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Latest Issue:

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

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


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Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura Create NFTs out of Broken Ceramics at SRR Project Space


By Sophie Mayuko Arni

Published on June 1st, 2023

         Opened last Friday May 26th at SRR Project Space, an exhibition space operated by Japanese art blockchain company Startbahn in the heart of Shimokitazawa, Tokyo, Gravitation is an exhibition that puts forward an innovative proposition for the future of NFTs in contemporary art. Physical-meets-digital installations – or “phy-gital” for short, an abbreviation which gained momentum in the 2020-21 NFT surge – are gaining tractions worldwide, and reveal the technological possibilities to unlock artistic mediums, augment art viewing experiences, and facilitate digital art collecting.

1. Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura, Gravitation, 2023. Multi-channel video installation, LED display, wood, mp4 data, NFT.  Video still. Courtesy of the artists.


Gravitation is an installation that highlights the concept of gravity through fragmented ceramics, multi-channel LED displays, and NFT technology.



Gravitation is a joint installation by Japanese contemporary artists Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura. The three artists were previously based outside of Japan. Tateisi lived in London, where he completed his MA at the Royal College of Art, while Matsuda pursued his performance and internet-based art practice in Berlin, and Yasura completed his MFA at the École Nationale Supérieure des Beaux-Arts in Paris. They met after their respective return to Japan following the pandemic. All three artists have estalished their practice in their own rights, earning coveted awards and exhibiting in contemporary art museums and galleries globally. Gravitation marks the first time the three artists collaborate on a joint project – revealing the collaborative essence of NFT projects and the multitude of skills needed to create both a conceptual experience that translates both in physical and digital realms.

2. Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura, Gravitation, 2023. Multi-channel video installation, LED display, wood, mp4 data, NFT. Installation view at SRR Project Space. Photo by Masataka Tanaka. Courtesy of Startbahn.


This marks the first time the three artists collaborate on a joint project – revealing the collaborative essence of NFT projects and the multitude of skills needed to create both a conceptual experience that translates both in physical and digital realms.



Gravitation is unlike a traditional group exhibition, in which each artist presents their individual works under a common curatorial theme. Rather, the exhibition introduces a new collaborative installation, conceptualized and co-produced by the artists together. Described as succinctly as possible, Gravitation is an installation that highlights the concept of gravity through fragmented ceramics, multi-channel LED displays, and NFT technology.

3. Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura, Gravitation, 2023. Multi-channel video installation, LED display, wood, mp4 data, NFT. Installation view at SRR Project Space. Photo by Masataka Tanaka. Courtesy of Startbahn. Each custom-made LED panel comes with its own NFT certificate of authenticity minted on Startrail, Startbahn’s own blockchain infrastructure.

On a physical level, the exhibition first highlights the ground-figure relationship, with a multi-channel LED display showing a slow-motion video of a cup and saucer slowly breaking on a hard surface. Made by the artists themselves with assembled LED panels and wood frames, the four screens have a custom-made resolution and break the video, itself showing broken ceramics, into four parts. Responding to the exhibition space, the four screens are laid out in such a way to incite a gravitational pull from the audience to the screen. Breaking a porcelain cup and saucer is a strong metaphor for the fractional essence of the blockchain movement – a moment of singularity, fragmenting everything we know about space-ground relationship.


Made by the artists themselves with assembled LED panels and wood frames, the four screens have a custom-made resolution and break the video, itself showing broken ceramics, into four parts.



4. Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura, Gravitation, 2023. Multi-channel video installation, LED display, wood, mp4 data, NFT. Installation view at SRR Project Space. Photo by Masataka Tanaka. Courtesy of Startbahn.

The blockchain is built on the idea of decentralization: fractional ownership, set by royalties on resale rights, makes the backbone of NFTs’ appeal for artists and creators worldwide. Responding to the era of fragmentation, the artists turned the broken saucers of the Gravitation video into NFTs. This resulted in 16 broken ceramic saucers NFTs, exhibited in both physical and digital forms.


Breaking a porcelain cup and saucer is a strong metaphor for the fractional essence of the blockchain movement – a moment of singularity, fragmenting everything we know about space-ground relationship.



5. Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura, Gravitation, 2023. Multi-channel video installation, LED display, wood, mp4 data, NFT. Installation view at SRR Project Space. Photo by Masataka Tanaka. Courtesy of Startbahn. Each broken porcelain saucer is framed and titled after a UFO sighting. All resulting works come with their own digital rendering and NFT certificate minted on Startrail.

Flying Saucer (2023) is one of the 16 NFTs. In physical form, the broken saucer is exhibited in the adjacent window gallery, within a custom-made wooden frame with accompanying paper and NFC tag label, courtesy of Startrail, Startbahn’s blockchain infrastructure. In digital form, a 3D computer-generated rendering of the saucer turning around itself is exhibited on a monitor screen in the main gallery. When purchasing Flying Saucer, collectors are able to receive both physical and digital artwork, sold as a set, accompanied by its NFT certificate of authenticity.

6. Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura, Flying Saucer, 2023. Broken ceramic, wood, paper label, mp4 data, NFT. Photo by Masataka Tanaka. Courtesy of Startbahn.


When purchasing Flying Saucer, collectors are able to receive both physical and digital artwork, sold as a set, accompanied by its NFT certificate of authenticity.



The titles for all 16 broken saucer NFTs are all based on UFO sightings. Gravity is here expressed in terms of outer space exploration. Tateisi recounts the early stages of conceptualizing Gravitation: “When we first walked around the newly-developed area of Shimokitazawa, known as Bonus Track, we thought of alienation.” The three artists researched UFO sightings and picked 16 names, such as Roswell, or Linda Napolitano, which denominates either the town, the given UFO name, or the name of people who claimed seeing the UFOs at a particular place and time. Each broken saucer is thus named and certified using alien names.


7. Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura, Gravitation, 2023. Multi-channel video installation, LED display, wood, mp4 data, NFT. Installation view at SRR Project Space. Photo by Masataka Tanaka. Courtesy of Startbahn.

On a larger social perspective, it is true that the exhibition illuminates fragmentation and alienation in new urban communities. When the artists were first invited to exhibit next to the new Bonus Track in Shimokitazawa – a vibrant neighborhood in west Tokyo known for its vintage shops, live music and youth culture – they thought about the effects of gentrification on local populations. Thinking about the context of the neighborhood as well as the exhibition’s use of blockchain, the artists came together to reflect on the social fragmentation inevitably resulting from urban development. With shiny new buildings, new health-focused restaurant concepts, and an emphasis on individual comfort, the newly-redeveloped Shimokitazawa feels similar to many gentrified neighborhood found in other global cities: sanitized, happy, clean areas, made for consumerism and smart living.


The exhibition shines light fragmentation and alienation in new urban communities.




8. Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura, Gravitation, 2023. Multi-channel video installation, LED display, wood, mp4 data, NFT. Installation view at SRR Project Space. Photo by Masataka Tanaka. Courtesy of Startbahn.

When thinking about the meaning of Gravitation, Matsuda recounted the words of Japanese poet Shuntaro Tanikawa: "Universal gravitation is the power of solitudes” (万有引力とは ひき合う孤独の力である). This is perhaps the most poignant words that could describe our era of decentralization and fragmentation – while globalization and the Internet have accelerated our access to information, few artists and thinkers have thought of the aftermath of this flat earth we are now walking on. One of the effects of intense interconnectivity is the rise of solitude and loneliness, a topic on the minds of many other Japanese artists – I’m thinking of Rintaro Fuse in particular. Gravitation can thus be seen as a response to our current world made of individuals losing figure-ground relationship when connected through screens and social networks.


Universal gravitation is the power of solitudes.

- Shuntaro Tanikawa


9. Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura, Gravitation, 2023. Multi-channel video installation, LED display, wood, mp4 data, NFT. Installation view at SRR Project Space. Photo by Masataka Tanaka. Courtesy of Startbahn.


Gravitation can thus be seen as a response to our current world made of individuals losing figure-ground relationship when connected through screens and social networks.






Gravitation is now on view at SRR Project Space, Tokyo, until June 24th, 2023.


