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 of national art histories, forwarded the proposition of a world and global art history.8 James Elkins “Histories of Art” disputed the dominance of Gombrich in the teaching of art history limited in its scope to a Euro-American centrism.9 Following suit, theorists and intellectuals linked to the ZKM Center for Art and Media at Karlsruhe introduced the concept of “global art” into art discourse to go beyond the formulas of international modernism as well as postmodern new internationalism. The ZKM began their enquiries in 2007 focusing on the museum, expanded it to audiences and markets in 2009 and 3 Anneke Schulenberg, Beyond Borders: The Work of Ghada Amer, Mona Hatoum, Shirin Neshat and Shahzia Sikander, Nijmegen 2015. Proefschrift, p. 34. 4 Okwui Enwezor, Documenta 11, Platform 5: Exhibition, Ostfildern 2002, pp. 6-7. 5 Schulenberg (see note 3), p. 30-31. 6 David Joselit, ‘Globalization’ in: Hal Foster, Rosalind Krauss, Yve-Alain Bos, Benjamin H.D. Buchloch and David Joselit, Art Since 1900, 2016 3 (2005), p. 52. 7 Peter Weibel and Andrea Buddensieg (eds.), Contemporary Art and the Museum, Ostfildern 2007; Hans Belting and Andrea Buddensieg (eds.), The Global Art World: Audiences, Markets, and Museums, Oostfildern 2009; Hans Belting, Jacob Birken, Andrea Buddensieg and Peter Weibel (eds.), Global Studies: Mapping Contemporary Art and Culture, Oostfildern 2011. 8 Kitty Zijlmans, ‘The Discourse on Contemporary Art and the Globalization of the Art System’ in: Kitty Zijlmans and Wilfried van Damme (eds.), World Art Studies: Exploring Concepts and Approaches, Amsterdam 2008, pp. 135-150. 9 James Elkins, Stories of Art, New York/Abingdon 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. 2 followed with their publication on the rise of new art markets in 2011. An exhibition with discursive elements formed the basis for this latter research. In the 2009 volume, Belting and Buddensieg distinguished between the concept of ‘world art” and “global art”: the former referring to the world heritage of art spanning all periods and countries, and the latter denoting a contemporary development of art in clear opposition to the Western ideas of progress and hegemony.10 Other scholars such as Anna Maria Guasch wish to expand the territory of art into the field of culture and develop new methodologies or approaches to analyze artistic practice.11 Art historians and educators James Elkins, Hestia Bavelaar, Thomas da Costa Kaufmann and others have approached the globalization issue through an art historical and educational perspective looking at the canon of art history and inclusion issues.12,13 Researchers such as Olav Velthuis and Charlotte Bydler have focused on the economic side of art globalization.14,15 Issues of (post- and neo-) colonialism, as well as orientalism form the main thrust of articles from Rasheed Araeen, founder of Third Text and Edward Said.16,17 Terry Smith substantially contributes to the art globalization discourse primarily from the viewpoint of contemporary art, its definition and prevalence.18 These approaches led to many edited multi-authored volumes comprising a multidisciplinary approach to the examination of the global art world. Jonathan Harris situates the art world globalization phenomenon squarely in the larger picture of globalization including finance and economics, communications and geo-politics with contributions by various parties.19 Kaur and Parul-Mukherji position their edited volume arts and aesthetics in a globalizing world in a sociological and anthropological framework, with an emphasis on India and Southeast Asia.20 International curators too have weighed in on the discussion with 10Hans Belting, ‘Contemporary Art as Global Art: A Critical Estimate’, in: Hans Belting and Andrea Buddensieg (eds.), The Global Art World: Audiences, Markets, and Museums, Ostfildern 2009, pp. 45-48. 11 Anna Maria Guasch Ferrer and Nasheli Jiménez del Val (eds.), Critical Cartography of Art and Visuality in the Global Age, Newcastle upon Tyne 2014. 12 Hestia Bavelaar, Re-imagining Western Art History in an Age of Globalization: Finding Blind Spots and Shifting Frontiers, Saarbrücken 2015. 13 Thomas DaCosta Kaufmann, Catherine Dossin, and Béatrice Joyeux-Prunel (eds.) Circulations in the Global History of Art, Series: Studies in Art Historiography, Farnham/Burlington 2015. 14 Charlotte Bydler, The Global Art World Inc: On the Globalization of Contemporary Art, Uppsala 2004. 