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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Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS

By Insun Woo

Published on July 9, 2022

        Founded by artist Banu Cennetoğlu in 2006 and currently run by Aslı Özdoyuran and Marina Papazyan, BAS is a non profit space dedicated to the collection, exhibition, production, and distribution of artists’ publications and printed matter. Today, its collection stands at over 1,500 artists’ books, periodicals, and other printed publications by artists and artist collectives.

Located rather inconspicuously on the Necati Bey street in the vibrant neighborhood of Karaköy, BAS offers a moment of respite from the hustle and bustle of the city. Several shelves, filled with all kinds of printed matter, are arranged neatly in a cozy, naturally-lit space that consists of a brilliant magenta floor and white walls covered with large tapestries, more bookshelves, and (formerly) various posters. From Solidarity Unlimited newspapers and Hans Eijkelboom’s brochure, 10-Euro Outfits, to Eko Nugroho’s Fight Me! and BAS’ own publication, ha’lar by Ege Berensel, BAS’ collection is truly diverse, and it is easy to lose track of time as one digs through the shelves, perusing one gem at a time.

First via email and then in person at the small sitting area in the back corner of the space that is jokingly referred to as the “BAS residency,” I had the opportunity to hear from Aslı about BAS’ collection, acquisition and display practices, as well as its past and upcoming projects.

Cover image: BAS. Photography by Marina Papazyan. Image courtesy of BAS.

Insun Woo: How would you articulate what an artist’s book is, and why does this medium speak to you personally?

Aslı Özdoyuran: Artists’ books are products of thought that can take various forms: books, postcards, stickers, posters, or more. They can be handmade in limited edition or printed in thousands of copies and distributed freely. Due to ignorance or neglect, the term “artists’ book” continues to create the image of a hand-painted book, a book-object, or perhaps even a collector’s piece, but certainly not a banal offset-printed edition of five hundred to a thousand. To me, BAS collection is about the neighboring of these different mediums, ways of production and distribution.

BAS collection is about the neighboring of these different mediums, ways of production and distribution.

I.W.: What shapes BAS' practice of collecting? Would you like to highlight any publications from BAS' collection?

A.Ö.: BAS has an open-acquisition policy when buying, accepting, and bartering artists’ books, meaning that we do not select or curate books for display. When collecting, Banu has chosen to favor diversity over personal taste, and the collection has eventually grown through acquaintances and coincidences with and around artists, curators, and publishers she met over time. The collection is accessible to the public.

Some artists from the BAS library include Claude Closky, Céline Duval, Hans-Peter Feldmann, as well as Temporary Services, Picpus Press, İpek Duben, and ha za vu zu. I find it particularly valuable to witness the documentation of artistic production from the early 2000s and to see those sitting next to publications from recent times.

One publication in particular reflects the sensibilities of BAS; Anita Di Bianco’s Corrections and Clarifications is an ongoing newspaper project produced in various locations, languages, and formats since 2001. Each iteration of the work is an edited compilation of corrections of typographical or factual mistakes, as well as statements intended to clear up misunderstandings published in daily newspapers. Corrections and Clarifications takes the familiar format of the daily newspaper, its content referring back to what was published the day, week, or month before. The work is distributed gratis, reflecting the overarching sensibility of the BAS collection that focuses on artists’ books and printed matter as accessible materials, resisting the object-based precariousness common to the art world. In 2014, an edition of Corrections and Clarifications in Turkish was published in collaboration with BAS and collectorspace. A further reading on the work and BAS is “collectorspace presents: BAS collection,” a booklet with texts by Özge Ersoy, Duygu Demir, Yasemin Nur, Philippine Hoegen, and Banu Cennetoğlu.

BAS collection focuses on artists’ books and printed matter as accessible materials, resisting the object-based precariousness common to the art world.

I.W.: Is there an organizing logic behind the display of books at BAS?

A.Ö.: At BAS, we try to avoid categorizing books. The only clear categorization we make is with reference books that belong to fıelds like art theory,  philosophy or literature, or artists’ monographs which are assigned a separate shelf space. The goal is not to bring an absolute definition to what an artist’s book is, but rather to deal with the difficulty of defining it. Once we start questioning whether something is an artist’s book or not, it goes on the shelves, unless it belongs to one of the fields mentioned above. I like the playfulness here. The books are kept together because collectively they represent a possibility, a form of thinking, and a manner of making.

As for the display—Banu displays certain books together, but they are not immovable. Anyone can put the books back in different places, and to me, this reflects the impossibility of categorizing them. Each new neighboring creates new relationships within the body of books. The metal display structures consist of clear plexiglass shelves and can be pulled out like drawers. The books lay flat on the shelves, making their faces visible rather than their spines. Designed by Banu, these structures allow not only to see the books next to each other but also in a vertical relationship where the see-through shelf shows the books on the lower shelf. I think this is a poetic way of arranging books.

1. Publications on a bookshelf at BAS. Photography by Banu Cennetoğlu. Image courtesy of BAS.

The books are kept together because collectively they represent a possibility, a form of thinking, and a manner of making.

I.W.: Have you considered digitizing parts of your collections?

