culture

Doha, Qatar – Art Basel Qatar, which opened earlier this month, is drawing scrutiny not only for its artistic merit but similarly for the complex political calculations underpinning its presence in the Gulf state. The fair, a partnership between Art Basel, Qatar Sports Investments (QSI), and QC+, represents a significant investment in Qatar’s soft power ambitions, echoing the controversies that surrounded the 2022 FIFA World Cup.

While Qatar has long invested in cultural institutions, dating back to the inauguration of the National Museum in the 1970s and expanding with increased gas revenues in the 1990s, the arrival of Art Basel signals a latest level of ambition, according to Sultan Sooud al-Qassemi, founder of the Barjeel Art Foundation. “Qatar’s investment in the cultural field dates back to the 1970s…the state transitioned toward large-scale cultural projects serving both internal and external goals: educating the public and strategically positioning Qatar as a significant global cultural player,” he said.

However, this cultural push is colliding with Qatar’s restrictive domestic policies, raising concerns about freedom of expression and human rights. Critics argue that Doha is attempting to project a progressive image – championing causes like Palestinian solidarity, prominently featured in the fair’s curatorial vision with works by artists like Khalil Rabah and Rashid Rana – while simultaneously suppressing dissent and limiting fundamental freedoms.

“Qatar’s soft-power ambitions are colliding with the reality of its domestic legal and social environment,” wrote Petala Ironcloud in Foreign Policy. “Doha is presenting a progressive, decolonial, pro-Palestine, global-south-aligned cultural face while using strict domestic policies to impose controls on women, queer people, and dissidents.”

Dr. Nas Mohamed, a Qatari-born artist and activist now living in the United States, voiced these concerns directly. “A platform like Art Basel inherently implies freedom of expression,” he said. “Qatar does not have freedom of expression. Period.” He added that civil organizing is illegal in Qatar, and that the government actively suppresses dissent.

Qatar’s legal framework prohibits criticism of the emir, the state, and Islam. The country’s male guardianship system requires women to obtain permission for major life decisions, and there is no legal recognition for transgender people. Same-sex relations are criminalized. During the 2022 World Cup, Qatari authorities confiscated rainbow-themed items and threatened sanctions for pro-LGBTQ displays.

The fair’s accessibility is also raising questions. Unlike other Art Basel editions, press access to Art Basel Qatar is limited to journalists physically present in Doha, a policy that requires operating under Qatari media laws, where criticism of the state can have legal consequences. The Sunday Times reported cyberattacks after publishing critical coverage of the 2022 World Cup.

Despite these concerns, Art Basel Qatar is attracting commercial interest, particularly from regional collectors. The fair’s structure, featuring solo artist presentations rather than traditional booths, aims to foster deeper engagement, according to Vincenzo de Bellis, Art Basel’s Chief Artistic Officer and Global Director of Fairs, and Wael Shawky, the fair’s Artistic Director. The theme of “Becoming” is intended to encourage dialogue and growth within the local context.

However, the fair’s inclusivity remains limited. Of the 84 artists with solo presentations, none are openly LGBTQ, a stark contrast to the progressive image Qatar seeks to project. Mohamed, who sought asylum in the United States due to his activism, described systematic persecution of LGBTQ individuals in Qatar, including detention, torture, and the utilize of preventative security forces to target those expressing gender nonconformity.

When asked about the claims made by activists and reported in the media, a Qatari government official rejected the notion that cultural investments are driven by reputational concerns. “Qatar invests in the world of art for many reasons, none of which are motivated by its global image or reputation,” the official said, adding that events like Art Basel aim to inspire both local and international art enthusiasts.

The fair’s politics also reveal selective prioritization. While showcasing works addressing state violence and patriarchy – such as Souad Abdelrasoul’s reimagining of The Last Supper – certain forms of liberation remain taboo. Khalil Abdel-Hadi, editor in chief of the Jordanian LGBTQ magazine My Kali, cautioned against framing the situation in the Gulf as simply one of victimhood, and emphasized the need to avoid using the region as a foil for Western progress, noting ongoing anti-LGBTQ legislation and violence in the United States.

Western galleries, including Gagosian, David Zwirner, and Hauser &amp. Wirth, are participating in Art Basel Qatar despite the country’s human rights record, raising questions about the prioritization of market access over values. Art Basel itself has established different terms for the Doha edition, including restrictions on displays of affection and a lack of standard press access, signaling a willingness to accommodate local standards.

Nicholas Galanin, a Tlingit and Unangax artist, attended the fair to explore future projects but was reportedly unaware of the extent of Qatar’s restrictions on women and LGBTQ people. His presence underscores how “artwashing” can function, drawing artists into projects that inadvertently legitimize repressive regimes.

Art Basel Qatar is scheduled to continue through February 7th, with no immediate indication of a shift in policy or a response to ongoing criticism.