The art world is witnessing a shift, and Qatar is at the forefront. This tiny nation in the Middle East is leveraging its growing influence to reshape how the region is perceived through art and film. The “Your Ghosts Are Mine: Expanded Cinema, Amplified Voices” exhibition, a film and video installation showcased alongside the prestigious Venice Biennale, exemplifies this ambition.
This installation, featuring works by over 40 artists from the Middle East and beyond, reflects a broader movement. Sheikha Al Mayassa bint Hamad bin Khalifa Al Thani, the driving force behind Qatar Museums and the Doha Film Institute, sees this as an opportunity to elevate the voices of artists from her homeland and the wider region. She views the Venice Biennale and its accompanying Art for Tomorrow conference as a platform to bring these artists “from the margins of the international conversation to the center.”
“Your Ghosts Are Mine” delves into the theme of “Foreigners Everywhere,” a concept explored throughout the Biennale. Spread across 10 galleries within the ACP Palazzo Franchetti, the exhibition uses excerpts from movies and videos to explore diverse themes, ranging from deserts as cradles of civilization to borders as both barriers and gateways.
This high-profile exhibition reflects Qatar’s recent emergence as an artistic powerhouse. Existing institutions like the Museum of Islamic Art and the National Museum of Qatar have gained significant recognition, particularly after the 2022 World Cup drew nearly a million visitors. The future promises even more, with grand projects like the Art Mill Museum (boasting 23,000 square meters of gallery space) and the Lusail Museum (dedicated to the country’s vast Orientalist art collection) slated to open in the coming years.
Qatar’s artistic ambitions extend beyond museums. Public art plays a vital role, with nearly 80 installations deployed during the World Cup. “We work to engage communities with regional and global art,” explains Sheikha Al Mayassa, highlighting the transformative power of art on both residents and visitors.
Fatma Hassan Al Remaihi, Chief Executive of the Doha Film Institute, echoes this sentiment. She points out how the influx of museums and the film institute have fundamentally reshaped how people in Qatar view art. “It’s not just entertainment anymore,” she says. “It’s about how you see the world and yourself.”
“Your Ghosts Are Mine” embodies this philosophy. While not public art in the traditional sense, it reflects the institute’s dedication to refocusing how audiences consume art. The installation coincides with the Doha Film Institute’s annual film festival, further solidifying their commitment to regional filmmakers.
“This is a great platform for stories from the region and the Global South,” says Al Remaihi, emphasizing the unique way the Biennale allows the films to be showcased. “It’s a huge platform, even though we’re not part of the official program.”
The sheer volume of works in “Your Ghosts Are Mine” is impressive. Each of the 10 rooms carries a distinct theme and presentation style, weaving together a tapestry of stories about people and places. Curator Zeina Arida, Director of the Arab Museum of Modern Art (Mathaf), describes the exhibition as a journey. “The magic is that the curator was able to tell a story with so many excerpts,” she says, highlighting how each room takes viewers deeper into the lives of these individuals.
Thematic variety is evident throughout the exhibition. The first room explores deserts, a defining element of the Middle Eastern and North African landscape. Here, viewers encounter excerpts projected onto two large, inclined screens, creating a cinema-like atmosphere. As visitors move through the palazzo, the mood and presentation shift. Some rooms feature films on smaller monitors, fostering a more intimate experience focused on personal narratives.
For the Doha Film Institute, this installation aligns perfectly with the Art for Tomorrow conference. Al Remaihi sees this as a pivotal moment to redefine the image of the Middle East and the Global South. “We’ve been misrepresented for years,” she says. “Now, we can tell our stories on our terms.” She believes this marks a new era for filmmaking in the Middle East.