< Previous70 HarpersBazaarArabia.com/Culture/Art Autumn 2020 SPECIAL FEATURE The Above: Lina Ben Rejeb. Nous sommes de cette étoffe dont les rêves sont faits No.II. 2019. Pictorial coat detachment, notebook cover and entomology display box. 50x39x8cm. Estimate: £15,000-20,000; Left: Maha Malluh. Bloom. 2019. Dishes. 62x56.5cm. Estimate: £15,000- 20,000 ascinated by the extraordinary diversity evident in contemporary Middle Eastern art, the world has long been held spellbound by masterpieces that evoke the rich artistic legacy of the Arab region, blending Islamic calligraphy with modernist elements and traditional aesthetics. Of late, this fascination has picked up momentum and is led by Middle Eastern female artists who have mesmerised audiences with their spirit of freedom and sheer genius. “The most popular female artists are, without a doubt, Fahrelnissa Zeid, Monir Farmanfarmaian, Etel Adnan, Saloua Choucair and Huguette Caland, all of whom are from the same generation,” says Dina Nasser-Khadivi, an independent art advisor and Christie’s International Consultant who is hosting a special guest-curated art auction titled Matters of Material alongside Christie’s upcoming 15th sale season taking place this November, 2020. Speaking to Bazaar Art in an exclusive interview, Nasser-Khadivi explains how the rise of these artists has garnered international attention and admiration. “In recent years, they have all had major institutional shows in places such as the Tate Modern, the Guggenheim New York, CURA TED B Y CHRIS TIE’S, W ORD S B Y ODELIA MA THEW S IMA GES C OUR TES Y OF CHRIS TIE’S HBA_040_68-71_Special Feature_Women art_11388573.indd 7001/10/2020 05:42:46 PM71 HarpersBazaarArabia.com/Culture/Art Autumn 2020 the Serpentine and the Hammer Museum in LA. The late Turkish Jordanian artist Fahrelnissa Zeid was coined by the Tate as being one of the greatest female artists of the 20th century, while the Iranian artist Monir Farmanfarmaian has been described by curator Hans Ulrich Obrist as being of the most important woman artist of her time; just like Etel Adnan who, in addition to being considered one of the most celebrated accomplished writers, has become, by far, one of the most popular artists in recent years on a global scale.” Having set world auction records, a few of these artists like Huguette Caland (Good Luck, 2009, sold for $162,500 in 2018), Yvette Achkar (Untitled, 1983, sold for $125,000 in 2019) and Fahrelnissa Zeid (Break of the Atom and Vegetal Life, 1962, sold for $2,741,000 in 2013) are testament to the steady and rising demand in art by female Middle Eastern artists, showing no signs of slowing down, but instead only appreciating in value and demand. The upcoming sale will feature a few iconic pieces such as Drawing in Glass No 3 (2009) by Monir Farmanfarmaian (£250,000-350,000), which is the most expensive artwork on offer in the lot, alongside the work of Egyptian artist Ghada Amer’s Virgin without the Child (2016, £100,000-150,000), Saudi Arabian artist Maha Malluh’s Bloom (2019, £15,000-20,000) and Tunisian artist Lina Ben Rejeb’s Nous sommes de cette étoffe dont les rêves sont faits No.II (2019, £15,000-20,000), to name only a few. To maintain a contemporary mix, works by Iranian poet and painter, Sohrab Sepehri will complement that of Morroco’s most distinguished artist, Farid Belkahia, Farhad Moshiri and Palestinian artist, Samia Halaby. In addition, the sale will also offer a versatile section on Middle Eastern design, curated by the renowned Munich-born, Dubai-based architect and designer Viktor Udzenija, best known for his aesthetic vision and astounding creations. The Middle Eastern Modern and Contemporary Art Auction and the Guest Curated Art Auction, Matters of Material will be held online from 11-24 November 2020, but they will have some artworks exhibited in a physical exhibition in London from 14-23 November. Browsing online runs from 4 – 10 November and bidding runs from 11 – 22 November, 2020. For registration and viewing, visit christies.com Catalina Swinburn. Anauša No.II - Inmortal Warrior. 2018/2019. Woven paper armour made from historical documentation archiving displaced archaeological stones from Persepolis. 200x150x40cm. Estimate: £25,000-35,000 Ghada Amer. The Virgin without the Child. 2016. Acrylic, embroidery & gel medium on canvas. 127x106.7cm. Estimate: £100,000-150,000 HBA_040_68-71_Special Feature_Women art_11388573.indd 7101/10/2020 05:42:52 PM72 HarpersBazaarArabia.com/Culture/Art Autumn 2020 We explore how auction houses have catalysed investments in contemporary and classic art, fine jewellery and luxury watches through new digital avenues... Eduardo Terrazas. 14.3 (from the series Everyday Museum). 