Saudi Arabian collector Basma Al Sulaiman is forward-thinking and passionate. I had the pleasure of meeting her during the opening of Art Basel Paris last year. What ensued were many fascinating conversations on the status quo of the cultural sector in the Middle East. She invited me to explore the Islamic Arts Biennale in Jeddah (on view from January 25 until May 25, 2025) to discover a country that is opening up to the world with an art scene that simultaneously respects traditions and addresses complex issues, reflecting the changing dynamics of Saudi Arabia.
The Gulf has been a hotbed of cultural investment in recent years. Saudi Arabia, in particular, has experienced a burgeoning museum landscape—both public and private—and cultural events launching as part of its Vision 2030 project, a sweeping plan for diversifying the nation’s economy to be less oil-production reliant. As of last year, projects associated with Vision 2030 have reached $1.3 trillion in value. Part of that plan has included expanding luxury retail as well as arts and culture infrastructure. Last year, Abu Dhabi’s sovereign wealth fund struck a $1 billion deal with Sotheby’s owner, Patrick Drahi, for a minority stake in the firm.
Christie’s also recently announced that it is expanding its presence in the Middle East with an outpost in Riyadh, the capital of Saudi Arabia— this will be the house’s second location in the region, alongside its Dubai office, which opened in 2005. The Riyadh location will focus on Modern and contemporary Middle Eastern art, as well as jewelry and timepieces, the house said, aiming to draw the kingdom’s wealthy millennials; Saudi Arabia is one of the world’s youngest countries, with roughly 70 percent of the population under the age of 40.
On the eve of the opening of Saudi Arabia’s second Biennale of Islamic art, I connected with Basma Al Sulaiman to discuss the future of the Saudi art market on the global stage, shifts in their broader cultural sector, and the evolving role of women in the Saudi art scene.
Basma Al Sulaiman. Courtesy Basma Al Sulaiman
Saudi Arabia is increasingly investing in the arts, from new museums to major international auctions. How do you perceive these moves as influencing the global perception of Saudi culture?
Saudi Arabia’s investment in the arts is reshaping global perceptions of the country, moving beyond traditional stereotypes to highlight its rich cultural heritage and contemporary creativity. These efforts showcase Saudi talent and innovation on an international scale, emphasizing that we are not just consumers but active contributors to the global art scene. This also promotes a more nuanced understanding of Saudi culture, bridging gaps between East and West.
One of the most relevant initiatives they have taken in this context is actually the Islamic Arts Biennale in Jeddah. An unprecedented concept celebrating the heritage, diversity, and contemporary relevance of Islamic art, it serves as a platform to explore the connections between historical Islamic artifacts and modern artistic expressions. As we approach its second edition, I look forward to another formidable chapter. Organized by the Diriyah Biennale Foundation, the event brings together artists, historians, and audiences to reflect on the spiritual and cultural dimensions of Islamic art.
Major auction houses like Christie’s and Sotheby’s have signaled plans to host auctions in Saudi Arabia—a sign of growing interest in the local art scene. From your perspective, how might this shape the trajectory of Saudi Arabia in the global art world—and what impact could it have on local artists, collectors, and galleries?
The presence of major auction houses in Saudi Arabia elevates the local art scene and integrates it into the global art market. It offers unprecedented opportunities for Saudi artists to gain international exposure and for collectors to access high-quality works locally. This will foster a stronger ecosystem of galleries and cultural institutions, ensuring that the growth of the Saudi art world is sustainable and inclusive.
We’ve seen increasing global attention on Saudi women in the arts, whether as artists, curators, or collectors. How do you perceive the trajectory of women’s roles in the art world here?
Women have always been pivotal in the Saudi art scene, but the recent surge in global attention reflects the significant strides we’ve made. Women are now at the forefront as creators, curators, and patrons. This visibility empowers more women to pursue careers in the arts, and their work is reshaping narratives about Saudi Arabia on the global stage. The trajectory is one of empowerment, creativity, and innovation.
Manal Al Dowayan I am an Educator. Courtesy the artist
You’re a prominent woman collector in a transforming society. Could you share any moments or challenges that particularly shaped your journey as a woman in the art world?
