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

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

🔍 Legal

2015-24 Copyright Global Art Daily. All Rights Reserved.


Augustine Paredes Builds His Paradise Home at Gulf Photo Plus

By Sophie Mayuko Arni

Published on Feb 9, 2023

        Walked in – greeted by colors, hues of peach, indigo blue, holographic filters, and the rawness of authentic photographs. Welcome to PARADISE 4EVER, the world of Augustine Paredes, an artist we have had the honor of featuring multiple times on Global Art Daily

Augustine has become a fixture of the Dubai photography scene. Lending his camera to Seeing Things, he is the man behind many of the installation views we marvel at in the UAE. An artist in his own right, he also completed the Salama bint Hamdan Emerging Artists Fellowship (SEAF), has exhibited his many series of photographs in venues throughout the country, and has been commissioned by the likes of Alserkal Arts Foundation, Art Dubai, Goethe Institut, and Warehouse 421. I’m thinking particularly of his series of photographs, self-portraits of the artist lying in bed facing away from the camera, which has been exhibited in various forms at Warehouse421 and Engage101’s exhibition at Sotheby’s Dubai, and was the starting inspiration for the cover of Augustine’s self-published Long Night Stands with Lonely, Lonely Boys book

Augustine’s ethos is the “Migrant Heart”, the two words that begin PARADISE 4EVER’s curatorial text. Originally Filipino, Augustine has been residing in Dubai for the past few years. Much of his work deals with the longing for a concept of home, a concept foreign to a migrant heart who travels across continents, meets fleeting strangers, and uproots himself from place to place, searching for intimacy and authentic, deep, human connection. 

1. Installation views of Augustine Paredes, Paradise 4 Ever, 2023, at Gulf Photo Plus, Dubai. Courtesy of the artist.

This exhibition, in my humble opinion, marks a turning point in Augustine’s artistic practice. He is accomplishing himself as an artist – ready to digest his decade-long nomadic adventures, and ready to show us his inner world as it is.

This exhibition, in my humble opinion, marks a turning point in Augustine’s artistic practice.

Not hiding under his alias painter name anymore (Clementine Paredes, you will be missed), Augustine presented us with an explosion of colors, mixed-media technique, and a rich inner world. Perhaps more vulnerable to any other exhibitions he has undertaken, this show gave me the chance to meet Augustine for the first time again.

PARADISE 4EVER is filled with installations, and I think shows a new direction for the artist’s journey. I think it will become clearer in the future that photography should be understood as part of Augustine’s work, not his whole work. Augustine has always proved to do great installations - his work shown in As We Gaze Upon Her curated by Banat Collective at Warehouse421 proved he could bring an immersive aspect to his photography. Installing an actual bed and printing his photograph on the bedsheet worked very well for example.

2. Installation views of exhibition: Paradise 4 Ever, 2023, Gulf Photo Plus. Courtesy of the artist.

I heard from another artist who visited the exhibition that while the works on view were fantastic, the show blended too many themes into one. I would partly agree, but I also think when someone has so much creativity inside them, with so many messages to spread, there is no way to stop it from coming out. Contrary to his previous shows, he did not necessarily focus on one series or one concept: PARADISE 4EVER is a compilation of two or three exhibitions in one. You can feel that the artist has a lot to express, likes to experiment with different techniques, and would not like to be confined in one box.

While this exhibition functions as an experimental retrospective, I think Augustine’s next show will solidify his practice with another focused series of works. Every artist goes through a journey of exploration and self-discovery. Every artist also has a signature series, or technique, that they become known for – a recognizable type of work that strikes a chord between medium and message, and fundamentally derives from the artist’s personal life story, surrounding, community, and message to the world. Art comes from clear, succinct, and well-crafted distillation of a chaotic, enriching, lived experience. Augustine’s cup is full and he has all the materials he needs to now digest and distill.

3. Augustine Paredes, Mother, Acrylic on photographic print, framed. Image courtesy of the artist.

The work which stood out most to me was a large framed portrait of Augustine’s mother. Powerful, raw, natural. The picture had a certain Wolfgang Tillmans quality to it. No frills added, the portrait just exists. Mother exists – in the context of the exhibition, and as an extension, of Augustine’s life – as an anchor. Strength and resilience can be felt in her eyes, and the wonderful indigo blue stripe, that covers half the photograph, adds a quality of nobility, stature, and solidity.

Mother exists – in the context of the exhibition, and as an extension, of Augustine’s life – as an anchor.

We should not forget that a lot of Augustine’s work can be labeled as transient and fragile, not only in its content but in its medium. Photographic prints are paper, not stone. Framing the mother in solid glass made this work stand out amongst the rest.

4. Left: Augustine Paredes, Velvet Hammer II. Photographic print. Courtesy of the artist. Right: Augustine Paredes, Portal to Paradise. Photographic print on fabric. Courtesy of the artist.

A solo exhibition does not come around often for artists, especially for photographers in Dubai. In this sense, credit is due to Gulf Photo Plus for nurturing Augustine, as well as many next-generation photographers who call this city home. Augustine lived up to the task. His multi-tasking DIY spirit can be felt through the exhibition walls. I can sense that he was in charge of the whole creative direction: from the color of the walls to the catalogue text, to the installation pictures – which I have a feeling he took himself – everything is branded Augustine, and that perhaps, is the unifying factor of the exhibition. I was struck by the exhibition design, colored walls, and paint on photographs.

