E-Issue 07 –– AUH
Winter 2023-24

January 29th, 2024

  1. Editor’s Note
  2. What’s On in Abu Dhabi/Dubai
  3. Cover Interview: Shaikha Al Ketbi on Darawan
  4. Rapport: Public Art in the Gulf and a Case Study of Manar Abu Dhabi
  5. Hashel Al Lamki’s Survey Exhibition Maqam Reflects on a Decade of Practice in Abu Dhabi
  6. “You Can’t Stand on a Movement”: Michelangelo Pistoletto Interviews Benton Interviewing Pistoletto

Winter/Spring 2024

Exhibition Review July 16, 2024
PAR See Me With Them Hands: Reviewing Giovanni Bassan’s “Private Rooms” at Sainte Anne Gallery

Curators Interview May 14, 2024
AUH Embracing Change through an Open System: Maya Allison and Duygu Demir on “In Real Time” at NYUAD Art Gallery

About ––

    What We Do
    Editorial Board

Interviews ––

    Selected Archive

Open Call ––

    E-08 Seoul

Newsletter ––

Chronological Archive ––

    Selected Archive

Artist Interview November 18th, 2016
AUH Raed Yassin in Abu Dhabi

Editorial March 1st, 2018
AUH Abu Dhabi Is The New Calabasas

Exhibition Listing May 22nd, 2018
DXB Christopher Benton: If We Don't Reclaim Our History, The Sand Will

Artist Interview June 15th, 2018
TYO An Interview with BIEN, a Rising Japanese Artist

Artist Interview July 17th, 2018
TYO Rintaro Fuse on Selfies and Cave Painting

Artist Interview August 28th, 2018
BER Slavs and Tatars: “Pulling a Thread to Undo The Sweater”

Artist Interview September 1st, 2018
NYC Shirin Neshat In Conversation with Sophie Arni and Ev Zverev

Artist Interview September 1st, 2018
PAR Hottest Spices: Michèle Lamy

E-Issue 01 –– AUH/DXB
Summer 2020

August 1st, 2020

  1. Editor’s Note
  2. What’s On in the UAE
  3. Pop(Corn): Hashel Al Lamki
  4. Tailoring in Abu Dhabi
  5. Rapport: Dubai
  6. Michael Rakowitz From the Diaspora

Fall/Winter 2020-21

Artist Interview August 23rd, 2020
LHR/MCT Hanan Sultan Rhymes Frankincense with Minimalism

Artist Interview August 24th, 2020
DXB Augustine Paredes Taking Up Space

Artist Interview August 26th, 2020
AUH Sarah Almehairi Initiates Conversations

Market Interview August 28th, 2020
AUH/DXB 101 Pioneers Ethical and Curious Art Collecting

Exhibition September 1st, 2020
DXB Alserkal Arts Foundation Presents Mohamed Melehi

Market Interview September 4th, 2020
DXB Meet Tamila Kochkarova Behind ‘No Boys Allowed’

Artist Interview September 7th, 2020
DXB Taaboogah Infuses Comedy Into Khaleeji Menswear

Artist Interview September 10th, 2020
LHR/CAI Alaa Hindia’s Jewelry Revives Egyptian Nostalgia

Curator Interview September 14th, 2020
UAE Tawahadna Introduces MENA Artists to a Global Community

Exhibition Review September 24th, 2020
MIA a_part Gives Artists 36 Hours to React

Artist Interview September 27th, 2020
AUH BAIT 15 Welcomes New Member Zuhoor Al Sayegh

Market Interview October 14th, 2021
DXB Thaely Kicks Off Sustainable Sneakers

Exhibition Review October 19th, 2020
DXB Do You See Me How I See You?

