📘 E-Issue 05 ––VCE Fall 2022
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  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-Issue 04 ––IST Spring 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
Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS
How Pearl Lam Built Her Gallery Between China and Europe
What’s On in the UAE: Our Top Summer Picks
DXB Art Jameel Joins The World Weather Network in a Groundbreaking Response to Global Climate Crisis
DXB “Geometry is Everywhere”: An Interview and Walking Tour of Order of Magnitude, Jitish Kallat’s Solo Exhibition at Dubai’s Ishara Art Foundation
“We Are Witnessing History”: Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian On Their Retrospective Exhibition at NYU Abu Dhabi Art Gallery
 Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”
HK Startbahn Presents “Made in Japan 3.0: Defining a New Phy-gital Reality”, an NFT Pop-Up at K11 Art Mall
DXB Dubai's Postmodern Architecture: Constructing the Future with 3dr Models
📘 E-Issue 03 –– TYO Fall 2021
  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
Art Dubai Digital, An Alternative Art World?
Must-See Exhibitions in Dubai - Art Week Edition 2022
Prepare The Ingredients and Let The Rest Flow: Miramar and Zaid’s “Pure Data” Premieres at Satellite for Quoz Arts Fest 2022
 Akira Takayama on McDonald’s Radio University, Heterotopia, and Wagner Project
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421
AAN The Labor of Art and the Art of Labor: Christopher Benton on His First Exhibition in Al Ain
IST “Once Upon a Time Inconceivable”: A Review and a Conversation
RUH Misk Art Institute’s Annual Flagship Exhibition Explores the Universality of Identity
RUH HH Prince Fahad Al Saud Discusses Saudi Arabia’s Artistic Renaissance
Engage101 Presents “Connected, Collected” at Sotheby’s Dubai

📕 E-Issue 02
NYC Spring 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
DXB “After The Beep”: A Review and Some Reflections
OSA Rintaro Fuse Curates “Silent Category” at Creative Center Osaka
AUH “Total Landscaping”at Warehouse 421
TYO “Mimicry of Hollows” Opens at The 5th Floor
TYO Startbahn, Japan’s Leading Art Blockchain Company, Builds a New Art Infrastructure for the Digital Age
DXB There Is A You In The Cloud You Can’t Delete: A Review of “Age of You” at Jameel Arts Centre
BAH Mihrab: Mysticism, Devotion, and Geo-Identity
LDN Fulfilment Services Ltd. Questions Techno-Capitalism on Billboards in London
DXB Ana Escobar: Objects Revisited
TYO BIEN Opens Two Solo Exhibitions in Island Japan and Parcel
CTU/AUH/YYZ Sabrina Zhao: Between Abu Dhabi, Sichuan, and Toronto
RUH Noor Riyadh Shines Light on Saudi Arabia’s 2030 Art Strategy
DXB A Riot Towards Landscapes
DXB A ‘Menu Poem’ and All That Follows
DXB Alserkal Art Week Top Picks 
DXB Permeability and Regional Nodes: Sohrab Hura on Curating Growing Like a Tree at Ishara Art Foundation
AUH Re-viewing Contrasts: Hyphenated Spaces at Warehouse421
DXB There’s a Hurricane at the Foundry

📙 E-Issue 01 –– AUH/DXB Summer 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
GRV MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists    
DXB Sa Tahanan Collective Redefines Home for Filipino Artists
SHJ Sharjah Art Foundation Jets Ahead on the Flying Saucer
AUH SEAF Cohort 7 at Warehouse 421 
DXB 101 Strikes Again with Second Sale at Alserkal Avenue
DXB Spotlight on Dubai Design Week 2020
DXB Melehi’s Waves Complicate Waving Goodbye
DXB Kanye Says Listen to the Kids: Youth Takeover at Jameel Arts Centre
DAM Investigating the Catalogues of the National Museum of Damascus
AUH Ogamdo: Crossing a Cultural Highway between Korea and the UAE
TYO James Jarvis Presents Latest Collages at 3110NZ
DXB Do You See Me How I See You?
DXB Thaely Kicks Off Sustainable Sneakers
AUH BAIT 15 Welcomes New Member Zuhoor Al Sayegh
MIA a_part Gives Artists 36 Hours to React