1987. Estimate £25,000- 30,000 Investing in the Arts HBA_040_72-73_Special Feature_OM_11388614.indd 7201/10/2020 05:46:47 PM73 HarpersBazaarArabia.com/Culture/Art Autumn 2020 SPECIAL FEATURE The CURA TED B Y CHRIS TIE’S, W ORD S B Y ODELIA MA THEW S IMA GES C OUR TES Y OF CHRIS TIE’S The pandemic has accelerated digital growth across all sectors of business. Investment in art also indicates a steady and impressive growth rate over the years. A 2019 Art and Finance report by Deloitte ArtTactic revealed a CAGR of between two per cent and nine per cent across various collecting categories, with art being considered as an asset class stronger than gold, given its value preservation. According to this report, 88 per cent of contemporary works and 80 per cent of impressionist and modern works held for over ten years had a resale price higher than their purchase price. One must not ignore the less volatile compound annual returns supporting the trend for including art in wealth management services as expressed by 86 per cent of wealth managers surveyed. Even though auction houses reported an overall dip in sales during the fi rst two quarters of the year, statistics of these investment trends have supported the action witnessed in virtual auction rooms. When Christie’s livestreamed its ONE global online auction in July offering impressionist and modern, post-war and contemporary art and design, more than 80,000 people participated in the event, with 60,000 accessing the auction through social media in Asia. Not only did this reveal the true global appetite in the arts, but it also smashed presumptions of consumer hesitance to embrace the digital transformation. “We’ve had 30 per cent new clients join us digitally and our highest spenders have been our loyal and traditional buyers who have embraced the digital transformation,” says Matthew Rubinger, Global Head of Corporate and Digital Marketing at Christie’s. “The future of our business is a hybrid one and the success of our fi rst online sale was due to the global reach, engagement and digital tools such as virtual tours, digital catalogues and especially augmented reality which allowed a potential buyer to look at the art on their wall.” As Rubinger explains, such digital tools enabled the auction house to recreate their galleries to clients in any part of the world, without requiring them to physically take a fl ight and walk into a location from across the world. In the July sale by Christie’s, their YouTube channel recorded over 100,000 viewers, refl ecting the interest of the global art community. As for bidders and buyers, they had a chance to experience the gallerists showcase their lots from Hong Kong, Paris, London and New York, setting auction records for artists like Brice Marden, Wayne Thiebaud and George Condo. Auction house Sotheby’s also reported a contrasting incline for 48 online sales of watches held between January and July this year, reeling in $28m compared to $9m for 14 sales in the whole of 2019. Similar to the digital tools embraced by leading auction houses, Sotheby’s too changed its digital offering to include more video content, 360-degree spinning images and chat functions connecting clients with specialists and attracting digital-savvy buyers from across the globe. For buyers and collectors interested in purchasing, this certainly is the best time to discover the art world and add to their collections. Rubinger advises to begin with something they love and offers the following few tips for those considering buying in an online auction: First, register early for all the updates and leverage the digital tools available such as catalogues, virtual tours and augmented reality to get a real look and feel of it. Second, do your research and ensure you know what you are buying, to make a responsible purchase and investment. Third, study the art, understand the market, the artist and the auction house and get an opinion from an independent art advisor. Speaking about online and offl ine security, Rubinger says, “We ensure the same level of security, confi dentiality and trust that we apply offl ine on our online platforms and we have industry-leading measures to ensure that not only data is safe, but that we also lead the way forward in digital safety and security.” From top: Hayv Kahraman. The Interpreter. 2016. Estimate £40,000 - 60,000; A Multi-gem and Diamond Cocktail Ring. A circular-cut multi-colored multi-gem swirl edged with approximately 38 marquise-cut diamonds weighing approximately 1.75-2.00 carats, mounted in 18k white gold. Estimate: $2,000-4,000; Mohamed Melehi. Untitled. 1982. Estimate £60,000 - 80,000 HBA_040_72-73_Special Feature_OM_11388614.indd 7301/10/2020 05:46:53 PM74 HarpersBazaarArabia.com/Culture/Art Autumn 2020 After the COVID-19 crisis, the world is slowly opening up again. Art aficionados have been able to visit museums and viewing rooms of art auction houses and galleries in the digital space, and are returning to the analogue versions: As it appears, collectors still want to collect. How has the taste developed and what does the new decade hold? President of Christie’s Europe, Middle East, Russia and India Dirk Boll finds out… A Royal Copenhagen Porcelain ‘Flora Danica’ Part Dinner Service, which achieved $50,000, against a low estimate of $8,000 in The Collector | ONLINE, May 2020 The Collecting Fashions of the ‘New Twenties’ HBA_040_74-75_Special feature_OP ed_11388638.indd 7401/10/2020 05:47:22 PM75 HarpersBazaarArabia.com/Culture/Art Autumn 2020 SPECIAL FEATURE The CURA TED B Y CHRIS TIE’S, W ORD S B Y DIRK BOLL Fine Art In the 21st century, it is 20th century art that is being bought – and the more expressive it is, the better. Increasingly, record