The Middle East Becomes the World’s ATM
Flush with cash from an energy boom, Saudi Arabia and other Gulf monarchies have a moment on the world’s financial stage
Flush with cash from an energy boom, Saudi Arabia and other Gulf monarchies have a moment on the world’s financial stage
Five years ago, Saudi officials watched a wave of American finance executives pull out of a free investment confab in Riyadh after the murder of a dissident journalist made the kingdom a toxic place to do business.
This year, the conference, nicknamed “Davos in the Desert,” is expecting so much demand it is charging executives $15,000 a person.
Middle East monarchies eager for global influence are having a moment on the world’s financial stage. They are flush with cash from an energy boom at the very time traditional Western financiers—hampered by rising interest rates—have retreated from deal making and private investing.
The region’s sovereign-wealth funds have become the en vogue ATM for private equity, venture capital and real-estate funds struggling to raise money elsewhere.
The market for marquee mergers and acquisitions has seen a surge of interest from the region. Recently announced deals include an Abu Dhabi fund’s purchase of investment manager Fortress for more than $2 billion and a Saudi fund’s $700 million purchase of global lender Standard Chartered’s aviation unit.
Companies and funds overseen by Abu Dhabi’s national security adviser, Sheikh Tahnoun bin Zayed Al Nahyan, have made runs at buying Standard Chartered and investment bank Lazard. They have also struck recent deals to buy a $1.2 billion U.K. healthcare company and to take partial control of a nearly $6 billion Colombian food giant.
“Now, everybody wants to go to the Middle East—it’s like the gold rush in the U.S. once upon a time,” said Peter Jädersten, founder of fundraising advisory firm Jade Advisors. “It’s difficult to raise money everywhere.”
Fund managers visiting the region say they often wait across from rivals in waiting rooms of sovereign-wealth funds. Silicon Valley and New York managers are a near-constant presence in the white-marble floored lobby of the Four Seasons Abu Dhabi, as with other top hotels, they say.
The Riyadh conference next month—a pet project of Saudi Crown Prince Mohammed bin Salman known as the Future Investment Initiative—is expected to be a magnet for money hunters. In 2018, Wall Street executives backed out after Saudi operatives murdered journalist Jamal Khashoggi, and for years many startups and funds said they avoided investment from the country over moral concerns.
Some companies continue to steer clear of the kingdom, while human-rights groups say its record on treatment of government dissidents remains a serious problem.
But Saudi funding became more in demand last year when other money began to get tight. At last year’s conference the Public Investment Fund’s chief, Yasir Al Rumayyan, sat on a panel discussion with two of the world’s biggest investment-firm executives, Blackstone’s Stephen Schwarzman and Ray Dalio, founder of Bridgewater Associates. Top names in venture capital mixed on the floor, and FTX chief Sam Bankman Fried looked for funding.
Ben Horowitz, partner at Andreessen Horowitz, said at a PIF-sponsored conference this spring that Saudi Arabia was a “startup country,” and referred to Prince Mohammed as its “founder” who was creating a new culture and new vision for the country.
The region’s new dominance is most apparent among private funds, the type that lock up investors’ money for years. While detailed statistics are scarce, figures at two of the biggest sovereign funds suggest a surge. At Saudi’s PIF, commitments for “investment securities”—a category that includes private funds—rose to $56 billion in 2022, up from $33 billion a year earlier. Abu Dhabi’s Mubadala reported that equity commitments doubled to $18 billion in 2022.
Executives at private-equity giants TPG, KKR and Carlyle Group have told investors that interest from the Middle East remains strong while other parts of the world recede.
“If you’re in the U.S., there’s a certain degree of concern,” Carlyle CEO Harvey Schwartz said at a June conference. Middle East investors, he said, are “very front-footed, very dynamic.”
While the Middle East steps on the gas, the traditional backers of investment funds—pension plans and college endowments—are in retreat. The global shift to higher interest rates caused losses in the biggest parts of their portfolios—especially stocks and bonds.
Investors put $33 billion toward U.S.-based venture capital funds in the first half of 2023, less than half the $74 billion in the same period in 2021, according to PitchBook. Global fundraising for all private funds fell 10% last year to $1.5 trillion, according to Preqin—a decline many expect to continue.
“Fundraising has become much, much harder over the past 12 months,” said Brenda Rainey, an executive vice president at Bain & Co. who advises private-equity funds.