UAE Tawahadna Introduces MENA Artists to a Global Community
LHR/CAI Alaa Hindia’s Jewelry Revives Egyptian Nostalgia
DXB Taaboogah Infuses Comedy Into Khaleeji Menswear
DXB Meet Tamila Kochkarova Behind ‘No Boys Allowed’
DXB Alserkal Arts Foundation Presents Mohamed Melehi
AUH/DXB 101 Pioneers Ethical and Curious Art Collecting
AUH Sarah Almehairi Initiates Conversations
DXB Augustine Paredes Taking Up Space
LHR/MCT Hanan Sultan Rhymes Frankincense with Minimalism
BEY GAD Map: Arts & Culture Relief for Beirut

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Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”

By Global Art Daily’s Editorial Board

Published on May 6, 2022

        Organized by 5533, an artist-run independent art space located in the Istanbul Textile Traders’ Market (İMC), as part of the SENKRON event, Nazli Khoshkhabar's solo exhibition Around and Round is on view until May 14, 2022.

The exhibition consists of a fragmented narrative of the artist’s childhood in Iran reconstructed through dozens of videotapes recorded by her father. In the footage, viewers witness moments of celebration and mourning as well as those in the daily life of the artist’s family.

Khoshkhabar establishes a connection between learning about Turkey – the country she currently lives in – as a child from the satellite channels banned by the Iranian state and remembering her childhood via the videotape footage. “Satellites broadcasting the Turkish TV channels had an important role in my childhood, because I spent a lot of time in front of the TV,” says Khoshkhabar. “Years later, when I found the videotapes of my childhood, I realized this: I was watching them like I was watching TV. Because I didn’t remember most of the moments, it was like watching a whole new thing. I was comparing — how the language and the clothes have changed, how the TV has become more and more influential in our lives. I thought there was a connection between the satellite channels and the videotapes.”

Top image: Khoshkhabar, Nazlı. “Around and Round.” Single-channel video, playground scraps, paint, mirrors. 45'. Photography by Zeynep Fırat. Image courtesy of 5533.

2 & 3. Images from artist Nazlı Khoshkhabar’s childhood projected from a single channel. Photography by Zeynep Fırat. Image courtesy of 5533.

4. Khoshkhabar, Nazlı. “Around and Round.” Single-channel video, playground scraps, paint, mirrors. 45'. Photography by Zeynep Fırat. Image courtesy of 5533.

At the center of the exhibition space is a satellite-like structure that consists of mirrors and legs made with scraps of adults’ sports equipment. The use of mirrors comes from a discovery Khoshkhabar made while researching how a satellite functions – that it is actually a mirror. Speaking of the legs that carry the mirrors: “Initially I wanted to use junks from playgrounds. Then I stumbled upon scraps of adults’ sports equipment. I liked that the scraps belong to tools made for adults to use in parks, where children also spend time.” Together, the structure, “indicate that there has been a change for better or for worse, that a new system has arrived.”

A constellation of images from Khoshkhabar’s childhood are projected on the structure and wall from a single a single channel, and the familiar gravitates to the remote, what is lost is attracted to the present, reflecting towards a different orbit.

5. Front view of 5533 in Istanbul Textile Traders’ Market (İMÇ). The entrance is covered with aluminum foil to block sunlight. Photography by Zeynap Fırat. Image courtesy of 5533.

Nazli Khoshkhabar's solo exhibition "Around and Round" is currently on view at 5533 until May 14, 2022, between 12:00 and 17:00 from Wednesday to Saturday.

Visit the exhibition: İMÇ 5.Blok no: 5533 Unkapanı.

Follow 5533 on Instagram.

Nazli Khoshkhabar was born in Tabriz/Iran in 1992. She studied Film and TV at Istanbul Bilgi University and continued her education in Film Studies at University of Sussex. She became interested in first person filmmaking, archive footage and home movies during her master's. In her first solo exhibition at 5533, she brings together her family archive in a video installation format.

5533 is an independent art space for research and exhibition of contemporary art located in the Istanbul Textile Traders’ Market (İMÇ). The space was founded by artists Nancy Atakan and Volkan Aslan and is currently directed by artist Can Küçük.

SENKRON Synchronized Video Exhibitions is an annual event that brings together art institutions and organizations across Turkey to bring visibility to video art. The 2022 edition took place between April 15 - 30.

Photography by Zeynep Fırat; Translation by Ekin Tümer.