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

E-07++
Winter/Spring 2024



About ––

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    Mission
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    Contributors
    Contact

Interviews ––

    Selected Archive

Open Call ––

    Policy
    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


E-01++
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
DXB
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

E-02++
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

E-03++
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

E-04++
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
IST
Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”


Artist Interview May 13th, 2022
DXB
“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
UAE
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

E-05++
Fall/Winter 2022-23


Market Interview June 28th, 2022
HK
How Pearl Lam Built Her Gallery Between China and Europe


Exhibition November 11th, 2022
TYO
“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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From Chennai to Sharjah and Now Tokyo: The Beginnings of Sahil Singh Rattha’s Architectural Voyage


By Mehar Maini

Published on June 8th, 2023

         While he was back in Sharjah, I met young architect Sahil Singh Rattha as he was ready to set sail on his new voyage to Tokyo, to intern under the mentorship of master Kengo Kuma. Born and brought up in Chennai, South India, Rattha has always aspired to become an architect.

Hailing from a small town and from a completely different cultural background, the emerging architect has well-established himself in the UAE. He relocated to the UAE in 2017 to study at the College of Architecture, Art and Design (CAAD) at the American University of Sharjah. With ambition from day one, Rattha has won twenty design awards including the 2022 Abu Dhabi Art Pavilion Prize, the 2020 Christo and Jeanne Claude Award, and the Abu Dhabi Art and Sharjah Suitability Award. He also received recognition from the Royal Institute of British Architects ( RIBA) and the American Society of Architectural Illustrators.

In Rattha’s words,“If I can do it, so can you. If I can do it, I believe I should also inspire someone else to take that risk.”

Certain principles he likes to keep in mind is keeping society and environment as paramount elements. I sat down with Rattha ahead of his journey to Kuma’s studio in Japan and talked about his most recent Abu Dhabi Art Pavillion, Zaman, and the process behind making this structure happen in a short time frame.

1. Laura AlDhahi, Sara Mohamed, and Sahil Rattha Singh, Haweia, 2020. Winning entry for the 2020 Christo and Jeanne-Claude Prize, NYU Abu Dhabi. Installation view at NYU Abu Dhabi Saadiyat Island Campus, Abu Dhabi. Image courtesy of Rattha Studio.

Mehar Maini: Where are you from? 
Sahil Singh Rattha: I was born and brought up in Chennai, a city in Tamil Nadu, south of India.


If I can do it, so can you. If I can do it, I believe I should also inspire someone else to take that risk.

- Sahil Singh Rattha


M.M.: When did you first get into architecture?

S.S.R.: I aspired to become an architect since childhood. I moved to the UAE especially to study architecture at the American University of Sharjah’s, College of Architecture, Art and Design (CAAD).

2. AlZaina Lootah, Lara Zareeni and Sahil Rattha Singh, Zaman, 2022. Winning entry for the 2022 Abu Dhabi Art Pavilion Prize. Installation view at Abu Dhabi Art 2022, Manarat Al Saadiyat, Abu Dhabi. Image courtesy of Rattha Studio.

M.M.: What would you define your architectural style as?

S.S.R.:  I have not practiced enough to have a definite architectural style, however, my work is supposed to be contextual with an inclination to be environmentally sensitive. Pavilion Zaman is completely environmentally friendly for example. The idea of sustainable architecture came way before the Christo award however. Growing up in Chennai, I noticed that we lacked housing spaces and sustainable forms of architecture. I think the whole idea of the sustainable narrative comes from me growing up in Chennei and exploring Delhi and Mumbai. When I looked around at buildings, I could tell that they could be designed in a completely different manner, if we take a different approach.


I think the whole idea of the sustainable narrative comes from me growing up in Chennei and exploring Delhi and Mumbai.



3. AlZaina Lootah, Lara Zareeni and Sahil Rattha Singh, Zaman, 2022. Winning entry for the 2022 Abu Dhabi Art Pavilion Prize. Installation view at Abu Dhabi Art 2022, Manarat Al Saadiyat, Abu Dhabi. Image courtesy of Rattha Studio.

M.M.:  Can you describe the process of making your 2020 Christo and Jeanne-Claude Prize and Abu Dhabi Art 2022 pavilion in partnership with the American University of Sharjah and NYU Abu Dhabi?

S.S.R.: I was in my second year of university when I won the 2020 Christo and Jeanne-Claude Prize. It started off by me finding a mentor which was professor Jason Carlow. Professor Carlow very graciously agreed to mentor me even though the professor never taught me a studio. I was competing with his seniors for this very prize. I teamed up with a friend and started working on an art installation together called Haweia.

