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

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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3. Pop(Corn): Nimyu

Interview by Sherry Wu

Published on September 8, 2021. Re-published on October 1st, 2021

        From the moment we met, I felt I have known Nimyu for a very long time, even though we have never seen each other in real life. When Sophie introduced us, she mentioned that we are both from Beijing. I think that’s why we immediately vibed. This interview is more or less a result of our Wechat calls about galleries in 798, digital art, and life in Tokyo. We talked about the galleries that Nimyu liked in Beijing, such as CLC Gallery Venture, SPURS Gallery, Beijing Commune and Galerie Urs Meile. We soon discovered that we both enjoy more independent galleries with experimental tendencies. Our common interest in art made this interview a fun experience.

“If one doesn’t force oneself to close one’s eyes, one will eventually see things undeserving of being seen.”

- Rene Char

Sherry Wu: Let’s start with your work. You delve into themes of urbanism, gender issues, as well as radioactivity in Japan. How did you get into these issues?

Nimyu: I’ve done a series of artworks to reflect on today’s information-driven society. Maybe it’s because I've experienced migration in different living environments, I’m particularly sensitive to information censorship. The same information can be presented in totally different ways because of the media discrepancy in different places. My goal was to make people rethink about the credibility of the information distributed around us. At the same time, I hope my work increases people’s awareness of systemic power structures, and for people to reflect on what it means to “release oneself in a saturated digital environment.” All the themes I’m interested in are taken from the absurdity of contemporary life, and that’s what I wish to convey in my work. Still, I’m more interested in the cause rather than the development of an event. In other words, I want to investigate the essence of a phenomenon more than the phenomenon itself. In Unclear Wave, nobody knows the absolute truth. Regardless, I wish to get closer to that truth. 

1. Nimyu, Hong Kong Hollow (2019). Digital Collage and 20-channel HD video (color, no sound). Image courtesy of the artist. 
2. Nimyu, Hong Kong Hollow (2019). Digital Collage and 20-channel HD video (color, no sound). Image courtesy of the artist.

S.W.: In your artist statement, you mention the concept of digital saturation. How do you personally deal with information overload?

N.: This is a tricky question. As Rene Char said, “if one doesn’t force oneself to close one’s eyes, one will eventually see things undeserving of being seen.” It’s difficult for people to contain themselves with so much information explosion and overload. For me, other than keeping the habit of checking daily news, it’s crucial to also keep the habit of reading physical books. I’ve been trying to reject viewing fragmented and meaningless information. I found ways to filter unnecessary information: for instance, setting your phone as black and white mode and setting a time limit on your phone applications.

“Images are always novel because they have history.”

- Régis Debray

S.W.: How would you describe the act of creating in the digital age?

N.: I recently finished Vie et mort de l'image: Une histoire du regard en Occident by French author and philosopher Régis Debray, and there is a passage I found interesting. It roughly translates to:

“Images are always novel because they have history. Although the so-called ‘new’ mechanical images are only new because they are oblivious of the body and fear, it’s difficult for them to pass on, to have any physical content, and to live on despite the influence of technological update. Because mechanical images lack emotional values, they’ll soon retire to a piece of document, capable of only telling their own generation yet not able to reflect any other, and disappear in the ocean of visual and auditory advances. In other words, mechanical images cannot exist beyond their generation; But those what we call them images of art, they’ve achieved that level of excellence because they have awakened in us the vibrations of history (or the estranged feelings of reptiles that are remnants of our ancestors in our brains).” 

I do not agree with the complete negation of new images, but these words made me reflect on the qualities of an image: what kind of image can “awaken in us the vibrations of history (or the estranged feelings of reptiles that are remnants of our ancestors in our brains)?” Can my art surpass my own generation and work regardless of by then outdated technology?

S.W.: What do you think of the recent surge towards digital art, powered by blockchain? Would you consider doing NFTs? Do you think Japan is becoming a hub for NFTs?

N.: Yes I’m considering doing NFTs, partly because there were partners from China and America who contacted me for exhibiting and trading NFTs. At the beginning I became interested in NFT because of Club House and Wechat (the Chinese social media) — there have always been conflicts between the copyright and the spreading of New Media art, so I have been keen on the technology of encrypting copyright. Recently I received an invitation from the Tokyo-based company Starbahn, to use their “Cert.” digital certificate for free. I think it would be great to have transparency in the buying and selling of artworks and to be able to enforce rules and regulations. Also it's good that with the blockchain technology, artists don't have to worry about the authenticity and uniqueness of their work to be replaced. I hope that Startbahn will soon get involved in the NFT market so that fine art can have their own blockchain platform for trading. After the hype fades, more and more artists and art institutions join this revolution — this will be a great push for collecting digital art.

