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

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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A Guest at Jameel Arts Centre’s Guest Relations  

By Burçak Fakıoğlu Yakıcı

Published on April 27, 2024

        Dubai's Jameel Arts Centre is currently hosting Guest Relations, curated by Murtaza Vali and Lucas Morin until 28 April 2024. The exhibition delves into the complexities of hospitality and tourism, exploring the multifaceted nature of being a guest in various contexts. Through a diverse range of artworks, we navigate themes of migration, globalization, and human interaction within hospitality settings. Reflecting on my family's anecdotes from Baghdad, I recall discussions about the hospitality of the region amidst the backdrop of war and the role of hotels in the city.

Curated by Vali and Morin, the exhibition critically explores the concept of being a guest, contrasting it with the allure of tourism. In these narratives, hotels are depicted as symbols of modernity and, sociologically, as 'secure' spaces enabling gatherings. Comfort is a primary expectation when it comes to hotels, as they serve as temporary accommodations. When viewed from a tourism perspective, the focus is on highlighting the charm of a city, drawing attention to the experience of being a guest in that city, with hotels playing a central role in facilitating this experience. The exhibition not only allowed me to revisit memories of the past but also captivated me with its conceptual approach, examining the conceptual framework into fragments.

2. Installation view, Guest Relations. Courtesy of Art Jameel. Photography by Daniella Baptista. 

Hotels are depicted as symbols of modernity and, sociologically, as 'secure' spaces enabling gatherings.

The exhibition explores the experience of being a guest in the United Arab Emirates, while also directing attention towards the Gulf countries through a diverse range of artworks. The exhibition's location in this city holds profound significance. Situated in Dubai, a rapidly expanding urban landscape known for its dual role as a thriving tourism destination and a bustling business hub, we delve into the sociological and economic critiques woven into the fabric of the exhibition's context. While addressing hotel spaces as temporary accommodations providing hospitality, comfort, and security, Guest Relations also serves as a reminder of their historical significance and their capacity to host geopolitical negotiations.

3. Installation view, Guest Relations. Courtesy of Art Jameel. Photography by Daniella Baptista.

The interconnection between the exhibited works is remarkably compelling, resembling a journey from the exterior ambiance of a hotel, through the lobby, and then to the intimate spaces of its rooms, before gently guiding the viewer back outside of a hotel. The accompanying textual narratives serve as insightful guides throughout this exhibition.

4. Wall text. Installation view, Guest Relations. Courtesy of Art Jameel. Photography by Daniella Baptista.

As the viewer steps into the first room of the exhibition space, they encounter Hüseyin Bahri Alptekin's H Facts: Hospitality/Hostility (2002-2007), featuring hotel signs inspired by the small hotels Alptekin encountered during his walks in the Istanbul districts in the 1990s, where these neighborhoods became resident locations for migrants. The one mentioning the "Otel Bağdat" (Baghdad Hotel) particularly catches my eye. These eye-catching nighttime scenes and the selection of the names of the cities reveal untold stories of temporary ‘’livelihood’’.

5. Above: Hüseyin Bahri Alptekin. Below: Lamya Gargash. Installation view, Guest Relations. Courtesy of Art Jameel. Photography by Daniella Baptista.

As we step into the first gallery of the exhibition, Hale Tenger's Beirut, the serene yet haunting recordings of explosions in Beirut, echo through the gallery space, accompanied by the footage of the front façade of the hotel, the city's iconic French colonial-era establishments, abandoned during the Lebanese Civil War. This section is marked by the architectural position within the concept of the hotels. Pio Abad’s Oh! Oh! Oh! (A Universal History of Iniquity) (2013) features perfume bottles shaped like a camel, a dagger, and the Burj Khalifa. Accompanied by a kaleidoscopic wallpaper composed of repeated images of a chandelier from the Philippine Plaza Hotel in Manila, the installation creates a visually striking scene. However, the overly present wallpaper dominates the room, contributing to a somewhat suffocating atmosphere.

6. Installation view, Guest Relations. Courtesy of Art Jameel. Photography by Daniella Baptista.

In the "The Lobby" section, Taryn Simon's Paperwork and the Will of Capital reveals an agreement signed in Dubai. This agreement pertains to the development of a Park Hyatt in the small Caribbean nation of Saint Kitts and Nevis, offering citizenship to investors. Based on archival photographs, Simon recreates the arrangements of the floral concept that had been present at the political meetings. This suggests a juxtaposition between the formalities of business agreements and the natural beauty of the floral arrangements not only highlights a contrast but also emphasizes the globalized industrial production and trade of flowers.

7. Installation view, Guest Relations. Courtesy of Art Jameel. Photography by Daniella Baptista.

Another captivating installation is Ala Younis's Double-Sided Mirrors (2023), inspired by hotel lobby chandeliers. Positioned at eye level, the double-sided mirrors prompt viewers to contemplate the role of such spaces in geopolitical maneuvers. As part of the curatorial concept, a curated reading list, including Toukan's "Sundry Modernism: materials for a study of Palestinian modernism,"  accompanying the layout by Ala Younis, offers a thought-provoking observation to interpret apolitical forms within politicized contexts. 

8. Ala Younis, Double-Sided Mirrors, 2023. Resin, glass, crystal prisms, plastic, paper and metal. Courtesy of the artist. Commissioned by Art Jameel. Installation view, Guest Relations. Courtesy of Art Jameel. Photography by Daniella Baptista.

The artworks, emerging as narratives and stories, provided me with the opportunity to revisit memories from the past. In my family's anecdotes from Baghdad, I recall the portrayal of hotels across the Gulf region as symbols of modernity. These hotels, facilitating political meetings, also serve as venues for art exhibitions. The exhibition also invites the city's visitors to engage in these inquiries and reflections.

I recall the portrayal of hotels across the Gulf region as symbols of modernity. These hotels, facilitating political meetings, also serve as venues for art exhibitions.

Guest Relations is on view at Jameel Arts Centre, Jaddaf, Dubai until April 28th, 2024. The exhibition showcases works by Pio Abad, Nadi Abusaada, Hüseyin Bahri Alptekin, Marwa Arsanios, Abdul Halik Azeez, Asma Belhamar, Sophie Calle, Tenzing Dakpa, Shezad Dawood, Meschac Gaba, Mario García Torres, Lamya Gargash, Joana Hadjithomas & Khalil Joreige, Mati Jhurry & Nabla Yahya, Eisa Jocson, Hilmi Johandi, Ranjit Kandalgaonkar, Ahmed Mater, Hind Mezaina, Park Sunyoung & Lee Somi, Michael Rakowitz, Marwan Rechmaoui, Yiyo Tirado Rivera, Salma Serry, Taryn Simon, Svay Ken, Rayyane Tabet, Hale Tenger, Sung Tieu, Lantian Xie, Ala Younis.

Burçak Yakıcı
is an independent curator and art critic based in Istanbul, Turkey. She teaches Curatorial Studies in the Department of Fine Arts at the Faculty of Fine Arts, Desing, and Architecture, at Bilkent University in Turkey, and is also the Founder and Curator of Oasis Curatorial, working at intersection of contemporary art with literature, language, and translation studies. Burçak draws inspiration from her diverse upbringing in various cities such as Moscow, Geneva, Aleppo, Oslo, and Strasbourg. She earned her Ph.D. at the University of Strasbourg, France, specializing in the translation of philosophical texts.