📘 E-Issue 05 ––VCE Fall 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
“Atami Blues” Brings Together UAE-Based and Japanese Artists in HOTEL ACAO ANNEX

TYO Wetland Lab Proposes Sustainable Cement Alternative in Tokyo

📒 E-Issue 04 ––IST Spring 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
Creating an Artist Books Library in Istanbul: Aslı Özdoyuran on BAS
How Pearl Lam Built Her Gallery Between China and Europe
What’s On in the UAE: Our Top Summer Picks
DXB Art Jameel Joins The World Weather Network in a Groundbreaking Response to Global Climate Crisis
DXB “Geometry is Everywhere”: An Interview and Walking Tour of Order of Magnitude, Jitish Kallat’s Solo Exhibition at Dubai’s Ishara Art Foundation
“We Are Witnessing History”: Ramin Haerizadeh, Rokni Haerizadeh and Hesam Rahmanian On Their Retrospective Exhibition at NYU Abu Dhabi Art Gallery
 Istanbul’s 5533 Presents Nazlı Khoshkhabar’s “Around and Round”
HK Startbahn Presents “Made in Japan 3.0: Defining a New Phy-gital Reality”, an NFT Pop-Up at K11 Art Mall
DXB Dubai's Postmodern Architecture: Constructing the Future with 3dr Models
📘 E-Issue 03 –– TYO Fall 2021
  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
Art Dubai Digital, An Alternative Art World?
Must-See Exhibitions in Dubai - Art Week Edition 2022
Prepare The Ingredients and Let The Rest Flow: Miramar and Zaid’s “Pure Data” Premieres at Satellite for Quoz Arts Fest 2022
 Akira Takayama on McDonald’s Radio University, Heterotopia, and Wagner Project
AUH Woman as a Noun, and a Practice: “As We Gaze Upon Her” at Warehouse421
AAN The Labor of Art and the Art of Labor: Christopher Benton on His First Exhibition in Al Ain
IST “Once Upon a Time Inconceivable”: A Review and a Conversation
RUH Misk Art Institute’s Annual Flagship Exhibition Explores the Universality of Identity
RUH HH Prince Fahad Al Saud Discusses Saudi Arabia’s Artistic Renaissance
Engage101 Presents “Connected, Collected” at Sotheby’s Dubai

📕 E-Issue 02
NYC Spring 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
DXB “After The Beep”: A Review and Some Reflections
OSA Rintaro Fuse Curates “Silent Category” at Creative Center Osaka
AUH “Total Landscaping”at Warehouse 421
TYO “Mimicry of Hollows” Opens at The 5th Floor
TYO Startbahn, Japan’s Leading Art Blockchain Company, Builds a New Art Infrastructure for the Digital Age
DXB There Is A You In The Cloud You Can’t Delete: A Review of “Age of You” at Jameel Arts Centre
BAH Mihrab: Mysticism, Devotion, and Geo-Identity
LDN Fulfilment Services Ltd. Questions Techno-Capitalism on Billboards in London
DXB Ana Escobar: Objects Revisited
TYO BIEN Opens Two Solo Exhibitions in Island Japan and Parcel
CTU/AUH/YYZ Sabrina Zhao: Between Abu Dhabi, Sichuan, and Toronto
RUH Noor Riyadh Shines Light on Saudi Arabia’s 2030 Art Strategy
DXB A Riot Towards Landscapes
DXB A ‘Menu Poem’ and All That Follows
DXB Alserkal Art Week Top Picks 
DXB Permeability and Regional Nodes: Sohrab Hura on Curating Growing Like a Tree at Ishara Art Foundation
AUH Re-viewing Contrasts: Hyphenated Spaces at Warehouse421
DXB There’s a Hurricane at the Foundry

