artists     stories    image-search     news    pictures    contact

Goodbye Dubai

© Lauren Greenfield

The story of Dubai, a small desert emirate in the Persian Gulf, reads more like an improbable fairy tale than an engineered plan. After six-years of impossible luxury and growth, its unparalleled expansion revealed an infrastructure of unsustainability. The international crisis arrived onshore and leveled the economy, wiping out jobs and forcing its enormous expatriate population to flee. The exodus has swallowed 30% of the expat population. Dubai’s growth was a strategy wrapped in a miracle; as a modest trading settlement with very little oil, the royal family relied on tax-free zones, foreign investment, and trumped-up optimism to sculpt its superlative hotels and golf courses.

It lured international talent to design the tallest towers, the largest man-made island, the indoor ski resort. It imported cheap labor to dredge the sand, drive the taxis, and serve the booming population. Now, as investments retreat and Dubai’s population repatriates elsewhere, the cranes (a quarter of all the world's) are quiet, the notorious traffic is thin, and the villas are vacant. Many foreigners would like to stay, but the emirate’s labor laws are tricky.

As both white-collar expats and foreign laborers are discovering, Dubai’s earlier invitation was qualified with certain immutable terms and conditions. Unfortunately for both groups, clarification is coming in the form of withheld paychecks, confiscated visas, frozen assets, and plane tickets home. “Dubai is always going to look at us as foreign workers that have come here to help build their nation,” says Cynthia, a mother of two from California. “At the end of the day, it’s not our country. If we’re made redundant, we have to go home.”

click to view the complete set in the archive


InstituteTM (collectively Institute Pictures, Institute Studios, & Institute Artist) is redefining how stories are produced and told in the 21st Century. Founded by Producer Frank Evers and Director/Visual Artist Lauren Greenfield, we are a multiplatform production company representing auteur-driven storytellers across commercials, photography, fine art, film, and technology — and producing original work across every screen that those stories live on. Our multiplatform expertise and established global relationships in entertainment, commercial, fine art, and journalism create unmatched reach and cross-pollination of creative work. A film commission informs a photography campaign; a fine art practice shapes a commercial; an editorial relationship opens a documentary. Few companies operate fluently across all of these worlds. Institute was built this way from the ground up.

Clients include: Apple, Google, Meta, Amazon, Microsoft/Xbox, LinkedIn, WhatsApp, Nike, Adidas, Lululemon, Under Armour, Dove, Maybelline, Clinique, Ulta Beauty, Aesop, Vaseline, LEGO, Balenciaga, Dior, Tom Ford, Kenzo, Supreme, Van Cleef & Arpels, Mercedes-Benz, Volvo, Toyota, McLaren, Pennzoil, American Express, Chase, U.S. Bank, Burger King, Chobani, Corona, Pepsi, Nespresso, Lavazza, Velveeta, Airbnb, Four Seasons, Marriott, Instacart, eBay, JCPenney, Levi's, Swatch, Bang & Olufsen, Bayer, Pfizer, Genentech, EA, Planned Parenthood, Ad Council, and the United Nations. Editorial and publishing partners include: The New York Times Magazine, The New Yorker, GQ, Esquire, TIME, Bloomberg, National Geographic, The Economist, Monocle, Le Monde, Stern, Sunday Times Magazine, Phaidon, Steidl, Abrams, Prestel, Chronicle, and Random House.

“Institute” is a registered trademark in the US, Europe, and United Kingdom. All rights reserved.