A.Ö.: We are currently putting together an inventory. The majority of the current inventory was done by Nihan Somay, whose labor means a lot to BAS. We took Nihan’s list as a base and then started renumbering every publication to have a full list of our current collection in alphabetical order. This list will be available online on our website.

2. Installation view of La Isla Bonita by Ünal Bostancı. Photography by Cemil Batur Gökçeer. Image courtesy of BAS.

I.W.: Could you share more about Ünal Bostancı's exhibition La Isla Bonita and the publication, Ha’lar by Ege Berensel?

A.Ö.: Ünal Bostancı’s exhibition La Isla Bonita consists of abstract paper-maché sculptures, which are in dialogue with the printed matter at BAS. Bostancı imagines the sculptures to evoke the feeling of an isolated habitat, which the remote space of BAS accommodates.  The exhibition took place between December 10, 2021 - February 12, 2022.

ha’lar is an anthology of process poems by Ege Berensel published in 2021. 60 process poems, written in the period from 1990 to 2000, all but a few of which were typed on Oliver Courier and Remington Rand typewriters, which constantly reference the tradition of concrete poetry and are made up of variations of processed poems by pioneering poets like Ruth Wolf-Rehfeldt, Claus Bremer, Yüksel Pazarkaya and Ernst Jandl.

In Turkish, “ha-” is an interjection that has multiple meanings and may express astonishment, warning, endeavour, affirmation or inquiry. Then, there is also the ‘ha’ in the word ‘hayır’ [editor’s note: “no” in Turkish]… Hayır, in fact, stems from the Arabic word xayr (hay’r), meaning goodness, or better. Hayır was used in 17th century Ottoman along with the negatory word yok [absent] as a euphemism, a rhetorical device, in the form, ‘yok hayır‘ or ‘yo hayır’ to mean, ‘my answer is negative, may the best come of this.’ In time, ‘yo,’ or ‘yok’ were dropped and ‘hayır’ remained… ha’yır also means ‘ha poetry’… ‘yır’ meaning poetry or eloquent expression in old Turkish. ha’lar is the first publication from BAS since Corrections & Clarifications in 2014.

3. ha’lar, anthology of 60 process poems by Ege Berensel. Photography by Aslı Özdoyuran. Image courtesy of BAS.

I.W.: What gap is BAS filling in Istanbul's (or Turkey's) art scene?

A.Ö.: I don’t think BAS has the goal of filling a gap in Istanbul’s art scene—a lot has changed since BAS was founded in 2005 and the needs and necessities of the cultural world fluctuate in response to the larger climate. That being said, as an artist-run space, BAS witnessed Istanbul’s transformations —starting from its neighborhood—and holds them in its memory.

I.W.: Who usually stops by BAS?

A.Ö.: Our space doesn’t have a storefront, so it’s difficult for someone to just walk in unless they aim for it. Visitors are most likely acquaintances, people from the fields of publishing or the arts, cultural workers, or curious wanderers who came across BAS’ Instagram page or website. Sometimes, student groups stop by. I like to see students spend time with the books here, especially if they are working on projects related to printed matter and find materials that serve as inspiration. Occasionally, people who are drawn to the programs or exhibitions visit and make the habit of frequenting. It is always nice to see people visiting BAS for different reasons.

As an artist-run space, BAS witnessed Istanbul’s transformations and holds them in its memory.

4. Visitors at BAS. Photography by Banu Cennetoğlu. Image courtesy of BAS.

We try to be conscious of, or avoid, the tendency in the art world toward an excess of information or visibility.

I.W.: It seems like BAS isn’t going out of its way to make its collection known to a wider audience. Is there a reason for taking a less active approach to publicizing BAS?

A.Ö.: We do make announcements on our website and social media accounts regarding events taking place at BAS. We want people to come and spend time with the collection; that is why we are open to the public two days a week— like a library. However, we try to be conscious of, or avoid, the tendency in the art world toward an excess of information or visibility.

I.W.: Are there any upcoming projects that you would like to highlight?

A.Ö.: Currently, BAS operates as an archive open to the public on Fridays and Saturdays. Our short-term goal is to finish digitizing the archive, which consists of +1,500 artists’ books, periodicals, and other printed matter by artists and artist collectives, and keeps growing. We look forward to the freedom of using interior spaces for physical gatherings, like reading circles, artist talks, or performance-lectures.

BAS is a non-profit space in Istanbul dedicated to the collection, exhibition, production and distribution of artists’ publications and printed matter.

Necati Bey Caddesi No:32/2
Karaköy Istanbul Turkey
Open to visitors on Fridays and Saturdays between 1-6 pm, or by appointment

Schedule your visit to BAS.

Aslı Özdoyuran is an artist and researcher living in Istanbul. She holds a BFA in Sculpture and a BA in Visual and Critical Studies from the School of the Art Institute of Chicago. Attended  residencies include Onassis AiR (2021), NAVE Proyecto (2020) and Summer Forum (2017).

Insun Woo is a student at New York University Abu Dhabi (NYUAD) where she is pursuing a BA in Art & Art History and a minor in Arabic. Her interest lies in contemporary art curation, arts education, and youth empowerment. Her current and past experience includes writing for Global Art Daily and Canvas Magazine, participating in the Summer College Workshop 2021 at the Guggenheim Museum, and interning at for- and non-profit organizations for the empowerment of youth.

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