Saudi Arabia is on its way to becoming one of the hottest art destinations in the world. While the country’s global reputation encompasses many things—monarchy, oil, religion, to name a few—it’s never been considered a hub for arts and culture. That is, until now.

The Saudi Vision 2030 project was first announced in 2016 by Crown Prince and Prime Minister Mohammed bin Salman (MBS). The trillion-dollar project hopes to achieve economic prosperity by relying less on oil and expanding sectors like entertainment, tourism, technology and business. 

Since then, significant moves have been made to establish Saudi Arabia as a major player in the international art scene. This became especially apparent in 2017 when Saudi purchased the most expensive painting in the world. Salvator Mundi, a Renaissance masterpiece attributed to Leonardo da Vinci and believed by some to be one of his last works, sold for US$450 million (CAD$617 million). Since the Kingdom’s purchase, the portrait has been tucked away from view. It’s rumoured that MBS plans for the portrait to serve as the anchor for a Louvre Museum in Riyadh, making Saudi Arabia the second country in the Gulf to have a Louvre (after the United Arab Emirates).

Renowned auction houses Christie’s and Sotheby’s also announced offices in Riyadh, with Sotheby’s hosting Saudi Arabia’s first-ever international auction this past February. Among the 120 pieces up for bid were three highly coveted works by René Magritte, Fernando Botero and Banksy. Each sold for more than USD$1 million (CAD$1.3 million).

Outside of spotlighting Western artists, local tastemakers and art experts are excited to introduce Saudi culture to the world in a way it has never been seen before. This past April, Riyadh hosted its inaugural Art Week under the theme “At the Edge.” The eight-day festival featured public talks, the participation of over 45 galleries and access to private and institutional collections.

For Saudi Arabian artist and curator Lulwah Al-Homoud, these festivities are a sign that times are changing. Celebrated as a pioneering figure in the Saudi Arabian contemporary art scene, Al Homoud is primarily known for her intricate Arabic calligraphy and geometric abstraction. 

“I started my life studying sociology because there was no art school,” she says. Her path led her from Riyadh to London, where she lived for 23 years. Once she noticed a flourishing art scene at home, she made her return. “I think it’s time for us to give our experience to the younger generation and transfer the knowledge. For me, that is very important.”

When Al-Homoud first started her artistic career, things were different. “I was working alone, and we were working as a small group of very few artists. We were trying to find sponsorship, to find people who believe in us, and now it’s different. The government is supporting the arts,” she says. 

For some in the West, government sponsorship of the arts is a point of contention. American art critic and philosopher David Carrier wrote about being invited to Saudi Arabia for an Andy Warhol exhibit as part of the annual AlUla Arts Festival. 

“The moral dilemmas posed by this exhibition were self-evident. On one hand, the presentation of a body of Warhol’s art to a Saudi audience is a way to potentially open up a dialogue,” he writes. “But on the other hand, [the Warhol exhibit] may well validate an authoritarian regime whose official policies and practices, especially those concerning sexual freedoms, are abhorrent.” Carrier ultimately declined the invitation. 

Critics of MBS caution that the shift towards art and culture is meant to distract from the Kingdom’s human rights record and buy the support of a younger demographic; after all, 63 per cent of Saudi’s population is under 30 years old. Much of the recent programming would appeal to young people, as it includes The Red Sea International Film Festival, the world’s largest light festival at Noor Riyadh, the Islamic Arts Biennale, the Diriyah Contemporary Art Biennale, and much more.

Al-Homoud, however, sees the cultural investments as a focus on soft power. “We have so much to show as Saudis, [but] the media always focus on different things,” she said. “This is the way to communicate as Saudis, as Muslims and as Arabs, to show our cultures to the people and create healthy dialogues with other cultures.”

Ushering in this new era of innovation is no small feat; a roster of cultural ambassadors, curators and artists has been tapped to lead the charge, including Alia Al-Senussi. As a cultural strategist and senior advisor to the Saudi Ministry of Culture, part of her work involves connecting the world with Saudi Arabia, establishing the first biennales and helping empower young Saudi artists and cultural practitioners to interact with each other. 

“Saudi has had an art scene for decades,” Al-Senussi said, noting local artists just haven’t received significant attention or acclaim. “Now, the focus is on all of that because people are excited that they can enter [the art world]. It used to be impossible to travel to Saudi; now, Saudi is welcoming the world.” For more thought-provoking stories and exclusive content, subscribe to 3 magazine’s print and digital editions today!