Several moments shaped my journey. Among them in 2014, I was the first Saudi woman to be honored for my contribution to arts and culture in Saudi Arabia. In 2015, I was invited to the Institut du Monde Arabe to discuss my collection’s evolution. In 2022, I was invited by the Royal Commission for Al Ula for an exhibition that was entirely dedicated to my collection, which showcased Saudi artists. That was the first time the Black Arch was being shown in the Kingdom.
As for challenges: sharing my collection prior to 2011 was difficult as there was no local infrastructure or platforms back then. I was able to circumvent this through BASMOCA my virtual museum which was the first of its kind back then in terms of technology but also as a concept. This shift allowed me to connect with artists and audiences worldwide.
What shifts have you observed for women in the broader cultural sector, both inside and outside official institutions?
The past decade has seen transformative support for women in the cultural sector, from government-backed initiatives to private-sector opportunities. Women are now leading in positions of influence, directing museums, curating exhibitions, and shaping cultural policy. This shift extends beyond formal institutions, with grassroots movements also gaining momentum, creating a holistic and inclusive environment for female creativity to thrive.
El Anatsui Fresh and Fading Memories-Part V (2007) Photo Courtesy: The artist and Robin Friend
Your collection is praised for bridging Eastern and Western influences. Could you share a piece that illustrates how you fuse diverse cultural perspectives?
El Anatsui’s tapestry, which I spotted at the Venice Biennale originally, and which like his other works combines traditional African craftsmanship with contemporary themes. Both works reflect a dialogue between cultures, blending historical and modern narratives. They embody my vision of art as a bridge that connects different worlds, sparking mutual understanding and inspiration.
Could you share a story about a piece in your collection that sparked an unexpected reaction among your Saudi audience?
The Black Arch by Shadia Alem is a piece that has consistently sparked profound conversations. It was featured in the inaugural Saudi Pavilion at the Venice Biennale in 2012 (and later in the exhibition What Lies Within in Al Ula). Its blend of Saudi cultural elements with global themes challenged traditional views on what Saudi art could be. It resonated deeply with audiences, prompting discussions about identity, transformation, and the universality of art. It’s a testament to how a single piece can bridge divides and inspire dialogue.
How do Saudi artists and collectors navigate artwork that might challenge social norms? Is there room for open dialogue, or do people prefer to approach these topics more discreetly?
Saudi artists and collectors often find creative ways to address sensitive topics, sometimes using metaphors and abstract forms to invite dialogue without confrontation. There is growing space for open discussions, especially within the younger generation and in safe environments like exhibitions and panels. The art scene is becoming a platform for thoughtful exploration of complex issues, reflecting the changing dynamics of Saudi society.
Shadia Alem The Black Arch (2011). Image courtesy: The artist and John Andres
You’ve been described as a “forward-thinking” collector. How do you define a “forward-thinking” approach to art collecting, and what motivates you to champion emerging artists?
To me, being forward-thinking means anticipating trends, embracing innovation, and supporting voices that challenge conventional boundaries. I am passionate about emerging artists because they bring fresh perspectives and bold ideas to the table. By investing in their work, I help amplify their voices and contribute to shaping the future of art, both in Saudi Arabia and globally.
In your opinion, is there a uniquely “Saudi” approach to contemporary art that distinguishes it from other art scenes?
Absolutely. Saudi contemporary art often weaves traditional motifs, cultural heritage, and Islamic aesthetics with modern techniques and global themes. This blending creates a distinctive style that honors our roots while embracing the future. It’s a reflection of Saudi Arabia’s transformation—a dynamic interplay of preservation and innovation.
What is your advice to collectors interested in collecting contemporary art in Saudi but unsure about navigating the scene?
Start by immersing yourself in the local art community—visit galleries, attend exhibitions, and connect with artists. Educate yourself about the cultural and historical contexts of the works. Partnering with established galleries or advisors can also help you navigate the scene with confidence. Most importantly, trust your instincts and collect pieces that resonate with you personally.
If you could have dinner with any three artists, living or dead, which would you invite?
I would invite Leonardo da Vinci, Pablo Picasso, and Beeple. Each represents a revolutionary moment in art history, and I would love to explore their creative processes and philosophies. As for Saudi artists—I’ve already had the pleasure of dining with them all, which has been equally enriching!
