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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A Riot Towards Landscapes

By Athoub Al Busaily

Published on April 5th, 2021

        Dubai has been bustling with exhibition openings in the past two weeks, with the successful opening of Alserkal Art Week and Art Dubai. Coming out of this season of isolation, landscape curiosity struck me as a strong referential element. Post-lockdown, artists are showcasing new observational methods to listen to their surroundings – an element we can particularly sense in the galleries offering new group and solo exhibitions at Alserkal Avenue this spring 2021. 

Naturally, artists have developed a silent desire to look at the world from a window frame. Landscape proportions are being segmented and looked upon on a micro-level. This dissection of our external world almost feels like a scientific experiment, a theme quite fitting to the inward nature of the pandemic.  

The following exhibitions made me realize that landscapes have multiple iterations outside the boundary of ‘nature’. While some landscapes are directly linked to macro living environments, such as cities, others might be formed through a diary-like dialogue between land and its inhabitants. Interestingly enough, few are reminiscent of our homes – as if artists were projecting our collective sentiment of wanting to escape reality and reach far-away landscapes by way of daydreaming outside the confines of our immediate physical realm. 

Boundary Space

Lawrie Shabibi
22 March - 27 May, 2021
Unit 21, Alserkal Avenue, Al Quoz 1, Dubai

Ishmael Randall Weeks, Concretos penetrables (Chakana), 2020. Grout 700, bronze, corrugated steel ¼_, 250 x 250 x 250 cm. Courtesy of the artist and Lawrie Shabibi.

Showcasing for the first time in the Middle East, Lima-based artist Ishmael Randall Weeks brings forth an outcome of a decoded cityscape at Lawrie Shabibi. Both urban and citified vocabularies are prominent in his large-scale sculptures.

The title of Weeks’ solo exhibition Boundary Space is a term referring to the fluid space between architecture and anthropology: spaces that are constantly evolving and shape-shifting depending on the habitual needs of their civilians. Those new mods and space changes are seen in his material observations and the action of taking elements from their usual context to a new exotic environment. Through this quest, we can truly start to wonder about the inherited thin lines around places and how they might define a space.

The title of Weeks’ solo exhibition Boundary Space is a term referring to the fluid space between architecture and anthropology.

In this new solo exhibition, we see materials that often construct cities, are now being stripped away from their natural habitats, creating a new urban creature. In I-beams: A North to South Journey, he choreographed an installation of three beams made out of earthen materials found in the archeological sites in the city of Lima. This type of beam, invented by a French engineer, later became a prominent element in various types of construction. Walking through the tight installation space of earthen beams, visitors can notice calculated chaos in the display. Like staging the ruins of a city, the artist evokes a feeling of both stress and confrontation just like a freshly excavated archeological site.  When explaining this work, he mentioned the words “our land”, which seems like a quest towards the idea of belonging.

In his 2.8 meters wide floor installation Biombo / Mashrabiya, the architecture of cultural hybridity, we notice a new form of a dialogue between private/ public spaces. His deployment of the two-way mirror that is often used in interrogation rooms is testing our sense of the otherness and the familiarity of spaces.

Much like the imaginary Kármán Line, the exhibition highlights the space between the earth’s atmosphere and outer space. When we contemplate those lines off the intersection, we often question the point of their existence: at what point does the boundary of the first space ends and where does the second begins?

The Work and its Periphery

Grey Noise
March 22 - May 22, 2021
Unit 24, Alserkal Avenue, Al Quoz 1, Dubai

One enters the solo exhibition of Charbel-Joseph H. Boutros with a warm greeting of hospitality. The aromatic exhibition layered with a neutral beige carpet hosts an installation that both acts as an ironic pitch and a will. In this exhibition we look at space-making in a more intimate conditions set upon by the artist.

Charbel-Joseph H. Boutros, An Artwork That Is Shown Close to the Model of the Unrealized Project Where Ideally That Work Should Be Shown (detail), 2019, blown glass sphere, water from the Atlantic Ocean, a teardrop from a gallerist’s left eye, metallic structure, carpet, desert sand, model of an unrealized museum, votive candles’ wax. Dimensions variable. Image courtesy of the artist, S.M.A.K Ghent and Grey Noise, Dubai. Photo: Dirk Pauwels

Few footsteps into the main entrance, and you're met with a small A4 paper suggesting a form of contract. Signed by both the galleries and the artist, this legalization is a future promise by the artist of constructing a mausoleum that will host the deceased body of the gallerist. A rendering of that promised mausoleum is shown elevated and placed inside an art-like booth. Stolen wishes are part of the artwork’s material descriptions, which is used to delicately cover the rendering.

The quasi-religious space is colonized by a feeling of homesickness, evident in the gesture of house-making. Neatly aligned shoes and the gallerist’s worn clothes are among the artworks that make up the bigger installation. Next to the mausoleum and resting on the floor, is a single-size mattress and a houseplant, a reminder of a living ecosystem of transcendent states. The artist fabricated the intimacy of home as a geography to be studied, and as a landscape to be observed and interacted with.

The artist fabricated the intimacy of home as a geography to be studied, and as a landscape to be observed and interacted with.

Charbel-Joseph H. Boutros, Night Cartography #3, 2016 - 2019, airplane’s sleeping masks, votive candles wax, dreams, wishes. Dimensions variable. Image courtesy of the artist and Grey Noise, Dubai. 

When Words Disappear into Trees

Green Art Gallery
March 22 - June 5, 2021
Unit 28, Alserkal Avenue, Al Quoz 1, Dubai

Seher Shah, Variations in Grey, 2020-2021. Graphite dust and ink on ivory Russian paper, 21 x 29 cm. Courtesy the artist and Green Art Gallery, Dubai.

Landscapes can also exist beyond the boundaries of the tangible, formed by the mind as a last harbor, silent whisper, and mirage. Created through confinement and observation, New Delhi-based artist Seher Shah reveals both languages hidden in the infrastructure of a city and the continuous gesture of searching, so much so she repeats a word until it loses meaning and evaporates from written text back to blank paper again.

Landscapes can also exist beyond the boundaries of the tangible, formed by the mind as a last harbor, silent whisper, and mirage.

Shah adopts a new scientific methodology towards her environment, in a process ending with silence and hearing. Her practice both interrogates and blurs the lines of architecture, history, and language, resulting in space as the main suspect of interrogation. In doing so, she tries to define the relationship with her familiar facades.

Entering the gallery of the neutralized blue-toned walls immediately allows you to distinguish the starkness of her white paper works. One cannot help but hear the echoing emptiness of her recent drawings and etchings. An outcome of her space experiment that feels like it is deprived of sound yet filled with musical punctuation.

Charcoal dust is a prominent medium in her drawings, sitting calmly above the surface and abiding by the borders she marked on her paper. Her drawings and etchings seem as if they were snatched from an ongoing search of a forgotten language. Musical bar lines that are usually used to divide musical staffs into measures are being drafted into segmented landscapes of her creation.

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Athoub Al Busaily is a Kuwaiti artist currently living in Abu Dhabi. In her work, she investigates the notion of borders, hunting, and the desert environment of Kuwait, often underlined by a tone of irony and the use of visual metaphors. Her works have been exhibited at Warehouse421 (Abu Dhabi), The Hub Gallery (Kuwait City), Maraya Art Centre (Sharjah), Art Budapest (Budapest). In 2019, she received a fellowship from the Salama Bint Hamdan Al Nahyan Foundation as part of their 7th Cohort. She is currently completing an MA in Art History and Museum Studies at Sorbonne University Abu Dhabi. Prior to that, she received her BA in Fine Arts from the University of Sharjah.

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