If an artist wants to be based in Tokyo, I think it’s a good idea to come and study Japanese first. It will help you fit in better.

S.W.: Technology goes hand-in-hand with travel. You have a very international background. You are active in the Tokyo art scene now, but before that, you were based in Beijing and New York too. What do you think about Tokyo's art scene? What's missing? What's exciting about it? How does it compare to New York and Beijing?

N.: Tokyo is a very international and fast-paced city. Take the art scene as an example: there are many well-rounded exhibitions, both big and small scales. In China, the US, or Europe, exhibitions hosted by galleries usually last up to one month. But in Japan, they only last up to about two weeks, which is half of the duration. This is not easy on galleries and artists – it means less time for recommending to potential buyers, less time for media coverage, and less time for public viewing. Everything is compressed. Meanwhile, there is more pressure on us - people who work in the art world - when the workload is twice the size.

Besides, the pop culture and subculture in Japan is very mature, which can be a very heavy burden on the art world. Such circumstances influence the public’s need and taste for art. Artists create in direct response to commercial tendencies, under the influence of highly developed pop culture. For instance, artists might have a more steady income when collaborating with fashion brands, but this is demanding and takes up creative energy. Reversely, creating Fine Art devoid of commercial intentions is more difficult because of the waning of its own market.

3. Nimyu, Portrait Elsewhere (video installation). SPIRAL arts complex. Image courtesy of the artist and the Gallery.

S.W.: As a Chinese artist based in Tokyo, how long did it take you to find your place in the art scene and what advice do you have for young artists who want to follow in your footsteps?

N.: When I first came to Japan, I spent all my time learning the language and fitting in. At the time I didn’t have any art connections in Tokyo and my contract was with a gallery in Beijing. My focus was still in China during the first three years. Other than a few solo exhibitions, the group exhibitions were organized by Chinese galleries and institutions. Last year I couldn’t travel back to China because of Covid, so I cancelled a solo exhibition at a Beijing gallery and started doing shows in Tokyo. If an artist wants to be based in Tokyo, I think it’s a good idea to come and study Japanese first. It will help you fit in better.

4. Nimyu, N-Ja (2017). 4 channels HD video (color, sound). Image courtesy of the artist.

S.W.: You recently participated in a group exhibition entitled East-East Vol.4: The Curio Shop, bridging artists from the Arabian Gulf and East Asia. Could you explain the works you exhibited there?

N.: I have two works exhibited at East-East. The first one is called N-Ja. A few years ago, my relatives and friends in China started to ask me about nuclear radiation pollution in Japan. They advised me to stay away from the Kanto area or to not eat the seafood from the region. Curious as to why they would tell me this, I found out that the Chinese media reported the worsening state of nuclear contamination in Japan that resulted from the Fukushima nuclear plant disaster. Those reports included unsupported claims presented along with photos of mutant animals and plants that were suggested to have been affected by nuclear radiation in Fukushima. However, this misinformation was not able to manipulate public opinion for long as it had been proven the photos of the deformed animals to have been fake.  As having been personally affected by the repercussions of this misinformations proliferation, I became interested in nuclear pollution, and produced a game about nuclear radioactivity in Tokyo.

The game I adapted, “Fruit Ninja”, has been very popular outside of Japan. For me, this popularity coincided with the stereotypes of Japan for foreign tourists. People are passionate about travelling to Tokyo, and this enthusiasm is like the challenges in the game I designed: how many of them actually cared about the ecosystem of Japan due to nuclear radioactivity, other than in the news?

5. Nimyu, N-Ja (2017). 4 channels HD video (color, sound). Image courtesy of the artist.

6. N-Ja installation. HB.Nezu. Image courtesy of the artist and gallery.

The second work is called The Stylistic Contact Point in Consciousness. I was inspired by the definition of "East" discussed in the exhibition. For ancient China, Central Asia was known as the Western Region. The Silk Road during the Han Dynasty connected East Asia to Central Asia, West Asia, Europe and the Mediterranean, and also had a great impact on the convergence of cultures and information. The prototype of my painting comes from the shape of a traditional wine jug in ancient China. I have superimposed and transformed its original shape. I chose this as a starting point for two reasons: first, because it finds its cultural and esthetic roots in both the Middle East and East Asia. And second, because from an art historical perspective, the unique shape characteristic of Eastern art is the curved line (as seen in traditional  paintings and in religious sculptures), which is perfectly represented in this wine vessel. I superimposed the bottle symmetrically to further emphasize the merging of cultures and arts within the East. Finally, I restricted the function of a jug by modifying its shape - there is no opening for pouring in one and no handling in another. So as to think about the input and output of information in the contemporary world.

