📘 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-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
IST 
Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS
HK 
How Pearl Lam Built Her Gallery Between China and Europe
UAE
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
DXB 
“We Are Witnessing History”: Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian On Their Retrospective Exhibition at NYU Abu Dhabi Art Gallery
IST
 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
DXB 
Art Dubai Digital, An Alternative Art World?
DXB 
Must-See Exhibitions in Dubai - Art Week Edition 2022
DXB
Prepare The Ingredients and Let The Rest Flow: Miramar and Zaid’s “Pure Data” Premieres at Satellite for Quoz Arts Fest 2022
TYO
 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
DXB
Engage101 Presents “Connected, Collected” at Sotheby’s Dubai

📕 E-Issue 02
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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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🎙️ GAD Talk Series –– Season 1 2020
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Alserkal Arts Foundation Presents Mohamed Melehi


By Global Art Daily’s Editorial Board

Published on September 1, 2020

        On September 19th, Alserkal Arts Foundation will open its first exhibition post-lockdown. For this occasion, the works will be housed in the OMA-designed Concrete building. Dedicated to Moroccan modernist painter Mohamed Melehi (b.1936), New Waves: Mohamed Melehi and the Casablanca Art School Archives will be Melehi’s first retrospective of its kind in the UAE. Curated by Morad Montazami and Madeleine de Colnet of Zamân Books & Curating, the exhibition will showcase never-before-seen artworks and archive material retracing Melehi’s artistic trajectory from the 1950s to the 1980s, contextualized with the work of the experimental Casablanca Art School.

1. Mohamed Melehi, Untitled (1975). Cellulose paint on wood. Private collection. 

“Melehi is widely regarded as a major figure of postcolonial Moroccan art and of transnational modernism,” explains curator Morad Montazami in the Introduction to this seminal exhibition. From Rome to New York City to Casablanca, Sections 1 and 2 of New Waves will present Melehi’s artistic journey influenced by his many travels. Melehi was a global artist and mixed influences from a vast array of sources to create his famous waves, which the curators have characterized as floating “between Afro-Berberism and postcolonial architecture.”

2. Mohamed Melehi, Untitled (1970-71). Cellulose paint on wood. Private collection. 

Section 3 and 4 will present previously unseen works and archives presenting Melehi’s vast array of cultural activities as a muralist, art teacher, cultural activist, and graphic designer. Some highlights include Melehi’s documentary photographs of Marrakech and Casablanca, showing the realities of Morocco’s post-independence era, as well as his works for his graphic design studio SHOOF.

The forthcoming presentation of New Waves in Concrete, Alserkal Avenue, is an iteration of an exhibition originally produced by The Mosaic Rooms in London, and then shown at MACAAL in Marrakech. According to its press statement, “the traveling exhibition and the Dubai iteration marks the first time that the full period of Melehi’s works has been shown on a global stage with a researched display.”

3. Mohamed Melehi, Sleeping Manhattan (1962). Acrylic on canvas. Private collection.
4. Mohamed Melehi, Vertical (1960). Acrylic on canvas. Private collection.

We hope this exhibition’s expanded research and Melehi’s work both inside and outside the confines of fine art will resonate with Global Art Daily’s vibrant audience in Dubai. New Waves will focus on the experimental spirit of Melehi and the Casablanca Art School and can provide a solid regional blueprint of how artists have challenged convention and blurred education, activism, and artmaking. According to the curatorial statement, Melehi’s pedagogy brought him from “from the studio into the streets and public squares of Morocco.” New Waves can inspire emerging artists and creatives to work collaboratively to pursue their own forms of pedagogy, whether that leads them to the public squares of social media or the public squares of Alserkal Avenue. Indeed, commissioned especially for this exhibition, a recreation of Melehi’s mural from the first Asilah Moussem Festival of the Arts in 1978 adorns the walls of The Yard, in front of Concrete. Get your cameras ready.

5. Mohamed Melehi inspired mural in Alserkal Avenue. Photography: Seeing Things. Courtesy of Alserkal Avenue.


The exhibition is open to all, with visitors able to book their visit in line with social-distancing guidelines. 

New Waves: Mohamed Melehi and the Casablanca Art School Archives
19 September – 21 November 2020
Alserkal Arts Foundation
Concrete, Alserkal Avenue, Dubai

New Waves was originally scheduled to open on 23 March 2020 but was postponed due to the COVID-19 pandemic. For a preview of the exhibition, and interviews with the curator and artist, visit alserkal.online. New Waves: Mohamed Melehi and the Casablanca Art School Archives is presented by Alserkal Arts Foundation. Curated by Zamân Books & Curating, the original exhibition was produced by The Mosaic Rooms, A.M. Qattan Foundation. This exhibition was organized in collaboration with the Museum of Contemporary African Art Al Maaden (MACAAL).
All images courtesy of Alserkal Avenue.

Edit 09/02/2020: This article has been edited to clarify the exhibition’s location. 
Edit 10/19/2020: The exhibition has been extended until November 21st, 2020.