One of the pieces in the new Disability and Design exhibition at London’s V&A South Kensington is a short film by disabled performance and video artist Katherine Araniello which parodies an advert made by UK TV’s Channel 4 for the 2012 Paralympics.
Named Meet the Superhumans, the original advert’s premise was how inspirational and resilient disabled sportspeople are, depicting them as strong and invincible. In Araniello’s satirical version of the advert, she can be seen smoking and stuffing her face with junk food to the same hyper-catchy soundtrack as the original advert.
Her mock interviews as an inspirational athlete in a wheelchair are delivered deadpan to camera and riddled with tropes and superlatives along the lines of: "It was the toughest race of my life", "I never let my disabilities hold me back" and "I have inspired a future generation of sporting excellence".
It’s a deeply funny yet deadly serious reminder that disabled people shouldn’t have to be superhuman to be worthy of respect, attention or care. “And it’s a way of saying, ‘Hang on, this isn’t how I want to seen’,” says Natalie Kane, curator of the exhibition that opened on Saturday at the museum’s original South Kensington branch.
“It’s important to challenge when we don’t feel represented,” Kane tells The National, and comedy or humour is a tool that some disabled artists have used successfully to do that.
Divided into three sections – Visibility, Tools and Living – the exhibition includes 170 objects from the spheres of design, art, architecture, fashion and photography.
Unlike a lot of other exhibitions dedicated to design and disability, the pieces here are made or conceived by disabled people and highlight aspects of living and working with disability that are personal and intimate but also often political and quietly revolutionary.
There’s Conor Foran’s Dysfluent magazine, which gives brilliant graphic form and a visual identity to stammering by repeating certain letters or stretching parts of them.
Other standout pieces include Maya Scarlette's incredible hand-sewn Notting Hill Carnival costume inspired by Sandro Botticelli’s The Birth of Venus. Scarlette is a fashion designer with ectrodactyly, meaning digits in her hand or feet are absent.
There's also a moving performance piece by Carmen Papalia, who calls himself a non-visual artist. In the piece, Papalia replaces his white cane with a brass band, the latter guiding him though a Vancouver park via a site-reactive musical score and sound cues – when an obstacle is near, the music becomes more shrill.
The results of these works, which highlight the need for collaboration and support are joyful, unexpected and, at times, fraught.
Disability is not a problem that needs to be fixed posits the exhibition. Rather, disabled people are the experts when it comes to expressing their identities and designing for their own needs, hacking and subverting everyday objects in ingenious ways.
A great example of the latter are the low-tech but clever adaptations made by septuagenarian disabled woman Cindy Garni in the US, who added a cable tie to the zip of a purse to help open it, or a stick-on-wall-hook to the screw top lid of a pot of beauty cream to do the same.
In the same vein, the McGonagle Reader is an audio-assisted tactile voting device created for people with low vision. But there’s also the adapted bike of Palestinian cyclist and founder of paracycling team Gaza Sunbirds, Alaa al-Dali, who was shot by an Israeli sniper in Gaza in 2018. It’s a timely and poignant reminder that access to disability rights or activism is even more difficult (and often impossible) for people living under war or the brutality of occupation.
The exhibition hones in on the moments when technology or sustainability aren’t always the silver bullets we think they are. For instance, the policy to phase out plastic straws that has been problematic for disabled people who require a lot of support as plastic straws are stronger, safer and more hygienic.
Or the robotics or GPS elements non-disabled designers have tried to add on to the white cane that have proven unpopular and even dangerous. One modification to the cane that did stick was when a foldable version was produced in the 1950s after a woman asked for a cane that would fit in her shopping bag.
But it’s not just the content of this exhibition that takes a disability-first approach, the design and organisation of the exhibition does as well. For one thing, visitors are repeatedly reminded to touch objects and, where possible, it’s the original object and not just a 3D copy. It feels awkward but it is a useful reminder of how two-dimensional and exclusionary many exhibitions can be.