7. Nimyu, The Stylistic Contact Point in Consciousness. Image courtesy of the artist. 

7. The Stylistic Contact Point in Consciousness installation. BLOCK HOUSE. Image courtesy of the artist and gallery. 

There’s a saying in Chinese: “Reading thousands of books is not equal to traveling thousands of miles.” It’s a metaphor for knowledge and experience, to show the dialectical relationship between study and practice.

S.W.: What do you think of traveling and migration? Does traveling make an artist better-rounded? 

N.: There’s a saying in Chinese: “Reading thousands of books is not equal to traveling thousands of miles.” It’s a metaphor for knowledge and experience, to show the dialectical relationship between study and practice. If one cannot see the authentic work of art, it’s difficult to get the essence of it. For visual artists, seeing and observing are absolutely crucial. “Art comes from life” – different cultures, different aesthetics, even different city landscapes are naturally reflected in the artist’s work. Travelling or migration can change one’s way of seeing things. For example, you acquire a more objective view of a city or country when you get to know it from both inside and outside perspectives. This is particularly important for understanding places where there is a lot of information censorship and control.

8. Nimyu, Notre-Dame de Paris (2019). Digital Collage. Image courtesy of the artist.

“In Knowledge Fruit and Palm Leaves, we created works by reconsidering the meaning of identity through the society, history, customs, stories, and groups surrounding us.”

S.W.: Important point. Finally, I heard about your most recent show opening in Tokyo’s Clear Gallery. Could you give us more information about it?

N.: My new show, Knowledge Fruit and Palm Leaves, is in collaboration with one of my favorite artists, Tat Ito. It opened on August 27th at Clear Gallery Tokyo and will be on view until September 25th. In this exhibition, I exhibit a series of associative works that use sexual motifs to suggest information that is intentionally hidden and not openly discussed or shared with others, which vaguely reminds the audience of the book Decameron. [Sometimes nicknamed “the Human Comedy”, Decameron is a collection of novellas by the 14th-century Italian author Giovanni Boccaccio. The book tells 100 tales told by a group of young women and young men: they shelter in a secluded villa just outside Florence in order to escape the Black Death, which was afflicting the city.] The topics addressed in my painting series include privilege, feminism, gender, identity and consumerism. The mocking and carnivalesque comedic features of my art are reminiscent of the contemporary Decameron, which exhibit a strong humanist undertone.

Coming from Japan and China respectively, Ito and I have been exposed to art in cultures different from our own. In Knowledge Fruit and Palm Leaves, we created works by reconsidering the meaning of identity through the society, history, customs, stories, and groups surrounding us. In this exhibition, the works exhibited draw our affinity with modern media, culture, and information as well as with the allegorical nature of mythological and historical books, developed in our own unique interpretations.

Traveling or migration can change one’s way of seeing things.

9. Knowledge Fruit and Palm Leaves, installation photos. Clear Gallery Tokyo. Image courtesy of the artists and gallery.

Favorite airport:

Haneda Airport

Biggest role model:

Édouard Manet

A song trapped in your head:

Obaa Sima by Ata Kak

Favorite Sneaker:

Adidas FYW S-97

An artist in your mind right now:

Sarah Sze

Your favorite word in Japanese:


And in English? 


Your favorite app: 


Favorite magazine:

Sometimes Times, sometimes Vice

What is your favorite outfit?

T-shirt + Suit Jacket + Sneakers

Who would you want to grab popcorn with?

Man Ray

Nimyu (@nimyu.art) is a Tokyo-based Chinese contemporary artist who works across a variety of media, including painting, video, and animation. She received her BFA in Painting from the Central Academy of Fine Arts, Beijing, and an MFA in Painting from the New York Academy of Art, New York. Her work reflects on our information-driven society and questions the credibility of the information and power structures that surround us, encouraging self-liberation in a saturated digital landscape.

Sherry Wu (@sherryyy.w)  is an artist and curator based in Beijing and Abu Dhabi. A recent graduate of NYU Abu Dhabi, she studied Art & Art History with a concentration in East Asian Art History, more specifically in the history of aestheticizing Japanese tea ceremonies. Wu's practice is transdisciplinary, and includes art historical research, curating, graphic design, as well as film and new media. Wu designed the official hoodie for NYU Abu Dhabi Class of 2021 and she was the Director of Photography for the feature film The Good Woman of Sichuan (2020) directed by Sabrina Zhao. As a curator, she curated the section "Re: jection-flection-born" of the virtual exhibition Hyphenated Spaces: “The Cup and The Saucer” Reinterpreted hosted by Warehouse421, Abu Dhabi. She is interested in all forms of art and has an insatiable desire for originality and auteurism.

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