15 Olav Velthuis and Stefano Baia Curioni (eds.), Cosmopolitan Canvases, Oxford 2015. 16 Rasheed Araeen, ‘Art and Postcolonial Society’ in: Jonathan Harris (ed.), Globalization and Contemporary Art, Chichester 2011, pp. 365-374; http://thirdtext.org/rasheed-araeen 17 Edward Said, Orientalism, London/New York/Toronto, 1978, pp. 173-86. 18 Terry Smith, ‘Contemporary Art: World Currents in Transition Beyond Globalisation’, in: Hans Belting, Andrea Buddensieg and Peter Weibel (eds.), The Global Contemporary and the Rise of New Art Worlds, Karlsruhe 2013, pp. 186-192. 19 Jonathan Harris, ‘Introduction: Globalization and Contemporary Art: A Convergence of People and Ideas’ in: Jonathan Harris (ed.), Globalization and Contemporary Art, Chichester 2011, pp. 1-15. 20Ramnder Kaur and Parul Dave-Mukherji (eds.), Arts and Aesthetics in a Global World, London/New York 2014. 3 publications, exhibitions and artist monographs from the global circuit such as Okwui Enwezor, focusing on contemporary African art since 1980 as well as Massimiliano Gioni and Catharine David the latter two notably in their exhibition activities. Hans-Ulrich Obrist adds to the discourse in a number of exhibition catalogues. From a theoretical standpoint, several scholars have had an impact on the discourse around globalization, especially the work of philosopher Arthur Danto (1924-2013). Danto coined the term “The Art World” in 1964 to suggest that it is not possible to understand conceptual art without the help of the art system, that is, the community of interpreters – critics, art curators, artists, and collectors – within galleries and museums.21 Although his intent was to help define the meaning of art itself, this same model can be applied to an examination of the globalization of art with the addition new components such as communication networks since the 1990s including Internet and social media. Howard Becker of the University of California at Berkeley has been of great importance in advancing sociological viewpoints to the art world as well.22 Other similar frameworks include “The Art Eco-system Model“of Morris, Hargreaves McIntyre 2004 as part of a research commission by the Arts Council of England. This model places dealers at the center of the equation as a means to cultivate the art market versus Danto’s focus on the artwork itself.23 Bourriaud contributes to the globalization discourse in his theorization of concepts such as altermodernism and the radicant whereby he disparages the use of the binary global and local or traditions. He vies for a new space which he terms altermodernism being against both nostalgia and standardization maintaining that modernity is ambiguous. His concept of the radicant as it applies to globalization draws a parallel between the botanical family radicant, and those plants that do not depend on a single root for their growth but advance in all directions dependent on its wanderings in a space without deep roots. Although on face similar to the cultural theoretical concept of Deleuze’s rhizome, Bourriaud argues that it is different in that the radicant follows a certain path or trajectory in the advance of a single object unfolding and building upon its interactions with previous surfaces.24 Bourriaud also postulates that there is no longer a ‘mainstream” of art with its so-called margins traditionally used to describe global art, but rather a multitude of streams that flow in relation to each other regardless of place.25 The timing and mechanisms of various periphery countries or regions to enter the global art market and their ability to remain there can be queried, for instance Latin America is a 21 Arthur Danto, ‘The Artworld’, The Journal of Philosophy, 61/19, 1964), pp. 571-584. 22 Howard S. Becker, Art Worlds, Berkeley/Los Angeles/London 1982. 23 Derrick Chong, ‘The Emergence of Powerhouse Dealers in Contemporary Art’ in: Jonathan Harris (ed.), Globalization and Contemporary Art, Chichester 2011, p. 434. 24 Nicolas Bourriaud, The Radicant, New York 2009. 25 Nicolas Bourriaud, ‘Notes on Globalization, National Identities, and the Production of Signs’, in: Kamal Boullata (ed.), Belonging and Globalization: Critical Essays in Contemporary Art and Culture, London/San Francisco/Beirut 2008, pp. 101-108. 