Being an artist is not for the faint of heart - especially not financially

Grendizer 7ay fina - artwork by Tarek Chemaly

Larry Gagosian opened a gallery in Rome just for him to represent Cy Twombly.

But the lot of us are not Twombly, and rarely do we get to deal with Gagosian. Someone told me that famed gallerist Leo Castelli (yes, the man who launched the pop art movement to great heights) was "the best boss to ever work for". But again, artists rarely land on such a gallerist.

My first proper exhibition dates back to 2001 - it was a collective. The artwork was printed by someone else, and in January 2002 - I had my first solo. SupermARTket at the now defunkt SD Gallery. Long story short, artists need warehouses to keep their unsold work, because inevitably they are going to end with a lot of them.

One of the main reasons I moved to multimedia/digital art was because - even if lucky to live in a duplex house where I can store my unsold pieces (most of which thankfully is printed without being stretched on wood - which means I can easily roll it and store it). Just to be clear, I have no hick up about me not selling and having a backlog: A long time ago famed gallerist Saleh Barakat, during the opening of one of the exhibitions he was hosting, told me to look at the pieces shown, then he said even if they were great, they will not sell. And then launched the bomb "Tarek, there are artists who sell, and artists who don't, this artist does not". Well, just for you to know in all this life Vincent Van Gogh sold just one piece, in comparison I have sold more.

I know when I say multimedia art, it sounds snotty and pretentious. Believe me my art is not once you forego the original medium. In 2013 I had the pleasure of being the opening exhibition of the - again, defunkt - 392Rmeil393, as I was installing the work there was an installation among the lot. Fragments of a Grendizer (Goldorak) sculpture mounted on sets of old soft drink crates (both items stolen from original locations). 

The Syrian workers who were painting the gallery asked me what it was and I answered "Grendizer 7ay fina" (Grendizer lives in us - which is a riff on the Bechir Gemayel slogan after his assassination) and I explained that in the Arab world we needed both martyrs and causes for little or no reason. I think they laughed heartily for several minutes straight. At that moment I knew that the exhibition was going to be a roaring success - all right I sold nothing but the amount of people who visited was astonishing.

The leftover work is now stored upstairs.

But people fail to understand that as artists we need to pay (depending on the gallery) - a percentage of the sale of the works (which varies from 30% - a common number in Beirut - to 50 in places like New York), rent of the premises (sometimes electricity included, sometimes not), opening cocktail, this, that in addition to having our own list of people to invite on top of that of the gallery. Of course, the works need to be printed - sometimes framed - at the expense of the artist. 

I have a specific exhibition I would like to mount. And I am trying to fish for venues. I contacted one recently and - without delving too deep into the numbers, turns out I need between 4000 to 5000 Dollars for the exhibition. Considering that my work is digital to save on the expense of printing and eventually storing and therefore there is nothing to sell, it means all this is incurred from my pocket without any revenue.

No thank you. Because all this financial strain just does not make sense. Truly, being an artist is not for the faint of heart, especially not financially.

Lebanese International Solar Week Show

I already told you I moved to solar panels - which could have been my smartest decision in the last 4 years (here). The other day some "driveway philosophers" (as called by the wonderful Garrison Keillor) - including myself - gathered on my porch and we started comparing how many panels and batteries each installed, the efficiency of our system, if the participation to the communal generator was kept (mine was not) and apparently I was the only one totally off the grid (meaning not even Electricte du Liban turned on).

But all this to say how rampant solar power has become, and thankfully so. Is it efficient? Yes. Does it need wise use? Yes, especially during the winter storms. Is it money-saving? Despite the initial investment and compared to the obnoxious numbers Electricite du Liban and the generators are charging, yes it is.

Which brings us to the "Lebanese International Solar Week Show" at the Habtoor. I am not sure if a full such an exhibition is required but truth be told, perhaps some people still need converting. Also interestingly, there is no less than 4 different ads on the streets for different battery brands. By batteries I mean those rechargeable entities responsible for fueling your solar panels system.