Exhibition October 22nd, 2020
TYO James Jarvis Presents Latest Collages at 3110NZ

Exhibition Review October 22nd, 2020
AUH Ogamdo: Crossing a Cultural Highway between Korea and the UAE

Book Review October 28th, 2020
DAM Investigating the Catalogues of the National Museum of Damascus

Exhibition Review November 13th, 2020
Kanye Says Listen to the Kids: Youth Takeover at Jameel Arts Centre

Exhibition Review November 16th, 2021
DXB Melehi’s Waves Complicate Waving Goodbye

Exhibition Review November 19th, 2020
DXB Spotlight on Dubai Design Week 2020

Exhibition Review November 21st, 2020
DXB 101 Strikes Again with Second Sale at Alserkal Avenue

Exhibition Review
November 23rd, 2020

AUH SEAF Cohort 7 at Warehouse 421

Exhibition Review December 9th, 2020
SHJ Sharjah Art Foundation Jets Ahead on the Flying Saucer

Curator Interview January 25th, 2021
DXB Sa Tahanan Collective Redefines Home for Filipino Artists

Exhibition Review February 21st, 2021
GRV MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists  

🎙️GAD Talk Series –– Season 1 2020

November 1st, 2020
1. What is Global Art Daily? 2015 to Now

November 16th, 2020
2. Where is Global Art Daily? An Open Coversation on Migration as Art Practitioners

November 29th, 2020
3. When the Youth Takes Over: Reflecting on the 2020 Jameel Arts Centre Youth Takeover

December 20th, 2020
4. Young Curators in Tokyo: The Making of The 5th Floor

January 27th, 2021
5. How To Create Digital Networks in The Art World?

E-Issue 02 –– NYC
Spring 2021

February 21st, 2021

  1. Editor’s Note
  2. What’s On in NYC
  3. Pop(Corn): Zeid Jaouni
  4. You Can Take The Girl Out Of The City
  5. Rapport: NYC
  6. Kindergarten Records Discuss The Future of Electronic Music
  7. Sole DXB Brings NY Hip-Hop To Abu Dhabi
  8. Wei Han Finds ‘Home’ In New York
  9. Vikram Divecha: Encounters and Negotiations

Spring/Summer 2021

Exhibition Review March 3rd, 2021
DXB There’s a Hurricane at the Foundry

Exhibition Review March 7th, 2021
AUH Re-viewing Contrasts: Hyphenated Spaces at Warehouse421

Curator Interview March 21st, 2021
DXB Permeability and Regional Nodes: Sohrab Hura on Curating Growing Like a Tree at Ishara Art Foundation

Exhibition March 28th, 2021
DXB Alserkal Art Week Top Picks

Exhibition Review April 1st, 2021
DXB A ‘Menu Poem’ and All That Follows

Exhibition Review April 5th, 2021
DXB A Riot Towards Landscapes

Exhibition April 16th, 2021
RUH Noor Riyadh Shines Light on Saudi Arabia’s 2030 Art Strategy

Artist Interview April 26th, 2021
CTU/AUH/YYZ Sabrina Zhao: Between Abu Dhabi, Sichuan, and Toronto

Exhibition Review April 27th, 2021
TYO BIEN Opens Two Solo Exhibitions in Island Japan and Parcel

Artist Interview April 28th, 2021
DXB Ana Escobar: Objects Revisited

Exhibition May 9th, 2021
LDN Fulfilment Services Ltd. Questions Techno-Capitalism on Billboards in London

Artist Interview May 11th, 2021
BAH Mihrab: Mysticism, Devotion, and Geo-Identity

Curator Interview May 20th, 2021
DXB There Is A You In The Cloud You Can’t Delete: A Review of “Age of You” at Jameel Arts Centre

Market Interview May 26th, 2021
TYO Startbahn, Japan’s Leading Art Blockchain Company, Builds a New Art Infrastructure for the Digital Age

Exhibition June 11th, 2021
TYO “Mimicry of Hollows” Opens at The 5th Floor

Exhibiton Review June 20th, 2021
AUH “Total Landscaping”at Warehouse 421

Artist Interview June 30th, 2021
OSA Rintaro Fuse Curates “Silent Category” at Creative Center Osaka

