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

About ––

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    Selected Archive

Open Call ––

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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

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Persia Beheshti Shares Thoughts on Virtual Worlds and the State of Video Art in Dubai Ahead of Her Screening at Bayt Al Mamzar

By Sophie Mayuko Arni

Published on February 22nd, 2023

        This Saturday, February 25th, Persia Beheshti will be screening her latest film, entitled Elysium, at Bayt al Mamzar, one of Dubai’s precious independent artist studio and gallery spaces.

Elysium is a film that was entirely shot in Dubai Garden Glow, a place which resonates with Beheshti’s affinity for the ethereal, liminal, and alternative virtual worlds. As you will read in our conversation below, she even called the family-friendly amusement park “what the internet would feel like if the internet was a real place.”

The multimedia installation artist embeds many traits of her hometown: inspired by both ancient traditions and the digital realm, Peheshti’s work sits in a liminal space and provides an archway into an optimistic future, a culturally-hybrid one that values both spirituality and growth. 

The following conversation took place over Zoom, across continents, and touches on various topics, from her many travels to her beginnings as an installation artist, her opinions about video art in Dubai and the process of directing this film.

The following conversation took place on February 10th, 2023.

1. Persia Beheshti, Earthbound, 2021. Courtesy of the artist.

Sophie Mayuko Arni: I remember seeing your work in the 2021 digital exhibition Garden of e-arthly Delights, curated by Ruba Al Sweel for SUMAC Space. It seems your visual language is both embedded in ethereal digital culture and symbols vernacular to this region’s context. Could you start by telling us a little more about yourself? Did you grow up in Dubai, and when did you start creating video work?

Persia Beheshti: I’m half-Persian, half-New Zealander, and I was born and raised in Dubai. I studied in London and then moved to the US, where I gravitated towards filmmaking and working in film production. I started to develop my directing practice in New York, directing short-format films ranging from documentaries to music videos. 

You could say that I’m interested in the ethereal subject matter. I tend to avoid identitarian subjects in my practice, I don’t like being placed in a box because of my origins. I think we’re moving past identity politics in the digital art world: the identity of the artists matters less than the strength of the artwork itself.

I think we’re moving past identity politics in the digital art world: the identity of the artists matters less than the strength of the artwork itself.

S.M.A.: In terms of medium, would you define yourself as a video artist?

P.B.: I would say that video art is a part of my practice, due to my background in film, but I’m more interested in creating physical installations that incorporate video elements. I’m less interested in creating a film for a screen, and more interested in creating a space for a film.

Meriem Bennani, a Moroccan video artist, has been a huge influence on my practice. She predominantly works with film but incorporates sculptural elements in her installation. I found myself naturally gravitating toward the fine art realm once I was introduced to multi-faceted installations. There is this tendency in the film world to stick to conventions in terms of story-telling. I would like my work to feel more conceptual and less conventional. That is perhaps why I naturally gravitate to ethereal work, films that are a little vaguer, with less cohesive narrative structure, and something which is devoid of a timeline.

S.M.A.: Your work incorporates mysticism and mythology from Persia and the greater Gulf region. Could you expand on that?

P.B.: I tend to mix many influences in my work – ranging from mermaid cosplay all the way to Jinn mythology, prevalent in the Gulf.

For my collaborative installation in Zurich for example [part of an exhibition entitled Law & Order at Kulturfolger, 2021], I looked at the traditional folklore of the region and wanted to create an arch to access an alternate realm. What would the liminal space between two archways look like? I wanted the audience to access an alternate world, to step out of time and space constraints just for the time of that exhibition.

You could say that is the most identitarian aspect of my work. I’ll use symbols from Persian or Gulf mythology and incorporate ancient knowledge into a more contemporary context. I like to bridge cultural wisdom into the tech world, merging the ancient and the digital worlds and inhabiting the space between the two.

I use symbols from Persian or Gulf mythology and incorporate ancient knowledge into a more contemporary context.

2. Installation view. Law & Order by Ruba Al-Sweel, Persia Beheshti and Shamiran Istifan at Kulturfolger, Zurich, Switzerland. 3 July-25 July 2021. Images courtesy of the artists; photographs by Anna Maysuk. 

