Cultural Ambitions and Audiences in the Middle East

John Martin and Reem Fekri

Noticably over the past three years a large amount of development has taken place in the UAE, particularly within Abu Dhabi and Dubai. It appears that the region is attempting to re-invent itself as a hub for culture. Through various ambitious cultural regeneration projects such as Saadiyat Island in Abu Dhabi (which will house the Guggenheim and the Louvre, designed by Western architects and will house Western collections), it appears the purpose for these radical and somewhat sudden developments are to create a form of cultural tourism which will, in time, generate a creative economy.

In terms of attracting international visitors, Art Dubai has seen a steady growth of overseas visitors coming to the fair: 1000 or so in 2007, 4000 in 2008. 2009 is going to be important because, there is so much going on in the region, and if we get it right, then we will be able to turn the week into a major annual art event on the (very crowded) global art calendar. As an annual event it would offer opportunities for institutions in the region to reach a wide international audience and establish a key date on the international art calendar. (In the same way that the Grand Tour in Europe (www.grandtour.com) and Art Compass in South East Asia, (www.artcompass2008.com) have created similar regional mega art events.) In 2009 we anticipate 5-8000 international visitors with up to 250 Press attending. By 2012 we anticipate these numbers to grow well in excess of 20,000 international visitors; perhaps double that with the opening of the Saadiyat Island’s museum cluster, which will also open in 2012.

Cultural tourism is an important component in the development of any new museum, and in terms of quality, it is clear that the museum projects that succeed do so because of the range of their holdings, the quality of their exhibition program; scholarship, conservation are also key ingredients. At the end of the day, a great piece of architecture makes a huge impact, but a building will bring those valuable cultural tourists only once – successful cultural tourism is about getting those same people back every year – twice a year – and a great museum or cultural institution will attract regular visitors if it is in a world-class building or in a humble warehouse. The Museum of Islamic Art (MIA) in Doha is going to make a huge impact – in terms of its collection and commitment to scholarship, conservation and education, it has been uncompromising; and housed in the I.M Pei building, it could become one of the world’s great museums.

Theorists such as John Urry argue that new monumental forms of museums and galleries has become essential to view for tourists, which makes it safe to assert that in many ways, the structure, form and design of these buildings are becoming increasingly more important.

There are two factors in this process - one external and one internal regulation – yet they are linked by only one thing, being architecture. This link is seen as serving both the needs of the visitors, museum itself as well as sponsors and the government. The images of Saadiyat Island, for example, are no doubt spectacular in their own right. Although projects such as these have received great criticism worldwide, they no doubt have pulled of the development of what will eventually become flagship museums.  Arguably that the very presence of museums can be compared to the opening of a subway station or even an airport – Urry for example, argues that it is an investment, which has the ability of raising property values. In other words, they are so magnificent in their structure that they have the ability to raise profiles of developments and bring life to an area, i.e. regenerate a deprived area.

So 2009 is, in a sense, a litmus test for the cultural ambitions of the region. Internationally, it will be the first time a lot of visitors and press will see whether all the reality matches the hype. The MIA is a fantastic flagship museum, but similarly, the quality and diversity of the events taking place between 16 and 21 March in the UAE are also world-class. The Biennial, The Tate’s exhibition, ‘Lure of the East’, Art Dubai, the Global Art Forum, the Abraaj Capital Art Prize, as well as a plethora of city-wide events orchestrated by the private galleries and institutions in Dubai, mean that for the first time, the world can see the scale, quality and ambition that is inexorably turning the region into a major-player on the international contemporary art scene. Three years ago, no one would consider we could be at this stage so soon.

It is safe to assume that ‘modern’ cities should not be without a sustainable cultural infrastructure. Flagship galleries and museums are undeniably a must for a city to be recognized on a global scale. It appears as though culture is now a key tool in urban regeneration as well as in urban competition with other cities. It appears that opening new galleries and museums in a city can build and help increase tourism and in time, a cultural economy and that the role of architecture and blockbuster exhibitions are a large part of this, as well as helping promote the city as a place to live and work.

In the West, living in a post-Fordist economy, culture is a an important attribute within urban competition and flagship museums are becoming a desirable commodity – which needs to be funded, sought for and competed for rather than viewed as being a drain on governmental resources. Having prestigious museums as part of cultural infrastructure offer potential vehicles to reinforce the legitimacy of a city and its government through social, cultural and economical terms.

Evidently, through Bilbao and the Guggenheim and the Tate Modern, for example, art galleries are a major part of regeneration today. When a world-renowned architect (often known as starchitects) designs a museum or gallery it somehow functions as a statement about the countries pride, attraction and status. Without a doubt, if a city lacks in having a flagship museum or without a solid cultural infrastructure it is overlooked and appears somewhat hermatic in its functions.

However – and perhaps this is more important – if we want these ambitious cultural projects to succeed, it is essential that they receive support across the region as well as internationally. Whilst events like Sharjah Biennial and Art Dubai have benefited greatly from the enthusiastic support and commitment amongst the city (and particularly amongst the business community e.g. DIFC and Abraaj Capital); these two events have a significance right across the Middle East, North Africa and South Asia and it is important that people who love art and want contemporary art to thrive in the Gulf, see all these cultural events as something that needs our shared support, whether they live in Kuwait, Jeddah or Doha.

Image courtesy of Reem Fekri / Art Dubai

 

 

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