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


Artist Interview January 19th, 2023
NYC Reflecting on Her Southwestern Chinese Bai Roots, Peishan Huang Captures Human Traces on Objects and Spaces

Artist Interview January 8th, 2023 
TYO Shu Yonezawa and the Art of Animation

Artist Interview December 9th, 2022
DXB Navjot Altaf Unpacks Eco-Feminism and Post-Pandemic Reality at Ishara Art Foundation

Exhibition December 2nd, 2022
TYO Wetland Lab Proposes Sustainable Cement Alternative in Tokyo

Exhibition November 11th, 2022
TYO
“Atami Blues” Brings Together UAE-Based and Japanese Artists in HOTEL ACAO ANNEX



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 July 9th, 2022
IST Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS

Market Interview June 28th, 2022
HK 
How Pearl Lam Built Her Gallery Between China and Europe

Exhibition June 27th, 2022
UAE
What’s On in the UAE: Our Top Summer Picks

Exhibition June 21st, 2022
DXB Art Jameel Joins The World Weather Network in a Groundbreaking Response to Global Climate Crisis

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

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

Exhibition May 6th, 2022
IST
 Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”

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

Market Interview March 28th, 2022
DXB Dubai's Postmodern Architecture: Constructing the Future with 3dr Models

Curator Interview March 21st, 2022

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


Exhibition Review March 14th, 2022
DXB Art Dubai Digital, An Alternative Art World?

Exhibition March 11th, 2022
DXB Must-See Exhibitions in Dubai - Art Week Edition 2022

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

Artist Interview February 26th, 2022
TYO Akira Takayama on McDonald’s Radio University, Heterotopia, and Wagner Project

Exhibition Review February 11th, 2022
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421
Curator Interview October 15th, 2021
IST “Once Upon a Time Inconceivable”: A Review and a Conversation

Exhibition October 7th, 2021
RUH Misk Art Institute’s Annual Flagship Exhibition Explores the Universality of Identity

Market Interview October 6th, 2021
RUH HH Prince Fahad Al Saud Discusses Saudi Arabia’s Artistic Renaissance

Exhibition October 5th, 2021
DXB
Engage101 Presents “Connected, Collected” at Sotheby’s Dubai

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 August 9th, 2021
DXB “After The Beep”: A Review and Some Reflections

Artist Interview June 30th, 2021
OSA Rintaro Fuse Curates “Silent Category” at Creative Center Osaka

Exhibiton Review June 20th, 2021
AUH “Total Landscaping”at Warehouse 421

Exhibition June 11th, 2021
TYO “Mimicry of Hollows” Opens at The 5th Floor

Market Interview May 26th, 2021
TYO Startbahn, Japan’s Leading Art Blockchain Company, Builds a New Art Infrastructure for the Digital Age

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

Artist Interview May 11th, 2021
BAH Mihrab: Mysticism, Devotion, and Geo-Identity

Exhibition May 9th, 2021
LDN Fulfilment Services Ltd. Questions Techno-Capitalism on Billboards in London

Artist Interview April 28th, 2021
DXB Ana Escobar: Objects Revisited

Exhibition Review April 27th, 2021
TYO BIEN Opens Two Solo Exhibitions in Island Japan and Parcel

Artist Interview April 26th, 2021
CTU/AUH/YYZ Sabrina Zhao: Between Abu Dhabi, Sichuan, and Toronto

Exhibition April 16th, 2021
RUH Noor Riyadh Shines Light on Saudi Arabia’s 2030 Art Strategy

Exhibition Review April 5th, 2021
DXB A Riot Towards Landscapes

Exhibition Review April 1st, 2021
DXB A ‘Menu Poem’ and All That Follows

Exhibition March 28th, 2021
DXB Alserkal Art Week Top Picks 

Curator Interview March 21st, 2021
DXB Permeability and Regional Nodes: Sohrab Hura on Curating Growing Like a Tree at Ishara Art Foundation

Exhibition Review March 7th, 2021
AUH Re-viewing Contrasts: Hyphenated Spaces at Warehouse421

Exhibition Review March 3rd, 2021
DXB There’s a Hurricane at the Foundry

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


Exhibition Review February 21st, 2021
GRV MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists    

Curator Interview January 25th, 2021
DXB Sa Tahanan Collective Redefines Home for Filipino Artists

Exhibition Review December 9th, 2020
SHJ Sharjah Art Foundation Jets Ahead on the Flying Saucer

