The initial collection celebrates elements of nature—land, sea, and air—which resonate globally and carry unique significance in the Middle East. Selo noted that “nature has a universal appeal” that speaks to the diverse yet harsh landscapes of the region, while also suiting both contemporary and traditional interiors. The pieces are available for individual homeowners and interior designers alike, with Selo predicting that “sea-inspired” designs could be particularly popular among coastal dwellers due to the calming effect of oceanic imagery.

Future releases will explore other themes from the Met’s 1.5 million works, which span 5,000 years of art history. Sedar also hopes to incorporate Middle Eastern influences, aiming to blend global art heritage with regional cultural expressions. Selo shared that the team is actively exploring opportunities to include local artistry, which would “add that unique Middle Eastern touch” to upcoming designs.

In his own home, Selo prefers bold colors and industrial aesthetics, revealing a personal taste for abstract works by Wassily Kandinsky. He believes Kandinsky’s geometric styles can bring depth and become focal points in a room.

This innovative Met x Sedar collaboration not only broadens access to fine art but also introduces art as a versatile part of everyday living spaces.

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One of the highlights of the display is an untitled painting by renowned Saudi artist Al-Saleem. The auction house described him as “one of Saudi Arabia’s foremost modern artists,” praising his contribution to the Kingdom’s artistic development. Known for blending modernist and traditional aesthetics, Al-Saleem’s work combines geometric forms with figuration, capturing the essence of his environment. His untitled piece is expected to fetch up to £100,000 (SAR 500,000) at the auction.

Another significant piece is an 8th-century bronze buck from the Umayyad period, considered a rare and exquisite example of early Islamic sculpture.

Sotheby’s stated, “This is indisputably one of the finest known animal sculptures from the Umayyad and early Abbasid period.” This exceptional work, which bears the names of its maker and patron, is expected to sell for as much as £3 million. Dr. Julian Raby, an expert on Islamic art, concluded that the sculpture represents “a major addition to our understanding of figurative sculpture in the second century of the Hijra.”

The exhibition also featured a remarkable 13th-century leaf from an Arabic translation of the ancient Greek text De Materia Medica, a pivotal reference on herbal medicine. The manuscript showcases the intricate craftsmanship of the Baghdad School of miniatures and is valued for its significant role in the development of manuscript illumination in the Arab world.

Lebanese artist Ayman Baalbaki’s 2014 painting 7ay Jober stood out among the modern works. Known for his poignant portrayals of war-torn landscapes, Baalbaki shifted his focus to the Syrian civil war, specifically the devastated Jober district in Damascus. Sotheby’s commented, “Baalbaki’s works during this time mark an enduring commitment to communicating the plight of regional conflict.”

Also featured is an illuminated Qur’an manuscript by famed 13th-century calligrapher Ya’qut Al-Musta’simi. Sotheby’s noted, “Al-Musta’simi is by far the most famous calligrapher in the history of Islamic art,” and this Qur’an is “an exciting addition to a very small corpus of manuscripts reliably attributed to the calligrapher.” It is expected to attract bids ranging from £600,000 to £800,000.

A set of 12 Abbasid pottery dishes from the ninth or 10th century CE also captured attention, showcasing the lusterware technique, which potters used to replicate the brilliance of gold. These beautifully preserved bowls reflect a rich variety of designs, from abstract motifs to animal depictions, and highlight the Abbasid era’s mastery of ceramic art.

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The Riyadh franchise will be overseen by Nour Kelani, managing director at Christie’s. The announcement comes as part of Christie’s broader strategy to deepen its engagement with the rapidly evolving Saudi art scene.

Anthea Peers, Christie’s president for EMEA, discussed the timing of this expansion in an exclusive interview with Arab News. “Christie’s has a longstanding presence in the Middle East, with deep-rooted relationships with Saudi Arabian collectors based both in the Kingdom and around the world,” Peers noted. “In recent years, we have witnessed a considerable period of growth within the arts and culture sector—I have the privilege of visiting the Kingdom regularly and each time I am blown away by the passion, the ambition, and the creative talent that I encounter—and the time is undoubtedly right for this expansion.”

While the official opening date is still pending, Peers expressed enthusiasm about the new venture, saying, “Having recently established our entity, we look forward to completing all necessary formalities and further extending our business in the Kingdom as soon as possible.”

Christie’s Riyadh will focus on modern and contemporary Middle Eastern art, along with high-end jewelry and timepieces. The franchise also aims to connect with Saudi youth and emerging art collectors.

