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

🔍 Legal

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


Farah Al Qasimi Returns to The Third Line

By Susanne Niemann
Published on April 14, 2024

1. Installation views: Farah Al Qasimi, Toy World, 2024, The Third Line. Photos by Musthafa Aboobacker.
2. Farah Al Qasimi, Machboos, 2024. Archival Inkjet Print. 50.8 x 68.58 cm. Edition of 5, 2AP. Courtesy the artist and The Third Line.

Susanne Niemann: To begin, let’s talk about the obvious. This is your first exhibition featuring black and white images. How did this idea come about?

Farah Al Qasimi: It wasn’t necessarily an idea, I had just been shooting in black-and-white for a long time as part of my everyday photography practice. When it came to conceptualizing this show, I liked the idea that some of the work could have a sense of timelessness to reference the cycles of violence that have been perpetuated across decades by the US in the Arab world.

3. Installation views: Farah Al Qasimi, Toy World, 2024, The Third Line. Photos by Musthafa Aboobacker.
4. Farah Al Qasimi, Horse Bucking Teeth n.d. Archival Inkjet Print. 50.8 x 68.58 cm. Edition of 5, 2AP. Courtesy the artist and The Third Line.

S.N.: When I think about your work, I think about colors and saturation, exploration and inquiry. Yet black and white has something documentary to it. How did working in B&W influence your experience and approach?

F.A.Q.: I always love working with black-and-white film, because it forces me to pay attention to the light as a subject and the composition of an image in its simplest form - you never know how a photograph is going to turn out until days or weeks later, so it's a practice in trust.

S.N.: I have seen your work at the Cultural Foundation in Abu Dhabi and at C/O in Berlin. Walking into The Third Line in Dubai felt different. Let’s say, there was a lot more space. I particularly liked the small prints and objects taped directly to the wall. How did you select your work? And how did you make these decisions regarding placement and spacing?

F.A.Q.: My work goes through several rounds of editing, and I’m very lucky to have artist friends who help me look at the work and decide how to get the meaning across. The additional images come from researching things in my studio - I have a variety of sources that I pull from when working on a wider project, but I look at them all together to help me understand some of the symbolism that persists across my own work.

I look at [images] all together to help me understand some of the symbolism that persists across my own work.

5. Installation views: Farah Al Qasimi, Toy World, 2024, The Third Line. Photos by Musthafa Aboobacker.
6. Farah Al Qasimi, Dune, n.d. Archival Inkjet Print. 50.8 x 68.58 cm. Edition of 5, 2AP. Courtesy the artist and The Third Line.

S.N.: I’d love to hear about your creative process. Did you create new work specifically for this show? Did some of the moments come naturally and unexpectedly?

F.A.Q.: This is a show that began with wanting to share previous work I made for journalism assignments and then grew into other modes of thinking that I shot new photographs for. A lot of it came intuitively.

7. Farah Al Qasimi, Hamed 2023, 2023. Archival Inkjet Print. Edition of 5, 2AP. Courtesy the artist and The Third Line.

S.N.: You have a highly collaborative practice – what does that look like when you work with photography? Is there one work that is especially important to you? Why? Can you guide me through the process of making it? How do you choose your subject?

F.A.Q.: I feel very lucky and at times very frustrated that I have chosen a very social medium. I have anxiety about reaching out to new people and going to new places for my work. In this show, though, there are a lot of incredible people featured in the work – one of them is Yara Ayoob (@yarziezz), a make-up artist and influencer, who I photographed in an early 2000s style khaleeji look. I knew I wanted to work with somebody who embodied the process of re-creating a certain nostalgia, and I was very lucky to find her.

8. Farah Al Qasimi, Security Camera, Yara, Pigeons on Pink Building, 2024. Archival Inkjet Print. Edition of 5, 2AP. Courtesy the artist and The Third Line.

S.N.: Let’s talk about what is happening in the UAE right now. This is a busy time for galleries and artists here. Your opening coincided with Alserkal Art Week, Art Dubai, and other cultural events across the Emirates. How does the current art ecosystem compare to what it was like when you grew up here?

F.A.Q.: I can’t speak to the art ecosystem when I grew up in the Emirates, because I wasn’t very aware of what was happening in the contemporary art world until I left college. I do know that there are more galleries now, and more programs geared towards nurturing young artists, and I’ve been really amazed by the shows that young artists and curators based in the region are working on.

I’ve heard that the show at Bayt Al Mamzar curated by Studio Salasil is fantastic and I look forward to seeing it.

S.N.: And how does it compare to New York? You’re spending your time between Dubai and New York. What does it mean to come back to The Third Line? What do these two places mean to you? How do they influence your work?

F.A.Q.: I can’t compare it to New York because they’re completely different places with different histories, different funding infrastructures, different populations.

I started working with The Third Line 11 years ago. It’s so important to me and so meaningful that they believed in my work when my vision was still young and unrefined. I love seeing what we’ve done together over the last decade.

9.  Installation views: Farah Al Qasimi, Toy World, 2024, The Third Line. Photos by Musthafa Aboobacker.

S.N.: Looking ahead, I heard you are on your way to The Chinati Foundation. What are your plans for your residency, if you want to share?

F.A.Q.: My plans at the Chinati Foundation are to read, watch films, catch up on sleep and exhibition planning, and work on my sewing and drawing. I hope to be reconnected to a studio practice that’s about learning from and trusting the process, being OK with being bad at something for a while - I miss that sense of discovery that comes when you don't owe anyone but yourself anything.

I miss that sense of discovery that comes when you don't owe anyone but yourself anything.

Farah Al Qasimi: Toy World is on view at The Third Line, Alserkal Avenue, Dubai until April 19th, 2024.

Farah Al Qasimi (b. 1991, Abu Dhabi, United Arab Emirates) is an artist working primarily with photography, video and performance. Her work examines postcolonial structures of power, gender and taste in the Gulf Arab states.

Susanne Niemann is an Contributing Editor at Global Art Daily. She is is a researcher and designer from Germany currently based in the UAE. Her work engages with environmental narratives / fictions, urbanism, archives and ethnographic methods. She studied Interactive Media, Design and Anthropology at New York University Abu Dhabi.