4 region which was very successful early on in developing its global presence as well as the well- known case of spectacular growth in China’s art market. Furthermore Japan is a country which despite being the world’s third largest economy does not figure at all on the map of contemporary global art.26 My own personal interest in the Middle Eastern geo-politics led me to ask the same question as to how this region fared with respect to the globalization of their art world and which factors are important. Research Question This thesis will address the issues around the concept of globalization for art from the geographic area of the Arabian Peninsula, which in itself has special characteristics tied to religion, tradition, new (oil) economics, and socio-political factors. In addition some specific historical events which may have had an effect on the production and reception of art from the Middle Eastern region include 9/11/2001, the Arab Spring of 2011 and civil wars and military invasions in the region. Increased migration of artists and diaspora due to war and conflict since the 1970’s and hybrid identities have a special significance to the region as many diasporic communities are found around the world, specifically in the USA, France and the UK. The research question is as follows: To what extent is the Arabian Peninsula contemporary art world part of the globalizing art world in terms of its production, presentation and reception? Recognizing that the wide geography of the “Middle East” comprises twenty two countries, as defined by the Arab League, and differing religious sub-groups an attempt will be made to delineate some of the dominant aesthetic characteristics without overly generalizing. The focus of this thesis lies in the Gulf region namely the United Arab Emirates (UAE), Qatar, Saudi Arabia and Kuwait. This particular region of the Middle East will be studied as it is relatively accessible, currently a war-free zone with the exception of Yemen, and its status as a region of immigration from other Arab nations typifies the region as a microcosm of the Arab world with many different nationalities represented including Palestinians and Iranians. Most importantly the art produced and presented in this region is diverse, of high quality and meaningful and already part of the globalizing art world. In addition to these artistic production issues, questions of presentation as it relates to globalization and the rise and sustainability of institutions in its wake such as new mega-museums in Qatar and the UAE are key. The main question is to determine which influences does globalization have on the production and presentation of art production of the Arabian Gulf Peninsula and if this art experiences the benefits of globalization, or is it a more local affair, or is it a combination of both – a term referred to as “glocalism”. The artist Ayman Balbaaki (Lebanon, 1975) defines 26 Velthuis (see note 14), p. 13. 5 glocalism as “seeking meaning and inspiration within local visual culture and expressing it through a plastic global language”.27 The art of the Arabian Peninsula can be situated generally within the context of the Middle East geo-politics. Concerns around the dominance of the West, universality and neo- colonialism will be addressed. Some of the traditions of Arabic arts relate to the calligraphic aspects, the tradition of poetry, prose and storytelling as well as non-representation will be explored as well. Globalization and art usually conflates contemporary art and global markets or consumption – is this the same for globalization and (modern) art in the Middle East as well? Is it only contemporary or can the notion be extended back to the globalization of modern art at the turn of the twentieth century? Most students of art history in the west do not realize that the Middle Eastern countries had world class artists and art works in the region for example the surrealistic movement in Egypt in the 1930’s. Landscape painting, cityscapes, families, and portraits were all subjects of paintings in their modernistic period, in parallel to the genres of the West. The particular historiography of globalization of art from the Middle East is less theoretical and academic based than globalization studies at large and focused on providing reflections and documenting of developments of modern art from the region, or, in a sense “catching up”. Additional analytical markers such as the unique geo-political situation, religious considerations and key time markers the Arab Spring of 2011 and the 9-11 bombing of the World Trade Center led to more specialized approaches to globalization discourses about the region. From an academic point of