📘 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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MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists 

By Global Art Daily’s 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.

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

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. 

4. Chechen artist Milana Alaro in her studio. Photo: courtesy of the artist.

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

6. Milana Alaro, Untitled, 2020. Gouache on paper. 30 x 40 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

7. Asia Umarova, Saving the dishes, 2018. Gouache on colored paper. 43 x 31 in. Image courtesy of MIA Anywhere and the artist.

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

8. Asia Umarova, My Bday, 2018. Gouache on colored paper. 41 x 30 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.

9. 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.