In Conversation With Curators, Hamza Serafi And Munira Al Sayegh, On Why Now Is The Time To Invest In Saudi Arabia’s Art Scene
What is the role of a collector? Is Saudi the right place to start buying art? Co-founder of Athr Gallery Hamza Serafi and independent curator Munira Al Sayegh share their expert insights
“The role of collectors is essential to art movements and culture, both in Saudi Arabia and internationally,” says Hamza Serafi, a self-taught artist and co-founder of Jeddah’s Athr Gallery, one of the country’s leading cultural and commercial art spaces. “Collectors play a massive role in the world of contemporary art.”
The Kingdom’s art scene is undeniably flourishing with the support from the government, at an unprecedented rate. “We are experiencing and living through one of the most current movements which covers the whole spectrum.” Like neighbouring Gulf countries, Saudi Arabia is investing heavily in the arts and culture sector, building new museums and hosting exhibitions and events to encourage a whole new generation of art lovers.
Mohamed Monaiseer. 4 from Fitna series (Part 1). 2018. Acrylic paint and hand embroidery on canvas cloth. 25x10cm
The rising demand for creativity is creating a virtuous circle set to support the development of national art. While contemporary artists have more opportunities in creating sustainable practices, there has always been a collecting class in the Kingdom. Most buyers are driven by a love for art or a belief in the artist, as well as by a will to own a piece of the artwork in their own home.
Collectors are shaping today’s art scene with their connections to other enthusiasts, gallerists and artists, influencing the art market in a way similar to curators, critics and museum directors. This role is even more profound in the Saudi context, where large-scale government support is relatively fresh.
Saddek Wasil. I can’t Find a Better Place Than This. 2014. Metal sculpture
“Support for artists can come in a variety of forms – the top-tier level of support is acquiring the work either from the gallery or artist studio or now, through new digital means and platforms,” says Hamza, noting that collectors’ support in financial residency programs and local artist-led initiatives is crucial. “Acquisition is one of the most important and obvious forms of support.”
Locally, art collections are used for many purposes. “Collectors educate the next generation, especially when they are intentional and ethical in approaching their collections,” says Abu Dhabi-based independent curator, Munira Al Sayegh. “Robust collections end up reflecting society, serving a purpose both now and in the future.”
Ahmed Mater. Mecca Windows 05. 2013-ongoing. Wooden windows with glass panes
Buyers have a variety of collecting practices; focusing on certain artists, galleries, organisations and institutions to support. Their full impact on contemporary art history is truly appreciated when viewing their role through the lens of a wider network of art professionals – making way for more tastemakers.
“Private and public is something we grapple with across the Gulf, but that is going to be less and less of a problem,” says Munira. “There is an intergenerational issue around privacy but focusing on a community of collectors will help in supporting and maturing the ecosystem. People don’t collect in silos so it’s really important to cultivate a community for collectors that is open.”
Ayman Yossri Daydban. Single from the My Father Over The Tree series. 2015. Silicon, soil on vintage posters. 113x83cm
The Saudi art community has seen an enormous shift in both mission and mandate over the last couple of years. Relevance of collection, shared responsibility of acquisition policy, and the role of collectors in this new reality are still being built.
Private, public, as well as corporate collections are still considering the ways their institutions respond to their roles as curators, cultivators and collectors of cultural knowledge.
Aya Haidar. What a Body, You Lion from Tolteesh series. 2019. Embroidery on cotton. 54x54cm
The burgeoning cultural scene of Saudi comes with setting up benchmarks. Today, acquisition is a dynamic multilevel and multipositional reality that is increasingly made up of both private and corporate art collections. Historically, artwork bought by organisations such as banks, companies, governmental and semi-governmental bodies, has been missing from the overall art scene in Saudi – with a notable very few exceptions.
An installation view of works by Mohamed Monaiseer
As part of the overall national strategy of government support, the Ministry of Culture recently published guidelines around acquisition committees and strategies, which will trickle down to museums and businesses looking to acquire work by Saudi artists and artisans. The framework was based on directives from Crown Prince Mohammed bin Salman and provided the largest support for the nation’s artists.
“They’ve provided impeccable roadmaps for collectors advising how the private sector and government sector should start collecting and acquiring works from Saudi artists,” explains Hamza. These guidelines cover the process of procurement, acquisition, art collection, restoration and maintenance, shedding light on the creation of a national art market that can foster relationships between the artist and the buyer.
Ayman Yossri Daydban. Shatii Al Hob. 2016. Silicon, soil on vintage posters. 113x83cm
It’s a pivotal time to be buying works from the country, with the growing interest in the region. The zeitgeist contemporary art movement reflects the social change – collectors are necessary to support the current movement. “With the contemporary movement, we not only have the aesthetic, but we also added the idea – an art collection is not only about beautiful moments but also has a level of cultural thinking,” adds Hamza.
Ayman Yossri Daydban. White Buffalo. 2014. 25 Tissue boxes. 182.5x68x8cm
As opportunities grow to display, a holistic private art collection might be of interest to museums and major institutions. Across the world, museums have paid multimillion-dollar prices for exceptional collections of work. “A comprehensive and in-depth art collection can make a tremendous contribution to the art world in general, especially in Saudi Arabia with its historically isolated art sector,” says Munira. “Working in tandem with other aspects of the art sector, collections can give a more holistic understanding of a moment.”
Ayman Yossri Daydban. Chiclets. 2011. 100 per cent cotton, acid-free paper. 77x56cm
There is a key rule when it comes to collecting, especially for those just starting out. As Hamza says, “Follow your heart and follow what you love. The most important tip is not to fear – not to feel that you don’t know art, that you don’t understand art.
Start by buying something you connect to and recognising that a simple answer such as ‘I don’t know much about art but now I am trying to learn and understand,’ is enough.”
Art is trendy, suddenly desired by everyone, including private collectors, the government and corporations, many of which are excitedly rushing to commission Saudi artists. So yes, there is no better place to be an artist – or a collector – right now, than in Saudi Arabia.
All images courtesy of Athr gallery and respective artists
From Harper’s Bazaar Saudi Summer 2021 Issue