view, globalization of Arab art has been studied by several scholars such as art historian Nada Shabout (of Iraqi origin based in the USA) who has paid particular attention to modernism in the Arab artistic world feeling that it has largely been ignored in the West.28 In the 1990’s, Ali Wijdan, a Jordanian art historian has written on the history of Islamic art, modernism and continuities which can be distinguished from Arabic art in its religious focus and an expanded geographic area outside of the Middle East.29 The Middle East is not solely Islamic, nor is the Islamic religion confined to the Middle East being a world religion in other geographies such as Indonesia, parts of Eastern Europe and Africa. From a regional point of view, Kamal Boullata is a Palestinian art critic, curator, historian and visual artist, whose latter work is primarily in abstraction and color planes. In addition to editing a volume entitled Globalization and Belonging, resulting from the Sharjah Biennial 5 of 2002, he has published several histories of Palestinian art dating its origins to the Byzantine icon 27Artist statement in: Anthony Downey and Lina Lazaar, The Future of a Promise, Contemporary Art from the Arab World, Catalogue, Collateral Event of the 54th International Art Exhibition – la Biennale, Venezia, 1 June – 30 November 2011, Tunis 2011 (unpaginated). 28Nada M. Shabout, Modern Arab Art: Formation of Arab Aesthetics, Gainseville 2007. 29 Ali Wijdan, Modern Islamic Art, Development and Continuity, Gainseville 1997. 6 paintings.30 Most recently, less academic publications approaching the Gombrich Eurocentric model of the history of art, with overviews and high quality color plates of Arabic contemporary art, have been published. In addition, archival research and visual culture of the Middle East form a separate group of publications, reflecting an increasingly important concern of art from the arena. Anthony Downey and WJT Mitchell are important contributors to these fields of enquiry. Key exhibitions and biennials both inside and outside the Middle East featuring art from the region have contributed to the globalization of Arabic art, most notably the Sharjah Biennial established in 1996 and participation at the ”mother of all biennials”, the Venice Biennial established in 1895. A critical appraisal of biennials will form part of this thesis as contributing to the globalization discourse. Research Method I will approach my research question employing an eco-system model of the global art world comprising a network of individuals and institutions involved in the production and delivery of artworks to an international market. I will delineate, describe, analyze and evaluate these forces as they apply to the art of the Arabic world, particularly the countries of the Gulf Peninsula. The major research method is combining published research from both local and international sources, an examination of primary works of art from a selection of artists and discussions with artists and members of the art world of the Middle East region during various conferences and panels in Amsterdam and Dubai. Fieldwork was also carried out at the Dubai Art Fair and Global Art Forum in 2016, gallery visits and artist talks in Dubai as well as during discussions with researchers and curators at the Mathaf, Museum of Modern Art in Qatar and an artist residency program in Qatar. Quantitative data of sales auction attended at Christie’s in Dubai (established 2006) have been collected and analyzed as well. Interviews and discussions with various artists from the region have contributed to the thesis development. In pursuing this eco-system model in the evaluation of the globalization of art from the Arabian Peninsula I would like to determine if all parts of the chain are equally important in the robustness of the system, or if some factors are a necessary and sufficient condition for the inclusion of their art in the global art system. Are the nodes interchangeable and interdependent on each other in the Arabian context? After this introductory chapter and historiography, I will describe in Chapter 1 the art world eco-system model which I will employ, supported by the theories of Pierre Bourdieu and Nicolas Bourriaud. In Chapter 2, the geo-politics of the Arab world focusing on the Gulf States will be discussed, namely those factors which may have an impact on the art produced and 30 Kamal Boullata, Palestinian Art from 1850 to the Present, London/Berkeley/Hamra 2009. 7