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

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

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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Re-viewing Contrasts: Hyphenated Spaces at Warehouse421

By Hanan Sultan

Published on March 7th, 2021

        Hyphenated Spaces, a virtual exhibition curated by NYU Abu Dhabi students of Professor Salwa Mikdadi’s Curatorial Practice course, is currently being hosted at Warehouse421’s online platform until March 30th, 2021. The virtual exhibition, selecting thirty-four artworks by artists representing various geographies, periods, and styles, is a reinterpretation of Hashel Al Lamki’s The Cup and The Saucer, the artist's first solo exhibition, curated by Munira Al Sayegh, and also hosted at Warehouse 421’s Abu Dhabi space in the spring of 2020.

Overall, the online exhibition experience was positive. I was overwhelmingly surprised by the embedded virtual art gallery format and preferred it to a normal web presentation with static images, text, and video.

1. Installation view. Hyphenated Spaces: “The Cup and The Saucer” Reinterpreted, 15 December 2020 - 30 March 2021, hosted by Warehouse421. Virtual exhibition.

The Cup and The Saucer's multilayered aspects show the success of Al Lamki’s practice. His work centers around letting go of control and looking at his own work through new artists’ lenses, creating a certain complexity of creating and curating which goes beyond the exhibition space. Mr Lantern (2017-2019), for example, inspires individuals and artists to think about presentation while creating and manifesting. Its shapes and colors resonate with the viewer, and the installation as a whole has a certain capacity to inspire creative energy once the viewing experience over. The curators of Hyphenated Spaces reinterpreted 6 sub-themes that were directly taken from Hashel’s show: Birth and Earth; Rejection and Reflection; Versailles; Linger and Departure; Screensavers and Control and Guilt.

2. Hashel Al Lamki, Mr. Lantern (2017-2019). Clay, Fabric, cardboard, plastic, comb, mirror, LED lights. Image courtesy of Warehouse421 and the artist.

One of the main themes that Hyphenated Spaces explores is the concept of two things put together. This theme matters both visually and conceptually. Viewers realize a sense of contrast that starts a conversation or an inner dialog. A simple “why?” sparks the potential of many different possibilities and outcomes. The cup and the saucer are two objects that are put together in unity; however, they both can stand and function individually alone. “Why are they meant to be together? Why can they function separately and why are they compatible in their unity?” Similarly, the contrast between creating and curating is a sharp characteristic of the exhibition concept. “Curation is as important as creation.” The exhibition considers the way an artist’s work is presented as important as the work itself: how it is laid out, in what order, and in what composition. Should the viewer look at the art from the artist’s lens or through their own developed lens? “How do I want a viewer to perceive my artwork? What am I trying to communicate and how can I effectively do that?” The idea of “two things put together” is portrayed through three additional contrasts in the show. There are videos, images, and objects moving through time, but also photographs – still images frozen in time. The exhibition also presents us with visual art and poetry, a form of written art. A final form of contrast is the exposure to both historical and contemporary pieces.

Curation is as important as creation.

Student Sherry Wu curated the sub-theme “Re:jection- flection-born,” curated in response to Hashel’s sub-theme Rejection and Reflection. Sabrina Zhao’s My Unloving Love (2018) is an experimental video montage, a film that explores the contrasts of self-love and confidence. In her statement, the artist explains that the film is intentionally left incomplete and compares it to personal confessions of her failure. Her intentionally-incomplete film communicates the open-endedness aspect of the exhibition to the viewers, continuing to inspire them beyond the virtual exhibition space. “What happens if I, as an artist, leave my work incomplete? Is there a certain beauty to incompleteness? Is there beauty in appreciating the journey, the process of experimenting rather than perfecting the end result?” The artist further states that her process is “unsolvable”. My critique however is that art is always unsolvable and no piece of art is ever “complete” or fully “solved.” There is always room for improvement and endless different directions, sub-directions and possibilities to explore. The result is factual. But I still enjoyed seeing the beauty of this “incomplete” film rather than enduring its failures. The process of curating lies in surrendering to the materials accumulated.

