Curator Series: Dr Ridha Moumni
Curator and historian of art and archaeology specializing in antiquity, as well as the early and modern art of Tunisia
Naso Art Journal is delighted to welcome Dr. Ridha Moumni as the next guest in our Curator Series. We are honored to feature his perspective, shaped by a unique confluence of scholarship, curatorial expertise, and cultural advocacy.
An esteemed historian of art and archaeology, Dr. Moumni specializes in antiquity and the early to modern art of Tunisia. His academic and professional path spans continents and disciplines—from earning a PhD in North African Roman Architecture at La Sorbonne, to his tenure as a fellow at the French Academy in Rome (Villa Medici), and later as an Aga Khan Fellow at Harvard University. His research has delved deeply into the artistic and cultural dialogues between the Maghreb and Europe in the 19th and 20th centuries.
Currently Chairman of Christie’s Middle East and Africa, Dr. Moumni plays a vital role in shaping the region’s cultural presence on the global stage, leading key strategies and overseeing auctions dedicated to Modern and Contemporary Middle Eastern Art. His curatorial practice is grounded in intellectual rigor and a commitment to elevating underrepresented narratives—qualities that have earned him significant recognition, including being named a Knight of the Order of Arts and Letters by the French Republic.
You’ve curated both archaeological and contemporary exhibitions—how does your academic background in Roman North African architecture influence the way you approach curating modern and contemporary art from the MENA region?
“My background in archaeology and Roman North African architecture has profoundly shaped my curatorial approach. Studying classical art and ancient civilizations offers a comprehensive understanding of artistic movements, aesthetic strategies, and symbolic vocabularies—many of which continue to resonate today, especially given the frequent references to classical art in modern and contemporary practice.
When you explore ancient art, you learn to read layers of meaning, context, and cultural exchange—skills that are just as vital when engaging with contemporary works. Archaeology also teaches us about artistic transfers and constructions across time and geography, allowing us to see how artists engage with tradition, reinterpret heritage, and challenge established historical narratives.
Many modern and contemporary artists from the MENA region look to the past, consciously or unconsciously, as a way to negotiate questions of identity and belonging. My training enables me to understand these references deeply and informs the way I curate. It encourages me to consider and highlight the artistic and cultural layers embedded in modern and contemporary production, weaving together the echoes of the past with present expressions.”
In your view, what are the most urgent curatorial challenges facing MENA art institutions today, particularly when it comes to representing diverse national narratives within a global art market?
“The challenges are significant. One of the most pressing is the urgent need to document and publish on the artists of the region. Many pivotal figures remain under-recognized due to a lack of accessible scholarship and institutional archives. Visibility on the global stage begins with visibility at home; without strong local support and recognition, it is nearly impossible to build lasting international presence. For me, the fundamental challenge lies in how we highlight our artists and our artistic production within the region itself — how scholars, curators, and the wider public can reclaim and embrace the histories and legacies of these artists. The first and most essential step is to focus on local engagement before seeking global recognition.
Another delicate task is representing national and regional narratives without reducing them to clichés or simplistic identity boxes shaped by institutional frameworks or market expectations. Institutions must find ways to honour local specificities and artistic movements while maintaining global relevance, giving space to a multiplicity of voices and experiences. This demands long-term investment and a deep commitment to rewriting art histories from within. It also requires us to acknowledge the rich diversity within the Arab world and beyond. The region should not be viewed as a monolithic geographic, religious, or cultural space — a misconception that persists far too often. Instead, our art and artists must be presented in all their complexity, revealing the layered identities and pluralistic traditions that truly define them.”
You’ve researched artistic exchanges between the Maghreb and Europe—how do you see these historical cross-cultural dynamics reflected in the work of contemporary North African artists today?
“Historically, exchanges between the Maghreb and Europe were largely one-directional, with Maghrebi artists looking north for validation and influence. Today, this dynamic has shifted significantly. European institutions, collectors, and audiences are increasingly open to the questions posed by Maghrebi artists — questions of identity, postcolonial critique, and cultural hybridity. It is fascinating to see artists such as Kader Attia, Yto Berrada, M'barek Bouhchichi, Nidhal Chamekh, Nadia Kaabi-Linke, and Zineb Sedira, among others, who choose to stay in North Africa or move abroad while critically engaging with these histories. Their work asserts new narratives and complexities, challenging Western perspectives and offering self-defined positions. This evolving dialogue signals a more horizontal exchange and renewed agency. Many of these artists also explore local crafts and artistic traditions from antiquity, medieval and Islamic periods, or modern times — not as nostalgia, but as a way to reclaim and reinterpret their heritage. Their practices reveal the layered, hybrid nature of Maghrebi identity and invite us to imagine new, self-determined narratives rooted in both history and contemporary experience.”