The reason for the region’s burst of funding and deal making is twofold.
Higher energy prices—a byproduct of Russia’s invasion of Ukraine—have given the region’s oil- and gas-dependent wealth funds tens of billions of dollars of extra money to spend. That means a drop in oil prices could quickly cause a pullback from the Gulf countries, as has happened in energy booms-turned-bust of the past.
At the same time, Saudi Prince Mohammed and top officials in the U.A.E. have jostled for greater sway on the world stage—in geopolitics, finance and sports—pumping additional money into their wealth funds to do deals and expand industry at home.
The intersection of politics and finance in the region has led Gulf wealth funds from Saudi Arabia, the U.A.E. and Qatar to be the main financial backers of two key Trump administration figures: Jared Kushner and former Treasury Secretary Steven Mnuchin, who together raised billions of dollars from the region.
Gulf funds have pushed their U.S. peers to open offices in the region to more easily win investments, fund managers say.
BlackRock has said it would create a team on the ground in Riyadh dedicated to boosting investment into infrastructure projects in the Gulf.
Millennium Management LLC, based in New York, set up an office in Dubai in 2020 and others followed, including private-equity firm CVC Capital Partners and ExodusPoint Capital Management, the largest-ever hedge-fund startup with $8 billion in initial capital. Europe’s Tikehau Capital and Ardian both established teams in Abu Dhabi, and U.S. alternative investment manager, Pretium, hired a local industry veteran from Dubai.
Dalio also set up an office in Abu Dhabi for the Dalio Family Office, his personal venture. Rajeev Misra, a longtime financier for SoftBank Group who secured over $6 billion in commitments for a new venture from multiple Abu Dhabi-aligned investment funds, is moving to the U.A.E. from the U.K., according to people familiar with his plans.
There is now an “awareness that relationships have to be built and that doesn’t happen overnight,” said Joseph Morris, a Dubai-based managing director at U.S.-based advisory firm Newmark Group.
The venture capital arm of Tiger Global has struggled to raise its latest fund, repeatedly cutting its target by billions of dollars. Stung by losses and the cooler fundraising environment, many U.S. investors have given it the cold shoulder, investors say.
One place it found success: Saudi Arabia. A division of PIF, Sanabil, this spring added Tiger’s name to the public list of fund managers it backs. Others on the list include Peter Thiel’s Founders Fund and Andreessen Horowitz.
Ibrahim Ajami, who oversees startup investments at Abu Dhabi state fund Mubadala, which invests in companies as well as funds, said the environment gives Mubadala the ability to be “very thoughtful and selective” about who it backs.
He can negotiate terms that let Mubadala buy a stake in the fund manager itself, he said, or allow it to invest alongside others.
“What we are doing is going deeper—and more concentrated and more engaged—with a select group of managers,” he said.
—Summer Said and Berber Jin contributed to this article.
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Sky-high pricey artworks may not be flying off the auction block right now, but the art market is actually doing just fine.
That’s a key takeaway from a 190-plus page report written by Art Economics founder Clare McAndrew and published Thursday morning by Art Basel and UBS. The results were based on a survey of more than 3,600 collectors with US$1 million in investable assets located in 14 markets around the world.
That the art market is doing relatively well is backed by several data points from the survey that show collectors are buying plenty of art—just at lower prices—and that they are making more purchases through galleries and art fairs versus auction houses.
It’s also backed by the perception of a “robust art market feeling,” which was evident at Art Basel Paris last week, says Matthew Newton, art advisory specialist with UBS Family Office Solutions in New York.
“It was busy and the galleries were doing well,” Newton says, noting that several dealers offered top-tier works—“the kind of stuff you only bring out to share if you have a decent amount of confidence.”
That optimism is reflected in the survey results, which found 91% of respondents were optimistic about the global art market in the next six months. That’s up from the 77% who expressed optimism at the end of last year.
Moreover, the median expenditure on fine art, decorative art and antiques, and other collectibles in the first half by those surveyed was US$25,555. If that level is maintained for the second half, it would “reflect a stable annual level of spending,” the report said. It would also exceed meet or exceed the median level of spending for the past two years.
The changes in collector behaviour noted in the report—including a decline in average spending, and buying through more diverse channels—“are likely to contribute to the ongoing shift in focus away from the narrow high-end of sales that has dominated in previous years, potentially expanding the market’s base and encouraging growth in more affordable art segments, which could provide greater stability in future,” McAndrew said in a statement.
