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Wided Rihana Khadraoui is an American-Algerian cultural entrepreneur, curator, and writer. She is the founder of Tazuri Project, a creative non-profit platform focusing on working with under-represented voices in the cultural and creative scene. Wided has a special interest in how multiple identities are navigated in the contemporary global diaspora. She holds a Master’s Degree in Conflict Studies from the London School of Economics, and is currently studying for a Master’s in Arts and Cultural Enterprise at Central Saint Martins-UAL.
Vibrant art scene inspires cooperation, competition in Gulf
The countries of the Middle East are using art to remodel their national identities. Billions of dollars have been spent on colossal building efforts and massive acquisition programs in an effort to expand the cultural sector in the Middle East, especially in the Gulf. Art acquisition now appears to be part of a geopolitical strategy by Gulf countries to use their hydrocarbon money to purchase cultural clout and establish themselves as international cultural centers.
‘Arab,’ ‘Islamic’, or ‘Middle Eastern’ art are all terms used interchangeably. Despite a wide variety of contemporary artistic practices in the region, artists from the Middle East are consistently labeled with ethnic and national markers.
Art has long been both an instrument for openly engaging in dialogue as well as an agent to force an overdue conversation. The installations of international artists, such as Dawn Weleski, Jon Rubin, Ai Weiwei, and Theaster Gates, all engage with social issues and help introduce new perspectives or dialogue. The fusion of art and socio-political commentary thrives especially in the Middle East, where unrestricted criticism of both government and cultural norms can be seen as heresy.
