This article appeared in The Artistic Unity Issue #67 which was dedicated to the art scene in the UAE in which we unravel the threads of unity by exploring the perspectives of various stakeholders within the UAE’s art community. Through insightful interviews with galleries, art institutions, and auction houses, a vivid mosaic emerged, depicting how unity has been woven into the fabric of the art scene.
Rima Nasser: Christie’s made a significant move by establishing a presence in the UAE. What were the driving factors behind this decision, and how did the initial experience align with the expectations of the auction house?
Ridha Moumni: In April 2005, we established a permanent presence in the UAE as the first international auction house in the region. Our decision was motivated by multiple factors, not least the growing demand for Arab art, our existing and growing client base across the GCC and our involvement in Gulf-related projects. Opening a permanent office enabled Christie’s to cultivate and enhance our relationships with regional clients and collectors while also expanding our educational initiatives.
Christie’s inaugural sale of Modern & Contemporary Art took place in May 2006 and achieved a number of world records. This success confirmed our vision of establishing a strong foothold in the region which has continued to grow including the addition of experts and specialists based in Dubai, a testament to our dedication to meeting the evolving needs of the thriving Middle Eastern art market.
Beyond our sales, we aim to expose collectors and art enthusiasts to the rich creativity of the Arab world and the GCC globally. A testament to our reputation in the UAE was the collaboration with the UAE Ministry of Culture and Youth and the Barjeel Art Foundation in Sharjah in 2023. Together, we curated the Modern & Contemporary Art of the Arab World Exhibition at Christie’s London, which took place throughout July and August. This exhibition, the largest of its kind in London featuring over 100 works, celebrated Arab art holistically and highlighted Emirati art, garnering significant interest from international visitors to the capital.
RN: How does Christie’s perceive the current state and future potential of the artistic scene in the UAE, and what role does Christie’s envision playing in this context, whether locally or globally?
RM: The current artistic scene in the UAE and the broader Middle East is a dynamic and continually evolving environment with great potential. In 2022 and 2023, the successful sales of Modern and Contemporary Middle Eastern art showcased both high-profile and emerging Emirati artists, emphasising the importance of their art histories and talents. We are witnessing a shift where clients, once focused on 20th and 21st-century works, now also embrace Arab art, highlighting growing global appreciation for the creativity of the diaspora.
Locally, the UAE’s notable investment in arts, culture and creative industries has set the stage for profound development, and we believe this journey is only in its initial stages. Christie’s takes immense pride in being a trusted partner, collaborating with newly established museums, and actively engaging in exhibitions, discussions and educational initiatives. Our Dubai office has played a key role, hosting online auctions, private exhibitions and talks, and showcasing highlights from global sales which encompass both fine art and luxury categories.
Christie’s is an active partner in the local arts and culture ecosystem in the region. Moving into 2024, our commitment remains steadfast to further enrich the global artistic dialogue around Arab art through several promising projects under discussion.
RN: How does Christie’s perceive the current state and future potential of the artistic scene in the UAE, and what role does Christie’s envision playing in this context, whether locally or globally?
The current artistic scene in the UAE and the broader Middle East is a dynamic and continually evolving environment with great potential. In 2022 and 2023, the successful sales of Modern and Contemporary Middle Eastern art showcased both high-profile and emerging Emirati artists, emphasising the importance of their art histories and talents. We are witnessing a shift where clients, once focused on 20th and 21st-century works, now also embrace Arab art, highlighting growing global appreciation for the creativity of the diaspora.
Locally, the UAE’s notable investment in arts, culture and creative industries has set the stage for profound development, and we believe this journey is only in its initial stages. Christie’s takes immense pride in being a trusted partner, collaborating with newly established museums, and actively engaging in exhibitions, discussions and educational initiatives. Our Dubai office has played a key role, hosting online auctions, private exhibitions and talks, and showcasing highlights from global sales which encompass both fine art and luxury categories. Christie’s is an active partner in the local arts and culture ecosystem in the region. Moving into 2024, our commitment remains steadfast to further enrich the global artistic dialogue around Arab art through several promising projects under discussion.
RN: From your perspective, how has the demand for specific artists or art movements changed in the UAE, and how does Christie’s respond to these shifts?
RM: The current art market is witnessing a significant rise in demand for contemporary artists from the Arabian Gulf. Artists from here are experiencing unprecedented global visibility, participating in international fairs and exhibiting their work in major institutions. An important element symbolising this change is the permanent participation of both the UAE and Saudi Arabia at the Venice Biennale, reshaping the perception of the region and its artistic contributions among international collectors and curators. At Christie’s, we have actively responded to these evolving demands and market interests, which can be seen through our auction strategies, partnerships, Private Sale exhibitions and participating in further educational initiatives in the region.
