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

Exhibition Review July 16, 2024
PAR See Me With Them Hands: Reviewing Giovanni Bassan’s “Private Rooms” at Sainte Anne Gallery

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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Leaving a Message: A Review of “After The Beep” at Satellite

By Farah Fawzi Ali

Published on August 9th, 2021

“After The Beep”, launched by Dubai-based emerging curators Anna Bernice and Sarah Daher, is an exhibition culminating a two-month long creative exercise. Rooted in the childhood game of ‘Broken Telephone’ the exhibition gathered 38 UAE-based participating artists, all diverse artistically, stylistically, and culturally. The exhibit opened at Satellite in Alserkal Avenue running from July 25th to July 31st, 2021. “After the Beep” has been supported by Emirati artist and producer Rami Farook, who also participated in the showcase.

Poster courtesy of Anna Bernice and Sarah Daher. 

Scrolling through my Instagram feed in my Dubai hotel room, I encountered a vibrant poster with flashing colors and a swinging telephone. The list of participants was filled with very familiar and not so familiar names. The excitement I felt within me! I had never been to an art exhibit in Dubai filled with UAE-based creatives. I accessed the city’s art scene a few months ago, and remain unsure of where I stand or what the ecospace is like. For me, this was an event not worth missing.

“After The Beep” is the result of a reactive exercise which, placing artists in a sequence, required each creative to respond to the work of the artists before them within 48 hours of receiving it. Promoted initially as ‘Telephone’, an open call was released in May 2021 inviting UAE artists of all backgrounds to participate. These pieces could be created in any artform or medium the participant chose. Resembling a cadavre exquis exercise, it encouraged collective creation with a connected but restrained character, allowing contributors to bring in new conversations, styles, and angles with each submission.

“After The Beep” is the result of a reactive exercise which, placing artists in a sequence, required each creative to respond to the work of the artists before them within 48 hours of receiving it.

Curators Anna Bernice and Sarah Daher opted to create two reactionary chains that both stemmed from Rami Farook's piece, A Party in the Age of Loneliness. The curators’ structure for the exhibition prompted an overwhelming degree of interest from artists which resulted in “doubling the exercise so that it wouldn't continue for 6 months,” the curators highlight. About their arrangement of works they note it was “an attempt to juxtapose mediums … We tried to avoid having three photographers in a row and instead invite people to engage with mediums very different from their own.”

A Party in the Age of Loneliness by Rami Farook. Photograph by Maria Daher. Courtesy of the curators.

Photograph by Maria Daher. Courtesy of the curators.

Photograph by Maria Daher. Courtesy of the curators.

To effectively close the lines of limited communication, they joined together the two chains at the end with a piece by Sree to create a cohesive loop. This was “...in the spirit of the game Telephone which ends in someone repeating the phrase that has been changed along the chain. Having a single final piece to juxtapose to the initial piece was an interesting ending to the narrative for us,” Daher and Bernice highlight.

“Having a single final piece to juxtapose to the initial piece was an interesting ending to the narrative for us.”

Photograph by Maria Daher. Courtesy of the curators.

Walking through the exhibit on its opening night, I journeyed through my personal memory of the game as well as the artists’ reaction chains. I contemplated how fun this must have been to do and wondered how time pressure must have created a momentary freak-out for artists when their turn came. I was intrigued by the interactions between ‘received art’ and ‘reactionary art’, to offer a categorization. This raised in me the question of how pieces created in 'spur of the moment' can manifest coherent conversations and nuanced explorations across the reaction chain.

Photographs by Maria Daher. Courtesy of the curators.

For starters, the exhibition took over many of the pre-existing objects and surfaces at Satellite. On one end of the warehouse, wired cages filled with cardboard-wrapped paintings and art tucked away silhouetted a substantial part of the exhibition, juxtaposing the vibrant blues and reds of the actively present pieces against the muted browns and silvers of the art stockpile behind it. “After The Beep” flooded every aspect of the warehouse, from empty walls and corners to ceiling and floors, utilizing the space to its maximum capacity. The floor, clad with blue tape shaped like arrows, illustrated the direction and sequence of the reaction chains.

“After The Beep” flooded every aspect of the warehouse, from empty walls and corners to ceiling and floors, utilizing the space to its maximum capacity.

Photographs by Maria Daher. Courtesy of the curators.

Most of the art pieces were not hung on a solid-coloured wall, but rather placed against an array of different ‘negative spaces’, ultimately unlocking a more nuanced set of conversations and aesthetically novel presentations to the works and the exhibition. Dania Al Tamimi’s on the state of being was crumpled on the floor in the middle of the warehouse, forcing visitors to stop in their tracks, mindfully walking around it while simultaneously reflecting on the ‘not expired’ text stamped in Arabic.

on the state of being by Dania Al Tamimi. Photograph by Maria Daher. Courtesy of the curators.

