Dr Ridha Moumni with a partial view of Kopf (Head), 1975-76, by the Syrian artist Marwan. The work was part of the 2025 show MARWAN: A Soul in Exile, curated by Dr Moumni, which was the third annual Arab art exhibition held at Christie’s in London. The exhibition moves to the Concrete space at Alserkal Avenue in Dubai, 12-22 April 2026, coinciding with Alserkal Art Week, to mark 20 years since the first Christie’s auction in Dubai dedicated to modern and contemporary Middle Eastern art. Artwork: courtesy of Barjeel Art Foundation, Sharjah. © Estate MARWAN
I first encountered art through architecture. I grew up in Tunisia and Algeria, in the Maghreb region, which is honestly one of the most beautiful places in the world. We are surrounded by archaeological sites — Numidian, Carthaginian, Roman, Byzantine — and Islamic architecture that was part of everyday life: mosques, palaces, historic houses. At the time, I didn’t realise this was ‘art’. It took me years to understand how refined and technically accomplished Islamic artistic expression truly is. It is no surprise my PhD focused on Roman art and architecture in North Africa.
If I could travel back in time it would be to Islamic Granada. A cosmopolitan society shaped by cultural and religious diversity. The sophistication of its architecture, culture and intellectual life is something I would have loved to experience first-hand.
Nadia Ayari (b. 1981), Facing II, 2025. Oil on linen. 41 x 54½ in (104.1 x 138.4 cm). Courtesy of the artist and Selma Feriani. This work is included in Nadia Ayari: Views from the Observation Deck, presented by Selma Feriani Gallery at Art Basel Qatar, 5-7 February 2026
The way art is expressed in the Arabic language is very different from French or English. It feels very pure, and more direct. It belongs to an ethical idea of beauty and is often expressed in an almost elemental way. Arabic frequently draws on older words and expressions to describe art, architecture and sculpture, and these terms have a powerful ability to convey emotion that carries historical meaning. For me, they translate the emotional power of art more easily, because Arabic offers so many nuanced ways to express beauty in general.
One of my great regrets is not recording my conversations with the Tunisian artist Jellal Ben Abdallah. He was one of the most important members of the School of Tunis. I curated a small retrospective when he was in his nineties. He was probably the most knowledgeable person on Tunisian art history. I continued visiting him at his home after the exhibition, where he would spend hours sharing stories and insights on his experience as a painter during the interwar years and after the country’s independence. I remember our last conversation: I told him that when I returned from my travels, I wanted to record all our discussions so I could preserve traces of his memory and of Tunisian art history. I learned of his passing at the age of 96 while I was travelling, and I deeply regretted not having seized the moment.
The artist Jellal Ben Abdallah at his exhibition, Peintre d’un seul tableau, curated by Dr Moumni at the French Institute of Tunisia in 2015
The cultural boom in the Gulf region in the past 25 years has been incredible. What they have achieved through strategic investment in museums, architecture and culture is remarkable. At the same time, these institutions are increasingly highlighting Arab artistic heritage, including North Africa, which is particularly meaningful. It’s powerful to see Arab countries taking a leading role in shaping global cultural narratives.
The Museum of Islamic Art in Doha is my favourite museum in the Middle East. I am sensitive to I.M. Pei’s architecture, and I love almost all of his buildings because they make me feel at ease inside. The museum stands out for the quality of its collection, the elegance of its design, and the attention given to creating an exceptional visual experience. Everything — the placement of objects, the layout of the galleries, the play of the light — has been thoughtfully considered. The museum creates a sense of intimacy with the works, offering a genuine tribute to Islamic architecture.
‘Opportunities for local artists, enthusiasts and curators to engage with art are increasing, and the region is beginning to speak with its own voice in the global art scene’: the map illustrates how the art-market landscape in the Gulf has changed over the past 10 years, and how it will evolve by 2030
I am thrilled that an Arab, Wael Shawky, has been appointed artistic director of Art Basel Qatar. For the first time, there will be a strong focus on regional artists. The curatorial decision to emphasise solo exhibitions is brilliant. Each gallery will feature only one of the artists they represent. Shawky is a sensitive artist, whose work delicately interprets society and history. What will be fascinating is seeing how he navigates a commercial fair and integrates international artists with regional voices in a single space.
I’m looking forward to seeing so many Middle Eastern artists all in one place. First on the list is Nadia Ayari, one of my favourite painters from Tunisia. She makes beautiful graphic works that explore women’s rights and cultural heritage. The Saudi artist Ahmed Mater and, of course, Marwan. We curated an exhibition of his paintings at Christie’s last year.
Wael Shawky, artistic director, Art Basel Qatar 2026 (left), with Vincenzo de Bellis, chief artistic officer and global director, Art Basel Fairs. Photo: Jinane Ennasri. Courtesy of Art Basel
I believe the Gulf has the potential to become a strong cultural platform — not just globally, but locally. Supporting regional artists whose work is gaining prominence is crucial. More than international prestige, the most important impact will be educational: people in the region will be exposed to art and culture, and over one or two generations we will see the real benefits of these museums. Opportunities for local artists, enthusiasts and curators to engage with art are increasing, and the region is beginning to speak with its own voice in the global art scene.
收取佳士得Going Once电子杂志，精选所有Christies.com的热门文章，以及即将举行的拍卖及活动等最新资讯
The inaugural edition of Art Basel Qatar will be held at M7 in Doha, 5-7 February 2026
Christie’s in Dubai will present a major exhibition celebrating the German-Syrian artist Marwan, 12-22 April 2026, at the Concrete space at Alserkal Avenue, coinciding with Alserkal Art Week
Explore Modern and Contemporary Middle Eastern Art at Christie’s