As Art Basel prepares to unveil its inaugural edition in Doha on Tuesday, attendees will quickly notice a distinct difference from previous events. This edition is notably more intimate, featuring just 85 galleries, each showcasing solo exhibits. The layout resembles a curated exhibition rather than a traditional commercial fair, in stark contrast to the 206 galleries in Paris and 283 in Miami. While future editions in Qatar are expected to expand, the decision to keep the first edition smaller is intentional, aiming for a more focused experience.
Participating galleries are limited to using only two walls and displaying a select few works. The absence of built-in power sources eliminates the possibility for video presentations or large installations, and booths lack chairs and tables, although custom-designed benches are provided. Dealers may have reserve works, but restrictions on rearranging displays post-opening are in place, fostering a calmer and more digestible atmosphere for attendees.
This format has sparked debate during planning, as while solo booths are common in Basel fairs, enforcing them universally represents a significant shift. The competitive nature of galleries vying for popular artists is well-known, making this new structure all the more intriguing.
The fair adopts the theme "Becoming," with Egyptian artist Wael Shawky serving as the artistic director. This theme explores change and the systems that shape daily life, with the Gulf region providing a fitting context for these discussions. The strict guidelines around solo presentations and booth limitations are concrete aspects of this new direction.
Speculation surrounding the event includes rumors of financial backing from Qatar's royal family for shipping and booth fees, though some galleries reported no such arrangements. An anonymous source indicated that Basel subsidized these costs, not the Qatari government.
Furthermore, whispers suggest a substantial financial commitment to Art Basel over the next decade to ensure its presence in Doha. An Art Basel representative declined to comment on specific financial terms, emphasizing their general policy against disclosing partnership details. This mirrors the recent Web Summit Qatar deal, which secured a $128 million agreement with Portugal to host the event in Lisbon.
What's clear is the evolving approach galleries are taking towards the market. Almine Rech is showcasing Ali Cherri, whose tactile sculptures and works on paper are priced between $36,000 and $156,000. Meanwhile, VeneKlasen features new paintings by Issy Wood, priced from $35,000 to $190,000, marking a significant moment as it is the gallery's first fair under its new name.
At Thaddaeus Ropac, Raqib Shaw's vibrant works command prices from $254,000 to around $900,000, showcasing the diverse pricing strategies galleries are adopting in Doha. Some believe that presenting high-value works establishes the fair's seriousness from the outset, while others advocate for a gentler approach to build confidence among collectors.
In this solo format, familiar names are highlighted more sharply. Hauser & Wirth presents three significant paintings by Philip Guston, including the self-portrait "Conversation" (1978), which previously fetched $2.7 million at auction. David Zwirner features three works by Marlene Dumas, known for her poignant commentary on societal issues.
Art Basel Qatar is shaping up to be a unique experiment, questioning whether a quieter fair can maintain its urgency and whether fewer works can indeed carry greater significance. As the VIP preview concludes, galleries will gain insights into the effectiveness of their strategies. Regardless of the outcome, this first edition of Art Basel in Doha is already making waves by encouraging a slower pace in the art world, simply by presenting less.
