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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James Jarvis Presents Latest Collages at 3110NZ

By Sophie Arni

Published on October 22, 2020

    James Jarvis (b. 1970, London), a famed artist and illustrator, is presenting his latest works at 3110NZ by LDH Kitchen, a newly-opened gallery and restaurant space operated by Nanzuka Gallery, Tokyo. Jarvis also held a concurrent show at 2G, a gallery-store operated by NANZUKA at Shibuya Parco.

Installation view of James Jarvis, Transcendental Idealism, 3110NZ by LDH Kitchen, Tokyo, 2020. Image courtesy of NANZUKA. 

Nanzuka is one of Tokyo’s foremost contemporary art galleries. Founded by Shinji Nanzuka in 2005, the gallery has focused on representing post-war artists who were left out of the Japanese art historical discourse. Today, it represents some of the most internationally-coveted Japanese artists including illustrator Toshio Saeki and Hajime Sorayama. In the last two years alone, Nanzuka’s exhibition line-up seemed to mirror the global fashion industry lust over contemporary art-fashion collaborations. In the same year, both Sorayama and Daniel Arsham — who Nanzuka represents in Japan — had solo exhibitions at the gallery and collaborated with Dior Mens under Kim Jones’ creative vision. The Pre-Fall 2019 Dior menswear fashion show opened in Tokyo with under the watch of a giant Sorayama metal sculpture, and I suspect Nanzuka was a key facilitator of that collaboration.

After years in a basement gallery tucked away in the rare quiet zones of Shibuya, Nanzuka expanded their spaces. In November 2019, the gallery joined the ranks of the busy Shibuya shopping district with a space in the new Shibuya Parco department store. With the opening of 2G, NANZUKA has again tapped into the fashion-meets-contemporary art arena and expanded its access to visitors of a trendy shopping mall. At 2G, “you’ll encounter new essentials” reads its Instagram bio. The gallery/store functions as an alternate gallery space for Nanzuka, while selling art toys by MEDICOM TOY and apparel from P-ROOM THE WORLD by POGGY. From limited editions sneakers to collectible figurines, and countless other coveted artist-collaboration items, Nanzuka is at the forefront of the innovative gallery business model: diversify, collaborate, democratize. 

Nanzuka is at the forefront of the innovative gallery business model: diversify, collaborate, democratize.

James Jarvis solo exhibition Transcendental Idealism, NANZUKA 2G, Tokyo, 2020. ©James Jarvis. Image courtesy of NANZUKA

In July 2020, Nanzuka opened another alternative gallery and sushi restaurant called 3110NZ by LDH Kitchen. Located in neighboring Nakameguro, the space was designed to function as an art gallery by day and hide-out sushi restaurant by night. The menu was done in collaboration with renowned sushi chef Takashi Saito, and the kitchen is operated by Ikuya Kobayashi, a Michelin-star disciple of Saito.

Designed by Snarkitecture, a New York-based architectural studio ran by Arsham and Alex Mastonen, the building is a conceptual break from the traditional white cube. From the door frame to the floor, from the inlaid gallery walls to the chair design, every detail has been thoughtfully executed in rounded lines. Together with its logo, designed by Sorayama, 3110NZ brings an effect of purity and unison.

Installation view of James Jarvis, Transcendental Idealism, 3110NZ by LDH Kitchen, Tokyo, 2020. Image courtesy of NANZUKA.

Since its opening, 3110NZ has been rotating exhibitions every four to six weeks. In their opening Instagram announcement, the gallery said “we hope that you will enjoy this store, which combines the ultimate in Japanese food culture with the world's most advanced architectural space and contemporary artworks.” While 3110NZ might not have opened its doors at the best of times, minding Covid-19 precautions, the space has still been functioning at limited capacity.

As a prime example, James Jarvis’ Transcendental Idealism is a welcomed breath of fresh air in these distressing times. Jarvis is known for his cartoon-style illustration and original figurine toys, earning him many accolades in the fashion, design, and art world. Amongst other brands, he has previously collaborated with Nike, IKEA, Uniqlo, and Amos. Jarvis is also an artist who has deep ties to the Japanese public. He already visited Japan in 2000 for a solo exhibition at the Parco galleries in Tokyo, Hiroshima, and Nagoya. While his more commercially successful and colorful sculptures were exhibited concurrently at 2G as part of PARCO Art Week, Jarvis’ monochromatic drawings and collages works have been adorning the walls of 3110NZ since September 23rd, 2020. 

James Jarvis’ Transcendental Idealism is a welcomed breath of fresh air in these distressing times.

Jarvis is an artist concerned with expanding the confines of contemporary art with comics, graphic design, cartoons, and street art. Raised in England, he studied at the University of Brighton and the Royal College of Arts. His first commissioned work was for a skateboarding shop in London, Slam City Skates. Street culture is embedded in his works and vernacular language, as evidenced in his latest works.

1. James Jarvis, Untitled, 2020. Drawing collage on canvas (framed). 60 x 60 cm. ©James Jarvis. Courtesy of NANZUKA.

His 2D works exhibited at 3110NZ show everyday scenes of imagined characters, having random encounters in the streets. In a non-linear fashion, Jarvis scribbles away, as if he was writing on a wall. The result is a collection of stories encapsulated in square compositions. Like a comic book, Jarvis shares stories of characters. Oftentimes, he superimposes drawings on top of one another, leaving the overall narrative blank for viewers to fill out. Jarvis only mostly black ink on white paper, or when he reaches for color, only used one main hue at the time. This overall color choice brings minimalism to his otherwise busy collages.

Oftentimes, Jarvis superimposes drawings on top of one another, leaving the overall narrative blank for viewers to fill out.

2. James Jarvis, Texture, 2020. Drawing collage on canvas (framed). 60 x 60 cm. ©James Jarvis. Courtesy of NANZUKA.

3. James Jarvis, Signs, 2020. Drawing collage on canvas (framed). 100 x 100 cm. ©James Jarvis. Courtesy of NANZUKA.

Jarvis’ works require viewers to stop and think, and to look at the fine details. I particularly enjoyed Signs (2020). Some half-thoughts are visible, like untransmitted messages from the artist to the audience: “thinker, not a doer,” “ideas,” “thoughts,” “smile now, cry later.” In the busy composition, I can also see his cartoon character in varied situations: behind a camera, on a skateboard, reaching to the top of a store-front, or in front of his canvases murmuring in French “Zut alors!” At the end of the contemplation, I am left amazed at the artist’s ability to transport me into his many worlds.

At the end of the contemplation, I am left amazed at the artist’s ability to transport me into his many worlds.

Nanzuka explains Jarvis’ drawings as “being extremely simple in nature” yet “eloquent, comical, and ironical reflections of ourselves.” Looking at the collages on 3110NZ’s walls felt like a detective exercise of deciphering Jarvis’ stories piece by piece. Whether the artist witnessed these scenes, or whether they come from his own personal narrative remains a mystery. What is for certain are the reflective moments and faint smiles that his drawings evoke in our imaginations.

4. James Jarvis, Untitled, 2020. Drawing collage on canvas (framed). 60 x 60 cm. ©James Jarvis. Courtesy of NANZUKA.

James Jarvis, Transcendental Idealism, is open at 3110NZ by LDH Kitchen until October 25th, 2020.

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All images are courtesy of NANZUKA Gallery.

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