One reason the art market may appear from the outside to be teetering is the performance of the major auction houses has been pretty dismal since last year. Aggregate sales for the first half of the year at Christie’s, Sotheby’s, Phillips, and Bonhams, reached only US$4.7 billion in the first half, down from US$6.3 billion in the first half a year ago and US$7.4 billion in the same period in 2022, the report said.
Meanwhile, the number of “fully published” sales in the first half reached 951 at the four auction houses, up from 896 in the same period last year and 811 in 2022. Considering the lower overall results in sales value, the figures imply an increase in transactions of lower-priced works.
“They’re basically just working harder for less,” Newton says.
One reason the auction houses are having difficulties is many sellers have been unwilling to part with high-value works out of concern they won’t get the kind of prices they would have at the art market’s recent highs coming out of the pandemic in 2021 and 2022. “You really only get one chance to sell it,” he says.
Also, counterintuitively, art collectors who have benefited from strength in the stock market and the greater economy may be “feeling a positive wealth effect right now,” so they don’t need to sell, Newton says. “They can wait until those ‘animal spirits’ pick back up,” referring to human emotions that can drive the market.
That collectors are focusing on art at more modest price points right now is also evident in data from the Association of Professional Art Advisors that was included in the report. According to APAA survey data of its advisors, if sales they facilitated in the first half continue at the same pace, the total number of works sold this year will be 23% more than 2023.
Most of the works purchased so far were bought for less than US$100,000, with the most common price point between US$25,000 and US$50,000.
The advisors surveyed also said that 80% of the US$500 million in transactions they conducted in the first half of this year involved buying art rather than selling it. If this pattern holds, the proportion of art bought vs. sold will be 17% more than last year and the value of those transactions will be 10% more.
“This suggests that these advisors are much more active in building collections than editing or dismantling them,” the report said.
The collectors surveyed spend most of their art dollars with dealers. Although the percentage of their spending through this channel dipped to 49% in the first half from 52% in all of last year, spending at art fairs (made largely through gallery booths) increased to 11% in the first half from 9% last year.
Collectors also bought slightly more art directly from artists (9% in the first half vs. 7% last year), and they bought more art privately (7% vs. 6%). The percentage spent at auction houses declined to 20% from 23%.
The data also showed a shift in buying trends, as 88% of those polled said they bought art from a new gallery in the past two years, and 52% bought works by new and emerging artists in 2023 and this year.
The latter data point is interesting, since works by many of these artists fall into the ultra contemporary category, where art soared to multiples of original purchase prices in a speculative frenzy from 2021-22. That bubble has burst, but the best of those artists are showing staying power, Newton says.
“You’re seeing that kind of diversion between what’s most interesting and will maintain its value over time, versus maybe what’s a little bit less interesting
and might have had speculative buying behind it,” he says.
Collectors appear better prepared to uncover the best artists, as more of those surveyed are doing background research or are seeking advice before they buy. Less than 1% of those surveyed said they buy on impulse, down from 10% a year earlier, the report said.
Not all collectors are alike so the Art Basel-UBS report goes into considerable detail breaking down preferences and actions by individuals according to the regions where they live and their age range, for instance. The lion’s share of spending on art today is by Gen X, for instance—those who are roughly 45-60 years old.
Despite a predominately optimistic view of the market, of those surveyed only 43% plan to buy more art in the next 12 months, down from more than 50% in the previous two years, the report said. Buyers in mainland China were an exception, with 70% saying they plan to buy.
Overall, more than half of all collectors surveyed across age groups and regions plan to sell, a reversal from past years. That data point could foretell a coming buyer’s market, the report said, or it “could be indicative of more hopeful forecasts on pricing or the perception that there could be better opportunities for sales in some segments in the near future than there are at present.”
In the U.S., where 48% of collectors plan to buy, Newton says he’s seeing a lot of interest in art from wealth management clients.
“They’re looking for ideas. They’re looking for names of artists that can be compelling and have staying power,” Newton says. “That’s definitely happening from an optimistic standpoint.”
This stylish family home combines a classic palette and finishes with a flexible floorplan
Just 55 minutes from Sydney, make this your creative getaway located in the majestic Hawkesbury region.