“Bearing in mind the high percentage of millennials in the Kingdom, it’s likely we will also continue to see an increase in engagement among this demographic for Arab artists, modern and contemporary art, as well as engagement with the secondary luxury sector,” Peers added.

The announcement comes amidst a surge in the Saudi art market, highlighted by recent notable sales at Christie’s. Abdulnasser Gharem’s “Message/Messenger,” a golden-domed wood-and-copper installation, fetched $842,500 in 2011, making it the highest-priced Saudi artwork sold by Christie’s. Manal AlDowayan’s “Dove,” sold earlier this year, achieved over $15,000—three times its low estimate—demonstrating strong interest from Middle Eastern buyers.

Additionally, Ahmed Mater’s “Magnetism” triptych, sold at Christie’s London for £189,000 (approx. SAR 935,000), and Dana Awartani’s “Icosahedron within a Dodecahedron,” sold in Dubai for £35,000, underscore the growing prominence of Saudi artists in the global market.

“Our Saudi Arabian clients have shown a diverse range of interests, from Old Master paintings to modern Middle Eastern art,” Peers said. “We have seen increased interest in several Arab artists, including Saudi artists Ahmed Mater, Manal AlDowayan, and Dana Awartani.”

As Saudi Arabia’s cultural landscape flourishes with new initiatives and institutions, Christie’s aims to support and elevate the local arts scene. “We will be honored to support the burgeoning arts scene in Saudi Arabia as part of the ongoing national diversification efforts,” Peers concluded. “We look forward to partnering with institutions, hosting exhibitions, and bringing international art highlights to the Kingdom, further raising awareness of Saudi Arabia’s rich cultural heritage.”

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Faisal Samra’s Early Life: A Childhood Shaped by Charcoal

Born in Bahrain in 1956 to a Saudi family, Faisal Samra’s passion for art emerged early. Growing up in a traditional Khaleeji-style home, Samra began experimenting with charcoal on walls. “As a child, I would draw on walls, tables, even the streets,” he recalls. Despite the lack of art supplies, Samra’s early fascination with drawing laid the foundation for a lifelong obsession with visual expression.

The Move to Saudi Arabia and the Discovery of Colors

At 12, Samra’s family relocated to Saudi Arabia, where his artistic passion continued to grow. It was at school that he first encountered formal art education. An art teacher introduced him to colored pencils and paper, encouraging him to channel his creativity productively.By the time he was 14, Samra had received his first art book on Michelangelo, which cemented his love for the craft. “Art was, and still is, my life. Consequently, if I’m not an artist, then I don’t exist,” he says.

Pursuit of Paris: Overcoming Barriers for Art Education

In the 1970s, Samra set his sights on studying art in Paris, aiming to attend the prestigious École Nationale Supérieure des Beaux-Arts. Despite resistance from his family, he saved money while working at Aramco and successfully secured a scholarship from Saudi Arabia’s Ministry of Media. In 1974, at the age of 18, he moved to Paris, where he immersed himself in modern and contemporary European art. This experience not only honed his technical skills but broadened his artistic vision.

Establishing a Global Presence: Exhibitions and Recognition

During the 1980s, Samra’s career began to gain traction, with exhibitions in Paris and collaborations as an art consultant at the Institut du Monde Arabe. His works were eventually acquired by prestigious institutions, including the British Museum, Jameel Art Foundation, Mathaf: Arab Museum of Modern Art, and Bahrain National Museum. Today, he is represented by Ayyam Gallery in Dubai, solidifying his position as one of the most significant artists from the Arab world.

A Multifaceted Approach: Exploring Film, Performance, and Painting

Samra’s body of work spans various mediums, including film, performance, painting, and photography. “I don’t like still water; I prefer it to be moving,” he explains. His constant experimentation is driven by a desire to explore man’s existence in a complex and ever-changing world. One of his best-known series, Distorted Reality, explores media biases and features figures in blurred motion, confronting the distortion of truth in the digital age.

The Artist’s Philosophy: A Bold Critique of Modern Society

Samra’s work often carries a critical edge, addressing the challenges and contradictions of modern life. His recent series Immortal Moment (Coping With The Shock) portrays faces in violent motion, reflecting the chaos and turbulence of today’s world. “We are living in times of change, but not necessarily development,” he says. “As we invent, we also destroy.” His art captures this tension, forcing viewers to reflect on the fractured state of humanity.

With a career that spans decades and continents, Faisal Samra’s Work continues to push the boundaries of contemporary art, offering a bold and often unsettling reflection on the human condition.