A solo exhibition does not come around often for artists, especially for photographers in Dubai. Augustine lived up to the task.

5. Top: Augustine Paredes, Only Love. Bottom: Augustine Paredes, Follow The Fire. Mixed media, framed. Courtesy of the artist.

We often hear that the UAE art scene feels like a bubble, shows get repetitive, and we often see the same artists exhibited across the major known venues. I think Augustine has proved himself, in the Dubai scene, as one of the top emerging artists of his generation. Post-SEAF, post-art fair (Augustine already showed in curated sections of both Abu Dhabi Art and Art Dubai), post-421, post-Alserkal gallery shows – where else do you exhibit? The UAE art scene lives in its own bubble, which is somewhat an oxymoron to the concept of a country that always moves forward, with the influx of population migrating in and out of the country. When artists grow and mature, it’s only natural that they want to expand out of their regular practice and reach new territories, new color palettes, new themes outside their boxed-in category. The venues that welcome photographers, installation and mixed-media artists tend to be limited, so exhibitions tend to feel repetitive because of their white-cube format, even though their subject matter differ.

Post-SEAF, post-art fair, post-421, post-Alserkal gallery shows – where else do you exhibit?

I think it would take one great institution to see Augustine’s potential – many great curators have already seen it – and choose to show his work, differently. The artist can produce. That is not a question. But how would his work look like if it was on a larger scale, using sturdier materials?

To go back to the fragility that is so well celebrated in Augustine’s works, both in content and in form, what if we suddenly made this fragility monumental? What if Augustine’s photograph became as sturdy and large as a Dubai skyscraper? What if his constant state of transience and nomadism, of feeling at home between multiple rooms and multiple countries, was suddenly rooted in the city that he has called home for many years now?

6. Augustine Paredes, A Burning Sensation. Mixed media. Courtesy of the artist.

What if we suddenly made Augustine’s fragility monumental?

6. Installation view of exhibition: Paradise 4 Ever, 2023, Gulf Photo Plus. Courtesy of the artist.

What if someone gave him a solid, non-moveable, public art commission? This could be a riskier choice but one I feel Dubai is ready for, especially as it is set to become one of the world’s major cultural capital by mid-century. More than a celebration of Augustine’s life, this exhibition can also be understood as a commentary on Dubai itself. Dubai is migrant, transitory, and filled with rich experiences. Dubai is colorful, and the many people who call the city home can relate to Augustine’s longing for a motherland. Augustine’s photographs speak of an inclusivity that is very much mirroring Dubai’s ethos.

Dubai is migrant, transitory, and filled with rich experiences. Dubai is colorful, and the many people who call the city home can relate to Augustine’s longing for a motherland.

8. left: Augustine Paredes, Icarus Before Jupiter. Photographic print. Courtesy of the artist. right: Augustine Paredes, Tendeer Touch. Photographic print. Courtesy of the artist.

Augustine, in the video accompanying this exhibition, refers to what home means to him: “Home is a place that is not physical. Home is a mindset. Home is my mother. Home is paradise.”

Home is a place that is not physical. Home is a mindset. Home is my mother. Home is paradise

- Augustine Paredes

In some sense, this exhibition feels like walking into Augustine’s home.

Augustine Paredes is a Filipino multi-disciplinary artist questioning what it means to desire in the light of love, loss, and longing. His lyrical, contemporary, and sensuous visual narratives are derived from his many-storied travels, South East Asian consciousness, and curious gaze.

Primarily working within the realms of image-making via photography, painting, poetry, and installation, he has been commissioned by Alserkal Arts Foundation, Art Dubai, Goethe Institut, and Warehouse 421. He is a guest resident at Alserkal Arts Foundation in Dubai and artist-in-residence at the AlUla Artist in Residence by the Royal Commission of Al Ula and Afalula in Saudi Arabia. He is an alumna of Salama Bint Hamdan Emerging Artist Fellowship, Campus Art Dubai, and International Summer School of Photography, and has been nominated for 13 Artists Awards, World Press Photo Joop Swart Masterclass. He has exhibited in the Philippines, Malaysia, Latvia, Australia, United States of America and the United Arab Emirates.

As an independent publisher, he has authored art books entitled Conversations at the end of the universe (2020), Long Night Stands With Lonely, Lonely Boys (2021), Happy to be here to be happy (2022). He is a co-founder of Sa Tahanan Collective along with artist and curator Anna Bernice, they aim to create a platform for Filipino art and creatives through exhibitions, art sales, and collaborations.

Gulf Photo Plus (GPP) is the region’s center for photography, a community organization cultivating visual practices and cultural production locally in the UAE, and internationally, across MENASA. GPP engages, educates, and inspires with exhibitions, educational workshops, art programs, community events, state-of-the-art fine art archival printing and film processing services, and specialized resources.

Sophie Mayuko Arni is the Founder and Editor-in-Chief of Global Art Daily E-Issues.

Published by:


A Global Art Daily Agency FZ-LLC subdivision.
Copyright, 2015-2023.
For reproduction, please contact us.