Exhibition Review August 9th, 2021
DXB “After The Beep”: A Review and Some Reflections

E-Issue 03 ––TYO
Fall 2021

October 1st, 2022

  1. Editor’s Note
  2. What’s On in TYO
  3. Pop(Corn): Nimyu
  4. Ahmad The Japanese: Bady Dalloul on Japan and Belonging
  5. Rapport: Tokyo
  6. Alexandre Taalba Redefines Virtuality at The 5th Floor
  7. Imagining Distant Ecologies in Hypersonic Tokyo: A Review of “Floating Between the Tropical and Glacial Zones”
  8. Ruba Al-Sweel Curates “Garden of e-arthly Delights” at SUMAC Space
  9. Salwa Mikdadi Reflects on the Opening of NYU Abu Dhabi’s Arab Center for the Study of Art

Fall/Winter 2021-22

Market Interview October 6th, 2021
RUH HH Prince Fahad Al Saud Discusses Saudi Arabia’s Artistic Renaissance

Exhibition October 7th, 2021
RUH Misk Art Institute’s Annual Flagship Exhibition Explores the Universality of Identity

Curator Interview October 15th, 2021
IST “Once Upon a Time Inconceivable”: A Review and a Conversation

Exhibition Review October 16th, 2021
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421

Exhibition Review February 11th, 2022

Artist Interview February 26th, 2022
TYO Akira Takayama on McDonald’s Radio University, Heterotopia, and Wagner Project

Artist Interview March 10th, 2022
DXB Prepare The Ingredients and Let The Rest Flow: Miramar and Zaid’s “Pure Data” Premieres at Satellite for Quoz Arts Fest 2022

Exhibition March 11th, 2022
DXB Must-See Exhibitions in Dubai - Art Week Edition 2022

Exhibition Review March 14th, 2022
DXB Art Dubai Digital, An Alternative Art World?

E-Issue 04 –– IST
Spring 2022

March 15th, 2022

  1. Editor’s Note
  2. What’s On in IST
  3. Pop(Corn): Refik Anadol
  4. Rapport: Istanbul
  5. Independent Spaces in Istanbul: Sarp Özer on Operating AVTO

Spring/Summer 2022

Curator Interview March 21st, 2022

Market Interview March 28th, 2022
DXB Dubai's Postmodern Architecture: Constructing the Future with 3dr Models

Exhibition April 23rd, 2022
HK Startbahn Presents “Made in Japan 3.0: Defining a New Phy-gital Reality”, an NFT Pop-Up at K11 Art Mall

Exhibition May 6th, 2022
Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”

Artist Interview May 13th, 2022
“We Are Witnessing History”: Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian On Their Retrospective Exhibition at NYU Abu Dhabi Art Gallery

Artist Interview June 13th, 2022
DXB “Geometry is Everywhere”: An Interview and Walking Tour of Order of Magnitude, Jitish Kallat’s Solo Exhibition at Dubai’s Ishara Art Foundation

Exhibition June 21st, 2022
DXB Art Jameel Joins The World Weather Network in a Groundbreaking Response to Global Climate Crisis

Exhibition June 27th, 2022
What’s On in the UAE: Our Top Summer Picks

Curator Interview July 9th, 2022
IST Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS

E-Issue 05 –– VCE
Fall 2022

September 5th, 2022

  1. Editor’s Note
  2. What’s On in VCE
  3. Pop(Corn): UAE National Pavilion
  4. Rapport: Venice
  5. Zeitgeist of our Time: Füsun Onur for the Turkish Pavilion at the 59th Venice Biennale
  6. GAD’s Top Picks: National Pavilions
  7. Strangers to the Museum Wall: Kehinde Wiley’s Venice Exhibition Speaks of Violence and Portraiture
  8. Questioning Everyday Life: Alluvium by Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian at OGR Torino in Venice

Fall/Winter 2022-23

Market Interview June 28th, 2022
How Pearl Lam Built Her Gallery Between China and Europe

