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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Rapport: Art Dubai 2023

By Amy Qian

Published on April 12th, 2023  

        This Rapport is dedicated to Art Dubai, Dubai’s annual art fair. The biggest edition to date, Art Dubai 2023 could be summarized as an ode to Dubai’s bright future as an important hub for contemporary art in the UAE, the Gulf, and Asia as a whole. Focusing on galleries I found most experimental and conceptual, in both their display and selection of artworks, I also reflected on the relationship between Art Dubai – arguably the largest art fair of the Global South – and East Asia, especially the presence of Chinese contemporary artists at the fair and its parallel programming. Futurity and the full embrace of technology seemed to be a major theme explored by the fair’s Digital section, Julius Baer Lounge’s Refik Anadol commission, and Global Art Forum, the prolific series of talks curated by Shumon Basar

Experimental Booth Formats

Several galleries stood out for their innovative exhibition layout, such as Sanatorium from Istanbul, Turkey and ATHR from Jeddah, Saudi Arabia. In comparison with regular white cubes, these two gallery booths alternated their spaces into something else. In turning the booth into a plant-filled office made of photocopiers, papers and soil, Sanatorium showed artists Kereme Ozan Bayraktar’s installation Office and Christiane’s Peschek’s self-portraits in an office-like space. This installation comments on symbiotic communities of machines, humans and plants. The use of self-reference invited the audience to think about the idea of image within an image and art derived from art. The booth is designed in a way that visitors can step on the sand and walk through the plants in a semi-circular direction, allowing an immersive experience of the installation, which is a remarkable move in an art fair.

1. Installation view of Sanatorium’s booth at Art Dubai 2023, photo by the author.

Saudi gallery ATHR’s booth attracted many visitors to pause and linger around Rami Farook’s works on view. Part of the booth was surrounded by square-grid fences. Entering into the space, visitor had the feeling of visiting an artist’s studio because the artworks were not necessarily hung at singular height level. Instead, works filled the space, scattered on the floor, on the top one-third of the wall space, as if the entire book was a peek into the artist’s creative process. The gallery featured the enterprising Rami Farook, who occupies several sides of the art industry as an Emirati artist, curator, restaurateur, and gallerist. ATHR created a space for visitors to think, appreciate and question. Sketches, photographs, drawings, letters were pinned on the wall and unopened bottles, flowers, books, and mirrors, accompanied by a bench and a quilt blanket decorated the booth. With a large number of things to look at, ATHR also invited fair visitors to think about material culture and question the very essence of exhibiting artworks at a commercial art fair.

2. Installation view. Rami Farook at ATHR’s booth at Art Dubai 2023, courtesy of ATHR Gallery. 

3. Installation view. Rami Farook at ATHR’s booth at Art Dubai 2023, photo by the author.

Chinese Representation 

As a Chinese, I was curious to see if there were any Chinese galleries or artists at the fair, since not many are based in the region. I was very glad to see galleries from China or galleries that have outposts in China represented at Art Dubai, including Shun Art Gallery in the Digital section and Chinese artist Shuang Li at Global Art Forum. DDE NFT Art Project produced by Shun Art Gallery, a gallery based in Shanghai and Tokyo, was featured in Art Dubai Digital and their booth featured Japanese artists Yoichiro Kawaguchi and Yoichi Ochiai.

I attended the talk “Predicting Narratives” of Global Art Forum 16: Predicting the Present featuring Shuang Li, an artist born in China, who studied in New York and now lives between Berlin and Geneva, and Ahaad Alamoudi, an artist raised between England and Saudi Arabia, who now lives and works in Jeddah. Both of them conversed about their respective multidisciplinary practice, alongside art critic and researcher Nadine Khalil. Li talked about her background in Media Studies, that influenced her interest in the screen. The first work she introduced was a collaboration with Miu Miu. She translated her work and thoughts into a complete video and stage constellation for Miu Miu’s Spring/Summer 2023 collection, during which she delved into the concept of lost message. Besides designing the stage with planet elements, she crafted monologues of a person who was lost – trying to find a destination. The monologue was playing while models were simultaneously walking on the runway. It was very interesting to hear her talking about the way her writing was reflected in her works and how her childhood experiences of playing video games planted a root for her video practice.

Among all the works she showed, my favorite piece is a video investigating the relationship of body and screen. In the video, the narrator, Li herself, shared the experience of a man providing customer service at an online stocking store by combining footages of online foot fetish videos that she found, shaky daily sceneries, and computer-generated feet video. Working with an animator, Li made the generated video of a person’s dangling feet genderless. In the later half of the video, she listed out and uttered popular Chinese words and phrases that were used by Chinese internet users in the past few years such as “mama’s boy” “leg hair” and “censorship” in disordered way, invoking the audience to think about the connotations of these words and related contemporary topics including gender binary and internet censorship.

3. “Predicting Narratives” talk with Shuang Li and Ahaad Alamoudi, moderated by Nadine Khalil, as part of Global Art Forum 16: Predicting the Present. Photo by the author.

Khalil asked Li and Alamoudi to talk about the usage of voices, language and songs in their works. Alamoudi said that she uses pop songs in her works because they are more accessible to the audience. Regarding the use of men’s and her own voices, she explained that this was the way she perceived her space. She said if she thinks her country as a whole, she thinks about it in a man’s voice. In Alamoudi’s work Those Who Don’t Know Falcons Grill Them, a performance of the Khabayti, a hybrid dance influenced by both Hejazi and Sufi traditions, Alamoudi deliberately uses only male dancers as a means to subvert the “male gazes.” It is her way of changing or restaging narrative that is given to her. Li brought up the idea that digitalized voices are often female, such as Alexa or the default mode of Siri. The customer service man would pretend as a woman when he chatted with customers because “if you are a girl, people will like you more.” This difference in gender in the usage of voices is quite striking, and something to ponder on when thinking about the relationship between East Asia and the Gulf.

Visions of the Future

An audience asked Ahaad how she, as a young artist, thinks about her practice amidst Saudi Arabia’s recent economic and cultural developments. Ahaad replied that when you think of change, you're always left with the residue of change. ‘You never really touch it, you are just left with the mouth of it.’ And it's the same thing with the future. ‘You never really touch the future. You're always left with the residue of the future.’ She continued, ‘I feel like now more than ever, I've accepted my faith in regards to the future. I've accepted that I'm part of the foundation of what's to come and I'm not really part of that future.’ She said the speed of change is something that she is constantly questioning within her works. Regarding the ways her nations’s rapid changes affected her generation, she replied that there were different generations of people living in different types of change in Saudi [Arabia]. ‘We are all living amongst each other, existing in our own kind of dimensions and I think parts of everybody's experience is all intertwined,’ reflected Ahaad.

4. “Predicting Narratives” talk with Shuang Li and Ahaad Alamoudi, moderated by Nadine Khalil, as part of Global Art Forum 16: Predicting the Present. Photo by the author.

Amy Qian is from Wuxi, China. She is a third-year student studying Art & Art History with a concentration in East Asian contemporary art at NYU Abu Dhabi. Based in Abu Dhabi and Shanghai, she is now a Curatorial Assistant at NYUAD Art Gallery.

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