Exhibition Review
November 23rd, 2020


AUH SEAF Cohort 7 at Warehouse 421 

Exhibition Review November 21st, 2020
DXB 101 Strikes Again with Second Sale at Alserkal Avenue

Exhibition Review November 19th, 2020
DXB Spotlight on Dubai Design Week 2020

Exhibition Review November 16th, 2021
DXB Melehi’s Waves Complicate Waving Goodbye

Exhibition Review November 13th, 2020
DXB
Kanye Says Listen to the Kids: Youth Takeover at Jameel Arts Centre

Book Review October 28th, 2020
DAM Investigating the Catalogues of the National Museum of Damascus

Exhibition Review October 22nd, 2020
AUH Ogamdo: Crossing a Cultural Highway between Korea and the UAE

Exhibition October 22nd, 2020
TYO James Jarvis Presents Latest Collages at 3110NZ

Exhibition Review October 19th, 2020
DXB Do You See Me How I See You?

Market Interview October 14th, 2021
DXB Thaely Kicks Off Sustainable Sneakers

Artist Interview September 27th, 2020
AUH BAIT 15 Welcomes New Member Zuhoor Al Sayegh

Exhibition Review September 24th, 2020
MIA a_part Gives Artists 36 Hours to React


Curator Interview September 14th, 2020
UAE Tawahadna Introduces MENA Artists to a Global Community

Artist Interview September 10th, 2020
LHR/CAI Alaa Hindia’s Jewelry Revives Egyptian Nostalgia

Artist Interview September 7th, 2020
DXB Taaboogah Infuses Comedy Into Khaleeji Menswear

Market Interview September 4th, 2020
DXB Meet Tamila Kochkarova Behind ‘No Boys Allowed’

Exhibition September 1st, 2020
DXB Alserkal Arts Foundation Presents Mohamed Melehi

Market Interview August 28th, 2020
AUH/DXB 101 Pioneers Ethical and Curious Art Collecting

Artist Interview August 26th, 2020
AUH Sarah Almehairi Initiates Conversations

Artist Interview August 24th, 2020
DXB Augustine Paredes Taking Up Space

Artist Interview August 23rd, 2020
LHR/MCT Hanan Sultan Rhymes Frankincense with Minimalism

Map August 16th, 2020
BEY GAD Map: Arts & Culture Relief for Beirut

ℹ️ E-Issues Info ––


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    3. Editorial Board
    4. Contributors
 

Global Art Daily Info ––


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Archive 2018 

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

Artist Interview August 28th, 2018
   BER Slavs and Tatars: “Pulling a Thread to Undo The Sweater”

Editorial March 1st, 2018
   AUH Abu Dhabi Is The New Calabasas

🎙️ 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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5. Rapport: NYC


By Global Art Daily Editorial Board

Published on February 20, 2021

︎ Rapport is a section dedicated to reflecting on a city’s current cultural scene. Written collaboratively by our Editorial Board, this section aims to take a snapshot of the city at the time of writing. 

        The arrival of the year 2020 was attended by an explosive proliferation of articles drawing parallels between the “roaring twenties,” an era of transformation and new beginnings, and telling signs about the supposed “zeitgeist” of the upcoming 2020s. While it is inevitable that some would take this moment to consider our particular position in the course of human history, one cannot help but suspect that this anxiety to establish a link between our ‘unprecedented times’ – a platitude which has been laughed out of the halls of Twitter – belies an emerging nostalgia for an anterior incarnation of modernity. As we advance along an axis with an unknown terminus, we move, in an non-linear progression past the ambiguous marker of post-modernity. It goes without saying that any project which aims to definitively establish a starting point for the enterprise of modernity will involve the pursuit and omission of certain lines of inquiry. Indeed, there appears to be too many starting points to choose from. Many of the developments which came to fruition in the 1920s including the Freudian revolution, the rise of Art Nouveau, and the spirit of irreverent revelry which reverberated from Prohibition-era New York to the fringes of the Tiergarten of Hirschfeld’s Berlin, speak more clearly to our contemporary senses than almost any other moment in history.



1. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "Washington Arch, one of the outstanding achievements of the late Stanford White, New York City." The New York Public Library Digital Collections. 1925. 2. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "Brooklyn suspension bridge, New York City." The New York Public Library Digital Collections. 1867 - 1910.




Many of the developments which came to fruition in the 1920s speak more clearly to our contemporary senses than almost any other moment in history.




