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  1. Editor’s Note
  2. What’s On in Jeddah
  3. Cover Interview: Hayfa Al Gwaiz
  4. A Season in Review: Riyadh 2024
  5. Individual Stories, Common Threads: Hayat Osamah’s Soft Gates at the Islamic Arts Biennale 2025

E-09++
Fall 2025





  1. Editor’s Note
  2. What’s On in SEL
  3. Pop(Corn): Chan Sook Choi
  4. Rapport: Seoul
  5. When Everything You Touch Bursts into Flames: Olivia Rode Hvass at 00.00 Gallery
  6. Embracing Multiplicities: The 2023 Korea Artist Prize Exhibition
  7. On (Be)Holding Life that Pulsates in Overlooked Places: Jahyun Park at Hapjungjigu
  8. Beauty, Transformation, and the Grotesque: Nathalie Djurberg & Hans Berg on their Exhibition at SongEun Art Space
  9. Presenting Ecofeminist Imaginaries: Ji Yoon Yang on Alternative Space LOOP

E-08++
Fall 2024

SEL Quick Glances at Frieze Seoul 2024


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

E-07++
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

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


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

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 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 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 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?

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Newsletter ––




Chronological Archive ––

    Selected Archive

Artist Interview November 18th, 2016
 AUH Raed Yassin in Abu Dhabi

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


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Mark

Patience and Persistence, An Exhibition By Alexa Kumiko Hatanaka and Johnny Nghiem


By Miao Xuan Liu

Published on November 15, 2025

        In Patience and Persistence, an ephemeral force undergirds the work of Alexa Kumiko Hatanaka and Johnny Nghiem. Hanging from thread, wavering images on delicate sheets scatter like constellations among intricate Washi clothing, patchworked sculpture, and textile. Some dangle variably off kozo sticks like husks. All are aglow with a seemingly immanent translucency. 

1. Installation view. “Patience and Persistence by Alexa Kumiko Hatanaka and Johnny Nghiem”, Canada Embassy to Japan, October 2025 - January 2026. Curated by Miao Xuan Liu. Photo: Johnny Nghiem. Courtesy of the artists.


Emerging from Hatanaka’s intimate engagements with traditional paper makers in Japan and Vietnam and documented through video and image by Nghiem, the exhibition touches upon themes of lineage, ecological wellbeing, and interconnectedness.



2. Installation view. “Patience and Persistence by Alexa Kumiko Hatanaka and Johnny Nghiem”, Canada Embassy to Japan, October 2025 - January 2026. Curated by Miao Xuan Liu. Photo: Johnny Nghiem. Courtesy of the artists.

Washi is traditional Japanese paper made from the renewable plant fibers of kozo, mitsumata, and gampi. In Patience and Persistence, this laborious, ancient, and endangered material forms the subject and medium of formal experimentation and embodied labour. Emerging from Hatanaka’s intimate engagements with traditional paper makers in Japan and Vietnam and documented through video and image by Nghiem, the exhibition touches upon themes of lineage, ecological wellbeing, and interconnectedness.


Washi is traditional Japanese paper made from the renewable plant fibers of kozo, mitsumata, and gampi.



3. Installation view. “Patience and Persistence by Alexa Kumiko Hatanaka and Johnny Nghiem”, Canada Embassy to Japan, October 2025 - January 2026. Curated by Miao Xuan Liu. Photo: Johnny Nghiem. Courtesy of the artists.

In Nghiem’s photographs of rural and urban Japan and Vietnam, life is at a standstill. In effect, presences are sensed more than imaged, the interior life a stand-in for corporeality. Bodies are glimpsed from behind, and uninhabited landscapes are captured indiscreetly in a mirror’s burnished glow. In the weightlessness that results, a diasporic imprecision thwarts any attempts at chronology. Rather, we encounter a dreamlike quality beyond the concretized confines of colonial time and place.

4. Installation view. “Patience and Persistence by Alexa Kumiko Hatanaka and Johnny Nghiem”, Canada Embassy to Japan, October 2025 - January 2026. Curated by Miao Xuan Liu. Photo: Johnny Nghiem. Courtesy of the artists.

Hatanaka likewise demonstrates an affinity for the rhythms of the natural world. In her hand, milk white surfaces are stained with pigment from the earth. The marks are sometimes precise, such as printed swathes of undulating snow of the Arctic, memorializing her long-term collaboration with communities in Kinngait, Nunavut, and other times the marks are intuitive free free-handed gestures. This contrast is no coincidence - Hatanaka is interested in the calcified and transformative side by side, prodding delicate equilibria found at the centre of both ecological and emotional health.


This contrast is no coincidence - Hatanaka is interested in the calcified and transformative side by side, prodding delicate equilibria found at the centre of both ecological and emotional health.