📙 E-Issue 01 –– AUH/DXB Summer 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
GRV MIA Anywhere Hosts First Virtual Exhibition of Female Chechen Artists    
DXB Sa Tahanan Collective Redefines Home for Filipino Artists
SHJ Sharjah Art Foundation Jets Ahead on the Flying Saucer
AUH SEAF Cohort 7 at Warehouse 421 
DXB 101 Strikes Again with Second Sale at Alserkal Avenue
DXB Spotlight on Dubai Design Week 2020
DXB Melehi’s Waves Complicate Waving Goodbye
DXB Kanye Says Listen to the Kids: Youth Takeover at Jameel Arts Centre
DAM Investigating the Catalogues of the National Museum of Damascus
AUH Ogamdo: Crossing a Cultural Highway between Korea and the UAE
TYO James Jarvis Presents Latest Collages at 3110NZ
DXB Do You See Me How I See You?
DXB Thaely Kicks Off Sustainable Sneakers
AUH BAIT 15 Welcomes New Member Zuhoor Al Sayegh
MIA a_part Gives Artists 36 Hours to React

UAE Tawahadna Introduces MENA Artists to a Global Community
LHR/CAI Alaa Hindia’s Jewelry Revives Egyptian Nostalgia
DXB Taaboogah Infuses Comedy Into Khaleeji Menswear
DXB Meet Tamila Kochkarova Behind ‘No Boys Allowed’
DXB Alserkal Arts Foundation Presents Mohamed Melehi
AUH/DXB 101 Pioneers Ethical and Curious Art Collecting
AUH Sarah Almehairi Initiates Conversations
DXB Augustine Paredes Taking Up Space
LHR/MCT Hanan Sultan Rhymes Frankincense with Minimalism
BEY GAD Map: Arts & Culture Relief for Beirut

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Global Art Daily Info ––
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🗃️ Archive Year 2018 
    NYC Shirin Neshat In Conversation with Sophie Arni and Ev Zverev
    PAR Hottest Spices: Michèle Lamy
    BER Slavs and Tatars: “Pulling a Thread to Undo The Sweater”
   AUH Abu Dhabi Is The New Calabasas

🎙️ GAD Talk Series –– Season 1 2020
   1. What is GAD? 2015 to Now

    2. Where is GAD? An Open Coversation on Migration as Art Practitioners

    3. When the Youth Takes Over: Reflecting on the 2020 Jameel Arts Centre Youth Takeover
   4. Young Curators in Tokyo: The Making of The 5th Floor
    5. How To Create Digital Networks in The Art World?

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Reflecting on “After The Beep”, Reclaiming Space and Realizing Value

By Sarah Afaneh

Published on September 4th, 2021

This summer, wedged between dusty boxes and photo albums, I found my very first diary, hot pink and encompassing an embarrassing amount of childhood secrets: from “hating” my older sisters, summers in Jordan, to the first boy I was infatuated with. I was taken aback by my ability to articulate my feelings, to express myself, and was left wondering why, as I grew older, I failed to consider my creative writing seriously. Writing was second nature, evidently something I resorted to when upset or excited or scared (and that I continue to), yet I pushed it aside at a young age.

As I grew older, I failed to consider my creative writing seriously.

The art that I was exposed to early on — and that was praised by teachers, magazines and social media — was colonial, mostly; always in English, rooted in inspiration from movements that originated in the West. The books I read were set in the U.S. mainly, and I found myself frequently feeling distant from the characters and the plot, from physical appearance to themes. How could I imitate, and develop my writing from, work that in no way resonated with me? And to achieve success, or even access it, coming from money was a prerequisite. So, my perception of the art world formed into one of an elitist space, where a female person of color simply would not fit. My chances of success were slim to none, unrealistic and ambitious. Ten years later, I am fortunate enough to have my writing displayed in “After the Beep” at  Satellite, silencing the notion that “those ‘othered’ do not belong”, and able to explore work concerned with an experience beyond the hegemonies of the Western world.

My perception of the art world formed into one of an elitist space, where a female person of color simply would not fit.

