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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MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists 

By Global Art Daily Editorial Board

Published on February 1, 2021

        Last November, the MIA Art Collection opened a very rare exhibition: the very first digital exhibition entirely dedicated to contemporary Chechen female artists. Entitled Mehkari, the exhibition ran from November 22nd to December 7th, 2020 on MIA Anywhere virtual museum. 

Curated by Anita Shishani, Mehkari is a collaborative exhibition between MIA Art Collection and Noxchisurt, a collective founded by the young UAE-based Jordanian-Chechen curator. Mehkari takes its title from a manuscript by Luisa Soipi, an artist and illustrator of Chechen origin based in Germany. Like the book, the exhibition is inspired by the female role in Chechen mythology.

1. Luisa Soipi, Mehkari Poster, 2020. Image courtesy of MIA Anywhere and the artist.

Anita, an Art & Art History senior studying at NYU Abu Dhabi (NYUAD), gave Chechen artists based between Belgium and Jordan an opportunity to connect to MIA Art Collection’s following base in the UAE and Latin America. In April 2020, during lockdown, Anita found herself with time on her hand to realize a project dear to her heritage: creating an Instagram account dedicated to young Chechen artists and “speaking about their works in a language that non-Chechens could also access.” As a cultural bridge, Mehkari was no short of a success. The 6-artists group exhibition connected artists to art collectors and art historians globally.

The virtual format allowed for easy logistics and sharing, and the response was “overwhelmingly positive,” Anita recalled in an interview for NYUAD’s The Gazelle. “I received applications and portfolios from about 40 artists, and countless messages of support from Chechens from every corner of the world.”

2. Luisa Soipi, Issue 01, 2020. Image courtesy of MIA Anywhere and the artist.

The exhibition opens with a quote from Mehkari: “The most mythical female warriors in the Vainakh lore are the Mehkari, the Amazons of the North Caucasus.” According to oral tradition, the Mekhari are “the first-born daughters, [...] raised as horsewomen, trained in archery and only allowed to marry after they fulfilled three actions of bravery, or defeated three enemies.” The vision of strong women is as relevant as ever in the current zeitgeist: women are increasingly at the forefront of contemporary artistic creation and curation – and writing this review about oral traditions, female representation, and empowerment through artistic expression, we cannot help but think of The Hill We Climb, the sensational poem written and triumphantly performed by 22-years-old Amanda Gorman at this year’s U.S. presidential inauguration. Seeing a young woman become the voice of a generation makes us hopeful that female representation in the arts, but also in diplomacy and politics, is a global development that will surely continue into the coming decades.

In close geographical proximity to Russia, and with a Muslim-majority population, Chechnya has experienced political instability and ethnic conflict for much of its recent past. For artists who were raised outside of Chechnya, the concept of home still very much remains – in its subtle poetry, in its oral traditions, in its landscapes. Women are in a privileged position to comment on these issues with access to intimate parts of the culture, finding themselves in a position to best translate fleeting displacements to an outside audience. 

For the exhibition, Milana Alaro painted a series of portraits. Raised in Europe, she delved her own personal journey towards understanding identity and emotion through portraiture, using both autoportraits and abstraction to mask feelings of trauma and healing.

3. Milana Alaro, Untitled, 2019. Oil on canvas. 50 x 70 cm. Image courtesy of MIA Anywhere and the artist.

Immigration, conflict, and human rights sit at the very center of the virtual exhibition halls, with Asia Umarova’s series of paintings depicting images of scarcity, violence, and surveillance in her native land. These landscapes linger as a symbol of a fragile region, one that has suffered and is in dear need of representation, especially from female perspectives. “I started drawing when the war in Chechnya began. I was 9 years old,” explains the artist. “White sheets of paper became my companion, with whom I could share my feelings and describe my experiences through pencils and paints.” Asia has witnessed war since she was a little girl and heard stories about conflicts and displacements from her grandparents, who were deported to Kazakhstan in 1944, year of the Checheno-Ingush exile from USSR. “What is my work about? Migration, memory, war, human rights, memories, dreams, death, women's rights.”

What is my work about? Migration, memory, war, human rights, memories, dreams, death, women's rights.

- Asia Umarova

4. Asia Umarova, The dress for...after war, 2018. Gouache on colored paper. 41 x 31 in. Image courtesy of MIA Anywhere and the artist.

As painters, photographers, and illustrators, these six young women are very much reconnecting with their cultural heritage by celebrating the acts of bravery from century-old tales. The artists exhibited here have been raised around the world; from Chechnya to Belgium and Germany, to Jordan. Nonetheless, they know their mother-tongue and maintain their Chechen identity; they speak and paint in Chechen.

5. Heda Sardalova, Artist’s Book, 2020. Image courtesy of MIA Anywhere and the artist.

“Chechen are fighters. But there is a reason we’re seen as fighters.” Anita set the tone at the exhibition’s Zoom artist talk hosted by MIA Anywhere. “The artists are Mehkari because they choose to acknowledge and honor the trauma and the strength of their predecessors. They are not that different in spirit, to those lionhearted warriors: our great-great-great-grandmothers that reigned in the mountains of the Caucasus.” 

The artists are Mehkari because they choose to acknowledge and honor the trauma and the strength of their predecessors.

- Anita Shishani

Currently, MIA Anywhere is showing another virtual exhibition entitled Levitating in the Salon dedicated to contemporary female artists. This new exhibition is also curated by Anita and focuses on young Emirati female artists.

“Mehkari” ran from November 22nd to December 7th, 2020 at the MIA Anywhere virtual museum. Curated by Anita Shishani, participating artists included Asiya Al Sheshani, Asia Umarova, Luisa Soipi, Elona Saidoulaeva, Heda Sardalova, and Milana Alaro.

Visit MIA Anywhere virtual museum.
Visit MIA Art Collection’s website.
Follow MIA Art Collection on Instagram.
Follow Noxchisurt on Instagram.

Anita Shishani is a young curator based in Abu Dhabi, UAE. The founder of Noxchisurt, a platform dedicated to contemporary Chechen art, as well as a Junior Coordinator at MIA Anywhere, she is a final-year student in Art History at NYU Abu Dhabi, has previously interned at Christie’s in Dubai, and is passionate about sharing Chechen identity and history. 

MIA Art Collection is a private art collection with a global footprint aimed at promoting women artists and their work. Founded by Alejandra Castro Rioseco, Chilean philanthropist and private collector, the collection is based between New York, London, and Dubai, and currently supports the activities of its virtual museum, MIA Anywhere.

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