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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Prolepsis: Sahand Hesamiyan’s 24-years Journey with Steel Sculptures

By Susanne Niemann
Published on October 25th, 2023

        Sahand Hesamiyan is based between Tehran and Dubai. His work is a contemporary interpretation of traditional Iranian geometrical shapes. His sculptures are layered with meaning from mythology, philosophy, and his own life experiences.

Global Art Daily sat down with Hesamiyan just a day before the opening of Prolepsis, his third solo show with The Third Line in Dubai, which also marks the artist’s 24-year journey with the material metal. Prolepsis will be on show at The Third Line gallery from 28th September – 3rd November 2023.

1. Installation view. Sahand Hesamiyan, Prolepsis, 2023. The Third Line. Photo credit: Ismail Noor, Seeing Things Studio. Image courtesy of The Third Line.

Susanne Niemann: Thank you very much for your time for this interview with Global Art Daily. I haven’t seen your work in-person yet, but from the photos, I am fascinated by the technical details of your sculptures. Your exhibition Prolepsis is opening tomorrow, September 28th, how are you feeling about it?

Sahand Hesamiyan: I am grateful that we have this show after a long time. My last show with The Third Line was in 2014. This particular show is very important for me as it contains a series of work that I have done throughout the past years. Now, I am  seeing all of them in one exhibition. It is very joyful for me as I designed them over a long period of time.

S.N.: I can see how that is a beautiful moment to reflect now that you are back with The Third Line after almost a decade and showing many pieces together. How is it looking back at your own practice now? And how has the UAE art ecosystem changed throughout your practice?

S.H.: Everything is changing very fast. Community is very important now. I see more public art that is trying to engage people in the city. There are commissions for sculptures for different parts of the city. This was absent in the region before. There are big shopping malls and important buildings but public art was absent. There were projects  that were appropriate for inside spaces but I didn't see that much outside. Emaar did some projects a long time ago for 2 or 3 years but then they stopped. They were the first company that I saw commissioning public art around the downtown area and also in Dubai Mall.

Everything [in the UAE] is changing very fast. Community is very important now. I see more public art that is trying to engage people in the city. 

S.N.: I agree, we are seeing more of that now. Would you like to see your work in such a context?

S.H.: Actually one of the pieces that I showed at The Third Line gallery was acquired by Emaar and installed in front of the Dubai Opera. Surely, it would make me happy to have another project installed in public because I think public art is important. Having a public project is important for me as I usually design my pieces to be a part of the city. I like people to engage with them.

Having a public project is important for me as I usually design my pieces to be a part of the city. I like people to engage with them.

S.N.: It is interesting to hear you say that because we were talking about community earlier. You are currently based between Tehran and Dubai. I wonder what role Dubai and the wider UAE play in your work. What about community engagement here?

S.H.: Being here gives me an opportunity to connect more easily to the world and to other communities. I can talk with different people and there are a lot of important events here in Dubai. This gives me an opportunity to engage more with people and also artworks.

S.N.: Now this is a completely different question but looking back at such a long career as an artist and having worked with metal for 24 years now, I am curious to hear how you got into art and into sculpture in the first place. How did you decide to focus specifically on sculpture while at university?

S.H.: I was always fascinated by making something with my hands. As a young man, 14 or 15 years old, I was interested in wood structures and I learned carpentry. I was  introduced to sculpture and learned through free courses. Around the age of 18, I was advised to go to university if I wanted to be serious in this field. In Iran, you need to pass two tests, a general one and an art-focused one, to get into university. I tried for four or five years. I chose to be a sculptor and this helped me to push through university and pursue this career.

2. Installation view. Sahand Hesamiyan, Prolepsis, 2023. The Third Line. Photo credit: Ismail Noor, Seeing Things Studio. Image courtesy of The Third Line.

S.N.: Hearing you say you tried for several years just to get into the university, I am inspired by your commitment. So you started working with your hands, first with wood and now with metal for quite a long time. Throughout your practice, have you always been so committed to the material?

S.H.: Regarding the material, I chose metal because I already had the skill of welding. That helped me to easily work with metal during my university days. As a sculptor, I tried different materials and methods, like ceramics, fiberglass and stone carving. The majority of my work can be categorized as metal pieces but I am adding ceramic equipment to my workshop and I think my next project will be a combination of metal and ceramic.

S.N.: We are excited to see it. After talking about the materiality of your work, I would like to hear more about the spirit of your work. In an earlier interview, you said that you take inspiration from your everyday experiences and events. Can you talk more about the concepts behind your works?