Gravitation: Jukan Tateisi, Shōei Matsuda, and Takeshi Yasura
May 26 - June 24, 2023
SRR Project Space
2-22-2-1 Kitazawa, Setagaya-ku, Tokyo 155-0031
1min walk from Shimokitazawa Station, Odakyu Line, Southwest Exit
2min walk from Shimokitazawa Station, Inokashira Line, West Exit
Open Saturdays and Sundays only, 13:00 - 19:00
Free admission

Organized by Startbahn, Inc.
Curated by Sophie Mayuko Arni
Graphic Design by Utanosuke Izumiyama


Jukan Tateisi (b. 1986, Chicago) is a visual and sound artist based in London, Tokyo, and Nagano. His practice synthesizes dichotomic boundaries between virtual and real, natural and artificial, production and management, with installations using artificial intelligence, stereophonic sound, video, performance, and the development of food products. Tateisi has also launched art spaces throughout Japan. He is the co-founder of The 5th Floor, a contemporary art venue in Tokyo, as well as TOH and TŌGE Projects, developing food, education, and housing projects based on the concept of a new metabolism of people, nature, and artifacts. His previous exhibitions include “To The Fog” (KITTE, 2021), “The drowned world anchor“ (SPIRAL HALL, 2019), “Le Jardin Convivial” (Kyoto Botanical Gardens, 2019), “Allscape in a Hall” (Artists’ Fair Kyoto, 2020), for exhibitions, and “Re: Incarnation” (PERROTIN, 2021), “Kotobaodoru” (NHK, 2019), “Voyage in Sound” (AirBnB, 2017). He graduated with a Master of Arts from the Royal College of Art (UK) in 2020, with a Distinction for his thesis: “It can sing; it can compose; it can shoot”. He was also selected as part of “New Contemporaries 2021” and was awarded the Set Design of the Year “FRAME AWARD 2021” (with ULTRA STUDIO).
Website
Instagram


Shōei Matsuda (b.1986, Japan) began his career in social media in 2010, garnering attention as an anonymous artist who has a significant impact on the masses and society. His events, instructions, and performances, which he creates collaboratively with people, are highly regarded as a practice that questions the subjectivity and authorship of the post-social media era and creates new communities by directly intervening in cities and society. Some of his notable solo exhibitions include "The Store" at Shibuya PARCO, Tokyo, "Extreme Conceptual" at Eukaryote, Tokyo, and "Magic Number" at TOH, Tokyo. Shōei has also participated in group exhibitions such as "It knows: When Forms Become Mind" at the 21st Century Museum of Contemporary Art in Kanazawa, Ishikawa, and "ATAMI ART GRANT" at Hotel ACAO in Shizuoka. In 2016, Shōei received the Prix Ars Electronica Awards of Distinction and was selected for the ISEA Hong Kong. He has also published works such as "A Field Guide to the Snowden Files" in Germany and "Cyberarts 2016" in Austria. Shōei's work explores a wide range of themes and mediums, from contemporary art to technology and media. His work has been exhibited both in Japan and internationally, including in Austria, Germany, Hong Kong, and the Czech Republic.
Website
Instagram



Takeshi Yasura (b.Japan) 
is a visual and sound artist based in France and in Japan. His artistic practice derives from the perception of technology, living and non-living things, and human beings on a horizontal rather than vertical axis, acknowledging existence as existence. His exhibitions include “Material Differentiation” (N&A Art Site, Japan 2022), “We didnʼt know they stacked shit that high” (Gallery TOH, Japan 2022), “Ghostliness” (STUDIO Ghost, Japan 2022), “Le 65e Salon de Montrouge” (Paris, France 2021), “AAIC2020” (Museum of Fine Arts, Japan, 2020), “Jeune Création 69” (Fondation Fiminco, Romainville, France 2019), “Espace de Réflexion” (SPIRAL, Japan 2019). Yasura graduated from Tokyo University of the Arts in 2018 with a Master of Fine Arts in Sculpture, and an additional Master of Fine Arts from the École Nationale Supérieure des Beaux-Arts in 2020

Website
Instagram

SRR Project Space is an exhibition space operated by Startbahn, opened in May 2022, and is located at the heart of Shimokitazawa, Tokyo. “SRR Project Space" derives its name from an abbreviation of Startbahn’s NFT "Startrail Registry Record (SRR)” and "Shimokitazawa Rail Road (SRR)", a new urban community part of NANSEI PLUS, developed by Odakyu Electric Railways.
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Sophie Mayuko Arni is an independent curator based between Tokyo and Dubai. She founded Global Art Daily in 2015.
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