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
Sotheby’s has established a notable presence in the UAE. What factors influenced the decision to set up operations in the region, and how has the experience aligned with Sotheby’s expectations?
When we first started out in the Dubai office, we were a team of three, and over the course of the last few years, I’m proud to say that we have grown to become a team of 11 permanently on the ground here in the UAE, not to mention the constant flurry of visits from our global colleagues. I think that is indicative of how we view the importance of the UAE and our commitment to it in very real terms.
Our aim at the very start was to grow our presence in a way that was distinctive to what was historically being done at the time in the region, and to set ourselves apart from our competitors too. We have been showcasing the best of the best of Sotheby’s, as a global art business, bringing a variety of our services to the doorstep of collectors in the region. Through this we have seen our audience grow above and beyond what we imagined, and at the same time we have seen a strong increase in our Middle Eastern clients as players in our global sales.
Since entering the UAE art market, how does Sotheby’s perceive its role in shaping and contributing to the development of the local artistic scene? Have there been any notable shifts or trends that Sotheby’s has observed in the regional art landscape?
We see ourselves as at the forefront of a thriving ecosystem in the region, of artists, gallerists, galleries, art fairs and institutions all with the same purpose – with so much opportunity to thrive together.
One example that encapsulates this is if you look back to the summer of 2020, we held the inaugural online sale by an international auction house in the Middle East, bringing together works from seven of Dubai’s leading art galleries from the vibrant Alserkal Avenue district in a project that was the first of its kind. This felt like a natural partnership, as we used our extensive digital reach and presence to amplify their initiatives and create new collecting opportunities worldwide.
Whilst we continue to innovate, we are also dedicated to exhibiting Middle Eastern Modern and Contemporary art at least twice a year, with our biannual travelling exhibition from the flagship London auctions, which has become a fixture in the calendar for many.
We are also committed to highlighting and elevating Emirati artists. For example, recently we included a work by Mohamed Ahmed Ibrahim as the star of a private selling exhibition in the gallery. Looking a little further back, we partnered with Aisha Alabbar Gallery to put on a wonderful show of works by Najat Makki. I myself have a work that I treasure by an Emirati artist, and honestly would urge everyone to acquire at least one that they resonate with in their collection.
We have found that the response has been particularly enthusiastic towards the educational talks that we put on, particularly those that give insights into how local collectors have gone about their art journey. Most recently, we held art collector talks at Abu Dhabi Art fair, with Elie Khouri, Basel Dalloul and Fatima Maleki.
In terms of trends that we are seeing, I would say it is the interplay between emerging and established markets. Our collectors are broadening their scope, bringing together artists from different regions, whether this is international Contemporary art, young artists from our Now sales as well as traditional Western categories like Old Masters. That fits in with what we have seen with cross-category collecting, which really is how we see people putting together their collections now. We’ve also found that collectors are keen to explore different regions, for example at the moment there is a lot of focus on Saudi art, particularly by the Modernist pioneers.
The UAE’s cultural and artistic landscape has witnessed significant growth and diversification. In this evolving environment, how does Sotheby’s foresee its role evolving, and are there specific initiatives or collaborations planned to further engage with the local and regional art community?
We will continue in our unique role of presenting artworks like the show-stopping 1932 Picasso of Marie-Thérèse Walter this September, being able to position the UAE as a major stop in the world tour of our very top masterpieces. Another blue-chip artist we have successfully promoted here is Andy Warhol, as we unveiled a single-owner private collection of his prints earlier this year, and currently have an exceptional 1980 painting (14 Small Electric Chairs from the Reversals Series) on our walls, which is being offered for private sale.
The Picasso was a perfect example of how we engage with the local arts community, as we unveiled it with a number of guests of honour, including the UAE Minister of Culture & Youth, the CEO of Dubai Culture’s Arts and Literature Sector, as well as the CEO of the DIFC, which is our home.
