François Morellet's 'Pier & Ocean', 2014, is part of Beyond, a collection of 14 large-scale sculptural pieces that spilled beyond the fair's main exhibition hall. An ocean of neon calm in an innocuous white box, the work pays homage to Piet Mondrian’s 1914 painting of the same name. Courtesy of Kamel Mennour

阿布扎比艺术公司(Abu Dhabi Art)坚持六年来一直以精品为特色的展览方式，上周只接待了不到50家画廊。其中包括来自中东和北非地区的17家画廊和来自世界其他地区的29家画廊，其中包括Lisson画廊、David Zwirner和Hause

然而，世界画廊巨头的影响是显而易见的。本届博览会的总部设在萨迪亚特岛(Saadiyat Island)，它被定位为中东最杰出的文化中心，卢浮宫(Louvre)和古根海姆(Guggenheim)(分别于2015年和2017年)进城，在地平线上显得很大。

阿布扎比艺术跟上了人们的预期，在规模以外的其他方面也坚持自己的地位。总部位于迪拜的伊莎贝尔·范登艾因德画廊，代表了中东一些最具影响力和创新的艺术家，自2007年作为阿布扎比艺术展开幕以来，一直在展会上展出，并见证了它的发展与该市的雄心。艺术总监克里斯托弗·洛德(ChristopherLord)说，萨迪亚特岛上的博物馆基础设施正开始越来越像现实，这鼓励了国际画廊带来大型博物馆规模的作品。

表演、研讨会和设施的补充方案是全面的，质量和多样性出乎意料。帕蒂·史密斯(Patti Smith)、理查德·龙(Richard Long)、埃内斯托·内托(Ernesto Neto)和让·努维尔(Jean Nouvel)的出现，是一场策略性的政变，在某种

这座城市的雄心壮志进一步体现在“透过光明”的同时开幕，这是一个预展，首次展出古根海姆阿布扎比不断扩大的藏品。展览的时间显示了现有的博览会与酋长国未来文化景观之间的关系。

强调当地和国际观众的有意义的参与是正确的，这对于长期的文化发展至关重要。阿布扎比艺术高级参展商关系协调员Alanood Al Hammadi证明了这一点.她说，这座城市目前没有一个博物馆来展示现代艺术，因此，我们正在为未来的萨迪亚特岛(Saadiyat Island)机构提供有效的当代舞台。

泰穆尔·格莱尼(Taymour Grahne)是一位颇受欢迎的中东艺术博主，后来成为画廊的画廊。今年，他被授予毕达雅奖，以表彰他与同名的纽约画廊的国际影响力。在谈到艺术节的未来时，他说：“大型博物馆、越来越多的艺术公众、世界级的艺术展吸引了世界上一些最好的画廊，还有许多令人难以置信的私人和公共收藏品正在这个城市建造-这是一种非常有趣的东西的配方。”

在萨迪亚特(Saadiyat)的起重机中，阿布扎比艺术(Abu Dhabi Art)是一种晴雨表，显示了这个城市在地区和国际上展现文化意义的能力。它承诺了很多。

'Directions (Circle)', by Mohammed Kazem, 2014, also part of 'Beyond'. Kazem represented the UAE at last year’s Venice Biennale. 'His works often revolve around trying to locate his own position in the UAE’s urban and population flux since independence,' explains Gallery Isabelle van den Eynde artistic director Christopher Lord. Courtesy of Gallery Isabelle van den Eynde

Taymour Grahne, this year’s Bidaya, awarded to a young gallery emerging on the international scene, displayed Tarek Al-Ghoussein’s '(In) Consideration of Myths 1132', a digital print of an image taken on Saadiyat Island. Courtesy of Taymour Grahne Gallery

Kamel Mennour’s vast booth featured 'La peinture ensevelie...', an installation of sand, stone, oil and mineral pigment on canvas by Lee Ufan. This was an extreme case of the large sculptural pieces seen across the fair, influenced perhaps by the forthcoming museum openings. Courtesy of Kamel Mennour

'Forever', by Chinese artist Ai WeiWei, exhibited at 'Beyond'. Courtesy of The Cool Box and Abu Dhabi Art

Galerie Enrico Navarra showed Sol LeWitt's 'Half-Off, 1-8-1'. Courtesy of Galerie Enrico Navarra

This year's programme heralded the forthcoming museum openings in Abu Dhabi and found inspiration in the future museums’ collections. Jean Nouvel, architect of the future Louvre Abu Dhabi (scheduled to open in 2015), joined a panel exploring 'Museums as Sites for New Experiences'. Courtesy of The Cool Box and Abu Dhabi Art

The architect was joined by Ernesto Neto, who part-sung an ode to the museum. 'A museum is like a contemporary temple... and the first artwork is the building,' he said. Courtesy of The Cool Box and Abu Dhabi Art

Martin Creed was on characteristically oblique form. Addressing the auditorium with a performance that sought to answer 'What is Art?' he started out by stating, 'What is art is a bad question, because I don't know what art is'. Courtesy of The Cool Box and Abu Dhabi Art

At Durub Al Tawaya, the fair's performance programme, Joe Namy’s 'Automobile' drew inspiration from male Arab youth culture. Courtesy of The Cool Box and Abu Dhabi Art

'Automobile', by Studio Job, 2013

'Kaaba Picture as a Misprint 6', 2014, by Kuwaiti-born, Lahore-educated artist Hamra Abbas. The piece was on show at UAE gallery Lawrie Shabibi, last year's Bidaya. Courtesy of Lawrie Shabibi

Performances included Patti Smith's 'Killer Road', a collaboration with her daughter and NYC's Soundwalk collective. Courtesy of The Cool Box and Abu Dhabi Art

Smith's sparse soundscapes and abstract video installations brought to life the poetry of Nico. Courtesy of The Cool Box and Abu Dhabi Art

The David Zwirner stand was an oasis of calm amidst the noise of the fair, featuring works by Dan Flavin, John McCracken and Fred Sandback. Pictured is 'Untitled (Bernstein 90 - 01)', by Donald Judd. Courtesy of David Zwirner

Rachid Koraïchi's 'Path of Roses' featured at Guggenheim Abu Dhabi's pre-opening exhibition 'Seeing Through Light'. Courtesy of Guggenheim Abu Dhabi

'Infinity Mirrored Room - Filled with the Brilliance of Life', by Yayoi Kusama, was inundated when shown at David Zwirner New York in 2013. Now part of the Guggenheim Abu Dhabi collection, it falls into the Celestial phase of the 'Seeing Through Light' exhibit. Courtesy of Guggenheim Abu Dhabi

The Breeder featured delicate silicon, sand and shell sculptures by Iranian artist Vanessa Safavi, from her 'Intérieures' series. 'This is the first time Safavi's works are being presented in the region,' said gallery director Nadia Gerazouni. 'The sculptures have received a lot of attention and visitors were positively surprised by the materials.' Courtesy of The Breeder

Jean Tinguely's 'Presse Orange' was brought in by Galerie Georges-Philippe & Nathalie Vallois. Courtesy of Galerie Georges-Philippe & Nathalie Vallois

First-time attendees ARNDT showed writhing wrought-iron pieces by Wim Delvoye, including 'Twisted Dump Truck'. Courtesy of ARNDT

'Cloth 5’ (2013) by Hassan Sharif. The artist has been creating bundled works since the 1980s, lending an artful touch to cheap, mass-produced items found in the UAE. Courtesy of Gallery Isabelle van den Eynde

keywords:contemporary art, abu dhabi, emirates, Saadiyat Island

关键词：当代艺术，阿布扎比，阿联酋，萨迪亚特岛