Exhibition November 11th, 2022
“Atami Blues” Brings Together UAE-Based and Japanese Artists in HOTEL ACAO ANNEX

Exhibition December 2nd, 2022
TYO Wetland Lab Proposes Sustainable Cement Alternative in Tokyo

Artist Interview December 9th, 2022
DXB Navjot Altaf Unpacks Eco-Feminism and Post-Pandemic Reality at Ishara Art Foundation

Artist Interview January 8th, 2023
TYO Shu Yonezawa and the Art of Animation

Artist Interview January 19th, 2023
NYC Reflecting on Her Southwestern Chinese Bai Roots, Peishan Huang Captures Human Traces on Objects and Spaces

Exhibition Review February 9th, 2023
DXB Augustine Paredes Builds His Paradise Home at Gulf Photo Plus

Artist Interview February 22nd, 2023
DXB Persia Beheshti Shares Thoughts on Virtual Worlds and the State of Video Art in Dubai Ahead of Her Screening at Bayt Al Mamzar

E-Issue 06 –– DXB/SHJ
Spring 2023

April 12th, 2023

  1. Editor’s Note
  2. What’s On in the UAE
  3. Pop(Corn): Jumairy
  4. Rapport: Art Dubai 2023
  5. Highlights from Sharjah Biennial 15
  6. Is Time Just an Illusion? A Review of "Notations on Time" at Ishara Art Foundation
  7. Saif Mhaisen and His Community at Bayt AlMamzar

DXB Christopher Joshua Benton to Debut Mubeen, City as Archive at The Third Line Shop in Collaboration with Global Art Daily

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101 Pioneers Ethical and Curious Art Collecting

By Global Art Daily’s Editorial Board, in conversation with Munira Al Sayegh and Gaith Abdulla

Published on August 28, 2020

      This week, the UAE’s artistic community has welcomed the pivotal launch of 101, a projected game changer of the UAE’s contemporary art market. 101 is a platform for the “curious, the creative, and the collector,” as described by its co-founders Munira Al Sayegh, independent curator based in Abu Dhabi, and Gaith Abdulla, art critic based in Dubai. After a thirteen-year-long trajectory of curatorial work, critical scholarship, and art collecting, the dynamic duo launched 101 to address the gap they witnessed in the UAE’s art market while advocating for the inclusion of non-gallery represented artists. We had the opportunity to talk to Munira and Gaith and get their thoughts behind the groundbreaking launch of 101, their observations, and future goals for the platform.

1. Aliyah Al Awadhi. Still Life in Quarantine, 2020. Acrylic on canvas. 40cm x 30cm. Image courtesy of 101, Noor Al Thehli and Aliyah Al Awadhi.

101 plans to hold four sales per year, and just successfully opened its inaugural sale on August 25th. For the sale’s curated collection Outside In, Inside out, Al Sayegh and Abdulla ventured into studio visits in both Abu Dhabi and Dubai over the span of two months. As young collectors themselves, they were drawn to Aliyah Al Awadhi’s paintings of homely concealment, Afra Al Suwaidi’s storytelling with plaster and collage, Almaha Jaralla’s color palette and architectural depictions, Zuhoor Al Sayegh’s hand-woven and hand-dyed textiles, Augustine Paredesphotographs and self-published artist book, and Mohamed Khalid’s hand-drawn receipts. The sale’s premise is one of exploring boundaries, setting alongside the infrastructural and societal contrasts that exist around them. “There is a thematic correspondence that fits all of these,” Al Sayegh explains. Until September 1st, audiences across the UAE can access 101’s inaugural curated sale online and by appointment at artist-run exhibition space Bait 15, Abu Dhabi.

