The Jameel Arts Centre (JAC) in Dubai announced it reopened its doors to the public Wednesday, 3 June.
The reopening is in line with new health and safety measures introduced by Dubai Culture museums and the UAE government.
According to the information released by the JAC, under the new guidelines visitors are asked to book a two-hour slot in advance of their visit, so as to monitor capacity and ensure a comfortable visit that retains social distancing rules and hygiene as a top priority.
"In accordance with UAE regulations, visitors and staff are required to wear a face mask and have their temperatures checked before entering the centre. Children under 12 years of age are not permitted, along with adults over the age of 60."
The guidelines specify the maximum number of visitors per room, monitored by security staff.
The centre has released a video clarifying the procedures required in order to access the centre's rooms.
The JAC has been closed to the public since 16 March in line with the UAE’s efforts to contain the spread of Covid-19.
Currently, JAC is hosting several exhibitions: installations by Iraqi-American artist Michael Rakowitz (until 22 November 2020), Jordanian artist Lawrence Abu Hamdan’s sound and video installation titled This Whole Time There Were No Land Mines (until 3 January 2021), and Metropolis, a multi-object work of 1,000 handmade clay sculptures that celebrates architectural ornamentation, by Lubna Chowdhary (born in Tanzania, lives and works in London, the UK).
In parallel, the artist rooms showcase works by Palestinian artists: Larissa Sansour’s film In Vitro (until 3 January 2021) and Taysir Batniji's series of 60 ink less “drawings" carved onto paper (until 3 January 2021).
“The Jameel Arts Centre is an independent institution dedicated to exhibiting contemporary art to the public and engaging communities through learning, research and commissions. Founded and supported by Art Jameel, the centre is located in Jaddaf Waterfront, Dubai, United Arab Emirates," the centre's website states.
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