RN: Can you elaborate on the role of technology and online platforms in the art market, especially considering the recent global shift towards digital experiences? How has Christie’s adapted to this trend?
RM: During the pandemic Christie’s adapted by pivoting its programmes to focus on online activities and sales. The business undertook an accelerated approach to online sales (which were already a core part of the business), as well as adopting the very latest technologies available to bring sales and exhibitions to life. Currently, we hold online sales of Modern & Contemporary Art from our Dubai office, alongside online watch auctions. We also introduced Christie’s 3.0, a cutting-edge platform tailored for digital users, providing an end-to-end experience.
RN: As someone with experience in the art auction sector, including witnessing Christie’s presence in the UAE and its subsequent recalibration, how do you perceive the evolving dynamics of the art market in the region? From your perspective, what insights or lessons can be drawn from Christie’s experience, and how might this knowledge shape strategies for future engagement and growth in the UAE’s vibrant cultural landscape?
RM: Art remains a powerful means of expression. Particularly amidst cultural shifts in the Gulf, there is a growing interest in both historic, Modern and Contemporary artists who embody the national cultural identity. Today, there is a growing acknowledgment regarding the significance of recognising Modern artists who have contributed to the cultural national identity through their process of artistic decolonisation. This shift has created a more localised perspective and artistic vocabulary, which was not as prevalent before. Currently, we are witnessing the impact of this evolving perception of national artistic heritage on collectors’ approaches and their engagement with artworks in auction houses. In addition, collectors in the region are increasingly drawn to the global evolution of collecting practices, with a particular focus on female artists who, historically, have not received as much recognition as their male counterparts. Female artists like Etel Adnan, Saloua Raouda Choucair, Inji Efflatoun, Safia Farhat, Helen Khal and others are gaining attention and visibility as they are being more extensively researched by important collectors and collections.
RN: Can you share some key milestones or moments that stand out during your tenure?
RM: I am particularly proud of the recent Modern & Contemporary Art of the Arab World held in July- August 2023 at Christie’s London. Featuring Kawkaba: Highlights from the Barjeel Art Foundation and Emirati Art Reimagined: Hassan Sharif and the Contemporary Voices, this successful collaboration was made possible through partnerships with the Barjeel Art Foundation, led by my dear friend Sheikh Sultan Al Qassemi, and the UAE Ministry of Culture and Youth. This exhibition presented an outstanding collection of 148 exceptional Arab works, celebrating both the historical and contemporary creativity of the region. Alongside the exhibition, we hosted insightful panel discussions and educational programmes.
Another standout moment was organising the panel discussion Say Her Name: Iranian Women Artists and Revolution at Christie’s New York last spring. I moderated the talk with the curator and scholar Layla S. Diba. This discussion showcased four prominent Iranian contemporary artists: Shirin Neshat, Soheila Sokhanvari, Shahrzad Changalvaee and Hadi Falapishi. Being part of this event and witnessing these incredible artists sharing their stories and artistic voices, especially during such a sensitive time for their community, was deeply moving, and offered us the opportunity to express our solidarity and support for the Iranian people and their artistic community.
A more recent milestone for Christie’s was the Marhala: Highlights from the Dalloul Collection, a single-owner collection sale, held on November 9. This auction featured 48 remarkable works from the Dalloul Art Collection in Beirut, Lebanon, marking the first time that works from this exceptional private collection of Arab art were brought to the market. It was a great honour to present Mahmoud Said’s masterpiece, Fille à l’imprimé (Girl in a printed dress). The sale also achieved records for artists Kamal Boullata, Marwan, and Faeq Hassan. In addition, Christie’s hosted two panel discussions alongside the sale. The first discussion featured Dr. Basel Dalloul and myself, while the second celebrated the release of Abdel Hadi El-Gazzar: The Complete Works, a catalogue raisonné co-authored by our colleague, Valerie Didier. Experiencing the success of the sale within such a complex cultural context filled me with immense pride.
About Dr Ridha Moumni
Dr. Ridha Moumni, an Art and Archaeology Historian, serves as the deputy chairman of
the Middle East and North Africa division at Christie’s Auction House. Recognised for his scholarly contributions, he has delivered lectures globally and received accolades, including fellowships at the Villa Medici and Harvard University as an Aga Khan fellow. Specialising in the cultural history of The Maghreb, Dr. Moumni has curated significant exhibitions, spanning photography, 19th-century Art and Modern Arab Art, while playing a key role in enhancing Christie’s presence and strategy in the Middle East and North Africa.