prices are being achieved for works from the ‘Classic Post-War’ period. These works are daring enough to still be seen as contemporary, but suffi ciently tried-and-tested not to present an investment risk. Contemporary production is demonstrating ever more clearly that the world is dividing into ‘market art’ and ‘institutional art’. The institutional sector is increasingly focusing on installation and performance art. This is in deliberate contrast to the market which, devoted as it is to the tradeable object, is itself emphasising this contrast more than ever by producing and selling works in expensive, rare and durable materials. Antique furniture An examination of why people buy art highlights one development in particular. As the client base in general expands, along with the proportion of purchases made by end clients, art distribution systems are fi nding themselves more and more exposed to secondary motives for purchases. The number of purchases made with a view to decorating clients’ homes has seen particularly impressive growth. This is why we are now talking about interior design, for instance, as an important factor behind fashion on the markets. Over the last 30 years, demand for traditional wood and veneer furniture in particular has fallen victim to the fact that these kinds of objects are completely ignored and are pigeon-holed as old-fashioned and dull. However, a new generation of buyers is now emerging who want to escape the mass-produced ‘hotel look’ and see traditional antiques as a suitable tool for doing so. They are unusual and individual, which makes them much better suited for showing off your lifestyle on Instagram than a new piece of standard furniture straight from the factory. They are also more tactile, an important characteristic in a world where the digitisation of images and their dissemination through fi lters has created a world full of high-gloss surfaces. Genuinely old items promote a feeling of security, because they have stood the test of time, as well as being much more durable than new ones polished to a high sheen. Last but not least, a new generation of potential clients is operating with an increased awareness of the sustainability of antiques. Luxury collectibles The demand on the art markets for luxurious objects will continue to grow signifi cantly. Prices for handbags, classic cars, vintage fashion and mechanical wristwatches have all grown substantially; in fact, collectors’ cars have seen the strongest growth of any sector in the art markets over the last 20 years. For the art markets, sectors like these are typical points of entry that help to attract new customers and, ideally, to turn them into art collectors. That said, the car auction sector has been weakening since 2018 and growth in the watch sector has also slowed. The hope must be that the second-hand luxury goods market will benefi t from the entry of millennials – people who love vintage looks, who are receptive to the manufacturer’s ‘branding’ and ‘street culture’, and who see the reduced carbon footprint associated with second-hand objects as an advantage. Helpfully from the industry’s point of view, objects like this are overwhelmingly suited to online distribution, as well as the experience economy in its many forms. Dirk Boll studied law and wrote his PhD thesis on distribution systems for art and the legal framework of the international art market. He joined Christie’s in 1998. Following several positions in Germany, Switzerland and London, in 2017 he took over the position of President at Christie’s From left: A diamond ring of 28.86 carats, D colour, VVS1 clarity, Type IIA. Sold for $2,115,000 in Jewels Online, 16-30 June 2020; Dirk Boll, President of Christie’s Europe, Middle East, Russia and India; Below: Handbags Online, The Power of Colour HBA_040_74-75_Special feature_OP ed_11388638.indd 7501/10/2020 05:47:27 PM76 HarpersBazaarArabia.com/Culture/Art Autumn 2020 HBA_040_76-79_Collector_Zina_11388021.indd 7601/10/2020 05:47:54 PM77 HarpersBazaarArabia.com/Culture/Art Autumn 2020 ALLURING Ties Born into a family of art aficionados, founder of fashion brand Le Marais 101 and avid collector Zina Khair welcomes Ayesha Shehmir into her Dubai home, which resembles a Syrian art gallery with works dating back to the 80s The COLLECTOR orn in Damascus, Zina Khair was raised within a Syrian home of art collectors: her mother, an artist herself, and her father, an art enthusiast, certainly passed down their creative genes to their three daughters, namely Thala, Zina and Aya, who have all mastered artistry within each of their professions. Zina is the founder of Dubai-based fashion brand Le Marais 101, which specialises in recreating pre-owned items such as handbags and accessories. If you were to ask her to describe her childhood home in Damascus, “I would vividly remember the Fateh Moudarres paintings that fi lled our walls from fl oor to ceiling,” she smiles. Why Moudarres of all artists? As Zina’s father once wrote, “I don’t know, his work struck me. The countryside, the women, the artefacts, the materials he used. He was a very interesting character who combined art, philosophy, poetry and music.” Before the launch of Atassi Gallery