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Among the exhibitions, “Khamseen” stands out as the most expansive, according to Alexandra Roy, Sotheby’s Head of Sale, Modern and Contemporary Middle East. This showcase, created in collaboration with Jeddah’s Hafez Gallery and its founder, Qaswra Hafez, presents a diverse array of works spanning from the 1960s to the present, including paintings, sculptures, photographs, prints, and installations. “We’ve known Qaswra Hafez for a long time, and this has been a project that he’s been thinking about doing for a while,” Roy shared. “It’s very much overdue.

There have been some amazing shows in London on Saudi visual culture, and of course, a lot is happening in the Kingdom right now. It’s an amazing moment to be part of that.”

The exhibition is part of Sotheby’s ongoing involvement with Saudi Arabia’s art scene, having previously participated in the Kingdom’s two art biennales. “We have 60 artists represented, and it’s the first time some of these works have ever been seen. We go back to circa 1965, and it’s been difficult to source works from as early as that, but we really wanted to show work from the pioneers,” Roy explained. She emphasized that “Khamseen” is just an introductory exhibition, expressing hope that it will lead to deeper explorations in the future.

Another highlight of “Hafla” is the collaboration with UK luxury brand Asprey and Saudi jewelry house Nuun, founded by Princess Nourah Alfaisal. This partnership has produced a capsule collection of handbags inspired by Saudi Arabia’s five major regions. “We’ve been in touch with Princess Nourah for a number of years. She’s such an interesting personality who has a wide variety of personal projects,” said Sophie Stevens, Director and Jewelry Specialist MENA for Sotheby’s. “She’s a very, very prominent figure in the Saudi cultural scene. She was enormously excited when she heard about this exhibition because it’s a great platform to speak about those initiatives.”

The luxury segment of “Hafla” also includes a collaboration with A2Z, founded by Abdulrahman Al-Zayani, recognized as the Gulf’s leading jewelry and art advisor.

“We’re taking over the Sotheby’s salon space on New Bond Street, and we’re going to be exhibiting about 140 pieces that are inspired by Eastern design or have some kind of connection,” Stevens explained.

The final component of “Hafla” is the display of 28 Qur’anic and calligraphic works from the Bashir Mohamed Family Collection. These pieces, ranging from the 9th century to the contemporary era, showcase the evolution of Islamic script and regional identity. Frankie Keyworth, an Islamic and Indian art specialist, highlighted a bifolio from the Blue Qur’an and an illuminated firman from the reign of Suleyman the Magnificent as particularly noteworthy. Keyworth said, “We’ve seen individual leaves from the (Blue Qur’an) come to auction or appear in exhibitions, but having a bifolio is really exciting because it truly shows its scale and just how impressive it was.”

The timing of “Hafla” is significant, as it comes during a period of civil unrest in the UK, driven largely by right-wing groups promoting Islamophobia. Although planned well in advance, the event offers a timely opportunity for cultural exchange and understanding by celebrating Middle Eastern culture. “I think it’s hugely important and a very impactful way to open up greater exchanges and cultural understanding,” Stevens remarked, emphasizing the value of the educational initiatives that accompany the exhibitions.

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This installation, featuring works by over 40 artists from the Middle East and beyond, reflects a broader movement. Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, the driving force behind Qatar Museums and the Doha Film Institute, sees this as an opportunity to elevate the voices of artists from her homeland and the wider region. She views the Venice Biennale and its accompanying Art for Tomorrow conference as a platform to bring these artists “from the margins of the international conversation to the center.”

“Your Ghosts Are Mine” delves into the theme of “Foreigners Everywhere,” a concept explored throughout the Biennale. Spread across 10 galleries within the ACP Palazzo Franchetti, the exhibition uses excerpts from movies and videos to explore diverse themes, ranging from deserts as cradles of civilization to borders as both barriers and gateways.

This high-profile exhibition reflects Qatar’s recent emergence as an artistic powerhouse. Existing institutions like the Museum of Islamic Art and the National Museum of Qatar have gained significant recognition, particularly after the 2022 World Cup drew nearly a million visitors. The future promises even more, with grand projects like the Art Mill Museum (boasting 23,000 square meters of gallery space) and the Lusail Museum (dedicated to the country’s vast Orientalist art collection) slated to open in the coming years.

Qatar’s artistic ambitions extend beyond museums. Public art plays a vital role, with nearly 80 installations deployed during the World Cup. “We work to engage communities with regional and global art,” explains Sheikha Al Mayassa, highlighting the transformative power of art on both residents and visitors.

