Art Dubai 2020: Why the Mideast’s leading art fair is turning to Africa 

An example of work by Kenyan artist Longinos Nagila, whose art will be at Art Dubai 2020. (Supplied) 
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Updated 14 December 2019
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Art Dubai 2020: Why the Mideast’s leading art fair is turning to Africa 

  • The artworks feature a selection of 55 galleries that aim to further the fair’s focus on expanding conversations beyond traditional art production centers
  • The 2020 edition will include 21 first-time exhibitors from Nigeria, Sudan and Vietnam

DUBAI: Art Dubai returns for its 14th edition in from March 25-28, 2020, with a fair that continues to build off Dubai’s pivotal location between South Asia, East Africa, and the Gulf, bringing together global perspectives from geographies often overlooked in the realm of international contemporary art. Next year’s edition presents 90 galleries from 38 countries, including 21 first-time exhibitors from Nigeria, Sudan and Vietnam.




Artist Hamra Abbas will present her work at the gallery. (Supplied) 

Artworks will be displayed across four gallery sections, including Art Dubai Contemporary, featuring a selection of 55 galleries that aim to further the fair’s focus on expanding conversations beyond traditional art production centers; Art Dubai Modern, curated by Sam Bardaouil and Till Fellrath presenting solo presentations by modern masters from the MENASA region; and Bawwaba, which means “gateway” in Arabic and is curated by Mumbai-based curator Nancy Adajania and showcases solo presentations by artists from, based in, and or focused on projects about the Middle East, Africa, Central, South and Southeast Asia and Latin America. 

All eyes are on contemporary art from Africa and Art Dubai’s new focus for its Residents section, which showcases solo presentations from invited galleries whose artists have partaken in a UAE-based art residency, further affirms this statement. “The curatorial intervention in this year’s Residents will be looking at geometry and pattern,” Malatsie told Arab News. “Our perception of the world follows a logic that is learnt through various institutional and societal norms. The curatorial intervention will use institutional and individual norms to make biases and learnt perceptions visible to those coming to the exhibition.”




Grosvenor Gallery will be at Art Dubai. (Supplied)

This year, Residents will feature presentations of artworks by emerging artists across the African continent, including Egypt, Ghana, Kenya, Morocco, Mozambique, South Africa and Sudan. The section will include London and Addis Ababa-based Addis Fine Art, exhibiting the work of Ethiopian artist Daniela Yohannes, Circle Art Gallery from Nairobi featuring the work of Kenyan artist Longinos Nagila, Accra-based Gallery 1957 presenting the work of Ghanaian artist Gideon Appah and SMAC with branches in Johannesburg, Cape Town and Stellenbosch, featuring the work of Wallen Mapondera from Zimbabwe amongst others.

“There is a natural progression in representation of art from the African continent at Art Dubai,” said Pablo del Val, the fair’s artistic director, to Arab News. “There are cultural and aesthetic connections that reflect in local social sensibilities and ideas and a significant community of African collectors based in Dubai. These relationships ensure that the art is contextualized, making it more powerful than if art from Africa were treated as an exception.” 


Saja Kilani shines at BAFTAs 2026

Updated 23 February 2026
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Saja Kilani shines at BAFTAs 2026

DUBAI: Palestinian-Jordanian-Canadian actress Saja Kilani, one of the stars of “The Voice of Hind Rajab,” stepped onto the BAFTA Film Awards 2026 red carpet in a sculptural look from Bottega Veneta’s Spring 2026 collection.

Nominated for Best Film Not in the English Language, Kaouther Ben Hania’s “Voice of Hind Rajab” tells the story of Hind Rajab Hamada, who was fleeing the Israeli military in Gaza City with six relatives last year when their car came under fire.

The sole survivor of the Israeli attack, who was then shot and killed, her desperate calls recorded with the Red Crescent rescue service caused international outrage.

Kilani plays Rana Faqih, the real-life Palestine Red Crescent Society volunteer who spoke to Hamada in the final hours of her life as she waited, surrounded by the bodies of her family, for help to come. 

Meanwhile, politically charged thriller “One Battle After Another” won six prizes, including Best Picture, at the British Academy Film Awards on Sunday, building momentum ahead of Hollywood’s Academy Awards next month.

Blues-steeped vampire epic “Sinners” and gothic horror story “Frankenstein” won three awards each, while Shakespearean family tragedy “Hamnet” won two, including Best British Film.

“One Battle After Another,” Paul Thomas Anderson’s explosive film about a group of revolutionaries in chaotic conflict with the state, won awards for directing, adapted screenplay, cinematography and editing, as well as for Sean Penn’s supporting performance as an obsessed military officer.

“This is very overwhelming and wonderful,” Anderson said as he accepted the directing prize. He paid tribute to his longstanding assistant director, Adam Somner, who died of cancer in November 2024, a few weeks into production.

“We have a line from Nina Simone that we used in our film, ‘I know what freedom is: It’s no fear,’” the director said. “Let’s keep making things without fear. It’s a good idea.”

Bookies’ favorite Jessie Buckley won the Best Actress prize for her portrayal of grieving mother Agnes Hathaway, wife of William Shakespeare, in “Hamnet.” Buckley, 36, is the first Irish performer to win the Best Actress prize at the awards.

She dedicated her award “to the women past, present and future who taught me and continue to teach me how to do it differently.”

Horror film “Sinners” took home trophies for director Ryan Coogler’s original screenplay, the film’s musical score and for Wunmi Mosaku’s supporting actress performance as herbalist and healer Annie.

The British-Nigerian actor said that in the role she found “a part of my hopes, my ancestral power and my connection, parts I thought I had lost or tried to dim as an immigrant trying to fit in.”