in 1986, Damascus was almost devoid of an established art scene. Then, the launch of Ayyam Gallery and Tajalliyat Art Gallery supported the fl ourishing Facing page: Zina Khair stands in her art-fi lled entryway Photography by AASIYA JAGADEESH HBA_040_76-79_Collector_Zina_11388021.indd 7701/10/2020 05:48:01 PM78 HarpersBazaarArabia.com/Culture/Art Autumn 2020 The COLLECTOR art scene in the city, paving the way for later art institutions and events to take centre stage. Witnessing the contemporary art movements in Syria coupled with her family’s love for art, Zina found herself naturally drawn to the fi eld. A great admirer of the late Syrian painter Fateh Moudarres, Zina’s father, Munzer Khair, wrote a book entitled The Khair Art collection: Fateh Moudarres, which was edited by Art Dubai’s new Regional Director, Hala khayat. The publication coincided with an exhibition organised by Ayyam Gallery and Christie’s in 2018, where 83 artworks by Moudarres from Zina’s personal family collection were unveiled. These works were later showcased in 2019 at the International Council at MoMA. Naturally, the fi rst work Zina ever purchased was a painting by Moudarres. “I remember I was working and saving money because I had spotted this beautiful painting called The Twins (1989) and I was hoping that it wouldn’t be sold before I was able to pay for it,” she recalls. “Thankfully, the gallerist was a good friend and accepted to let me pay by instalments and have it.” Alongside Moudarres, modern and contemporary works by an array of Syrian artists hang in Zina’s art-fi lled Dubai home in DIFC, including Louay Kayali, Mohannad Orabi, Marwan Kassab-Bachi, Safwan Dahoul, Nazir Shora, Nazir Nabaa, Youssef Abdelke, Sabhan Adam, Asaad Orabi, Omar “Malva” Hamdi, Fadi Yazji and Michel Kersheh. A work of note is a portrait from the Khair Art Collection, depicting Zina’s parents painted by Moudarres in 1974 with an inscription by the artist. When it comes to collecting art, Zina highlights that one must understand the difference between collecting and investing. “When you fi rst buy an artwork, it is either because of a coup de foudre or because you believe it is a good investment,” she expresses. “Collecting comes at a later stage when you start making decisions based on how much you love the artwork, but most importantly, on how much it adds to your collection. You even reach a level where you start looking for an artwork to complete your collection.” Personally, Zina has stopped herself from buying a painting she has fallen in love with on several counts, simply because she found it wiser to invest in another work which would add more value to her collection. “I have to admit that what fi rst started as an entirely passion-driven act, over the years turned into a more calculated and studied one.” When Zina’s family fi rst moved to Dubai in 2012 after the war erupted in their hometown, torn, Zina admittedly struggled to settle into her new home. “We stayed two and a half years in a furnished apartment and I refused to hang a single painting on the wall because to me, Damascus was where I left my soul,” she sighs. Displaying the very fi rst painting on the wall marked the Dubai house’s transition into a ‘home’. “To me the idea of home doesn’t exist without art,” she says. “A home is soulless without art.” “With so many galleries shifting into the digital realm, what are your thoughts on collecting art online?” I ask. “Had you asked me this question before March 2020, my answer would have probably been different,” Zina admits. “Today, we are waking up to a new reality where we are slowly accepting the fact that things as we knew them have changed forever. The sooner we adapt, the sooner we can recreate a new form of normalcy. I guess that we will have to accept the fact that the experience of art-buying, where it only makes sense if you’re actually able to feel the artwork, will soon no longer exist and will be replaced by feeling it though our screens. Today I fi nd this sad, but I don’t think that my children and grandchildren will see it in the same way. In the past few months, we have learned that everything is possible and that as humans, we are able to adapt to literally anything.” Zina leaves us with some invaluable advice on building and mastering an art collection, noting that research and personal interest are both crucial when doing so. “Look for artists, themes, techniques that entice you. Learn as much as you can about that initially – there is really no road map to this,” she asserts. “Don’t pay attention to trends. Just follow your heart.” From left: Assad Arabi. Old Damascus. 2008; A work by Sabhan Adam. 2010 HBA_040_76-79_Collector_Zina_11388021.indd 7801/10/2020 05:48:07 PM79 HarpersBazaarArabia.com/Culture/Art Autumn 2020 A 2010 work by Assaad Yagan; Below, clockwise from left: Works by Mohannad Orabi. 2008; Jaber Alwan. 2008; Rima Salamon. 2008; Fadi Yazigi. 2006; Omar (Malva) Hamdi. 2003 “ I N T H E P A S T F E W MONTH S , W E H A V E LE A R N E D T H A T EV E R Y T H I NG I S PO SS I B L E A N D A S H U M A N S , W E A R E AB L E T O AD AP T T O LI T E R A LL Y AN Y T H I N G ” HBA_040_76-79_Collector_Zina_11388021.indd 7901/10/2020 05:48:17 PMNext >