Fatma Hassan Al Remaihi, Chief Executive of the Doha Film Institute, echoes this sentiment. She points out how the influx of museums and the film institute have fundamentally reshaped how people in Qatar view art. “It’s not just entertainment anymore,” she says. “It’s about how you see the world and yourself.”

“Your Ghosts Are Mine” embodies this philosophy. While not public art in the traditional sense, it reflects the institute’s dedication to refocusing how audiences consume art. The installation coincides with the Doha Film Institute’s annual film festival, further solidifying their commitment to regional filmmakers.

“This is a great platform for stories from the region and the Global South,” says Al Remaihi, emphasizing the unique way the Biennale allows the films to be showcased. “It’s a huge platform, even though we’re not part of the official program.”

The sheer volume of works in “Your Ghosts Are Mine” is impressive. Each of the 10 rooms carries a distinct theme and presentation style, weaving together a tapestry of stories about people and places. Curator Zeina Arida, Director of the Arab Museum of Modern Art (Mathaf), describes the exhibition as a journey. “The magic is that the curator was able to tell a story with so many excerpts,” she says, highlighting how each room takes viewers deeper into the lives of these individuals.

Thematic variety is evident throughout the exhibition. The first room explores deserts, a defining element of the Middle Eastern and North African landscape. Here, viewers encounter excerpts projected onto two large, inclined screens, creating a cinema-like atmosphere. As visitors move through the palazzo, the mood and presentation shift. Some rooms feature films on smaller monitors, fostering a more intimate experience focused on personal narratives.

For the Doha Film Institute, this installation aligns perfectly with the Art for Tomorrow conference. Al Remaihi sees this as a pivotal moment to redefine the image of the Middle East and the Global South. “We’ve been misrepresented for years,” she says. “Now, we can tell our stories on our terms.” She believes this marks a new era for filmmaking in the Middle East.

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One of the defining features of Aida’s work is the mesmerizing movement of paint on the canvas, skillfully striking a balance between pure motion and absolute stillness. Her distinct style is further distinguished by the use of unconventional large brushes that create rough, bold brushstrokes, juxtaposed with the smooth and delicate application of charcoal and oil pastels.

During her creative process, Aida embraces the interplay of gravity, allowing the paint to drip and flow on the canvas, adding an element of spontaneity to her art. This willingness to relinquish control leads to unpredictable outcomes, with each stroke guided by her instinct, resulting in captivating and enigmatic compositions.

Aida’s paintings are an invitation to introspection, as she strategically positions each skillfully chosen color, leaving the interpretation of the artwork open to the viewer’s analysis. The experience of engaging with her art is one of contemplation and discovery, as viewers are encouraged to find their own meaning and emotions within the vibrant and evocative visuals.

Although native to Germany, Aida Zadeh has found her artistic sanctuary close to Eindhoven, the Netherlands, where she continues to produce thought-provoking and emotionally charged pieces that bridge cultural boundaries and speak to the soul of those who encounter them. Her work is a testament to the power of art to transcend geographical borders and connect people through shared emotions and interpretations.

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Mammadov’s creative prowess has earned him recognition at various international biennales, festivals, and fairs, including Art Basel, Art Dubai, and the Venice Biennale. His innovative works transcend traditional boundaries, blurring the lines between the virtual and real worlds. By exploring the interplay between utopia and dystopia, the body and technology, he invites viewers to contemplate themes of alienation, escapism, and cultural displacement. Mammadov’s profound cultural commentary highlights the significance of machine intelligence in shaping and preserving cultural heritage, sparking engaging conversations and narratives.

Orkhan Mammadov’s passion for digitalizing and regenerating cultural heritage stems from a deep personal interest. His spatial juxtapositions serve as experimental grounds, provoking questions about the intellectual, emotional, and aesthetic implications of artificial visual cultural artifacts. Through extensive research-based practice, Mammadov’s works eloquently showcase the importance of traditions and history in appreciating and safeguarding tangible and intangible heritage assets from Azerbaijan and the Middle East.

Internationally acclaimed for his cultural data sculptures and dynamic carpet installations, Mammadov explores the multifaceted experiences of disaffected and displaced cultures, intertwining fiction and physicality. His creations forge a dialogue between machine intelligence and cultural heritage, stimulating profound reflections on our shared human experience. Drawing inspiration from Girih patterns and carpet illustrations, he breathes life into countless official and unofficial emblems that embody the cultural heritage of the Middle East, offering digital alternatives that transcend time for future generations.
Orkhan Mammadov’s visionary talent and fearless exploration of the intersection between media art and cultural heritage have positioned him as a pioneering force in the art world.