The project transcends studio visits. 101 is directly in touch with artists whose practice, goals, and even frustrations are a direct reflection of their current art ecosystem. The platform’s equitable resource model articulates a bottom-up approach as a response to hierarchical models prevalent in the UAE, applicable to both artmaking and art collecting. As Al Sayegh explains, “We can coexist in a way that is actually very strong. The UAE’s art infrastructure is still growing and solidifying itself, therefore there are still gaps that you can clearly target.”

2. Afra Al Suwaidi. Her, 2020.  Plaster, nails, hair, toys. 21cm x 21 cm, 24cm x 24 cm, 18cm x 18 cm, 24cm x 24 cm, 7cm x 7cm. Image courtesy of 101, Noor Al Thehli and Afra Al Suwaidi. 

In just over three days, 101’s impact is tangible: a sizable fraction of the artworks are sold and some of the most established voices of the country’s cultural industries are amplifying the message of the grassroots enterprise. “We are trying to debunk the exclusivity of what contemporary art and art-buying insinuate. That’s something that is extremely important for us,” Al Sayegh adds.

“We are trying to debunk the exclusivity of what contemporary art and art-buying insinuate.”

- Munira Al Sayegh

101 guides any curious person to become an ethical collector by supporting independent artists with the resources to attain mobility.  Al Sayegh and Abdulla critically question the role of the collector in its “social, political, and historical dimensions.” Aware of how gallery representation can transform artists’ careers, 101 invests in relationships. The selling platform aims to connect and mentor potential collectors with artists who, rather than gallery representation, first require a stronger supporter base. 101’s founders treasure the engagement that can flourish when collectors are informed and immersed in the artists’ works. As Al Sayegh boldly notes, “Gaith and I came up with 101 as a bridge that allows people to establish themselves as collectors. And with that, artists need that type of financial support to establish themselves. We are that mid-space.”

Munira Al Sayegh and Gaith Abdulla, Founders of 101. Images courtesy of 101.

As the UAE’s contemporary art scene attains maturity and increasing complexity, the 101 community is opening up a digital, physical, and intellectual space all at once. By purchasing artworks, 101’s collectors will also intellectually nourish a community thirsty for locally-incubated research. Abdulla notes that the research component is a way of “educating emerging collectors into why collecting is important, what are the different aspects of it, what collecting means.” He further adds that 101 advocates for “understanding collecting as something beyond a financial transaction of buying a piece of art.” In his opinion, the best way to do this is through “articles, essays, podcasts, content that addresses these questions. This gives a better light into understanding art, the ecosystem, and the wider surrounding of these issues in the UAE and the region.”

3. Almaha Jaralla. I/2, 2020. Acrylic on canvas. 150cm x 47cm. Image courtesy of 101, Noor Al Thehli and Almaha Jaralla.

Already available on the website, the research essays situate local art-making in a larger academic context. The first set of commissioned research pieces are authored by featured artist and writer Aliyah Al Awadhi, researcher Noora S. Al Balushi, and curator-researcher Khalid Abdulla. In Al Sayegh’s own words, “Without the research element, potential collectors would just land on a sales page. You don’t get to know the artists, you don’t get to know the background of where we are at, creatively, socially at this time. 101 is an educational platform at its core.” 

“101 is an educational platform at its core.”

- Munira Al Sayegh

Building on Al Sayegh and Abdulla’s unmatched network of local and regional artists, the groundwork initiative proves essential. They further aim to “create a network that is sufficient in and of itself, locally and regionally bred, and more connected with one another.” Al Sayegh mentions that “Things start to get interesting when tapping into the community. You get to know the art and you also get to know the narrative from a certain perspective when you are engaging with it directly and conversing about it directly. Everything around us is just flourishing. The community we’re part of is already so involved with the rest of the existing world, and we aim to reinforce that link.” 

4. Augustine Paredes. A Boy Sleeping in Hostel Beirut, 2017. Photographic print on Archival paper. 60cm x 40cm. Image courtesy of 101, Noor Al Thehli and Augustine Paredes.

