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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Art Dubai Digital, An Alternative Art World?

By Alessia Piacitelli and Amy Qian

Published on March 14, 2022

        Located in the splendid Madinat Jumeirah, this year’s 15th edition of Art Dubai presented over 100 art galleries from more than 40 countries, from Contemporary, Modern, Bawwaba, and Digital sections. With full-day programs of Global Art Forum talks, guided tours, and with after-parties going late into the evening, the art fair was not only an avenue for Dubai’s public to enjoy seeing regional and international galleries, but also an opportunity for local practitioners to meet their counterparts from the region, to socialize and exchange ideas.

1. Maitha Abdulla presentation at Tabari Art Space booth, Art Dubai 2022. Installation view. Photo courtesy of Tabari Art Space.
2. Souad Abdelrassoul, Waiting, 2021. Acrylics on canvas. 200 x 235 cm. Image courtesy Circle Art Gallery.
3. Dickens Otieno, Celestials, 2022. Shredded aluminium cans woven on steel mesh249 x 168 cm
98 1/8 x 66 1/8 in. Image courtesy Circle Art Gallery.

Dubai’s art market emerged from a pandemic with a fresh revolutionary section: Art Dubai Digital. Non-Fungible Tokens (NFTs) were undoubtedly the highlight of this year’s Art Dubai. Inaugurated this year, Art Dubai Digital was a section dedicated solely to digital art. Following green signs, visitors were invited to enter into a different part of the Madinat Jumeirah complex, outside of the main halls, and into an underground space lit by neon lights, screens, and symbols of our post-digital age. With seventeen participating galleries, including some from Seoul, Istanbul, London, a wide variety of digital works were on view, displayed mostly on flat screens. For some of the galleries, Art Dubai Digital represented the first time they participated at a modern and contemporary art fair, in the traditional sense of the word.

3. Art Dubai Digital 2022. Photo courtesy of Alessia Piacitelli and Amy Qian.

In the current digital era, Art Dubai Digital showcased ways in which new artistic models can adapt to the usual art fair structure. The section looked like a parallel world, a variation of what an art space can become if it did not strictly follow white cube form. Exhibited on LCD screens, digital artworks looked like living paintings. Black walls, neon lights, canvas screens, and Ethereum wallets made up the new reality of this space.

In the current digital era, Art Dubai Digital showcased ways in which new artistic models can adapt to the usual art fair structure.

4. Art Dubai Digital 2022. Photo courtesy of Alessia Piacitelli and Amy Qian.

“There is a lot of interest, a lot of questions – which is fine,” said David Johnson from Institut, a London-based art organization with over five decades of experience in all fields of contemporary art. “We want to make sure that traditional collectors include digital art in their collections,” Johnson continued. Their target audience was not necessarily made up of young Gen Z collectors. Institut proposed artworks by Tyler Hobbs and Drift x Don Diablo x Sil, which range from ETH 90 (USD 180,000) to ETH 285 (USD 750,000), attracting clients usually in their late 30s and 40s with “enough liquidity.”

Black walls, neon lights, canvas screens, and Ethereum wallets made up the new reality of this space.

Interestingly, many gallerists of Art Dubai Digital were Gen Z representatives with backgrounds in finance, technology, design, and marketing. Ready to educate audiences about NFTs, blockchain, and Ethereum, the general feeling in this section was one of accessibility and pedagogy surrounding the novelty of this technology and the potential it presents to current and future art collectors. Gallerists’ patience and willingness to share their knowledge was necessary to open the world of nonfungible tokens to the general public as well as serious art connoisseurs with years of experience in the art world.

“We, as a gallery and as an organisation, are comprised of technologists, and thus have expertise in displaying NFTs”, shared Keith Casadei from Bright Moments, a digital globally-based DAO platform. With communities in Venice, New York, and Berlin, BrightMoments hosts supporters and a group of Crypto Citizens who attend in-person events and vote for the next city where community events are held. As a complete Web3 initiative, Crypto Citizens create their digital identities and build online reputations. Rooting this initiative in broader art history, Casadei compared Bright Moments to Sol Levitt’s instructions for mounting artworks in galleries. Events in different cities are some sort of art happenings, which clearly depend on a community of both old and new “citizens.”

