📘 E-Issue 05 ––VCE Fall 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

E-05++ Fall/Winter 2022-23
“Atami Blues” Brings Together UAE-Based and Japanese Artists in HOTEL ACAO ANNEX

TYO Wetland Lab Proposes Sustainable Cement Alternative in Tokyo

📒 E-Issue 04 ––IST Spring 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

E-04++ Spring/Summer 2022
Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS
How Pearl Lam Built Her Gallery Between China and Europe
What’s On in the UAE: Our Top Summer Picks
DXB Art Jameel Joins The World Weather Network in a Groundbreaking Response to Global Climate Crisis
DXB “Geometry is Everywhere”: An Interview and Walking Tour of Order of Magnitude, Jitish Kallat’s Solo Exhibition at Dubai’s Ishara Art Foundation
“We Are Witnessing History”: Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian On Their Retrospective Exhibition at NYU Abu Dhabi Art Gallery
 Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”
HK Startbahn Presents “Made in Japan 3.0: Defining a New Phy-gital Reality”, an NFT Pop-Up at K11 Art Mall
DXB Dubai's Postmodern Architecture: Constructing the Future with 3dr Models
📘 E-Issue 03 –– TYO Fall 2021
  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

E-03++ Fall/Winter 2021-22
Art Dubai Digital, An Alternative Art World?
Must-See Exhibitions in Dubai - Art Week Edition 2022
Prepare The Ingredients and Let The Rest Flow: Miramar and Zaid’s “Pure Data” Premieres at Satellite for Quoz Arts Fest 2022
 Akira Takayama on McDonald’s Radio University, Heterotopia, and Wagner Project
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421
AAN The Labor of Art and the Art of Labor: Christopher Benton on His First Exhibition in Al Ain
IST “Once Upon a Time Inconceivable”: A Review and a Conversation
RUH Misk Art Institute’s Annual Flagship Exhibition Explores the Universality of Identity
RUH HH Prince Fahad Al Saud Discusses Saudi Arabia’s Artistic Renaissance
Engage101 Presents “Connected, Collected” at Sotheby’s Dubai

📕 E-Issue 02
NYC Spring 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

E-02++ Spring/Summer 2021
DXB “After The Beep”: A Review and Some Reflections
OSA Rintaro Fuse Curates “Silent Category” at Creative Center Osaka
AUH “Total Landscaping”at Warehouse 421
TYO “Mimicry of Hollows” Opens at The 5th Floor
TYO Startbahn, Japan’s Leading Art Blockchain Company, Builds a New Art Infrastructure for the Digital Age
DXB There Is A You In The Cloud You Can’t Delete: A Review of “Age of You” at Jameel Arts Centre
BAH Mihrab: Mysticism, Devotion, and Geo-Identity
LDN Fulfilment Services Ltd. Questions Techno-Capitalism on Billboards in London
DXB Ana Escobar: Objects Revisited
TYO BIEN Opens Two Solo Exhibitions in Island Japan and Parcel
CTU/AUH/YYZ Sabrina Zhao: Between Abu Dhabi, Sichuan, and Toronto
RUH Noor Riyadh Shines Light on Saudi Arabia’s 2030 Art Strategy
DXB A Riot Towards Landscapes
DXB A ‘Menu Poem’ and All That Follows
DXB Alserkal Art Week Top Picks 
DXB Permeability and Regional Nodes: Sohrab Hura on Curating Growing Like a Tree at Ishara Art Foundation
AUH Re-viewing Contrasts: Hyphenated Spaces at Warehouse421
DXB There’s a Hurricane at the Foundry

📙 E-Issue 01 –– AUH/DXB Summer 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

E-01++ Fall/Winter 2020-21
GRV MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists    
DXB Sa Tahanan Collective Redefines Home for Filipino Artists
SHJ Sharjah Art Foundation Jets Ahead on the Flying Saucer
AUH SEAF Cohort 7 at Warehouse 421 
DXB 101 Strikes Again with Second Sale at Alserkal Avenue
DXB Spotlight on Dubai Design Week 2020
DXB Melehi’s Waves Complicate Waving Goodbye
DXB Kanye Says Listen to the Kids: Youth Takeover at Jameel Arts Centre
DAM Investigating the Catalogues of the National Museum of Damascus
AUH Ogamdo: Crossing a Cultural Highway between Korea and the UAE
TYO James Jarvis Presents Latest Collages at 3110NZ
DXB Do You See Me How I See You?
DXB Thaely Kicks Off Sustainable Sneakers
AUH BAIT 15 Welcomes New Member Zuhoor Al Sayegh
MIA a_part Gives Artists 36 Hours to React

UAE Tawahadna Introduces MENA Artists to a Global Community
LHR/CAI Alaa Hindia’s Jewelry Revives Egyptian Nostalgia
DXB Taaboogah Infuses Comedy Into Khaleeji Menswear
DXB Meet Tamila Kochkarova Behind ‘No Boys Allowed’
DXB Alserkal Arts Foundation Presents Mohamed Melehi
AUH/DXB 101 Pioneers Ethical and Curious Art Collecting
AUH Sarah Almehairi Initiates Conversations
DXB Augustine Paredes Taking Up Space
LHR/MCT Hanan Sultan Rhymes Frankincense with Minimalism
BEY GAD Map: Arts & Culture Relief for Beirut

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🗃️ Archive Year 2018 
    NYC Shirin Neshat In Conversation with Sophie Arni and Ev Zverev
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    BER Slavs and Tatars: “Pulling a Thread to Undo The Sweater”
   AUH Abu Dhabi Is The New Calabasas

🎙️ GAD Talk Series –– Season 1 2020
   1. What is GAD? 2015 to Now

    2. Where is GAD? An Open Coversation on Migration as Art Practitioners

    3. When the Youth Takes Over: Reflecting on the 2020 Jameel Arts Centre Youth Takeover
   4. Young Curators in Tokyo: The Making of The 5th Floor
    5. How To Create Digital Networks in The Art World?

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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.