Laura Stewart: Antonia during your tenure as the Director of Art Dubai what would you say have been the most dramatic changes in the MENASA market, both with respect to the quality of the artists represented in Art Dubai, the media utilized and the geographic breakdown of both exhibitors and collectors?

Antonia Carver: Yes – you’re right – over the past decade, we witnessed a seismic shift in the arts scenes of the Middle East, and the market too. We’ve seen both local and international interest just grow and grow, and the emergence of a “Middle East art market’ from a collection of different mini-markets. The centre of this new market (even if the term can be problematic) is Dubai, given the high number of galleries, the fair, and the auction houses. At Art Dubai, this change becomes very visible – and this year, for example, you’ll see more diversity than ever, in terms of media and geographic representation, as well as subject matter, and the wide diversity of collectors and enthusiasts.

Nowadays, for collectors and institutions, the art scenes of Dubai, Delhi and Beijing are as relevant as those of London, Paris and New York. Art Dubai is seen as a gateway to these new markets.

This year, we’re welcoming 75 galleries from 30 countries, which, considering our size, makes us the most globalized of art fairs. In addition, almost half of the 500 artists represented at Art Dubai are from or based in the MENASA region, which underscores the growing prominence of artists from the region within the art world, globally.

Art Dubai brings together some of the most established galleries in the world — such as Greenaway Art Projects (Adelaide/Berlin), Yvon Lambert (Paris), Victoria Miro (London), Almine Rech Gallery (Paris/Brussels) and Sfeir-Semler (Hamburg/Beirut – as well as younger or upcoming galleries – for example through Marker, which this year focuses on West Africa.

LS: As there is always a hazard with an emerging sector in the art market of artificial prices spiked by speculation, do you feel that the MENASA market is in its late childhood, adolescence, young adulthood, or full maturity with respect to a broad and stable foundation of both quality works, sensible prices, and a broad and deep pool of dedicated international collectors?

AC: During the mid-2000s boom, there was a danger of the market over-heating but nowadays, growth seems more steady and sustainable, and we see the emergence of more galleries that take a serious, long-term view to nurturing their artists. There’s of course stil an edge of speculation, but many younger collectors that “grew up” with the fair and with the market of the GCC, are now mature and considered in their approach. Of course, there are years, and then there are GCC years, and even though Art Dubai is only 7 years old, in this climate, it’s more of a maturing teenager!

LS: You have had a long and mutually happy relationship with the Abraaj financial company now for several years. As they are committed to leading by example in the field of institutional art patronage, have you seen other companies in the Gulf or private individuals joining in this patronage? And if so, who are they? And why do you believe that they have committed themselves to support of the fine arts?

AC: Working with the Abraaj Group these past five years to host their annual art prize has brought a wonderful dynamic to Art Dubai, and the Abraaj Group’s patronage has allowed artists the opportunity to realize some very ambitious works.  The prize, as well as our partnership with the Abraaj Group through their support of the fair, is a clear example of institutional patronage that has a long-term impact, giving a global platform to artists and curators. The prize reflects Abraaj’s investment philosophy, and I believe has been an inspiration to other corporate patrons.  Cartier is another long standing patron of the arts; there is an increasing trend of institutional support in the Middle East, and the growth of the gallery scene in Dubai is supported in part by a host of dedicated patrons, some of whom are more public or private with their support. Our Board of Patrons includes many business owners who support the arts both as individuals and in guiding their companies to consider involvement in the arts.

LS: With all of the upheaval politically and economically throughout the Arab world over the past two years, do you think that the Arab Spring and the playing out of post-Arab Spring has put pressure on artists to do “political” or “activist” work? I realize that this question is idiosyncratic to individual artists, but at a seminar in Basel where this was discussed there seemed to be a great chasm between artists who felt it their responsibility to use their art to either make a statement in favor of for example, human rights, democracy or gender equality, and those who felt somewhat burdened by the association of the MENASA region with current events, and who wished to pursue more universal themes in their work. How do you feel that this is playing out amongst the artists that have exhibited and are now for the first time exhibiting at Art Dubai?

AC: This is complex subject – on the one hand, Arab artists, just like artists from elsewhere, have the right to make work about any subject they please – yet there is a certain expectation from the international media (and to some extent also the art world at large) that they will act as documentarians or political activists. Many artists from the region resist this, and continue to make the work they want to – whether reflecting personal, domestic, environmental concerns – or simply being about form, or the world of art itself.