As we went further into the space and started to engage with the gallerists and artists, we came to realize that this world also felt new to the majority of the visitors. The whole experience of Art Dubai Digital felt at times like some kind of gaming hub, presenting unordinary concepts. While some visitors seemed to struggle to appreciate the intricacies and thought process behind digital pieces, most were left with the feeling of acceptance and optimism. “NFTs are here to stay and we need to accept the different approaches that are being developed right now,” is the opinion we were personally left with.

As we went further into the space and started to engage with the gallerists and artists, we came to realize that this world also felt new to the majority of the visitors.

5. Fingerprint Dao, Seed Capital, 2022. Art Dubai Digital 2022. Photo courtesy of Alessia Piacitelli and Amy Qian.
 6. Refik Anadol, installation view at Pivelneli Gallery booth, Art Dubai Digital 2022. Photo courtesy of Alessia Piacitelli and Amy Qian.

Not all Art Dubai Digital booths were as detached from the tangible world. Sam Spike from Fingerprint DAO explained the concept behind Seed Capital (2022), the artwork on view at Fingerprint DAO’s booth. The installation consisted of a plant which ground humidity and temperature were analyzed every fifteen minutes. Based on the health of the plant, NFT certificates were being issued right in front of the viewer. If the certificate reported good results, the artwork could be bought.

Whereas these new developments might seem disruptive to the art market, one should not forget that some artists, such as the renowned Turkish media artist Refik Anadol – presented by Istanbul-based Pilevneli Gallery – found a logical continuation of their practice in the world of NFTs. Anadol’s new media works have always been based on code and data analysis. Blockchain represents a a new way of transporting – or encrypting – his creative output. His living compositions and data visualizations looked stunning on walls, as portals that can transport viewers to previously unimaginable worlds. These worlds are now slowly but steadily occupying space in the art world. As an example, it was said that agents of digital galleries reached out to their counterparts in other halls of the fair, to what have now become “traditional” contemporary art galleries, and asked whether their artists were interested in “going digital.”

Whereas these new developments might seem disruptive to the art market, one should not forget that some artists, such as the renowned Turkish media artist Refik Anadol – presented by Istanbul-based Pilevneli Gallery – found a logical continuation of their practice in the world of NFTs.

NFTs represent a new, refreshing way of exhibiting and selling art. Storage and transportation are simplified. Issues of provenance and authenticity are automatically solved by blockchain technology. For artists and collectors alike, the idea of emitting eternal royalty fees is extremely tempting. While many people dislike this idea, NFTs represent an inevitable future for the contemporary art world. Art Dubai Digital has shown ways in which digital artists and dealers can educate a new public, and expand the definition of physical art (installations, sculptures, paintings, photographic prints, sketches, drawings, and more) with elements and tools of digital activation.

7. “Dubai Youth and Crypto” talk, Art Dubai Digital 2022. Madinat Jumeirah, Dubai. Photo courtesy of Alessia Piacitelli and Amy Qian.

In parallel to Art Dubai Digital, there were a number of talks surrounding topics of memes, image circulation, crypto gaming, and NFTs. Aside from Dorian Batycka’s fascinating Global Art Forum 15 lectures on meme culture and the vocabulary of “the world of crypto/blockchain/NFTism,” we had the opportunity to attend another talk called “Dubai Youth and Crypto” featuring Yasmine Karimi, an 18-year-old undergraduate student and co-founder of Menaverse gaming guild, and Mr. KEY (Karnika E. Yashwant), an impact entrepreneur who has been in the blockchain space since 2013. Mr. KEY stressed that crypto is community-driven. The next step for NFTs is to “provide a platform to allow everyone to shine,” he said. Art Dubai provided multiple entry points into conversations around digital art, and included young, community-led initiatives with Dubai’s fast-growing art scene. Huda, one of the volunteers of this year’s Art Dubai, assisted with the information desk and helped guide the visitors. Interested in photography, she was amazed by the variety of galleries at the fair, including the digital ones. “This is my first time at Art Dubai. The people, the culture, and the art are really beautiful and innovative,” she said.

Alessia Piacitelli is an Italian-Russian student at New York University Abu Dhabi where she studies Art History and Economics. Interested in the development of the art market in the UAE, she currently interning for Carbon 12 gallery and pursuing a Student Assistantship at NYUAD Art Gallery.

Amy (Yuanchen) Qian is from Wuxi, China. A second-year student studying Art History at New York University Abu Dhabi, her research interests focus on East Asian contemporary art. She worked as a Volunteer for Art Dubai 2022.  

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