As Chairman of Christie’s Middle East & Africa, how do you balance the demands of the art market with the ethical responsibilities of curation, especially when dealing with culturally sensitive works or heritage-related pieces?
“In my role, I constantly balance cultural and commercial priorities. From the outside, these can seem in tension, but I believe they are deeply interconnected. My philosophy has always been that cultural integrity must guide commercial activity, not the reverse. At Christie’s, we make our best to celebrate artists' legacies through thoughtful presentation and develop an academic approach when we can, ensuring that works are contextualized with respect and depth. When handling culturally sensitive pieces, we prioritize provenance, legality, and the wishes of estates and parties involved. We also engage in institutional collaborations and non-selling exhibitions to support long-term visibility and scholarship. Ultimately, our choices reflect a commitment to ethical stewardship, helping to strengthen both market confidence and cultural respect.”
Can you share insights into your curatorial process for Ahmed Mater’s mid-career retrospective? What considerations were specific to showcasing a Saudi artist on an international platform?
“For Ahmed Mater’s retrospective, the key was to balance the specificity of his Saudi identity with the universal resonance of his work. We worked very closely with Dr. Ahmed to present not only his artworks but also the intellectual framework that underpins his visual language and his use of diverse media. We paid careful attention to showcasing the breadth of his practice — from photography and installation to works on paper — emphasizing his role as a witness to Saudi Arabia's profound transformation. Presenting his work internationally required a nuanced approach: respecting local sensitivities while encouraging global audiences to engage critically with the Saudi art scene. It was also crucial to highlight where he learned and practiced art in Saudi Arabia, and to include some of his earliest, never-before-shown paintings. I wanted to present him not just as a globally recognized figure, but as a practicing artist deeply rooted in his local context for over 30 years, despite his relatively young age. The exhibition became a space where personal narrative and collective history intertwined, allowing audiences to see Saudi Arabia beyond the headlines — through the eyes of one of its most thoughtful and insightful contemporary artists.”
What role should institutions and curators in the MENA region play in rewriting or re-centering art historical narratives that have traditionally been Eurocentric?
“Institutions and curators in the MENA region have a crucial role to play in challenging Eurocentric art histories. They must actively produce and support scholarship that foregrounds local voices, movements, and aesthetic traditions. By creating archives, publishing monographs, and commissioning critical essays, they help build a strong foundation for future generations. Curators should act as translators and mediators, bridging regional narratives with global conversations while resisting reductive or stereotypical framings. This means nurturing local art ecosystems, empowering artists to tell their own stories, and collaborating with educational institutions to encourage critical thinking and historical awareness. It is also vital to develop local dynamics through the support of the entire ecosystem — starting with the curiosity and engagement of curators, researchers, collectors, and art enthusiasts in the region. Ultimately, this work is not merely about inclusion but about redefining the very idea of the centre — affirming that art history is not a single, linear story but a constellation of intersecting perspectives and voices.”
Looking ahead, what emerging trends or themes in Middle Eastern and North African contemporary art do you believe are most important for curators — and collectors — to pay attention to over the next decade?
“Several important currents are shaping contemporary art in the MENA region today. First is the renewed focus on archives and memory work — artists are increasingly investigating overlooked histories, personal narratives, and collective trauma. Given the region’s turbulent past and the complex context in which its artists create, this archival impulse is both a poetic and political act, reclaiming agency over stories long marginalized. Second, there is a growing engagement with environmental and ecological themes, reflecting the urgent realities of the region. Artists are addressing questions of land, water, and urbanization, often using materials and processes that evoke local traditions while imagining possible futures. We see works exploring the ecosystem of the desert, the oasis, and water scarcity — reflecting on how these environments shape identity and community. Questions of identity and migration also remain central, approached today with more complexity and self-determination than ever before. Many artists work from the diaspora or in states of in-betweenness, confronting displacement and rethinking or redefining identity in a globalized world. These themes often intersect with discussions around decolonization and the postcolonial condition of Arab states and broader MENA societies. I find it especially compelling when artists use history, poetry, and overlooked historical references to challenge inherited narratives and help decolonize the imagination. Younger artists are not simply reflecting on loss and exile; they are proposing new forms of belonging, community, and solidarity. Through these explorations, they offer deeply personal yet universally resonant visions of identity and connection. For amateurs, collectors and curators alike, these trends invite deeper engagement beyond aesthetics — urging us to understand the cultural, social, and political urgencies that shape the region today.”