It does say something when there are so many ads for the same kind of product on the market. And yes, the man who installed my own system is not even coping with demand at this point.

Memory Embodied: At the ASE - American University of Cairo

Memory Embodied is an exhibition at the intersection of the social and conceptual— the collective memory of ten artists from Cairo and beyond; (em)bodied. The exhibition opens on Friday, December 2nd, at 5 PM; then will run every day from 10 AM to 9 PM until December 15th at the Falaki Gallery, downtown Cairo.

This is a project by the ASE Association with the support of the Department of Sociology, Egyptology and Anthropology (SEA Department - AUC) at AUC The American University in Cairo. It was made possible through a School of Humanities and Social Sciences (HUSS) at AUC Interdisciplinary Grant.

Project Head: Walid Zarrad

Curators: Iman Afify and Azima Salama

Designer: Azima Salama

With the help of: Hanan Sabea, Ali Zaraay, and Ebrahim Bahaa-Eldin

Participating Artists: Nadine Ali, Walaa Yassien, Ruwan Hamdy, Azza Ezzat, Yasmine Abdrabbo, Walid Zarrad, Tarek Chemaly, Mariam Sabrah, Osman A. Young, and Maram Khenissi

Dear artists, galleries are a dime a dozen!

Artwork by Tarek Chemaly

Hmmm, why am I writing this at this time?

Because maybe there are no ads to talk about, and the reality is already bleak enough for the Lebanese to go on about more talks about daily life and banks and other morose topics. But also because, I am creating art very very seriously since last lockdown. Now that before my art was not being created seriously, but rather the whole theme came together and I am exploring it to the end of it (see here). Of course, you might ask - how do you make a living out of art? Well, the answer, as with my personal life: "It's complicated".

But then again, as with everything, I had a clear strategy. The last time I was represented by a gallery - that would be 2013 - which was a smash exhibition with the public though it did not sell (no shame in that, rarely anyone sells despite bragging of the contrary). Anyhow, my first gallerist had shoddy ethics, my second gallerist simply did not like my work, my third was young and inexperienced, and my fourth did not gel with my style (despite excellent ethics from his side). But you might say: Oh that's your personal experience Tarek, look at Gary Gagosian, he built a full gallery in Rome just to represent Cy Twombly (who happened to reside there!). Yes, but that's Gagosian and Twombly. 

Which brings us to. Ok smarty pants, what's your strategy? Since 2013, after that famed exhibition and basically my disillusion with the gallery world, I promised myself not to put any penny in the production of my art. And it worked. All the exhibitions which I have done since, were paid for by other institutions. Space? For free. Printing? For free. Cocktails? For free. Communication? By myself, ergo, for free (I took control of all the material surrounding my exhibitions since 2013). Because it case you did not know, artists produce, frame, rent, pay for the reception cocktail, are expected to mount and dismantle (with the help of the gallery staff), and on top (in Lebanon at least) are expected to give 35% of sales to galleries (50% in New York for example). Which basically means, once all costs added, makes exhibiting via a gallery a losing prospect.

Now, some artists participate in municipal exhibitions, or in gardens, or such venues, I have nothing against. this is their strategy and I respect it. But this is not the one I had set for myself. With strong emphasis on concept, on execution, on scenography, and overall presentation, it does not reflect well on my work to be immersed in such environments. Still, between Instagram as a showcase, my books, and other online presences (this blog included), I have established a solid identity as an artist and control my narrative very meticulously, something no gallery can match (actually, I went through the website of all of my previous galleries and I realized the sites no longer exist - all four galleries), which means had it not been for my own archives, there would be no traces of the exhibitions.

Now thankfully, all of my archive is neatly preserved. Now just the large amount of work, but also the "making of" section (which comes in handy when one wants to replace or redo an artwork), the exhibitions, the published books (and again the pages and images), the video art (frame per frame when hand-animated).... So there, the day will come when all of this will be asked for (by whom I know not!). But of this, am sure. And no gallery is going to take credit for that. 

They are a dime a dozen, trust me!