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Abstract
This article analyzes the production and presentation of artworks of three countries of the Gulf Region –– Qatar, the UAE and Saudi Arabia –– to evaluate its place and potential in the globalized artworld. The Gulf region is a small but significant part of the global artworld with high potential for further development. Art globalization in the Gulf began to develop only in the 2000s –– from about 2006 in the UAE, followed by a second wave in Qatar five years later. A third wave is rising with the increasingly international exposure of Saudi Art. The article examines which factors are essential for participation in a globalized art world and whether the region enjoys international recognition on the global stage. A composite artworld ecosystem model comprising institutions, artists and their artworks, commercial entities and government was conceived on a philosophical and sociological basis within a historical and geopolitical framework. The roles of the museum, biennials, art galleries and art fairs, are converging in many respects. All the nodes of the artworld ecosystem are required for globalization, with participation in the biennial model being the most important factor, being more flexible than the museal institutions in funding and programming. To reach a wider audience, the art fair model could be more relevant than the more esoteric biennial format. The Gulf region’s patrons possess strong motivations for supporting the arts of the region internationally. In addition, the desire to enter the global cultural world through the promotion of art museums as a tourist destination is a strong motivator for governments.
Notes
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6 Joselit, “Globalization”, in Foster et al. (eds), Art Since 1900: Modernism, Antimodernism, Postmodernism (2016), pp. 52-60.
7 Elkins, Stories of Art (2002). Elkins is a prolific writer and commentator on the subject of globalization and art, specifically from an art historical and canonical point of view. See also: Gombrich, The Story of Art (1995).
8 Bydler, The Global Art World Inc: On the Globalization of Contemporary Art (2004); also see: Velthuis and Curioni, “Making Markets Global” (2015).
9 Araeen, “Art and Postcolonial Society”, in Harris (ed.), Globalization and Contemporary Art (2011), pp. 365–374; Said, Orientalism (1978), pp. 173–186.
10 See, for example, the announcement of his of talk at the Witte de With Center in Rotterdam in 2019.
11 Bourriaud, The Radicant (2009).
12 Bourriaud, “Notes on Globalization, National Identities, and the Production of Signs”, in Boullata (ed.), Belonging and Globalization: Critical Essays in Contemporary Art and Culture (2008), pp. 101–108.
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17 Toufic, Transcripts First Annual Global Forum (2007). The geographic term “Middle East” can be problematic, being seen as an imperialist invention. Another geographic term suggested by scholars is “West Asia” to avoid a Eurocentric viewpoint. In this article, the widely used term “Middle East” has been chosen to avoid suggestions of unified culture or religion but with shared histories.
18 The concept first appeared in James F. Moore’s article, “Predators and Prey: A New Ecology of Competition”, Harvard Business Review , May/June 1993.
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30 Mathaf Arab Museum of Modern Art, Focus: Works from Mathaf Collection 2 (10 March–4 September 2016).
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34 Balbaaki, “Artist Statement”.
35 Kräussl, “Art as an Alternative Asset Class: Risk and Return Characteristics of the Middle Eastern and Northern Africa Art Markets”, in Velthuis and Curioni (eds), Cosmopolitan Canvases, pp. 147–170.
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37 Kraussl, “Art as an Alternative Asset Class”, p. 148.
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45 H.E. Shaikh Hassan bin Muhammad bin Ali Al Thani, Vice Chairperson, Qatar Museums. He is colloquially referred to as Shaikh Hassan.
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52 The Gulf Labor Artist Coalition website.
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59 See the 2014 conference presentations ad discussions collected in Buddensieg, Moore, and Weibel (eds), Biennials: Prospect and Perspectives. International Conference at ZKM – Center for Art and Media Karlsruhe (2015).
60 Gioni, “In Defense of Biennials”, in Dumbadze and Hudson (eds), Contemporary Art 1989 to the Present (2013), pp. 171–177.
61 Biennial Foundation website.
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65 Christie’s website, “ Release: Christi’s Dubai Auction Calendar 2020– 2021”, 23 January 2020.
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67 Garutti , “Fairland”, in Garutti (ed.), Fairland: Explorations, Insights and Outlooks on the Future of Art Fairs (2014), pp. 13–15.
68 Lee, [untitled conference contribution] in Buddensieg, Moore, and Weibel (eds), Biennials: Prospect and Perspectives. International Conference at ZKM – Center for Art and Media Karlsruhe (2015), pp. 41–45.
69 El Seed, Lost Walls, A Calligraffiti Journey Through Tunisia (2013).
70 Ibraaz website, “ Platform 010: Where to Now? Shifting Regional Dynamics and Cultural Production in North Africa and the Middle East”.
71 Ibraaz website, “Monira Al Qadiri: The Saudi New Wave | Digital Landscapes and Future Institutions”, 9 December 2016.
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73 Arnason and Mansfield, History of Modern Art (1968), pp. 724–725.
74 Morawski, “Censorship versus Art, Pros and Cons: Typological Reflections”, The Polish Review 19.1 (1974), pp. 3–16.
75 Plipat (ed.), The State of Artistic Freedom 2020 (2020).
76 Jandali, “Censorship Makes a Mockery of the Arts”, Doha Debates, YouTube video, 21 May 2012.
77 OpenNet Initiative website.
78 Biennial Foundation website, “Desert X Al-Ula”.
Additional information
Notes on contributors
Brenda Fischer-Campbell
Brenda Fischer-Campbell is an independent art historian and curator based in Zeist, The Netherlands, [email protected].