On screen (front) and speakers: this is how the world move 2 by Sree. On screen (back): Eye Stills by Hassana Arif. On canvas (back): Garden of Senses by Sofia Basto. On the floor (front): on the state of being by Dania Al Tamimi. Photograph by Maria Daher. Courtesy of the curators.

Another fascinating use of space is Shebi Niazi’s video piece Catch Me Crashing projected on a repurposed entryway. In it the performers theatrically use their bodies to mimic a car crash scene. The curators' ability to place the works on various negative spaces and utilize the room experimentally is also very telling of Satellite as a space, hinting at how encouraging and flexible the warehouse is in realizing the visions of those who find themselves hosting their exhibitions or events there.

Screengrab from Catch Me Crashing by Shebi Niazi. Courtesy of the artist and curators.

It is evident how well ‘broken telephone’ can work in a creative context.

Besides the preconfigured setting, it is evident how well ‘broken telephone’ can work in a creative context. Themes, emotions, and stylistic features can carry over through artists despite their diverse backgrounds, mediums of choice, and constraints. With regard to thematic and emotional consistency, it is worth highlighting Rami Farook’s starting piece and the subsequent responses by Shanzeh Hameed, Rabab Tantawy and Maryam AlHuraiz. Divergence, contradiction, and disparity in the human experience were initially explored in Farook, Hameed and Tantawy’s works.

A Party in the Age of Loneliness by Rami Farook. Photograph by Maria Daher. Courtesy of the curators.

A Conflict of Conscience by Shanzeh Hameed. Photograph by Maria Daher. Courtesy of the curators.

Call Me Grey by Rabab Tantawy. Photograph by Maria Daher. Courtesy of the curators.

Come AlHuraiz’s turn, her piece attempted to “decompose Tantawy’s piece into one word”, she notes, which concluded to be Void.  Alluding to childhood amnesia, AlHuraiz stitched distorted childhood images of herself with blank pieces of plastic serving as memory gaps. She decided “to go back to [her] older pieces and thought [she] could do an iteration” of those pieces. Despite only seeing the work of Rabab Tantawy, Call Me Grey, AlHuraiz’s piece brought back themes stemming from Farook’s starter piece, normatively cheerful periods explored in a contradictive light.

Void by Maryam AlHuraiz. Photograph by Maria Daher. Courtesy of the curators.

Another noteworthy sequence was the exploration of the female experience against pressures of local society via Reem Al Ani, Anita Shishani, and Sarah Afaneh. The former two’s works, Friday Night and @sweetprincessgirllove respectively, illustrated the double lifestyle many women lead. This is, to conform and perform a fantastically one-dimensional mode of life for the public eye, carefully curating their lives through fashion and social media accordingly. Afaneh’s poem barbie&ken brought a broader examination of the colonial bases of this phenomenon with a similarly fantastical fashion doll-esque backdrop. Touching on her poem’s thought process, Afaneh explains that “without a doubt, a lot of the female experience in the Middle East is informed, unfortunately by the colonial, and especially in this digital age, which Anita’s piece very successfully evokes.”  Incorporating elements from her own background she adds “I honed in on that feeling of childhood, expectation, and what being in the female body has meant to me.” The work alludes to how young girls subconsciously take in the lasting impact of colonial-backed materialism from their immediate surroundings, like the dolls they play with.

Friday Night by Reem Al Ani. Photograph by Maria Daher. Courtesy of the curators.

1/3 images from @sweetprincessgirllove by Anita Shishani. Photograph by Maria Daher. Courtesy of the curators.

barbie&ken by Sarah Afaneh. Photograph by Maria Daher. Courtesy of the curators.

In other regards, the reactions sometimes took radical leaps to align with the artists’ own personal creative practice. An instance to note was withered by Arthur De Oliveira and the subsequent reactionary piece Garden of Senses by Sofia Basto. Their pieces are starkly different, enough to take me aback, questioning if there is a missing link we are between or if the order was mistaken. De Oliveira's work treats restructured wood and textile materials deteriorated and crumpled under the Abu Dhabi weather as a medium to explore themes of fragility. This moment in the exhibit made me stop as it was an unexpected leap from the improvisation performance video preceding it, Catch Me Crashing. The flow and fluidity of the chain so far comes to a hiatus, further enhanced by the leap witnessed in Basto’s response, which presents a flower surrounded by hands, blooming from blue-stemmed plants. Upon further observation, it became apparent that both pieces actually have commonalities, consistently using hard and soft mix-media materials. Basto, presumably inspired by the modestly placed blue cloths and pink threads in De Oliveira's work, foregrounded those colors in her piece, turning them into a visual dichotomy of warmth and coldness.

withered by Arthur de Oliveira. Photograph by Maria Daher. Courtesy of the curators.

Garden of Senses by Sofia Basto. Photograph by Maria Daher. Courtesy of the curators.

The telephone exercise successfully triggered conversations and productively challenged the artists involved.