5. Photograph of Alexa Hatanaka by Johnny Nghiem. For “Patience and Persistence by Alexa Kumiko Hatanaka and Johnny Nghiem”, Canada Embassy to Japan, October 2025 - January 2026. Curated by Miao Xuan Liu. Courtesy of the artists.

One only needs to read the artwork titles to realize that for the artist, these terrains of uncertainty are equal parts bodily as terrestrial: “Aftershocks”, “one last thing”, “freeze or fly, fly or flight”. Strata upon strata, patch by patch, through Hatanaka’s hand instability takes form where the personal, environmental, and historical collide. This reflects an engagement with ecological metaphors of mental wellness, including her own experience with depression and bipolar.


One only needs to read the artwork titles to realize that for the artist, these terrains of uncertainty are equal parts bodily as terrestrial: “Aftershocks”, “one last thing”, “freeze or fly, fly or flight”. 



By forging strength from fragility and combining artistic production with social enterprise, Alexa Kumiko Hatanaka and Johnny Nghiem underscore the interconnected nature that animates their practices. Patience and Persistence extends that spirit, presenting a significant survey of artworks embedded with craft philosophy.  As the persistent stream that carves through calcified stone over time, this exhibition suggests that principles which sustain ecological systems might be the same ones that also support human and relational wellness, commemorating the slow, gestural, and measured force.


Patience and Persistence
An Exhibition by Alexa Kumiko Hatanaka and Johnny Nghiem
 Curated by Miao Xuan Liu
September 19, 2025 – January 15, 2026
Monday-Friday 10:00-17:30; Last entry 17:00
Prince Takamado Gallery at the Canadian Embassy to Japan
Closed on weekends and Embassy office closures
Free admission. Photo ID required
Address: 7-3-38 Akasaka, Minato-ku, Tokyo 107-8503


Alexa Kumiko Hatanaka is a Japanese-Canadian artist that lives with bipolar condition, all of which sculpts her practice. She works with printmaking, ink drawing,  natural dying and sewing combined with historical paper and processes dating back to the 7th century, which are materials that both require and contribute to a clean environment.  Her sculptures, large-scale sewn textiles and wearable works, address questions of climate change, mental health, and survival. Recurring motifs related to landscape, fish, and bodies of water speak about personal and collective experiences of struggle, resilience, connection and radical joy. Hatanaka’s practice includes a decade of community-engaged projects in the high Arctic, and performances using costumes sewn out of washi (Japanese paper). Hatanaka has exhibited at the National Gallery of Canada (Ottawa, CA), Art Gallery of Ontario (Toronto, CA), British Museum (London, UK), Toronto Biennial of Art (Toronto, CA), Ino Cho Paper Museum (Kochi, Japan), Kotaro Nukaga (Tokyo, Japan), NADA Miami and NYC, and Harper’s Gallery (New York, USA). Recent acquisitions of her work include: Shiga Prefecture Museum, Japan; Material Art and Design Museum, USA, Dallas Art Museum, USA; Wellin Museum, USA and The British Museum, UK. She was a 2025 Black Rock Senegal artist in residence.

Johnny Nghiem is a Berlin-based photographer and filmmaker originally from Toronto, Canada. Of Vietnamese-Chinese heritage, Nghiem’s work explores themes of identity, memory, and belonging through the lens of analog photography. His quiet, reflective images often capture fleeting moments and subtle presences, offering a poetic meditation on diasporic life. Nghiem’s first solo exhibition in Tokyo paid tribute to his late grandmother, using photography to explore routine, fear, and familial memory. His ongoing collaboration with Alexa Hatanaka has resulted in several projects, including a documentary on her Washi-making journey in Kochi, Japan, and a second film documenting endangered papermaking traditions in Vietnam. His work offers a visual language for displacement and connection, shaped by his experience as a first-generation artist navigating cultural intersections.


Miao Xuan Liu is an artist and multifaceted practitioner who explores the movement of history, grief, power, and affect through bodies and environments. Formally trained in craft, Miao sculpts with materials as varied as clay, textile, foam, found object, and wax, mindful of their poetic undercurrents and inheritances. In a recent exhibition at Blouin Division (2024), Miao employed cement, pantyhose, wax, human hair, Hei Mu Er Traditional Chinese Medicine mushroom, junk from the railway beside her studio, and AliExpress tourist fans sourced from Toronto's Chinatown to draw relationships between the body and vernaculars of failure and ubiquity, the detritus of daily life that capital renders as waste. Miao's current interests lie in desire and the fictions which shape their encounter, specifically in the context of the (North)“American Dream”. Miao has exhibited with Blouin Division, Patel Brown Gallery, Ignite Gallery, Xpace Cultural Centre, and Hearth Garage, and completed residencies with Silverfish Magazine, Harbourfront Centre, Dias:stories, and Monuments of the Future: transatlantic research exchange on memory culture.

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