📘 E-Issue 05 ––VCE Fall 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-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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🎙️ GAD Talk Series –– Season 1 2020
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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.