Abu Dhabi Art 2024 opened in a striking and vivid atmosphere, as its growth into one of the important cultural sites within the world of art was well accented. This year’s fair, held at Manarat Al Saadiyat, was undoubtedly the most ambitious of this UAE series thus far, as it gathered more than 100 galleries and guests from 31 countries, setting a record in attendance. The event strengthened Abu Dhabi’s position as an artistic and cultural center and provided opportunities for the enjoyment of Eastern modernism and contemporary trends amidst the region’s challenges and the changing art market globally. Abu Dhabi Mecca for Art 2024 Event has certainly grown. It was the 10th edition. It came with much expectation from sponsors and had a good audience turnout across its recent locations. It was also the first time a whole new section was created at the fair for the modern art segment. The modern art segment, in its entire scope, wrought spectacular praise, but so did other elements of the fair: the alleged Abu Dhabi buy-in of MCH Group, which controls Art Basel fairs, and the problems posed by ongoing conflict in the region.

A Modern Revival: “Something Old, Something Bold”

Abu Dhabi Art 2024 was successful partly due to something old and bold—a contemporary art section coordinated by

the cultural strategist Myrna Ayad. This section in particular focused on the so-called “forgotten artists” from the 1960s to the 1980s, whose narratives are confined to mere snippets in broader contexts. This interplay of elements added seriousness to the fair as it showcased art that had an appreciation of history and further added value to collectors, institutions, and everyone in the society.

At a gallery in Ramallah, George Al Ama displayed works by Palestinian artists Emily Azar and Nabila Hilmi, whose last exhibitions were eons ago. Al Ama was lucky enough to find Fanous’s long-lost work courtesy of her son-in-law: “I went to his house and found several of her paintings.” However, instability in the region tended to make even slightly trivial tasks, such as moving the pieces from Bethlehem to Ramallah, difficult. Al Ama remarked, “It’s hard enough for people to move, but moving artwork in these times is crazy.” In spite of the challenges, numerous artworks from Al Ama’s booth were sold for prices ranging from 6000 to 15000 dollars.

Lilia Ben Salah from France was another standout as she combined works by Inji Efflatoun, an Egyptian painter, and some performance-based works by the Palestinian artist Amal Abdenour. In turn, both artists were politically active and jailed in the Citadel of Cairo. But they had never exhibited their works together. Selling Efflatoun’s paintings fetched sums from the upper tens of thousands, and many collectors and institutions were able to purchase them, which underpinned the importance of finding women’s voices lost in art history.

From Cairo, Ubuntu Gallery came up with intriguing works by an Egyptian artist, Ihad Shaker. In as much as Shaker is famous for his film animations and illustrations, he also sold paintings and drawings that were selling for $8,000 to over $30,000 to serious collectors. Selma Feriani Gallery, based in London and Tunisia, presented artworks by two members of the Casablanca School, Farid Belkahia and Mohamed Melehi; the exquisite miniaturist Jellal ben Abdallah was also featured.

Modern art and contemporary mixed results in Abu Dhabi Art 2024

Even though the modern art segment did best, results for contemporary art dealers were mixed. The Abu Dhabi Guggenheim team, which is working toward the opening of the museum in 2025, was visibly active at the fair, indicating that it was interested in buying works. Lawrie Shabibi gallery had a solo presentation for Mandy El-Sayegh, while Dubai-based Carbon 12 assigned Sarah Almehairi from Abu Dhabi to work with Austrian painter Bernhard Buhmann. The gallery stated that all of Almehairi’s works and some of Buhmann’s pieces, which sold for $3,500 to $30,000, were sold out.

However, how many sales were realized, and what was the level of interest in the sales? It was a downside for most dealers. Indeed, a large number of sales remained international, with some dealers indicating that the condition of the global economy and instability in specific regions forced them to adopt a conservative approach.