The 1920s represented both a collapse and an era of renaissance, a fresh new world ready to be redefined. Following the end of World War I, world powers were beginning to shift to post-industrial societal structures which would define developments in the Western world for the rest of the century. In 2020, the collapse of the basic infrastructures which sustained the ‘modern world,’ a catastrophe that has reached apocalyptic proportions during the course of the coronavirus pandemic, offers an opportunity for retrospection into modernity. After all, it was in this context that the “internet,” the fledgling of the digital age was, without warning, kicked out of the comfort of its nest and was made to fly on its own – shouldering the burden of carrying the flame of human civilization as it teetered on the cusp of implosion.



The collapse of the basic infrastructures which sustained the ‘modern world’ offers an opportunity for retrospection into modernity.




Precarious as it seemed, digital culture survived the disintegration of the much-problematized notion of ‘real-life’ and soared to new heights, undergoing various paroxysms of its own. This ranged, of course, from the gloom of the ‘banana bread’ days to the crescendo of digital classrooms sublimating their isolated fragmentation through synchronized Tik Tok dances.

It is in this context that we turned to New York City in this E-Issue of Global Art Daily. In his now apotheosized Civilization and its Discontents, Freud invites us to take part in a mental exercise in order to better grasp the nature of the human psyche: by imagining the intact remains of Classical Rome superimposed upon the modern city with all its erstwhile features intact. Freud’s metaphor offers a practical tool for the interpretation of a city like New York, which, being to a large extent a product of the 1920s has the veneer of contemporaneity imposed upon it. Moreover, our experience of the city is already mediated through a tight web of cultural referents, which direct our ability to make sense of New York.



3. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Picture Collection, The New York Public Library. "View from the Woolworth Tower looking West, New York City" The New York Public Library Digital Collections. 1930 - 1939.



Our experience of the city is already mediated through a tight web of cultural referents, which direct our ability to make sense of New York.





4.The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "View looking through Brooklyn tower toward New York." The New York Public Library Digital Collections. 1867 - 1910.5. The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "Ferry boat crossing East River." The New York Public Library Digital Collections. 1867 - 1910.


Like many other high-density urban areas in the Western world, Manhattan reached its peak population in the 1920s and has not recovered since. These demographic trends notwithstanding, New York City’s remaining boroughs have reached remarkable growth with Brooklyn alone constituting a population only marginally smaller than that of Chicago, owing in large part to the suburbanization and motorization of American cities.

The notions of Classicism and Renaissance, therefore, remain as relevant today as they have in the past because many of the world’s major cities are, in fact, artefacts of the Industrial Revolution. Crossing the Brooklyn Bridge into Manhattan and beholding the towering Woolworth and Empire State buildings, one cannot help but marvel at these vestiges of humans who appear to have been so ahead of their times.  As one of our key contributors has aptly remarked, there is, enmeshed in the grid of the 1920’s skyscrapers, a 21st century phenomenon of so-called “pencil-towers” racing towards new heights, in a superimposition upon the Classical 1920’s vision of Manhattan. New York City, in particular, not only evokes a nostalgia for the past, but also a nostalgia for a range of ‘futures,’ popularized through the primarily American genre of science fiction. Unfortunately, we face today the sobering reality that these futures are now increasingly remote as we become aware of the toll that our existence has taken on the Earth.



Crossing the Brooklyn Bridge into Manhattan and beholding the towering Woolworth and Empire State buildings, one cannot help but marvel at these vestiges of humans who appear to have been so ahead of their times.




It is in this cautious atmosphere that GAD’s second E-Issue emerges, not as a didactic prognostic of a golden decade, but as a forum for the expression of various strands of a tentatively emerging ‘future.’ Amid the necessity for physical distancing in certain contexts, artists have had to adapt their practice to convey meaning in a world that is increasingly imbricated in and mediated through digital culture. We regard it as the vocation of this issue to accompany artists these developments and to document the culture which is emerging out of this period of hibernation. While this may not be the moment to make predictions about what the future will hold, one can nevertheless contemplate a range of ‘futures’ which have been projected onto the present by previous generations. Moreover, one must note that nostalgia and classicism are two sides of the same coin and it is in this sense that anterior modernities provide a blueprint for our understanding of modernities to come.



We regard it as the vocation of this issue to accompany artists these developments and to document the culture which is emerging out of this period of hibernation.







Anterior modernities provide a blueprint for our understanding of modernities to come.




10.The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "Up Broadway from Bowling Green, New York, N. Y., U. S. A.." The New York Public Library Digital Collections. 1850 - 1930. [cropped] 11.The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Photography Collection, The New York Public Library. "From Empire Building looking north on Broadway past Trinity Church, New York City." The New York Public Library Digital Collections. 1850 - 1930. [cropped]