SALWA CHALHOUB OF OPERA GALLERY, WHERE ART AND LUXURY HOLD THEIR VALUE WITHIN

Salwa Chalhoub, self-declared “art Enthusiast, curator of local and international art shows, and founder of a leading contemporary gallery Opera Beirut” says that “luxury can take many forms and be viewed from different perspectives.” Chalhoub clarifies extensively, “in today’s fast-paced world, luxury can simply be the time you give yourself—to indulge in activities that enrich you, nourish your soul and health, and bring you happiness. It’s not always about material things; sometimes, it’s about experiences that make you feel happy and make you smile.”

More at length, she goes further, “from another aspect, luxury is having the ability to have access to the things that range from a piece of clothing, a leather good, a car, a piece of jewelry, a work of art, a luxury yacht, or even a private jet.”

Living in today’s world and immersing herself in today’s experiences, she adds “today, with the openness and outreach of social media, luxury is becoming something very appealing and inviting to the mass that even make up and beauty products can become a luxury for some.”

When it comes to the so-called difference between high-brow and low-brow art, Chalhoub is rather dismissive, “the distinction between high-brow and low-brow art often comes from external judgments, critics, institutions, or market value.” She goes on poetrically, “but in reality, an original work of art has its own intrinsic soul. A real piece of art is alive and what gives it life is not its perceived status or price, but its originality and authenticity.”

Chalhoub put herself in the the end user’s shoes explaining, “the true impact of art lies in its ability to evoke emotion, provoke thought, or create connection. None of which are determined by whether it is considered high or low art. Art’s impact isn’t defined by labels but by its ability to resonate, move, and inspire.”

When it comes to the dichotomy between pleasure derived from original artworks as opposed to reproductions, Chalhoub goes back in time, “when I was a student with a limited budget and couldn’t afford luxurious brands, I was so proud to dress from high street shops with no brands. At that time, during my university years, a lot of my friends would go and buy fake bags and sunglasses and I was never tempted to do that when I couldn’t have access to the original.”

She illustrates further “I was so happy to style my outfits with the budget that I had without even thinking of buying any fake product and would pull it out so nicely and proudly because for me something “real” is the pure luxury.”

The same goes for art. There are pieces that are accessible to any buyer with any budget and of any age. At the end of the day you live with an artwork and you need to love it thus the financial or monetary value of the work does not necessarily make you love it more.

But is Gen Z tilting the market towards more experiences as opposed to possessions? Chalhoub is adamant “The purpose of life is to be lived. So is art. I love this say: “Fill your life with experiences. have stories to tell not stuff to show”. That does not mean that having access and owning beautiful things is not satisfying. I believe that the right balance between the two is the key.” In terms of market buyers, “Gen Z is gradually stepping into the art market’s spotlight, with many beginning to explore the world of art collection, leaning towards prints, emerging artists, and street art.”

Chalhoub is realistic, “once art becomes part of industry strategies, it shifts from pure expression to a carefully curated commodity, shaped by market forces rather than the artist’s intent.” Comparatively, she asserts, “just like luxury, its value is no longer intrinsic but dictated by scarcity, prestige, and the power of those who control its narrative. In this space, art and luxury become reflections of the same system—elevated not by essence, but by the structures that define what is desirable, rare, and worthy.”
Funding is certainly an issue, specifically for public artwork. Chalhoub is really pragmatic, “art speaks to those who want to hear it and reveals itself to those who want to see. The question of funding and accessibility has always existed, yet it has never been enough to silence art—because art is alive.”

So in practical terms she goes, “while public artworks rely on funding and philanthropy, their true essence transcends economic constraints. Art finds its way, whether through grand institutions or spontaneous expressions in the streets. It adapts, transforms, and reinvents itself, existing beyond financial structures.”

Yet, is luxury just for show then? Or can it be something more discrete like art in that context. “luxury, to me, is quiet. “Money talks, but wealth whispers,” and that applies to art just as much as anything else. It all depends on how you define luxury—do you seek it for your own pleasure, or for others’ approval?”

Chalhoub’s judgement is clear, “luxury isn’t about flaunting; it’s about experiencing. It’s a feeling, an intimate connection with something beautiful, meaningful, and rare.”

Art fits perfectly into this idea. Unlike a designer bag or a flashy car, art often lives in the privacy of one’s home, meant to be enjoyed in solitude or shared with a select few.”

From someone who knows the value of art, she gives a final wisdom nugget: “Luxury, like art, doesn’t need an audience to be valuable—it holds its worth in the emotion it evokes, the memories it carries, and the personal meaning it holds.”