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

E-05++
Fall/Winter 2022-23


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

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

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

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

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



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


E-04++ 
Spring/Summer 2022


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

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

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

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

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

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

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

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

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

Curator Interview March 21st, 2022

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

E-03++
Fall/Winter 2021-22


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

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

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

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

Exhibition Review February 11th, 2022
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421
Curator Interview October 15th, 2021
IST “Once Upon a Time Inconceivable”: A Review and a Conversation

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

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

Exhibition October 5th, 2021
DXB
Engage101 Presents “Connected, Collected” at Sotheby’s Dubai

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

E-02++
Spring/Summer 2021


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

E-01++
Fall/Winter 2020-21


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

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

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

Exhibition Review
November 23rd, 2020


AUH SEAF Cohort 7 at Warehouse 421 

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

Map August 16th, 2020
BEY GAD Map: Arts & Culture Relief for Beirut

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Artist Interview September 1st, 2018
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🎙️ GAD Talk Series –– Season 1 2020


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

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Alaa Hindia's Jewelry Revives Egyptian Nostalgia


By Global Art Daily’s Editorial Board

Published on September 10, 2020

        Alaa Hindia has been a fixture on the Cairene design scene since launching his eponymous label in 2017. The jewelry designer displays a fascinating ability to eschew the platitudes which reign supreme in Cairo’s increasingly gentrified design scene by drawing inspiration from local designs in a way which avoids facile notions of authenticity. Following his rise, we met with Alaa in London to follow up on the latest developments in his career following his repatriation to his maternal country.

1. Alaa Hindia’s minimalist rings set. Courtesy of Alaa Hindia.

Global Art Daily: Tell us a little bit about yourself. How did you get into jewelry?

Alaa Hindia: I got into jewelry in my first year of university. I started my Bachelor’s in one university that only offered graphic design, media design and product design; it took me 3 weeks to decide it just wasn’t for me. I had to be impulsive and decide whether or not I will survive 5 years of it. I then had the rest of the semester to kill so I took some jewelry courses at Azza Fahmy design studio in Cairo, which at the time was the best jewelry school and a really exciting space to explore technical skills for jewelry. They had really great teachers that were really at the top of their game and offered so much variety in terms of problem solving and creative thinking. I took a weekend workshop and then a 6-week beginners workshop. It then morphed into an intermediate course when I refused to do the basics and instead threw myself into the deep end. After that, it has all been self-teaching and experimenting. It helps a lot that I had access to Khan el-Khalili, Cairo’s jewelry quarter. It’s a very easy space to wander and find different artisans and materials and processes.



It helps a lot that I had access to Khan el-Khalili, Cairo’s jewelry quarter.




GAD: Which materials do you prefer using? You began by crafting everything in Cairo, does that affect which materials you use?

A.H.: I love silver. I’m a bit biased because jewelry in North Africa uses a lot of silver. But I also love brass and copper for the financial ease of it! Recently I’ve been self teaching different uses for stones in various shapes and sizes, as well as entertaining different perspectives on material, but I haven’t visualised that just yet.

2. The designer handmakes all his jewelry. Photo: Courtesy of Alaa Hindia

GAD: What has your experience been since you have moved to London?

A.H.: My experience has been great! Of course I’ll subconsciously compare day to day working dynamics with Cairo and its jewelers quarter, but in London there is a mix of very singular makers with their own identities. So for example, stone carving specialists, metalworkers, art jewellers; isolating all the different creative fields that jewelers here are able to operate in is a task in itself. There’s an energy in the air that makes everything seem possible and within reach.



There’s an energy in the air that makes everything seem possible and within reach.





GAD: What are your views on the state of Arab jewelry generally and what direction is it going in?

A.H.: It’s been very interesting to gain insight into how the world actually works outside of Cairo — it’s a bit insular in Egypt and you don’t get as much variety of personalities here. I’ve also noticed that there’s a specific readiness to think of jewelry in a more dynamic way. Egypt has a great appreciation for folk jewelry, but the way the contemporary design scene in Cairo has developed was a bit static until very recently. Unfortunately my comparative attitude will never leave me but I’m very excited about Cairo’s future.



It’s been very interesting to gain insight into how the world actually works outside of Cairo.




3. Alaa Hindia’s signature snake earrings and abstract hoops. Photo: Courtesy of Alaa Hindia



I’m very excited about Cairo’s future.




GAD: Your jewelry uses certain motifs, can you highlight some of these and give us some background about their significance?

A.H.: I’m a bit nostalgic in my creativity, so my mind always gets excited to go back in time and try to understand where things come from, whether it’s recent events or events when humans barely existed. So for example the hand — it’s basically a khamsa, but it’s also painted in prehistoric caves, and the Greeks carved them in stone as offerings to the gods. I always look for a multiplicity to any motif that I use. The more you see something repeated, the more you try to wrap your head around why it exists, and also start to believe that you will never be able to transform it , that it’s all cyclical and you just have to roll with it and make it beautiful. There’s too much to work with and I’m greedy!  

4. Alaa Hindia often uses the khamsa hand in his design. Photo: Courtesy of Alaa Hindia



I always look for a multiplicity to any motif that I use.




GAD: How have you situated your identity as a designer?

A.H.: I’m still trying to nitpick my identity as a designer and it will always evolve — sometimes quickly, sometimes slowly— but the consistent theme is that I always look to jewelry with an anthropological veneer to it. Not to say I’m against industrial manufacturing, but wearing handmade enriches your day in a tactile way that you can’t really experience in any other way.



Wearing handmade enriches your day in a tactile way that you can’t really experience in any other way.




Alaa Hindia is a London-based jewelry designer and founder of his eponymous brand, Alaa Hindia. Crafted in Cairo, his pieces present an evolving exploration of intimacy and materiality. Placing quality and sustainability as core values, each piece is hand-sculpted and crafted, celebrating its irregularities unique to each wearer.

Follow Alaa Hindia on Instagram.