The telephone exercise successfully triggered conversations and productively challenged the artists involved. Thus, an area to improve on would be organizing the exhibition in a way that ensures that visitors not familiar with the sequence or concept can understand how to effectively navigate the exhibit and process each artist’s vision. By this I point to perhaps a physically available guide that provides insight into the exhibit's structure as well as elaborate captions about each piece, as seen in the online exhibition booklet. Within the physical exhibit, there were certainly moments of confusion that could have been easily alleviated with extended labels, further strengthening the cohesiveness of the physical exhibit as a whole.

This being said, the two diverging reaction chains occurring in their own isolated respects, seemed to grapple with the same themes at one point or the other, particularly conversations of memory, time, and personal introspection. There is room to ponder if this has something to do with the fact they both started with the same piece or that there might be converging interests present in the UAE’s creative communities.

Photograph by Maria Daher. Courtesy of the curators.

The exhibit overall presents itself as a microcosm of local UAE art communities...

The exhibit overall presents itself as a microcosm of local UAE art communities, featuring a clear glimpse of the type of salient players involved and the demographics that engage with art within the ecosystem. “After The Beep” reflected a diversity in art-making backgrounds and communities mirroring the UAE’s multifacetedness and multicultural nature. As someone who considers herself a 'new' player in the local art community, particularly one who is used to visiting quiet art spaces, the aura of the opening night brought out a community spirit and support I have not really seen before in the context of the art world.

Up until attending the exhibit’s opening night, I truly felt that I was not formally introduced to the local art community, nor did I have the opportunity to formally introduce myself to them. It was humbling to see Satellite as a space to walk through the exhibit and a booming social hub filled with creatives getting to know each other, catching up, and discussing the occasion. As the curators fittingly put it, “post-lockdown, the ice had yet to be broken in the creative community to really bring people together at this scale and in this form of interaction.”

“Post-lockdown, the ice had yet to be broken in the creative community to really bring people together at this scale and in this form of interaction.”

Curators Anna Bernice and Sarah Daher. Photographby Maria Daher. Courtesy of the curators.

“After The Beep” has provided the community with a living example that relying on each other’s prior knowledge and experiences is a potentially vital source for creative inspiration. The artists had to utilize not only the received artwork, but also make use of their prior knowledge on the other artists, tap into their existing creative knowledge and strengths, and their readily accessible tools and resources, in order to create a substantial response. This also applies to, as the curators did, creating new artistically challenging exercises that can be productively fun for the community to engage with.

Photographs by Maria Daher. Courtesy of the curators.

An exhibition like “After The Beep” brings in simply structured challenges, which encourage the production of ‘organic’ art, not constrained to create something with the public eye and institutional rigor in mind, nor where ‘perfection’ and ‘structure’ are sought after. Rather, this is a showcase inspired by impulsiveness, playfulness and experimentation.

This is a showcase inspired by impulsiveness, playfulness and experimentation.

The attention that “After The Beep” has received has “made it very clear that there is a gap that needs to be filled with playful, impulsive work shown in low-judgment spaces for non-commercial audiences,” the curators note. This message exemplifies that Anna Bernice and Sarah Daher are a dynamic duo, true forces to be reckoned with. On a hopeful note, they jointly reflect that “the work facilitated so many interesting conversations which we have learned so much from, formed new connections from different corners of the UAE art world that don't normally meet, and set an important precedent for experimental, youth-led initiatives that encourage the creative production of work. We optimistically look forward to what comes next now that something like this has been introduced as a methodology.”

“...there is a gap that needs to be filled with playful, impulsive work shown in low-judgment spaces for non-commercial audiences.”

Farah Fawzi Ali is a Filipina-Egyptian researcher and writer based in the United Arab Emirates with a B.A. in Political Science from The American University in Cairo. Farah is mainly interested in cultural research, with focus on postcolonialism and history in the ASEAN and SWANA regions, the interplay of media and visual arts with sociocultural realities, and environmental sustainability. She is a member of the third iteration of The Assembly at Jameel Arts Centre.

“After The Beep” is an exhibition curated by emerging curators Anna Bernice and Sarah Daher. It is a result of a 2 month long creative exercise, inspired from the game ‘Broken telephone’, with 38 UAE-based artists. The exhibit was showcased from the 25th July to 31st July 2021 at Satellite, Alserkal Avenue in Dubai.

Read the exhibition catalogue here.

Anna Bernice is an independent arts and culture writer, culture researcher and curator based in Dubai, contributing to platforms such as Vice Arabia and Global Art Daily. She graduated with a BA in Sociology and Theater from New York University Abu Dhabi. She’s the co-founder of Sa Tahanan Collective, a UAE-based Filipino art collective dedicated to creating an inclusive artistic platform for Filipino artists in the Gulf.

Sarah Daher
is a Lebanese curator, researcher, and writer who graduated with a BA in Theater and Economics from New York University Abu Dhabi and recently completed her Masters in Curating Contemporary Art at the Royal College of Art in London. She is based between the UAE and London. She currently works as a researcher for Temporary Art Platform, a curatorial platform focused on the development of social practice in Lebanon, the region, and the Global South. She is a regular contributor to Global Art Daily magazine.

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