His thought-provoking artworks challenge conventional notions, opening new avenues for understanding and interpreting our rapidly evolving contemporary landscape. Through his creative endeavours, Mammadov continues to leave an indelible mark, offering fresh perspectives and reshaping the boundaries of artistic expression.

One of his most influential projects The Eastern Promises: Preserving Orientalist Painting Through Data Science invites us to consider the role of technology in art and the ways in which it can be utilised to engage in new forms of artistic expression. Art as a meta-discipline is “an umbrella encompassing history, philosophy, nature and science.” The AI-powered paintings presented by Mammadov offer a fresh and innovative take on a timeless artistic tradition, provide a glimpse into the future of art-making in the digital age, and raise crucial questions about polarization, redefining our rapidly developing world as well as exploring and preserving the social and cultural heritage of humanity, with its own intricacies, in a way that has yet to be decoded by future generations.

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Among the artists featured in the LACMA exhibition is Hayv Kahraman, an Iraqi-born artist now based in Los Angeles. Kahraman’s thought-provoking artwork employs elongated figures and intricate patterns to create a sense of ambiguity. Her pieces challenge stereotypes and illuminate the resilience and complexity of marginalized communities, establishing her as a significant voice in contemporary art.

The exhibition boasts four works by Hayv Kahraman, with her practice focusing on women, often using herself as the central figure in her paintings. Using primarily paint and sometimes watercolor, Kahraman’s work showcases a recurring figure of a woman, embodying a classical Iraqi beauty, as described by Komaroff.

One notable piece featured in the exhibition is Kahraman’s “Indian Poker,” a card game-themed artwork. The curator playfully admitted to not knowing how to play the game but explained that the piece features a woman who resembles a playing card. Interestingly, the artwork can be viewed upside down or right side up, yet the woman’s appearance remains the same.

This exhibition provides a platform to explore the diverse and dynamic ways in which women have defined themselves and each other throughout Middle Eastern history. The curator shared that the exhibition comprises 75 works of art in various media, created by 42 artists. Some artists were born in the Middle East, while others belong to diaspora communities in the United States and Europe.

Visitors of all ages and backgrounds can immerse themselves in the exhibition, which offers interactive displays, multimedia installations, and engaging programming. The exhibition will be open until September 24, 2023, allowing ample time for art enthusiasts and the general public to experience this enlightening showcase of Arab women artists and art from the Middle East at LACMA.

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The 1948 seascape Les falaises-la baie, a Marsa Matrouh (esquisse), which the artist gifted to his niece Queen Farida in the late 1940s, was one of two pieces by Egyptian painter Mahmoud Said that were up for bid at the live auction. The picture sold for more than $180,000, although its estimated value ranges from $80,000 to $115,000. Le Nil a Louxor (Chadouf), a 1919 piece by Said, earned close to $70,000.

The online auction ran for three weeks, with the live auction taking place last Wednesday in London. Ali Banisadr’s Broken Land, the top lot of the auction, went for $477,000 as opposed to the low estimate of $286,000. The sale of Angelus II-I by Kamal Boullata for about $29,000 set a new auction record for the Palestinian artist.

The collection also contained pieces by Egyptian-Armenian artist Chant Avedissian, Iraqi artist Hayv Kahraman, and Saudi artist Ahmed Mater. Many pieces of art were displayed in September at a Christie’s Dubai exhibition. A carefully chosen assortment was also displayed during Christie’s London Frieze Week.

The winning bidders included private collectors and institutions from 15 countries, including the UAE, the US, the UK, and France. The exhibitions are likely to have helped the works gain international exposure and boost auction results. According to Christie’s, 25% of those participating in the auction were brand-new customers.

The autumn auction has been held for six years, and this is the first live event since 2019. According to Sikorski, the fact that numerous prices from this year’s lot exceeded original projections is a sign of a continually increasing interest in more contemporary as well as modern regional art.

“This year, Christie’s showcased a quality of artwork representing the diversity and originality of the Middle East,” said Dr. Ridha Moumni, deputy chairman of Christie’s Middle East. “We are delighted with the success of the sale and the acquisitions by private collectors and institutions from the curated selection that included significant works from Iran, Lebanon, Egypt, Saudi Arabia, and the Maghreb. We will ensure significant upcoming sales of modern and contemporary artworks and develop the category to meet the growing interest in the region’s art, regionally and internationally.”

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