S.M.A.: How would you describe your relationship with the Internet?

P.B.: There is something very esoteric about the Internet. I find it to be quite a spiritual space. It’s the ultimate stream of infinite consciousness and a place of endless possibility. I do feel that we lost touch with the sacredness in our modern civilization, and the Internet has taken over the youth in terms of a portal to access alternative worlds.

The Internet has taken over the youth in terms of a portal to access alternative worlds.

I’m very interested in presenting digital identities in physical form. Right now I’m working with this AI and 3D software to create forms and shapes of ancient relics. I’m very excited to see how AI, CGI, and 3D printing will be integrated with excavation and used to revive and restore ancient relics and buried cities.

I’m very excited to see how AI, CGI, and 3D printing will be integrated with excavation and used to revive and restore ancient relics and buried cities.

S.M.A.: To come back to the UAE, I was curious if you could share your thoughts about the state of digital and video art in Dubai’s art scene – I feel like there are very few venues for younger artists to show multi-media installation work in Dubai, in part because this type of work is hard to sell. It’s a shame because top-notch infrastructure exists. When you think about it, Dubai has some of the world’s largest LED screens and is always innovating with projections on water, sand, and buildings.

P.B.: I agree. I feel that Dubai has limited venues and opportunities to showcase multimedia installation art, especially on the experimental side. Maybe that’s why many video and installation artists end up leaving for further studies and artistic development. Apart from The Third Line, which represents Farah Al Qasimi for example, I feel like there are not a lot of spaces for multimedia artists to show their works.

I hope Dubai will nurture more venues dedicated to showing experimental video art and multimedia digital installations. I’m thinking of abandoned spaces would feel more experiential and less commercial. Perhaps more galleries could create satellite spaces to accommodate playful, experimental digital art.

When you compare Dubai’s ecosystem to other art centers in Europe and U.S., I can sense that the West caters more to this type of art, which is on the rise right now. With Noor Riyadh [annual light art festival in Riyadh, Saudi Arabia] and Team Lab opening their new outpost soon in Abu Dhabi, our region is catching up but there is still a lot of room for us to grow.

I hope Dubai will nurture more venues dedicated to showing experimental video art and multimedia digital installations.

S.M.A.: It’s true that Saudi Arabia has been spearheading some fantastic exhibitions and festivals lately. What do you think of Al-Ula for example?

P.B.: I’m a fan of Al Ula and the various exhibitions and permanent installations underway there. I think the desert is a very spiritual place, and I enjoy this way of showcasing site-specific installations in ancient tunnels and caves, taking the art outside of its white cube setting.

White cubes tend to feel very stiff. My work deals with the ethereal, which means my artworks come to life when the audience is transported. Anything that makes visitors feel like they are teleported to another universe is more appealing to me.

3. Al-Ula landscape. Photo by Lance Gerber. Image courtesy of RCU and Desert X.

S.M.A.: Ancient wisdom meets contemporary art in the desert –

P.B.: Exactly. That’s why I’m interested in ancient civilizations. A lot of wisdom and folklore is forgotten at this point, especially when it comes to the Persian empire. I think it’s important to bring attention to these ancient civilizations that were once beacons of knowledge. Just because of the landscapes they sit in, many civilizations of the Gulf were based on sensory experiences. Oral traditions sit in the center, but also sound, architecture, sculpture, and scent: holistic aesthetic experiences have always been part of this region. In the same vein, I would like my art practice to focus on creating art spaces, rather than singular artworks in a white cube.

The virtual world enables me to blend technological motifs with mythic archetypes, interplaying with ancient mysticism and cyber-spirituality.

S.M.A.: Let’s delve into this new video work, titled Elysium (2022). It’s a 4-min single-channel video narrated by Sofia, also known as @Poorspigga, a digital artist mostly active on Instagram. Shot in Dubai, the video tells the story of a girl moving “between the corporality of earth and the ethereal in the digital”, guided by the voice of an “angelic cyber-celestial liminal deity,” as the synopsis reads. Could you tell us more about it?

