She's both a doctor and a princess who champions the embrace of diversity
Alia Al-Senussi is no stranger to multitasking. A member of Libyan royalty, this patron of the arts recently earned her PhD degree at the SOAS (School of Oriental and African Studies) University of London. “So now I’m a princess and a doctor,” she shares with an excited smile when we met on the sidelines of the Milken Institute Asia Summit in Singapore last year.
Her dissertation explored artists’ contributions to social change in Saudi Arabia, and it took her five years to finish, partly because she happens to be one busy princess. Besides serving as the Milken Institute’s arts and culture adviser and holding several advisory and philanthropic roles in different organisations, she also works for Art Basel as a VIP representative. Her work at the prestigious art fair is about “trying to make contemporary art from the Middle East a part of the international art world ecosystem in a very sustainable and thoughtful way”, she says.
That task has a unique importance for a region that is not always associated with modernity. As Alia puts it: “If you only look at a part of the world in terms of its ancient history, it’s much easier to not value it as part of a contemporary society. You forget that there’s a living, breathing population there right now, real people who are struggling, working and trying to make their lives better.”
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Having spent a lifetime reflecting on her Arab identity, Alia embraces the opportunity to be an ambassador for Middle Eastern art. Her mother is American, and her father is a member of the ruling Al-Senussi family that was expelled from Libya in 1969 following the coup led by Muammar Gaddafi. Alia was born in the US, and as a young child, lived in Cairo, Egypt, along with her exiled Libyan relatives. After relocating to the US with her mother, she continued to visit family in Europe and the Middle East regularly, then went on to study in Switzerland before earning degrees from Brown University and the London School of Economics.
One place she never visited during this peripatetic time was Libya. In 2005, she got close: working as a coordinator for artists Ilya and Emilia Kabakov, she found herself in Egypt’s Siwa Oasis, which bordered Libya. Artists came to Siwa to interact with local communities, and children and youths reflected on the idea of tolerance. The project eventually culminated in an artwork called Ship of Tolerance.