What happens if I, as an artist, leave my work incomplete?

3. Sabrina Zhao (Ruobing, b. 1996), My Unloving Love, 2018. Still. Experimental video. 6min. No dialogue with English subtitles. Video courtesy of the artist.

Fatima Al Kindi’s VIBES is a series of latex paintings on canvases. She dives within herself as a creator and contemplates how she feels about creating when she is in the middle of the process rather than at the far deep-end of the search for meaning. She surrenders to her large canvases and lets the process of creation take over, gambling for the outcomes. Through her lens, the canvas becomes a sea; her painting lets us perceive the contrast between geometric compositions and the free-forming textures. Her process here is in letting go of control and considerations in order to create, and then coming in and starting the process of controlling the curatorial aspects of presentation and exhibition layout.

She surrenders to her large canvases and lets the process of creation take over, gambling for the outcomes.

4. Fatima Al Kindi (b. 1998), Untitled 2, 2020. Latex paint on canvas, 257 x 147cm. From the series VIBES. Image courtesy of the artist.

The sub-theme “Gender, Control and Guilt” is a curation of historic wearable objects that pressurised, controlled and guilt women through beauty standards, fashion trends and cultural expectations. This curated section is a response to Hashel’s sub-theme Control and Guilt. 

VelázquezMaria Teresa (1638-1683) Infanta of Spain is a portrait of a Spanish heir with purposely-styled voluminous hair decorated with butterfly hairpins. This wig portrays the history of women surrendering to the pressures of beauty standards by adding large and heavy hair paddings; rollers and pillows stuffed with sheep’s wool to create hairstyles such as the Pouf. Historically, they believed that this gave them a grandiose appearance despite strained necks and difficulties in regards to mobility. The guilt aspect is born out of women feeling they need to conform to such beauty standards, in turn giving power to societal pressures and ultimately resulting in a form of control. Afterall, hair is potent.

Hair is potent.

5. Velázquez (Diego Rodriguez de Silva y Velázquez), Maria Teresa (1638-1683), Infanta of Spain, 1651-54. The Metropolitan Museum of Art, New York. 

Hyphenated Spaces' multilayeredness proclaims the success of Al Lamki’s practice. The show explores the theme of putting two things together and is a testament to us living through a time of adaptability. “I’m now inspired, how can I express that and what is my medium?” This show itself is embodying flexibility, an unreal realness; a virtual gallery space that feels so real, yet behind a screen inside a device. As we go forward in this new digital paradigm, I foresee the world to be more accepting of visual and conceptual hybridity. “What can I as a viewer, hobbyist or an artist put together to create a bricolage? How can two or more ready-made things be put together to create something new?” Start by gathering quotes, ideas, visuals, sounds, materials or ingredients, surrender to what you have gathered and respond. “My medium speaks for me.”

Hyphenated Spaces in on view virtually at Warehouse421 until March 31st, 2021.
Visit the exhibition here.
For a closer look into the exhibition, visit Warehouse421’s series of Deep Dives.

In response to the COVID-19 pandemic, the curators digitally realized this exhibition from their respective homes across several continents, never meeting in person. The virtual exhibition is curated by Mingu Cho, Jeffrey Liu, Ju Hee Noh, Christopher Pohndorff, Sherry Wu, and Tonia Zhang.

Hanan Sultan is a jewelry designer based between Muscat, Dubai and London, who has previously participated in student collaborative projects with the British Art Medal Society, Cartier, Louis Vuitton, Swarovski and Vitsœ. Passionate about both fine arts and fashion, she sees jewelry as the perfect middle ground between the two. Her practice is predominantly centered around cultural identity and the human experience of society in relation to this. She graduated with a B.A. in Jewelry Design from Central Saint Martins and is currently pursuing her MA in Jewelry and Metal at the Royal College of Art.
Special thanks: Salwa Mikdadi and Sherry Wu.

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