Making its first appearance at Abu Dhabi Art – held this year from 19–23 November at Manarat Al Saadiyat – Opera Gallery signalled a decisive new chapter in its engagement with the UAE’s cultural landscape. The debut presentation, a dialogue between modern titans such as Picasso and Chagall and contemporary voices like Manolo Valdés, Jae Ko, and Cho Sung-Hee, positioned the gallery as an exhibitor but also as an interlocutor between eras, aesthetics, and regional sensibilities. With an overwhelmingly positive response from collectors and institutions alike, the fair became the stage on which Opera Gallery articulated its growing commitment to Abu Dhabi’s increasingly sophisticated art ecosystem.
At the heart of the booth, Picasso’s 1945 Femme assise dans un fauteuil drew viewers in with its geometric rigor and contemplative poise, while Chagall’s luminous colourwork, Kusama’s rhythmic polka-dot patterns, and Valdés, Ko, and Cho’s sculptural forms created a dynamic interplay of texture, form, and emotion. Together, the works revealed Opera Gallery’s intent: to craft an environment where modern mastery and contemporary innovation coexist, inviting collectors to engage deeply with each piece.
For Sylvain Gaillard, Opera Gallery Dubai’s Director, the debut felt both strategic and personal. “Fairs are always an enjoyable experience; they allow us to reconnect with our existing collectors, meet new ones, and foster strong bonds with institutional partners,” he reflects. “The response to our participation was overwhelmingly positive, which is the key takeaway for us.”
The gallery’s decision to juxtapose modern icons with contemporary voices was intentional, a reflection of the network’s global ethos. “Balancing historic artists with contemporary ones is at the core of what built our identity. Since 1994, we’ve catered to various types of collectors. Showing artists at both ends of the spectrum ensures no one feels alienated.”
This duality played out in the booth: Picasso’s angular restraint finding counterpoint in Kusama’s rhythmic infinity nets; Chagall’s floating figures resonating unexpectedly with Cho Sung-Hee’s weightless paper sculptures; Valdés’ butterfly motifs in bronze and Murano glass offering a contemporary take on classical form.
“We always curate with intent, selecting artworks that complement the booth and appeal to the widest possible audience,” Gaillard adds. The result was a presentation that felt neither commercial nor didactic – simply assured.
A Region in Cultural Motion
Opera Gallery’s decision to debut at Abu Dhabi Art was rooted in long-term proximity. “We’ve been active in the region for over 17 years. While we’re based in Dubai, a significant and growing portion of our collectors are in Abu Dhabi.”
Gaillard notes that local tastes play a significant role in how the gallery programs exhibitions. “We curate shows locally to ensure each region hosts activations tailored to its preferences.”
The fair also revealed an evolving collector mindset. “Collectors in the region are getting more educated, and this is reflected in their acquisitions. We’ve seen a shift toward blue-chip and emerging artists, with the mid-range struggling over the past two years.”
For many visitors, the encounter was visceral – time spent at intimate range with museum-quality works rarely seen in the region. “The clear enthusiasm we saw when visitors spent time ‘up close and personal’ with these artworks, especially the Picasso from 1945, was incredibly rewarding,” Gaillard recalls.
Looking ahead, the debut sets the tone for Opera Gallery’s continued expansion in the Middle East. “The growing ecosystem is a big plus, and all regional actors will benefit from it in the medium to long term,” he says.
Opera Gallery’s entrance was, ultimately, not about arriving with noise but with clarity – presenting a carefully constructed dialogue that felt both historically grounded and subtly contemporary. In a region where the cultural landscape is advancing rapidly, the gallery’s presence signals not just participation, but a commitment to shaping the conversation.
