ArtTactic

Catchy title, catchier representation; Art in Saudi Arabia by seasoned reporter Rebecca Anne Proctor, with Alia Al-Senussi, offers an opportune overview of the past, present and future of the Kingdom’s contemporary cultural scene and economy; in particular within the ubiquitous Vision 2030, the trillion-dollar mega project led by Crown Prince and Prime Minister Mohammed bin Salman (MBS). The words ‘contemporary’ and ‘economy’ are key here. What is being exchanged in the creative economy and whose work gets into the canon to tell the story of who? To demystify the infrastructural spectacles and provide readers the ability to make their own judgement, the authors interviewed various industry players, from artists to gallery owners to academics to curators and the like, to shed light on their hopes and worries in art-making and appreciation at home and abroad, amidst Saudi’s leapfrogging political, religious and social reformations since 2016.

In the face of self-censorship, morality of public and private institutions and the financialisation of art, all of which are especially pertinent in the cultural practices in the Global North nowadays, the authors try to make a balanced statement that seeing art in Saudi Arabia through the Western lens may not necessarily paint the full picture of what’s happening within the Kingdom. However, if we take a closer look at the discussion of this cultural opening, there exists a diplomatic undertone that the current art patronage is just the beginning of something that never existed before – a platform for artistic expressions – the development of which is yet to come to a conclusion (like what will happen after 2030?). As the authors note, they only “seek to demonstrate” how public investment in the arts brought visibility and profitability to a previously “unthinkable” industry in Saudi Arabia. There is no definitive answer here to whether creativity is merely a means to an end (diversifying fiscal revenue from oil and promoting the region at large on the global stage) or a recognition of individual talents and collective voice. They leave that up to time and readers’ own point of views to ascertain.

Zooming out to the rest of the world, it is hard to escape from seeing the name of AlUla (an ancient Arabian desert oasis turned luxurious travel and arts destination), or Wadi Al Fann (Valley of the Arts), or more broadly, new exhibitions and auction records set by Saudi artists in the West. Compared to regional neighbours such as the UAE and Qatar, who are all ramping up their stakes in the game of modern architectural wonders and cultural bodies, the portrayal of Saudi’s manifestation here seems both tangible and nebulous. Between geopolitical and cultural headline-fodders, the authors do acknowledge the clash of freedom and boundary behind the modernisation initiatives. However, it is unclear how Western art practitioners and audiences are expected to all of a sudden set aside their differences and learn from each other in this new creative exchange without educational programming. While “compassion” and “an open-mind” are pivotal to foster progress, a publication like this is helpful as a handbook for a new generation of art lovers to begin and continue their observations in the nascent field.