Alia Al-senussi and the art of being a Cultural Ambassador
SHARJAH: A cultural strategist fascinated by the subject of distribution of power in different cultures, academic and lecturer, experienced public speaker, writer and commentator, patron and dedicated supporter of the arts who is interested in the role of the arts in making change happen, Alia Al-senussi is as generous with her time as she is famous with her name.
She speaks to Gulf Today and provides a few images of artworks in her private collection, one of which is seen alongside, in perhaps what is a Ramadan git to the paper
What have been your successes as a Cultural Ambassador to the West from the East, and vice versa?
The earliest days of Art Dubai were an incredible moment – of personal passion, but also wider success in illustrating to the art world what the Arab world, and wider Middle East, can contribute to contemporary art, when we literally forced the contemporary art world to see the Middle East, to see Arabs, as a partner and as a source of cultural inspiration and collaboration – so many things happened at that same time, for example, the announcement of Saadiyat Island, and the founding of the Tate Middle East Commitee was pivotal, the later especially in fundamentally breaking down the traditional museum/gallery structure of segmenting art by ethnicity.
What are the obstacles inhibiting a comprehensive understanding of Eastern, including Islamic, art in the West?
The obsession with certain actors to classify and vilify, is the greatest obstacle we face. Willful ignorance is such a scourge – it continues to confound me when celebrated academics refuse to acknowledge art as somehow holding fundamental value in the context of where it was created, that they somehow think art can only be judged via the plaform of a Western choice of school, curator or critic.
A big ask — but can you compare the art ecology of North African, Al Sham and GCC regions?
There are unifying features but they are fleeting, as the moment you say something unites the regions, it in turn can be described as a difference. What is the essence of the Arab world? Perhaps the Egyptians have it right in saying “um al donya”, or mother of humanity?
Who are your colleagues who have supported you in your mission to bring the West and East closer? What have been their roles?
I am a huge advocate of community, and my colleagues are my friends, and my family. My dearest friends hold true to our shared values of advocacy and mutual support. One of whom, Dana Farouki, has been pivotal in the contemporary art world of the UAE and moments shared with her will make one understand that intelligence along with hospitality is one of the greatest weapons — Dana opened her home in Dubai to so many and made an immeasurable impact.
Her work is vital, for example with the Guggenheim and MOMA PS1 and so many more…
You are a believer in the gallery system. Besides being a specialised interlocutor between artist, public and collector, what other roles does a gallery play?
A gallery is a fundamental support to the artists they represent – when they operate ethically and professionally — they can be the best possible advocates of their artists.
A gallery of course, to some, is an antiquated element of the art world; but I believe that gallerists can be uniquely atuned to the market, and simultaneously to artists and, therefore, make that perfect bridge of commerce and creation.
How has NFT impacted the art market?
I see NFTS as operating in a very different part of the art world than that which consumes me, and to which I dedicate my life.
In reality, we all live in different — you can even describe them as parallel — worlds. I have seen many actors come and go who think they can manipulate art, and the market. So, perhaps, this is the same — I just worry about the artists who will be harmed by the actions of people who take advantage of them for profit.
You have been involved in many projects. Which is the project that has most satisfied you? Why?
Every Art Basel week reminds me of so many other moments I have lived and worked — I see a work by the Kabakovs and remember my first week in Siwa with them, I see a work by the plethora of artists collected by Tate, Guggenheim and others and remember all of our commitee meetings voting to support those artists…the list goes on…it is a week of memories and celebrations and reinvigorates me for the work in the months and years to come.
There’s so much pride when I finish a week at Art Basel, when I reflect on an incredible week connecting so many dots of the art world, of my community, in each incredible spot around the world – Basel, Hong Kong and Miami Beach.
Art Basel means so much more than just the convention centre full of galleries; it is truly a mega disruption of the best kind that catalyses a city’s cultural community.
Will your art collection grow into a museum? If so, where would it be located? Why?
The works I live with at home have far more meaning to me than they do for a cultural institution — I hope my legacy is the support I have lent to institutions building their programme and their collection for the wider public who walk around and see Arab artists as a part of a larger narrative rather than sequestered on their own, and also with the artists whom I have supported and now see surrounding me and my family in my home.