The goal behind making Haweia was to create something ‘iconic’ that plays with the narrative of identity. The meaning of the Arabic word ‘Haweia’ is identity. We first came up with initial sketches, something that was monumental, but basically went into experience and that's how the whole process came to life. We were trying to create the need for self-reflection. After experimenting with the design process, we put together a form and tried to create something multifaceted where modules are attached together to create a screen or later system and finally one can see the final product.

3. Laura AlDhahi, Sara Mohamed, and Sahil Rattha Singh, Haweia, 2020. Winning entry for the 2020 Christo and Jeanne-Claude Prize, NYU Abu Dhabi. Installation view at NYU Abu Dhabi Saadiyat Island Campus, Abu Dhabi. Image courtesy of Rattha Studio.



The goal behind making Haweia was to create something ‘iconic’ that plays with the narrative of identity.



Since my team and I hailed from diverse backgrounds, Haweia as the name of our pavilion seemed like a perfect fit. I thought the Pavillion could be a point of self-reflection where people from all walks of life and diverse backgrounds could come together. It’s as if they would be looking together in a mirror.

Pavilion Zaman was designed for the Abu Dhabi Pavillion 2022. It is an annual architecture competition that encourages university students from around the UAE to submit proposals for an entrance pavilion for the Abu Dhabi Art fair. Pavilion Zaman, designed by me and two other architecture students, Lara Zareeni and AIZaina Lootha, was awarded the 2022 prize. We had to figure out how to build the 200 square meter pavilion with a very tight budget, also keeping in mind the foot traffic, the materiality, and the structure. I think the hardest part was the timeline because we had such a short time for the competition, from actualisation to build, construct and dismantle the pavilion. Keeping the tight budget in mind, my team and I came up with some creative solutions under the guidance of Professor Carlow. We had this idea to rent the structures from a concert stage. We rented a structural system for a week, hence we did not spend any money on the fabrication. We used wooden panels as walls so there was no construction as such for the structure of the Pavillion.


We rented a structural system for a week, hence we did not spend any money on the fabrication. We used wooden panels as walls so there was no construction as such for the structure of the Pavillion.



4. AlZaina Lootah, Lara Zareeni and Sahil Rattha Singh, Zaman, 2022. Winning entry for the 2022 Abu Dhabi Art Pavilion Prize. Installation view at Abu Dhabi Art 2022, Manarat Al Saadiyat, Abu Dhabi. Image courtesy of Rattha Studio.

The Arabic word Zaman translates to time in English, a temporary pavilion that exhibits a transcendent, tactile and visceral experience for its visitors. We made it a point that no material would go to waste and everything was recycled. The pavilion can be repurposed in many settings, requires only a small amount of energy to construct and is durable. Zaman creates a contrast between the organic and inorganic through the use of vegetation and natural light. The pavilion’s visual and environmental characteristics are enhanced by the flora which also lets in natural light from the courtyard.


The pavilion can be repurposed in many settings, requires only a small amount of energy to construct and is durable.




4. AlZaina Lootah, Lara Zareeni and Sahil Rattha Singh, Zaman, 2022. Winning entry for the 2022 Abu Dhabi Art Pavilion Prize. Rendering. Image courtesy of Rattha Studio.


M.M.: Could you tell us more about your upcoming internship at Kengo Kuma’s architectural studio?

S.S.R.:  It is a great opportunity to be working in such a prestigious firm. This opportunity is going to be extremely beneficial for me considering as an architect my work needs to have subsistence. What better way to learn from master Kengo Kuma? I’m excited, but I’m also going to be ready for whatever the world has to throw at me, be it good or bad. While I am looking forward to a new journey, I also have to be cautious and readily adapt to new situations.

M.M.:  Can you draw any similarities between architecture styles you have seen so far in the UAE, Japan, and India?

S.S.R.:  I think that each country has something different to offer, with significantly different cultures, styles and design approaches. The commonality from my perspective would be to design and construct sustainable cities that tackle environmental issues.






Rattha Studio is a new Dubai-based architecture and integrated design firm founded by architect and artist Sahil Rattha Singh, whose work 'Haweia' was awarded the 2020 Christo and Jeanne-Claude prize, which seeks to encourage the creation of new artworks in the UAE and serve as a launch pad for visual artists throughout the Emirates Rattha Studio aims to improve the lives of people and societies through architecture and environment design. Based on close communication and collaboration with its clients, the studio seeks to challenge the limits of architecture, searching for new, unique and inspiring solutions.

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Harmehar Maini is an aspiring curator and art writer. She was born in Jammu, Jammu and Kashmir, however moved from her home town to study in a boarding school in fourth grade. After completing her bachelors  from OP Jindal Global University, in Global Affairs , she shortly shifted to UAE to pursue arts and real estate. She has worked with Indian Art Fair , Art Dubai and Devi Art Foundation. She is an avid believer that art can connect to any and every element on the face of the earth be it , real estate or politics.

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