📘 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-05++ Fall/Winter 2022-23
“Atami Blues” Brings Together UAE-Based and Japanese Artists in HOTEL ACAO ANNEX

TYO Wetland Lab Proposes Sustainable Cement Alternative in Tokyo

📒 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

ℹ️ E-Issues Info
    1. Mission
    2. Schedule

    3. Editorial Board
    4. Contributors
Global Art Daily Info ––
    1. About Global Art Daily
    2. Archive
🗃️ Archive Year 2018 
    NYC Shirin Neshat In Conversation with Sophie Arni and Ev Zverev
    PAR Hottest Spices: Michèle Lamy
    BER Slavs and Tatars: “Pulling a Thread to Undo The Sweater”
   AUH Abu Dhabi Is The New Calabasas

🎙️ GAD Talk Series –– Season 1 2020
   1. What is GAD? 2015 to Now

    2. Where is GAD? An Open Coversation on Migration as Art Practitioners

    3. When the Youth Takes Over: Reflecting on the 2020 Jameel Arts Centre Youth Takeover
   4. Young Curators in Tokyo: The Making of The 5th Floor
    5. How To Create Digital Networks in The Art World?

☎️ Open Call ––

🔌 Newsletter

🔍 Legal

2022 Copyright Global Art Daily. All Rights Reserved.

Main website ︎


“Mimicry of Hollows” Opens at The 5th Floor 

By Global Art Daily Editorial Board

Published on June 11, 2021

        Tokyo’s new independent art space The 5th Floor is pleased to announce the opening of Mimicry of Hollows, an exhibition co-curated by Dutch artist Vincent Ruijters and Japanese curator Seiha Kurosawa.

1. Mimicry of Hollows, poster design by Heijiro Yagi (2021)

Supported by The Embassy of the Netherlands in Japan as well as Tokyo University of the Arts, Mimicry of Hollows takes from the concept of hollows hidden in the black boxes of the knowledge economy. “In recent years, with the rapid development of algorithms and Artificial Intelligence (AI), our society has been radically altered by the algorithms of social networking platforms, market systems, and unconsciously manipulated to maximize profits,” explains Seiha Kurosawa, co-curator of the exhibition, who is also a PhD candidate at Tokyo University of the Arts Graduate School of Global Arts and co-curator of the upcoming Thailand Biennale 2021. Opening during a pandemic during Tokyo’s presupposed 2021 Olympics, Mimicry of Hollows aims to seek out the invisible AI-entities which hold significant influence in the age of digital acceleration.

2. Floris Schönfeld, Selection of output images from PUK* Breakdown, 2020. Generative adversarial neural network (GAN) outputting live-generated video. Image courtesy of the artist.
3. Floris Schönfeld, PUK* Beta, 2017. Live-generated digital video with soundtrack on auto-stereoscopic monitor. Image courtesy of the artist. Photo credit: Melanie Hyams.

“Needless to say, the coronavirus pandemic that occurred with the beginning of 2020 has made us critically aware of what is going on behind the scenes of our recognizable world. This exhibition aims to shine light on the invisible hollows of our earth and societies, ones that are becoming increasingly apparent in this day and age. As human beings, we tend to mimic and anthropomorphize that what we cannot see or comprehend with the naked eye” notes Vincent Ruijters, Dutch artist based in Tokyo and co-curator of the exhibition. The exhibition will showcase artists’ current responses to AI technology, from both Euro-American and East Asian perspectives. Participating artists come from the Netherlands, Japan, and the U.S.

This exhibition aims to shine light on the invisible hollows of our earth and societies, ones that are becoming increasingly apparent in this day and age. As human beings, we tend to mimic and anthropomorphize that what we cannot see or comprehend with the naked eye.

- Vincent Ruijters, co-curator and participating artist

4. Tanja Engelberts, Geography of a Hollow, 2019. Polymer photogravure. Photo: PH.GJ. van Rooij. Courtesy of the artist and Rijksakademie

The exhibition will present works from artists who deal with the anthropomorphization of AI technology and its consequences on society and the natural terrain. Selected artists include Anne de Vries, an acclaimed figure of early post-internet art, Tanja Engelberts, known for her projects dealing with artificial landscapes in her native Holland, Floris Schönfeld, Dutch artist questioning the relationship between artificial and human intelligence, Vincent Ruijters, Dutch artist based in Tokyo & Ray LC, Assistant Professor at City University of Hong Kong’s School of Creative Media, who together have created Chikyuchi, a specially-commissioned game incorporating machine-learning and codes of consumer cultures to raise awareness to ecological crises, Nile Koetting, Japanese artist known for his immersive experiences blurring the lines between performance, installation, and video art, and Masahide Matsuda, Japanese conceptual artist commenting on the consumerist tendencies of digital culture with themes such as privacy paradox and narrative therapy.