1. 1/3 images from @sweetprincessgirllove by Anita Shishani. Photograph by Maria Daher. Courtesy of the curators.

barbie&ken, the poem I wrote in response to @sweetprincessgirllove, was inspired by Anita Shishani’s exploration of the societal pressures placed on the female body, and its exacerbation in the digital landscape. Looking at her use of filters and captions evoked a sense of childhood; I was 14 years old again, surrounded by a world of expectations that I was not sure I could meet, or if I even wanted to.

2. barbie&ken by Sarah Afaneh. Photograph by Maria Daher. Image courtesy of the curators.

My initial interpretation of Anita’s piece (...) led me to delve deeper into the earliest encounter I personally had with the construct of beauty standards.

Running with my initial interpretation of Anita’s piece — nudged by the 48 hour time frame to simply create what comes to me — led me to delve deeper into the earliest encounter I personally had with the construct of beauty standards. A natural development from the theme of social expectations for young girls to its colonial origins, and more so, to the struggle trying to grapple being blatantly different in the face of the “ideal”, found its way onto my keyboard. Letting go of anxiety, and allowing the creative self to take control, produced a work that I was proud of and that explored themes that were important to me.

3. Friday Night by Reem Al Ani. Photograph by Maria Daher. Courtesy of the curators.

A strong response to barbie&ken online left my heart warm.

Weeks after I submitted, anxiously waiting for the exhibition, a strong response to barbie&ken online left my heart warm. The poem was shared on social media, with people reaching out to me to say it hit home, serving as a reminder that there was a space for me, and by claiming it, others may be inspired to do so as well. Being preoccupied with creating the work, I glazed over the fact that another artist had responded to my piece. Reem Al Ani’s depiction in Friday Night of the “outfit swap,” spoke to the experience of many in the region, layered with the struggles living a double life. The development of the three works explored the female experience in a wide scope, from the local settings we grow up in, to the online landscape that requires careful curation of ourselves. I am left with a sense of pride and empathy, cherishing both the artists and the work that the exhibition provided space for.

The development of the three works explored the female experience in a wide scope, from the local settings we grow up in, to the online landscape that requires careful curation of ourselves.

After The Beep’s open call allowed for artists with different cultural backgrounds, mediums, and levels of expertise to create art in response to one another. The exhibition dismantled the notion that art is confined, with participants being each other's muses through the work we produced. As a result, a strong creative community was fostered, a free flow of ideas between strangers, friends and family. More so, being a part of a space where others understood the anxieties I was experiencing towards my art was a breath of fresh air. At a time where the digital world reveals an influx of work, we often are left putting ourselves down. Being a part of a project that demands creation in a 48 hour time period was a chance to let go of the perfectionism that many perceive is required for success. In doing so, I was left with the freedom to interpret and create without restriction, and it is only then that I was able to realize the value I bring as an artist.

I was left with the freedom to interpret and create without restriction, and it is only then that I was able to realize the value I bring as an artist.

Sarah Afaneh is a UAE-based artist and writer who recently participated in “After the Beep” at Satellite.

“After The Beep”
is an exhibition curated by emerging curators Anna Bernice and Sarah Daher. It is a result of a 2 month long creative exercise, inspired from the game ‘Broken telephone’, with 38 UAE-based artists. The exhibit was showcased from the 25th July to 31st July 2021 at Satellite, Alserkal Avenue in Dubai.

Read the exhibition catalogue here.

Anna Bernice is an independent arts and culture writer, culture researcher and curator based in Dubai, contributing to platforms such as Vice Arabia and Global Art Daily. She graduated with a BA in Sociology and Theater from New York University Abu Dhabi. She’s the co-founder of Sa Tahanan Collective, a UAE-based Filipino art collective dedicated to creating an inclusive artistic platform for Filipino artists in the Gulf.

Sarah Daher
is a Lebanese curator, researcher, and writer who graduated with a BA in Theater and Economics from New York University Abu Dhabi and recently completed her Masters in Curating Contemporary Art at the Royal College of Art in London. She is based between the UAE and London. She currently works as a researcher for Temporary Art Platform, a curatorial platform focused on the development of social practice in Lebanon, the region, and the Global South. She is a regular contributor to Global Art Daily magazine.