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Contemporary Art of the Arabian Peninsula in a Globalized Art World

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Contemporary Art of the Arabian Peninsula in a Globalized Art World Contemporary Art of the Arabian Peninsula in a Globalized Art World Master Thesis Brenda Campbell Utrecht University Modern and Contemporary Art Thesis Advisor: Dr. Hestia Bavelaar Second Reader: Dr. Sjoukje van der Meulen June 7, 2017 Master Thesis Contemporary Art of the Arabian Peninsula in a Globalized Art World Brenda Campbell 3866254 Moderne en hedendaagse kunst: theorie, kritiek en beroepspraktijk Begeleider: dr. Hestia Bavelaar Tweede lezer: dr. Sjoukje van der Meulen 7 juni 2017 Table of Contents Introduction, Historiography, Research Question and Method ................................................................... 1 Historiography .......................................................................................................................................... 2 Research Question .................................................................................................................................... 5 Research Method ...................................................................................................................................... 7 Chapter 1. The Art Eco-System Model ....................................................................................................... 10 Chapter 2. The Arabian Peninsula Geopolitical and Historical Framework ................................................ 13 Chapter 3. Art in the Arab World: From Islamic Art to Modern Art to Contemporary Art........................ 17 3.1 Art Globalization Discourse in the Arab World ................................................................................. 18 Chapter 4. The Government and Art of the Gulf Peninsula: A helping hand or a hindrance? .................. 22 Chapter 5. Deconstruction of the Arabian Peninsula Art World Eco-system ............................................. 26 5.1 The Art Market and its Mechanisms ................................................................................................. 26 5.2 Patronage .......................................................................................................................................... 27 5.3 Museums ........................................................................................................................................... 29 Mathaf: Arab Museum of Modern Art ................................................................................................ 31 Al Riwaq Art Space .............................................................................................................................. 32 The Louvre Abu Dhabi ......................................................................................................................... 33 The Guggenheim Abu Dhabi ............................................................................................................... 34 Sharjah Arts Foundation ..................................................................................................................... 35 5.4 Auction houses .................................................................................................................................. 37 5.5 Galleries ............................................................................................................................................ 38 5.6 Art fairs .............................................................................................................................................. 39 5.7 Biennials ............................................................................................................................................ 41 5.8 Internet and Digital Platforms and the Globalization of Art ............................................................. 44 Chapter 6. Art and Artists of the Arabian Peninsula and Globalization ...................................................... 47 Hassan Sharif (Dubai, 1951 – 2016) ........................................................................................................ 48 Ahmed Mater (b. Aseer, Saudi Arabia, 1979) ......................................................................................... 53 Monira Al Qadiri (b. Dakar, 1983) ........................................................................................................... 59 GCC (2013) .............................................................................................................................................. 63 Chapter 7. Conclusions ............................................................................................................................... 68 Literature List and List of Figures ................................................................................................................ 71 Introduction, Historiography, Research Question and Method Globalization of art is a concept which started in the 1990’s reflecting several technological, political and economic developments of the late 1980’s in the West. Most notably the fall of the Berlin Wall and communism, as well as the rise of technological capabilities such as Internet and satellite communications, contributed to this new phenomenon. This art globalization followed closely behind the general phenomenon of globalization of economics and trade fueled by these same developments. In the art world there was increased attention to artists from outside of the dominant Western sphere (Euro-American) including Latin America. South East Asia, the Middle East and especially China. Both the free travel movements of artists, curators and consumers and increased presentation possibilities through the proliferation of art biennials, art publications and criticism – also though electronic media - contributed to this so- called globalization. Globalization is not entirely new being a gradual process with deep historical roots dating back to the establishment of enduring trade routes connecting Eurasia, Africa and the Americas in the 16th century, or the Industrial Revolution of the 19th century with new inventions such as the printing press, steam engine and the telephone, fostering inter-)national and global trade. In the art sphere many European artists such as Maarten van Heemskerck (1498-1576) travelled to Italy in the Renaissance leading to the establishment of new techniques and styles learned in the host country. As well, Hans Belting has extensively researched the influence and impact of Arab science on the introduction of perspective in Renaissance art.1 More recently modern artists such as Matisse, Delacroix and others travelled to North Africa in the early 20th century and were inspired by local conditions. Likewise, many artists from that region were trained and spent time in the artistic capitals of Europe before returning to their home countries with new techniques, contacts and inspirations. However what makes globalization of contemporary art most acute is the explosion of networks – both electronic and personal - of both production and presentation at unprecedented speed which cannot be reversed. Significant landmark art exhibitions such as Magiciens de la Terre (Paris, 1989) initiated the discourse around globalization which was accelerated by the proliferation of other exhibitions of a global character designed in part to counteract the negative reception of this controversial exhibition. Although a milestone in the hard fought path to recognition for non- western art, it was strongly criticized for its “misguided” inclusions and exclusions and a certain “orientalism” of the type described by Edward Said.2 A recognized turning point in the global 1 Hans Belting, Florence and Baghdad, Renaissance Art and Arab Science, Cambridge/London 2011. 2 Benjamin H.D. Buchloch, ‘The Whole Earth Show: An Interview with Jean-Hubert Martin’, Art in America, May 1989, pp. 150-162. exhibition circuit was Documenta 11 in Kassel (2000) curated by Okwui Enwezor, the first non- Western artistic leader to explore the idea of globalization in relation to cultural expressions such as visual art. International artists were presented according to their own artistic merits without reference to western art.3 In addition, Enwezor constituted the platform around five different themes relevant to globalization and spread over six different geographies reflecting the global realities and concerns of Western hegemony.4 A later exhibition Without Boundary: 17 Ways of Looking at the MOMA, (New York, 2006) was again criticized but did contribute further to the on-going globalization discourse and further research.5 There are basically two camps of opinion around the issue of globalization and art with its proponents claiming that art globalization opens up new worlds and access of artists from the traditional periphery, expanding the humanist vision. The opponents however claim that the art globalization market not only flattens the world in a positive sense but that it leads to universalism and loss of artistic creativity, largely driven by market forces.6 However one feels about it, in short, globalization has entered the lexicon of the art world like the terms modernism and renaissance before it. As such its importance as a critical discourse cannot be underestimated especially in emerging geographical areas which were largely previously ignored.7 Historiography Various scholars have contributed to the field of study of the globalization of art from differing viewpoints and disciplines. In the early 2000’s leading art historians such as Kitty Zijlmans, driven by theorizations of the end
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