We want to carry on this trajectory in the future, but on my wish-list are more women artists, such as the incredible Amy Sherald and Lynette Yiadom Boakye – their sheer wall power would work perfectly here.
As an international auction house, Sotheby’s has a unique perspective on global art markets. From this vantage point, what are Sotheby’s views on the current state of the artistic scene in the UAE, and are there any forecasts or expectations for its future development?
I think there will be even more visibility on art in the region, with the UAE continuing to shift to become a cultural hub internationally. There is an extensive museum project opening in Abu Dhabi over the next few years, with the Guggenheim and other great foundations and arts centres that will be opening in the Saadiyat space. As a result of having these institutions filled with art, there will no doubt be more of a focus on culture that filters through. If you look at what happened when the Louvre opened, and the huge shift that caused, we can only imagine what will come.
The UAE continues to be one of the best places to live in the world, so the influx of people moving here from all over the world has not stopped, in fact it is growing. This pool of potential art lovers includes people who are already seasoned art collectors and are looking to continue or furnish their new homes with an art collection that speaks to the region they are now in.
There is also the younger generation, and this youth demographic means that Dubai and the UAE more widely is bursting with this energy and thirst for learning, as people who are thriving here are starting to build their own collections. To that end, we are doing more private selling exhibitions, more talks and tailored events like tours and Young Collector dinners.
Given the dynamic nature of the UAE’s cultural sector, are there specific strategies or initiatives that Sotheby’s is considering to stay at the forefront of the region’s art market? How does Sotheby’s aim to continue fostering a meaningful connection with collectors, artists and art enthusiasts in the UAE?
Our overriding mission statement is to bring the best quality art here, and to put the UAE on the map as one of the cultural hotspots of the world standing shoulder to shoulder with London, Hong Kong, Paris and New York – that is what is at the heart of our commitment. A large part of that is exposing our audience to a thoroughly diverse offering. I’d love to bring, for example, African and Latin American art, and differing categories like a focus on prints and photographs.
Throughout your years at Sotheby’s, you’ve played a pivotal role in the region’s art scene. Can you share some reflections on your experience and how you’ve witnessed the evolution of the art market in the UAE over the years? What notable changes or trends have you observed, and how has Sotheby’s adapted its strategies to navigate the dynamic landscape of the local art market?
Dubai is a thriving city, and we came here at the right time – everything worked in our favour. Now, more and more people know us, we have that name recognition that Sotheby’s already is lucky to have elsewhere in the world, and we get a lot of traffic through our doors.
From my time at the helm of Sotheby’s UAE, I see the Rembrandt in 2018 as a major turning point. We brought a rare Rembrandt depicting Christ for a special exhibition in Dubai, its first venture to the Middle East since it was painted in the 17th century. We took a risk, as we weren’t sure whether the subject matter and the artist would resonate. Not only did we see an unexpected influx of people to the gallery, but the work was actually acquired by the Louvre Abu Dhabi. Since then, we have definitely been bolder with what we choose to bring, which has been very exciting – from the two extremely high value Botticellis to most recently the $120 million Picasso – and a testament to the potential of the audience here and its rapid evolution. Another moment I was particularly proud of recently, was our talk with Fernando Botero’s family, allowing a privileged insight into such a great artist’s life and work.
There are also a lot of seasoned art collectors, the local families that we have been transacting with for many decades. We’ve found that ever since we opened our doors in Dubai, they’ve broadened out to be transacting in so many more fields. And we’re also able to continue to build on these relationships and more.
About Katia Nounou Boueiz
Katia Nounou Boueiz joined Sotheby’s Private client group in 2008 with a focus on cultivating Middle Eastern clients and nurturing a new generation of collectors globally. After setting up and developing Sotheby’s first UAE office in 2015, Katia has been instrumental in pioneering a continuous calendar of bespoke exhibitions, educational lectures and events tailored to the Middle East, contributing significantly to the art scene in the emirates.
