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Arts & Communication The rise and fall of global art worlds

For example, Dr. Ridha Moumni, formerly a historian and tax systems have supported such initiatives in the
of Art and Archaeology at Harvard University and United States, the United Kingdom, Australia, and parts
currently Deputy Chairman of Christie’s Middle East and of Europe. The Falckenberg Collection’s longstanding
North Africa, curated the loan and selling of exhibitions collaborative partnership with the city of Hamburg
titled “Kawkaba: Highlights from the Barjeel Art and Hamburg’s Deichtorhallen provides an alternative
Foundation and Emirati Art Reimagined: Hassan Sharif chapter to conventional collector journeys. However, it
and the Contemporary Voices”. These sections were part raises questions about the desirability of private–public
of the larger “Modern and Contemporary Art of the Arab partnerships as endowments are required to support
World” exhibition displayed in London (July 20 to August the ongoing care, research, and display of gifted works.
23, 2023). The exhibition was a three-way collaboration In 2016, the People’s Republic of China formed new
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between the Ministry of Culture and Youth, the United laws—such as updates to the General Rules of the Civil
Arab Emirates, the Barjeel Art Foundation, and Christie’s Law, Charity Law, Non-state Education Promotion Law,
London. Barjeel is registered as a commercial entity in the and Enterprise Income Tax Law—to address private
UAE as the notion of independent non-profit institutions sector support for the arts and culture by providing a
does not exist under UAE law. Al Qassemi is also a legal framework for the registration, management, and
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part-owner of a commercial gallery in Dubai, so we can tax guidelines for non-profit institutions. The delay in
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see how the private, public/state, and commercial sectors implementing such cultural policies and regulations might
intersect. Iconic works from Al Qassemi’s holdings, such explain Guy Ullens’s opportunistic approach in turning
as those by Marwan, play an important diplomatic role as his museum-like space into an art business, despite
they are prominently featured in Barjeel’s many traveling UCCA being promoted as a non-profit when it was always
exhibitions intended to raise awareness of Arab artists. registered as a for-profit entity in China. Wang suggests
The exhibitions and the rationale underpinning them that “Ullens built his own art authority through UCCA”. 22
are thus deeply rooted in a desire to enhance perceptions
around a select group of artists, thereby emphasizing their Al Qassemi’s role as a collector is unique as he adopts what
artistic value and importance within not only Al Qassemi’s he refers to as an “activist approach” on the international
holdings but also the broader narrative of Arab modern stage, pursuing various opportunities and partnerships that
art. allow him to voice his and the Barjeel Foundation’s cultural
ambitions: “Our role is very different in the sense that we are
4. Conclusion very, very proactive”. In addition, Al Qassemi’s promotion
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of art as a tool for soft power is immensely effective and
This case study assessment is set out within a distinct has been well-received by international audiences. Building
typology to emphasize the individual trajectories and collaborative partnerships and cultural bridges across
approaches that contemporary collectors have embraced distinct geographic and cultural borders is a key to private
when seeking to shape the future of their cultural assets,
private museums, and “museum-like spaces” alongside collectors and their respective cultural endeavors. Here,
their personal wealth. It has been shown that many art is used to educate and communicate ideas beyond
entrepreneurial collectors have done so with one eye the esthetic value ascribed to a work of art or the prestige
on the art market and the other on their global art associated with creating a private museum or exhibition
networks, strengthening what they have created without space and owning and collecting expensive artworks.
compromising their legacies as important collector- With that in mind, I conclude with Harald Falckenberg’s
patrons. Some collectors adopted a short-term investment- cautionary advice to contemporary collectors:
collecting and museum-building strategy for short-term “When it comes to collecting, you need a method
value creation, whereas others embraced what Wang and philosophy. For the rich, art is, indeed, an
referred to as “transnational art enterprises”. Moreover, investment – there is talk of a general flight to
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it has been shown that contemporary art collectors, their material assets in times of low interest rates – but,
private museums, collections, and museum-like spaces first and foremost, art is seen as a luxury accessory
can have a limited lifespan, and their destiny is often in the and status symbol. To create something new all one’s
hands of their founders and creators. own, while remaining in the game, is a balancing act
The conventional philanthropic path for wealthy that only a few succeed at mastering”. 39
collectors has been to donate works of art or money to Acknowledgment
existing museums or to establish their foundations and
museums, such as the Frick and Menil Collections and The author would like to thank the Central Academy of
the Isabella Stewart Gardner Museum. Established legal Fine Arts, Beijing where an earlier version of this paper

Volume 3 Issue 2 (2025) 8 doi: 10.36922/ac.2880