The other is that the show begins with a rest space filled with modular chairs, some with armrests, some without, for different sorts of physical support. Round tables, for example, are much better than square or rectangle tables for deaf people to gain full vision of people who use sign language. There's also an inviting blue and white bench by Finnegan Shannon inscribed with the words: "Do you want us here?"
There are further seating options dotted around the exhibition, including an inviting chaise longue in the last room, in what is an obvious attempt to address the startling and deeply exclusionary lack of seating in so many exhibitions.
Further attempts to make the space as accessible as possible include a tactile key to the different exhibition sections. But there are also mirrored doorway arches that help deaf people understand what is around the corner in a given space. Or low stools that can be pulled out so that people of all heights can enjoy the displays fully.
There are also a range of ways of experiencing the exhibition including tactile maps, audio descriptions, sign language, large print and online audio options.
The idea is that the museum, which like many older institutions is grappling with accessibility issues, is accruing knowledge and training in this area and creating a legacy for the future.
“It shouldn't be that a show about disability is the only show where you get access principles,” says Kane. “The aim is for this design thinking to be applied to future exhibitions.”
Design and Disability exhibition is running at V&A South Kensington until February 15, 2026
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if you go
The flights
Emirates have direct flights from Dubai to Glasgow from Dh3,115. Alternatively, if you want to see a bit of Edinburgh first, then you can fly there direct with Etihad from Abu Dhabi.
The hotel
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Located in the heart of Mackintosh's Glasgow, the Dakota Deluxe is perhaps the most refined hotel anywhere in the city. Doubles from Dh850
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Events and tours
There are various Mackintosh specific events throughout 2018 – for more details and to see a map of his surviving designs see glasgowmackintosh.com
For walking tours focussing on the Glasgow Style, see the website of the Glasgow School of Art.
More information
For ideas on planning a trip to Scotland, visit www.visitscotland.com
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Game Changer
Director: Shankar
Stars: Ram Charan, Kiara Advani, Anjali, S J Suryah, Jayaram
Rating: 2/5
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Ibrahim's play list
Completed an electrical diploma at the Adnoc Technical Institute
Works as a public relations officer with Adnoc
Apart from the piano, he plays the accordion, oud and guitar
His favourite composer is Johann Sebastian Bach
Also enjoys listening to Mozart
Likes all genres of music including Arabic music and jazz
Enjoys rock groups Scorpions and Metallica
Other musicians he likes are Syrian-American pianist Malek Jandali and Lebanese oud player Rabih Abou Khalil
Engine: 5.6-litre V8
Transmission: seven-speed automatic
Power: 400hp
Torque: 560Nm
Price: Dh234,000 - Dh329,000
On sale: now
Mercer, the investment consulting arm of US services company Marsh & McLennan, expects its wealth division to at least double its assets under management (AUM) in the Middle East as wealth in the region continues to grow despite economic headwinds, a company official said.
Mercer Wealth, which globally has $160 billion in AUM, plans to boost its AUM in the region to $2-$3bn in the next 2-3 years from the present $1bn, said Yasir AbuShaban, a Dubai-based principal with Mercer Wealth.
“Within the next two to three years, we are looking at reaching $2 to $3 billion as a conservative estimate and we do see an opportunity to do so,” said Mr AbuShaban.
Mercer does not directly make investments, but allocates clients’ money they have discretion to, to professional asset managers. They also provide advice to clients.
“We have buying power. We can negotiate on their (client’s) behalf with asset managers to provide them lower fees than they otherwise would have to get on their own,” he added.
Mercer Wealth’s clients include sovereign wealth funds, family offices, and insurance companies among others.
From its office in Dubai, Mercer also looks after Africa, India and Turkey, where they also see opportunity for growth.
Wealth creation in Middle East and Africa (MEA) grew 8.5 per cent to $8.1 trillion last year from $7.5tn in 2015, higher than last year’s global average of 6 per cent and the second-highest growth in a region after Asia-Pacific which grew 9.9 per cent, according to consultancy Boston Consulting Group (BCG). In the region, where wealth grew just 1.9 per cent in 2015 compared with 2014, a pickup in oil prices has helped in wealth generation.
