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This month marks a year since the coronavirus pandemic initiated a series of global shutdowns across art organisations. The immediate effect of the pandemic was a swift shift to digital programming: exhibitions became walk-throughs; fair booths became virtual viewing rooms; and Q&As became video chats. The amount of material made available online, as well as its uptake among the public, was overwhelming, fuelled perhaps by adrenalin and sublimated panic. “The digital sphere has always had this sort of secondary position, and people didn’t take it as seriously as they should - Krist Gruijthuijsen That flurry of initial activity has subsided, but the “new normal” is still emerging. What have been the effects of a year’s worth of online programming on art organisations, artists and audiences – and specifically for the Arab world? ....
Al Qassemi, who runs the Barjeel Art Foundation in Sharjah, pledged to make his collection of modern and contemporary Arab art representative of both male and female artists. He acquired a greater number of works by women artists, and then applied these changes to the display of the collection, which is on long-term loan to the Sharjah Art Museum. Titled A Century in Flux: Highlights from the Barjeel Art Foundation: Chapter II, the show now finishes its first year of gender parity – but the decision remains controversial. What happens when, instead of working towards an equal representation of men and women through incremental change, you leapfrog to its realisation? ....