P.B.: Elysium was entirely shot in Dubai Garden Glow. It’s an amusement park built for families, a wholesome and famous venue in Dubai for kids to play around with all types of light installations. I was so inspired by the surroundings and wanted to dedicate a whole film about it. I directed, produced, and edited the film while also playing the lead role with the help of my fantastic Production team and ActionFilmz. 

Dubai Garden Glow is what the internet would feel like if the internet was a real place. Strange animal sculptures, LED lights, tunnels, caves, cables – it’s an out-of-this-world setting, that can make you feel a little bit delirious if you spend enough time in it, especially after sunset.

In terms of production, this project has been two years in the making. I was first thinking about applying a sci-fi narrative to the Garden Glow: I was researching concepts of liminal deities and goddesses in Greek and Roman mythology specifically. These goddesses are known as the gatekeepers of the afterlife, you have to pass through them to enter the gate of the afterlife.

I’m interested to explore in-between, liminal, spaces: what sits between human and spirit, physical and digital, earth and paradise? For me, Dubai Garden Glow is some kind of a liminal space. There are so many tunnels throughout the park, and I wanted that to become a central theme of the film. For me, tunnels symbolize rebirth.

Dubai Garden  Glow is what the internet would feel like if the internet was a real place.

The central character is a girl who is trapped in a digital world and wants to come back to the corporeal world. I think we all collectively feel an uneasy fear of the metaverse, as if we are all heading toward a sinister metaverse. I don’t like to live in fear and wanted to create a hopeful film, where the character feels optimistic at the end.

I approached Poorspigga as I thought she was the perfect embodiment of a postmodern “e-girl” persona: a self-created digital artist, who is myth-making herself on the Internet, and using social media as a place to create. A lot of people don’t know if she is real or not: is she real, or is she AI-created? She plays that tension with her audience.

I gave her full creative freedom to write the script. I didn’t want it to be hyper-academic like video art scripts tend to feel. I wanted the language to be poetic and very accessible to as many people as possible. Her writing is easy and flows nicely with the film.

I directed and edited the film in Dubai, while Poospigga was writing the script and recording her voiceover in Miami, where she is based. We were working completely remotely, which adds to the project’s internet work dynamic. The scenes were all shot at night at Garden Glow, past 10pm, over three scorching hot days in May. It was so hot and humid, which also adds a certain ethereal quality to the images we captured.

I approached Poorspigga as I thought she was the perfect embodiment of a postmodern “e-girl” persona.

4. Persia Beheshti, “Elysium”, 2022. Single-channel video. Directed by Persia Beheshti. Screenplay and voiceover by Poorspigga. Still images courtesy of the artist.

S.M.A.: Interesting, and going back to creating holistic spaces for your films, how would you like this video to be installed ideally?

P.B.: We already screened the film once at Coaxial Arts, a space that shows a lot of experimental video art in downtown L.A. It was a traditional video projection, and we’ll be using a similar format for our next screening on February 25th at Bayt Al Mamzar in Dubai.

I’m currently working on a larger installation of Elysium for an exhibition this summer in Seoul, Korea. I’ve been invited by CICA Museum to show the film, and I’m very excited about this opportunity. I’m thinking of developing a more interactive way to screen the film, one that encourages the audience to move through a structure to eventually reach the screen.

I’m currently working on a larger installation of Elysium for an exhibition this summer in Seoul, Korea.

Dubai Garden Glow is such an ornate world; it’s an elaborate visual experience. I want to build an interactive screening experience, making the audience move through a space to view the film, to further cement this liminal feeling. I’m also exploring other options, like a multi-channel projection, showing different timelines of the same film and distorting the overall audio to create saturated layers of voices. I already have a clean version of the film with subtitles, so I would love to roughen it up to add more vagueness and complexity to it.

Persia Beheshti is an artist based in the Middle East. Her practice concerns relationships between eschatology, spirituality, and social thought. Beheshti's work often explores other-wordly and ethereal subject matter, with the intention to unearth allegories for alternate realities across widespread subcultural milieu.

Sophie Mayuko Arni is the Founder and Editor-in-Chief of Global Art Daily E-Issues.

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