Others are heavily involved in what’s happening on the streets, and making work might even take a secondary role in their lives at this point. Others, who practice does dwell on politics, feel that it will take years for certain countries to work out the “Spring” and their reaction as artists should reflect the complexity of the situation, rather than risk a knee-jerk interpretation of events.

I guess, fundamentally, the choice of form and subject is an artist’s prerogative – we don’t expect European or American artists to stick to regional, topical or political themes and should extend the same freedom to artists from the Arab world, and give their work the respect it deserves by interpreting it through the widest prism.

LS: When a region has the spotlight shone on it as the Arab world has over the past 24 months, there is often a tendency for artists to begin to create art for the commercial market, rather than develop their oeuvre internally? This has happened to some artists in places that were “discovered” or became “hot” such as Havana and China with their contemporary artists. Have you found this to be true at all for artists of the MENASA region? And if so, to what degree?

AC: The international enthusiasm for contemporary art in the MENASA region has grown steadily over the past decade as internationally, museum directors, curators, and collectors have become increasingly aware of the great artists working in this part of the world. What is even more encouraging is that we are now seeing artists from this part of the world increasingly included in thematic group or solo shows internationally – i.e recognized for their work, rather than their identity as Arab or Middle Eastern. The Middle East is now seen as a central pillar in the art world, and many of the world’s top museums have dedicated departments, curators, and committees.

This is a critical step in order to relieve artists from the pressure of manifesting a market expectation of what it means to be an ‘Arab’ artist or an ‘Iranian’ artist. This change is down to both individuals (the passion and dedication of patrons, gallerists and artists – particularly in the Gulf) as well as institutions. There have been key moments – the first edition of Ashkal Alwan’s Home Works; the 2003 Sharjah Biennial; the launch of Art Dubai in 2007; the 2010 opening of Mathaf: Arab Museum of Art in Doha; among many others, which have helped propel the movement forward.  At the same time institutions like Townhouse in Cairo, Darat al Funun in Amman, Riwaq in Bahrain and so many others have been giving artists a platform in their hometowns for years. We look forward to seeing how this develops even further.

You’re right that the pressure on some artists to begin to produce for the market is there – although perhaps less so now, than in 2007-9. We need to rely on a robust gallery system, one that encourages artists to experiment, to take time, to do residencies and seek outside influences – plus a not-for-profit sector—something that is growing steadily in the UAE.

LS: And as a follow up to above, in a developing market, at the outset collectors who are new to the art market might rely a great deal on art advisors, some very good, honest and with great expertise, and others who may be advantage takers. Do you see the collectors in the Gulf, and the wider MENASA region beginning to gain confidence and buy at higher price points without the use of an advisor?

AC: Absolutely. Of course, some established families and individuals in the region have been collecting for years, but yes, I do see more and more first time or emerging collectors gaining confidence as the art market becomes further established and diverse. It’s also natural and to be encouraged that as the galleries grow in stature, that collectors can rely more on them for advice.

LS: You have a focus on work from Africa this go round, and also the most commissioned artworks that you have ever have? How did these changes come about? And what is the reason?

AC: Our commitment to building our not-for-profit programme – which includes commissioned works and residencies, as well as an extensive six-day discussion program (the Global Art Forum), is indicative of our interest in fostering talent from the region, while working in collaboration with institutions and artists. Along with our central role as a platform for galleries, Art Dubai has always worked to build audiences and support emerging artists. This year, we’re launching an educational programme that spans from ages 3-14 via the Sheikha Manal Little Artists programme, as part of an extensive education programme that, increasingly, takes place year-round (via our internship program, and the 6-monthly courses for artists and curators — Campus Art Dubai).

We launched Marker in 2011 and knew then that after an introductory year, we wanted to focus on Indonesia (2012) and in 2013, on Africa. After much research, we settled on  West African programme, showcasing 5 artspaces and their artists (curated by Bisi Silva). The programme is indicative of Art Dubai’s commitment to be a ‘fair of discovery’, which helps to introduce new artists and emerging scenes to the Middle East, and illuminate those connections that exist between the Gulf and elsewhere, and develop them through contemporary art.

LS: What has been the most frustrating? the most gratifying? and the most surprising thing that has happened to you in your tenure as Director of the Fair?

AC: Oh wow, where to begin! Being the Director of Art Dubai has been an incredible experience, and I feel every year the hard work we put into the fair results in a tremendously gratifying experience – finally seeing all of the work we have been building on and speaking about throughout the year come together. I am reliant on an amazing team, who are incredibly dedicated and passionate about what they do. The most frustrating – probably that we only have 24 hours in a day!