S.H.: It is different from project to project. I am not chasing one kind of concept in my work. The shape is obviously inspired by Iranian architecture. The concept is based on my feelings or what is happening to me and close people around me. When something occupies my mind, this is how I express myself as a sculptor and I try to transfer this idea or feeling to the audience.

I am not chasing one kind of concept in my work. The shape is obviously inspired by Iranian architecture.

S.N.: Have you had conversations with the visitors at your previous shows about what they see in the work and how they understand your concepts?

S.H.: Yes, it's always important. It’s mesmerizing when you can engage your audience with your work. I am very lucky that I had positive reactions for most of my exhibitions. The shapes I choose are familiar for people living in this region. Yet, they might be a bit unfamiliar for the audience from Europe and other regions. At my last show with The Third Line, the audience got a feeling of calmness from the pieces, that is what I wanted them to experience.

S.N.: That is wonderful to hear that even though there is a regional specificity in the shapes, there is also a sort of universal feeling that others can relate to. We talked about your material inspiration and the influences from Iranian architecture and also your own experiences. Can you walk me through your process from inspiration to designing a piece and then its fabrication?

S.H.: When something occupies my mind, or there is something that interests me, I try to imagine the idea as an object and see which form would be most real and reliable to show it. After a while, I settle on an idea. I usually don't draw much but directly go to making a mock-up. That helps me to see what I am thinking of. If everything goes well, I will then design the piece in 3D software. From that, I will make a more accurate mock-up. Sometimes that is enough and I can make a metal prototype. Or I will adjust the mock-up several times until it is what I want before going to the metal prototype. If there is any problem throughout the process of making the metal prototype, I will fix it and then we are good to go for the main piece.

S.N.: Out of the pieces you are exhibiting at The Third Line, is there one that is particularly meaningful to you?

S.H.: In this show, there are some pieces that were actually designed and executed for another project. They have a shared background and concept. And there are some other pieces that show the journey of this project. There are two pieces that I really engaged with, Kayhan and the Pillars of Victory. Both of these works and their concept are very important to me. I hope that one day, I have the chance to execute them in actual size for the public.

S.N.: Tell me more about the concept for these two works.

SH: Kayhan was designed for one of my solo shows but we didn’t have the chance to show it. In Islamic and Iranian architecture, most of the decoration in the domes and ceilings is replicated after the universe. There are many stars. These geometrical forms are connected to the cosmos and the universe. With Kayhan, I design a structure with these ornaments, but I bring it to the audience in a different way, not at the ceiling but in front of them. People can stand in front of it. It becomes a window to the universe. It is elongated, just like a journey  through space and through time. This is what I felt when I designed it, and I hope the audience can have the same feeling. The other piece, called Pillars of Victory, is a form that combines many different elements from this region.The palm tree, the minaret, and also the pillars of victory that you can find throughout this region. This piece is imagining how a journey can be. It will come to a conclusion, and we will build pillars of victory for it.

3. Installation view. Sahand Hesamiyan, Prolepsis, 2023. The Third Line. Photo credit: Ismail Noor, Seeing Things Studio. Image courtesy of The Third Line.

In Islamic and Iranian architecture, most of the decoration in the domes and ceilings is replicated after the universe. There are many stars. These geometrical forms are connected to the cosmos and the universe.

S.N.: These are really powerful ideas. I hope to see the works in person soon. Best of luck for the opening tomorrow.

Sahand Hesamiyan (b. 1977, Tehran) holds a Bachelor of Sculpture from the University of Tehran. The artist's versatile practice is informed by a profound understanding of construction techniques, culminating in larger than life metal sculptures and small elaborate works on paper.   Selected solo exhibitions include: Far Side, Emrooz Gallery, Isfahan, Iran (2022); Majaz, BLOK Art Space at Cukurcuma and Buyuk Valide Han, Istanbul (2017); Frame Reference, Dastan Outside the Basement, Tehran, Iran (2015); Tavizeh, Dastan’s Basement, Tehran, Iran (2015).Sahand’s work is included in important private and public collections, including: the Delfina Entrecanales Collection, Imago Mundi – Luciano Benetton Collection, The Samawi Collection and MAC.

The Third Line is a Dubai-based gallery founded in 2005 that represents Southwest Asian and Afro Asian artists locally, regionally, and internationally. With over 18 years of dedicated commitment to the arts, it has become a pioneering platform for established talent and emerging voices from the region and its diaspora, building a dynamic program that explores the diversity of practices in the region. @TheThirdLineDXB

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