Cultural Restoration Despite Geopolitical Rivalry

Abu Dhabi’s art scene and tourism flourished during this period. Art 2024 was molded and influenced by many national and international events or dynamics. One such pivotal event would be the rising violence in the Middle East, which co-occurred with the fair, such as the bombardment of Lebanon and Palestine by Israeli forces. Mr. Saleh Barakat, who owns a gallery in Beirut, explained the horrific realities in Lebanon: “You have a million people who are sleeping on the streets or who are in precarious accommodation in schools. It is everywhere around you.”

In my opinion, logistical concerns were also present for numerous fairs, mostly during this one where the artists and galleries were based in Palestine and Lebanon. Barakat, whose gallery had reduced scale versions of works due to restrictions on air cargo, spoke of the realities of conflict and the role of art within it. “Art becomes a symbol of resilience, but it’s not straightforward to make it happen under such conditions.”

Fear and concern associated with the rising conflict was also apparent in the other exhibits; notable, another install was a carpet created with the Palestinian flag. The Emirati artist Najat Makki, working under the Afghan/UAE Fatima bint Mohammed Initiative, made the rug, which was on display prominently at the entrance, highlighting the role of art as a political statement.

Art Dearing Abu Dhabi’s Art Basel Displays Rumors.

As one of the most critical conversations at the fair, the conjecture about a supposedly US$ 20 million deal with the MCH Group, the organizer of the famous fairs, Art Basel, came up more than once. If such a deal comes to fruition, Abu Dhabi may also consider relocating Abu Dhabi Art further up the international calendar. Other industry observers noted MCH probably would move the fair to January, instead of holding it concurrent with Art Dubai in March.

Again, D Ali and the UAE are trying to collaborate; this is not a new attempt from either side. Previous attempts such as the Art Basel Cities project and the Art Basel Inside experience did not become a success. But still, Dyala Nusseibeh was positive about the prospects of the art market in that region. “It’s not only the Middle East that is looked at, but the entire market potential in the region,” she said. “Auction houses, too. They are expanding their markets, introducing designer pieces and luxury products. They are also considering how to effectively market these products.

Increased Understanding of Eastern Middle Art Histories

In this regard, Abu Dhabi Art 2024 has once again fleshed out its non-commercial objectives, demonstrating that it is more than just about selling and speculating. The embassy organization Otra Orilla (Another Shore) presented the impacts and contributions of Arab diaspora communities in artworks in South America. This unconventional methodology is in line with the greater cultural agenda of AD, which seeks to establish the UAE capital as a less glamorous version of Dubai but more culturally and intellectually as a fully fledged center.

“Corroborative research originating from here is very important,” Nusseibeh stressed. “There are vast oceans of ignorance waiting out there to be filled; countless pages of history have not been written. Furthermore, we are merely grazing the surface of modernism within the Middle Eastern context, a truly thrilling experience.

Looking Ahead: Abu Dhabi’s Cultural Strategy

With sustained focus on the investment of arts and culture, Abu Dhabi’s vision for the future is evident with the ongoing constructions of the Guggenheim Abu Dhabi and the Zayed National Museum. In addition to Abu Dhabi Art, these institutions are positioned as part of a cultural reclamation whose purpose is the harmonization of the old and the new.

This year’s fair was able to enhance the city’s artistic stature by offering a very enticing combination of the historical and the new. Considering the possible participation of Art Basel and the growing collection of ready-to-open iconic museums, Abu Dhabi Art is ready to support and strengthen the future of art in the Middle East and the rest of the world.

Despite regional issues and fierce international competition, Abu Dhabi Art 2024 has demonstrated that art is not only a product of culture but also an expression of strength and vision.

Participating Galleries

MODERN & CONTEMPORARY

SPECIAL PROJECTS

EMERGE & BIDAYA

SILK ROAD; DRIFTING IDENTITIES BY ELVIRA EEVR DJALTCHINOVA-MALEC

Galerie Michael Janssen | Pygmalion Gallery | CH64 Gallery | The Why Not Gallery

SOMETHING BOLD, SOMETHING NEW BY MYRNA AYAD

TNA Editorial

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