BCG is forecasting MEA wealth will rise to $12tn by 2021, growing at an annual average of 8 per cent.
Drivers of wealth generation in the region will be split evenly between new wealth creation and growth of performance of existing assets, according to BCG.
Another general trend in the region is clients’ looking for a comprehensive approach to investing, according to Mr AbuShaban.
“Institutional investors or some of the families are seeing a slowdown in the available capital they have to invest and in that sense they are looking at optimizing the way they manage their portfolios and making sure they are not investing haphazardly and different parts of their investment are working together,” said Mr AbuShaban.
Some clients also have a higher appetite for risk, given the low interest-rate environment that does not provide enough yield for some institutional investors. These clients are keen to invest in illiquid assets, such as private equity and infrastructure.
“What we have seen is a desire for higher returns in what has been a low-return environment specifically in various fixed income or bonds,” he said.
“In this environment, we have seen a de facto increase in the risk that clients are taking in things like illiquid investments, private equity investments, infrastructure and private debt, those kind of investments were higher illiquidity results in incrementally higher returns.”
The Abu Dhabi Investment Authority, one of the largest sovereign wealth funds, said in its 2016 report that has gradually increased its exposure in direct private equity and private credit transactions, mainly in Asian markets and especially in China and India. The authority’s private equity department focused on structured equities owing to “their defensive characteristics.”
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RESULT
Brazil 2 Croatia 0
Brazil: Neymar (69'), Firmino (90' 3)
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Dubai Bling season three
Cast: Loujain Adada, Zeina Khoury, Farhana Bodi, Ebraheem Al Samadi, Mona Kattan, and couples Safa & Fahad Siddiqui and DJ Bliss & Danya Mohammed
Rating: 1/5
Results
2-15pm: Commercial Bank Of Dubai – Conditions (TB) Dh100,000 (Dirt) 1,400m; Winner: Al Habash, Patrick Cosgrave (jockey), Bhupat Seemar (trainer)
2.45pm: Al Shafar Investment – Handicap (TB) Dh80,000 (D) 1,200m; Winner: Day Approach, Ray Dawson, Ahmad bin Harmash
3.15pm: Dubai Real estate Centre – Handicap (TB) Dh80,000 (D) 1,600m; Winner: Celtic Prince, Richard Mullen, Rashed Bouresly
3.45pm: Jebel Ali Sprint by ARM Holding – Listed (TB) Dh500,000 (D) 1,000m; Winner: Khuzaam, Pat Dobbs, Doug Watson
4.15pm: Shadwell – Conditions (TB) Dh100,000 (D) 1,600m; Winner: Tenbury Wells, Royston Ffrench, Salem bin Ghadayer
4.45pm: Jebel Ali Stakes by ARM Holding – Listed (TB) Dh500,000 (D) 1,950m; Winner: Lost Eden, Andrea Atzeni, Doug Watson
5.15pm: Jebel Ali Racecourse – Handicap (TB) Dh76,000 (D) 1,950m; Winner: Rougher, Pat Dobbs, Doug Watson
The Year Earth Changed
Directed by:Tom Beard
Narrated by: Sir David Attenborough
Stars: 4
500 People from Gaza enter France
115 Special programme for artists
25 Evacuation of injured and sick
Profile of Bitex UAE
Date of launch: November 2018
Founder: Monark Modi
Based: Business Bay, Dubai
Sector: Financial services
Size: Eight employees
Investors: Self-funded to date with $1m of personal savings
UPI facts
More than 2.2 million Indian tourists arrived in UAE in 2023
More than 3.5 million Indians reside in UAE
Indian tourists can make purchases in UAE using rupee accounts in India through QR-code-based UPI real-time payment systems
Indian residents in UAE can use their non-resident NRO and NRE accounts held in Indian banks linked to a UAE mobile number for UPI transactions
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