” In ancient times, humans had to use a photographic film or plate to capture an image (using chemical techniques).

This “film” we speak of was finite and had to be changed to capture more images. Filters to these ancient photographs had to be applied during the process of making the image and had to also be applied manually. The complication of this archaic activity meant that not anyone could easily be a photographer.

Free – adj. able to act at will; not under compulsion or restraint.

Dr. Seuss is the pen name of the author of many

childrens’ books which usually revolve around a moral. The moral of this story being: Bu Qutair is a horrible terrible place, where one shouldn’t show their face. The decent local hangouts are few so residents attend this place in lieu of shiny crowd pleasing tourist traps.

Recipe – please view said recipe for disclosure of said intervention as a situational break from the ag nda and c nstruct of the f rmat in of a r c pe yet still within the ctu l gu dl ne of a r cip nd t’s c nv nt n.

Cement – The Romans used concrete extensively from 300 BC to 476 AD. After the collapse (of the empire, not the concrete structures) it became scarce until the technology was re-pioneered in the mid-18th century. The Colosseum was built largely of concrete, and the concrete dome of the Pantheon is the world’s largest structure of its kind.

Left handed - There has

been a rise in left handed people as there is a decline in the long-held belief that there is something wrong with being left-handed.

Many ancient beliefs and religions held that lefties were evil or sinister. This belief probably developed because the majority (right handed) used to clean themselves with their left hand thus it was seen as dirty and it trickled through culture as the “bad” hand.

Editor - An editor is a person who selects and prepares (in this case text and images) to convey information as a collaboration with the author(s).

Glossary - a glossary enables definition of other concepts.

Designer - to design is to organise formal elements into a composition.

Campus Art Dubai 2013 – 2014 Core Programme

TUTORS Umer Butt Aaron Cezar Scott Fitzgerald Salwa Mikdadi Uzma Rizvi Oraib Toukan Murtaza Vali Tirdad Zolghadr THANK YOU A4 Space Natasha Carella Rami Farook Geraldine Lee Hetal Pawani Celeste Rara

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Alicia Hughes Faysal Tabbara Ferwa Ibrahim Hasnat Mehmood Raja’a Khalid Ignacio Gomez İpek Ulusoy Akgül Maryam Al Qassimi Sara Al Haddad Sarah Holmes Suheyla Takesh UBIK Vikram Divecha Wael Hattar Wafa Hasher Al Maktoum Zarmina Rafi

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