Artlyst

Doha was the second stop on my curatorial research journey through the Middle East, following the opening of the Diriyah Biennale in Riyadh. Arriving in Qatar for the inaugural edition of Art Basel Qatar, I carried with me a mix of curiosity and uncertainty. In the weeks leading up to the fair, geopolitical tensions in the region—particularly concerns surrounding Iran—had cast a shadow over travel plans. Several major U.S. collectors ultimately cancelled their visits, reinforcing the sense that this first edition might unfold under fragile circumstances.

That context made the opening on February 3rd all the more striking. Against expectations, Art Basel Qatar proved not only resilient but also quietly radical. Rather than replicating the familiar commercial machinery of large-scale art fairs, this first edition proposed something closer to an exhibitionary format: a curated art fair shaped by Vincenzo de Bellis (Art Basel Chief Artistic Officer) and an artist from the region. Wael Shawky, Director of the Doha Fire Station and Artistic Director of this inaugural edition, orchestrated a carefully calibrated encounter between artists, galleries, and audiences. With just 87 galleries from 31 countries presenting 84 artists, the fair deliberately resisted excess.