5. Vincent Ruijters and Ray LC, Chikyuchi (Amazonchi), 2021. Detail views. Images courtesy of the artist.

Mimicry of Hollows takes from the concept of the “Hollow”, referring to the relationship between Figure and Ground and the increasingly blurry boundary between the Digital and Physical. Works presented in this exhibition will contemplate the potentialities of capturing this world of unclear boundaries by mimicking the realm of unrecognizable hollows. “In this day and age, with various "Hollows areas" moving into the foreground on a global scale, we should try to to face them and see what we can discover about them instead of separating ourselves from them.” explains Kurosawa. These hollows encompass major forces that are shaping the contemporary world such as A.I. and ever-changing natural landscapes.

In this day and age, with various "Hollows areas" moving into the foreground on a global scale, we should try to to face hollows and see what we can discover about them instead of separating ourselves from them.

- Seiha Kurosawa, co-curator

6. Nile Koetting, Person, 2014. ©Nile Koetting, Courtesy of ANOMALY.

Mimicry of Hollows opens today, June 11th, at The 5th Floor, Tokyo. It will be on view until July 2nd, 2021.
Book your viewing appointment here.

The 5th Floor is a new alternative art space in East Tokyo, Japan, specializing in unique and experimental curating. Founded in February 2020, The 5th Floor is located inside a former typical Japanese apartment complex. The entire fifth floor of the building is used as an independent art space promoting curatorial experiments. Three former studio apartments on this floor have been transformed into exhibition spaces, creating a unique blend between the atmospheres of the classic ‘white cube’ gallery spaces and typical post-war Tokyo urban living spaces. Other floors of the building have been transformed into artist studios and office space for curators, thereby becoming a creative hotspot for a new generation of artists and curators in Tokyo’s contemporary art scene.
Tokyo, Taito City, Ikenohata, 3 Chome−3−9 Hanazono Alley 5F,
Opening hours: Tuesday to Sunday 12:00 to 19:00

Visit The 5th Floor’s website
Follow The 5th Floor on Instagram: @T5F.tokyo

Vincent Ruijters is an artist born 1988 in The Hague, The Netherlands who currently lives and works in Tokyo. He obtained a PhD degree in Intermedia Art at Tokyo University of the Arts in 2020. His practice is concerned with emotion and human relations, overstimulation, speed and coldness of contemporary systems clash with the artist’s need to cherish and express what is deeply human. Ruijters is an artist who architecturally models his inner affective space as material space to realize what he calls “Intimacy as Aesthetics”. By crossing boundaries of inner space and outer public space, his goal is also to challenge notions of intimacy. Past exhibitions include solo exhibition ‘Breathing IN/EX-terior’ (Komagome SOKO gallery, Tokyo) and ‘Radical Observers’ group exhibition (Akibatamabi gallery, 3331 Arts Chiyoda, Tokyo, 2019). Awards include Japanase Government Scholarship (Monbukaga- kusho: MEXT) and the Prins Berhard Culture fund Scholarship. Ruijters activities also comprise curation and exhibition design. Recently curated exhibitions include co-curation of ‘To defeat the purpose: guerilla tactics in Latin American Art’, Aoyama Meguro Gallery, Tokyo.

Seiha Kurosawa is a curator born in 1991. He lives and works in Tokyo. Graduated with an MFA in Global Arts Practice from Tokyo University of the Arts in 2019. A PhD candidate in the same course and university. Through his curatorial practice, Kurosawa researches relationships between contemporary art and new ecological concepts in which the fields of environment, society, and psychology intersect. In addition to producing exhibitions, he also works collaboratively with other artists. Kurosawa is the co-curator of the upcoming Thailand Biennale 2021 and works as a curator at the Yayoi Kusama Museum in Tokyo. Past curated exhibition include World Art Tokyo "PANGAEA TECTONICS - Diastrophism of Emerging Art / Diverging New Tales" Art Fair Tokyo 2018, Tokyo International Forum; "Clouds ⇆ Forests" 7th Moscow International Biennale of Contemporary Art, The State Tretyakov Gallery, Moscow, 2017 (curatorial assistant).