Part of building community bridges is catalyzing new dialogues. 101 aims to link artists and curators, as well as people who never thought they would have anything to do with art. For that, 101 has commissioned multimedia creative Noor Al Thehli to produce artist videos in which the inaugural cohort shares about their personal trajectory, process, and expectations. In light of this, Abdulla reflects on communicating transparently between artists and the wider public. He shares that, “We lived through a special moment these past ten years of this massive social transformation, placing art at the center of our social consciousness as a state-mandated goal. [Emerging artists] are the people whose lives have changed and been shaped by these decisions. Therefore, [101] is listening to these voices, looking at this art, exploring this side of the art ecosystem that, to me, is the realist and most valuable.”

“We lived through a special moment these past ten years of this massive social transformation, placing art at the center of our social consciousness as a state-mandated goal. [Emerging artists] are the people whose lives have changed and been shaped by these decisions. Therefore, 101 is listening to these voices, looking at this art, exploring this side of the art ecosystem.”

- Gaith Abdulla

Al Sayegh expands, “we are at the cusp of a time that nobody else is going to experience ever again. There is so much going on. To a degree, the cultural scene of the UAE is surface-level. But when you arrive at the groundwork you understand the intricacies and you understand how the intricacies can sustain themselves.”

5. Mohamed Khalid. Receipts - DHL, 2020. Mixed media on paper. 10.5cm x 21cm. Image courtesy of 101, Noor Al Thehli and Mohamed Khalid.

“We are at the cusp of a time that nobody else is going to experience ever again.”

- Munira Al Sayegh

Abdulla endorses by posing that “A lot of the time, these artists’ practices go unnoticed until a little bit later on in their career. It’s interesting to allow them the space to be able to voice these ideas and issues, and questions, and their practice, at an earlier stage. It’s beneficial to them and to their practice but it’s also beneficial to a wider audience to be able to see that there is stuff bubbling under the surface.” He further adds that, “There is so much more being talked about, the discussions are more critical, more interesting. There is more bubbling under the surface with these ‘emergings’. [101] gives them a chance to vocalize these ideas to a wider public.”

“There is more bubbling under the surface with these ‘emergings’. [101] gives them a chance to vocalize these ideas to a wider public.”

-Gaith Abdulla

101 is showcasing its inaugural sale at Bait 15, following the generous offer of its co-founder Hashel Al Lamki who emptied his painting studio to house the sale. As doors like these open from within the community, 101’s founders reflect on other grassroots initiatives springing up. In Abdulla’s opinion, “The importance of grassroots is that we are catching up. We need so many more initiatives on the civil society scale to give meaning to these ideas and these statements that the top-down approach is creating. Grassroots movements are important because they add realness and sustainability to art and other fields. It’s where the truly interesting things happen, it’s where the true value lies.”

 “Grassroots movements are important because they add realness and sustainability to art and other fields. It’s where the truly interesting things happen, it’s where the true value lies.”

-Gaith Abdulla

Al Sayegh observes that “Now we are presenting ourselves as a community through Bait 15, through 101, Global Art Daily, Banat Collective. You have all of these things that are just there, happening. They are happening from the support of one another. Creatives are creating and writers are writing, it's a beautiful synergy that is taking place.”

6. Zuhoor Al Sayegh. Beit al mina, 2018. Cotton hand woven cloth, hand dyed warp. 79cm x 84cm. Image courtesy of 101, Noor Al Thehli and Zuhoor Al Sayegh. 

When asked about 101’s larger aims, Al Sayegh adds a critical consideration, and a strong vision for the future: “Whether we are looked at by the West or by the East, there is always this notion of what the Gulf region has and what it indulges in. It should no longer be romanticized, orientalized. The stereotype will be debunked when there is a solid voice. And the voice has to come in unison for it to be loud enough. Everybody has to play their part. The ripple effect that we are looking for is far-reaching.”      

The inaugural sale will be available until September 1st, 2020. Information about purchases and in-person viewings can be accessed on 101’s website. .

Visit 101’s website 
Follow 101 on Instagram

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